Editorial 46
Our reality is one in which the digital and perceived reality –rather than physical reality– take on increasing relevance with each passing second. The pandemic has made clear the ways in which the digital world has become a natural part of our day-to-day lives; at the same time, it has shown that w...
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Facultad de Arquitectura, Universidad Nacional Autónoma de México
2021
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Universidad Nacional Autónoma de México |
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eng spa |
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López Uribe, Cristina |
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López Uribe, Cristina Editorial 46 |
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López Uribe, Cristina |
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López Uribe, Cristina |
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Editorial 46 |
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Editorial 46 |
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Editorial 46 |
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Editorial 46 |
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Our reality is one in which the digital and perceived reality –rather than physical reality– take on increasing relevance with each passing second. The pandemic has made clear the ways in which the digital world has become a natural part of our day-to-day lives; at the same time, it has shown that we can rapidly adapt to its logics. Since March 2020, Internet use doubled and the use of videocall platforms increased by a factor of 10. Few have reflected on how accustomed we have already become to this in our isolation, to socializing and experiencing the world solely through digital platforms. We’ll need more time to determine the full effects on social activities of the increased use of digital tools during this historical period, but the attention we pay to the use of these technologies will doubtlessly increase. This intensified use of social media and collaborative networks will transform the way we understand our disciplines.All the tools we use when designing change us and influence what we create. Design programs tend to favor certain forms and make others more difficult, and so digitally designed and fabricated objects appear as such. cad-cam can be seen as mediators between the designer and the object of design, but they are functionally closer to physical tools such as hammers and chisels than they are to blueprints, and so they leave their mark behind. They’re artifacts for designing and doing at the same time, not tools for noting down a set of instructions.Seen by many as superficial, formalist and irresponsible figures that put forward impossible or expensive architectures, something that is especially wrongheaded in the Latin American context, those architects that advocated for parametric design during the nineties anticipated a digital future that did not come as quickly as the accelerated growth of digital technologies suggested. Thanks to digital media, we now have a bridge that very evidently connects our disciplines. With parametric design and 3D printing, few would dare suggest that there’s no relationship between industrial design and architecture; the same is true for software for analyzing spatial configurations and interconnections, issues which bring together architecture, the landscape and the study of the urban environment.At the beginning of the twentieth century, only a handful of architects dared rise to the challenge that the industrial revolution implied for design: standardized serial production. At least one century later, it’s worth asking why we continue to design this way when the logic of production is being transformed. |
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Facultad de Arquitectura, Universidad Nacional Autónoma de México |
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2021 |
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https://www.revistas.unam.mx/index.php/bitacora/article/view/79051 |
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oai:ojs.pkp.sfu.ca:article-790512021-05-17T23:30:09Z Editorial 46 Editorial 46 López Uribe, Cristina arquitectura medios digitales editorial revista Our reality is one in which the digital and perceived reality –rather than physical reality– take on increasing relevance with each passing second. The pandemic has made clear the ways in which the digital world has become a natural part of our day-to-day lives; at the same time, it has shown that we can rapidly adapt to its logics. Since March 2020, Internet use doubled and the use of videocall platforms increased by a factor of 10. Few have reflected on how accustomed we have already become to this in our isolation, to socializing and experiencing the world solely through digital platforms. We’ll need more time to determine the full effects on social activities of the increased use of digital tools during this historical period, but the attention we pay to the use of these technologies will doubtlessly increase. This intensified use of social media and collaborative