Dagmar Reinhardt
I am a registered architect, researcher and educator.
As the Program Director for the Bachelor of Architecture and Environments and Senior Lecturer in Architecture at the University of Sydney's Faculty of Architecture, Design & Planning, I work across the full range of our four disciplines; the Design Lab, Architectural Sciences, Urban Planning and Architecture.
I am also the Leader of the Digital Architecture Research Master program, and I teach design and design theory in the Bachelor program as well as the Master, as well as customized research electives and studios such as the robotic fabrication elective CodeToProduction, and the postgraduate core SmartStructuresLab.
I founded my architecture office reinhardtjung in 2000 with partner Alexander Jung, and operate from Frankfurt, Germany an Sydney (www.reinhardtjung.de).
I completed my PhD in architecture design at the University of Sydney in 2010, and taught at the Staedelschule Frankfurt Main as research assistant prior to joining the University of Sydney in 2010.
My research focuses on performance in architecture and architecture’s performance, and is situated in the area of design thinking and design strategies for architecture. It focuses specifically on design aspects of performance of the architecture (envelope) itself, and the performance within architecture. This is an investigation and application through computational design methodologies, material programming, digital fabrication and human-system responses in the challenging, emerging domain of computation for the built environment. The research explores design methodology and design research as interdisciplinary discourse and collaboration shared between applied architectural practice, structural engineering, and acoustic performance; in design projects, performances, installations and exhibitions.
I am Chair of the RobArch2016 Conference for Robotic Fabrication in Architecture, Art and Design (www.robrach2016.org), and work at present to bring together the Australian community and international researchers and practitioners.
I am also a founding member
biome.cc - a cluster of researchers, practitioners and artists investigating natural paradigms as a language shared in biology, mathematics, music, behavioural studies, engineering, interaction design and architecture.
I'm an active member of the computational and robotic research community, and have participated in workshop, conference, and journal committees. I have published over 50 articles, co-authored three books, and regularly present my research at academic and industry conferences.
Specialties: Great developer of concepts /ideas/strategies, strong networker and collaborator, can make things happen. Trained in architectural practice and conceptual thinking for architectural design, keen interest in computational processes and robotic fabrication, interested in human-computer interaction and integrating digital information and the physical environment.
Address:
Wilkinson building (G04)
Room 512
148 City Road
Sydney 2006 (NSW)
As the Program Director for the Bachelor of Architecture and Environments and Senior Lecturer in Architecture at the University of Sydney's Faculty of Architecture, Design & Planning, I work across the full range of our four disciplines; the Design Lab, Architectural Sciences, Urban Planning and Architecture.
I am also the Leader of the Digital Architecture Research Master program, and I teach design and design theory in the Bachelor program as well as the Master, as well as customized research electives and studios such as the robotic fabrication elective CodeToProduction, and the postgraduate core SmartStructuresLab.
I founded my architecture office reinhardtjung in 2000 with partner Alexander Jung, and operate from Frankfurt, Germany an Sydney (www.reinhardtjung.de).
I completed my PhD in architecture design at the University of Sydney in 2010, and taught at the Staedelschule Frankfurt Main as research assistant prior to joining the University of Sydney in 2010.
My research focuses on performance in architecture and architecture’s performance, and is situated in the area of design thinking and design strategies for architecture. It focuses specifically on design aspects of performance of the architecture (envelope) itself, and the performance within architecture. This is an investigation and application through computational design methodologies, material programming, digital fabrication and human-system responses in the challenging, emerging domain of computation for the built environment. The research explores design methodology and design research as interdisciplinary discourse and collaboration shared between applied architectural practice, structural engineering, and acoustic performance; in design projects, performances, installations and exhibitions.
I am Chair of the RobArch2016 Conference for Robotic Fabrication in Architecture, Art and Design (www.robrach2016.org), and work at present to bring together the Australian community and international researchers and practitioners.
I am also a founding member
biome.cc - a cluster of researchers, practitioners and artists investigating natural paradigms as a language shared in biology, mathematics, music, behavioural studies, engineering, interaction design and architecture.
I'm an active member of the computational and robotic research community, and have participated in workshop, conference, and journal committees. I have published over 50 articles, co-authored three books, and regularly present my research at academic and industry conferences.
Specialties: Great developer of concepts /ideas/strategies, strong networker and collaborator, can make things happen. Trained in architectural practice and conceptual thinking for architectural design, keen interest in computational processes and robotic fabrication, interested in human-computer interaction and integrating digital information and the physical environment.
Address:
Wilkinson building (G04)
Room 512
148 City Road
Sydney 2006 (NSW)
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Books by Dagmar Reinhardt
Includes chapters by Achim Menges, Mark Burry, Fabio Gramazio and Matthias Kohler, and Francois Roche.
