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Arquitectura: Moderno hotel para la msica :

Margot KrasojevicEste moderno proyecto para un nuevo hotel se emplaza en la ciudad de Budva en

Montenegro, y fue diseado por Margot Krasojevic. Montenegro tiene una fuertetradicin musical, y aunque la vieja ciudad tiene muchas salas de conciertos, carece de

salas a menor escala. (Dom, 27 Feb 2011)

La propuesta para este hotel busca dar mayor fuerza al proyecto, mediante la

inclusin de diversos y cmodos salones para conciertos y conferencias. Para de

este modo, llegar a generar un destino equipado por completo para la msica,conferencias y festivales.

El esquema muestra como el complejo hotelero emplazado al borde de los

acantilados con vistas a la ciudad de Budva, se relaciona directamente con su

entorno. El alojamiento se encuentra dentro de una serie de dramticas formasangulares que caen en cascada por los acantilados a la orilla del mar, haciendo

hincapi a la precipitada naturaleza del lugar y haciendo eco a los tradicionales

asentamientos de Montenegro, que se aferran a las laderas rocosas de la costa.

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Ciencia del Diseo en Arquitectura

Tecnologa. Percibiendo la realizacin

Abstract:

Cuestionamiento a la influencia de la tecnologa en la psique de los individuos. Enfoque

de los orgenes de la simulacin y los rituales sociales en un intento de entender las

relaciones entre el entorno construido y el espacio, real y virtual, y su apropiacin. Los

caminos que siguen las computadoras para alterar la percepcin espacial, los criterios

de diseo, las geometras y las topologas.

Los CAD y los programas de simulacin que han sido especficamente diseados por

ingenieros han sido y son adaptados por arquitectos. Cuales de estas adaptaciones son

abiertamente discutidas y controladas por el guionista o el arquitecto?

Tecnologa y subconsciente

Son distinciones hechas entre productos del inconciente o son vistas como partes de

una realidad objetiva pero invisible.

La fascinacin con experiencias compartimentadas en categoras tales como la religin,

lo supernatural, la fenomenologa o la metafsica es evidente en la sociedad actual.

Todos hemos tenido extraordinarias experiencias, que nos han cuestionado sobre suvalidez, stress, miedo, agotamiento y el alcohol inducen experiencias tales como la

paranoia, psicosis, euforia y susceptibilidad, todava retornamos a los patrones

cotidianos y los viejos mtodos de comunicacin o pensamientos y sentimientos

mientras damos vuelta a nuestro subconciente. Usamos de manera inadecuada

simbolos para describir esta conciencia y de este modo confundimos el universo

metafsico con los accesorios de nuestro subconciente.

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Los campos entre el subconciente, la creatividad y la tecnologa han sido expuestos por

Freud, 1929, en su ensayo The Mystic Writing pad, que presenta a la escritura como una

herramienta que reconcilia y publica como las sensaciones temporales y otros campos de

informacin son retenidos por la memoria y son acondicionadas para ser recordadas. El

centro del estudio sugiere que la estructura de la psique est marcando y borrando, donde

cada impresin deja un trazo de nosotros hasta que se desvanece, una contextualizacin.Una realidad virtual determinada por nuestra percepcin y apropiacin del espacio.

Para Freud, The Mystic Writing pad es el camino anlogo al sistema de la sique, que recibe

sensaciones, impresiones del mundo exterior remarcadas por aquellas impresiones, las que

pasan a travs de profundas capas donde son recordadas por la memoria subconciente.

Puede ser que la memoria provoque ataques de pnico y otras sensaciones que no son

relatadas en nuestra vida conciente pero es el subconciente que nos brinda la llave parareconocer y volver a entender la relacin entre ambas realidades.

Derrida reclama que ninguno de nostros aprehende el mundo directamente, pero solo

retrospectivamente, nuestros sentidos recuperan lo que est fuera de nosotros como

producto de recuerdos previos, previas escrituras.