networks will transform the way we understand our disciplines.All the tools we use when designing change us and influence what we create. Design programs tend to favor certain forms and make others more difficult, and so digitally designed and fabricated objects appear as such. cad-cam can be seen as mediators between the designer and the object of design, but they are functionally closer to physical tools such as hammers and chisels than they are to blueprints, and so they leave their mark behind. They’re artifacts for designing and doing at the same time, not tools for noting down a set of instructions.Seen by many as superficial, formalist and irresponsible figures that put forward impossible or expensive architectures, something that is especially wrongheaded in the Latin American context, those architects that advocated for parametric design during the nineties anticipated a digital future that did not come as quickly as the accelerated growth of digital technologies suggested. Thanks to digital media, we now have a bridge that very evidently connects our disciplines. With parametric design and 3D printing, few would dare suggest that there’s no relationship between industrial design and architecture; the same is true for software for analyzing spatial configurations and interconnections, issues which bring together architecture, the landscape and the study of the urban environment.At the beginning of the twentieth century, only a handful of architects dared rise to the challenge that the industrial revolution implied for design: standardized serial production. At least one century later, it’s worth asking why we continue to design this way when the logic of production is being transformed. Vivimos en una época en la que lo digital y la realidad percibida –en lugar de la física– cobran más relevancia a cada segundo. La pandemia ha evidenciado las formas en las que el mundo digital se ha vuelto parte natural de nuestro día a día; al mismo tiempo, nos ha demostrado que podemos adaptarnos rápidamente a sus lógicas. Desde marzo de 2020, el uso del internet se duplicó y las plataformas de videollamadas se multiplicaron por diez; al respecto, pocos se han detenido a pensar en lo acostumbrados que estamos ya, en nuestro aislamiento, a ellas, y a socializar y experimentar el mundo sólo a través de plataformas digitales. Todavía falta tiempo para poder determinar todos los cambios que el incremento en el uso de las herramientas digitales del presente periodo histórico traerá para todas las actividades sociales, pero sin duda nuestra atención por el uso de estas tecnologías aumentará. El uso intensificado de las redes sociales y de colaboración modificará la forma como entendemos nuestras disciplinas.Todas las herramientas que usamos al diseñar nos modifican, e influyen en lo que creamos. Los programas de diseño tienden a favorecer algunas formas y a dificultar otras, razón por la que los objetos diseñados o fabricados digitalmente se muestran como tales. Los CAD-CAM pueden ser vistos como mediadores entre el diseñador y el objeto de diseño, pero funcionalmente son más parecidos a las herramientas físicas, como cinceles y martillos, que a los planos constructivos, y por eso dejan su huella. Son artefactos para diseñar y hacer al mismo tiempo, no herramientas para anotar un conjunto de instrucciones. Vistos por muchos como personajes superficiales, formalistas e irresponsables, que proponen arquitecturas imposibles y caras de construir, especialmente equivocadas para un contexto latinoamericano, los arquitectos que abogaron por el diseño paramétrico en los años noventa quisieron anticipar un futuro digital que no sucedió tan rápidamente como lo sugería el crecimiento acelerado de las tecnologías digitales. Hoy, gracias a los medios digitales, tenemos un puente que une muy evidentemente nuestras disciplinas. Ante el diseño paramétrico y la impresión 3D, pocos se atreverían a asegurar que el diseño industrial y la arquitectura no están relacionados; lo mismo ocurre con los softwares de análisis de configuraciones espaciales e interconexiones, los cuales unen a la arquitectura, el paisaje y al estudio del entorno urbano. Al inicio del siglo XX, sólo algunos pocos arquitectos se atrevieron a asumir los cambios que la revolución industrial implicaba para el diseño: la producción estandarizada en serie. Un siglo después, por lo menos vale preguntarse, ¿por qué seguimos diseñando así cuando la lógica de producción se está transformando? Facultad de Arquitectura, Universidad Nacional Autónoma de México 2021-04-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/pdf application/xml https://www.revistas.unam.mx/index.php/bitacora/article/view/79051 10.22201/fa.14058901p.2020.46.79051 Bitacora Arquitectura; No. 46 (2020): Digital Media and Architecture; 02 - 03 Bitácora Arquitectura; Núm. 46 (2020): Medios Digitales y Arquitectura; 02 - 03 2594-0856 1405-8901 10.22201/fa.14058901p.2020.46 eng spa https://www.revistas.unam.mx/index.php/bitacora/article/view/79051/70064 https://www.revistas.unam.mx/index.php/bitacora/article/view/79051/70093 https://www.revistas.unam.mx/index.php/bitacora/article/view/79051/70180 Derechos de autor 2021 Bitácora Arquitectura |