O objetivo desta pesquisa é confrontar os impactos da chamada \"revolução digital\" sobre o design de mobiliário no Brasil, em comparação com a produção e design tradicionais. Pretende-se verificar como estas tecnologias podem auxiliar no desenvolvimento de produtos mais adequados no que diz respeito à sua utilização e à sua significação, ao mesmo tempo em que se procura reconhecer se nossa cultura material está preparada para estas mudanças. Para tanto, optou-se realizar entrevistas com designers de gerações diferentes. O primeiro com raízes modernistas e carreira estabelecida no pós-modernismo e o segundo com raízes contemporâneas e atuante no campo do Open Design e fabricação digital. Verificou-se a necessidade de um trabalho sinérgico entre o artesanal e o digital para a criação de produtos diferenciados e adequados à sua contemporaneidade. / The purpose of this research is to confront the impacts of the so-called \"digital revolution\" on furniture design in Brazil, comparing it with the production and traditional design. The aim is verify if these technologies can assist the development of products with more suitable use and meaning, at the same time seeking to recognize if our material culture is ready for these changes. To do so, we conduct interviews with different generations of designers, one with modernist roots and established career in postmodernism and the second with contemporary and active roots in the field of Open Design and digital fabrication. It was found the need for synergistic efforts between the craft and digital aspects to create differentiated products and that are fitted for contemporaneity.

O objetivo desta pesquisa é confrontar os impactos da chamada \"revolução digital\" sobre o design de mobiliário no Brasil, em comparação com a produção e design tradicionais. Pretende-se verificar como estas tecnologias podem auxiliar no desenvolvimento de produtos mais adequados no que diz respeito à sua utilização e à sua significação, ao mesmo tempo em que se procura reconhecer se nossa cultura material está preparada para estas mudanças. Para tanto, optou-se realizar entrevistas com designers de gerações diferentes. O primeiro com raízes modernistas e carreira estabelecida no pós-modernismo e o segundo com raízes contemporâneas e atuante no campo do Open Design e fabricação digital. Verificou-se a necessidade de um trabalho sinérgico entre o artesanal e o digital para a criação de produtos diferenciados e adequados à sua contemporaneidade. / The purpose of this research is to confront the impacts of the so-called \"digital revolution\" on furniture design in Brazil, comparing it with the production and traditional design. The aim is verify if these technologies can assist the development of products with more suitable use and meaning, at the same time seeking to recognize if our material culture is ready for these changes. To do so, we conduct interviews with different generations of designers, one with modernist roots and established career in postmodernism and the second with contemporary and active roots in the field of Open Design and digital fabrication. It was found the need for synergistic efforts between the craft and digital aspects to create differentiated products and that are fitted for contemporaneity.

The act of creating anything, from a novel to a simple meal to a building, requires the combination of many elements. Broadly speaking, these elements are technique, technology, and materiality, the three of which are bought into combination according to the intent of the maker. The effects of the combination of these elements can be very powerful. One need only call to mind the cool, damp weightiness of stepping inside a church whose walls are made of solid stone or to contrast this experience with that of picking up a lightweight rowing shell whose thin wood frame and taut fabric skin combine amazing strength with impossible slenderness. These experiences amaze and move us because the various elements that brought them into being are combined in a harmonious way and one that is aligned with a poetic ambition. This is not to say that all three elements need to be mixed in equal proportions or that there is a hierarchy of importance; it is the mixing that is essential, not the presence of any one element. A specific focus of this thesis is technology and the way that architects use it and are shaped by its use. Many architects have rushed to embrace recent advances in digital design and fabrication tools, forgetting that that the act of making requires the convergence of a number of forces. Focussing too much attention on one will often come at that detriment of another. Through a series of projects, this thesis explores a number of methods of designing and making. The projects undertaken range from a series of hand carved spoons, to sculptural, physical translations of flowing water, through to the full-scale realization of a suspended ceiling for the North House prototype. An effort has been made to work across a variety of scales, and to employ as wide a range of techniques and technologies as possible. These projects have afforded a kind of research through making, one that engages the entire body rather than merely the mind, and which has been supplemented with more traditional means of research. In addition to the role of technology in architectural practice, attention has been paid to the relationship between ways of making and time, and to the way in which certain artists, designers, and architects are able to slow, compress, or even transcend time. A series of brief case studies serves to illustrate how this is possible while also describing a set of values against which the work of this thesis can be calibrated. By its very nature this thesis takes the form of an ongoing project, one in search of a somewhat elusive goal. The path that a powerful and moving project must take is often full of uncertainty. If I am certain of anything however, it is that achieving the proper mixture of elements requires patience, persistence, and a willingness to let a project take on a life of its own.

The act of creating anything, from a novel to a simple meal to a building, requires the combination of many elements. Broadly speaking, these elements are technique, technology, and materiality, the three of which are bought into combination according to the intent of the maker. The effects of the combination of these elements can be very powerful. One need only call to mind the cool, damp weightiness of stepping inside a church whose walls are made of solid stone or to contrast this experience with that of picking up a lightweight rowing shell whose thin wood frame and taut fabric skin combine amazing strength with impossible slenderness. These experiences amaze and move us because the various elements that brought them into being are combined in a harmonious way and one that is aligned with a poetic ambition. This is not to say that all three elements need to be mixed in equal proportions or that there is a hierarchy of importance; it is the mixing that is essential, not the presence of any one element. A specific focus of this thesis is technology and the way that architects use it and are shaped by its use. Many architects have rushed to embrace recent advances in digital design and fabrication tools, forgetting that that the act of making requires the convergence of a number of forces. Focussing too much attention on one will often come at that detriment of another. Through a series of projects, this thesis explores a number of methods of designing and making. The projects undertaken range from a series of hand carved spoons, to sculptural, physical translations of flowing water, through to the full-scale realization of a suspended ceiling for the North House prototype. An effort has been made to work across a variety of scales, and to employ as wide a range of techniques and technologies as possible. These projects have afforded a kind of research through making, one that engages the entire body rather than merely the mind, and which has been supplemented with more traditional means of research. In addition to the role of technology in architectural practice, attention has been paid to the relationship between ways of making and time, and to the way in which certain artists, designers, and architects are able to slow, compress, or even transcend time. A series of brief case studies serves to illustrate how this is possible while also describing a set of values against which the work of this thesis can be calibrated. By its very nature this thesis takes the form of an ongoing project, one in search of a somewhat elusive goal. The path that a powerful and moving project must take is often full of uncertainty. If I am certain of anything however, it is that achieving the proper mixture of elements requires patience, persistence, and a willingness to let a project take on a life of its own.

Malongen consists of two volumes containing housing, a gallery, and a restaurant. The design language of the base comes from a 3D scan of the rock 30 meters north of the plot. The buildings are a design interaction to explore the tension between the historical mountain cut and a design interaction. With a digital imitation of the rock the buildings intend to mimic the surrounding area. The rock, that is the historical imprint of the place, is now translated into buildingelements, as a result of my manipulation of the file. This project has investigated how we can create a contemporary buidling that refer to a historical site and keep telling a story about time.

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