La escritura dice Derrida permite que los suplementos de la percepcin aparezcan ante

nosotros antes que la misma percepcin

Esta creencia es evidente cuando se enfrenta a un hecho cotidiano repetitivo un ritual desupervivencia, tal como ir a trabajar. Seguimos el mismo camino sin realmente experimentar

nuestro entorno, ms bien, lo recordamos y seguimos los caminos que hemos tomado tantas

veces antes. La repeticin es evidente en la arquitectura de hoy. Es como si una paleta se

embotara cuando una buena idea se agota por la reiteracin por ejemplo si del hermoso

aeropuerto, de Kansai, de Renzo Piano una seccin interesante se reiterara en una milla

entera

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Nox, MVRDV, Rem Koolhaas, Daniel Libeskind y Frank Gehry han adoptado nuevas geometras ya

sea para reflejar mltiples lenguajes de programacin, condiciones no esttico, superficies

continuas, animacin/simulacin de procesos secuenciales, los fractales, la imprevisibilidad, o

empujar los lmites de la ingeniera, la materialidad y la forma, hay una caracterstica que ellos

comparten y que es el elemento de sorpresa y la intencin, la arquitectura de las identidades

mltiples, las percepciones, las apropiaciones y la no-linealidad, apoyando el potencial de la

jerarqua nos presentan con un nuevo conjunto de reglas que en la actualidad son la anttesis de

las experiencias piloto automtico repetitivo que enfrentamos en nuestros das.

La arquitectura como esta contribuye al culto de la distraccin, que se expresa en las salas de

cine, la ptica Fairylands ptica, santuario para el cultivo del placer.

Walter Benjamin destaca acerca de la distraccin, generalmente asociada con una discusin

sobre el concepto de la prdida del aura, el se refiere al estado distrado de la mente del

habitante urbano, cansado, aburrido o desbordado por la avalancha de estmulos visuales y

sociales de la ciudad moderna. Comparativamente, slo un turista se deber esforzar

arduamente para concentrarse y tratar de entender su nuevo entorno.

Nosotros estamos experimentando a otras ciudades como en un camino anestesiado, vamos a

lugares que nos recuerdan de donde venimos, y los rituales que llevamos con nosotros, nuestra

identidad que la superponemos con las nuevas .

Benjamin fue uno de los primeros en pensar como la reproduccin tecnologca altera como

concebimos la realidad. Benjamin vi que las mass media nuevas fundamentalmente alteran

las relaciones entre los sistemas significantes de la sociedad y la realidad alterando lare resentacin.

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En relacin a la teora crtica/cultural, la simulacin es el proceso que presenta las cosas

reeemplazando el significado de las cosas que son representadas.

Modernismo y el no llamado movimiento.

El modernismo no siempre es exactamente la misma cosa:

El moderdismo puede ser pensado como una alteracin esttica de la forma y la perspectiva: el

arte modernista es una construccin que se referencia a si misma en vez de ser un espejo de la

naturaleza y la sociedad Hay un desacuerdo entre los psicologos en relacin a los efectos de la

ciudad y la forma como es percibida. La arquitectura moderna coloca los aspectos econmicos y

sociales mas all del estilo y los imperativos del progreso arquitectnico.

La influencia de la tecnologa y su aplicacin en la construccin del medio ambiente.

La Arquitectura moderna acepta una relacin entre el nmero de desajustes psicolgicos, de

acuerdo a algunos tericos es responsible de los sintomas de agorafobia que es esencialmente

un malestar influido por el espacio, sus efectos para la vida moderna estan determinados por las

nuevas tecnologas y clasifica las sensaciones mrbidas como el vertigo, amaxofobia(temor al

transporte) hipsofobia(temor a los espaciios elevados) hidrofobia y antropofobia(temor al

contacto social).

