The Rob|Arch conference series on robotic fabrication in architecture, art, and design was founded by the Association for Robots in Architecture with the goal of…
a3 _ research
meme pool for architectural design course @ Università di Bologna
Curated by Alessio Erioli
Futurist experts have estimated that by the year 2030 computers in the price range of inexpensive laptops will have a computational power that is equivalent to human intelligence. The implications of this change will be dramatic and revolutionary, presenting significant opportunities and challenges to designers. Already machines can process spoken language, recognize human faces, detect our emotions, and target us with highly personalized media content. While technology has tremendous potential to empower humans, soon it will also be used to make them thoroughly obsolete in the workplace, whether by replacing, displacing, or surveilling them. More than ever designers need to look beyond human intelligence and consider the effects of their practice on the world and on what it means to be human.
The question of how to design a secure human future is complicated by the uncertainties of predicting that future. As it is practiced today, design is strategically positioned to improve the usefulness and quality of human interactions with technology. Like all human endeavors, however, the practice of design risks marginalization if it is unable to evolve. When envisioning the future of design, our social and psychological frames of reference unavoidably and unconsciously bias our interpretation of the world. People systematically underestimate exponential trends such as Moore’s law, for example, which tells us that in 10 years we will have 32 times more total computing power than today. Indeed, as computer scientist Ray Kurzweil observes, "We won’t experience 100 years of technological advances in the 21st century; we will witness on the order of 20,000 years of progress (again when measured by today’s rate of progress), or about 1,000 times greater than what was achieved in the 20th century."
"Just as human-centered design crafts structure and experience to shape intuition, post-human-centered design will teach intelligent machine systems to design the hierarchies and compositions of human behavior."
Developed specifically to explore the possibilities of multi-color, multi-material 3D printing, the starting point for ZHA was to design a relativel
ZHA 3D printed Chair design process
another excellent example of how modes of production (additive fabrication) can be symbiotic to modes of thoughts (algorithmic design) and material systems (form, shape and material properties across scales)
RMIT's new 3D printed mace was born of a unique collaboration between engineering, design and silversmithing.
harnessing complexity, articulation and detail potential of additive manufacturing in a design project with exquisite craft (in the design and use of algorithms as well as in the production and assembly)
Archaeology of the Digital: Complexity and Convention, the third show curated by Greg Lynn at the Canadian Centre for Architecture in Montreal, explores the digital origins of 15 projects by world-renowned architects including Zaha Hadid, Office dA and Morphosis.
Chattanooga, Tennessee startup Branch Technology recently announced the winner of its Freeform Home Design Challenge. The winning design, WATG Chicago's 'Curve Appeal', will be constructed using the company's C-Fab 3D printing technique. Construction will begin this July.
Thanks to the Landsat program and Google Earth Engine, it is possible now to explore how the surface of the Earth has been changing through the last thirty years or so. Besides the obvious issues of interest, like changes in vegetation, the spread of cities, and the melting of glaciers, it is also possible to…
change is the only constant condition, stability is attained at great cost. A river flow changes the bed shape, which in turns changes the flow itself in an iterative feedback process