Anatomie architektury
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2024-02-02T00:00:00Z
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Během své práce jsem široký pojem anatomie architektury zkoumal hlavně s ohledem na vnitřní problémy architektury. Kritické nazírání na to, co architektura je a co by být mohla, či měla. Pochopení vlastní disciplíny a její interiority (P.Eisenman) je esenciální, protože jinak vlastně nevím co dělám. Anatomie mi jako nástroj slouží k rozebírání a metodickému ohledávání objektu architektury a díky analogii s anatomií člověka mi dává mnoho nástrojů, se kterými můžu ohledávání zpracovávat.
Architektura se vyvíjí dlouhá staletí a téměř vždy byl jejím středobodem člověk a jeho prostředí. Nezřídka je přímou inspirací architektury biologická předloha. Je tomu například stehenní kost u řeckých sloupů, lebeční klenba u Nerviho skořepin či biomorfní artikulace u Antonia Gaudího. Někdy se architektura inspiruje nepřímo, či se různě interpretuje biologicko-humanistický koncept, jako je tomu například u moduloru nebo ergonomických teorií. Vždy se jedná o pohled do útrob problému a hledání esenciálních konceptů, které se snaží odhalit spíše principy nežli formy. Postavení architektury je v dnešní době o to více problematické, že se její pojetí větví do individualizovaných směrů a stává se tak nesourodou disciplínou. Toto roztříštění je vývojově typické a může být prospěšné, pakliže budeme schopni se na tyto disciplinární skoky podívat kritickým projektem. Na rozdělenost ať již disciplinární nebo odbornou upozorňuje Dalibor Veselý v knize architektura na prahu rozdělené interpretace, ale na rozdíl od roku 2008 se nyní nacházíme ve zcela nové pozici, na prahu úsvitu umělé inteligence a konci moderny. Rozdělenost je tak enormní, že se již nedá spoléhat na nějaký hlavní směr či proud, ale celá disciplína je rozpixelovaná do fragmentů, které zároveň tvoří celek. Abychom se mohli v tomto diskrétním světě orientovat podíváme se jak na zmíněné jednotlivosti tak i na disciplínu jako celek.
V dnešní architektonické agendě, kdy mnoho fenoménů dokážeme simulovat, optimalizovat, a testovat, přichází moment, kdy komplexní děje můžeme koherentně spojit do jednotné architektury - kódu, který lze aplikovat na architektonická témata a úlohy. Postmoderní doba koláže, juxta a superpozic je přetavena do post-fordistické digitální doby. Zásadní inovací a premisou do budoucna je propojení tohoto nového architektonického kódu s tzv. "Material behavior", kde dokážeme pomocí nových materiálů dosáhnout zcela nových klíčových vlastností architektury.
Pro jasnější uchopení byly definovány zvlášť množiny konceptuální, zobrazovací a analytické. Základní tezi definice architektury tvoří systém Koncept - Vehicle - Fabrikace, neboli idea, nástroj (metoda) a výroba / výstavba. Ačkoliv tento princip nemusí být konečný, pro tuto práci je zvoleným úhlem pohledu.
Do konceptuálních tezí patří projekt Osifikace Architektury - Santiniho Kůrovec, pavilon Between Conflicts, a Stereotomický tekton kaple Sblížení.
V zobrazovacích a analytických množinách proniká dlouhodobý výzkum a testování metodologie do roviny objevování architektury, vyučování architektur a definování jejího základního rámce. Anatomie Architektury si definuje tři hlavní pilíře jako Program, Strukturu a Jazyk.
Kapitoly AI v Architektuře a topologické myšlení v architektuře rámcuje půdorys výsledného objektu. Testovací modely byly zhotoveny ve formě elementů sloupů zdí a prvků a ve výsledném objektu Between Conflicts. Objekt testuje současné fabrikační možnosti jako 3D tisk betonu. Between Conflict diskutuje přerod modernismu do nové etapy, ať již ji budete nazývat Tektonismus,Stereotomický Tektonismus nebo OOO. Základní Elementy jsou artikulovány obrazy generovanými AI a jejich interpretace je aplikována na dráhy robotické fabrikace. Dochází tak k přerodu 2D generované iluze do hmotného objektu. Objekt je složen z prvků konceptu MoDeSty, ale je umělecky artikulován. V současnosti je pavilon vystaven u Zámku Žďár nad Sázavou a je nominován na cenu za architekturu 2023.
