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Author: Omar Eduardo
Cañete Islas
Universidad de
Valparaíso, UV
Valparaíso,
Chile
Teaching Experience in Architecture based on Morphological Modeling According to Algorithmic-Procedimental Criteria
Abstract
Next, principles of study and modeling of
irregular and complex forms, associated with processes of scalar vector
fragmentation are presented. This allows to encompass, within the paradigm of
pure forms, typical of modern and contemporary art and architecture, from the
smallest grain, to the most holistic landscape and landscape, as a unit of
continuous study, allowing to identify not only individual units or even
modular design, but in relation to the modeling of frames, gradients, texture
formation and wider morphological tissues. This type of approach is presented
as the basis of a working model with architectural students (M-MAA) in the
morphological-procedural study, which includes criteria and typically
architectural variables, such as the hierarchy of volumes, spatiality,
circulation, the structuring in levels, views, cuts, relationships of
interiority, exteriority and spatial mixture, together with criteria of
functional-design ordering, constituting a model of pre-architectural
morphological work.
Keywords: creativity;
design; architecture.
|
Date Received: 09-02-2018 |
Date Acceptance: 22-06-2018 |
Ensamble Organum: Experiencia Docente en Arquitectura
basada en Modelaciones Morfológicas según Criterios Algorítmico-Procedimentales
Resumen
A continuación, se
sistematiza y presenta una experiencia pedagógica en base a la modelación de
formas irregulares, asociadas a procesos de fragmentación vectorial escalar.
Esto permite, dentro del paradigma de las formas puras, propio de la
arquitectura moderna, trabajar de modo continuo, estructuras morfológicas
disimiles que abarcan desde líneas vectoriales abiertas y/o cerradas, módulos
poliédricos, ensambles, gradientes, texturas y tramas morfológicas de
landscape, junto a los diversos cambios de escala y magnitud entre formas. Este
tipo de enfoque se presenta como la base de un modelo de trabajo con alumnos de
arquitectura (M-MAA) en el estudio morfológico-procedimental, donde se incluye
criterios y variables típicamente arquitecturales, tales como la jerarquía de
volúmenes, la espacialidad, la circulación, la estructuración en niveles,
vistas, cortes, relaciones de interioridad, exterioridad y mixtura espacial,
junto a criterios de ordenamiento funcional-proyectual, constituyendo un modelo
de trabajo morfológico pre-arquitectural.
Palabras clave: creatividad; diseño; arquitectura.
|
Fecha de Recepción: 09-02-2018 |
Fecha de Aceptación: 22-06-2018 |
“I do not know who said that novelists read others' novels just to find out
how they are written. I think it s true. We do not settle for the secrets
exposed on the front of the page, but turn it upside down, to decipher the
seams”
(Gabriel García Márquez, 2012, p.10)
1.
Introduction
From
the year 2000 to the present, to date, within the framework of the chair of
Fractal Geometry first and since 2015 in the field of morphologies,
morphological exploration has been considered as an area of relative autonomy
in modeling and architectural creative processes . This has allowed to explore
together with the students various lines of morphological modeling, ranging
from the general approach of the so-called pure forms in art and architecture,
confronting and enriching this true paradigm of the form in modern
architecture, with the approach of the forms irregular, secondary to the study
of transformation processes or interactive dynamics that operate scalarly,
coming from contemporary morphologies (Cañete, 2014a, 2016a, 2017a). This has
allowed the progressive assimilation of geometries and forms that emerge from
the study of other disciplines that in the last years has derived in the
so-called parametric design applied from the CAD and CAM systems (Schumacher,
2008a), oriented to the control in the design, of each operation on the set at
any time of a transformation, in a minimalist and interactive way at the same
time. (Cañete and López, 2015a, 2016a).
In this context, a review and systematization of
teaching work based on these principles is presented at the School of Architecture
of the University of Valparaíso, Chile.
2.
Theoretical framework
2.1.