Estas nuevas definiciones psicolgicas desde el siglo XIX, son el resultado de regresionesprimarias introducidas como afecciones sociales por los modernistas.

El hecho es que no se puede entender al urbanismo como la madre de las condiciones

psicolgicas, la herencia gentica influye

Los psiclogos y psicoanalistas acuerdan que las fobias son reeemplazadas e inducidas ahora por

ataques de ansiedad, mltiples desordenes de personalidad y deficits de atencin. anxiety

attacks and multiple personality disorders, attention deficit disorder,

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Esquuizofrenia, depresin, desrealizacin y despersonalizacin son condiciones que alteran

nuestra percepcin y la relacin con el espacio.

Los rascacielos, ascensores, hormign visto, muros cortina de vidrio, techos y muros flotantes,

fluencia espacial y planta libre son los mayores contribuyentes al movimiento de la arquitectura

moderna.

Como consideramos los cambios tecnolgicos en relacin a la Arquitectura de hoy?

Los efectos son arguidos, precisamente, por los nuevos campos de la psicologa, la sociedad de

hoy necesita a la Arquitectura no como la culpable de las patologas o como fuerza inductora, es

obvio que vivimos, trabajamos, amamos de la misma manera que lo hacamos antes , la

abundancia de experiencias e informacin no debe ser temida debe ser aceptada y entendida,

la tecnologa debe ser re entendida desde un nivel que nos permita adaptarnos y apropiarnos

porque hemos nacido para adaptarnos y sobrevivir

La desaparicin de la ciudad por la informacin no necesariamente es cierta, hemos aprendido a

leer a mayor velocidad, hemos diseado mtodos que nos permiten estar mas alertas y por mas

tiempo, la artificialidad es mayor que el contacto con la naturaleza, tenemos mas opciones .

Ocasionalmente tenemos corto circuitos en nuestros cerebros y cuerpos que nos ponen enalerta, en ansiedad y sobre estimulacin.

La seleccin de las mltiples personalidades son presentadas a nosotros en la forma de e-mails,

salones de chat-redes sociales, estan cambiando nuestros cuerpos y nuestras mentes de tal

manera que nuestras identidades estan cambiando.

Las posibilidades al incrementarse estan cambiando la pregunta sobre la pregunta que es larealidad? Lo ue uede estar claro es ue cada vez es mas dificil entender los lmites.

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Adapting to the changes around us makes us rely more on our intuition and memory

experiences to guide us similar to a series of deja vues remnants of the previous trace

experienced, this reflects the characteristics of blind alley with the bored, jaded inhabitants of

the city simply existing.

This is one direction that the excesses of information technology can lead us alternatively we

can introduce new realities which question all our previous experiences, reality never

experienced twice in exactly the same way, this reality is not synchronized but liquid it does not

depend on our bodys forward masking. Surprise is when forward masking doesnt synchronise

with the actuality of that half-second response time that it takes longer for a signal to be

processed. This is what we are now seeing in buildings by NOX, MVRDV, Daniel Libeskind and

Frank Ghery. Referring back to the non-repetitive, the unexpected an architecture of forward

masking.

Whose reality is it?

Architecture supports societies need for diversity and liquid identities. We must understand that

non-static conditions are not purely environmental but exist within social, political and

technological disciplines affecting monumentality, permanence, typologies, awareness,intention, experience and availability. Social Conditioning.jpg

Space we inhabit and appropriate via our bodys relationship to these parameters must also

begin to realise the connection between the body and the mind. The intimate connections

between emotional diseases affecting the psyche also influence the bodys relationship with its

context as a result of this communication. Descartes the 17th century philosopher and French

mathematician enshrined the metaphysical divide in what came to be known in Westernhiloso h as mind-bod dualism . The world of the mind seems ver different from the one

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inhabited by our bodies. The psychic space inside our heads is infinite and ethereal; it seems

obvious that it must be made of different stuff than all the other organs. Cut into a body and

blood pours. But slice into the brain and thoughts and emotions dont spill out onto the

operating table. Love and anger cannot be collected in a test tube to be weighed and measured.

