Design Technics argues that the technical dimension of design has often been flattened into the broader celebratory rhetoric of innovation. Here leading scholars in architectural and design history construct histories—some panoramic and others unfolding around a specific episode—of seven techniques regularly used by the designer in the architectural studio today: rendering, mod...
Design Technics argues that the technical dimension of design has often been flattened into the broader celebratory rhetoric of innovation. Here leading scholars in architectural and design history construct histories—some panoramic and others unfolding around a specific episode—of seven techniques regularly used by the designer in the architectural studio today: rendering, modeling, scanning, equipping, specifying, positioning, and repeating.
Although the question of technics pervades the contemporary discipline of architecture, there are few critical analyses on the topic. Design Technics fills this gap, arguing that the technical dimension of design has often been flattened into the broader celebratory rhetoric of innovation. Bringing together leading scholars in architectural and design history, the volume’s contributors situate these tools on a broader epistemological and chronological canvas. The essays here construct histories—some panoramic and others unfolding around a specific episode—of seven techniques regularly used by the designer in the architectural studio today: rendering, modeling, scanning, equipping, specifying, positioning, and repeating.
Starting with observations about the epistemological changes that have unfolded in the discipline in recent decades but seeking to offer a more expansive meaning for technics, the volume casts new light on concepts such as form, experience, and image that have played central roles in historical architectural discourses. Among the questions addressed: How was the concept of form immanent in practices of scanning since the late nineteenth century? What was the historical relationship between rendering and experience in Enlightenment discourses? How did practices of specifying reconfigure the distinction between intellectual and manual labor? What kind of rationality is inherent in the designer’s constant clicking of the mouse in front of her screen?
In addressing these and other questions, this engaging and timely collection thereby proposes technics as a site for historical and philosophical reflection not only for those engaged in architectural design but also for any scholar working in the humanities today.
Contributors: Lucia Allais, Edward Eigen, Orit Halpern, John Harwood, Matthew C. Hunter, and Michael Osman.
作者简介
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Zeynep Celik Alexander is associate professor in the Department of Art History and Archaeology at Columbia University and author of Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design.
John May is assistant professor of architecture at the Harvard University Graduate School of Design and author of Signal. Image. Architecture. He is founding partner of MILLIONS, a Los ...
Zeynep Celik Alexander is associate professor in the Department of Art History and Archaeology at Columbia University and author of Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design.
John May is assistant professor of architecture at the Harvard University Graduate School of Design and author of Signal. Image. Architecture. He is founding partner of MILLIONS, a Los Angeles-based architectural practice.
原文摘录
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The apparent visual cohesion that emanated from the Beaux-Arts rendering, and the social distinction bestowed upon its author, actually relied on a strictly hierarchical division of graphic labor. Only a few students won the Rome Prize; most spent their time rendering in a piecemeal fashion and on behalf of someone else. The École’s competition system was a pyramidal scheme where younger students who did not make it to the next round became helpers for those who did.59 In the professional ateliers, every final drawing was rendered not by a single author but by an entire cohort of rendering hands, each working on separate portions of a single extensive surface ( (查看原文)
0 有用 乂木八 2024-11-13 12:29:06 浙江
以John May的知识体系其实可以写的更全面更深一点