Morphological Exploration and Parametric Design
The current scenario of modeling allows to cover
diverse methodologies of work and representation, appealing to diverse geometries
highlighting, for the architectural design, the modular assemblies, the
languages and computational metalanguages that operate on the basis of
functions and algorithms, has derived in the consequent autonomization of
morphology as a proper field of inquiry and exploration. Thus, contemporary
morphological modeling, performed in software such as Rhino 3D, Grasshoper,
Matlab, SolidWorks, in addition to the classic CAD systems, offers us a number
of operational distinctions associated with the form, becoming more ductile and
intuitive in terms of its modeling and work interface (Cañete, 2014b, 2017b,
Cañete, Bahamondes, Correa and López, 2012a, Cañete, Correa and López, 2016a).
It is important to highlight that these developments
open a reflection to the problem of the assimilation of forms from an
architectural perspective, marked by the notion of algorithm and operation, as
well as its teaching. We must consider that since modernity, both in
architecture and as an important part of art, it has been expressed through a
minimalist approach, an approach that invites us to appreciate the importance
of each formal action in its essential ways of operating and interacting (and
not only as a mental or aesthetic contraption). Moreover, it generates a direct
field of dialogue between art and science, especially through the problem of
form and its modeling. This approach during the twentieth century,
progressively leads to a linguistic-generative approach that disciplinary seeks
to investigate the architectural effects of these distinctions, their
combinatorias and their potential applications (Mandelbrot, 2000, Lyndenmayer,
2000, Cañete, 2014c, 2016b, 2017c López, 2016a, Cañete and López, 2015b).
2.2.
The New Morphological Object and the Parametric Design
The
state of the state of art described, acquires greater relevance, if we consider
the wide diversity of new morphological properties and development of digital
languages, which open the range of possibilities if we consider the complex
geometries and morphologies (such as fractals) that in addition to the features
ideals of natural arithmetic, Euclidean geometry or even the first Baroque
notions (strong centers, equidistance, symmetry, equilibrium, rhythm,
alternation, succession, tension, limits and leakage, etc.) encompass new
notions such as the language of patterns, conformations open and irregular, the
centers and multiple planes, groupings, growths, non-linear trajectories,
iteration of functions, signal amplification or distortion, ruptures and fractions,
network formation, plots, folds, landscape and textural landscapes and
transformation mechanisms, interaction, variation and hybridization to scale,
to name just a few s, but which require, in parallel, an
architectural-projective look that gives an account and gives us clues, of its
constant assimilation and understanding, through new conceptual, aesthetic and
operational supports for such purposes. It is worth noting the generative
tension that occurs between these new complex forms and the predominant
paradigm to date of the pure forms, inherited from modern architecture, and
that speaks to us of the necessity and disciplinary validity of the debate and
reflection on this, what guarantees a kind of "new encounter" (objet
trouvé) with the theme of the form (Oyarzún, 2000, Cañete, 2017d). Moreover, if
we consider the contributions of digital languages, which have progressively
introduced a greater variety of formal operations in digital modeling as in
operational flexibility, in the so-called parametric design (Draves and
Rackase, 2008; Schumacher, 2008b). This type of design feedback is currently
called discriminative parametric design (López, 2016b), which appeals to the
use of algorithms through an operational confluence of various operations and
geometries.
3.
Record
Given the above, the author has worked on a model that
summarizes the following points, a model of morphological exploration,
-oriented to the teaching field, which can be summarized in the following
principles:
a.
Linear
Order and Order of Complexity: The study of complex forms has broadened the
field from which the notion of order was understood, from a static conception
to a changing and generative perspective. Generator of new irregular
morphological configurations.
b. Fractal morphology: This dimension will be modeled by
techniques of vectorization of images as the use of iterated languages,
resulting in pure lines that branch, twist and scale in morphological units,
maintaining a global compositional consistency from the same essential
minimalist stroke.
c. The study of frames and textures as transitional forms
in morphological transformation: The fractal lines, which generate frames
through the transformation to scale, allow the modeling of growth or
fragmentation processes, based on continuous interactions between regular and
irregular frames, varying and alternating spaces of greater or lesser
interiority or exteriority. The set of this evolution, can be identified as a
way of landscape vector.
3.1.
