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‘ascinais per Ia bellepa (cara. 0 ___|__les fécniques que ens ofereix el ter temp: pabie) de les 1 r trult per 1a societat oferint-tos 7 1 de formacié obert ingut o un altre, organits = —_____| através de protocols intormatics. Jes en uns sistemes 0 en uns alttes, "nica responsabilitat de Y'qutor___negant-ne unes i afirmant-ne unes | consisteix a escollit eh. quin moment alttes per aixi fomar-les a 1a societat —_|__ pita. el bots. maim, on___construint una visi6: les teeniques betsky ha esorit a D lid 1s { Neugeres, per exemple, s6n_ i - Ant te tue opeié que busca menys “eternita’ te cnolagiques sorgeixen de revisita: a canvi de més facilitat i menys - ol passat dotats de nous instruments _patiment, la substitucié de estore (wegeu el Renaixement, vegeula_isic per lintel-lectual. del futur pol _ “Mustracie, vegew el Romonticieme). present [- Noves |. thatsatiiain Jes tdcniquos no Festan mat quietes, sposada, cada present només en.1é un conjunt | frespat.teixirevars de Farquitectina | fimitat (abans, dela-successio. ieeniq ni |.com ja sabem jols,elfemps acta de-congtints en el iempe sen dela: a jon. tins fot er volucio). ames, també emspenyen da quiet i diferents dizeccions temporals, rel present. aquest instant, els | __s'unelxen amb altres aproximacions— temps, sempre tan apressal,__ Yarquitectura i. aliades. polaritzen [Eis limps sén Ja técnita, la técnica _|__les fletxes del temps en direccions _ #5 la nosira relacié amb el present. _____miiltiples. De fet, podria dir-se amb, no podrlem parla Mes in choosing when to hit he Faint button (as Aaron Betsky writes in Domus). we tend to forget that many _______technologica revolutions emerge —_ Tr —_|_—trom revisiting the past equippea___ ith new instruments dor example the Renaissance, the Enlightenment, _____ Romanticism). Time is the principal. space [tne heads and tails of architecture, — ___and. as we all know, time acts in ‘multiple directions, it even stands. _____ still, suspended. io become the time, always in such a hurry. Limbo is technique, technique is our relation — ext ose paral simpasi: “Design nelligence: The E\pandd Fel, Pinston, fbr 2008 with the present, we architects can. ___ only channel the techniques that the vod Fai Peincthn Fab {offers to us by consinuct _ Quaderns : NFW TECHNIQUES, DIGITAL CRAFTS- [JUNE 2004 ——202:420 (ONSTRUCTED NATURE: Iftaki Abalos ia meméria.(podriem dir amb Dela ta, que."Yarquitectura és.alre_perd.. 0s, aire carregal precisament. [pmb aixd, amb arquitectura’). Quan | fos tecniques evisiten Yarquitectura._| ictivant el temps retroactiu, poden_| _ produtt-se dos fenomens- un é5-el ostdlgic, 1a recerca de 1a innocancial impossible, “lavors si que sabien ter_| jes coses’: !horror postmodern, en ‘na paraula, Peré quan les. técniques. jen la. mitacié. siné.que___| [pera potenciais det passat 1 que [pnane.ne padlan nL somnicise en __hoves, aleshores les fletxes del temps ee ——laireccions. aparetx e1 projecte_ el ojectar, el Hangar cap.endavant: .sleixa s'inverteix i aspire si més no_| —fcperetuar Larquitectura. La fletxa_| ~peplotn tots ls comps sente orp Varquieciures en. cap cas sina | tap endavant jajno & cinbshim a slates. retronctiva a.de_| —jeleolégiea dels bo fs. com queda. i. topia, un prodés .gons els primets e1 Ksiea, pers amb Pros de la creativitat. fant humana Lom biolégicé lunitica les. socials, que.e1 som.a present. tropic. =o} Gols intorcanvis gnite naturales. ati! eiminaeté 0 dissolucto rogtentiea.e qs cifproncies—— fenergia now abre.dimensians.---—| misma fla fn aquesta constel labia de fleixea— toik et ems ttectura a 1a féeniea ne pot | iter el-vector més elemental units. qi rimer a clencles neturals. exactes | colfoca on Tuntvess| mun prineipl cosmogenic nic Fe: meméeie-ocpleneafe Ie taanisn ria coma fuba plimitzacié, atinament _|__ 1a perfeccié —_[ fora”: el temps ciclic previ al temps] toxic; ele les collites, tote. que | eu es veld des de la finesa. ol femps de 1a naluralesa, Yunte rlatge! je Tetisiancia del qual lenim.ce [nds enlld de les nostres ments, enti tanta necessiat, — eguiament per conics! cmb les | “Geceleracions que ta tecniticacis vet | onsum han inledult.