The thesis explores Anthropogenic Disturbances through the lens of landscape and architecture. The disturbance is a concept used in Ecology to describe changes in environmental conditions that cause changes in the ecosystem. In his book Landscape Ecology, Richard Forman speaks about disturbances and their impact on the surrounding, stating that disturbances are a vital part of the ecosystem. The thesis proposes disturbances as a constant state of the landscape and architecture and looks at ways in which this concept can generate an architectural and landscape idea through ecological thinking and computational tools. “The ability to disturb the existing with new ecological modalities, able to augment its performance” The purpose of the thesis is to explore new methodologies and representation for territorial design in the contemporary environment. In particular, disturbances are related to a new calligraphy of the world; a new drawing, and a new geography. The concept of disturbance brings forth other ideas, such as ‘hyperobjects’ – related to Timothy Morton’s theory, ‘subnature’ – related to David Gissens writings, and the concept of ‘symbiotic’ relationships – characteristic of ecological objects. Following Weakness theory as established by Elisa Cattaneo “we can think about urban places in an entropic and ecological way, by using the instability of ecology and entropy as foundations for the project.]... [Anti-heroic places become essential for urban transformations in a theoretical and practical sense.” Highlighting the question of “disturbances” and its “traces”, the research responds to recent calls for strategies as a productive means of generating scenarios that are more capable of synchronizing with current global phenomena. Recognizing that similar calls are evidenced in the emerging and established discourses on ecological urbanism and landscape urbanism (Mostafavi, Waldheim, 2009) respectively, the research proposal has the intention of codifying a set of design method and representations capable of addressing pressing issues, ranging from the social and the political to the economic and the ecological. In this sense, the concept of “disturbances” is a result of complex relations between different cultural, ecological and social backgrounds. Anthropogenic Disturbances relate to the “nature-culture” debate. James Lovelock proposed that biotic and abiotic elements interact to create a synergetic and complex system on Earth. Buckminster Fuller similarly announced that the Earth could no longer be thought of as a natural object but instead must be recognized as a huge artificial construct. The idea is that architecture does not only respond to the environment, but architecture is able to generate new ecologies – an augmented nature. Architecture is used as a tool to include hyperobjects (relating to Timothy Morthon’s writings) - their appearance and disappearance and their complex nature in the design process and the thinking of architecture. The thesis similarly refers to the concept used by David Gissen ‘subnatures’, and working with ‘the rest of’/’by-products’ of urbanity: dust, mud, carbon dioxide, debris, dankness, weeds, etc., as necessary elements of design thinking: they should slide back to design’s agency. How can we use the data relating to hyperobjects, and manipulate them, in order to take a look at the environment? Or, how can we create this new knowledge, new data, new parameters through which to design the city? Bruno Latour calls “things” the matters of concern which are complicated networks of globally extending relations. The project dwells into the matters of concern that humans and nonhumans have in common; it gives a voice to non-human voices – polluted aquifers, streams, roots, etc – through science and aesthetics. Taking from Branzi’s interest on the parametric and indexical representation of the city, the project asks the question: which are the parameters to create the shape of the city, and what kind of parameters and instruments we want to use to create space. Now with the availability of data, the idea brought forth by Branzi, finds a new life. The hyperobjects could generate a new idea of space.
La tesi esplora i disturbi antropogenici attraverso la lente del paesaggio e dell'architettura. Disturbo è un concetto usato in Ecologia per descrivere i cambiamenti nelle condizioni ambientali che causano cambiamenti nell'ecosistema. Nel suo libro Landscape Ecology, Richard Forman parla dei disturbi e del loro impatto sull'ambiente circostante, affermando che i disturbi sono una parte vitale dell'ecosistema. La tesi propone i disturbi come uno stato costante del paesaggio e dell'architettura e guarda ai modi in cui questo concetto può generare un'idea di architettura e paesaggio attraverso il pensiero ecologico e gli strumenti di calcolo. "La capacità di disturbare l'esistente con nuove modalità ecologiche, in grado di aumentarne le prestazioni". Lo scopo della tesi è quello di esplorare nuove metodologie e rappresentazioni del design territoriale nell'ambiente contemporaneo. In particolare i disturbi sono legati ad una nuova calligrafia del mondo; un nuovo disegno, e una nuova geografia. Il concetto di disturbo genera altre idee, come gli 'iperoggetti' - legati alla teoria di Timothy Morton, la 'subnatura' - legata agli scritti di David Gissens, e il concetto di relazioni 'simbiotiche' - caratteristiche degli oggetti ecologici. Seguendo la teoria della Debolezza stabilita da Elisa Cattaneo "possiamo pensare ai luoghi urbani in modo entropico ed ecologico, usando l'instabilità dell'ecologia e dell'entropia come fondamento del progetto....."