Morphological Experiences of Procedural Modeling
The study of this type of morphologies, appears as the
general framework for the development of teaching and learning strategies in
creative ways in relation to the problem of the assimilation of the form from a
pedagogical framework of architectural teaching, which has been addressed by
the author, both in teaching and in successive visual arts projects funded by
FONDART Regional Visual Arts (Cañete and Bahamondes, 2011, Cañete, Bahamondes,
Correa and López, 2012b, Cañete, Correa and López, 2016b; Cañete and López,
2015c, 2016b). From these experiences and scope of digital morphological
exploration was derived in the following principles of work:
a. A general approach of the minimalist type.
b.
A general
approach to the minimalist type. A generative-transformational
approach.
c. A creative process that ranges from the notions of
module and assembly to the notions of landscape and digital landscape.
On
the other hand, from the pedagogical point of view, the aim is to encourage in
the student, the exploration and individual expression, suggested from the own
exploration of modeled forms. This allows us to distinguish levels of
morphological-operational complexity on the one hand and levels of
aesthetic-architectural assimilation explored on the other hand, intentionally
oriented morphological-spatial models, either towards; a). a pre-project and /
or, and good sense; b). a morphological-aesthetic sense related to the previous
point.
Table
1. Levels of
Morphological Modeling Integration
SEE IN
THE ORIGINAL VERSION
Source: The Author (2018).
4.
Methodology
The above, has derived in the following model and general
methodology of work, using, diverse materials, in diverse experiences and
commissions since 2015, called: Generative Minimalism, whose formal Principles
are associated to the procedural mechanisms (operative-algorithmic) of growth
and modular scalar fragmentation. In this framework, a work model for
morphological modeling is proposed, with the following general characteristics:
4.1.
Modeling Modeling Architectural Algorithmic Model
The following complex exploration model, can be
summarized in three axes, Morphological, Algorithmic (procedural) and
Architectural, and that we can simply abbreviate as MAA:
a). Morphological
Complexity of the Plot: This
complexity goes from:
a. Individual Module Level or Grain.
b. Fabric, weft or landscape level.
b). Level of
Algorithmic Complexity: Spatial-morphological
operations, such as: full, empty, extrusions, circulations. These
present two algorithmic levels:
a.
Joint operations.
b. Local operations that affect particular modules or
sectors.
c). Level of Architectural Complexity: A continuum of two formal poles:
a.
pre-project sense.
b. morphological and spatial sense, as an aesthetic
expression (includes approximations such as installations or formal
interventions).
The above allows differentiating different possibilities
and levels of exploration, as autonomous fields and / or in relation. Next, we
will review assignments and work sub-areas, associated with different types of
assignments, of the first type, which we have called Pre-design sense, which
was organized in successive commissions of greater complexity not only formal,
but especially levels of pre-project complexity, understanding this
architectural dimension, as the search for specific relationships, such as:
a.
Series of commissions First Level of Pre-Architectural Complexity: Contemplate to work variables such as: a). empty and
architectural space; b) Circulation, route and promenade; c) Hierarchy and
spatial relationship between volumes.
b.
Series of commissions Second Level of Pre-Architectural Complexity: Contemplates, in addition to the previous
relationships, include variables such as: a). Levels and accesses; b) Sub-units
(morphological pieces) and laces or modular assemblies between levels.
These levels of pre-architectural complexity were
worked on in various types of specific morphological explorations, such as:
a. Design based on growth and fragmentation of modular
frames.
b. Deconstruction of volumes and modular (des)
-assemblies.
The above is summarized in the following scheme:
Table
2. Work model, according
to type and complexity of design.
|
TYPES OF
MORPHO-SPATIAL MODELING |
COMPLEXITY LEVEL PRE - ARCHITECTURAL |
||
|
Morphological modeling based on non-linear equations
and vectorized frames and iteration of functions |
Spatial design based on growth and fragmentation of
modular frames |
LEVEL 1: Includes Variables such as: a). Empty and architectural space, b) Circulation, route and promenade. c). Hierarchy and spatial relationship between
volumes |
LEVEL 2: It also includes variables such
as: a). Levels and accesses, b) Sub-units (morphological pieces) c) lace or modular assemblies between levels. |
|
Spatial design based on deconstruction of volumes
and modular assemblies |
|||
Source:
The Author (2018).
