Lessons Learned

WEEK 2 has whized past and it is now time to reflect on what was learned during the construction of our gridshell models. The Korkessarri lookout tower(did i spell that right?) by Vile Hara, proved a formidable task. The complex bending of each of the 72 batens certainly indicates that quite a bit pre planning was necessary for the full scale structure to take form. Jeremys description of this project as a series of oh... moments is certainly much more clear after this experience. That being said, i think that this approach, along with the modular/pre-fabricated approach of the expodoch project are promising for our studio projects. I am also now intrigued to explore gridshells as support members rather than the typical spanning element.

I am interested in generating concept/ approach models and cant wait to sink my teeth into the program.

Reading Assingment # 2: Weald and Downland Gridshell

This reading assignment was very informative. It was interesting to read a detailed account of the design and construction process of a large scale gridshell building. If i were to make a visual assessment of gridshell structures without any previous knowledge or exposure to them i would be inclined to believe that they were a very complex and difficult method of building construction. The intentions of this article seemed to be concerned with dispelling this conception, as well as illustrating the realities of collaborative gridshell design.

After reading this article I am a bit nervous for the rest of the studio (i have to be honest here). I am a perfectionist by nature, not to mention the fact that i am also a person consumed by conceptions of connection and construction (i also tend to write with alliterative phrases...not all that cool...) The complexity of creating feasible gridshell design could well dominate my process......I guess that i know what to watch out for...

I also have a hard time understanding how creating "improved oak laths" is an efficient process. Granted, Oak as a material possessed limited plasticitsy and greater bending strengths than coniferous counterparts, but the grain issue would seem to create more waste. This admitted waste was to be addressed through the reuse of trimmings as blocking at (finger joint) failure points and high shear stress nodes, but i still wonder if there was a better solution, how would a conventionally designed structure fare against the gridshell in terms of material use and waste?

Reading Assingment #1: Malcom McCullough Considered

To be completely honest I have some trouble maintaining interest in architectural semantics. Generally speaking architects take themselves way to seriously, especially the published ones. Now i am not suggesting that all architectural theory is worthless, i just think that some arguments are moot, and not worth exploring.

This McCullough reading, for example, seems to be interested in exploring the condition of Craft within a society that finds itself increasingly subject to technology. McCullough is asking whether or not the growth of technology means the death of craft? I dont see this as a mystery....

As i understand it technology is a byproduct of human learning. Like learning, technology is unavoidable because it is a product of the human experience. From the early stone tools, to our modern day computers technology aids humans in their individual daily experience. Craft is also a byproduct of this experience, and from day one (cave painting, basket weaving) craft has also been influenced by technology. Often times leaps in technology further the refined quality of the craft of its day(optics and Renaissance painting). Because of this intertwined relationship the growth of technology cannot mean the death of craft, it means the redefinition of the form of craft. Otherwise there would never have been craft to begin with.

While i question the reason for discussing this question, i do not find fault in McCullough's conclusion: Craft is care (or as Prof Cabrinha suggests: craft is commitment). I feel that the most important part of defining craft is the human contribution. Whether it is at the computer, the lathe, the foundry, the canvas, or the studio; craft is a product of interaction between human and material, aided by the technology of the day. Is that an obvious a connection? Or is it just clear in my head?

first shot

This should be an interesting experience....I an a huge advocate of the manipulation of traditional design and materiality into a modern formal context. "Sustainability" is a concept that i wish to more clearly define for myself. what does it really mean? is it about environmental conservation, social progression, or is it truly about marketing and sales?? In this studio I am interested in exploring the interaction of civic architecture and green architecture, hopefully utilizing an efficient grid shell.....This grid shell experience will be a stretch for my design sensibilities, however i think that it will also be a great learning experience