...] [I luoghi anti-eroici diventano essenziali per le trasformazioni urbane in senso teorico e pratico". Evidenziando la questione dei "disturbi" e delle sue "tracce", la ricerca risponde alle recenti richieste di strategie come mezzo produttivo per generare scenari più in grado di sincronizzarsi con i fenomeni globali attuali. Riconoscendo che simili appelli sono evidenziati rispettivamente nei discorsi emergenti e consolidati sull'urbanistica ecologica e sull'urbanistica paesaggistica (Mostafavi, Waldheim, 2009), la proposta di ricerca ha l'intenzione di codificare un insieme di metodi di progettazione e rappresentazioni in grado di affrontare questioni urgenti, che vanno dal sociale e politico, all'economico e all'ecologico. In questo senso, il concetto di "disturbo" è il risultato di complesse relazioni tra diversi contesti culturali, ecologici e sociali. I Disturbi Antropogenici si riferiscono al dibattito "natura-cultura". James Lovelock ha proposto che elementi biotici e abiotici interagiscono per creare un sistema sinergico e complesso sulla Terra. Allo stesso modo Buckminster Fuller ha annunciato che la Terra non può più essere considerata un oggetto naturale, ma deve essere riconosciuta come un enorme costrutto artificiale. L'idea è che l'architettura non solo risponde all'ambiente, ma è in grado di generare nuove ecologie - una natura aumentata. L'architettura è usata come strumento per includere gli iperoggetti (relativi agli scritti di Timothy Morthon) - la loro comparsa e scomparsa e la loro natura complessa nel processo di progettazione e nel pensiero dell'architettura. La tesi si riferisce in modo simile al concetto usato da David Gissen "subnatures", e lavorando con "il resto dei"/"sottoprodotti" dell'urbanità: polvere, fango, anidride carbonica, detriti, detriti, oscurità, erbacce, ecc. come elementi necessari del pensiero progettuale: dovrebbero scivolare indietro all'agenzia di design. Come utilizzare i dati relativi agli iperoggetti, e manipolarli, per dare uno sguardo all'ambiente? Oppure, come possiamo creare queste nuove conoscenze, nuovi dati, nuovi parametri attraverso i quali progettare la città? Bruno Latour chiama "cose" i temi di interesse che sono complicate reti di relazioni che si estendono a livello globale. Il progetto si sofferma sui temi di interesse che l'uomo e i non umani hanno in comune; dà voce a voci non umane - falde acquifere inquinate, corsi d'acqua, radici, etc. - attraverso la scienza e l'estetica. Prendendo spunto dall'interesse di Branzi sulla rappresentazione parametrica e indicizzata della città, il progetto si pone la domanda: quali sono i parametri per creare la forma della città e quali parametri e strumenti vogliamo utilizzare per creare lo spazio. Ora, con la disponibilità di dati, l'idea portata avanti da Branzi, trova una nuova vita. Gli iperoggetti potrebbero generare una nuova idea di spazio.
Calligraphies of disturbances. A testing ground for an augmented ecology
DINARAMA, ERZË
2018/2019
Abstract
The thesis explores Anthropogenic Disturbances through the lens of landscape and architecture. The disturbance is a concept used in Ecology to describe changes in environmental conditions that cause changes in the ecosystem. In his book Landscape Ecology, Richard Forman speaks about disturbances and their impact on the surrounding, stating that disturbances are a vital part of the ecosystem. The thesis proposes disturbances as a constant state of the landscape and architecture and looks at ways in which this concept can generate an architectural and landscape idea through ecological thinking and computational tools. “The ability to disturb the existing with new ecological modalities, able to augment its performance” The purpose of the thesis is to explore new methodologies and representation for territorial design in the contemporary environment. In particular, disturbances are related to a new calligraphy of the world; a new drawing, and a new geography. The concept of disturbance brings forth other ideas, such as ‘hyperobjects’ – related to Timothy Morton’s theory, ‘subnature’ – related to David Gissens writings, and the concept of ‘symbiotic’ relationships – characteristic of ecological objects. Following Weakness theory as established by Elisa Cattaneo “we can think about urban places in an entropic and ecological way, by using the instability of ecology and entropy as foundations for the project.]... [Anti-heroic places become essential for urban transformations in a theoretical and practical sense.” Highlighting the question of “disturbances” and its “traces”, the research responds to recent calls for strategies as a productive means of generating scenarios that are more capable of synchronizing with current global phenomena. Recognizing that similar calls are evidenced in the emerging and established discourses on ecological urbanism and landscape urbanism (Mostafavi, Waldheim, 2009) respectively, the research proposal has the intention of codifying a set of design method and representations capable of addressing pressing issues, ranging from the social and the political to the economic and the ecological. In this sense, the concept of “disturbances” is a result of complex relations between different cultural, ecological and social backgrounds. Anthropogenic Disturbances relate to the “nature-culture” debate. James Lovelock proposed that biotic and abiotic elements interact to create a synergetic and complex system on Earth. Buckminster Fuller similarly announced that the Earth could no longer be thought of as a natural object but instead must be recognized as a huge artificial construct. The idea is that architecture does not only respond to the environment, but architecture is able to generate new ecologies – an augmented nature. Architecture is used as a tool to include hyperobjects (relating to Timothy Morthon’s writings) - their appearance and disappearance and their complex nature in the design process and the thinking of architecture. The thesis similarly refers to the concept used by David Gissen ‘subnatures’, and working with ‘the rest of’/’by-products’ of urbanity: dust, mud, carbon dioxide, debris, dankness, weeds, etc., as necessary elements of design thinking: they should slide back to design’s agency. How can we use the data relating to hyperobjects, and manipulate them, in order to take a look at the environment? Or, how can we create this new knowledge, new data, new parameters through which to design the city? Bruno Latour calls “things” the matters of concern which are complicated networks of globally extending relations. The project dwells into the matters of concern that humans and nonhumans have in common; it gives a voice to non-human voices – polluted aquifers, streams, roots, etc – through science and aesthetics. Taking from Branzi’s interest on the parametric and indexical representation of the city, the project asks the question: which are the parameters to create the shape of the city, and what kind of parameters and instruments we want to use to create space. Now with the availability of data, the idea brought forth by Branzi, finds a new life. The hyperobjects could generate a new idea of space.| File | Dimensione | Formato | |
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https://hdl.handle.net/10589/152449