Design school

From the Proposal: "Now is the time to start a relationship between architects, and architectural students with the design process and technology. All of this in hopes that this synthesis of design, technology, and information as fundamental to architecture will result in well designed architecture that can function throughout time."

Terrell Bodily University of Utah College of Architecture + Planning Julio bermudez & Mimi Locher a design school Spring 2006 Terrell Bodily University of Utah College of Architecture + Planning Julio bermudez & Mimi Locher a design school Spring 2006 Terrell Bodily University of Utah College of Architecture + Planning Julio bermudez & Mimi Locher a design school Spring 2006 proposal.............................................................1.1 precedents.........................................................2.1 program..............................................................3.1 site......................................................................4.1 technnical systems.............................................5.1 design.................................................................6.1 annotated bibliography......................................7.1 proposal..............................................................1.1 a design school proposal 1.2 For hundreds of years before the Renaissance, it was believed that the Architect/MasterBuilder was a person that embodied the knowledge and skills to manage all aspects of a building project, such as design, construction, and collaboration with all of the skilled craftsmen on the project. He was the integrator of design, as well as all construction services for his patron, embodied in one individual. This medieval architect/master-builder used few models and drawings for construction, and instead relied heavily on direct verbal communication with craftsmen on site, and full scale layouts, which supported a need for the communication of knowledge between the architect and craftsmen at all phases of a project. At the time of the Early Renaissance, things began to change, and the masterbuilder's control gradually began to diminish, especially, when the writings of Leon Battista Alberti became public, who wrote that architecture had less to do with construction and practical technical knowledge, and more to do with the theory behind it. This resulted in a change in the way that buildings began to be designed and built. Now, a major building patron would employ and closely supervise a collaborative team for design and construction. This team would include an artist, such as a painter or sculptor who would aid in artistic inspiration, an architect, who would provide the technical knowledge for on-site construction supervision, and now, a masterbuilder, who had knowledge of construction, and would construct the building, with the help of the trained craftsmen in the guild workshop. By the Late Renaissance, the technological development of perspective representation and improved orthographic drawings allowed an architect to describe a building's design from afar. This allowed them to withdraw from day-to- day construction supervision and do multiple projects at the same time. It was this evolution of drawing technology, and the shift from direct communication between the builder and architect that started the critical evolution to the modern day architect. Currently, a digital renaissance is occurring within our society. A revolution that will continue to evolve over the next few decades, and instead of denying its occurrence, we should embrace it, and teach the new architects of our society how to use it in combination with the design process. In the early twentieth century, technology began to foster the development of new materials, production methods, and manufacturing technologies. All of which have changed the face of architecture forever. Technology has increased complexity in materials, products, and design, which has caused patrons to demand more of architects and engineers than ever before, and in shorter time periods. As a consequence, many designers and engineers are forced to focus more on the product of architecture, rather than the process. a design school proposal 1.3 This has required many architects to make limited use of the new found technologies of our time, with regards to design representation, not only due to a lack of time, but also a lack of experience in using this technology and the design process in tandem. These design representations are typically in the form of two dimensional CAD for production, and three dimensional visual design representations. Technology has had widespread influence, and has given the modern day designer the freedom from traditional "perspective representation and orthographic drawings," and given new light to the creation of the curvaceous form, and new information age technologies. "Then, in the 90s, with the personal computer's exponentially expanding memory and process capability and the emergence of the World Wide Web, revolutionary transformations of the work process and business paradigms began to occur in many industries. So too did the traditional practice of architecture begin to change. The linear design-bid-build process transformed in the dynamic "digital marketplace." Project extranets and inter-organizational management strategies influenced project leadership and the value chain of architecture. " Ultimately, the question has come to this: Will the architects of the twenty-first century embrace technology and design, or will their failure to embrace it, and respond to its disruption of their profession, result in the loss of their profession? Now is the time to start a relationship between architects, and architectural students with the design process and technology. All of this in hopes that this synthesis of design, technology, and information as fundamental to architecture will result in well designed architecture that can function throughout time. It is time for a new school of architecture to be born. A school that has been designed with the new ideals of design, technology, and information, so that student may be taught in an environment that fully supports this new design process, and that has itself been designed with them in mind. In addition, this school will house a collaborative team of students, faculty, and administration that will support and investigate the design process, technology, and information to the fullest extent. precedents.........................................................2.1 a design school precedents 2.2 ground floor first floor second floor third floor faculty of architecture university of porto, portugal Alvaro siza this programmatic study is used to view the relationships spaces within the struc-ture, and how they coordinate with one another. siza separated these spaces into a private and public dichotomy, by using a courtyard to separate them, a visual con-nection, and canopy, to establish continu-ity from private to public within the build-ing. the public exhibit is a circular building that adjoins the public side with the private side of the structure. something of inter-est is that the private side of the building has given a public face to it, because it is adjacent to the road. the library is the place where the private buildings come together, and most of the circulation is on the ground level, below the courtyard. the administration is hidden amongst the hid-den halls; private. a design school precedents 2.3 spatial relationships section cuts : foundational terrace studio building" • carlos ramos P:Villion • exhibition gallery cafeteria library • _ administrative buildin a. u lJI luriulll building g • Service core ' I n n a design school precedents 2.4 spatial relationships visual connection building circulation private ~, I I .1 .1 I a design school precedents 2.5 ------------ -- -------~-=-------------------------- ------=- a design school precedents 2.6 sendai mediatheque sendai-shi, miyagi toyo, ito looking for a public face for the studio side of my project, and the idea of housing technology, is why this has been chosen. the layout of this building is very ambiguous and open, as if it is a continuation of the city, or a sort of convenience store for technology. the floors are given their face by the screens within the space, or the activities that will take place there; an idea of collaboration that japan is known for, and for which the end result is the tree-like columns that hold the building up and give its de-fining characteristics. elevations section cuts floor plans a design school precedents 2.7 service cores concept diagrams a design school precedents 2.8 naked house kawagoe, saitama, japan shigeru ban pull-a-part section cut floor plans innovation in architecture is reflected in the naked house, whose ideas are rooted in japanese tradition, but in a new and innovative way. this is done by creating a new skin system which not only insulates but also allows light to penetrate the space, and working together to perform what we view as standard. a design school precedents 2.9 building skin is it just a facade: aspects of the building envelope: criteria for classification of building skin: function 1 Form aspects of the building envelope: ) Construction Ecology 1. function: what is the practical purpose of the building / the building skin? 2. construction: what are the e lements i components of the building / the bulding skin and how are these elements assembled into the whole? 