By Mark Goulthorpe
Articulating a thorough time table for the rethinking of the elemental precepts of the development in mild of electronic applied sciences, this e-book explores the profound shift that's underway in all facets of architectural strategy. Essays and lectures from the last fifteen years talk about those alterations on the subject of dECOi Architects, created in 1991 as a forward-looking architectural perform. this wonderful collection is correct to architectural execs, teachers and scholars and likewise to practitioners in lots of similar artistic fields who're equally engaged in attempting to understand the importance of the import of electronic media.
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Extra info for The Possibility of (an) Architecture: Selected Essays by Mark Goulthorpe dECOi
14 40 the active inert: notes on technic praxis Enstella(c)tion15 In thinking back to the sculptural projects that dECOi produced in the early 1990s, which in their various ways have all been created through the use of time and force, each straining to a new technical potential with a restricted means, one perhaps gets a glimpse of such shifting cultural praxis (albeit of very different character than that of Greg Lynn/FORM). The wooden surface, In the Shadow of Ledoux, which leaves its referent hanging in space, was created by squeezing a tensile membrane (a condom) to grope towards a new formal condition – a distortion and displacement of origin (of referent as of creative process).
Which is merely to offer a brief commentary on the widespread sense that there is a quite massive cognitive shift ‘in the air’ – a shift from from optics to chemics, as it were, from an ‘equivalent’ this = that sense of things to a processural ﬂow in pursuit of a disappearing referent. My impression of the Ballett Frankfurt impels such speculation, where optic sense is subject to ﬂuctuation between its limit cases of hypnosis and hallucination – the former a deprivation of sense, the latter an over-saturation – both of which have the effect of stimulating other areas of cognitive capacity.
We shudder over a catastrophe which has already occurred, but which here, by contrivance, we displace into the future: a preconceived death. These, then, not post-holocaust landscapes, record of an autopsy; but, much rather, (for me) pre-holocaust: portrait of a people who have vanished, en masse, in anticipation of a future catastrophe. What is it that clutches at me here? Barthes, looking at a photograph of his now-dead mother when she was a little girl, could not separate the knowledge of her ﬁnal death from her image as a child.
The Possibility of (an) Architecture: Selected Essays by Mark Goulthorpe dECOi by Mark Goulthorpe