However, many Eastern mystical traditions contemplating the same inner space have come to

the opposite conclusion. They teach that the mind and body belong to an indivisible continuum.

Mind and body, psychologists and neurologists now agree, arent that different. The thoughts

and emotions that seem to colour our reality are the result of complex electromechanical

interactions within and between nerve cells. The disembodied voices of schizophrenia and

feelings of panic, depression although they seem to be based on reality and certainly are

exorcised within the physical world alas are no more than distortions in brain electrochemistry.

Researchers are learning how these distortions evolve and develop, how to lessen their severity

and, in some cases, how to correct them. Scientists are realising that not only is the mind like

the rest of the body, but the well being of one is intimately intertwined with that of the other.

They share the same systems, nervous, circulatory, endocrine and immune.

Disorders in the brain can send out biochemical shock waves that disturb the rest of the body.

An unhealthy body can lead to an unhealthy mind and an illness of the mind can trigger or

worsen diseases in the body. The pathology of depression, for example, shows with especialclarity that mind and body arent separate at all; they are part of a single system.

If this belief of mind and body exchange is becoming more popular and supported by more

disciplines than how can we as architects reflect the growing concern for societies psyche? If we

suffer within our minds eye and unleash the results of our fears and anxieties in the physical

world than it also becomes a problem for the built environment.If we believe that the builtenvironment should reflect not onl technolo ies influence on societ but also in turn societies

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response to the continually changing ritualscape how then do we deal with the increase in the

numbers of mental diseases?

Even when the antithesis of these is presented to us with the multiple ways in which we can

dislocate and leave behind our ritualistic reality we condone and support the de-realisation of

event, but when our identities blur these edges of virtual and actual we are pigeonholed as

having a mental disorder, surely there is a subtitle somewhere which does not group the many

symptoms of the age we live in with disorders whose influences are not as a direct exposure to

technology alone.

Environments are responsible for contextual change in opposition to social constraints.

Whichever way you respond to the evolution of architecture and the built environment whether

embedded in rhetoric or obscured by reference, it is without a doubt a self-indulgent discipline

alluding to a reflection of social change, politely implying a future vision altering habit and ritual

but it is precisely this fear of openly discussing the anthropological which weakens through

suggestion and acceptance the position of architecture today.

There are concerns with the socially and intellectually acceptable reforms and inventions to

which architecture plays host. Narratives replace mappings, post-modernism makes way for a

digital revolution all approaches buried behind the illusion of necessity, inspiration andtechnological achievements along with the obvious true reflection of social discourse. However

it is this very camouflage which offends the honesty of a discipline which has always been

prostituted to adaptation and acceptance because of the very nature of its regeneration, that of

social acceptance and support. Architecture defends itself as a social animal working for the

good of mankind/womankind but somewhere along the way we have been delicately infusing

projects with multiple meanings covering a plethora of perceptions and readings of a project allin the name of technolo et the need for realisin the ro ect dilutes the initial intentions

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leaving a multi-disciplinary infused mess in the making. Shying from original project criteria,

striving for acceptance and in turn confusing conversations leaving them to critics, sponsors and

patrons to translate these very origins, publications in search of addressing and categorising

pigeonholing to be able to dissect and in turn control the bridge between design and society

itself. Not to mention boredom, which I sincerely believe is on the top of any discerning

architects criteria list. The need for reinvention whether appropriate or necessary is yet again

disguised by trends and the general feel of what type of future we are as a media infused

society in need of, these trends offering passports to acceptance. Questions which reduce the

layers of architectural deception stripped bare to reveal true intentions and honest discussion

need to be addressed, whether it be for other architects or the public the only conversations

that are truly lost in translation are the ones which patronise and avoid the truth behind

architects priorities in relation to design.