3. form: what does the building I the building skin look like? 4. ecology: what is the energy consumption of the building I the building skin during construction, use and demolition? functions of facade: 1. lighting 2. ventilation 3. protection from humidity 4. insulation against heat I cold 5. w ind protection 6. sun protection 7. glare protection B. visual protection 9. visual contect / transparency 10. safety I security 1 1 . prevention of mechanical damage 12. noise protection 13. fire protection 14. energy gain 15. energy lost "the building skin Is a separating and linking element between inside and outside. the most important subsystems of all-not just in terms of design." wemer lang criteria for classification of building skin: 1. Load transfer (bearing I non-bearing) 2. structure 01 extemal wall In terms of shell arrangement ( single-skin or multi-layered). 3. structure of extemal wall in terms of sequence of layers. 4. radiation transmission (transparent , t ranslucent, or opaque). other criteria, such as the p lacement and distance of the building s~ln In relation to l?Ad-bearlng and bracing components eul,:ll'lq ---1 Teenr'ictl ssrv,ces ~ I ]r~t .-.l M~(J~n'," ~ B.lldl'lg s .. ~ r--~. ~ V011ialO"'lC',~:00l~ I ; 1 &nscrem 3Ysl:oru I Ir"IS~ la~;>n SYSt«rrO; I cn: rgy s';s:ems among others: overall building system: 1 sin\! e-Iayered 1-- trar.:;parenl trans Gcent l to 2) ,I;;') (1 ~-, (,3/ ( In '- multi- layer : multi- layered shells: transparent: translucent: 1 . safety glass, compound glass, float glass 2. metal screen 3. air buffer 4. white insulated t ranslucent glass a design school precedents 2.10 6 b ;; " b I i ~ vertical section SCale: ' :.25 scale: 1/2" _ " -0' 9 2x corrugated synthetic panel, reinforced with 18 mm glass fibre 2 40/80 mm wood posts 3 9 mm plywood edging board 4 column, 30/280 mm 2x wood plank 5 translucent insulation, extruded 6 38/89 mm 2x steel buttress 7 2x nylon panel 8 nylon membrane 9 steel buttress 10 arched girder 11 plasterboard ~ 12 3 4531 horizonta l section b scale: 1:25 SGElla: 1/2" ~ " _0" :,,.,.,:_-- "~ . ~ , ~ ~ ur: 1 Pi I - ~ axon metric no! to scale f I- ih I/I/ 7 V!: ~ /9I / =-L ~. JL JI JlI - -:t- II - 1 2 11 _- 1111 =" .-i -"rf:::-f\:-- ,",- ------::v- , ""'" 1 , I, II :~!/ ~J - - = ~l - I I a design school precedents 2.11 bva 1 vienna 1998 wolfgang tschapeller explores a process in which to view or handle a grid-like structure as a methodology. this was an entry into a design completion that tschapeller he won by taking the two elements of curve and grid, that they blended together to form one. they tore through the grid which was an old office building in order to place new elements. viewing this as a symbiotic relation-ship where the inside of the building seems to over flow to the outside, allowing visitors an opportunity to view the inside activity from the outside. program.............................................................3.1 a design school program 3.2 Traditionally, architecture schools have many of the same spaces in common: studios, classrooms, lecture halls, libraries, and offices for consultation. The result is a building that has been strictly sanctioned, partitioned, and assigned spaces; spaces that over the years have not evolved well with the changing technologies and trends of the times. Classrooms have been converted into network rooms, and cafeterias have been made multimedia centers. As a result, students are left to deal with spaces that are not functioning as they should. In truth, these dysfunctional spaces have been caused by the introduction of technology into architecture, and our current inability to deal with the needs of this new element architecturally. Leading to the conclusion that it is time for our architecture, and ultimately, our design process, to begin to take technology in as a new element of design, so that we may begin to understand it in the design process, and harness its powers. In order to understand technology's strengths and weaknesses within the design process, it is important that we first, define its strengths and weaknesses, according to our existing Analog Design Process. Analog design has traditionally promoted the use of hand sketching, painting, sculpting, and many other forms of hand, or analog design representation, and has always supported the practice of perspective representation and orthographic drawings. All of the ideas, that were first born with the masterbuilder of the early Renaissance. It also supports the traditional classical forms of architecture, and the use of them as precedents to the study of architecture. The Digital design process, has integrated the use of the computer, and computer aided rendering and sketching techniques into the Analog world. So, in many ways these two processes parallel each other, with mostly their medium of practice differing; computer versus the hand. The problems that have arisen from these two paralleling processes are threefold: 1. Which design process should be used; should one over come the other? 2. Should we combine these two processes, in a way that will most effectively exploit their strengths together? 3. Should we be experimenting with a design process (digital design process) that has not been traditionally taught in architecture schools to date? The goal of this school of architecture is to support the research of all three of these problems. First to research both processes independently, to find the best way to combine them, and finally to integrate them into the design process. Many schools of architecture have started to experiment with this idea of a technology based design process; however, they have also been very tentative in its a design school program 3.3 implementation, and fewer schools have actually been designed with the ideals of the Digital process implemented within the design of their school. This new School of Architecture will be different from most existing schools, because it will attempt the full integration of the Digital Design Process into its design and education, without hesitation, to create a new process that will train our future architects and designers to use both technology and analog design principles responsibly, and in a complimentary manner. In addition this school will have been designed with these ideals in mind, creating a pure example of how technology and analog may coexist, and actually work together. It is important that this integration of technology into the analog design process is reproduced within the architecture and design of this school, because in order to teach these novel design principles, the students must have a pure example of how they can collaboratively work together, and also take advantage of the new spaces that will be created due to this change. Within this new architecture school has emerged three new spaces that have come about from the combination of traditional architecture school spaces, such as the studio, shop, library, and classroom, with technology. The integration of analog and digital design principles can be summed up in four steps, which can then be applied to the spatial needs of this school; creating a synthesis of analog and digital design. 1. Analysis of both the analog and digital design processes, for their strengths and weaknesses, in order that we properly utilize their strengths, together, instead of having to deal with their weaknesses, separately. 2. Combination of strengths, to create new principles that will exceed the functions of its parent spaces. 3. Research of the needs of the new spaces, to determine new spatial properties. 