Professional Documents
Culture Documents
MATERIAL ATTENTION
This book, and the conference and workshops it has grown out of, emerges at a
time when there is a renewed interest in questions of materiality in architecture.
The essays and practices presented here respond to very different forces and
concerns within (and without) the discipline and use a variety of strategies to do
so. Some posit an alternative philosophical approach which does not split the
world into form and matter but instead considers it in terms of force, setting up
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equivalence between persons, objects, words, solar systems and so on, which
all act on each other. In such a view the real and the virtual, or the material and
the idea, are part of a continuum of potentiality and actualization. Interestingly,
at least for architecture, developments in practice support these conceptual
frameworks, particularly in relation to digital-based mechanistic processes such as
Computer Numerically Controlled (CNC) milling operations and Rapid Prototyping
which make possible a direct link between conceptualization and production,
undoing a gap which has been such an important part of the discipline’s
structuring.
A number of the essays consider materials in terms of effect, either on the
process of design or on performance. In this view, form emerges out of a
transaction with the material or the material demands or invites certain practices
in terms of maintenance or behaviour. New products, particularly those using
‘smart materials’, add to the persuasiveness of these kinds of analyses. Façade
components which are responsive to changes in the environment, for example,
challenge a view of materials as inert or acted upon, and encourage us to consider
the active aspects of all materials.9
Most of the essays however, would seem to generally accept the hylomorphic
account of architecture and object making. Their approach is to redress the
balance, and to replace neglect with what I have called ‘material attention’.
Inevitably, in adopting this strategy, the primacy of form is reiterated rather than
avoided, but out of the attention to material a number of very different and
interesting issues emerge, ranging from temporality to economics. Attentiveness
to material does not, of course, only happen through intellectual research, but
is part of the manual work of craft or fabrication. A problem for any book dealing
with material attention, then, is how to give making a presence. Here there are
a number of written accounts of making, from sewing and tailoring to slicing a
disused sand dredger in two, and also a number of sections which allow the visual
to dominate and punctuate the textual in an effort to evoke the attention of the
hand and eye within the limits of the printed page.
The contributions here, then, are distinguished more by the variety of their
approaches to materiality than by a commonality but in choosing to put them
together, and in using the term ‘material practice’ in the title, I have tried to draw
attention to what is a shared refusal to consider materials in purely visual (and
static) terms and an insistence on examining materials as part of a network of
forces and actions (although few of the contributors would use this terminology).
Architecture must explore materials in this way if it is to use them responsibly,
to open itself to the potentiality of new and ‘old’ materials and to reach an
understanding of how materials may be productive of effects, both experiential
and political, as it already has to some extent in relation to space. An emphasis on
practice accepts that materials can only be understood (and even defined) within
06
KATIE LLOYD THOMAS
the terms of a specific discourse and in relation to when, where and how they are
produced and used.
In his influential account of a woodworker making a table, Brian Massumi
describes how the qualities of the piece of wood have a future potential to affect
(to resist gravity when a glass is placed upon it) and be affected (to submit to ‘the
pressure of salt shakers and discourteous elbows’) and arise out of its individual
past (‘the evolution of the tree’s species . . . the cultural actions that brought that
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particular wood to the workshop for that particular purpose’).10 The material, at
any particular point in time, is brought into its existence through a developing
chain of events, both ‘natural’ and cultural, and has the potential for a myriad of
future interactions and transformations. Massumi suggests that what is important
in this encounter is not the distinction between form and matter for:
There is substance on both sides: wood; woodworking body and tools. And
there is form on both sides: both raw material and object produced have
determinate forms, as do the body and tools. The encounter is between two
substance/form complexes, one of which overpowers the other.11
the material might yield. Driving this collection is the intention that the essays
presented here do more than ask what the formal possibilities of these shifts in
thinking about material may be.
