This paper reviews the two perceptions of computer in architecture. Some criticize computer use because computers—by their nature mechanistic and algorithmic—support only uncreative thinking and production. However, some increasingly view computers as valuable tools of creative production. Educational research indicates that there is no single "effect" of the computer on creativity; technology can support either uncreative drill or creative production.
In recent years, contemporary architecture has been changed by the evolution of digital technologies not only as production process and design techniques but also as the way of thinking. Computer is an exciting new graphic medium and a research instrument that permits rapid visualization of design but it is unable to explore design, theory and systematic methods. Professionals use digital technology to improve the effectiveness in practice and for better performance of design/build process. Technology affects architects on two planes – first at skill level, second at level of work processes and professional culture.(1). Architects are bound to perform creative, imaginative , intuitive acts, but are forced to do many things that are non-creative and done by some kind of slave i.e. the computer.
Talking to a computer as apparent human being with an intelligence that will accept our remarks, interpret them, understand them and take appropriate action in accordance with our commands is what we are up to. The man and the machine can do engineering ,arrange spaces and forms and design formats but will not play the passive role of pencil and paper. Instead it will be an active partner congenial and helpful, it will anticipate in some ways you wish, will and extent.
Herman Hertzber...
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...ign. For Gehry, technology offers a way of regaining the architects control over the design and construction process that was lost to industrialization. ‘It’s the old image of the architect as master builder’ (3.)as he puts it. The idea of bringing the computer into the office was to introduce it in a way that it did not change Frank’s design process.(4)
The computer program must offer new possibilities rather than simply aping existing ones. The program must be in hands of an artist who can be creative in the medium.
References-
1.Stephen A. Coons, Computer, Art & Architecture, Art Education
Vol. 19, No. 5 (May, 1966), pp. 9-11
2.H.Hertzberger, Lessons for Students of Architecture (Rotterdam,
The Netherlands 010,1991).
3.Friedman, M.ed (1999), p.18
4.Zehra, A. (1995). Information technology at Frank O. Gehry & Associates.
El Croquis,74-75, p.152.
“The architect’s role and their intellectual responsibility is to fight to maintain their vision and little bits get chopped off all the time, but if they’re only little bits, it’s not too bad.’’
Lawson, Bryan. How Designers Think: The Design Process Demystified. 4th ed. Oxford: Architectural Press, 2006.
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
Lawson, Bryan. How Designers Think: The Design Process Demystified. NY: Architectural Press, 1980, 2007. Massachusetts: NECSI Knowledge Press, 2004.
Sorkin, Michael., Mildred S. Friedman, Frank O. Gehry, Frank O.Gehry Associates. Gehry Talks: architecture + Process. New York: Universe Publishing: Distributed to the U.S trade by St. Martin’s Press, 2002.
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
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As I have been using some of the graphics software program such as Adobe Illustrator and Photoshop CS6 their lots of innovation and creation to play around and I have used...