4. Application of these new design principles of process to all traditional spaces; whether a decision to combine and change, or to retain the principles of the existing space. One focus of the design of this new school of architecture will be the new spaces that will be formed from the overlapping of the analog world and the digital world. Following is an analysis of existing spaces within traditional schools of architecture, and their strengths in the analog and digital worlds. a design school program 3.4 Analog Design Studio Hand sketching Hand rendering Physical model representation Materiality Craft Proportion Static Techniques Not easily reproduced or dispersed Digital Design Studio Computer aided drafting Computer aided rendering and modeling Digital model representation & visualization Loss of sense of proportion Loss of sense of craft and materiality Rapid Advancement of Techniques Use of Internet resources Easily reproduced and dispersed The Design StudioZZVVAnalog and Digital design studios begin to converge, combining traditional techniques of design with more technologic based design techniques, and creating a stronger, more comprehensive design product. Students will not only learn analog techniques, but become well versed in digital techniques, and more importantly, use both design methods together Shop Craft Proportion Materiality Physical connection to production Errors are time consuming Movement and music are not possible Less freedom of design Computer Lab Loss of craft and materiality Loss of proportion No physical connection to production Errors may be more easily fixed Product is easily dispersed and reproduced Movement and music are possible Freedom of design Production The shop and the computer lab will combine to create one large creation space, where saws are connected to computers, and burdensome analog creation is streamlined with digital technology. All of this creating a universal craft, which is a combination of hands-on craft, and digital representation and tools. a design school program 3.5 Library Physical connection to materials Limited knowledge Physical person to help find information Very analog in projects (media) Not conducive to noise and public interaction Project resources (films, copiers, fax, etc…) Isolation is encouraged Public Exhibit Draw to public and new ideas Unlimited stream of knowledge in and out Extreme physical contact Technology based projects will be exhibited Relaxing atmosphere Socializing (students/ public) is encouraged Media Center The Media Center will be a fantastic place of knowledge and life. This will be a center where the students can go and view public exhibits of each others work, in an environment that is friendly to any method that is produced, or, to just to sit in the café and unwind. This will also be a place where knowledge will stream in an out of the digital/analog library, at whatever speed it can handle. The ultimate goal of the library within this space is to become a place where any sort of book, magazine, article, or art can be passed on to the students any time they wish, by way of trading information with other libraries around the world, and making digital copies, which can then be passed on to the student body. In addition, it will be a center that will contain a digital photography studio, print lab, and film theater; in addition to its impressive archive of digital and analog information. Communication and Support Communication and Support centers of this facility (lecture halls, class rooms, administration, faculty, and support) will change only in method. This means that these spaces will become more accepting to our times and the use of technology; however, will not change very much spatially. They will have seating changes, space planning revisions, the relationship between student and teacher will be re-evaluated, and power and data points will be revised; however the use will remain the same. These spaces are vital within the realm of education, and must be retained in their current state to function properly. The goal of this school is to begin to learn how to handle the relationship between the technologic world out there, and the analog world that supports it. In an effort to better understand the relationship that architecture and design may have with both of these elements. a design school program 3.6 first floor -::_ -~¥JY ;;;;;- ----:J c =Jf>- Q 1ii 3 e " •acc second floor :••"CE £ a Q ; £ J "~ ':::-~ jl ~" • '~ 0 Cil •"00 .c c i= .0,> • QJ "0 ::::l third floor ..Q CQJ •'" >- "•c 0 CI..~ "" . 1""", .Iu<:i'" I "",op g .c .!!! cia"" ,- OIudio ~~ QJ • 0 Q. ,~~ """ ,,.. I ,~tK.o, 1"",,1ly l" wll~ :!! 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"",,, •• C u 0 fourth floor :;:; Cil 0 1l :J ~ "0 ~I w~ i L,m -- C ~~ 0 Q) G"'diO li 'I- .. 0 I ~"Joi'" ~ "",<I" 8 Q) ~ ~lw", & ~ rJ) e.<l,lbit • :J ~ 0 OJ ..c section ~ a design school conceptual diagram program 3.10 a design school conceptual program program 3.11 a design school seperation of space by function program 3.12 a design school seperation of space by function program 3.13 a design school program 3.14 seperation of functional space a design school program 3.15 Space Layout: Sq. Footage Total Area 50-75 students; aprox. 300sq. per student @ Design Node 8,000 Sq. Ft. Studio 2.000 Studio +2 2.000 Studio +2 2.000 Review Spaces 2.000 ® Production Node 4,100 Sq. Ft. Computer lab & Shop 4 .000 Support Office 100 @ Media Node 7,500 Sq. Ft. Lobby Area 1.000 Cafe 1.000 Public Exhibit Area 1.500 Digital Processing 2.000 Analog Library 2.000 @ Communication Node 6,500 Sq. Ft. 1 Lecture HallJCommunity Auditorium 3.500 Classrooms 2.000 Study Room(s) 1.000 10 faculty memebrs; 10 students to every faculty member ® Support Node 4,000 Sq. Ft. School Reception & Administration office 1.000 10 Faculty Offices 3.000 Sub-total 30,100 Sq. Ft. + approx 20% circulation/support 7.525 Total 37,625 Sq. Ft. site.....................................................................4.1 a design school site 4.2 forward, smelters dominated the local economy. Murray's economy flourished with the smelter industry, and soon became the perfect example of how cooperation between business, industry, and government could create a very profitable trinity. At the time, Murray was the only city that had within its boundaries, its own lighting station, smelter, flour mill, canning factory, brickyard, water plant, and ore refinement mill, not to mention the fact that all major railroads ran directly through its borders. This included the Utah Ore Sampling Mill that opened during this era of industry. This property, located in the heart of industrial Murray, processed and crushed ore that was shipped, via railroad, down from the mines, so that it may then be smelted. Not only was Murray interested in employing its residents, but educating them as well, and in 1905, only three years after it was incorporated as a city, its residents petitioned its governor for a school district; which Murray City: which was known originally as South Cottonwood, was first born as part of Salt Lake City's initial expansion southward from the original pioneer settlement. It's earliest residents divided the grasslands that they found into homesteads and began to raise cattle, produce dairy products, wheat, corn, rye, and cereal grains, that not only fed the animals and families of this area, but its burgeoning economy. With its roots as a farmland community, it is surprising to find that Murray did not remain a farmer's community for very long. In 1869, with the construction of the Woodhill Brothers' smelter, the beginning of the industrial history of Murray began, and the decline of its agricultural community started. It's a well known fact that much of Utah's early wealth was born from the mining communities of the northern regions of Utah; much less well known is Murray's role in the mining business. Murray produced the first silver bars ever smelted in Utah in the late 1800's, and from that point they received. Murray was instantly divided into five municipal districts, and hasn't looked back since. The mission statement of Murray School district then, and still, reads: "The mission of Murray City School District is to work in partnership with families in the education of our youth for a changing world." In fact, 55% of Murray's annual budget today is spent on educational items. Murray's success only lasted so long. It was hit very hard by the Great Depression of the 1930's, and in 1931, the smelters began to close. By 1940, only nine years later, all major industry had vanished from the area, and within a decade, the leading smelter of the area, ASARCO, closed, industry became non-existent. money was needed to refurbish its twenty-two-acres of parks and buildings, and to purchase an additional twelve acres of fairgrounds, that in 1939 it acquired. Murray's central valley