Introducing Catalytic Diversity into Single-Site Chabazite Zeolites of Fixed Composition via Synthetic Control of Active Site Proximity

Di Iorio, John R.; Nimlos, Claire T.; Gounder, Rajamani

doi:10.1021/acscatal.7b01273

Historically, ornament has provided a tether to cultural meaning in the built world. Ornament is tied to specific cultural attributes. As an integral part of the construction, ornament negotiates with the culture from which it emerges. It is a built grammar, but it is also expressive of its own making as well as the society that shaped it. Modernity has largely reversed this connection with some important exceptions. There is a strong history of architects developing space through the design of the construction that provides what Louis Sullivan would call an “organic” link to the ornament that emerges, and this nexus of structure and form becomes the “site” of the ornament. Luigi Nervi’s ferro-cement shells and Frank Lloyd Wright’s textile blocks are two salient examples that have, through necessity or interest, developed details that generate entire projects, which then generate new projects as that construction/detail is refined and builds on the culture that inspired it. Ornament is thus a negotiation between the built artifact and the meaning of its “ornamented” expression. As architects, we now operate in a world of off-the-shelf selected components. This attitude, combined with the integration of building components into BIM programs, has made the architect a selector/consumer rather than a designer of the construction, making ornament a part of this selection process – i.e., decoration. The research project Woven Blocks is an attempt to reexamine the way in which architects can shape space through the design of the construction itself. Pulling from Frank Lloyd Wright’s textile block system, Woven Blocks imagines a 3D-printed block capable of taking advantage of a self-supporting system of enclosure that can be “programmed” with function, take on aspects of the context it resides in, and reflect the nature of its making. The project is the design of the manufacturing process as well as its end-product. This enables the building material to respond directly to its program, shaping space/meaning in potentially a more “plastic” way. This paper is first a consideration of architects thinking through construction, then a reflection on the cultural implication of their production. The site of ornament also implies a shift in perception from the textile patterns of specific cultures found in ceramics, clothing, wall mats, or flooring onto the building surface and into its lashing to the frame and the integration of its various services/systems. This lens will serve to frame the research around the project Woven Blocks, examining the efforts of the authors to shape the process of construction as a place from which ornament can emerge and meaning can be rediscovered.

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