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dc.contributor.advisorBrandon Clifford.en_US
dc.contributor.authorZayas-San Miguel, Luisel Emmanuelen_US
dc.contributor.otherMassachusetts Institute of Technology. Department of Architecture.en_US
dc.date.accessioned2016-07-01T18:44:50Z
dc.date.available2016-07-01T18:44:50Z
dc.date.copyright2016en_US
dc.date.issued2016en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/103488
dc.descriptionThesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2016.en_US
dc.descriptionCataloged from PDF version of thesis.en_US
dc.descriptionIncludes bibliographical references (pages 119-122).en_US
dc.description.abstractCurvature has always been present in architecture though largely explored for structural purposes. It can be found in Roman arches and domes, in the catenary vaults of Antoni Gaudí, and in the hyper paraboloid shells of Félix Candela, as the result of form-finding techniques. Questions of materiality arose parallel to the development of these techniques, enabling the common use of concrete. Concrete allowed for the production of custom stones and replaced traditional hand-carving methods of making. Concrete is one of the most ubiquitous materials in the built environment, yet it is often cast in orthogonal repeating parts. Why is such a supple and liquid material, capable of any form, limited to the conceptions of the industrial era? The building industry commonly assumes that formwork must be repeatable, yet the prevailing goal of the digital era is serial variability. Therefore, a gap exists between the goals of the computational revolution and the standards of material production. This research states that it is possible to reconsider the role of concrete in the digital era via the aid of robotic fabrication. If formwork is commonly informed by the goal of efficiency and economics, this research asks what emerges when it is informed by environmental, structural, or formal concerns. This thesis proposes a specific way of making that emerges from a computational understanding of spline geometries. The process allows the designer to materialize data into a complex geometry that has been programmed to perform one or more architectural parameters. Fabrication methodologies today are leading architects to reclaim the role of the masterbuilder. This thesis argues that designing and making are part of a single process. Architects should not design materially uninformed architectural spaces; rather, they should design through the making process while integrating geometrical and material concerns. Therefore, what kind of architecture emerges when the spline is foregrounded in a process of concrete construction?en_US
dc.description.statementofresponsibilityby Luisel Emmanuel Zayas-San Miguel.en_US
dc.format.extent123 pagesen_US
dc.language.isoengen_US
dc.publisherMassachusetts Institute of Technologyen_US
dc.rightsM.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.en_US
dc.rights.urihttp://dspace.mit.edu/handle/1721.1/7582en_US
dc.subjectArchitecture.en_US
dc.titleSpline : rethinking concrete in the digital eraen_US
dc.title.alternativeRethinking concrete in the digital eraen_US
dc.typeThesisen_US
dc.description.degreeM. Arch.en_US
dc.contributor.departmentMassachusetts Institute of Technology. Department of Architecture
dc.identifier.oclc952415926en_US


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