location and plentiful water has allowed it to evolve from an agricultural to a design school site 4.3 industrial to commercial to suburban community that feeds countless small businesses, service industries, health, and educational facilities that are connected heartily to the rest of the city via I-15, Trax, as well as I- 215, all of which plan to expand in the future. Utah Ore Sampling Mill: The site of the once prosperous Utah Ore Sampling Mill, has now fallen into almost ruin. This place, which was once a vital part of the smelting process, and mining economy, has been sold to a private individual and turned into a storage building for old cars, machinery, and many other things over the years. Ultimately, causing a neutralization of the mills original use; however, even though it's original intent may be lost, its adaptation to another use is in full force.Instead of crushing and refining, this Mill will become a place of design, discussion, and production. Much like the time when this building was built, our society is in a time of change. However, instead of the change from agriculture to industry, it is a change from analog to digital, and once again, this mill will contribute to this evolution. At the time this building was built, the residents of Murray were experiencing the new technologies that were being provided by the mining industry and all of the revolutions and prosperity that it brought with it. In essence, it experienced its own Industrial Revolution. Now, the same residents, much like many architects, are once again struggling with our modern day technologies, such as the internet, and digital production, and once again, there is a need for a place to process all of the change. This is why the Utah Ore Mining Company, located in the once heart of industrial Murray, will be the perfect site for our new School of Architecture. Criteria: An Architecture School has many constraints as to where it could or should be built, because this is an institution of learning, teaching, success, failure, and ultimately a place that will produce the next generation of architects in our society, and must function within the society that it is placed. These future-architects will be responsible for the physical and emotional needs of our community, and must be properly educated in a place that not only accepts them, but is accepted itself within its community, because the society that it is placed in does have a definite effect of its students. This Architecture School must be placed within a community that has deep community roots; roots that have always been faithful to its residents, their livelihood, and quality of living. It must be an accepting community, that is, and has always been, open to education, growth, and the new technologies of its time. Geographically, it must be centrally located within a city, so that it may be equally accessed by all residents; however, be separate from any other university or college that may be present within this community. This is not in an effort to compete with any a design school site 4.4 other present School of Architecture, but to be free of any constraints that the University may lay upon it. After all, this is an effort to further contribute to the architectural community, and not to conform to any one else's rules. Lastly, this must be a place that has gone through a transformation. A transformation that has changed the face of the city from industrial to commercial to suburban, and has caused the site, to in essence, lose its original use due to urban sprawl, leaving it seeking another use, or an opportunity to change its own face. a design school site 4.5 a design school site 4.6 context -The local trades in the area will contribute to the explora-tion of material which is an important element when digi-tal fabricating. So the idea is that these trades will teach courses as well as utilize the production shop area. -As the information age relies heavy on the virtual world and less and less on the physical architecture. I.E. One could in theory place a computer anywhere. -Also adaptive reuse talks about the new attitude of the environment which is not a trait of the industrial age. a design school site 4.7 location transportation a design school site 4.8 proximity zoning and land use visual identity • I .•, l oJ I -..• .. . - -•. ! -- F --. i" • -..I a design school site 4.9 figure ground figure ground close-up a design school This line analysis showed me that the there is a lot of movement around the site of the Utah Ore Mill, from trax , the train yard, and the new ramp that is being built. The building is not on the grid; it has been formed by it surroundings, such as the residential homes and new businesses that are pushing up against the site. Creating a view from the freeway which is hard to miss, and allowing the recognition that it is an isolated place, while at the same time very much a part of the city of Murray. past site process analysis site 4.10 a design school existing site plan site 4.11 ~ I \ \ \ \ \ \ \ \ \ \ \ \ \ \ .----- ~ r f- \ .----L, \ , \ I -- \ I I- -- I r \ I 1 I -- -- .~ J- ~ a design school site 4.12 growth of site 1890 y ~CJ o c::::::J ~r--~ 1940 y ~CJ LJ 1980 2006 a design school site 4.13 pull-a-part UTAH ORE SAMPLING COMPANY ..................... NIO'''''''' ......... -J..t ' :L=lj _ .... /1 .... u.e *"'.::-~"" I'OOT'--:"'_ -... -•• r l( lL l L J a design school site 4.14 existing perspectives a design school site 4.15 existing basement floor plan existing first floor plan II II = = = = I = = = = 90 90 cO 0 cO 0 cO 0 CO 0 cc 0 co c cc 0 co c cc 0 co c oc 0 00 c cc 0 co c cc 0 00 c cc 0 co c cc 0 co C cc co 0 c a design school site 4.16 existing second floor plan existing fourth floor plan existing third floor plan a design school site 4.17 existing west elevation existing north elevation existing east elevation existing south elevation m E mn iIIIIiIi r==== == II~~ iIIII EiJII == ~.D a design school site 4.18 a design school site 4.19 ------------- -- -------~-=---- ---------- - -----=- a design school site 4.20 technnical systems............................................5.1 a design school technnical systems 5.2 The National Register of Historic Places is the Nation's official list of cultural resources worthy of preservation. Authorized under the National Historic Preservation Act of 1966, the National Register is part of a national program to coordinate and support public and private efforts to identify, evaluate, and protect our historic and archeological resources. Properties listed in the Register include districts, sites, buildings, structures, and objects that are significant in American history, architecture, archeology, engineering, and culture. The National Register is administered by the National Park Service, which is part of the U.S. Department of the Interior. The Secretary of the Interior's Standards ROOTED IN OVER 120 YEARS OF PRESERVATION ETHICS in both Europe and America, The Secretary of the Interior's Standards for the Treatment of Historic Properties are common sense principles in non-technical language. They were developed to help protect our nation's irreplaceable cultural resources by promoting consistent preservation practices. The Standards may be applied to all properties listed in the National Register of Historic Places: buildings, sites, structures, objects, and districts. The Standards are a series of concepts about maintaining, repairing and replacing historic materials, as well as designing new additions or making alterations; as such, they cannot, in and of themselves, be used to make essential decisions about which features of a historic property should be saved and which might be changed. But once an appropriate treatment is selected, the Standards provide philosophical consistency to the work. There are Standards for four distinct, but interrelated, approaches to the treatment of historic properties- -preservation, rehabilitation, restoration, and reconstruction. Preservation focuses on the maintenance and repair of existing historic materials and retention of a property's form as it has evolved over time. (Protection and Stabilization have now been consolidated under this treatment.) Rehabilitation acknowledges the need to alter or add to a historic property to meet continuing or changing uses while retaining the property's historic character. Restoration depicts a property at a particular period of time in its history, while removing evidence of other periods. Reconstruction re-creates vanished or non-surviving portions of a property for interpretive purposes. design......................................6.1 a design school design 