New chat

Tell me about Hirano’s concept about the aesthetics of architecture

Toshiki Hirano's concept of the aesthetics of architecture is deeply influenced by the immense volume of information and materiality in our contemporary world, a notion that I refer to as the "Aesthetics of (In)Excess." This concept is rooted in the understanding that we live in a world filled with an overwhelming amount of physical and virtual excess.

1. Response to Information and Material Overload: In the face of the accelerating pace of information and material accumulation, Hirano sees a need to respond creatively and architecturally to this new reality. The idea is not just to manage or simplify this excess, but to engage with it directly in architectural designs.

2. Digital Technologies in Architecture: The introduction and integration of digital technologies in architectural design play a pivotal role in Hirano's concept. This includes the use of computational design, parametric design, and 3D scanning technologies which enable the handling of complex forms and vast data sets.

3. Beyond Traditional Compressions: In the context of the digital era, Hirano notes that traditional methods of architectural representation, like plans and sections, compress the vast information of a building into a two-dimensional format. However, with advancements in digital technology, there is a shift towards embracing the complexity of data without the need for such compression.

4. Embracing Errors and Impossibilities: Interestingly, Hirano also focuses on the inherent limitations and errors in digital representation, such as glitches in 3D scanning or the 'uncanny valley' in reproducing reality. He finds value and aesthetic potential in these imperfections and limitations, suggesting a new way of conceptualizing architecture that acknowledges and incorporates the vastness and complexity of information.

5. Installation and Practical Work: Hirano's theoretical concepts are not just abstract ideas but are also reflected in his practical work. For instance, the "Reinventing Texture" installation at the London Design Biennale 2021 showcased this approach. It involved collecting textures from Tokyo and London, using photogrammetry scanning to create a complex and detailed representation of these cities, thus embodying the aesthetics of excess.

6. Philosophical Underpinnings: Philosophical ideas like Object-Oriented Ontology by Graham Harman, which posits that objects have an inexhaustible depth of information and qualities, resonate with Hirano's approach. This philosophy aligns with the idea that architecture should embrace rather than simplify the complexity and excess of information.

In summary, Hirano's aesthetics of architecture is a sophisticated response to the contemporary condition of information and material overload. It embraces digital technologies and acknowledges the imperfections and complexities inherent in these tools, thereby proposing a nuanced and reflective approach to architectural design in the digital age.

Could you further elaborate on the relation between Hirano’s concept and Graham Harman’s OOO?

Certainly. Toshiki Hirano's architectural aesthetics and Graham Harman's Object-Oriented Ontology (OOO) intersect in several intriguing ways, particularly in their approach to complexity, depth, and the nature of objects.

1. Inherent Complexity and Depth of Objects: Both Hirano and Harman propose that objects, whether they are physical structures or elements within a design, possess an inherent complexity and depth that cannot be fully comprehended or represented. Harman's OOO suggests that objects have an inexhaustible depth, always withholding something of themselves from total understanding or representation. Hirano's approach to architecture resonates with this, as he acknowledges the immense amount of information and qualities that buildings and urban environments embody, beyond what can be captured through traditional architectural representations.

2. Response to Overwhelming Information: Hirano's concept of the "Aesthetics of (In)Excess" relates closely to Harman's idea that objects have a rich inner life that is not fully accessible. In architecture, this translates to a recognition that buildings and spaces are more than their physical structures or digital models. They are accumulations of vast amounts of information, materials, histories, and uses. Hirano's approach, like Harman's, calls for a deeper engagement with these layers, acknowledging that not everything can be captured or controlled in design.

3. Embracing Errors and Imperfections: Harman’s philosophy suggests that any attempt to fully represent or understand an object will always fall short, a notion that aligns with Hirano's embrace of the errors and imperfections in digital technologies. For instance, in 3D scanning, as used by Hirano, the inevitable glitches, holes, or distortions that occur are not just technical limitations but are seen as part of the rich texture of reality that these technologies interact with. This echoes Harman's view that objects always withdraw some part of themselves from any relation or representation.

4. Challenging Simplification and Reduction: Both Harman and Hirano challenge the idea of reducing objects (or buildings, in Hirano's case) to simplistic representations or functions. Hirano's architectural approach, which engages with the excess of information and materiality, parallels Harman's rejection of reductionist views of objects. Instead of simplifying, both advocate for an approach that acknowledges and works with the inherent complexity and richness.

5. Philosophical Underpinning in Design Practice: Hirano's practical work, such as the "Reinventing Texture" installation, can be seen as an application of these philosophical ideas. By using techniques like photogrammetry scanning, Hirano captures the complex textures of urban environments, reflecting the OOO principle that objects are more than their surface appearances or simplistic representations.

In summary, the relationship between Hirano's architectural concept and Harman's OOO lies in their shared recognition of the complexity, depth, and richness of objects (and buildings, in Hirano's case). Both challenge traditional approaches to representation and understanding, advocating for a more nuanced engagement with the world that acknowledges the inherent excess and imperfections in objects and environments.