ARK600 - History, Theory and Method 3 Lecturer: Jonas Lundberg

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According to Mario Carpo (2018), the world of architecture is set to make a second step into digital
design, by use of Artificial Intelligence (AI). This concept, named the ‘Second Digital Turn’ elaborates
that “AI-driven generative design is wiping out science as we know it, leaving humans with a very
different and unsure future” (Ings, 2017). The AI is capable of holding much more information at any
given time, every amount of data can be handled, in a way that the AI does not need to sort and
search. The main change in this turn, is that the method in which the AI collects its data is "post-
scientific", in other words, it is not a method of conducting science that humans currently recognize,
also defined as ‘design beyond (human) intelligence’ (Ings, 2017).

Such changes – ‘turns’ – in the use of media and representation of designs and concept within
architectural discipline are not new. Since the start of the renaissance, the architectural discipline has
evolved over time due to a series of evolutional turns in the use of media and architectural
representation. It can be argued that the Greek and Roman method of calculation, articulation and
design had an edge for a long time, however this knowledge and progress was lost due to the
devolution caused by the middle/dark ages. The first major turn was the transition from verbal to
visual representation; prior to the renaissance, stories and descriptions were verbally spoken, which
was then ordered into an alphabet of 26 standard graphic signs (Carpo, 2018).

Another revolution during this time period was the perspective painting, most of the artists of the
renaissance, among which Leonardo da Vinci, were emphasizing that painting with perspective has an
edge over the previously used sculptures. Michelangelo opposed this, he argued that a sculpture holds
3-D information, while the painting only represents the dimension of depth on a 2-D canvas (Carpo,
2018). It can be argued that the aspect of 'context' decides which form of representation has the edge.
If the context of a 3-dimentional figure matters, a painted perspective is useful, but without context,
the sculpture holds more information. Perspective has a level of precision, to the extent that it is
measurable, and dimensions can be derived.

After that, the invention of the woodcut allowed for printing of exact copies of those signs and
paintings. Also, photogrammetry evolved from painting, allowing 3-D information to be stored on a 2-
dimentional sheet, which could then be reconstructed by a sculptor, on the other side of the known
world. This later evolved into the virtual dimension by use of the 3-D scanner (Carpo, 2018).

Lastly, Carpo suggests that this turn can be the end for the projected image, since one can take 3-D
images out of reality without the need for another picture to make it a plane again. Data is used in
every step of the design process, 3D modeling, scanning, transformation, printing and transforming.
With the chain going in every direction (Carpo, 2018).

To summarize, three-dimensional models are replacing worded texts and images as our tools of choice
for the notation, replication, representation and quantification of the physical world around us: born
verbal, then gone visual, knowledge can now be recorded and transmitted in a new spatial format.
Which is leading the architectural discipline to a data-based 3D representation of the physical world
(Carpo, 2018).
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The developments in the use of media and representation, as described above, can have a large impact
on the method in which people within the architectural discipline behave. Nothing less is true for the
Second Digital Turn, the presence and the repetitive use of these digital aids change the manner in
which architecture is developed and designed (Ings, 2017).

During the 100th annual meeting of Association of Collegiate Schools of Architecture, D’souza,
Balakrishnan, & Dicker (2012) are warning for the dangers of unguided changes in the way architecture
is designed and developed. They argue that the emergence of digital tools has strongly altered the
architectural learning process, threatening to ignore its core purpose: ‘the learning of visual
vocabularies’ (D’souza et al., 2012).

Lawson identified this threat as early as 1999, arguing that creative design requires deep analysis and
that the emerging (CAD) techniques and tools are non-neutral, thereby discouraging creative design.
Both sources argue that practicing architects and educators are sidelined during the development of
these tools. It can be argued that by intervening in this development, an possibility comes forward to
address the issue and even the architectural pedagogy. (D’souza et al., 2012). By involving architects
and educators in the developments of these tools, they will be adapted to suit the architectural
pedagogy.

However, with new technical tools coming and going faster and faster with new technological
developments, it can be argued that the learned tools during the education will be outdated far before
retirement. Considering that, the pedagogy should adapt to this increased pace in the development
by adopting the skill into the curriculum to teach aspiring architects to keep an open mind to these
new developments; learning to keep learning. Teaching them the techniques to properly learn and
apply new tools and technologies to their architectural profession, once they are developed.

Sticking to the core purpose of its own artistic discipline is especially important for architects. As David
Leatherbarrow(2001) wrote; “what the architect’s drawing is to the building, the painter’s sketch is to
the painting: an indication, outline, proposition, or a projection.” Suggesting that the architects end-
product to the project does not service anywhere near the same purpose as those of other creative
disciplines.

The architectural drawings are a combination of an imagined and a desired situation or representation
(often a building or designed space), whereas the painting is an end-product on itself, ready to be
presentation. Therefore, it necessary that architects are educated with their own specific philosophy
and distinctive toolset, specifically designed and accustomed to their needs.

