PREFACEConstructing ImaginationEvery year the Harvard Graduate School of Design faces the challenging taskof choosing a series of projects,events,lectures,conversations,exhibitions,and publications for inclusion in the latest volume of Platform.This yearis no exception.And as in previous years,the responsibility for selecting,editing,and formulating the overall context and concept of the book isundertaken by a faculty member together with a group of our students.I amgrateful to Mariana Ibanez and the students as well as to others involved inthe preparation of Platform 5 for doing such an amazing job.The material presented in this publication forms a small part of theincredible range and diversity of proposals and visions that our studentsand faculty have produced during the past academic year.This work isindicative of the School's commitment,as a global leader in the field,toexploring and articulating transformative ideas through the power ofdesign.It is as important for us to share and communicate the outcomeMOHSEN MOSTAFAVIof our research and design investigations as it is to show the fertileMostafavi is the Dean of the Harvardcircumstances and conditions for the making of these projects.For thisGraduate School of Design and thereason,the book is organized according to a series of topics that run acrossAlexander and Victoria Wiley Professorof Design.disciplines and modes of practice.The GSD has always recognized the indispensable importance and valuesof architecture,landscape architecture,urban planning,and urban design,erinnmtelletuacross-fertilization and collaboration.This year we celebrated the 75thanniversary of the founding of the GSD-an act conceived with the primarypurpose of bringing a number of related but distinct fields of design underthe same umbrella.It is of course imperative for us to acknowledge thecontributions of fields such as architecture and landscape architecture priorto the creation of the School.But the obvious and yet radical proximityof the disciplines within the context of a graduate school has enabled theGSD,its students and faculty,to gain the benefits of being able to work andcollaborate across the various design disciplines and beyond.The more recent addition of research programs to our Masters inDesign Studies and doctoral programs has greatly contributed to theintellectual vitality of the GSD as a leading site for the formation of designdiscourse.These programs propel the research activities of the GSD ina more distinctly projective direction.In the past year,the increasinglysignificant role of our research labs has done much to create a new andmore porous environment for the intersection of research and design.Atthe core of the work shown in this book is the idea that design can andmust have an impact on transforming and enhancing the daily lives ofpeople everywhereIt is crucial for this publication to make evident the deliberateness ofthis project by emphasizing the GSD's broader attention to the builtenvironment as the primary domain of our thinking and actions.At thesame time,we are cognizant of the fact that many of the imaginativeconstructs displayed in this book are at once part of the academy-the placeof theoretical and disciplinary imaginings-and yet part of life.MOHSEN MOSTAFAVI 003興尚蜀素村网Z.Z沁 INTRODUCTIONWe continue the tradition of Harvard University Graduate School ofDesign publications with the fifth in the series of Platform.With thedirective to be a working curation of the environment of the School,the resulting volume is more than a compendium.It is designed as amultilayered document presenting various lenses to see the School in thepast academic year,its present trajectories,and its future directions.The table of contents unfolds the book into a single artifact,making explicitthe prevailing themes that informed the production and debates in theSchool,and the overlaps that emerge among them.These overlaps,andMARIANA IBANEZperhaps unexpected adjacencies,reveal the complexities with which theis Associate Professor of Architecturedesign disciplines increasingly contend.at the Harvard University GraduateSchool of Design.In 2007 sheco-founded I/K Studio with Simon Kim.The volume's diverse material-drawn from studios,seminars,thesisresearch,events,and other activities-is organized in seven sections:Metrics,Matter,Activism,Discipline,Synthesis,Conjecture,and Format.These categories and the material within represent the broad spectrumof agendas,courses,initiatives,and collaborations that are establishedto explore design thinking and design production.This organization issI雪introduced as a framework that intentionally differs from the departmentaland course structure of the School,with the ambition to present atransversal reading of our programs that highlights both disciplinary-coneerns and shared explorations.累J.NEThe first six sections are organized in a linear sequence,but can also becross-referenced through the thematic markers that describe each projector event.The section on Format,however,is deconstructed and distributedthroughout the book;it can be read in relation to the projects in eachsection or as a separate collection of documents.This"non-section"collectsdistinguished artifacts where the subject matter of the work is as importantas its articulation.The GSD is an exceptional environment of continuous debate andproduction.The agendas and pedagogical frameworks are complex andconstantly evolving.Far from being a complete collection,Platform 5compiles the outcome of prominent work and exchanges that occurredduring a year full of events,projects,symposia,and colloquia-both formaland improvised-that continually reinforced the dual importance ofexpertise and inquiry.The many people who came to the GSD as students,alumni,fellows,faculty,lecturers,conference participants-to discuss,toinstruct-all arrived with their local knowledge and,within the School,created new relationships and ideas.This book is our attempt to share theseconcerns and discoveries with a larger audience.MARIANA IBANEZ005興尚蜀素村网Z.Z沁 George L.LegendreArchitecture Option Studio,Spring 2012REAL AND IMAGINARYVARIABLESHalfway between the socially responsive discourse of programmaticfreedom and the alleged futility of parametric form-giving,this studiocelebrated architecture's critical return to form.Our interest in the topicof form was neither aesthetic nor ideological.Contrary to the notionof shape(with which it is often confused),form is for us a syntactic,procedural,and(increasingly)technical proposition with a fair amountof disciplinary autonomy,like the study of language in the 1970s-or themore recent emergence of object-orientation in the software industry.Building on the disciplinary ambition of the recently concluded high-risedesign experiment conducted between 2007 and 2011 on sites rangingfrom Singapore to New York("Rising Masses"1,2,and 3),we exploredthe seminal thesis of architecture as a complex interplay of desire andautomatic writing.Architecture,in this view,depends on achieving a practical andtheoretical balance between real and imaginary variabies-real yariablesdepend on empirical knowledge ofa giyen type,site,and program;imaginary variables depend on the equally important though farless rational properties of indexical modeling.The two parts of thetypological equation need one another to fulfill themselves:without theimaginary part,a type withers into predictability and repetition;withoutthe real one,it is merely self-fulfilling and forfeits all relevance.Beyond the single,monofunctional,and"semi-automatic"brief of high-rise dwelling,we opened up the real part of the typological equation tomore types of drastically different scales and uses-some well-rounded,others less so-in the spirit of open exploration,and at the participants'discretion.In every other respect our objective remained the same:tofigure out fresh ways in which a formal analytic model (otherwise knownas a seed)might correlate to a building type's functional organization,programmatic uses and affinities,material structure,etc.,andsuccessfully integrate the type's real and imaginary parts.ARTHUR LUI,NICHOLAS CROFT.WILLIAM QUATTLEBAUM010興素衬网Z.ZC
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