Impregnate material - KTH

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In this course students are introduced to three modes of making the physical and tactile in architectural design processes that inform the formal language of architecture, those driven by: (i) artistic exploration and sculpturing (form-giving), (ii) laws of physics (form-finding) and (iii) digital design and production techniques (form-informing). Frank Gehry’s act of crumpling a piece of paper could be categorized in the form-giving mode. The second mode can be observed in works of architects such as Antoni Gaudí and Frei Otto, where effects of gravity on hanging chains (material components) and Plateau’s laws on soap films (governing formation of bubbles from foam), respectively, formed the artefacts. The third mode can be observed in projects presented by Iwamoto in Digital Fabrications: Architecture and Material Techniques; where production techniques, material processing techniques and digital objects (NURBS surfaces, curves etc) are considered in very early design stages and impact architectural language of the product . While being introduced to the above modes of making, students are thought to analyse and study the medieval architecture styles from the lens of rule based system, to find inspiration for their own design. A rib of Gothic style for example, is an undefined element /figure of Gothic architecture that through act of weaving or bundling becomes a formal configuration such as a column, window, arch, etc. Ribs don’t mean anything by itself; as they are too thin for structure and too thick for ornament. So, by bundling them one creates a column. It is this extra act and action of bundling and weaving that interest us. As for Gothic style the students masters the material while in the case of film soap of Frei Otto or hanging chain of Gaudi, the students are thought to give agency to material to find each other through rule based system.; In which they set a machine with rules rather than mastering the matter. The concept of impregnate material is therefore investigates analogy computing VS digital computing to influence digital design- and production tools as well as the digital practices that are informing our societies culturally, socially and technologically. Please see the examples of processes and artefacts in the next two pages. Above images presents various modes and environment for production of artefact in this course. Digital acquisition - 3d scanning (top-left), moulding (top-right), Digital model of a minimal surface (middle) laser cut and 3d printed models of minimal surface (bottom left and right respectively ).
Morphologic The Backbone of Swedish Architecture Participants: Emma Viklund, Erik Hidman, Federico Puggioni, Johan Levol Stripe Pavilion Participants: Sofia Holmgren, Andreas Åkerblom, Adamå Stančík, Totto Rátkai and Krisztina Sarolta Szádvári Projects of Digital Design & Making course, coordinated and instructed by Mania Aghaie Meibodi and Hamia Aghaiemeybodi. (http://maniahamia.com/)
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Page 3 and 4: In this course students are introdu
Page 5: Honeycomb pavilion Participants: Jo

Impregnate material - KTH

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