*18-30-1 Modulated Composition 01- Palacio de Aguas Corrientes.*

*18-30-2 Modulated Composition 02-03- Palacio de Aguas Corrientes.*

*18-30-3 Modulated Composition 04-05-06-07- Palacio de Aguas Corrientes.*

*18-30-4 Modulated Composition 08-09-10-11- Palacio de Aguas Corrientes.*

*18-30-5 Modulated Composition 01- Porte Monumentale.*

*18-30-6 Modulated Composition 02-03- Porte Monumentale.*

*18-30-7 Modulated Composition 01-02- Berliner Borse.*

*18-30-8 Modulated Composition 01- Plaza Hotel.*

*T18-30-9 Modulated Composition 02-03-04-05- Plaza Hotel.*

*18-30-10 Modulated Composition 01-02- Palacio Paz.*

*18-30-11 Modulated Composition 01- Palais du Champ de Mars.*

*18-30-12 Modulated Composition 02-03-04- Palais du Champ de Mars.*

*18-30-13 Modulated Composition 01- Argentinian Pavilion.*

*18-30-14 Modulated Composition 02-03-04-05. Argentinian Pavilion.*

*18-30-15 Modulated Composition 03- Berliner Borse*

*18-30-16 Modulated Composition 04-05- Berliner Borse.*

*18-30-17 Modulated Composition 12-17 Palacio de Aguas Corrientes*

*18-30-18 Modulated Composition 18- Palacio de Aguas Corrientes*

*18-30-19 Modulated Composition 01- Biblioteque Sainte Genevieve.*

*18-30-20 Modulated Composition 02-07- Biblioteque Sainte Genevieve.*

### *31- LINEAR PALACES*

#### *SOFTWARE: Rhinoceros, Grasshopper*

#### *REFERENCES: Palacio de Aguas Corrientes, Plaza Hotel, Palacio Paz*

#### *DESCRIPTION:*

The experiment was programmed as a typological exploration in order to create a flexible parametric model that could encompass several case studies recollected from this research. This aspiration for flexibility could also be understood as universality; the intention for this exercise proved to exceed the initial typological exploration while tapping into a digital design strategy that combined not only the investigation regarding typology, but also to include the site, proportions, expression and character.

The purpose was to create a parametric definition able to produce a building's envelope, flexible enough to create 'closed' buildings around a courtyard, such as the Palacio de Aguas Corrientes or 'open' or 'linear' ones as the Palacio Paz. For this matter, the definition requires an initial poly-line or polygon to act as a generatrix, on which the building's façade will be placed.

From then on, the rest of the building elements will be generated; towers on the corners or vertices, columns, pilasters, mansard roof, domes, and so on. Each of these members is congruent to each other since they are all dependant on the same generatrix and linked through local and global variables.

As a design strategy, once this line is defined by the user or another algorithm, each segment of the generatrix polyline or polygon is divided defining a module which will be used to place columns, pilasters, windows, doors, etc.

The modules also govern the building's 'depth' or usable surface, which in turn will also create an inner courtyard, similar to the Palacio de Aguas typology. Similar to other experiments, each of the architectural elements can be further individualized; in size, for example in columns, pillars, towers, or in type, for example in windows (round, rectilinear, mixed), or roofs (sloped, flat, mansard, curved).

It is also noteworthy that while some parameters from these elements can be precisely defined, such as the height of the roof, other parameters are linked to one another, thus being indirectly defined by the user. An interesting example of such parameters are the façade pilasters; their height is dependent on each stage but their width and depth is indirectly defined by its immediate predecessor. The column from the second level will be slightly smaller than the one from the first, which in turn will be smaller than the ground floor pilaster. The reason for this is the need for a coherent 'tectonical' expression that the experiment intended to grasp. In order to explore the openness of the classical design strategies it seemed fit to uphold such aesthetical premises.