Papers by Dagmar Reinhardt
Element and Physical Modelling Methods
Location: Suzhou, China
Publisher: The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong
Organization: The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA)
Publication Date: 2017
Publication Name: CAADRIA 2017 The 22nd International Conference on Computer-Aided Architectural Design Research in Asia Protocols, Flows and Glitches
Conference End Date: Apr 7, 2017
Conference Start Date: Apr 5, 2017
controlled environments have produced new forms of
performative architecture that exhibit dynamic kinetic
behaviours in physical space and time. This opens up the
design process to choreographic thinking, in which patterns,
compositions and dynamic qualities of movement are
defined across heterogeneous elements of bodies, kinetic
materials, spatial structures and software code. The
generation of choreographic tools for exploring and
notating movement in the design process poses the problem
of representation and language translation across
disciplines. Our contribution lies in a new tool to extend an
existing design methodology. We propose the use of a
performer-machine score, a choreographic tool which can
be used in conjunction with many other choreographic and
design tools, such as spatial diagrams and computer-aided
design models and simulations, to aid the iterative creative
process of designing the movement-based interaction,
performance and behaviour of human performers and
computationally controlled kinetic materials
or the structure of performances. Both develop within a framework that allows interpretations as much as variations.
The following essay reflects on generic principles of selfforming
organisations, the new tools in engineering, and software as a platform of design and analysis.
It investigates the position of engineers and architects, their designing together, and traces a way in which architectural design can be enhanced through case studies that inform the digital design process, and allow for shared design conversations at an early stage in project
development.
Structural design and analysis are typically regarded as a domain specific to a particular type of individual, a cross between an academic and a builder; a logical thinker who
is good with formulae and calculations, in short: a professional engineer. But this is not always the case. The best engineers may be those engineers who do not resort to calculations, who do not need the support of mathematics, but who can see into
the heart of a structure; who can see the forces of nature at work: and who also can reflect on the behaviour and performance of the materials (in all their varying shapes)
in resisting these forces.
become more available through the range of toolpaths that come with 6-axis robotic fabrication. In this chapter, we present an in-progress report that explores the way in which an industrial 6-axis robot can become an interdisciplinary research tool that produces space that is both immediate and responsive. We link a robotic code directly to acoustic equations, so that in a reverse engineering process,
kuka|prc and robot reachability give boundary conditions for the consecutive design process. The chapter discusses a framework in which the robot is first used as subtractive manufacturing device for cutting an acoustically performative space, and indicates future research into the potential of a robotic assessment of complex
geometries and the resulting acoustic performance. Through integration of acoustic behaviour and robotic fabrication parameters, the production of a space with three distinct ‘sound colorations’ becomes possible. Furthermore, future research is outlined whereby the robot acts as both hand and head: shaping an environment as both input and output device.
notions of body, of identity, of architecture, and of space. Software
code, computer programs, and computational scripts are the
new languages of generating form, of creating new relationships,
of dissolving boundaries. They shift static architecture into
choreographed spatial environments. In this new design landscape
where computation and materiality collide, the boundaries between
bodies, machines, identities and environment are called into question.
cognitive architecture 4EA approach is employed (‘embodied, embedded, enacted, extended, affected’) to inform the design of digitally manufactured and interactive prototype environments that become sensate machines. We introduce a 4EA design framework, combining approaches from computational architectural design, human-computer interaction and choreography, for the design of
environments in which novel cognitive experiences arise from interaction between network components. A series of creative works from the Black Project is presented as case studies exemplifying our 4EA design framework, furthering investigations into how to collaboratively design, manufacture and choreograph sensate machines for rewiring cognition through creative engagement by
performers and audience alike.
and space and Gilles Deleuzes reading of Francis Bacons work, in order to derive a renegotiated interrelation between habitual body, phenomenal space, preferential plane and constructive line. The resulting system is applied as a filter to understand the sartorial fashion of Rei Kawakubo and Hussein Chalayan and their potential as a spatial prosthesis: the operative third skin. If the evolutionary nature of culture demands a constant change, how does the surface of a third skin, which embodies the generative of stable/ unstable, respond to changes of context?
blending the digital with the physical. This emergent
trend towards animate behaviours in our everyday
environment, already signalled by the ubiquitous
computing paradigm, poses new challenges and issues for
cross-disciplinary design in interaction design and
experimental architecture. The design of such
environments and behaviours can be viewed as a form of
choreography across bodies and machines. We present
Black Spring, a first prototype of such an environment.