6.2 My project is a School of design for Murray, Utah This school is a digital fabrication school which is a three year program for the students. Introduction: For over a hundred years our society has been based on the ideals from the Industrial age. My school explores what a design school could be in the Information age. By exploring both the education model of the Industrial age and the education model of the Information age. I did this by taking a set of six interrelated principles that programmed the behavior of millions during the Industrial age. This analysis was taken from Alvin Toffler's book the third wave. They are as follows: Standardization Specialization Synchronization Concentration Maximization Centralization Following what I learned from this I created organizational diagrams to visually show this concept. Continuing on with this analysis Toffler talks about the reaction to this set of six interrelated principles including the progression of technology by adding the prefix of de to the existing principles. Creating from this analysis a new set of six interrelated principles that will program the behavior of millions during the Information age. They are as follows: Customization Accessibility of information [empowerment] Arrhythmia De-massification Adaption Collaboration So as a result I will utilize the existing grid structure of the building while applying what I learned from the analysis of the education model of the Information age. a design school design 6.3 industrial age STANDARDIZATION D the industrial revolution of the early 1900's began with the movement towards the standardization of products, parts, and processes, in an effort to make technology more cost efficient. as a result, the American culture followed the trend. - identical parts. - mass media. - pay scales set. - standardized tests were starting to be administered to students. "a set of six interrelated principles that programmed the behavior of millions" information age DE-STANDARDIZATION Gustomization there has been a de-standardization of our society with regards to personal use of technology, entertainment, and time. No longer do we have to listen to public radio, wait for a television program to air, or even buy the standard Honda civic. - tivo, ipod, and computers allow for more customization of the market, which has lead to the de-massification of the market. - control- mass media­de- massification. a design school design 6.4 industrial age SPECIALIZATION DDD movement towards the removal of the jack-of-all-trades, and movement toward the specialized worker. - henry ford introduced the production line. - 3338 specialized workers, 2000 women and children, 670 one leg men, and 70 no arms. - set-up, produce, and pass onto all consumers. - inexpensive to produce, . .. "a set of six interrelated principles that programmed the behavior of millions" information age DE-SPECIALIZATION , accessibility of information [empowerment I ,, ,/ ,,,,/ no longer is our market a broad spectrum market. it is a market of specialization and education, where the client , via internet and other information technologies, has become empowered with knowledge that was once only privy to many professionals. - more educated public. - loss of hierarchy that educated professionals once held. - more specialization within the .. . . . a design school design 6.5 industrial age SYNCHRONIZATION time and work ran according to the heart beat of the machine. no longer was the individual an individual. - each person had a task to complete on the production line, and if they were late to work, it disrupted the entire line. - schools introduced the school bell to keep their classes on schedule. - men and women in factories began clocking their time worked. "a set of six interrelated principles that programmed the behavior of millions" information age DE-SYNCHRONIZATION arrhythmia a demassification of time is in full swing. the forty hour work week is slowly disappearing and becoming the flex-time, part-time, and sub-contracted work week, that allows individuals to live and work on their own time. the individual is becoming paramount. - round the clock production due to flex-time and sub-contracted work. - all day and night restaurants and supermarkets. a design school design 6.6 industrial age CONCENTRATION fossil fuels began to be used heavily, and the population of people began to concentrate into large cities. people now had to come to the city for their livelihood. - population in cities escalated - work started to move towards the factory, instead of the home and fields - prisons, asylums, schools, and retirement homes came into "a set of six interrelated principles that programmed the behavior of millions" information age DE-CONCENTRATION demassification because individuals run on their own time and schedule, there is less of a need to live near to a city, because work and livelihood are possible anywhere. - neighborhoods have become small quasi cities. - the idea of a large central government is losing popularity. - business is possible with little management (one person a design school design 6.7 industrial age MAXIMIZATION bigger is better. - big = efficient - the largest skyscrapers and dams started construction. - maximum scale possible was the ultimate goal. "a set of six interrelated principles that programmed the behavior of millions" information age DE-MAXIMIZATION adaptation the American ideal of bigger is better is slowly becoming obsolete; bigger is not better, scale is better. - quality of work performed, not size. - new forms of organization have helped this transition (one person operation for example). a design school design 6.8 industrial age CENTRALIZATION new organizations, new hierarchies, and the chain of command develops from this point on. - centralized industrial societies are born and begin to work their way up from the ground level. - the pyramid of organization is formed, where there is one top decision maker, and the chain of command feeds from that point down. - the railroad is started "a set of six interrelated principles that programmed the behavior of millions" information age DE-CENTRALIZATION collaboration along with the idea of deconcentration, is also the idea of decentralization. small components of society linked together to function. - small components of society linked together to form a network of functioning nodes. - duel or poly organizations linked together to form a more stable structure together. - networks coordinate themselves. a design school design 6.9 site plan CD COMPUTER LAB @ LOBBY (2) FABRICATION @ LIBRARY (2) SHOP @ STUDIO 0 LECTURE HALL @ REVIEW SPACE G) CLASSROOM @ STUOENT LOUNGE 0 STUDY ROOMS @ MECH. ROOM 0 PUBLIC SPACE @ INFORMATlON DESK 0 OUTDOOR PATIO @ CONFERENCE ROOM (0 OUTDOOR SPACE @ ADMINISTRATION OFFICE @ PUBLIC EXHIBIT @ FACULTY Or-FICES @ CAFE I "I ... ',.'', ,'. .. \ \ I I ''I' \ I I \, \ \ I \ \ \ \ I "\ \' . "\ \ "," ' \ \ \ \ \ \" ' I \ .. .." \ II \ \ \. I " 'I' \ \ l\ I " \ \ \ I' \ \ \ \ \ \. I I \ \" \ 1 \1\ \\\,\ \1 I, \..., \ II I \ ----- I \\ \. \ \ r-~ \\\\\ I 1\ 1\\ \. r,\' \ ' II I \1 \ \, \, \, ... \ II I Co \ \ '\ \ \, \ ... \ \\ \. \; \\ \ \, II I \\'. \ ,;\,'. ..'. .,...'... .' . \ 1 ~, \, \. I." \, \, ''o, I I 00 \' \ '\' '. 1 01 I I o· ~,\ ~\ \ \ \ I \ \'. ','.1\ \ \ \ ~\' \\ .. \'\..\ \\ \ \\ '~\\\ \ \ , \ \\ ... " \ o o \ \" '\\\ \\ \' \\ ..\ 'o,\ \,'o,\,'o,\ \\ \,\" \ \ 0\\ 0,\\\\ o o ,\\,\ \ \\\ \..\ '\. .\ "\, 0 "\ \,\\\\ \~\ ','o, \ '\ \, '., co \\ ~ \" , --\ \1\ \ \. \ --" "\\ "'''' --~\ \'o, \ \ \ --, \\\';, ......--l ':.\\ \ \ ----::\ \,\,\\ \\ \'; - - --:---"\ \\\ \ \ -~ -- ---- ~,\ \\\ \ \ ----. ' \' \ \ ' -'r' \\1 \ .. -------\' \'; 'I'" '; ::-..--:-----------Ii~; \\\' \. ,"\ \ -~-==-==---=---~\' ,. \, \\ \\ ---.~, ~~ \ \ \ -- -- ~ \\ \, \ -- ~\~\ .,\ .. \\\ \\ r "(, \\ \ \ '.