The functionalities of this toolset should provide architecture with enhanced means to establish their
projections and depictions, such as sketches, plans, models, rendering and even virtual reality
(Baratto, 2017). According to Baratto (2017): ‘using the blend of old a new techniques and tools for
representation is not a luxury but a necessity to test communicate and sell an idea of building not yet
built.
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This paper aims to formulize a manifesto on the role of media and representation in the field of
architecture. In order for the manifesto to be established, the role of media over the course of history
is investigated, as well as how the media and representation are currently manifested in the
occupation of performing architects. An investigation is done towards the way in which the media is
previously and currently used by architects to create their representations of their ideas, concepts and
projects. This investigation on the developments that have taken place in the past allows for a better
argument for possible developments that will undoubtedly happen in the future. By using arguments
over, and the (r)evolutionary developments in, the role of these media can form a basis for the criteria
of aspects that need to be considered for their position in the future.

These criteria can then be used in assessments for future representations of architecture, regardless
of which medium is used. This allows for comparison of the performance of different representations,
even if the media have evolved or developed beyond the border of our current comprehension. That
possibility for comparison is an absolute necessity for any assessment, because of the rapid
developments that have taken place recently and are projected to take place in the future.

Considering the arguments from the previous chapters, some criteria to be included in the assessment
can be considered: method in which information is processed; recognizability of the projection,
representation of context; precision in notation, replication and quantification.

With these criteria, a criteria analysis can be conducted for each new technology and resulting media.
The results of this can steer the development of the emerging technology and method in which that
medium is educated within the architectural philosophy and discipline. Furthermore, these results can
also be valuable in the establishment of specific guidelines and governmental policy, these can contain
amongst other; necessary restrictions and professional conformity. Figure 1 below illustrates a
summary of the method that is used to establish the manifesto.

Figure 1; Method Overview

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I know this to be true: for project teams, early coordination prevents later fallout. Often when people
argue to me about the necessity of groupwork or having a meeting, they like to say: “it is too early for
that”, “it is not a priority right now”, or “I have not anything to show yet”. But usually at that later,
eventual meeting, it is often said: “if I had only known that, I would have done differently”. This
mismatches are often based on details in perception and intentions known by one team member but
were not conveyed to the others at an early stage. These mismatches lead to totally unnecessary
delays that could have been very easily prevented with an one or two hour introductory meeting. Not
only do these delays lead a waste of time and thereby money, both direct costs and human resource
costs. Besides that, it can also lead to internal frustrations within the project team, potentially leading
to distrust and/or discord.

I believe this shows that teamwork and coordination is an absolute necessity from the get-go of any
multi-disciplinary or joint venture project. By communicating the intentions, constraints and
information available from one to all team members early on in the design and collaboration process.
It can then help the others on their way to make a more accurate and aligned start, so therefore it can
be useful to know for all participating members. Not only this, but also the communication of each
team members’ role, the communication structure for the project. In my opinion, these early meetings
should never be considered too early to share information for any self-respecting project team. These
meetings allow for the sharing of intentions, detailing the structure the project team, delegating the
required tasks and identifying the key responsibilities of each member to one another. All these
different aspects in such a way to create alignment and coordination. This prevents later fallouts,
discussions and arguments, which can then prevent project teams from failing or falling apart later on.

I believe that in a time with more, increasingly difficult projects that require multi-disciplinary or joint
venture projects. It is one of the most important responsibility from every project manager to stress
and for the other members to acknowledge the benefits that such a meeting can have for the
remainder of the project. Therefore, I want to take this opportunity to make my personal experience
known to the educational institutions the fields of project management, architecture and civil
engineering.
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Baratto, R. (2017). Trends in Architectural Representation: Understanding the Techniques. Retrieved
April 24, 2020, from https://www.archdaily.com/867060/trends-in-architectural-
representation-understanding-the-techniques
Carpo, M. (2018). The End of the Projected Image. In The Second Digital Turn: Design Beyond
Intelligence (pp. 80–102). https://doi.org/10.7551/mitpress/9976.003.0005
D’souza, N., Balakrishnan, B., & Dicker, J. (2012). Transparency: Literal, Phenomenal, Digital. In
Proceedings of the 100th Annual Meeting of Association of Collegiate Schools of Architecture
(pp. 708–716). Boston.
Ings, S. (2017). Future by design: Will the power of AI reshape our world? Retrieved March 11, 2020,
from https://www.newscientist.com/article/mg23631530-900-future-by-design-will-the-
power-of-ai-reshape-our-world/
Lawson, B. (1999). Fake’ and “real” creativity using computer aided design: some lessons from
herman hertzberger. In Proceedings of the 3rd Conference on Creativity and Cognition, C and C
1999 (pp. 174–180). Retrieved from https://dl.acm.org/doi/pdf/10.1145/317561.317591
Leatherbarrow, D. (2001). Architecture Is Its Own Discipline. In A. Piotrowski & J. Williams Robinson
(Eds.), Discipline of Architecture (pp. 83–103). University of Minnesota Press. Retrieved from
https://www.jstor.org/stable/10.5749/j.cttttqm2.9