ABSTRACT
n order for materials to be used successfully, states Gail Peter Borden, the architect must holistically consider all aspects of their makeup; “the technical components [must be] matched by the sensorial effects”. In this chapter, George Nakashima and Neri Oxman explore materials from these two particular perspectives. In “Timber,” as well as throughout his book The Soul of a Tree, Nakashima’s reverence for wood as a catalyst for design is unmistakable. The chapter illuminates his ability to read or discern the complexities of each piece of wood that entered his shop while he recounts past experiences with the transformation of logs into lumber. Where Nakashima’s text focuses primarily on haptic qualities and intuition, Oxman’s essay, “Structuring Materiality: Design Fabrication of Heterogeneous Materials,” critiques the performance of architectural materials, illuminating the distinct differences between those that are natural and those that are manufactured.
