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The most significant architectural spaces in the world are now entirely empty of people. The data centres, telecommunications networks, distribution warehouses, unmanned ports and industrialised agriculture that define the very nature of who we are today are at the same time places we can never visit. Instead they are occupied by server stacks and hard drives, logistics bots and mobile shelving units, autonomous cranes and container ships, robot vacuum cleaners and internet-connected toasters, driverless tractors and taxis. This issue is an atlas of sites, architectures and infrastructures that are not built for us, but whose form, materiality and purpose is configured to anticipate the patterns of machine vision and habitation rather than our own. We are said to be living in a new geological epoch, the Anthropocene, in which humans are the dominant force shaping the planet. This collection of spaces, however, more accurately constitutes an era of the Post-Anthropocene, a period where it is technology and artificial intelligence that now computes, conditions and constructs our world. Marking the end of human-centred design, the issue turns its attention to the new typologies of the post-human, architecture without people and our endless expanse of Machine Landscapes. Contributors: Rem Koolhaas, Merve Bedir and Jason Hilgefort, Benjamin H Bratton, Ingrid Burrington, Ian Cheng, Cathryn Dwyre, Chris Perry, David Salomon and Kathy Velikov, John Gerrard, Alice Gorman, Adam Harvey, Jesse LeCavalier, Xingzhe Liu, Clare Lyster, Geoff Manaugh, Tim Maughan, Simone C Niquille, Jenny Odell, Trevor Paglen, Ben Roberts. Featured interviews: Deborah Harrison, designer of Microsoft’s Cortana; and Paul Inglis, designer of the urban landscapes of Blade Runner 2049.
The most significant architectural spaces in the world are now entirely empty of people. The data centres, telecommunications networks, distribution warehouses, unmanned ports and industrialised agriculture that define the very nature of who we are today are at the same time places we can never visit. Instead they are occupied by server stacks and hard drives, logistics bots and mobile shelving units, autonomous cranes and container ships, robot vacuum cleaners and internet-connected toasters, driverless tractors and taxis. This issue is an atlas of sites, architectures and infrastructures that are not built for us, but whose form, materiality and purpose is configured to anticipate the patterns of machine vision and habitation rather than our own. We are said to be living in a new geological epoch, the Anthropocene, in which humans are the dominant force shaping the planet. This collection of spaces, however, more accurately constitutes an era of the Post-Anthropocene, a period where it is technology and artificial intelligence that now computes, conditions and constructs our world. Marking the end of human-centred design, the issue turns its attention to the new typologies of the post-human, architecture without people and our endless expanse of Machine Landscapes. Contributors: Rem Koolhaas, Merve Bedir and Jason Hilgefort, Benjamin H Bratton, Ingrid Burrington, Ian Cheng, Cathryn Dwyre, Chris Perry, David Salomon and Kathy Velikov, John Gerrard, Alice Gorman, Adam Harvey, Jesse LeCavalier, Xingzhe Liu, Clare Lyster, Geoff Manaugh, Tim Maughan, Simone C Niquille, Jenny Odell, Trevor Paglen, Ben Roberts. Featured interviews: Deborah Harrison, designer of Microsoft’s Cortana; and Paul Inglis, designer of the urban landscapes of Blade Runner 2049.
British architect and critic Paul Shepheard is a fresh new voice in current postmodern debates about the history and meaning of architecture. In this wonderfully unorthodox quasi-novelistic essay, complete with characters and dialogue (but no plot), Shepheard draws a boundary around the subject of architecture, describing its place in art and technology, its place in history, and its place in our lives now. At a time when it is fashionable to say that architecture is everything—from philosophy to science to art to theory—Shepheard boldly and irreverently sets limits to the subject, so that we may talk about architecture for what it is. He takes strong positions, names the causes of the problems, and tells us how bad things are and how they can get better. Along the way he marshals some unlikely but plausible witnesses who testify about the current state of architecture. Instead of the usual claims or complaints by the usual suspects, these observations are of an altogether different order. Constructed as a series of fables, many of them politically incorrect, What is Architecture? is a refreshing meditation on the options, hopes, possibilities, and failures of shelter in society.
Sew beautiful landscapes for home decor and wearables.
Architects who engaged with cybernetics, artificial intelligence, and other technologies poured the foundation for digital interactivity. In Architectural Intelligence, Molly Wright Steenson explores the work of four architects in the 1960s and 1970s who incorporated elements of interactivity into their work. Christopher Alexander, Richard Saul Wurman, Cedric Price, and Nicholas Negroponte and the MIT Architecture Machine Group all incorporated technologies—including cybernetics and artificial intelligence—into their work and influenced digital design practices from the late 1980s to the present day. Alexander, long before his famous 1977 book A Pattern Language, used computation and structure to visualize design problems; Wurman popularized the notion of “information architecture”; Price designed some of the first intelligent buildings; and Negroponte experimented with the ways people experience artificial intelligence, even at architectural scale. Steenson investigates how these architects pushed the boundaries of architecture—and how their technological experiments pushed the boundaries of technology. What did computational, cybernetic, and artificial intelligence researchers have to gain by engaging with architects and architectural problems? And what was this new space that emerged within these collaborations? At times, Steenson writes, the architects in this book characterized themselves as anti-architects and their work as anti-architecture. The projects Steenson examines mostly did not result in constructed buildings, but rather in design processes and tools, computer programs, interfaces, digital environments. Alexander, Wurman, Price, and Negroponte laid the foundation for many of our contemporary interactive practices, from information architecture to interaction design, from machine learning to smart cities.
Open urban spaces are an ideal stage for public events. An important prerequisite for their design in an increasingly heterogeneous multicultural cityscape is the relationship between design, use, and social function.The book documents both temporary as well as permanent installations of various kinds – from the open-air courtyard of a museum to the design of a river bank promenade, through to a city park.
An updated edition that situates a landmark 1920s children's picture book in its historical and social context.
There is a growing consensus in the human factors/ergonomics community that human factors research has had little impact on significant applied problems. Some have suggested that the problem lies in the fact that much HF/E research has been based on the wrong type of psychology, an information processing view of psychology that is reductionistic and context-free. Ecological psychology offers a viable alternative, presenting a richer view of human behavior that is holistic and contextualized. The papers presented in these two volumes show the conceptual impact that ecological psychology can have on HF/E, as well as presenting a number of specific examples illustrating the ecological approach to human-machine systems. It is the first collection of papers that explicitly draws a connection between these two fields. While work in this area is only just beginning, the evidence available suggests that taking an ecological approach to human factors/ergonomics helps bridge the existing gap between basic research and applied problems.
Designing a quilt - Supplies and materials - Basic methods - