Many designers today are restoring an environmental perspective to usability studies, mining the history of affordances itself for new paradigms that might check the behaviorist and consumerist tendencies of their profession. “Environmental” carries here both its popular sense (“The Environment,” as if there were such a thing), while also referring to the place of an object (such as a joint stool) or a practice (such as theater) in a set of nested and overlapping systems that might include urban, agrarian, monetary, climactic, craft-based, and informational networks. (8)
(8) A journal like Design Ecologies (published by Eniatype, a group of architects based in London) looks at “the complex relationship between human activity and the environment,” examining “the totality or pattern of linkages between drawing and environment” (http://www.eniatype.com/index.php?/about-this-site/).
City of London>Urban compression>Extended city>Materials in materials>Constructing within construction>
Imagine our colossal landfills in the UK as sensible resource sheds to build our future urban spaces, where eventually the future of architecture and design can make no distinction between waste and supply.
The global issue of ‘urban compression’ in the future of our cities has led us to investigate new interventions that operate through intuitionism and novel methodologies of practicing architectural design in our built environment. Cities are the absence of physical space between people and technology. They enable us to work and play together, and their success depends on the demand for physical connection.
Architectural propositions will propose an extended city reconstituted from its own ground materials. To remake the city by utilizing all the materials entombed in the ungrounding process of construction. To craft from the materials we have exhumed from the ground to construct different material combinations to serve different purposes in the design. What if architectural design was no longer legitimated through a promised structure or even a mere imagined one, but was instead to reach absolute continuity, in which construction constructed itself?
Students will design an Environmental Testing Centre for a brown field site in London.
“The fraying of ecology into design, through the ‘strategic’ insertion of incompleteness, replaces the ideal of a discoverable archetype with ‘an emerging design theory’ or Eniatype – a learning procedure that is itself under construction. At the limit of absolute consistency, or structural collapse, where signs and substances lose ontological distinctiveness, and the formulation of design is indistinguishable from its implementation, ecologies are populated by ‘complex notational systems’ or nebulous materials: ‘Climate proxies, dust, temperature, precipitation, chemistry and gas composition of [the] lower atmosphere…’. At once clouds of variable density and indices of complex interconnections, such notational markers are stripped of all pretence to rational or representational values that could be separated from the fabrications they enter into, dissolving the preparatory and programmatic status of architectural semiotics into patterns of constructive involvement and artificial perception. Within architecture of the advanced Eniatype, there is no language that is not immediately building material, and no plan that is temporally separable from project development. ‘Architects are the editors of the environment…”—Nick Land in Design Ecologies 2.1, 2012
Rock scaffolding, hidden archaeology with erratics in the exhumation of a shelter from the unground. Geotechnics and complex scanning techniques are used to design and exfoliate a new earth with inclusions of slippages in the geology.
Engineering Despotic bioluminescent camouflage as sound waves sculpt the ecotype formation.