Transgression from drawing to making

Sheil, Bob

doi:10.1017/s1359135505000059

Cited by 6 publications

(3 citation statements)

References 4 publications

(4 reference statements)

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“…Design will transgress rather than merely translate the conversion of ideas into matter, and architects will design through making." (Sheil 2005). This reflexivity between drawing and making is described as being performed by a "Jack of all trades" or interdisciplinary architect and taking place in the workshop.…”

Section: Digital Craftsmanshipmentioning

confidence: 99%

“…Although it is digitally-augmented, the practice recognizes that computational and digital modelling processes alone are not enough to traverse the gap between an innate knowledge of materialization and its deployment within broader practices of design with a multiplicity and diversity of stakeholders. In this sense, it recognizes that the gap must be "transgressed" (Sheil 2005) by opening up the glulam blank as a space of design, and that knowledge must be brokered through principles and shared vision between stakeholders. Nevertheless, the practice contributes a computational means to address several key factors in the design of free-form glue-laminated structures that can substantially expedite their conception.…”

Section: Main Contributionmentioning

confidence: 99%

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Integrated Material Practice in Freeform Timber Structures

Svilans¹

2020

Design Transactions

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I owe an enormous debt of gratitude to a large number of people that have contributed -directly and indirectly, knowingly and unknowingly -to this thesis. There is no chance that I can list them all here, so I must only briefly summarize. Beginning with Professor Manuel Baez and Dr. Thomas Mical at Carleton University for pushing me beyond my intellectual boundaries and encouraging me to go further. To Eric Schlange and Aldis Sipolins for all the adventures and escapades during those formative years. To my friends at the Bartlett -particularly my friends in Unit 23 without whom that time would have not been as fun. To my tutors there -Professor Bob Sheil, Emmanuel Vercruysse, and Kate Davies -for revealing an entirely new path in my architectural wanderings. To my colleagues in teaching -Carlos Jimenez, Thomas Pearce, Mara Kanthanak, and Sarah Firth -for the fun, energy, and endless curiosity. To Matthew Shaw and William Trossell at ScanLAB Projects for taking me in and letting me take part in so many adventures in so many strange places. To my colleagues at ScanLAB -

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Section: Digital Craftsmanshipmentioning

confidence: 99%

Section: Main Contributionmentioning

confidence: 99%

Integrated Material Practice in Freeform Timber Structures

Svilans¹

2020

Design Transactions

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“…Over the past decade, conventional protocols of exchange that focused on the key relationship between design and making have been thoroughly redefined by digital a a technology [Sheil 2005a]. For centuries, the construction of prototypes, artefacts, buildings and structures has operated on a rolling tradition of visual and verbal communication between designers, consultants, makers, clients, users, regulatory bodies and contractors.…”

Section: Part Onementioning

confidence: 99%

Manufacturing Bespoke Architecture

Sheil

2012

Nexus Netw J

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ResearchManufa fa f fa f fa f cturing Bespoke Architecture Ab bs st tr ract t. . At the disposal of today's architect is an evolving array of interoperable tools and processes that allow the fabrication of design propositions to be increasingly complex, non-standard and adaptive. How are we equipped to deal with such a growing breadth of new potential, and how are the philosophies that underpin this potential being defined? This paper attempts to address what is something of a contemporary dilemma in architecture, as the constraints of industrial standardisation are relaxed. Have the roles of designers and makers changed in a way that we've not experienced before, and is a new approach to making architecture emerging? Part OneOver the past decade, conventional protocols of exchange that focused on the key relationship between design and making have been thoroughly redefined by digital a a technology [Sheil 2005a]. For centuries, the construction of prototypes, artefacts, buildings and structures has operated on a rolling tradition of visual and verbal communication between designers, consultants, makers, clients, users, regulatory bodies and contractors. In making buildings, roles were defined by where individuals and disciplines were located on a chain from concept to execution. All were reliant on its links being successfully forged, not only to achieve results, but also to underpin their status within their respective professions and trades. Prevailing over the entire process was the design, an assemblage of cross-referenced visualisations, specifications and quantities forming the templates and instructions for making. Given the numeracy of complex transfers from one step to the next, constructs in architecture have evolved as negotiated translations; the most engaging are those that have recognised this in a creative and informed way from the very outset.The redefinition of these historic protocols was initially led by the gradual adoption of computer-aided drawing in the early 1990s by practice and academia. As three dimensional modelling and rendering became more available and sophisticated, a frenzy of liberated experimentation ensued. Speculative design looked to the weightless and scaleless domain of digital space as the new terrain for innovation and speculative discourse and as the means to compositionally define spatial and formal complexity.1 The gap between the designer's vision and operations of the construction industry widened as fabrication processes remained largely analogue in how they were driven and delivered. A defining example of this challenge was Future Systems' Media Centre at Lord's Cricket Ground (competition winner 1995, opened 1999), in which the primary enclosure was entirely prefabricated by the Pendennis Shipyard in Falmouth, Cornwall, as theirs was the only industry both familiar and experienced in extrapolating design information for the fabrication of such forms.Concurrently though, news tools of computation, means to capture and analyse the performance of buildings, built e...

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Designing Robotic Assemblies

Bonwetsch¹

2013

Inside Smartgeometry

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Transgression from drawing to making

Abstract: Developments in computer-aided design and manufacturing are breaking down divisions between designing and making, opening up radical new opportunities for the practice of architecture.

Cited by 6 publications

References 4 publications

Integrated Material Practice in Freeform Timber Structures

Integrated Material Practice in Freeform Timber Structures

Manufacturing Bespoke Architecture

Designing Robotic Assemblies

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