![]() ![]() A leading international practice operating across architecture, urbanism and design research, OMA was founded in 1975 by Rem Koolhaas and Elia Zenghelis, along with Madelon Vriesendorp and Zoe Zenghelis, and has since become known for visionary solutions that upend programmatic convention. The Office for Metropolitan Architecture ( OMA) has transformed how we think about architecture and design. Stay tuned for the year's edition of the A+Product Awards ebook in the coming months. What becomes important is how the architect’s intentions embedded in the design may enable users positively, and engender different meaning in them other than those directly prescribed by the architect.The winners of this year's A+Product Awards have been announced. More importantly, the thesis questions the user’s occupation in buildings where no direct physical alterations are possible. Focusing on Koolhaas’s built work, my thesis questions the architect’s agency in relation to other agents who may initiate creative or unpredicted uses of space beyond the designer’s intention. In this respect, Rem Koolhaas cuts a peculiar figure as he can be seen simultaneously as the villain of ‘starchitects’ and a critical or post-critical architect. The aim is twofold: to give a comprehensive account of the discourses on agency today and to push it beyond the current scope of the debate in order to expand our understandings of agencies in architecture. Therefore, my thesis begins with a critical inquiry into the current discourse and considers interdisciplinary theories from architecture and sociology. Despite the booming debate over agency in architecture, the recent discourse tends to be associated with marginal types of architecture, and hardly goes beyond that line. This Book is the catalogue to the exhibition.Īgency, as used in architecture, questions the role of architects in terms of criticality and responsibility. The result is a dismantled floating olympic village for Rotterdam, which is exhibited at it’s site in the historic docklands RDM on the Heijplaat. Students drew and built models of their analyses, where four layers are detachable as a separate entity, and then played a game the surrealist called Cadavre Exquis. 32 students selected and analyzed outstanding built work of a wide field of architects from four generations of Dutch practitioners starting with Huig Maaskant (founder of the RAvB), Huig Maaskant, Wim QUist, OMA, SANAA, Mecanoo, MVRDV, NOX, De Zwarte Hond, NL-Architects, Onix, FACT and MonderschijmMoonen. Through experiment our lab develops methods to analyze such phenomena in focused studies of specific cases, understanding how architects use landscape not only as a metaphor but also as a method to design buildings. Like at many other places, a new mindset is emerging, transforming the core values of the disciplines of architecture and urbanism with the notion of the organization of architectural space as a landscape. An outline of how diagramming and its function have evolved shows here how designers have been implicated in the changes triggered by the modern era and late capitalism.Ĭontemporary architecture is increasingly influenced by the concept of landscape, and this is particularly the case in the Netherlands. Approached in this way, diagramming can be seen as a symptom of a broad spectrum of visual practices that align design with political and economic forces. Moreover, this argument will associate diagramming procedures with the emergence of technologies of thought (as discussed in more detail in Architecture of Thought). To untangle this seeming paradox, this paper will argue that diagrams have been crucial in the recent history of design because they provide a visual way to structure thought, a graphic method of determining what is perceived, what is considered relevant, and what sense is made of the revealed complexity of issues. At the same time, however, many diagrams became famous not for their scientific precision but rather because they both hide and advertise assumptions that have motivated design decisions and such tendency is best exemplified by the recent use of parametric techniques in urban planning. ![]() On one hand, diagrammatic drawings appear explicitly rational because they tend to operate by distilling design issues and information and have helped architects conceptualize and precisely analyze crowning examples of historical and contemporary buildings. Yet understanding their conceptual constitution and functioning seems to challenge the traditional epistemology of architecture. Undoubtedly diagrams have been instrumental in propelling the design ideas of High Modernism and have undergone a digital revival at the beginning of the twenty-first century. Diagrams have been as essential in the development of architecture and urban design in the modern era as their definition has been puzzling to architects and theoreticians.
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