Oculus - Winter 2015 - (Page 34)

feature Thinking Beyond the Flat Page The digital line morphs in ways that were not possible with ink, vastly expanding our design capabilities ©BanG studio B Y B A B A K B rYA n , A iA , Leed A P, A n d hen rY g ro s mA n D 34 Oculus Winter 2015 dominant metaphor emerged: digital modeling. Many offices today distinguish between "drafting" in software such as AutoCAD, and "modeling" in software such as Rhino, Maya, or FormZ. Unlike drafting software, modeling software rarely seeks to replicate the tools or experience of working with physical materials. The distinction between drawing and modeling is largely rooted in the notion that drawing operates in two dimensions and modeling in three. But would your drawing cease to be a drawing if your pen were freed from the flat page? We don't think so. What makes drawing drawing is how the architect thinks while doing it. Drawings uncover (above) The Billion Oyster Pavilion installed on Governors Island. (below) Tumbled Weave: study for the material effect of the canopy of the Billion Oyster Pavilion. Billion Oyster Pavilion client: FIGMENT City of Dreams, ENYA, AIANY, SEAoNY BanG studiO team: Babak Bryan, AIA, LEED AP, Henry Grosman, Suzie Betts; with Machine Shop 8 and The Harbor School structural enGineer: Robert Silman Associates ©BanG studio rawing was once easy to identify. There was a stylus making a mark, and a tool to guide it. Not so long ago, the Mayline was the standard at every draftsman's desk, an essential tool to ensure that lines remained straight and parallel. Of course, lines need not be straight, and these days (thanks to the computer) they often aren't. The weighted drafting ducks used in ship design and the sandbox rail sweeps used in early automotive design are the mechanical progenitors of spline-based software found in offices today. The tools have evolved and the lines they produce have evolved with them, but the practice of drawing a line in space with a mouse or a script is not fundamentally different from drawing one with a pencil. To understand the way drawing operates in a contemporary practice, one needs to take a more expansive view of the term than is typically used. We believe that in recent years, drawing has not become less relevant, but rather less easy to identify, because it has been defined largely in terms of arbitrary distinctions between tools, rather than by a critical understanding of a fundamental design practice. Since the proliferation of the graphical user interface in the early 1980s, drawing has often been defined by metaphor. Early digital design software consciously tried to reproduce the user experience of manual drafting. As sophisticated tools from the film and automotive industries made their way into architecture schools and then into offices, a second Reinventing Architecture: Design in a Digital World

Table of Contents for the Digital Edition of Oculus - Winter 2015

First Words Letter from Two Presidents
Letter from the Editor
Center for Architecture
One Block Over
Opener: Practical Attitudes
ICE in the River: Cornell Tech’s Center of Connectivity
Restoring – At Least Virtually – One of England’s Greatest Lost Buildings
At the Corner of Past and Present
The Design-Fabrication Dynamic
How Big Data is Reshaping Architecture
Architecture at the Digital Edge
3D for the Defense
Thinking Beyond the Flat Page
In Print
51-Year Watch
Last Words
Index to Advertisers

Oculus - Winter 2015

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