byThomas Rusher

Digital Sensibilities

Architecture finds itself at an exhilarating and dizzying confluence of multifaceted methodological approaches to design generation vis-à-vis “digital sensibilities.” A departure from fixed static ideologies, pedagogies, and frozen prescribed typologies based on standardization and modular units is being replaced by an exhilarating liberating moment of dynamic digital design methodologies of fluctuation and evolutionary connotations, “Flux Architecture.” The emergence of Digital Fabrication Techniques that transfer data directly from computer to controlled manufacturing devices are creating potentials for the resurgence of idiosyncratic and variable components, assemblies, and system possibilities in architecture. Linear methods of thought and modular incremental thinking are alien concepts to the multi-linked web like thought connections associated with growing digital design methods. Greg Lynn references sensual forms, developmental processes and complex assemblages as issues that designers have struggled with in the past (Architectural Design, “Folding in Architecture)[1] . Flux Architecture lends itself to variability, morphological sequencing, temporal analytical studies, evolutionary links, relational models and dynamic moments of intervention that allow designers to adapt and reevaluate design methods instantaneously. Powerful computational software like form•Z, 3D Studio Max, and Maya afford designers the opportunity to explore with parametric controls, intuitive real-time responsiveness, and output for prototyping.

The digital age has irrevocably changed the character of architecture. Its directions and mantras are as diverse and dispersed as quantum particles with base theories in play and new hypotheses being developed and discovered each day. We are just beginning to understand the possibilities, boundaries, and ramifications of the digital to the architectural profession. A new generation has emerged that is ostensibly comfortable with technology and seeks methods to advance and leverage the technology of their time to be as innovative and expansive as design

predecessors from the previous century. New directions are being created by many as quickly as the technology changes. form•Z, with its new dynamic tool set, key frame animation and deformation tools give students a range of possibilities to explore temporal tectonic issues associated with flux architecture. The accelerated exponential growth and change of the digital as it relates to humanity is one of the greatest issues that face not just architects but all of civilization.

We are moving into an era of the digitally connected and disconnected. This has to do with access, familiarity, and acceptance or rejection of digital technology. It is difficult to move through our urban centers without being digitally documented with video cameras. Toll road authorities conveniently take snapshots of our vehicles and send us bills. Credit cards leave digital traces of our presence and behaviors. Society seems accepting or oblivious to the invasion of privacy at all levels from a grocery store savings card that clutters our wallets and key chains, to documenting which Web sites you frequent, the time spent there, etc. Privacy issues proliferate; liberties are eroded, while at the same time freedom of connectivity and expansion of thought breed through digital means. Those that accept seem to be very accepting, perhaps to the point of dependency. Who wants to leave home without their cell phone or all-in-one-communications device? If left at home, do we feel disconnected and incomplete? Notions of phantom buzzing from non-existent cell phones and blackberry communication devices are being equated to phantom limbs of amputees. The body readily adjusts to new associations and adapts to loss. Those that reject seem to be adamant about the glory days of pre-digital concepts or are genuinely unable to adapt to the accelerated pace that is demanded by the technology. Perhaps there is a middle ground between being overtaken by and overly dependent on technology, and knowing when the human component should intervene in a process be it design or otherwise.