¢la-vida dels mer, producte a 1a vagada de tol jos processor. tha tame, per ion, mnomps ciete que les teeniques | tivat, un aire proces, ata | | “frrncostament anita las tecniquas dal fa biologia ae Tarauitectuca com. worsible clals de la gine un principi, | { rocessos. ‘un voler ser liquen. molsa. arbre ucbeit, Fascinats exciusivament per a lesa de les formes complexes i —_| Js dleatoris processos formatiu cats digitalment c¢ giving them one form of -ontent or another, organising them one system or another, rejecting ie the xe -p1 memory (we might | saying that ‘a zasents the teleological modern positivisms. Itis,as—_| noted above. energy. or. rather. join De la Sota [fechas acerioganinince-| pr chageetm at th {fi ac cn | to. hand them back to society in the xrchitecture’ niques revisit -cording to the first laws of physics _| anstruction of a vision: light-weight, chitecture_ activating retroactiy put, tor Prygogine, a pure principle —_| ee ee ee | bplion that seeks less ‘eternity: in| sxchange for greater ease and less suffering. the 1eplacement of physical | \y intellectual effort. and of the future| the present—_ - fechniques do not stand sli; each, present has only a limited series of _| yhom (the succession of series in time for an impossiblg inc .ew what they aver 2: post-modgn ‘but wnen techniques seek not to__ a hmitate but to. explore |__without.exploting tho: ¢ past that were unimaginable in hi phenome ‘one of these is fiat the search ___ ‘or geological: that which unifies the sence (they___|__natural, the exact and the social joing. in those__|_ciences, placing us in « theoretically | ror, in a word, single cosmogonic universe.__| jackward-looking memory. technique | i plesent, energy as entropic fulu -- optimisation, fine-tuning of the ‘exchanges between nature and jell fields, but e potentials of [~[ted foe called evolution) added | —}neirday. when dex. qneigy opens | —ftiliee, progressive elimination | [ jo which they all move in ditterent__|___up new dimensidas, then the azzows_| 1 dissolution of differences. _ [“Jemporat atrections, uniting. with prime ate inverled aha oxating fartlittion.ot pracessaainin—| inet approaches to cachitectara imultaneoutly if several aections, | —onstelation of zrows and points thal fo form an cliance thet polaises project cppenrs ihe process. situes the ime ot architecture. -lime's arrows in multiple directions. Jact st could even he said that cnitectures at Lit we dic not jesigning and ploject sow is inverted) and) |___}twould be impossible to speck of __|__ ery least to permet the forward 9. \g-forward, the | __land technique would not be compiete| laspizes at the jthout the most basic vector, the tirst | fe-cichitecure._|___that humankind observed as they sal 1 .d watched what was hi — _ - ima — — - ~@uaderns : NOVES TECNIQUES, ARTFSANTIA~——~ iene aoe 19 JUNY 2004 24220) ‘TRUID. foe toca CBE sees es SSeS a= @ Se ES Ge Se Se oes gem €2= ca DO GO cams (= em R= & Ci eermoac=s Dar ge iam, a 2m SHS wise ose ane = Sor ie es G=Se-ey is GS 25 ob Cre Quaderns : NEW TECHNIQUES. DIGITAL CRAFTS- MANSHIP AND CO3z 200s TURE : Ifiaki Abalos 242020 jue a 1a técnica només hi correspon, -{in nic vecior- ens foznem tecndcrates per tant gent perillosa. sense grutx, ;nidimensionals. Pensar la tecnica. wwul no pot ser igual.a.com ho van | —— fer els moderns, sind que é:un rocés. de proliferacié. d'extoliacié.de. jomps_un instrument de multiplicacié. experiencia ide revisié de ‘experiéncia. oe sor tol aixé pot explicar.se_| | __ imidament o exempliticar-se. amb. Iguns treballs que estem fent. Amb. |___Peter Halley vam decidir sestituix de lps tecniques _|_els mateixos programes de dibuix com| igitals va mo jes Uumitacions _programes de fabricacié, de manert —hradicionals de ecié