Student/s: Elina Gatou
Date: May 24, 2016
In the new era of digital revolution, the conception of architecture escapes from the space-time conditions of modernism and enters a hybrid condition of global hyper-connectivity. The implementation of digital technology in the morphogenetic process has led to the creation of a new paradigm in architecture, which destabilizes typology and predefined practices and creates a new sense in the logic of representation, production and lived experience of space. In this way, architectural practice redefines the perception of the form-finding process as it deals with complexity. In contrast to the well-known deterministic thought of causality, the emerging paradigm is based on dynamic rules in order to correspond to the altered requirements of the structured environment. Consequently, the designer’s interest is shifted from the creation of form to the research of a virtual entity that emerges from bottom-up processes. Thus, the contribution of digital means, based on mathematical models, helps architectural design escape from the inflexible Cartesian logic. Reconsidering the material dimension of architecture, matter becomes a motive force of the morphogenetic process. Therefore, the intrinsic potentialities and the structure of living organisms become active parameters of the form-finding process. In this way, terms of self-organisation and indeterminacy constitute inspiration for an architecture of dynamic relations.
The once deterministic form is now described by complex geometries, beyond Euclidean, bringing the notion of organic back to the spotlight, as well as implementing the terms of fluidity, variability, self-organisation and differentiation in the design process. In the digital realm, matter is faced in its complexity, revealing the value of non-standard production. The concept of time as a factor of continuous change and deterioration of matter is imported in the design process by the active digital tool. Therefore, the once passive matter becomes active and, as a consequence, architecture verges on the concept of a living organism. The new digital dimension of architecture blurs the lines between design and manufacturing, creating a unified process for the creation of the emerging form. This digital continuum proves that the interaction between architectural space and its inhabitant has evolved to the main objective of the morphogenetic process. The flexibility of the new tools, along with their allowing exemption by standardisation, questions for a deep interdependence between the tool and the designer, introducing affect as another key term in the digital designers’ vocabulary.