Digital design & continuous modelling

Computer science acts not only as a tool for formalism and space but questions our need for

change and adaptation. Speed, time and the non-static are infused within areas of our everyday

lives. Redundant typologies resulting from technologies influence on society reduce theritualscape as we have known and followed it whilst infusing it with a new tradition of change.

Having considered the effects and possible reasons for implementing computer simulation and

animation as part of a theoretical design process, (instead of a means for representation or a

considerate afterthought) computer programs and their actual manipulation for the evolution of

space, architecture and the built environment need to be defined along with the reasoningwhich architects use to ada t and mani ulate these ro rammes to suit the disci line. With

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modelling and toolpath management, the use of I-deas and PowerShape programs, 3 D

modelling with Catya, Pro/Engineering and SolidWorks run alongside PowerMill programs taking

the 3D models to Bridgeport machines, these systems cover the entire structural design process

from conceptual design to detailing, fabrication and construction. These tools provide the

ability to design and create an intelligent building model of any size or complexity with ease and

precision, configurations of these design possibilities distance the architect as they are rarely if

ever involved in customising software by adding scripting languages. Real-time collaboration

between users across industries and project phases create smooth information flows using

faster, accurate and more accessible simulation software enabling the analysis of non-static

conditions and ever changing contexts both virtual and real, focusing on forces of change and

time sequencing to understand our ever changing contexts.

The language of simulation and modelling programs allows us to capture time and motion

through form and space, giving us the ability to design spaces, which are assemblies of these

forces, simulating static and dynamic conditions and their effects in space, both perceiving and

appropriating the virtual and the actual. Time is no longer a linear condition instead we can

postpone, edit and cut our immediate responses , choosing to create spaces, which reflect

forces and change. As a result design spaces are conceived of as environments of force andmotion rather than as neutral vacuums. Monumentality versus animation. Disregarding

symbolic gestures and replacing them with sequential design and ephemeral space, that of non-

static.

Intuitive strategy

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Current programming involves making systems perfect beforehand, rather than perfecting the

system in place as part of the design process, consequently CAD programs are inflexible,

although grounding them in the real world and making them more open-ended, more

independent and fallible like living systems enables an intuitive description to design. Computer

programs, which include the possibility of mistakes, are the antithesis of the present day

generation of computer engineering. The mechanism used as part of the design process is again

the anathema of the concept of continuous modelling which considerably reduces mistakes

replacing this intuition with consistency.

The problem with gaining a flexibility with regards to computer programs and their application

to spatial design, is the question of repetition, attempting to understand the type of

appropriation of that space necessary as part of the abstraction, again, ownership and claiming

the design is brought to attention.

The similarities between intuitive design and an intuitive computer program influenced design is

not merely replication of one condition to inform the other but an exposure of the fact that we

make all our decisions in the same way whether we have 10 seconds or 10 years to compile

accuracy for a definite response or not, reason being is that we never have complete

information, therefore as discussed earlier we forward mask responses unless they surprise usand introduce us to the unexpected.

The definition of space, which uses intuitive computer program simply to mimic a living thing

due to its mistakes and non-hierarchical direction of design, is an expensive and theoretically an

uncertain process, which is also achieved through the choreography of digital models and

physical ones.

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Design processes developed purely with 3 dimensional modelling (whereby the computer

program defines space allowing us to control the outcome of the information analysed rather

than letting the program evolve as a system divorced from strategic and speculative input) use

computers as sketch books amending schemes as a continuous process of design, showing

higher degrees of consistency throughout the process, mistakes through reconstruction are

avoided because the 3d model is regarded as the scheme rather than just a representation of

the design which it technically is, however there lies a problem with regarding the digital model

as part of the design process; the instinctual development of design criteria is lost as is the

sense of identity and authorship, as there is no need to reconstruct parts of the design there isalso no accidental design criteria evolution, a stumbling over and design reconsideration (similar

conditions to the natural systems of new computer programs use). The definition and use of

Metaball geometry, scripting for interactive parametric design, NURBS modelling, virtual reality

modelling, presentation, and CNC milling are associated tools with the potential of translating

form to fabrication.