seriada_| _que vobria una gamma Infinit je paper i ens va perinetre usar fins a. 4 mostres diferehts 1 repetici6, dem: roduint paper pinta introduir varietat. | que estavem. Lalmatesx ossibilitats al tradicional mosaic___| yomé.o portugues. Tots dos processos, paper pintat i els mosaics,no-se'ns | sscapa. estiren enrere iendavant | temps alguna co} ‘Be sortir, de treufe-el rranstormada en|vinil ‘vam treballar anjb Albert Oehlen en |un paviment capag-de-donar una hova qualitat {dentifat a Yespat_—__ A vista, capac spa exterior, adhesin. Quan. jablic. contemporani, rimer a fer moshics pensar__|__ spirats ena | 1c fietxa del temps. Pero també_| Ppatmeten-snuoduitunc. forma ditetent/ ‘entendre 1a qualitat. abans només lassociada a !homogeneitat1a__ ~fprecisi6 i el valor dels materials, ara_| fomnada «.un loc on durant segles es | a estendre: 'ornament, de bell not beactivat. £1 nostre primer disse: industrial, e1 Xurret, utilitza una [geometric orgénica. més obscenat scatolégica que.no pas cibernética, | st propiciar altres formes ais 1 bn.un.arabesc com en la fabricacié. .@_atmosiexa evacadora de le jo. de Janeizo) | ___hraaicional, aensa, propia de les sales! cromatica, |__bte tecture de biblioteques i catés Emig [ ‘eproposant Ja técnica, bona, bonica, 16s matet _parata i atractivament inoportuna. lelaboracié de mosaics pixelats jel paper pintat com a estratagic rme|re modifica: | ocupacié espacial. Tant en el procés jcacié.de les | lie transtormacié del text de Borges fatbtrawa. com un| ;proplacié del'espai public. £s.un_ public. que es planteja ocupar_| lespaciaiment tlocs sense grans__| ropistats.o qualitats, com també. sconsiderar l'ergonomia moderna, _| ‘out there’: the time prior i — hat here is a single vector to isiorical time; the time of harvests, ryihing that can be.or ever was ~feen though the window. the tne of tre, the only flock wos oistencel canbe sured boyd a oh, — find tt lcd weft ston (feed t, probably as & contrast tothe | Gecelsation ha{ioctnfcation and jechnique, we become technocrats lind therefore dangerous, one: limensional people with no depth, ‘cannot think of technique today 1s the modems did: instead we {nould approach it.as a process of roliferation, of exfoliation of times, | instrument for the multiplication ‘consumption have intfoduced into. ‘people's lives, th profluct in turn of land the revision of experience. verhaps all of this can be tentatively both of these processes. There is also, then. a cyclical time that techniques process. the__| ssolved in eneigy bht a desire tobe, ichen, moss... -a.leukocyte._| in our exclusive fascination with. .e beauty of digitally genezated_ lex forms and random formative | recesses, we make the tremendous __Inistake of the modems: we believe! niques of Wecided to return to an_atmosphere sxplained or exemplified by some of __ the projects we have been working —_ mn ecently. With Peter Halley. we | | nat evokes the traditional, intense — {mosphere of library reading. \d caiés, seinsiating the good, | .eap, cheerful and attractively —_—_| .chnique.of. wallpaper as. ‘strategy for spatial occupation. Both_| | in the process of transforming the Borges tex into.an crabesque.and in| | imenutacturing tne product. tne use| Quaderns = NOVI BGP. urea Nr. eRe) ee ES TRCNIOURS. AR sony 2004{ ESANIA~ 22:02 A: Tfiaki Abalos— bt digital techniques moaitied the | {raditional limitations of wallpaper mass production, allowing us to use ‘os many as 64 different patterns and introducing variety and repetition. we. were therefore producing wallpaper ‘Gnd, at the same time, something never betore seen, capable of going pul there, coming out into the open, fansformed into adhesive vinyl. When we worked with Albert Oehlen n.a form of paving capable ot bndowing the contemporary public space with «new quality and {enue we thought about producing josaiics, first based on Portuguese. bobbiestones (Rio de Janeiro) ‘and then on a chromatic range of concrete setts (Barcelona). The