Genetic Architectures / Arquitecturas genéticas

by Alberto T. Estévez et al. Lumen Books / SITES Books,
Santa Fe, NM, U.S.A., 2003. 112 pp., illus. Paper.
ISBN: 0-930829-51-4. (In English and Spanish)

Reviewed by Rob Harle

recluse@lis.net.au

I had the pleasure of reviewing Dennis Dollens’ book, Exodesic: Structures, Tumbleweeds, Electronics for the September Leonardo Reviews. Now I have the even greater pleasure of reviewing a type of companion book, Genetic Architectures/Arquitecturas genéticas.

This book is the first publication from the research department and master’s degree program in Genetic Architectures, founded by Alberto Estévez in 2000 at Escola Tècnica Superior d’Arquitectura, Universitat Internacional de Catalunya (Barcelona).

The ESARQ project represents one of the most advanced architectural research/teaching programs available. The use of technology is an essential and indispensable component of their research approach. Various software programs such as Rhinoceros, 3D StudioMax and FormZ are used (and further developed with the software engineers) to extend and develop natural structures (such as the Diatom (p. 43) and to create totally new forms. These digital images are saved as STL files which are then ‘printed’ using a 3D Thermojet Solid Object printer. The experimental architectural forms may also be realised as real 3D objects using the technology known as rapid prototyping.

Why call this program genetic? As Dollens explains, genetic means,"...of or relating to genetics or genes and also --- of, or relating to, or influenced by the origin or development of something..." (p. 71). "...the last year my investigation has turned to the electronic generation of plant forms and the elaborate, biomimetic extrapolation of natural principles in order to study a series of architectural problems..." (p. 73). Personally I find this biomimetic methodology very exciting and in keeping with advanced research in many other disciplines. That is, working with nature rather than arrogantly attempting to dominate and subvert it.

The book features six essays which discuss both the practical and theoretical issues involved in the overall research program. There are numerous high quality black & white illustrations which show examples of the work of both students and professors.

Estévez’s essay, Genetic Architectures discusses the implementation of the ESARQ program, a little background history and stresses the biomimetic approach, "...proclaiming that the new ecologic-environmental architectural design does not imply creating in nature but creating with nature" (p. 9). He is also at pains to point out this program is not really anything to do with using the computer in architecture to do faster, better drawings. "...we must now understand software as material to use in our work" (p. 13). Estévez is an inspiring, visionary architect and teacher. His essay plots out a unique new path for our future built environment.

Puigarnau’s essay, Iconoclastic Aspects of Genetic Architecture deals with theoretical issues involved in the new architecture and draws on the work of both Derrida and Hegel. This engaging paper also discusses Kant’s notion of ‘reason’ and in a sense serves as a caution to the students and teachers to ground their praxis in a substantial theoretical discourse.

Pérez-Arnal’s contribution, Ecology & Construction discusses the role of the future architect and his or her relationship with other disciplines, such as the realities of practical construction. He pays particular attention to environmental and ecological concerns which will result in truly sustainable design and building practices.

Dollens’, Towards a Genetic Architecture outlines his original Tumbletruss research and how this analysis of natural form and structure, using various software applications (previously mentioned), is used as a means of engaging students in a critical-creative approach to architectural design and problem solving.

Pérez-Méndez’s essay, Digital Experience(s) discusses his email correspondence with Dollens which led to much of the basic teaching units at ESARQ. Feedback from Pérez-Méndez’s students at the University of Florida was used as an integral part of the development of the course as well. He discusses different approaches to topological problem solving using various software packages and how students work with these.

The final short contribution from Ruiz-Millet & Planella (directors of Gallery H₂O in Barcelona), discusses the exception to their policy of not exhibiting student or studio work " (because of Dollens’ unique approach), ...’the visualization and design of surfaces and structures’ would be focused on the digital transformation of the gallery’s physical or ‘real’ space" (p. 111).

This is an engaging and inspiring book and I look forward to reading further publications. As a young architecture student I watched the Sydney Opera House being built as I travelled to work each day, an incredible inspiration. I reflect on the magnificence of Utzon’s masterpiece and wonder if the real buildings which result from the research in the ESARQ school, with all their computer technology, will equal or surpass this building.