\ '\'\ \\ \ \\ \ a design school design 6.10 basement floor plan New floor plan: Collaborative core space-The collaborative core space runs down the center of the building then continues vertically up dividing the building into two parts the Student center and Administration center-The administration center is virtually untouched as this is a strong element of the industrial age, however vital to the survival of the new function of the building. Shop line-The shop is located here [point] this layout is based on the production line. With the idea that a design school design 6.11 first floor plan product can arrive a different stages the computer lab, fabrication lab and the assembly shop areas. However these areas can spill into both the collaboration core and also this outside area where people eating at the café patio can view this production. Lecture hall-Lecture hall dealing with this idea of arrhythmia. The penetrated interior wall allows for sound to escape and also visibility of the space. For example a student has a project due he can still listen to the lecture and continue working. However there is a design school design 6.12 second floor plan third floor plan fourth floor plan still seating in this area as well. Library-Showing that information is precious to the information age as well as any education model. The form of the library is a tear in the grid. Which creates a pocket in which to place books and items which need to be protected, however taking a casual approach where the roof becomes an area for interaction, for reading a book or viewing the production area. Studio- The studio spaces which are supported below a design school design 6.13 north elevation east elevation south elevation west elevation by the production area. These cubes are working off the idea of adaptation or de-maximazation, for example the idea of a franchise, on it own but still utilizing the whole. These spaces are flexible spaces and can expand in a linear fashion if needed. a design school design 6.14 pull-a-part .­~ ' " A. DESIGN SCHOOL TOT .... __ "<)()T...a;.o_ a design school design 6.15 cross section cross section a design school design 6.16 longitudinal section a design school design 6.17 Renderings: I wanted to point out that even though these new additions to the existing building create a strong visual identity for the Murray I have also preserved a limited visual obstruction of the old. a design school design 6.18 -- ------ -- -------~-=-------------------------- a design school design 6.19 a design school design 6.20 a design school design 6.21 G) CONCRETE POST & BEAM ® GLASS SKIN 0) LOUVER SYSTEM 0 INSULATION LAMINATED GLASS 0 CONCRETE POST & BEAM 0 NEW CONCRETE SLAB CD EXISTING CONCRETE SLAB a design school design 6.22 a design school design 6.23 annotated bibliography......................................7.1 a design school annotated bibliography 7.2 1. Abel, Chris. "Architecture and Identity; Responses to Cultural and Technological Change." Oxford: Architectural Press, 2000: by Abel, Chris "Design Method and New Science." 27-36. Presented to the 1980 Design Research Society Conference, Portsmouth, 14-16 December, under the title "Vico and Herder: Origins of Methodological pluralism, First published under the same title in R. Jacques and J. powell (eds.) Design: Science: Method. Westbury House, Guildford 1981. Ideology Scientific theory is evaluated according to what it may add to the unity of our knowledge of the natural and human worlds, in which the scientist empathizes, with its subject, in order to understand and explain its identity. Architects do the same. They empathize with the people and the place in order to give a form to its identity. Science is a great part of the Architectural field and will continue to be so. Populism: The Belief in the value of belonging to a group or a culture, which, is not political, and is indeed, to some degree, anti-political, different from, and even opposed to, nationalism. Expressionism: The Doctrine that human activity in general, and art in particular, expresses the entire personality of the individual or the group, and is intelligible only to the degree that it does. Still more specifically, expressionism claims that all the works of men are above all voices speaking, are not objects detached from their makers, are parts of a living process of communication between persons and not independently existing entities, beautiful or ugly, interesting or boring, upon which external observers may direct the cool and dispassionate gaze with which Scientists-or anyone not given to patheism or mysticism-look on objects of nature. Pluralism: The belief not merely in the multiplicity, but in the incommensurability, of the values of different cultures and societies, and, in addition, in the incompatibility of equally valid ideals, together with the implied revolutionary corollary that the classical notions of an ideal man and of an ideal society are Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.3 intrinsically incoherent and meaningless. 2. Benedikt, Michael. "For an Architecture of Reality." New York: Lumen Books, 1987. Ideology; Culture; Architecture The art of Architecture, as well as the architect help to supply direct aesthetic experiences, to the individual, in this real and media-saturated world. For example, look at the way the sun glistens on the streets after a rain storm, or the way a window captures a cloud in the sky, and it is the moment, as well as the place you were at during that moment that catches your attention, and saves that second in your memory, and each time you think of these moments in time your senses become alive to dwell, sound, smell, and feel. " If we cannot grasp reality as a whole or even be sure that we have in part, we seem nonetheless to be allowed glimpses. We know it to be "at hand" and the quality of real-ness that certain objects, people and places have more than others leads us on, like a scent, a promise, evidence." 3. Bermudez, Julio. "The Future in Architectural Education." Published in: 87th ACSA Annual Meeting Proceedings Minneapolis, MN: ACSA Press, 1999, pp. 321-325. Education; Ideology; Pedagogy; Technology; Architecture The future of architecture is what is known as "futuring." This is the idea that architecture schools should address the future of design, in a belief that design is a prediction of what the future will be. Many believe that because of this ideology we will be ready for the future; however, there have been so many breakthroughs in technology, as well as in social behaviors, that this ideology could be devastating to the future. Students should be confronted with the future, and should open their eyes to what is happening culturally, now, as well as what will be happening. They should also address this "Design Paradox" as vital for the survival of the future of architecture. Too little time has been spent in this avenue of design since the Modernist movement, where it began, ahead of its time. Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.4 4. Bermudez, Julio. "Aesthetics of Information: Cyberizing the Architectural Artifact." Published in: Proceeding of the 5th. Biennial Symposium on Arts and Technology. Connecticut College Center for the Arts and Technology. New London, Connecticut, pp.200-216, 1995. Technology; Culture; Ideology Cyberizing the Architectural Artifact, is an idea that wants to show the aesthetic goals of a generation where information is the center of attraction, by suggesting that an Architecture of screens is the wave of the future. A time where Architecture has become scaffolding, in which cyberspace is projected onto a wall or screen, where it is then used for displaying art work, cinema, daily news, environmental scenes, video-games, and virtual worlds; however, this is still an idea, and an idea that has no precedence. Also, this is an idea that few have attempted and "the results are still somewhat disappointing." The reasons for this upset are twofold. On one hand, architectural practice is heavily affected by all types of real-world pressures that discourage experimentation. Limitations set forth by clients, programs, economy, social context, and material technology. On the other hand, the idea of architecture of, and for information is still quite new and requires further theoretical and practical development, before it can be perfected. In this sense, however, three-dimensional virtual (electronic) environments are beginning to play an increasingly important role as open studios where the new ideas can be advanced and tested. 