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Beyond Mere Representation: The ChangingPerspective of Computer Use in American Architecture

M. Saleh Uddin

Introduction

Although technological changes have arrived withinthe architectural profession at a slower pace than otherfields, the recent use of 3D modelling and multimediaapplications portrays significant changes that areoccurring currently in the field of architecturalvisualisation and design representation. Architects anddesigners have begun to experiment very recently withthe digital media that reaches beyond the purpose ofmere presentation or documentation in Auto CAD.

Compared to the invention of still photography andits elaboration into the motion picture, architecturaldrawing formats and conventions have lagged behind.Before the advent of electronic technology, there wereno new drawing types since the invention ofperspective theory in the Fifteenth Century. The theoryof axonometric drawing or parallel projection, anotherconvention of three-dimensional drawing, also datesback to the time period of the Italian Renaissance. Ifa new approach could be achieved that would bringtogether all known conventions (plan, elevation-section and 3-D views), architectural drawing would

By surveying a total of 55 cutting-edge architectural design offices (mostly in theUnited States), this paper looks at the use of computational media to get an overallunderstanding of its current use for architectural design presentation. The intent ofthis paper is to highlight the changing direction of computer presentation throughgraphic examples, specifically three-dimensional modelling that goes beyondconventional representation. The paper also illustrates various types of uses ofcomputer media by designers into specific categories, and extracts a summary ofhardware and software preferences.

Keywords: Digital Media, Design Offices, Non-conventional Representation,3D modelling

move into a new arena where the comprehensiveoverview of the design could be as important as itstechnological base. From the survey of 55 designoffices it is apparent that the computer media forrepresentation is being aimed at that direction, by anumber of avant-garde design offices.

The selection of the offices in this paper wererandom and were varied in the size of establishmentas well as type of projects. The total of 55 officesinclude; Architecture Research Office (New York,USA), Arquitectonica (Florida, USA), Office dA(Boston, USA), Ellerbe Becket (Minnesota, USA),Helmut Jahn of Murphy/Jahn (Illinois, USA), KajimaCorporation (Japan), Machado and Silvetti Associates(Massachusetts, USA), Morphosis (California, USA),Eric Owen Moss Architects (California, USA), NBBJ(worldwide), Cesar Pelli & Associates (New York,USA), Perkins & Will (New York, USA), Polshek andPartners Architects (New York, USA), Richard Rauh& Associates (Atlanta, USA), Resolution: 4Architecture (New York, USA), Bernard TschumiArchitects (New York, USA), Venturi, Scott Brown and

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Associates (Philadelphia, USA), and Ken Yeang(Malaysia).

Practice in Context of Education

For any professional field it is important that both theeducation and the practice complement each other interms of knowledge dispersion and gaining feedback.At the beginning of computer use in architecture, itwas the profession, who took the upperhand anddemanded production drawings from new graduatesusing the new digital media. The feedback fromeducation was subliminal. Practitioners in 1980’s haveblamed architecture schools for not preparing newgraduates for the new technology, especially CAD.This claim was also reinforced by the AmericanInstitute of Architects, the representative body of theprofession. That trend has changed during 1990’s.Now fresh graduates bring more diverse andcomprehensive computer knowledge than everbefore. Many offices now look forward for newgraduates to introduce new computer application,rather than using existing ones.

On the other hand the universities have alwaysfocused on total learning of computer environment,not just AutoCAD. Most curricula in the United Statesnow emphasise 2D drawing, 3D modelling, desktop,and multimedia and their various use inconceptualisation, as well as representation of designideas. Software training is not the goal, rather, it isthe use, that extends beyond the limit of the designstudios. It is not only to learn how to create images,but also how to use them for various purposes, likesurvey, reports, on-screen presentation, internetsubmissions and so forth. Between 1992 and 1996 asignificant number of schools adopted Form•Z, a new3D modelling and rendering application designedinitially for architects, with the big question that thepractising offices at that time were not using Form•Z.Many other schools were hesitant to adopt theapplication. Today that question does not exist sincemost avant-garde design offices create their modelswith Form•Z (including Peter Eisenman, Frank Gehry,

Morphosis, and others). It seems that the missing linkis disappearing slowly.

Hardware and Software

By reviewing (55 design offices) all the projectsfeatured in the original published book DigitalArchitecture by McGraw-Hill (Uddin, 1999) by theauthor of this paper, it is clear that architects anddesigners are settling down on their choice ofsoftware. Although not intended to be a completelist, it can be summarised that the following applicationprograms have become widely accepted forarchitectural use at present time.

• For production drawing: Auto CAD, (some useof Form•Z, Microstation, MiniCAD, ArchiCAD)

• For modelling and rendering: 3D StudioMax,and Form•Z (some use of Microstation,MiniCAD, ArchiCAD)

• For page layout: QuarkXpress andPageMaker.

• For image manipulation: Adobe Photoshopremains the invariable choice.