*18-31-1 Typological experimentation towards Palacio Paz. Linear Palace 01-02.*

*18-31-2 Typological experimentation towards Palacio Paz. Linear Palace 03-04.*

*18-31-3 Typological experimentation towards Palacio Paz. Linear Palace 05-06.*

### *32- LINEAR PALACES 2*

#### *SOFTWARE: Rhinoceros, Grasshopper*

#### *REFERENCES: Palacio de Aguas Corrientes, Plaza Hotel, Palacio Paz*

#### *DESCRIPTION:*

As a continuation of the previous experiment (Linear Palaces) this exercise consisted in applying a parametric definition in order to generate buildings on specific sites with the intention to test other qualities of the results such as scale, proportion or character. These contexts are of a varied quality, for example Buenos Aires (the original sites of Palacio de Aguas and Palacio Paz), Paris (the former site of Les Halles) and Aachen, Germany (Blucherplatz). The reason for this selection was to test out the architectural outcome within different urban contexts, different scales, grid size, open spaces and surroundings. The exploration of these areas of opportunity and the specific relationships that each building ties with each site are also worthy of further research efforts.

This experiment intend to condense an assortment of architectural elements and parameters with the intention to control as much as them, seamlessly in a coherent model. This initial intention was then further expanded in order to incorporate the possibility of integrating more experimental features and explore different architectural characteristics, both in relation to the context as well as with its own internal geometry.

This experiment describes a tension present in many other exercises, a tension between three nodes; fidelity, universality and flexibility. Faithfulness is described as the more or less direct relationship not only with the case study project but also with the classical cannon that brought it into our interest. Universality means that the secondary purpose of each parametric definition is to describe as much architectural possibilities as possible, on this case, it intends to replicate the Palacio de Aguas typology as well as Palacio Paz or even a French chateau from the 18th century. Finally, Flexibility describes the opportunity for this experiment to develop even farther from the case study reference; to produce unexpected, experimental results is ultimately the goal for this research.

The tension between these three nodes is present in most of the experiments and it is one of the drivers of the research. The positioning of each of the exercises closer or farther from each node will determine not only the premises on which each experiment was designed but also the range of its results.

*18-32-1 Typological experimentation in urban spaces. Case Study Blücherplatz, Aachen. Linear Palace 07.*

*18-32-2 Typological experimentation in urban spaces. Case Study Blücherplatz, Aachen. Linear Palace 07.*

*18-32-3 Typological experimentation in urban spaces. Case Study Les Halles, Paris. Linear Palace 09.*

*18-32-4 Typological experimentation in urban spaces. Case Study Les Halles, Paris. Linear Palace 09.*

*18-32-5 Typological experimentation in urban spaces. Case Study Les Halles, Paris. Linear Palace 15.*

*18-32-6 Typological experimentation in urban spaces. Case Study Les Halles, Paris. Linear Palace 16.*

*18-32-7 Typological experimentation in urban spaces. Case Study Buenos Aires. Linear Palace 11-12.*

# CHAPTER 19

# *- Conclusions*

The general purpose of an architectural research is two-fold; on one hand to visualize (and render visible) problems that were not yet noticed and on the other, to offer answers in the shape of architectural knowledge. It needs to deliver unknown responses to new and unnoticed issues.

The type of results that this thesis produces as a consequence of architectural experimentation is difficult to evaluate on a positivist base, yet its argumentation is not. Each lesson extracted from the experimentations remains singular and subscribed to its own formal medium, and however difficult their instrumentalization and universalization may be, they may remain possible -and reproducible- outside the scope of this research. Many of the experiments described on this work can be applied to actual architectural problems; as a jumpstart or preliminary sketches on some cases or as production drawings on the last stages of design on other ones.

In the same way on the educational field, a geometrical understanding of architectural typologies or composition techniques might help a novel perception and critique of both historical and contemporary design strategies. Similarly, the operative character of some experiments renders them as a powerful tool in the field of Project Research. On all fields, academic, research or professional, this set of tools (and digital tools in general) requires a thoughtful process of instrumentalization in order to produce a significant and reliable outcome; the uncritical use will most certainly produce ineffective results and turn the whole exercise counterproductive.

Sarquis states that there are two types of architectural innovation from the identification of architectural problems and their resolution: a transferable instrumental one and a non-instrumental one, which creates a whole new set of problems and ´scenarios´ to build up from. This thesis is an example of the latter; it has produced a series of experiments, proto-projects ´finalizable´ or embryonic projects (like Eliaschev´s definition) proposing new problems and paths to walk through them. It foresees new problems, proposes a set of tools to tackle them and provides a theoretical framework to evaluate its results.