5. Bloomer, Kent C.; Moore, Charles W. "Body, Memory, and Architecture." Great Britain, Europe, Africa, and Asia: Yale University Press, Ltd., 1977. Architecture; Ideology; Culture Bloomer and Moore explore the development of the use of the human body in architecture through out time, by using examples such as old Cathedrals that have been designed after the shape of the human body, as well as exploring the Cartesian Grid, which was also based on the human body. Both of these inventions of the human body, and therefore an extension of the human body, or "beyond the body boundary." The notion of the body having five senses is usually and generally accepted, and taking this idea a step further, J.J. Gibson states that "basic-orienting and haptic systems are two theories that helps us understand three dimensionality, and that architecture has become a projection of these theories. By defining basic-orientation, as our body's sense of up and down, right and left, forward and backward, and Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.5 our haptic sense as our sense of touch, but also a sense of being in a place, and the feeling of that place to your entire body. To sense haptically is to experience objects in the environment by actually touching them. For example, you would not experience the sensations of pressure, warmth, cold, pain, or kinesthetics if you were to stand at the base of a mountain and look at it. You would actually need to climb the mountain in order to get the full bodily experience of it. This is the only sense that incorporates both feeling, and doing in the same motion, and it is this action/reaction that separates this sense from all of the rest. Another perception model is our deep seeded feeling of dwelling which has developed as a theory called body-imaging. This is the idea that we unconsciously locate our body inside a three-dimensional boundary, and this boundary is used to dictate our inside personal space from our outside space. By using these methods along with place, path, pattern and edge we enhance our sense of Human Identity in memorable places, thus incorporating body, memory, and community. " The caring and the energy for it depends on the sensitivity of the inhabitants reinforced by professionals devoted to committing all their capacities to the task of understanding the potential of a place, and the possibility of dwelling in it, and remembering it, and making it the center of a whole world." 6. Dutton, Thomas A. "Voices in Architectural Education." New York: Bergin and Garvey Co, 1991 Education; Pedagogy; Ideology This book explores new problems facing architectural education by giving different points of views from students, professors, and professionals. Topics like Cultural Politics and Pedagogy that should, and is, being implemented in our schools today. It talks about women in architecture, boundaries of our time, and it even went as far as to talk about one students experience in studio and how he feels that it is unhealthy the way he was treated. 7. Elgin, Duane. "Voluntary Simplicity." New York: William Morrow Co, 1993. Culture; Ideology Voluntary Simplicity is a way of simplifying your life and taking responsibility for things in your life. For example, instead of calling somebody to fix something in your life, doing it yourself. The example, which Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.6 was used in the book, was if two people were to ride their bicycles to work, and one was forced to because of necessity and the other had chosen to do so, the one that chose to do so would enjoy it because it was a voluntary choice to simplify life. Not something that was forced on him. This has given a name to a theory that I believe I strive to live my life by. A theory that guides you through life, not by material things, but by deeply trying to better my world and myself. The book continued on giving testimonials about this way of life from many different points of views, pushing a lifestyle of voluntary simplicity. 8. Gregory, Paola. "New Scapes; Territories of Complexity." Basel; Boston; Berlin: Birkhauser, 2003. Technolog;, Architecture "Scapes", which this books refers to as the up and coming architecture, are In a continuous oscillation between the aesthetics and science of image and reality, of subject and object. In borrowing the word "scape" from the English meaning an over-all sight-vision that modifies the object in it's representation. These new scapes are a new way of thinking, seeing, designing and inhabiting through a complex system of connections, interchanges, retro-actions, open, flexible and changeable. These composites of unstable nature of urban and territorial contexts constantly changing between individual and space always directed towards a visual condition which is controlled by overexposure and mobilization of it's owns experience. Where continuous change is the only constant. Disorder, chaos, contradiction, plurality and complication are now all part of our awareness. This sort of complexity is a phenomenon conceptual logical problem which confronts us all. Ontology: a branch of metaphysics concerned with the nature and relations of being a particular theory about the nature of being or the kinds of existents. 9. Jencks, Charles; Kropf, Karl. "Theories and Manifestoes of Contemporary Architecture." Great Britain: Academy Editions, 1997: by Mayne, Thom "Connected Isolation." 301-303: Extracts Source: Mayne, Thom Morphosis, Morphosis: Connected Isolation, Architectural Monographs No. 23, Academy Editions (London), 1993. Academy Group Ltd. Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school Architecture; Culture; Ideology Taking a stance, in which architecture takes a human form, that evolves from a simple and orderly manner, to a complex and diverse system, in which those who pass through it, are also becoming mature. The importance of human nature in becoming mature is creating the capacity to understand experiences that are ever more complex. Using , Pluralism in the form of Public vs. Private and trying to make a connection, to an Isolated General public, in hopes that Architecture will offer hope to the future, and should define the intentions and innovations, in which architecture ‘s relationship to the immediate political and economical needs of our culture asserts a position. Pluralism: a theory that there are more than one or more than two kinds of ultimate reality. A theory that reality is composed of many entities: a state of society in which members of diverse ethnic, racial, religious, or social groups maintain an autonomous participation in and development of their traditional culture or special interest within the confines of a common civilization, and a concept, doctrine, or policy advocating this state. 10. Leach, Neil. "The Anaesthetics of Architecture." London, England: The MIT Press, 1999. Architecture; Technology; Ideology Our present architectural condition has been described as an "ecstasy of communication," mostly due to our advances in Telecommunication, and the incorporation of visual reproduction into it. These have, in combination, ensured that we are constantly being confronted with images. These images come from televisions, faxes, photocopiers, and computers, and have become virtual windows to the information superhighway connecting the individual with the global network. "The modern office and home are deluged with reproduced images and information: news on the hour, every hour, movies previewed, premiered, released, cloned into videos, and drip-fed through cable TV. It is a culture of the copy, a society of saturation, the second flood. The world has become "xeroxized "to infinity." Jean Baudrillard postulates that "We live in a world where there is more and more information, and less and less meaning." So, as a result, this mass communication advertising has been become a multi-billion dollar industry. Not to mention a powerful tool in manipulating the public in a sort of intoxicating method, where fantasy becomes the greatest tool. This is the reason why Disneyland is so successful; their product is fantasy. So does this mean that the future of Architecture is a shallow, annotated bibliography 7.7 Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.8 depthless world where irony rules over content? Jean Baudrillard has stated that for him: "Las Vegas is trapped within a depthless world of appearances, where everything is liquidated and reabsorbed into the surface. Seduction is that which extracts meaning from discourse and distracts it from its truth. Seduction attempts to enchant the viewer on a purely visual and to prevent any deeper level of inquiry. Seduction can therefore be contrasted to interpretation. Where the interpretation strives to rupture the realism of surface appearances and inquire after some underlying truth, seduction seeks to bewitch the viewer within the enchanting world of surface, never to look beyond." 11. Leach, Neil. "Rethinking Architecture; a reader in cultural theory." Great Britian: Routledge, 1997:by Jameson, Fredric "The Cultural Logic of Late Capitalism." 