Architecture in Formation: On the Nature of Information in by Pablo Lorenzo-Eiroa, Aaron Sprecher

By Pablo Lorenzo-Eiroa, Aaron Sprecher

Structure in Formation is the 1st electronic structure handbook that bridges a number of relationships among conception and perform, offering an essential source to constitution the approaching moment electronic revolution. 16 essays from practitioners, historians and theorists examine how info processing informs and is proficient through structure. Twenty-nine experimental initiatives suggest radical ability to notify the recent upcoming electronic architecture.

Featuring essays through: Pablo Lorenzo-Eiroa, Aaron Sprecher, Georges Teyssot, Mario Carpo, Patrik Schumacher, Bernard Cache, Mark Linder, David Theodore, Evan Douglis, Ingeborg Rocker and Christian Lange, Antoine Picon, Michael Wen-Sen Su, Chris Perry, Alexis Meier, Achim Menges and Martin Bressani.

Interviews with: George Legendre, Alessandra Ponte, Karl Chu, CiroNajle, and Greg Lynn.

Projects through: Diller Scofidio and Renfro; Mark Burry; Yehuda Kalay; Omar Khan; Jason Kelly Johnson, destiny towns Lab; Alejandro Zaera-Polo and Maider Llaguno Munitxa; Anna Dyson / Bess Krietemeyer, Peter Stark, heart for structure, technological know-how and Ecology (CASE); Philippe Rahm; Lydia Kallipoliti and Alexandros Tsamis; Neeraj Bhatia, Infranet Lab; Jenny Sabin, Lab Studio; Luc Courschene, Society for humanities and expertise (SAT); Eisenman Architects; Preston Scott Cohen; Eiroa Architects; Michael Hansmeyer; Open resource structure; Andrew Saunders; Nader Tehrani, place of work dA; Satoru Sugihara, ATLV and Thom Mayne, Morphosis; Reiser and Umemoto; Roland Snooks, Kokkugia; Philip Beesley; Matias del Campo and Sandra Manninger SPAN; Michael younger; Eric Goldemberg, Monad Studio; Francois Roche; Ruy Klein; Chandler Ahrens and John wood worker.

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Without going to such extremes, the normal mode of use of today’s parametricism allows for such a limited range of variations that all end-products of a given design environment tend to look the same, regardless of their degree of customization. 7 But not all the cultural and technical reasons that prompted the rise of digital spline-making in the 1990s may last forever. Today’s digital designers might conceivably choose to leave many more design options open to subsequent interactive or collaborative choices, increasing the degree of indeterminacy embedded in a parametric design system, or the share of authorial responsibility devolved to others.

73 After Friedrich Nietzsche, Henri Bergson, Gaston Bachelard and Georges Canguilhem, Simondon was to 59 Deleuze, The Fold, 29. 60 Ibid. 61 Ibid. , 111. , 111. 158. , 158. 66 Gilles Lipovetsky and Jean Serroy, L’Écran globale: culture-médias et cinéma à l’âge hypermoderne, (Paris: Seuil, 2007). 67 Jacques Derrida, The Specters of Marx: The State of the Debt, the Work of Mourning and the New Internationale, trans. Peggy Kamuf (London: Routledge, 1994), 3–8. 68 Michel Foucault, Maurice Blanchot: The Thought from Outside, trans.

2005), “TRANSdisciplinarity”, Hunch magazine, no. 9 Nora S. and Minc A. (1981), The Computerization of Society, Boston: MIT Press. Serres M. (1982), The Origin of Language: Biology, Information Theory and Thermodynamics, in Hermes – Literature, Science, Philosophy, London: The John Hopkins University Press, pp. 71–84 Sloterdijk P. (2000), Essai d’Intoxication Volontaire, Paris: Hachette Litterature, p. 91 Wiener N. 17. 1 34 35 “Infolding: imagine working through into depths with the help of a media that provides instantaneous feedback and thereby allows infolding with time, memory, energy, relation… A topology that uses rhythms intermingling and flowing around and through each other would let us build walls secondarily, rather than as categorical dividers.

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