The development of the prototype and companion
performance is discussed in terms of the interaction
design, using a tool that enables a systematic analysis of
the interaction between the performer and the machine in
the language of choreography.
(2001) as a means to engage latent formations associated with fashion and architecture. Grosz describes a durational, non-determined potential of architecture that resonates with relationships between space, matter, body, movement and time. The paper reviews Grosz’s Theory of Spatial Latency and durational characters of space (‘loci of intensity, compression and elasticity’) in a context of contemporary fashion design. Here, an (im)materiality of time arises as multiple process: in the flow of texture and layers; in the development of design methodologies; in the transfer between structure and body; in processes of fabrication; and in the interaction with a user or wearer. In contrast to the architecture design realm (in which the final result of a design process commonly remains static), the paper traces fashion works that reveal durational qualities, latent organisations, and phenomenal effects thus interpolating between matter and time. In a unidirectional appropriation, the paper examines generative design principles which enable a departure from the blueprint, and resonate with a temporalisation and an intensification of architecture through the way they are (im)materializing time. The contribution aims to open a discourse that allows the latent durational qualities of fashion to be engaged in architectural theory and architectural design methodology."
Includes chapters by Achim Menges, Mark Burry, Fabio Gramazio and Matthias Kohler, and Francois Roche.
Element and Physical Modelling Methods
Location: Suzhou, China
Publisher: The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong
Organization: The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA)
Publication Date: 2017
Publication Name: CAADRIA 2017 The 22nd International Conference on Computer-Aided Architectural Design Research in Asia Protocols, Flows and Glitches
Conference End Date: Apr 7, 2017
Conference Start Date: Apr 5, 2017
controlled environments have produced new forms of
performative architecture that exhibit dynamic kinetic
behaviours in physical space and time. This opens up the
design process to choreographic thinking, in which patterns,
compositions and dynamic qualities of movement are
defined across heterogeneous elements of bodies, kinetic
materials, spatial structures and software code. The
generation of choreographic tools for exploring and
notating movement in the design process poses the problem
of representation and language translation across
disciplines. Our contribution lies in a new tool to extend an
existing design methodology. We propose the use of a
performer-machine score, a choreographic tool which can
be used in conjunction with many other choreographic and
design tools, such as spatial diagrams and computer-aided
design models and simulations, to aid the iterative creative
process of designing the movement-based interaction,
performance and behaviour of human performers and
computationally controlled kinetic materials
or the structure of performances. Both develop within a framework that allows interpretations as much as variations.
The following essay reflects on generic principles of selfforming
organisations, the new tools in engineering, and software as a platform of design and analysis.
It investigates the position of engineers and architects, their designing together, and traces a way in which architectural design can be enhanced through case studies that inform the digital design process, and allow for shared design conversations at an early stage in project
development.
Structural design and analysis are typically regarded as a domain specific to a particular type of individual, a cross between an academic and a builder; a logical thinker who
is good with formulae and calculations, in short: a professional engineer. But this is not always the case. The best engineers may be those engineers who do not resort to calculations, who do not need the support of mathematics, but who can see into
the heart of a structure; who can see the forces of nature at work: and who also can reflect on the behaviour and performance of the materials (in all their varying shapes)
in resisting these forces.
become more available through the range of toolpaths that come with 6-axis robotic fabrication. In this chapter, we present an in-progress report that explores the way in which an industrial 6-axis robot can become an interdisciplinary research tool that produces space that is both immediate and responsive. We link a robotic code directly to acoustic equations, so that in a reverse engineering process,
kuka|prc and robot reachability give boundary conditions for the consecutive design process. The chapter discusses a framework in which the robot is first used as subtractive manufacturing device for cutting an acoustically performative space, and indicates future research into the potential of a robotic assessment of complex
geometries and the resulting acoustic performance. Through integration of acoustic behaviour and robotic fabrication parameters, the production of a space with three distinct ‘sound colorations’ becomes possible. Furthermore, future research is outlined whereby the robot acts as both hand and head: shaping an environment as both input and output device.
notions of body, of identity, of architecture, and of space. Software
code, computer programs, and computational scripts are the
new languages of generating form, of creating new relationships,
of dissolving boundaries. They shift static architecture into
choreographed spatial environments. In this new design landscape
where computation and materiality collide, the boundaries between
bodies, machines, identities and environment are called into question.
cognitive architecture 4EA approach is employed (‘embodied, embedded, enacted, extended, affected’) to inform the design of digitally manufactured and interactive prototype environments that become sensate machines. We introduce a 4EA design framework, combining approaches from computational architectural design, human-computer interaction and choreography, for the design of
environments in which novel cognitive experiences arise from interaction between network components. A series of creative works from the Black Project is presented as case studies exemplifying our 4EA design framework, furthering investigations into how to collaboratively design, manufacture and choreograph sensate machines for rewiring cognition through creative engagement by
performers and audience alike.