As both Sarquis stated, a Project Research thesis does not seek a scientific validity but intends to enhance the discipline´s capacity to identify and construct architectural problems; a narrative encompassing History, Theory, Context, Methodologies and Techniques in a coherent manner.

The use of digital tools and methodologies to investigate on disciplinary and historical topics such as typological variation, spatial articulation and formal experimentation, among many others has proven useful and its potentiality is still untapped. The work at the Poiesis Centre, the collaboration projects with Rokokorelevanz and the experiments depicted on this thesis are evidence of the potential of such methodologies and the possibilities that these tools and their creative use unleash.

As Merx´s projects testify, a critical understanding of historical methodologies and tools, embodied in the concept of design strategies is still a fertile field of research in view of the crescent influence of digital tools in our practices. A fresh perception of their evolution is required in order to avoid common or familiar answers to novel problems, particularly when interwoven with construction and fabrication techniques, design strategies or historical information.

This ´digital approach´ to historic architectural features intends not only to fuel further digital research but also to reframe our understanding of architectural history and several of its topics and tools, such as formal analysis or close reading. The use of digital tools in order to analyze and produce architectural features other than just the production of visual exuberance is still an interesting and untapped field of research on our discipline. The confluence of historical topics and digital design tools still raises questions and demands further investigations, particularly in view of the new developments in the field of artificial intelligence and machine learning.

This research has also produced several outcomes apart from this thesis, such as the collaboration projects with Rokokorelevanz, conference papers and several collaborations within RWTH in Aachen. All of them revolved around the influence of digital tools and architectural production; the exploration of quality, detail and overall architectural value.

Considering the growing influence of digital tools in our practices, the importance of this thesis rests on the study and development of such tools and how can they be framed within the architectural discipline. This thesis is then attached to the numerous Rokokorelevanz and Poiesis projects on these topics, updating their vast knowledge base as well as producing new problems and questions.

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3-8 Extracted from Vasena, S. (1902). La Europea, talleres mecánicos : fundición de hierro, acero y bronce; herrería y calderería.

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3-15 Extracted from Macfarlane, W. & Foundry, S. (2009). Macfarlane's Castings.

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3-18 Extracted from Viollet-le-Duc, E. (1863). Entretiens sur l'architecture (Vol. 1).

3-19 Extracted from Viollet-le-Duc, E. (1863). Entretiens sur l'architecture (Vol. 1).

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4-2 Extracted from Denfer, J. (1891). Architecture et constructions civiles.

4-3 Extracted from Macfarlane, W. & Foundry, S. (2009). Macfarlane's Castings.

4-4 Source: Archivo Histórico de Planos Domiciliarios de AySA

4-6 Source: Archivo Histórico de Planos Domiciliarios de AySA

4-7 Extracted from Vasena, S. (1902). La Europea, talleres mecánicos : fundición de hierro, acero y bronce; herrería y calderería.

5-1 Frila, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons - Retrieved from Construction métallique. (2022, September 1). In Wikipedia. https:// fr.wikipedia.org/wiki/Construction\_m%C3%A9tallique

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6-5 Extracted from Labrouste H. (1850). Plans et dessins relatifs à la construction et au décor de la bibliothèque Sainte-Geneviève.

7-1 Unknown author, Public domain, via Wikimedia Commons. Retrieved from https://commons. wikimedia.org/wiki/File:Berlin\_B%C3%B6rse\_mit\_Friedrichsbr%C3%BCcke\_um\_1900.jpg

7-2 Erbkam, G. 1865. Zeitschrift für Bauwesen. Edition XV. 1865, Atlas. 21–31. Retrieved from https://digital.zlb.de/viewer/image/15239363\_1865\_07/1/LOG\_0003/

7-3 Erbkam, G. 1865. Zeitschrift für Bauwesen. Edition XV. 1865, Atlas. 21–31. Retrieved from https://digital.zlb.de/viewer/image/15239363\_1865\_07/1/LOG\_0003/