• For animation and video editing: AdobePremiere

• For multimedia authoring and presentation:Adobe Premiere, PowerPoint, and Directorhave common use

When comes to platform, smaller offices withstrong design commitment tend to prefer Macintoshplatform, whereas the larger corporate offices are inWindows network. Midsize offices in few cases haveboth platforms in operation. Use of Zip (as well asJaz) drives are common to all offices. CD writingcapability is also becoming a common feature in mostoffices.

Primary Use beyond AutoCAD

Architects and designers have begun to experimentvery recently with the digital media that reaches

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beyond the purpose of mere AutoCAD presentation.The use of various modes include: conceptualisation,design synthesis, design presentation (2D drawingand 3D modelling and rendering), desktop publishing(brochures and reports), animation (movies, andvideos), web-page authoring, multimedia andhypermedia authoring (slide show, interactivepresentation, QuickTime VR movies).

According to the types of uses, the work submittedby the designers can be subdivided into:

a) Conceptual Studiesb) Dimensional Orthographicsc) 3D Modelling and Renderingd) Desktop Publishing Formatse) Digital Analysis

f) Digital Hybrids, andg) Digital MultimediaThe examples shown in the next section under

the heading Non-conventional Models illustrate anumber of design projects that fall into thesecategories.

Non-conventional Models

It should be noted that the drawings in this sectionare drawn before the construction of a building, or infew cases for unrealised buildings. Such drawings

Figure 1 (near right top).Matthew Baran’s conceptualschematic design for a Schoolof Architecture.

Figure 2 (near right bottom).Architecture Research Office’sanalysis between longdistance and near views forthe Sunshine Messa House.

Figure 3 (far right top).Conceptual embroynicgrammer of form byMorphosis.

Figure 4 (far right bottom)Integration of technical linedrawing and pictorial imageby Richard Jensen.

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often play an important role in the development ofarchitectural ideas and new movements, and aredifferent from drawings that only document a building.Drawings in this segment of the paper illustrateexamples that are non-conventional in nature andexplore the digital media beyond typical representationthrough three-dimensional modelling.

a) Conceptual StudiesMatthew Baran’s (California, USA) conceptualschematic design studies for a School of Architecturewas developed simultaneously as a digital presencein the internet and a model for the built environment.The program spaces were represented by variouscubic nodes, which would dock in a logical relation toone another (figure 1).

The images by Architecture Research Office (NewYork, USA) for the Sunshine Messa House in Coloradotake advantage of computer modelling to analyse thecontext of the vast site and the designed building. Therelationship between long distance and near viewsspecific to each room of the house was studied in 3Dmodel environment to adjust window and mullion sizesand their appropriate location (figure 2).

Conceptual recording of random reality andimagination in 3D computer model by Morphosis(California, USA) represents embroynic grammar ofform (figure 3).

b) Dimensional OrthographicsRichard Jensen’s (Syracuse, New York, USA) site andfloor plans illustrate digital integration of technical linedrawing and pictorial image of colourful landscape.The integration takes into account combining rasterand vector imaging (figure 4).

c) 3D Modelling and RenderingThe 3D model by Scott Howe illustrates a multi-purpose commercial off-road vehicle conceived as amodular design consisting of a tractor or power plantand a plug-on special function module that can havevarious functions. Each element of the design movesand transforms to create a new function (figure 5).

Figure 5 (left top). 3D modelby Scott Howe illustratesmulti-purpose plug-onmodule that can have variousfunctions.

Figure 6 (left middle).Exploded cut-awayperspective from a 3D modelby Polshek and Partners forOklahoma Civic CenterMusic Hall.

Figure 7 (left bottom). Kiss +Cathcart’s complex curvingshape comprised of over 1200glass and photovoltaicmodules for the Hamburg’sElectrical Utility.

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The image for Oklahoma Civic Center Music Hallby Polshek and Partners (New York, USA) illustratesa powerful exploded cut-away perspectiveemphasising constituent components and floor planfootprint within a 3D modelling environment (figure6).

Kiss + Cathcart’s (New York, USA) complexcurving shape comprised of over 1200 glass andphotovoltaic modules most of which are different sizesand shapes for the Hamburg’s Electrical Utility takesadvantage of computer modelling and rendering forappropriate simulation (figure 7).

On the other hand ecology is the primary concernfor Ken Yeang’s (Malaysia) modelled environment.The project for Continuous Vertical Park and Expo2005 Tower by Ken Yeang explores and bringstogether ecological concerns and bioclimatic approachto the design of tall buildings (figure 8).

d) Desktop Publishing FormatsResolution 4 Architecture’s professionally printedpostcards for each project (after its completion) usingdesktop publishing application is intended fordistribution to clients and Colleagues (figure 9).

NBBJ’s large format poster for the Mok DongEntertainment Complex in Seoul, Korea was producedto market and showcase firm’s services as a travellingdisplay (figure 10).

e) Digital AnalysisZareen Rahman’s (Sheffield, UK) study of three-dimensional ‘sight-lines’ in a site plan represents aseries of vertical layers of “force plane” rendered inprogressive luminosity and translucency that intendsto produce a lucid and cogent spatial analysis for anurban project. Through the mode of translucencyhidden patterns could emerge and be read in parallelwith the existing site fabric (figure 11).

