Architect, designer and director of the Material Ecology research initiative, Neri Oxman is professor at the MIT Media Lab, where she directs the Mediated Matter group. Affiliated with computational architecture, she works on the property gradients of materials and on 3-D printing. Her approach of design, which is directed towards organic life, is at the intersection between biology and technique. Material Ecology
In this round-table discussion, the four researchers look at the issue of transition through the prism of the different notions of maintenance, transformation, repair and restoration. These concepts are reminiscent of the issues of destruction, reconstruction and rehabilitation in architecture.
It is a sign of both a shift in our relationship to organic life and the ubiquity of new information technologies that a young generation of architects has seized the digital tools within their reach to conceive of new forms in direct interaction with biological life. This is happening both through computational power and digitally-controlled additive fabrication. Nexi Oxman—an architect and a researcher at MIT, where she founded the Mediated Matter design research group—brings up the links between biology and design in her work on materials and 3-D printing. They reflect the use of biology as a technique and an approach to design that is inspired by nature and that modifies the very properties of materials themselves. Neri Oxman is an architect, designer. She is the director of the Material Ecology research initiative, and teaches at the MIT Media Lab.
For David Ruy, the key change in contemporary globalization lies in the way it is narrated, departing from the naive optimism in the beginning and now moving on to new fears, with each technology seemingly creating its own threats. Nevertheless, humankind will not renounce this knowledge and we will witness the emergence of new worlds based on technological platforms that will provide them with both coherence and communicability. David Ruy is convinced that we are starting to experience a shift in the metaphor of nature, which in earlier times was based on divinity, then later on the machine, and now, on the computer. This connection between nature and computation appears in his eyes to be the major challenge of tomorrow’s architecture, as a hybrid practice informed by new concepts in philosophy, especially Speculative Realism. David Ruy is an architect, co-director of the Ruy-Klein agency in New York, and teaches at SCI-Arc à Los Angeles.
Designing an inclusive city implies involving their residents in urban projects, but what is the role of architects and urban planners in this process? For Andrew Freear, the head of the Rural Studio program, they both have the ethical responsibility of getting locally involved via concrete projects. Architectural schools must thus take on training citizen architects by engaging them in learning by doing, and thus have them redevelop a deep connection with context and places, acting as neighbors and activists within communities in order to collectively carry out experimental projects that tangibly improve society and the environment.
The two Lebanese artists and filmmakers were awarded the 2017 Marcel Duchamp Award for Unconformities, a project currently on display at Hamburger Bahnhof in Berlin. This artwork, like their approach, is based on a methodology of investigation and excavation and aims to offer another reading of history and the traces of the past.
Nicolas Nova was a social anthropologist. Inspired by New Media Studies and design fiction, he contends that the future of design lies in recycling and reparation as well as reinventing forms and functions. Did you know that a used flip-flop could serve as a lighter?
The geographer and orientalist Augustin Berque revisits the polysemic dimension of the term “milieu,” and explains the distinction made by mesology—“the area of biology that deals with the relationships between the environments and organisms”—between “environment” and “milieu.” The reality of things differs depending on the environment of each species or culture, the object doesn’t exist in itself but according to its relationship with the subject. In this way, mesology goes much further than the subject/object dualism of modern science. Ontologically “trajective,” the environment is neither objective nor subjective, but firmly between the two theoretical subject/object centers. Berque takes the term “mediance,” meaning the dynamic coupling of the individual and their surroundings, from the Japanese “fūdo,” to which he adds “trajection,” a process that results in the “mediance” of human existence in its concrete surroundings. Taken as a whole, all human environments, distinct from the biosphere through their eco-techno-symbolic dimension, form the ecumene. For architecture, this implies a respect for history and the environment, without mimicking ancient forms, creating from the “mediance” of each place.
Larissa Fassler is a “Neo-Situationist” artist. By exploring places over the course of many hours, she gleans their ephemeral essence, which she then superimposes on the fixed urban master plan. The subjective maps thus generated highlight both urban narratives and history.
Maximum is a design studio that maximizes the value of waste; its material, its form and its engineering. Some materials are transformed in a semi-industrial process while others give birth to unique pieces, such as the glass walls of the Centre Pompidou caterpillar.
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Eager to share more generously the results of its collaborations and research, PCA-STREAM publishes STREAM VOICES, its online magazine!