Women in Architecture Taiwan

Chien-Suo Pai | Real Virtuality - Paradigm Shift Base on Material Behavior

Author : Chien-Suo Pai (白千勺)

Date : 2018-08-01

This article is published in Taiwan Architect Magazine, issue no.524 (2018 August). It was the first part of this issue's "Architectural Relativity" column. The second part is "Take Risks and Push Boundaries! On Design Research--Interview with Jenny Sabin, Anna Liu and Lee Lyu Chih, the Female Principles from Jenny Sabin Studio, Tonkin Liu, and D.Z Architects &Associates".    
In the first part, Pai attempt to discuss the aspects of modern architectural design from the perspective of Computational Thinking and the Materiality of Material. The second part bears the first part's concept of "Real Virtuality" and discuss the design research which based on people, material, and environment, and the feasibility of making such design method a new pragmatic norm via an interview with three female architects and an in-depth discussion of their works.
此篇文章為第524期《建築師》雜誌(2018年8月號)之「建築相對論」專欄第一部分,試以運算思維與材料物質性的觀點論述當代建築設計的面向;第二部分〈必要的冒險—突破邊界的設計研究〉承接「實擬虛境」的概念,透過訪談Jenny Sabin,Anna Liu與李綠枝三位女性建築師,對照Jenny Sabin Studio, Tokin Liu 與大藏聯合建築師事務所三組長年累積的實驗性作品,探討以人、材料,及環境為本的設計研究,及這類設計方法在實務上成為常態的可能性。

Paradigm Shift Base on Material Behavior   
The prologue is a citation from " the First Digital Turn" of Mario Carpo. While the form of architecture was liberated, the development of construction technology progressed also. However, visual simulation still dominates the design mode. Furthermore, the great variety of technology complicates the specification of professional works.This results in rising issues such as the accelerating breaking between creation and production, and the doubts cast on the humanity aspect and reality of architectural design. "Technology is the answer, but what was the question?" The classic question proposed by Cedric Price implies that "innovation" does not come from groundless imagination, or a blind pursuit where problem awareness was lacking.

引言建築史論家Mario Carpo所述的「第一次數位轉型」時代,建築形式被解放,亦帶動營造技術之發展;然而以影像模擬為主導的設計模式,及因技術多樣而複雜化的專業分工,造成創作與生產之間的斷裂加劇,建築設計的人文向度與真實性備受質疑等問題。「科技是答案,但原來的問題是什麼?」(‘Technology is the answer, but what was the question?’) Cedric Price的經典問句,暗示著「創新」並非來自毫無根據的憑空想像,或缺乏問題意識的盲目追求。

For the past two decades, computer science and artificial intelligence have experienced exponential growth. With diverse medium and application, they have penetrated all aspects of our lives even changed the vibration of our human behavior, from daily social interaction to political economy. In terms of architecture, a field which always falls behind, a trend of "backwards progressing" surprisingly appeared--even though we still cannot keep up with the 4th industrial revolution. For example, the moment Rem Koolhaas announced the curation plan of 2014's La Biennale di Venezia, Patrik Schumacher seriously attacked the idea. He even proposed, 2 years after, that "let's end this event." Schumacher directly points out that, by talking about the past in a reserved way, the curation teams for the past several terms have renounced the important mission of La Biennale di Venezia: To follow the debate between new generation architecture and cultural progression; and to deliver an acclaim which foresees future. Instead, the teams covered such renunciation by wearing a politically correct mask which seems to care about humanity.  
近二十年來,電腦科學與人工智慧呈指數性成長,透過多樣化的載體及應用,已全面滲透至我們的生活中,甚至改變了從日常社交到政治經濟等人類行為的脈動。建築這個向來發展遲緩的領域,還來不及跟上第四次工業革命的腳步前進,卻出現一種「向後退」的趨勢;當Rem Koolhaas 甫宣布2014年威尼斯雙年展的策展計畫,立即引來Patrik Schumacher的嚴厲抨擊,甚至在兩年後說出了:「關掉這個雙年展吧!」的評論。Schumacher直指近幾屆的策展團隊,戴著人文關懷這種政治正確的假面具,保守地談論過去,而摒除了雙年展的重要任務:關注新世代建築與文明進程之間的辯證,以及傳遞一種揭示未來的宣言。

Schumacher's radical commentary was seen as esoteric comments of few vanguard architects. However, at the same time, a part of mainstream architects are following the working pattern that developed by Zaha Hadid and Frank Gehry in the end of last century: a non-linear, geometric shape as a form of architectural space. The architectural historian Mario Carpo termed this design trend after 90s "the 1st Digital Turn". This is an age which curves take the lead. Its origin was originated from architects' misreading of the philosopher Deleuz's publication The Fold: Leibniz and the Baroque. The beautiful mistake coincided with the rising and popularity of Non-Uniform Rational B-splines tools, and as a result, initiated a trend which lasted for 20 years.
儘管Schumacher的極端言論,被視為少數前衛建築師們的曲高和寡,於此同時,全世界有一部分主流建築師正追隨著Zaha Hadid及Frank Gehry等事務所在上個世紀末研發出來的工作模式:以非線性幾何造型作為建築空間形式。建築史論家Mario Carpo 將這波90年代以降的設計潮流稱為『第一次數位轉型』(The 1st Digital Turn)。這是以曲線為主角的時代,其發展源自於建築師們對哲學家德勒茲《The Fold:Leibniz and the Baroque》一書的誤讀,正巧遇上Spline曲線建模工具的崛起與盛行,讓這美麗的錯誤開啟了20年的風潮。

Author: Chien-Suo Pai (白千勺), graduate of London AA Design Research Lab

See the pdf attached below for full text  (p.103-p.107)