238-255. Culture With the change in Post Modern space, and the lack of understanding of cultural meaning, we are putting architecture in a serious situation. It is not just a human walking, or standing still, but the fast pace of movement which makes understanding space that much more difficult. For example a gondola system that was used to move people up to the space that was designed to give them a different perspective on how they viewed the ascent to the area. It also talked about how the Bonaventure which was designed by Portman, was designed as a building that blended into the city while in itself a space that turned it's back on the city, making itself separate from the city almost like a city in itself which in Modern Architecture would have been a statement in itself. Using the cylinder towers as an example of how it is increasingly hard to have a sense of size in the world today and the older forms of architecture in terms of movement. 12. Lehmann, Steffen; Lepik, Andres. "Rethinking Space-Time-Architecture; A Dialogue Between Art and Architecture." Berlin: Jovis Books, 2002. Culture; Ideology Art and Architecture have always been able to meet, and at several levels have been able to define each other because they both deal with the ideas of space, material, color, light, dimension, and proportion. However, even though they are very similar in nature, they deal with these same of space, material, color, light, dimension, and proportion differently. For example, artists mainly deal with surfaces, surfaces such as the ceiling of the Sistine Chapel by Michelangelo. By painting the ceiling of this chapel, Michelangelo Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.9 virtually makes the architectural space of the ceiling disappear, showing how the art and the architecture of the space are not working together, but against each other. Another idea, by Marcel Duchamp is that there is a difference between "specific objects" and studying the sense of space. Museums are a good object of study, when arguing this point of art or architecture. Should the museum be a back drop for the art or should the building itself become an artistic expression? "The culture, leisure industries, educational institutions are the buildings of conflict for the future. This is precisely the challenges facing artists and architect, it is a question of specifically creating spaces that allow, and create, areas of friction between diverse political, economic and cultural interests and expectations. In such spaces, values and cultural interests and expectations. In such spaces, values and cultural orientations can be negotiated discursively. They will then create the preconditions for the production of new images and new modes of thinking, acting and speaking, and constantly undermines the concept of "monopoly rent." 13. Schwarzer, Mitchell. "ZoomScape: Architecture in Motion and Media." New York: Princeton Architectural Press, 2004. Technology This book explores a new kind of Architecture called "Zoomscape" that refers to the change in which we view architecture from a car, train, television, and a photograph. We are a society of mobility that creates a sense of passage with a static solution. This new architecture is losing a sense of space and time and letting anticipation and succession inform the aesthetics of the "Zoomscape." Bernard Tschumi, in the Manhattan Transcripts, writes "Offer a different reading of Architecture in which space, movement and events are independent, yet stand in a new relation to one another, so that the conventional components of Architecture are broken down and rebuilt along different axes." Now mobility is not just referring to movement it is more so referring to freedom. This mobility and velocity takes us not only towards things, but also away from them, and it detaches us from the space of Architecture. 14. Toffler, Alvin. "The Third Wave." New York: Bantam Books, 1980. Technolog;, Culture Toffler uses a metaphor of waves to explain civilization; however, he is not the first to use this metaphor. Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.10 In fact, it was used to explain the frontier in American history-although he uses his metaphor in terms of today's civilization shift. The first wave is agricultural, the second wave industrial phase, and the Third wave, now beginning, is the death of industrialism and the rise of a new civilization. "To ask larger questions is to risk getting things wrong. Not to ask them at all is to constrain the life of understanding." His argument in this, a time of exploding change, a new personal life, social order and existence, which is constantly being questioned, and asking these large questions is not just curiosity but a matter of survival. All of us are involved whether we are resisting or creating this new civilization. 15. Ranaulo, Gianni. "Light Architecture; New Edge City." Basel; Boston; Berlin: Birkhauser, 2001. Technology; Ideolog;, Architecture "It seems as if the world is turning to stone" this slow petrifaction which is spoken to us by Italo Calvino. We have all been witnessing this effect in Architecture and the world around us. It becomes heavier, more static, and old. We have been stuck on the idea of the immortal, or even our desire, or thought or immortality of turning to stone. Unfortunately this is a time of great change our society is not the same as it was in ancient Greek times. We are a society of fast moving, fast experience and fast lived. We enjoy returning to our natural state, for example a weekend in the Mountains, but technology has taken an upper hand, and we bring our mobile phones, portable computers, Televisions. But the truth is we are becoming less and less mobile because of a flow of information which has transcended the element of distance. Architecture of today should reflect this, using an idea of evolution for example; the automobile has changed the perception of the static and dynamic, changing the image of architecture from two-dimensional to three-dimensional and transforming architecture to a rapid architecture of movement. Electricity has changed the elements of architecture not just in the form of environmental controls but from dark to luminous, changing our gathering times twenty-four hours a day and changes and directing the flow and ambience Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.11 of day and night. Advertising has changed architecture considering Las Vegas and Time Square, where the chaos of images now has full control of our visual perception of the modern city and contemporary Architecture. Light Architecture is the next step in the evolution of architecture a fusion or synthesis of our two new worlds, the world of virtual and reality. 16. Toffler, Alvin. "The Third Wave." New York: Bantam Books, 1980. Culture; Ideology; Technology Toffler uses a metaphor of waves to explain civilization; however, he is not the first to use this metaphor. In fact, it was used to explain the frontier in American history-although he uses his metaphor in terms of today's civilization shift. The first wave is agricultural, the second wave industrial phase, and the Third wave, now beginning, is the death of industrialism and the rise of a new civilization. "To ask larger questions is to risk getting things wrong. Not to ask them at all is to constrain the life of understanding." His argument in this, a time of exploding change, a new personal life, social order and existence, which is constantly being questioned, and asking these large questions is not just curiosity but a matter of survival. All of us are involved whether we are resisting or creating this new civilization. 17. Yelavich, Susan. "The Edge of the Millennium." New York: Watson-Guptill Publication, 1993: by Thackara, John "Consumption and Creativity in the Information Age." 160-167 Culture; Ideology; Technology This essay explored the gap between culture, technology and design. It discussed consumerism and economy creating a system which manifests an artifital need that can never be satisfied. Design as some would argue takes ordinary objects and "glamours" them, only heightening the disappointment we experience after purchase or possesion of an object. The role of technology is more complex than the conspiracy theory of consumption. It is a failure of creativity to bridge the worlds of science, behavior, and aesthetics which is the crisis of design today. For example the articulation of electricity in our everyday lifes. Once it was a hard concept to grasp electricity-as it was not visable or able to be touched from one point to the other, however, now we just accept its presence. The same may be said of the abstraction Subjects: Technology Ideology Pedagogy Culture Education Architecture a design school annotated bibliography 7.12 of say a network which connects two points that are thousands of miles apart-there is a sort of disarticulation of space. The idea of representing the unpresentable, a sort of non-linear representation that is fragmented in time, that is the challenge. Subjects: Technology Ideology Pedagogy Culture Education Architecture