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Which clippings match 'Algorithmic Architecture' keyword pg.1 of 1
09 DECEMBER 2013

Goldsmiths Department of Art MA: Computational Aesthetics



2013algorithmic architecturecomputational aestheticscomputational arts • computational character • computational ordering • computational structures • computational systemscomputer artconceptual artcritical discoursedatabase as cultural formdigital aestheticsdigital artfine artGoldsmiths College (University of London)information systems • logico-mathematical means • Maria Beatrice Fazi • mathematicsmathesis • Matt Fuller • mediality • medium specificitymodern artmodes of existenceorder of thingsordering • present art • programmatic declaration • rule-based worksoftware studiessupermarketssystematisationtheory of substantial formsvideo lecturevisual art


Simon Perkins
05 DECEMBER 2013

How calculus is changing architecture

"So, working with Bentley and MicroStation, we've written a custom piece of software that networks all of the components together into these chunks of information, so that if we change any element along the length of the building, not only does that change distribute through each one of the trusses, but each one of the trusses then distributes that information down the length of the entire facade of the building. So it's a single calculation for every single component of the building that we're adding onto. So, it's tens of millions of calculations just to design one connection between a piece of structural steel and another piece of structural steel. But what it gives us is a harmonic and synthesized relationship of all these components, one to another.

This idea has, kind of, brought me into doing some product design, and it's because design firms that have connections to architects, like, I'm working with Vitra, which is a furniture company, and Alessi, which is a houseware company. They saw this actually solving a problem: this ability to differentiate components but keep them synthetic. So, not to pick on BMW, or to celebrate them, but take BMW as an example. They have to, in 2005, have a distinct identity for all their models of cars. So, the 300 series, or whatever their newest car is, the 100 series that's coming out, has to look like the 700 series, at the other end of their product line, so they need a distinct, coherent identity, which is BMW. At the same time, there's a person paying 30,000 dollars for a 300–series car, and a person paying 70,000 dollars for a 700 series, and that person paying more than double doesn't want their car to look too much like the bottom–of–the–market car. So they have to also discriminate between these products. So, as manufacturing starts to allow more design options, this problem gets exacerbated, of the whole and the parts."

(Greg Lynn, February 2005)



2005abnormalityalgorithmalgorithmic architecture • Antonio Gaudi • architecture • beautiful architecture • beauty • Bentley Motors • BMW • bridge • bubble diagram • buildingcalculation • calculus • Chris Williams • Christopher Wren • computational aestheticscontinuous series • curvature • custom software • dais • digital fabricationdigital toolsdimensions • Frei Otto • furniture • generic form • genetic evolutiongothic • Greg Bateson • Greg Lynn • harmonic • houseware • human-scale understandingideal form • intricacies of scale • Mannheim Concert Hall • manufacturingmathematics • MicroStation • model of beauty • model of nature • modular architecture • monstrosity • mutation • natural form • Norman Foster • parabola • part-whole thinking • physiological development • product designproduct differentiationproportions • Robert Maillart • structural abstractionstructural forcesstructural formstructuresymmetrysynthesised relationship • teratology • vertebrae • Vitra • vocabulary of form • William Bateson


Simon Perkins
20 NOVEMBER 2003

The Virtual Guggenheim Museum: liquidity, flux, and mutability

"Objects, spaces, buildings, and institutions can now be constructed, navigated, comprehended, experienced, and manipulated across a global network. This is a new architecture of liquidity, flux, and mutability predicated on technological advances and fueled by a basic human desire to probe the unknown. The inevitable path for both these architectures, the real and the virtual, will be one of convergence and merging. Historically architecture has always struggled with this dialectic of the real and the virtual, where the stability and actuality of architecture is tempered by the poetic and the ineffable nature of meaning and experience."





1999algorithmic architectureAsymptotefluxglobal networkGuggenheim • Hani Rashid • liquidity • mobius stripmutabilityspeculative architecturevirtual • Virtual Guggenheim Museum
08 OCTOBER 2003

Marcos Novak: Transarchitectures

"by 'liquid' I mean involving the total but rigorous variability and the idea that form can be driven by both data and presence, both when we are immersed in information and when information is everted on to the physical world. by 'algorithmic' I mean both created by the algorithms and subject to a self–imposed principle of minimal manual intervention. Transarchitectures. The term transArchitectures stems from a discussion between architects and designers. Influenced by their experience with computer technology during the design process they are developing new concepts of time, space, shape, structure, construction, etc. It is about simultaneously practising architecture and media, combining design and machine, and about the shift from 'form and space' to 'process and field'."
(Marcos Novak)

Fig.1 Marcos Novak, screenshot, 4 views of a 4–dimensional transarchitectural
shape (2001).



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