NURBS modelling involves the gradual development of a shape, which is altered and refined

without deleting old shapes in order to create new ones. The continuous revision of a models

metamorphosis is synonymous with time sequence and non-static design, a streaming of

process rather than the stop frame qualities of fixed physical models.

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Hyperbolic geometry

NURBS however first appeared in CAD packages, which were initially used by engineering

disciplines. Parametric modelling automatically updates schemes where focal areas have been

altered; this automatic response adjusts the entire model affecting the configuration as a whole.

The latest computer programs use parametric modelling offering the widest possible selection

of B-spline geometries, palettes presenting more complex geometries seem to be the

prerequisite for the successful exposure of digital design. The architects knowledge of formal

process has been handed over to the scriptwriter who in too few cases is directed by the

architect, but mostly computer program packages offer the architect a kit of parts. Animation

and simulation programs initially used by structural engineers to determine forces acting on a

building are now being used as part of the design process rather than as an after thought

addressing motion and force in building and space. As important as these design processes are

the involvement of the architect with regards to program writing is essential to the outcome of

the project.

To summarise; the digital age and the evolution of technological achievements has increased

the rate of change within societies habit and ritual. This symbiotic relationship has fuelled the

apparent need for reinvention and regeneration, and with it the tools for generating space andform are breaking with the outdated geometries, which have until now crystallised the presence

of architecture. Confusion lies with the reasons which influence and camouflage the true

intentions of architecture and space leading in more cases to a signature design whereby the

use of computers push the boundaries without clearly addressing the parallels between

disciplines or indeed the reasons for the use of geometries which can only be defined and

communicated via the computer, to an understanding and a reflection of change, adaptationand non-static conditions which we are faced with more and more. Ownershi of a

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computational design process being clarified by the architect when working alongside a

software programmer, at which point does the program take over from the initialisation of

the software and is this point ever addressed successfully or even communicated as an

intentional/integral part of the design.

The importance of digital design needs to find a way of working with architectural

strategies rather than around it for a clearer conceptual, topological and theoretical

application to space. As society adapts to survive so do computer programs as both are

fallible and in the process of becoming, never simply being and because both are losing

control.

Notes:

1.Freud, Sigmund: A Note Upon The Mystic Writing Pad, Vienna 1925

2.Virtual reality: A term given to the simulation of a real or imagined environment that can be experienced visually in the threedimensions of width, height, and depth and that may additionally provide an interactive experience visually in full real-time motion.Benedikt, Michael: Cyberspace First Steps, 1991 M.I.T.3.Derrida, Jacques: Writing and Difference, 1967 translated 1978,University of Chicago4.Benjamin Walter, essay: The Work of Art in the Age of Mechanical Reproduction (1928) reprinted in Illuminations Schocken Books62 Cooper Square NYC 100035.Lunn Eugene: Marxism and Modernism, An Historical Study of Lukcs, Brecht, Benjamin, and Adorno,1982. pp416.Zurbrugg, Nicholas: Transit Lounge, An essay on Forward Masking, edited by Ashley Crawford and Ray Edgar, Thompson Press:India 1997, pp156-1587.Descartes, Ren (1596-1650) Treatise of Man Ren. French text with translation and commentary by Thomas Steele Hall. Harvard

University Press, Cambridge, Massachusetts 1972xlviii, 238.Ritualscape: A term given to a repeated formulaic gesture and its effects within the physical environment, the appropriation andtransition of this social conditioning.9.De-Realisation: A term given to an experience whereby the individual perceives the world around them to be unreal. Theexperience is linked to De-Personalisation10.We experience time through cuts Virilio, Paul: L espace critique, edited by Christian Bourgois, Paris 1984

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