7-4 Erbkam, G. 1865. Zeitschrift für Bauwesen. Edition XV. 1865, Atlas. 21–31. Retrieved from https://digital.zlb.de/viewer/image/15239363\_1865\_07/1/LOG\_0003/

8-1 Bibliothèque nationale de France. Retrieved from https://gallica.bnf.fr/ark:/12148/ btv1b6938573s.item

8-2 Brown University Library, Public domain, via Wikimedia Commons. Retrieved from https:// commons.wikimedia.org/wiki/File:Arcades\_lat%C3%A9rales\_de\_la\_section\_portugaise\_dans\_le\_ palais\_du\_Champ-de-Mars.jpg

8-3 Anonymous Unknown author, Public domain, via Wikimedia Commons. Retrieved form https:// commons.wikimedia.org/wiki/File:Le\_grand\_vestibule\_du\_palais\_du\_Champ-de-Mars.jpg

8-4 Brown University Library, Public domain, via Wikimedia Commons. Retrieved from https:// commons.wikimedia.org/wiki/File:Entr%C3%A9e\_principale\_du\_palais,\_1878\_Paris\_World\_Fair.jpg

9-2 Extracted from Tartarini, J., Noya C. (2017). El Palacio de las Aguas Corrientes: De Gran Depósito Distribuidor a Monumento Histórico Nacional.

9-3 Extracted from Tartarini, J., Noya C. (2017). El Palacio de las Aguas Corrientes: De Gran Depósito Distribuidor a Monumento Histórico Nacional.

9-4 Source: Archivo Histórico de Planos Domiciliarios de AySA

9-5 Extracted from Tartarini, J., Noya C. (2017). El Palacio de las Aguas Corrientes: De Gran Depósito Distribuidor a Monumento Histórico Nacional.

10-1 Brown University Library, Public domain. Retrieved from https://repository.library.brown.edu/ studio/item/bdr:87017/

10-2 Unknown, Public domain, via Wikimedia Commons

10-3 Extracted from Vierendeel, A. (1902). La Construction Architecturale en Fonte, Fer et Acier.

10-4 Brown University Library, Public domain. Retrieved from https://repository.library.brown.edu/ studio/item/bdr:87040/

10-5 Brown University Library, Public domain. Retrieved from https://repository.library.brown.edu/ studio/item/bdr:86999/

11-1 General Archive of the Nation, Public domain, via Wikimedia Commons. Retrieved from https://commons.wikimedia.org/wiki/File:Buenos\_Aires\_-\_Pabell%C3%B3n\_Argentino\_de\_la\_ Exposici%C3%B3n\_Universal\_de\_Par%C3%ADs\_en\_Plaza\_San\_Mart%C3%ADn.JPG

11-2 CEDIAP – Colección de Arquitectura. Work:PO315 Photo:03517

11-3 AGN Documentos Fotográficos – Inv. Nº 169073

11-4 AGN Documentos Fotográficos

11-5 AGN Documentos Fotográficos

11-6 Unknown author, Public domain, via Wikimedia Commons

12-1 Library of Congress, Public domain, via Wikimedia Commons

12-2 Brown University Library, Public domain, via Wikimedia Commons

12-3 William Henry Goodyear, No restrictions, via Wikimedia Commons

12-4 Ernst Haeckel, Public domain, via Wikimedia Commons

12-5 Extracted from Binet, R. (1900) Esquisses decoratives. Internet Archive. Retrieved from https://archive.org/details/EsquissesdeYcor00Bine

13-1 Unknown author

13-2 Unknown author

13-3 Jebulon, CC0, via Wikimedia Commons

13-4 Image by the author

14-1 General Archive of the Nation, Public domain, via Wikimedia Commons

14-2 Extracted from, R.A. (1909). Plaza hotel, Buenos Aires.

14-3 Extracted from, R.A. (1909). Plaza hotel, Buenos Aires.

15-01-1 Source: Archivo Histórico de Planos Domiciliarios de AySA

15-02-1 Extracted from Serlio S. (1537). The five books of architecture.

15-03-1 Extracted from Ruhnau, P. (1976). Das Frankenberger Viertel in Aachen.