Rogers Marvel Architects’ (New York, USA) 3Dmodel for reconstruction of Pratt Institute School ofArchitecture combines abstraction and colourrendering in a schematic manner to emphasise certainaspects of renovation work (figure 12).

Figure 8 (top right). KenYeang explores and bringstogether ecological concernsand bioclimatic approach tothe design of tall buildings.

Figure 9 (middle right).Resolution 4 Architecture’sprofessionally printedpostcards for distribution toclients.

Figure 10 (bottom right).NBBJ’s large format posterfor marketing and travellingdisplay.

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f) Digital HybridsEric Owen Moss’s (California, USA) digitally stitchedphoto montage for Pittard Sullivan Office Buildingunfolds a space that is impossible to document orrecord in conventional photograph (figure 13).

This hybrid image by Voorsanger successfullyintegrates the exterior photographic environment anda 3D computer modelled interior environment to createa simulated combined environment that takes intoaccount of building orientation, time of year and hourof day (figure 14).

g) Digital MultimediaCapabilities of changing physical parameters in ananimation is illustrated by author with the techniqueof separating the basic constituent components from

the total mass of Le Corbusier’s Parliament Buildingin Chandigarh, India (left frames). The middle framesfrom an animation sequence produced byArquitectonica (Miami, USA) incorporates thetechniques of special effects including morph throughvideo editing to illustrate the building growing out of acomet. The third strip by Arquitectonica illustratesdigital “fly-over” sequence for Miami InternationalAirport Terminal (figure 15).

Besides these examples, it is noticed that severalarchitectural offices have taken the computationalmedia beyond the traditional purpose as design anddrawing tool, and expanded this media for physicalconstruction, which is the final product of all designefforts.

Clockwise from top left ...

Figure 11. Zareen Rahman’sstudy of three-dimensional‘sight-lines’ in progressiveluminosity for an urbanproject.

Figure 12. Rogers MarvelArchitects’ schematic 3Dmodel for reconstruction ofPratt Institute School ofarchitecture.

Figure 13. Digitally stitchedphoto montage by Eric OwenMoss.

Figure 14. Voorsanger’shybrid integration of exteriorphotographic environmentand a 3D computer modelledinterior environment to createsimulated combinedenvironment.

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For Office dA (Boston, USA), the digital mediahas permitted its designers an unquestionable fluiditybetween the process of conceiving, drawing, andmanufacturing that was virtually unprecedented. Forthe “Fabrications” project at the Museum of ModernArt, Office dA has constructed a folded plate structureusing a technology that had never been attempted atthat scale or level of complexity with digitalcomputation and laser cutting (figure 16).

Exploration with 3D technology at NBBJ(worldwide) is not just limited to 3D electronic data.For design studies, design team(s) extract 3Delectronic data from the computer and use this dataon various manufacturing tools to build 3D physicalmodels that are more tactile and can physically relatethe objects’ scale. Whether it is laser cutting Plexiglasand wood or the use of SLA (Stereo-Lithography)polymer resins to create a physical model, the designteam(s) now have an increasing palette andresourceful tool combinations. Consequently, the twodesign methods (virtual and physical) complementand inform each other throughout the design process(figure 17).

Figure 15 (right).Capabilities of changingphysical parameters, specialeffects, and fly-over inanimations by author andArquitectonica.

Figure 16 (far right).“Fabrications” constructionat the Museum of Modern Art,by Office dA employs digitalcomputation and lasercutting.

Figure 17 (bottom right).NBBJ’s use of 3D electronicdata to build 3D physicalmodels.

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Conclusions

There is no debate whether the computer technologyis a positive or negative influence in the designprocess of architecture. That was an issue when AutoCAD was the only mode of adaptation of computersin architecture. By reviewing these examples it is clearthat the computer use in profession now has expandedits boundaries to include various modes of operationbeyond typical production drawings. The professionalsviews towards the media is no more as rigid as it usedto be. The missing links are slowly filling-in. Educationand Profession both are now receiving feedback fromeach other without being involved in blaming. Theseexamples in this paper as well as in the extendedversion as a published book speak to the power ofthe digital media and its changing direction that is toosignificant to be ignored. Elaboration of the issuesdiscussed in this paper and details of computationalinvolvement by professionals can be found in the book“Digital Architecture” (Uddin, 1999) published byMcGraw-Hill.

M. Saleh UddinSchool of Architecture,Southern University, Louisiana, USAand, School of Architecture,The University of Sheffield, UK

References

M. S. Uddin, Digital Architecture: Turn Vision intoVirtual Reality, Hardware, Software, Tips, andTechniques from 50 Top Designers (McGraw-Hill,New York, 1999)

M. S. Uddin, Composite Drawing: Techniques forArchitectural Design Presentation (McGraw-Hill,New York, 1997)

M. S. Uddin, Hybrid Drawing Techniques byContemporary Architects and Designers (JohnWiley, New York, 1999)