In the course of my work, I have explored the broad concept of architectural anatomy mainly with respect to the internal problems of architecture. A critical look at what architecture is and what it could or should be. Understanding my own discipline and its interiority (P.Eisenman) is essential, because otherwise I don't really know what I am doing. Anatomy serves as a tool for me to dissect and methodically look at the object of architecture, and thanks to the analogy with human anatomy, it gives me many tools with which to process the examination. Architecture has evolved over many centuries, and almost always the human being and his environment have been at its centre. Not infrequently the direct inspiration for architecture is a biological template. This is the case, for example, with the femur in Greek columns, the cranial vault in Nervi's shells, or the biomorphic articulation of Antonio Gaudi. Sometimes architecture takes inspiration indirectly, or interprets a biological-humanistic concept in different ways, as in the case of the modulo or ergonomic theories. It is always a matter of looking into the bowels of the problem and searching for essential concepts that seek to reveal principles rather than forms. The position of architecture today is all the more problematic because its concepts are branching off into individualized directions and thus becoming a disparate discipline, but unlike 2008, we are now in a completely new position, on the threshold of the dawn of artificial intelligence and the end of modernity. The fragmentation is so enormous that it is no longer possible to rely on a main direction or current, but the whole discipline is being split into fragments that at the same time form a whole. In order to navigate this discrete world, we will look at both the aforementioned individual fragments and the discipline as a whole. In today's architectural agenda, where we can simulate, optimize, and test many phenomena, there comes a point where we can coherently bring complex events together into a unified architecture - code that can be applied to architectural topics and tasks. The postmodern age of collage, juxtaposition, and superposition is being translated into a post-Fordist digital age. For a clearer grasp, conceptual, display and analytical sets have been defined separately. The basic thesis of the architecture definition is the system Concept - Vehicle - Fabrication, or idea, tool (method) and production / construction. Although this principle may not be definitive, it is the chosen point of view for this thesis. The conceptual theses include the project Osification of Architecture - Santini's Bark, the Between Conflicts Pavilion, and the Stereotomic Tecton of the Chapel of Convergence. In the imaging and analytical sets, long-term research and testing of methodology penetrates into the plane of discovering architecture, teaching architecture, and defining its basic framework. The Anatomy of Architecture defines its three main pillars as Program, Structure and Language. The AI chapters in Architecture and topological thinking in Architecture frame the floor plan of the resulting object. Test models were made in the form of wall columns and elements and in the resulting Between Conflicts object. The object tests contemporary fabrication possibilities such as 3D printing of concrete. Between Conflicts discusses the transition of modernism into a new stage, whether you call it Tectonism,Stereotomic Tectonism or OOO. The Basic Elements are articulated by AI generated images and their interpretation is applied to pathways of robotic fabrication. Thus, a 2D generated illusion is transformed into a tangible object. The object is composed of elements of the MoDeSty concept but is artistically articulated. The pavilion is currently on display at Žďár nad Sázavou Castle and is nominated for the 2023 Architecture Award.
In the course of my work, I have explored the broad concept of architectural anatomy mainly with respect to the internal problems of architecture. A critical look at what architecture is and what it could or should be. Understanding my own discipline and its interiority (P.Eisenman) is essential, because otherwise I don't really know what I am doing. Anatomy serves as a tool for me to dissect and methodically look at the object of architecture, and thanks to the analogy with human anatomy, it gives me many tools with which to process the examination. Architecture has evolved over many centuries, and almost always the human being and his environment have been at its centre. Not infrequently the direct inspiration for architecture is a biological template. This is the case, for example, with the femur in Greek columns, the cranial vault in Nervi's shells, or the biomorphic articulation of Antonio Gaudi. Sometimes architecture takes inspiration indirectly, or interprets a biological-humanistic concept in different ways, as in the case of the modulo or ergonomic theories. It is always a matter of looking into the bowels of the problem and searching for essential concepts that seek to reveal principles rather than forms. The position of architecture today is all the more problematic because its concepts are branching off into individualized directions and thus becoming a disparate discipline, but unlike 2008, we are now in a completely new position, on the threshold of the dawn of artificial intelligence and the end of modernity. The fragmentation is so enormous that it is no longer possible to rely on a main direction or current, but the whole discipline is being split into fragments that at the same time form a whole. In order to navigate this discrete world, we will look at both the aforementioned individual fragments and the discipline as a whole. In today's architectural agenda, where we can simulate, optimize, and test many phenomena, there comes a point where we can coherently bring complex events together into a unified architecture - code that can be applied to architectural topics and tasks. The postmodern age of collage, juxtaposition, and superposition is being translated into a post-Fordist digital age. For a clearer grasp, conceptual, display and analytical sets have been defined separately. The basic thesis of the architecture definition is the system Concept - Vehicle - Fabrication, or idea, tool (method) and production / construction. Although this principle may not be definitive, it is the chosen point of view for this thesis. The conceptual theses include the project Osification of Architecture - Santini's Bark, the Between Conflicts Pavilion, and the Stereotomic Tecton of the Chapel of Convergence. In the imaging and analytical sets, long-term research and testing of methodology penetrates into the plane of discovering architecture, teaching architecture, and defining its basic framework. The Anatomy of Architecture defines its three main pillars as Program, Structure and Language. The AI chapters in Architecture and topological thinking in Architecture frame the floor plan of the resulting object. Test models were made in the form of wall columns and elements and in the resulting Between Conflicts object. The object tests contemporary fabrication possibilities such as 3D printing of concrete. Between Conflicts discusses the transition of modernism into a new stage, whether you call it Tectonism,Stereotomic Tectonism or OOO. The Basic Elements are articulated by AI generated images and their interpretation is applied to pathways of robotic fabrication. Thus, a 2D generated illusion is transformed into a tangible object. The object is composed of elements of the MoDeSty concept but is artistically articulated. The pavilion is currently on display at Žďár nad Sázavou Castle and is nominated for the 2023 Architecture Award.
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Subject(s)
Architektura, Anatomie, Digitální design, Parametricismus, Tektonismus, AI, Fabrikace, 3DCP, Program, Struktura, Jazyk, Topologie, Diskrétní architektura