The Master of Science in Architectural Technologies is a one-year program that provides hands-on experience with cutting-edge technologies of architectural production as well as a robust conceptual and critical framework.
The Architectural Technologies Program is organized as a year-long design and technology laboratory leading to a final degree project. The three-semester sequence affords students the exposure to a select group of Architectural Technologies and SCI-Arc Faculty including Program Coordinator Marcelo Spina, Postgraduate Chair David Ruy, Peter Testa and Casey Rehm, among others.
The core of each semester is the design studio, wherein students develop their own project through group and individual work. The studio is supported each semester by a design lab, a platform for technical research including areas such as machine vision, digital automation, material computation, robotic manufacturing, as well as synthetic ecologies, recursive tectonics and aesthetics. Visual, applied and History/theory elective seminars complement the Architectural Technologies curriculum and affords students with choices to personalize their field of interest.
Over the year-long study, Architectural Technologies students work with some of the most progressive architects, designers and theorists in the field, to inventively speculate about the near future of architecture in the form of specific projects, sophisticated prototypes, complex tectonic and material systems and strange aesthetic objects.
The Architectural Technologies program also prepares students for an entrepreneurial approach to architectural thinking and practice. Recent graduates have pursued various professional paths ranging from new careers in allied fields such as media, product design and robotics; to the development of distinct independent practices or a focus on academic and scholarly research.
The program requires attendance in the fall, spring, and summer terms.
Unexpected Aspects of Control
Agustina Alaines & Galileo Morandi Studio
“The unexpected is the object of design.”
The tension between the technical approach, the architectural -and human- interpretation of data and the material agency of some elements offers a blurry limit for unexpected aspects of a highly controlled process. An expandable system of buildings is approached at different scales -where the relationship of what is a part and what is a whole interchanges subject- and at multiple levels: urban, architectural and constructive. At an urban scale, the project is generated by a 2d designed process of image reading that decompresses spatial graphic information and determines the outlines of intervention. Immediately after, at an architectural scale, those perimeters are transformed into volumes. The tensions and hidden directions inside them are materialized by a repetitive component that offers a rich gradient of void-solidity and textures. Finally, when approaching the fabrication -either for a multi-material 3d printing simulation, either for real construction speculation- the support material needed in order to build the permanent structure becomes a part of the design. Instead of removing it, a slow process of natural dissolution is appreciated: the building will continuously re-propose itself from a formal and programmatic point of view. It's the non-control of the expected.
Carlos Navarro & Rishabh Khurana
The project speculates about the generative role of the image in the creation of objects. It acknowledges potential qualities inherent to images, both perceived or withdrawn, coexisting in an unresolved tension within a framework of a speculative reality. An image of an object having actual object qualities or being an object in itself is a matter addressed in the project, by exploring the potential of image processing techniques when confronted with real geometric generative processes. A series of rendering iterations of monolithic object assemblies are utilized to inform the project, producing a representational paradox in which both image and object coexist physically but in tension, resulting in a recursively eroding process and an even more indeterminate mass. Deliberately altered assembly conditions, through representation, drive predefined parts of the processed images to behave as entropic entities, hence portraying intricate misreadings and conforming new vague wholes
Daniela Atencio & Camil Bosch
This project aims to investigate the tension between assemblage and monolithic readings. The project is a dialog between aggregated form and subtractive interventions which obscure the hierarchy of mass, tectonic and materiality. This approach blurs the threshold between artificial intervention and context through a systemic approach to entropic effects.
A process of aggregation is used to form an artificial landscape, which establishes the foundations for the design of the Agricultural and Water Preservation Campus. This aggregation system formed a non-uniform body with moments where the landscape transforms into monolithic elements. After this aggregation process a second level of resolution is introduced using erosion. These natural phenomena of erosion are difficult to control and it acts randomly, so by digitalizing the process, its noise gets reduced, moving from erosion to a controlled artificial rustication. The result is an object that yields a tension between the natural and the artificial. This digital rustication is made possible by a robot arm that, following a precise tool path, textures the surface of the physical model giving it detail at an architectural scale.