5.
Results
The following is a series of study models and areas of
morphological exploration and works, obtained during these years:
a. Design based on growth and fragmentation of
modular plots: Given the
feasibility of working with patterns and modules, related to the formation of
vectorized plots, one of the first areas of exploration was modeling through
the search for volumetric extrusions and conformation of spaces, based on
growth processes and modular fragmentation at different scales.
This sequence of morphological
fragmentation allows us to pass, in a same series of transformation, levels of
formal complexity that go from the module or even irregular grain and its
primary adjacent relations (opening, closing and minimum forms of distance and
circulation) to the plane dela formation of wefts or fabrics (gradients,
contrasts, interstices, textures, etc.), and even more, true landscape or
minimalist landscapes, more complex, and of greater potential and scalar
variation. Indeed, the relationship between the resulting form and the set of
generative operations, is given by the search for an economy principle, that
is, thought from the set of minimum operations for such a global purpose.
In parallel they were asked to
work with the digital design of the obtained morphological explorations,
generating views, elevations and cuts.
So, first we proceeded to the
students review the image and project qualities according to the chosen and
observed plot.
Subsequently, students begin
to work cutting and accommodating the requested qualities in a more precise
spatiality and volumetry, including cuts and views.
Continuing with the experience
of modeling mediated by morphological explorations, a morphology generation
software based on L-SYSTEM was used, with which various images of geometric
configurations were achieved, based on the iteration of patterns. Here are
several of these images achieved, with which, students were asked to devise a
spatial model, following the criteria of search for spaces, circulations,
volumes and levels, obtaining various studies and possible ways to satisfy
these requirements. Together, they were asked to have the levels conceived have
three sub-levels, so they could decompose the figure into plants, in order to
better work the relationships between circulations, volumes and voids that
would connect them in a whole. Of these three levels, two would be under
surface, and one above surface. The two lower levels, would be framed in a
quadrangular frame of black interior, in order to see and appreciate better the
fall of light from the first level to the deepest. In this observation box,
they were asked to make one or two incisions covered with a lid, in order to
look through them the model and make observations of the interior model. They
were allowed to make minor modifications, in part of the traces, in case of
requiring it according to the spatial model in development.
Image
1. Models made by students
based on modeling in L-SYSTEM, made in pen and cardboard.
SEE IN
THE ORIGINAL VERSION
Source:
Form Module,
Architecture Workshop (2017).
b.
Volumetric deconstruction and modular (des) -assembly: A second field of study that emerges, following these
morphological models, is the assembly and disassembly in parts of the models. This
also allows the study of parts and fragments, which may be susceptible to
cutting in CNC cutters and routers.
Image
2. MAA work model, based
on vector operations of modular growth and fragmentation at various scales, and
volumetric extrusion operations, search for architectural spaces, assembly and
modular disassembly.
SEE IN
THE ORIGINAL VERSION
Source:
Form Module,
Architecture Workshop (2017).
6.
Conclusions
The study of the form in the architecture, has
acquired more and more preponderance and autonomy in the modeling, reason why
it requires theoretical-pedagogical models of exploration, based or oriented in
architectural criteria.
The explicitation of such criteria, in turn, opens
exploration sub-fields, which in our case, we have systematized over the last
years, in relation to teaching and in the visual arts, carried out in the
School of Architecture , from the University of Valparaíso.
7. References
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de Valparaíso.
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Omar Eduardo Cañete Islas
e-mail: ocanetei00@yahoo.es
Born in Chile Professor at the School of Architecture,
Universidad de Valparaíso, Chile; Master in Social Psychology; Professor of Architecture
career since 2000 to date. Works on themes of form, territory and city, as well
as creative processes. Various articles in specialty indexed journals.
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DOI: https://doi.org/10.29394/Scientific.issn.2542-2987.2018.3.9.9.174-189