Genetic Architectures
/ Arquitecturas genéticas
by Alberto
T. Estévez et al. Lumen Books / SITES
Books,
Santa Fe, NM, U.S.A., 2003. 112 pp., illus.
Paper.
ISBN: 0-930829-51-4. (In English and Spanish)
Reviewed by Rob Harle
recluse@lis.net.au
I had the pleasure of reviewing Dennis Dollens
book, Exodesic: Structures, Tumbleweeds,
Electronics for the September Leonardo
Reviews. Now I have the even greater pleasure
of reviewing a type of companion book, Genetic
Architectures/Arquitecturas genéticas.
This book is the first publication from
the research department and masters
degree program in Genetic Architectures,
founded by Alberto Estévez in 2000
at Escola Tècnica Superior dArquitectura,
Universitat Internacional de Catalunya (Barcelona).
The ESARQ project represents one of the
most advanced architectural research/teaching
programs available. The use of technology
is an essential and indispensable component
of their research approach. Various software
programs such as Rhinoceros, 3D StudioMax
and FormZ are used (and further developed
with the software engineers) to extend and
develop natural structures (such as the
Diatom (p. 43) and to create totally new
forms. These digital images are saved as
STL files which are then printed
using a 3D Thermojet Solid Object printer.
The experimental architectural forms may
also be realised as real 3D objects using
the technology known as rapid prototyping.
Why call this program genetic? As Dollens
explains, genetic means,"...of or relating
to genetics or genes and also --- of, or
relating to, or influenced by the origin
or development of something..." (p. 71).
"...the last year my investigation has turned
to the electronic generation of plant forms
and the elaborate, biomimetic extrapolation
of natural principles in order to study
a series of architectural problems..." (p.
73). Personally I find this biomimetic methodology
very exciting and in keeping with advanced
research in many other disciplines. That
is, working with nature rather than arrogantly
attempting to dominate and subvert it.
The book features six essays which discuss
both the practical and theoretical issues
involved in the overall research program.
There are numerous high quality black &
white illustrations which show examples
of the work of both students and professors.
Estévezs essay, Genetic
Architectures discusses the implementation
of the ESARQ program, a little background
history and stresses the biomimetic approach,
"...proclaiming that the new ecologic-environmental
architectural design does not imply creating
in nature but creating with
nature" (p. 9). He is also at pains to point
out this program is not really anything
to do with using the computer in architecture
to do faster, better drawings. "...we must
now understand software as material
to use in our work" (p. 13). Estévez
is an inspiring, visionary architect and
teacher. His essay plots out a unique new
path for our future built environment.
Puigarnaus essay, Iconoclastic
Aspects of Genetic Architecture deals
with theoretical issues involved in the
new architecture and draws on the work of
both Derrida and Hegel. This engaging paper
also discusses Kants notion of reason
and in a sense serves as a caution to the
students and teachers to ground their praxis
in a substantial theoretical discourse.
Pérez-Arnals contribution,
Ecology & Construction discusses
the role of the future architect and his
or her relationship with other disciplines,
such as the realities of practical construction.
He pays particular attention to environmental
and ecological concerns which will result
in truly sustainable design and building
practices.
Dollens, Towards a Genetic Architecture
outlines his original Tumbletruss research
and how this analysis of natural form and
structure, using various software applications
(previously mentioned), is used as a means
of engaging students in a critical-creative
approach to architectural design and problem
solving.
Pérez-Méndezs essay,
Digital Experience(s) discusses his
email correspondence with Dollens which
led to much of the basic teaching units
at ESARQ. Feedback from Pérez-Méndezs
students at the University of Florida was
used as an integral part of the development
of the course as well. He discusses different
approaches to topological problem solving
using various software packages and how
students work with these.
The final short contribution from Ruiz-Millet
& Planella (directors of Gallery H2O
in Barcelona), discusses the exception to
their policy of not exhibiting student or
studio work " (because of Dollens
unique approach), ...the visualization
and design of surfaces and structures
would be focused on the digital transformation
of the gallerys physical or real
space" (p. 111).
This is an engaging and inspiring book and
I look forward to reading further publications.
As a young architecture student I watched
the Sydney Opera House being built as I
travelled to work each day, an incredible
inspiration. I reflect on the magnificence
of Utzons masterpiece and wonder if
the real buildings which result from the
research in the ESARQ school, with all their
computer technology, will equal or surpass
this building.