José David Mejías & Daniel Horowitz
What is the aesthetics of the digital in craftsmanship or how the digital world could jump out of the screen on a dirty, imperfect physical environment?
The creation of objects is always a contemporary challenge that both architects and artists have to take into the game. Digital and analog are more and more close to each other creating a new uncomfortable space of speculation. The project is an experiment on how the human and nonhuman biases could possibly contribute in the creation of new types of objects, yet undefined and
speculative. The object has uncanny visual and physical results because it is not any more a predefined still object created through a linear human vision process. The object is created through a loop between traditional making technics and real-time ‘fab-creation’, where the object is partially designed the moment is being created.
The Aesthetics of Digital Craftsmanship
Arsenios Zachariadis & Hsiao-Chiao Peng
What is the aesthetics of the digital in craftsmanship or how the digital world could jump out of the screen on a dirty, imperfect physical environment?’
The creation of objects is always a contemporary challenge that both architects and artists have to take into the game. Digitality and analogicity are more and more close to each other creating a new uncomfortable space of speculation. The project is an experiment on how the human and nonhuman biases could possibly contribute in the creation of new types of objects, yet undefined and speculative. The object has uncanny visual and physical results because it is not any more a predefined still object created through a linear human vision process. The object is created through a loop between traditional making technics and real time ‘fab-creation’, where the object is partially designed the moment is being created.
Moheb Hezkial & Shabnam Moravveji
Our agenda was to discover a novel contextual relationship between architecture and its site. By utilizing alternative forms of perception to engage contextual information allows for an exquisite form of architectural production. In this project’s technical apparatus happen to produce a new style of representation. Using color information as an organizational model of the site lead to produce an alternative formal production for context. Through reading and misreading of information, drawing became space. Our aim was to create a unique form of spatiality derived from a found satellite image, by deriving a projection map and interpreting them through various layers of hue with a color based algorithm. Since satellite doesn’t reflect contextual history, drawings became a novel version of intuitively interpreting and projecting the future of the site
Burcin Nalinci & Sanhita Vartak
The project produces a platform that generates an autonomous agricultural system in order to reintroduce the nature into a domesticated environment. Historically, we define “wilderness” as an environment which is unknowable to humans, a complex ecosystem outside of the familial. Traditionally within architecture, we create a series of thresholds which mediate the house, to the medieval cities and to the agricultural field. Now, wilderness is an entire pocket within the larger Anthropocene. The project mitigates the danger and risks of human proximity to wilderness. Using AI, it reintroduces a domestic component to the environment, so that we can benefit from wilderness as a computational engine for evolving new chemical products. The Artificial Intelligence interface controls the autonomous aggregation of growing components by initiating plant growth, nurturing it and terminating it. The system operates between the risks of the rainforest and the luxury of the garden mall.
Mengtin Liu & Min Duan
This project explores different methods to extract formal and tectonic information from planimetric site images, translating them into three dimensional forms. In order to acknowledge the need for affordable housing and to improve the quality of pedestrian life around Glorieta de Insurgentes, three typologies of assemblage respond to the needs of this area: residential buildings, canopies and landscape structures. With the combinations of different material processes and performative ambitions, we are trying to extend the use of 3D printing techniques beyond extrusion into the fabricated world of architecture.
This structure is an argument for the void in the solid void relationship and its creation of form. It blends the lines of the whole by creating structure through destruction of mass, subtraction from mass, and the combination of voids into wholes. The discussion is further blurred by the application of atmospheric pollution onto the form through a process of natural precipitation and electrostatic charge. An ever-changing form is deposited and eroded on the preexisting structure, bringing the creation of further solid spaces and their erosion to void into the fourth dimension.