15-04-4 Extracted from Serlio S. (1537). Five books of architecture.

15-04-5 Kansas City Hydraulic-Press Brick Co. (1970). Catalog and price list bricks. Kansas City hydraulic-press brick company. Retrieved https://archive.org/details/catalogpricelist00kans/page/ n1/mode/1up

15-05-1 Extracted from Tartarini, J., Noya C. (2017). El Palacio de las Aguas Corrientes: De Gran Depósito Distribuidor a Monumento Histórico Nacional.

15-06-2 Extracted from Serlio S. (1537). The five books of architecture and (1551) Libro Extraordinario.

16-07-1 Extracted from Chitcham R. (1984). The Classical Orders of Architecture.

16-09-1 Extracted from National Terra Cotta Society. (1914). Architectural terra cotta: Standard construction. National terra cotta Society.

16-11-1 Extracted from National Terra Cotta Society. (1914). Architectural terra cotta: Standard construction. National terra cotta Society.

16-12-1 Extracted from Vasena, S. (1902). La Europea, talleres mecánicos : fundición de hierro, acero y bronce; herrería y calderería.

16-12-2 Extracted from Freitag, J. K. (1899). The fireproofing of steel buildings.

16-13-1 Extracted from Freitag, J. K. (1899). The fireproofing of steel buildings.

16-14-1 Extracted from National Terra Cotta Society. (1914). Architectural terra cotta: Standard construction. National terra cotta Society.

16-15-1 Archives Galleries Lafayette

16-15-2 Brown University Library, Public domain, via Wikimedia Commons. Retrieved from https:// repository.library.brown.edu/studio/item/bdr:86692/

16-15-3 Unknown author, Public domain, via Wikimedia Commons

17-16-1 RIBA Collections.

17-17-1 Extracted from Boileau, L. A. (1886). Histoire critique de l'Invention en Architecture: Classification méthodique des oeuvres de l'Art Monumental au point de vue du progrès et de son application à la composition de nouveau types architectoniques dérivant de l'usage du Fer.

17-20-1 Cl. Musées de Sens/E. Berry

17-20-2 Ernst Haeckel, Public domain, via Wikimedia Commons

17-21-1 Eugenio Avanzi, Public domain, via Wikimedia Commons

17-22-1 Erbkam, G. (1865). Zeitschrift für Bauwesen. Edition XV. 1865, Atlas. 21–31. Retrieved from https://digital.zlb.de/viewer/image/15239363\_1865\_07/1/LOG\_0003/

18-25-1 Extracted from Ledoux C.N. (1804). Lárchitecture consideree.

18-25-2 Extracted from Ledoux C.N. (1804).Lárchitecture consideree.

18-26-1 Extracted from Daly M.C. (1864) L'architecture privée au XIXe siècle.

18-26-2 Extracted from L.Blondel (1745) Livre d'architecture.

18-27-2 Extracted from L. Reynaud (1870) Traite d architecture.

T his research began with a very simple question: how do architects deal with the history of their discipline in the age of digital tools? How can we design, and at the same time learn from the past now that we have an arsenal of impressive tools to our disposal?

The role of architectural history, although variable throughout different periods, is still central to our discipline. Construction technologies, building aesthetics and architectural programs are historically grounded concepts that require a continuous consideration, particularly in the digital turn.

The research deals with a pressing question about our discipline and its design strategies combining historical information and the ubiquity of digital tools. Design strategies in architecture are historically defined, they rely on geometry, context, history, human requirements, building technologies and representational tools. The study of Architecture´s own history, particularly in the verge of technological advancements such as the introduction of new materials or tools may shed some light on how to tackle new challenges in a rapidly shifting context. The development of new design strategies capable of metabolizing these advancements is crucial to our discipline.

On this regard, the role of digital tools in architectural design processes has been growing steadily in relevance for the last twenty years, yet their function has shifted from a representational instrument to a concrete design and manufacturing tool.

This design research aims to illustrate the importance of detail, quality and overall freedom that the study of design and production tools reveals; both historical ones (such as the introduction of iron or ceramics) to contemporary resources, as the use of complex design software and novel fabrication tools have become ubiquitous in our field.

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