This paper aims to briefly analyse one of the paradoxes of the contemporary approach to the project, in its growing connection with the technological dimension of bioclimatic environmental design: the tension between specialization and holistic approach, the syncretism inherent in architectural design called to accept an extra design sub-system, the bioclimatic-environmental one, with its new load of previously unknown complexity (Chiapponi 1990). This task is often carried out at the expense of the other subsystems such as the traditional compositional one that has been for long object first of the tyranny of functional determinism and then of the bioclimatic determinism, (Los 1990). If the application of the scientific method to architecture, advocated by brothers Olgyay (Olgyay 1963), has approached design to verification mechanisms away from an excess of artistic aura, it has also increased the split between reason and invention (Yannas 1989), towards that fetishism of the methods that today, in architectural design, is likely to increase rather than reduce the gap between the fable, that is intended as a set of verifiable design choices characterized by permanence, and the plot, ie the possibility to organize in countless different ways a number of elements that are recognizable in their morphological and structural values (Arredi 2006). Going through the last century of experiments in which architecture has become 'reason' with the system of classifications, (Foucault 1966), the theory of models (Alexander 1964), the Gestalttheorie (Lynch 1960), the structuralism (Eco 1968) and the semiotic (Koenig 1964) and 'invention' with the mechanisms of imitation and variation (Baudelaire 1981), with the exploit of memory (Calvino 1985) and with associations, a framework emerges that is still too far from meeting the multidisciplinarity that is required to the re-composition of architecture. One of the tasks of research and academia on these issues is to bridge the knowledge gaps to enhance the hermeneutic ability of future designers: the design heuristic, the intuitive component, can never be completely eliminated by design, even considering the evolution of the tools for monitoring and verifying the building performance such as numerical simulations; therefore the designer will have to increasingly acquire sensitivity both on form and physics, on reason and sentiment, in the difficult role of leadership and coordination of increasingly varied and specialized skills in harmony and efficiency. The recovery of some cue of critical regionalism, the narratological model and the resolution of the paradox of the complexity of the simulation tools, which shall be used in a dialectical relationship through retroactive feedback with the design rather than as a one-way verification tool, are three possible field of research and experimentation for the search of that common framework, that is necessary for a multidisciplinary dialogue and a new and consistent evolution of architectural design back into balance among its subsystems.
Progettazione tecnologica bioclimatica, tra approccio olistico e specializzazione, ragione e invenzione, tipo e modello | Technological bioclimatic design, between holistic approach and specialization, reason and invention, type and model
Calcerano F
2015
Abstract
This paper aims to briefly analyse one of the paradoxes of the contemporary approach to the project, in its growing connection with the technological dimension of bioclimatic environmental design: the tension between specialization and holistic approach, the syncretism inherent in architectural design called to accept an extra design sub-system, the bioclimatic-environmental one, with its new load of previously unknown complexity (Chiapponi 1990). This task is often carried out at the expense of the other subsystems such as the traditional compositional one that has been for long object first of the tyranny of functional determinism and then of the bioclimatic determinism, (Los 1990). If the application of the scientific method to architecture, advocated by brothers Olgyay (Olgyay 1963), has approached design to verification mechanisms away from an excess of artistic aura, it has also increased the split between reason and invention (Yannas 1989), towards that fetishism of the methods that today, in architectural design, is likely to increase rather than reduce the gap between the fable, that is intended as a set of verifiable design choices characterized by permanence, and the plot, ie the possibility to organize in countless different ways a number of elements that are recognizable in their morphological and structural values (Arredi 2006). Going through the last century of experiments in which architecture has become 'reason' with the system of classifications, (Foucault 1966), the theory of models (Alexander 1964), the Gestalttheorie (Lynch 1960), the structuralism (Eco 1968) and the semiotic (Koenig 1964) and 'invention' with the mechanisms of imitation and variation (Baudelaire 1981), with the exploit of memory (Calvino 1985) and with associations, a framework emerges that is still too far from meeting the multidisciplinarity that is required to the re-composition of architecture. One of the tasks of research and academia on these issues is to bridge the knowledge gaps to enhance the hermeneutic ability of future designers: the design heuristic, the intuitive component, can never be completely eliminated by design, even considering the evolution of the tools for monitoring and verifying the building performance such as numerical simulations; therefore the designer will have to increasingly acquire sensitivity both on form and physics, on reason and sentiment, in the difficult role of leadership and coordination of increasingly varied and specialized skills in harmony and efficiency. The recovery of some cue of critical regionalism, the narratological model and the resolution of the paradox of the complexity of the simulation tools, which shall be used in a dialectical relationship through retroactive feedback with the design rather than as a one-way verification tool, are three possible field of research and experimentation for the search of that common framework, that is necessary for a multidisciplinary dialogue and a new and consistent evolution of architectural design back into balance among its subsystems.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