and space and Gilles Deleuzes reading of Francis Bacons work, in order to derive a renegotiated interrelation between habitual body, phenomenal space, preferential plane and constructive line. The resulting system is applied as a filter to understand the sartorial fashion of Rei Kawakubo and Hussein Chalayan and their potential as a spatial prosthesis: the operative third skin. If the evolutionary nature of culture demands a constant change, how does the surface of a third skin, which embodies the generative of stable/ unstable, respond to changes of context?
blending the digital with the physical. This emergent
trend towards animate behaviours in our everyday
environment, already signalled by the ubiquitous
computing paradigm, poses new challenges and issues for
cross-disciplinary design in interaction design and
experimental architecture. The design of such
environments and behaviours can be viewed as a form of
choreography across bodies and machines. We present
Black Spring, a first prototype of such an environment.
The development of the prototype and companion
performance is discussed in terms of the interaction
design, using a tool that enables a systematic analysis of
the interaction between the performer and the machine in
the language of choreography.
(2001) as a means to engage latent formations associated with fashion and architecture. Grosz describes a durational, non-determined potential of architecture that resonates with relationships between space, matter, body, movement and time. The paper reviews Grosz’s Theory of Spatial Latency and durational characters of space (‘loci of intensity, compression and elasticity’) in a context of contemporary fashion design. Here, an (im)materiality of time arises as multiple process: in the flow of texture and layers; in the development of design methodologies; in the transfer between structure and body; in processes of fabrication; and in the interaction with a user or wearer. In contrast to the architecture design realm (in which the final result of a design process commonly remains static), the paper traces fashion works that reveal durational qualities, latent organisations, and phenomenal effects thus interpolating between matter and time. In a unidirectional appropriation, the paper examines generative design principles which enable a departure from the blueprint, and resonate with a temporalisation and an intensification of architecture through the way they are (im)materializing time. The contribution aims to open a discourse that allows the latent durational qualities of fashion to be engaged in architectural theory and architectural design methodology."
Grasshopper3D, Rhinoceros3D and Processing have opened up new strategies of hacking, coding and robotic manipulation that can be embedded in robotic fabrication
processes. The addition of sensors provides feedback about material location and characteristics, work environment and co-workers, so as to support architectural
dialogue. This paper proposes a framework for designing new protocols for human interaction and machine response in robotic fabrication systems.
Through a process of reverse engineering from parametric modeling to scale model production to physical simulation, the acoustic reflective properties of surface patterns are investigated for scattering coefficients, in order to derive statistical data on acoustic properties of these surfaces, and to deduce design rules.
studio that approached the engineering of architecture in
process. Relationships between form, force and structure are
explored here as a dialogue between analogue design models,
computational design series, and engineered structural
analysis and optimisations; through digital fabrication of 1:1
plywood prototypes, 1:20 skeleton structures and 3D printed
form studies. SmartStructuresLab2014 reviewed engineering
precedent of self-formation and rule-based designs, and
extended these in a process of design iteration, structural
behavior review and material affordances. This involved the
full integration and seamless transition between 3D modeling
(Rhino/McNeel Rhinoceros), parametric design (Grasshopper)
and structural analysis (karamba) environments. Thus, a
descriptive language of complex curved surfaces becomes
available that combines parameterized geometry, finite
element calculations and optimization algorithms in rule
based scenarios at the intersection between digital and
analogue modelling. As a consequence, the resulting design
models develop formative principles for tension, compression,
or hybrid systems, to be deployed as grid shell, masonry,
concrete or membrane structures. This paper reviews the
underlying conceptual framework and protocol of the studio.
SmartStructuresLab2014 explores precedents of Frei Otto, Heinz Isler, Eladio Dieste and Felix Candela to rethink the legacy and further investigate the complex geometries of hypar surfaces. While behaviours of form and structure can be embedded in material computation through self-forming systems such as catenary chains or tensile membranes, in current computational design, the control over rule-based designs with a mathematical logic become possible. SmartStructuresLab2014 approached an engineering of architecture in process; as a dialogue between analogue design models; computational design series, engineered structural analysis and optimisations, and through continuous digital fabrication of 1:1 plywood prototypes, 1:20 skeleton structures and 3D printed form studies.
