The creators of this online journal and forum controversially argue that computation will engender the final stage of development in the relationship between architecture and computers by ...
With the dissolution of the last utopian project of Man in the name of Communism, the great spectre that once haunted Europe and the rest of the ...
While computers have dramatically changed the way architects design, construction in the US and around the world is still dependent on ...
One of the great lessons of the 20th Century that our particular generation of architects has inherited is our appreciation of the infra-thin scale: the primal ...
Contemporary telecommunication and computer technologies have fundamentally changed the relationship between sign and space, iconography and matter. While Venturi’s model for the decorated shed grew out ...
The current programming culture in architecture could all too easily be written off as a youthful, geeky obsession with the algorithmic and the parametric among nascent practitioners, who ...
After seeing Buckminster Fuller's Dymaxion World Map, a map projected on a flattened isohedron, we began working on the idea of using computer ...
G. Holmes Perkins, 1904-2004 In September of 2004 I attended two events that reflect on each other. One was the Non-Standard Praxis conference held at MIT. The ...
With the dissolution of the last utopian project of Man in the name of Communism, thegreat specter that once haunted Europe and the rest of the world has all but ...
Contemporary architects are judged as much by their buildings as they are by the sophistication of the techniques used in design and construction. A certain fascination with technology is natural ...
Genomic architecture is based on the manipulation of the architectural genome. Like its biological counterpart, this genome is universal and encompasses all architecture — past, present and future. ...Process/Drawing
Writing software is at the core of Casey Reas’s artistic practice. The digital is his medium of choice rather than a means of manipulation. He reflects on the evolution of his work in software and why the history of using computers to produce visual images is largely an unrecorded one in the history of art, but why this might all be set to change as scripting takes on a new primacy in contemporary art.
I started playing with computers as a child. Our family’s Apple IIe machine was a toy for playing video games and writing simple programs in BASIC and Logo.1 I spent years exploring and testing it, but I preferred drawing and my interest in computers slowly dissipated. In 1997 I was introduced to John Maeda and the work of his students in the Aesthetics and Computation Group at MIT.
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pdf link is broken….
Thank you. Fixed.