Building materials are constituted by a whole complex of practices, and
contribute their specific properties to practices which in turn produce new objects
and situations. They are social and cultural constructs, produced through the
complexities of legislation and regulation, through techniques of production
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and fabrication, through language and use. In turn they create possibilities and
limitations, ways of working and experiential conditions which are specific
and individuated.
speed with which students can generate forms digitally does not allow for the
acquiring of a more durable and particular knowledge which comes from careful
attention to making. Alan Chandler is concerned that materials are too often an
afterthought in architectural design, and he too asks how making and risk-taking
can contribute to architectural pedagogy. He outlines three possible approaches
to technical study: the technical strategy as developed by Peter Salter, the
‘negotiated item’, and the hands-on workshop – an event, he suggests, in which
students can engage with the potentials of material and begin to understand that
construction is a social process. Chandler’s essay acts as an introduction to the
visual collection of workshops which lies at the heart of the book. From the tea
house erected in a week with traditional Japanese techniques to the physical
computer built of sash pulleys and ropes, the workshops explore materiality
through construction, modelling, drawing, ornament, taste, smell, sound and
light.
The second cluster of making-related essays investigates ‘crafts’, as Pablo
Miranda puts it, in terms of their techniques and practices. Martin Bechthold
describes his research into building ferrocement shells in combination with
parametric digital design tools and manufacturing techniques. He suggests that
these techniques can do more than simply develop more complex forms and have
the potential to reinvent defunct building techniques and transform our reliance on
standardized components. Pablo Miranda suggests that the craft of the architect is
drawing, and looks at how the tools of drawing delimit and prescribe design and
reinforce traditional techniques. The computer further cements these structures,
but they become hidden from the user and cannot evolve. In Dendroid, Miranda’s
project for a chemical drawing computer, the pattern of material deposits in
the computer’s electrochemical bath can grow different forms of projective
transformations and allow for the possibility of change. Rachel Cruise turns to
the sewing of bespoke clothing to explore two very different methodologies
of material practice. The tailor’s method is highly standardized and is set up
precisely to overcome the ‘abnormalities’ of the cloth and the gentleman’s body.
The home-sewer’s method is iterative and intuitive and produces and works out
of the irregularities and differences of fabric and wearer. Her analysis hints at the
architectural possibilities of the home-sewer’s method, and suggests that it is not
so much a formal idea which determines the artefact as the constellation of
practices which go into its making.
Richard Wilson’s sculpture re-uses materials and alters them at an
architectural scale. It might be seen to have some formal similarities with Gordon
Matta-Clark’s building dissections, but he reveals rather different preoccupations
and ways of working. While Wilson acknowledges that in his earlier work materials
were put to work in the service of an idea, his newer work is more concerned with
developing from its material context and processes.
11
ARCHITECTURE AND MATERIAL PRACTICE
7 >René Descartes, Discourse on the Method and the Meditations, trans. F.E. Sutcliffe,
London: Penguin, 1968, pp. 108–12.
8 >Gaston Bachelard is a rare example of a philosopher concerned with this problem. Not
only is he aware of philosophy’s tendency to privilege form over matter, he also raises the
question of individuation: ‘I was immediately struck by the neglect of the material cause in
aesthetic philosophy. In particular it seemed to me that the individualizing power of matter had
been underestimated. Why does everyone always associate the notion of the individual with
form?’ Gaston Bachelard, Water and Dreams: An Essay on the Imagination of Matter, trans. Edith
Farrell, Dallas: Dallas Institute Publications, 1983, p. 2.
9 >For recent developments see, for example, Michelle Addington and Daniel Schodek,
Smart Materials and Technologies for the Architecture and Design Professions, Oxford:
Architectural Press, 2005.
10 >Brian Massumi, A User’s Guide to Capitalism and Schizophrenia, Cambridge,
Massachusetts: The MIT Press, 1992, p. 10.
11 >Ibid., p. 12.
12 >Sheila Kennedy, KVA: Material Misuse, London: AA Publications, 2001, p. 4.
13 >Lars Spuybroek, NOX Machining Architecture, London: Thames & Hudson, 2004, p. 4.
14 >The varying formats of academic texts and practice-based essays here reflect the
different forms of presentation at the conference. Practitioners tended to speak ad lib to images,
or, in the case of the workshop presentations and tours, by showing the work. They were asked
how they would like to transform their contributions into a book format.