By Pablo Lorenzo-Eiroa, Aaron Sprecher

ISBN-10: 0415534909

ISBN-13: 9780415534901

Structure in Formation is the 1st electronic structure handbook that bridges a number of relationships among concept and perform, offering an essential source to constitution the impending moment electronic revolution. 16 essays from practitioners, historians and theorists examine how details processing informs and is knowledgeable by way of structure. Twenty-nine experimental tasks suggest radical potential 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 by way of: 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, middle for structure, technology 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, workplace 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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Additional info for Architecture in Formation: On the Nature of Information in Digital Architecture

Example text

While many examples attest to the success of this collaborative design strategy in fields such as software development, and increasingly in the design development of physical objects, its instances in architectural design are rare. 0 applications in architectural design have not been devised by designers, but by the building and construction industry. 9 While the traditional design–bid–build process embodied the Albertian way of making by design and by notation, today’s BIM model translates a new mode of building by collaborative leadership, which, in turn, resembles and almost reenacts the collaborative way of building that prevailed in most European building sites before the Humanist invention of the modern authorship.

42 43 fig 9 “The architectural ideal is a room in black marble, in which light enters only through orifices so well bent that nothing from the outside can be seen through them, yet they illuminate or color the decor of a pure inside…. The Leibnizian monad and its system of light-mirror-point of view-inner decor cannot be understood if they are not compared to Baroque architecture. ”55 The monad represents the autonomy of a pure inside, “an inside without outside. ”56 There is a severing between an outside (the facade) and a totally enclosed inside, lined with wall-mirrors, as in the catoptric boxes from that period.

63 Hybrid Form Today, as Deleuze suggested, one issue remains: the question of how to live in the world. The “topological” condition of contemporary living does not allow the difference between inside and outside to survive. ”65 This paradoxical situation – one in which a closed space restores to us the outside of our interiority – describes the condition of our screens, those catoptric boxes that are now part of our ever more interactive environment. ”69 As universal tools of work, but also as devices supporting percepts and affects, the screens that populate our dwellings and houses only function by means of the topological torsion of a virtual space, whose closure allows contact with an absolute exteriority acting like infinite folds – successive interlockings that can’t help but unfold, allowing us to plug in, not to the outside itself, but to the outside of any proper interiority.

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