process of creating digitally pixelated mosaics enabled us to modify the Conditions of sett production, and hat had promised to be a process bf cratismanship then began to use| Ine actual drawing niograms ir production, feng the ational oman or Porlughete mosaic an {ntinite range of possbilis. The fact| that both procesies. or wallpaper fand for morates [draw ne arrow of [ime backwards and forwards hes fat escaped oie Auer ak. erve fo Intioduch a alifetent way Gtundessicnding quality fommesty [eszociated onty withthe homogeneity recision and vajue of he mates, ‘and now. ‘ce to @ place it becupled for ceafuries: omamen. how reactivated |Our fist industria Lesion ina Xu anplogad.an roan geome. mote obecone cessation han poms Bring about othe forme of use and appropriation ofthe public space This public Hench designed spatially fo occupy places with no fuistanding properties or quaities land to zeconsder excpstvely naiow ‘correct modem ergonomics. It seeks fo-continate tone definition of max pen. deregulated, provocative public spaces. To this end, it plays both on the charm of complex forms and on ew manufacturing procedures made possible by the digital modelling of fommwork and moulds. A combination fof many references to the visual farts and to architecture, it is also ‘q system that imitates plumbing ‘systems, with five different pieces ‘hat fit together to create countless ‘configurations. The fibrous or veined jexture plays the added role of tactile Lttraction, presenting relief rather than the traditional casting or bas- {ollet of concrete, the manutacture ‘and modelling of which called for ‘the intervention of « parametric. design specialist (Marta Malé), as all the pieces have to fit together and ‘adopt natural, fluid configurations, ‘by no means easy to achieve. In the @uaderns + NEW TECHNIQUES, DIGIT AT. CRAFTS: MANSHIP_AND CONSTRUCTED NATU wnecta. Tracta de | en é res. Enel disseny inicial, en la \definicié d'espais___fabricacié de motlles i prototips.en_ pés oberis i 1x6 juga tant amb | _ta digitalitzacié ha permés acceair | r Noes, tigures | sist pans )shavien experimentat mal. perd, jerts per ja modelacié | stot ens ha permés introduir {si motiles. Punt ___|__temporatitats superposades i | de trobada de moles reterencies a ‘—plastiques 1 arguitectoniques—. és aay st imitaels del tradicional com un bane de formigé jontaner, amb cine peces diterents__ la vegada una forma dentendze el nllacen 1 donen contiguracions|__mobiliati aliena als cunons modems, _ finites. E tes peces Ic tex! \questa: multiplicacié i proliteracié és | tprosa.o venosarhii juga.un paper__ Ja técnica. que ens interessa perque special, datract ss Tunica que no.ens atrapa en la—_| cid unidimensional cap alle | que és nou, siné que ens permet ta fabricacié t mbdeldcié det qual__|__ incloure el digital iel natural en. una —ficseclamat tans especiales | ova crtesania digital. una.naea | seny parametiitzat (Marta Malé), | __xarxa d'interessos que constmeix —_ ja que shavien d'acoblar totes les __V'arquitectura iel paisaige que aval 2 contiguract r sdem desitiar. = aixodesenillne | niti design, in the manwiacture - | pt moulds and prototypes, in th i t - [—ontquration of ine omamentati ——t — Aigitalisation gave us accoss 1 iZ |__ hitherto unexplored places, tig! - | ——fand systems, but most of ail it has a | | enabled us to intiod! a = - ‘and contrasting t ut - — imost primitive organic image in - = thing as conventional as.a_ —— — te bench and, at th TT - i 'y of understanding furnit = | tat breaks away trom modern 7 = This multiplication and_ q —Anterests us bi situs the onl — ‘one that, rather than entrapping || ing one-dimensional fascination | Wwith the new. enables us to bring || | together the digital and the naturan—_|___ in a new digital craftsmanshiy - (| network of interests that constructs tne! chitecture and the landscape that [ and ire to tod load = {-@uaderns NOYES ‘I vm ALE

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