SmartStructuresLab2014 employed for the architectural design process the advanced structural engineering software karamba (www.karamba3d.com), developed by Bollinger-Grohmann-Schneider (Frankfurt, Vienna, Melbourne), in order to optimize spatial and structural performance. In a workshop with Clemens Preisinger, Matthew Tam and Sascha Bohnenberger, the studio explored design iterations, structural behaviour and material affordances which were fully integrated and seamlessly crossing between 3D modeling (Rhino/McNeel Rhinoceros), parametric design (Grasshopper) and structural analysis (karamba) environments. Thus, a descriptive language of complex curved surfaces becomes available that combines parameterized geometry, finite element calculations and optimized algorithms in rule based scenarios at the intersection between digital and analogue modelling. As a consequence, the resulting design models develop formative principles for tension, compression, or hybrid systems, to be deployed as grid shell, masonry, concrete or membrane structures.
In this design research, a systemic process of collaborations and sharing design intelligence advances knowledge in the field of digital architecture education. By developing potentials for methodologies as interdisciplinary practice, a horizontal learning structure empowered paradigms of the digital – through advanced geometries, structural engineering, and digital fabrication- that can act as pilot on and prototypes for new architectural and engineering approaches.
This postgraduate Master of Digital Architecture Research studio at the Faculty of Architecture, Design and Planning, The University of Sydney was led by Dr Dagmar Reinhardt with Eduardo De Oliviera Barata, UFOSydney, Rob Beson, AR_MA, and Alexander Jung, reinhardt_jung|architecture. Prototypical structures were displayed as performative collaboration in a multi-interdisciplinary installation commissioned by ArtinThreads for the BrandX Fashion Week event, and the overall research was shown as part of the Powerhouse Sydney Design Week 2014.
about biome
biome is:
Dr Dagmar Reinhardt
Dr Martin Tomitsch
Dr Lian Loke
Dr Oliver Bown
with support from the Faculty of Architecture Design and Planning, The University of Sydney
biome on Facebook
@biomeSydney
biome is a cluster of researchers, practitioners and artists investigating natural paradigms as language shared in an interdisciplinary exchange between the fields of biology, mathematics, music, behavioural studies, engineering, interaction design and architecture. We explore language, gesture, sound and form by interfacing and generating interdisciplinary exchanges between our respective fields, and proceed through design, research, and creative artworks.
Generic systems as found in nature, universal biological methods and principles, biomimicry and biomimetics have increasingly become drivers and problem solvers in diverse fields from science to design. In this current context, we are increasingly working with parametric formulas, algorithmic scripts, and processing codes simple component rules that privilege the general over the specific, yet produce complex forms, behaviours and phenomena. A formal and procedural logic reproduces formative, performative, evolutionary solutions in biological systems. In nature, unique variations develop through universal code according to specific affordances. A code or mathematical formula varies in shape by application to different contexts and materials in which these are solved. Such code also leads to immaterial formations, and ephemeral expressions in behaviour and duration.
By reviewing the way code becomes matter and type in nature, and type and coded matter initiates/invites behaviour, this interdisciplinary discourse derives mathematical principles in natural forms as a language. A language of transformation which extends to include the nature of experiential effects and affects encountered in engagement with digitally organised and fabricated matter.
Dagmar Reinhardt will talk about the challenge of working with complex design frameworks that consider performance, interaction and experience. This helps develop current thinking in parametric and algorithmic design by considering the instrumental role and performative potential of trans-disciplinary approaches to bodies, spaces, material and topographies. By outlining an approach towards such a design methodology, this talk contributes to an understanding of design that proceeds through research.
The Thursday Night Lecture series explores the latest approaches to architecture, design and the built environment. Each year, the Faculty of Architecture, Design and Planning selects speakers from amongst our lecturers, alumni and distinguished industry professionals to share their approaches to the challenges our society faces. The lectures are held in the Wilkinson Building, University of Sydney.
For more information, visit http://sydney.edu.au/architecture
Described here is empirical research into establishing an understanding of tactility through transfers of images and information, towards surface patterns and textures, and integration of Braille text. In support of tactile literacy for reading and assessing images and letters, the research develops a surface archive of tactile patterns. It uses GH Grasshopper code to explore design variability for points, grids and line configurations and a six-axis ABB robot equipped with different routing tools for milling in timber. This surface archive is further extended towards a prototype series of ‘hyperartifacts’; multi-functional furniture objects that integrate different sets of visual or pictorial information that can be ‘decoded’ by sight, and tactile information to be deciphered by Braille experienced readers.
By adopting a practice of Universal Design for equitable, simple and inclusive use and by combining tactile and visual narratives for diverse audiences, the research thus contributes to increasing awareness, knowledge and understanding of other people’s conditions, thus supporting positive changes in attitudes and behaviour, towards more inclusive environments.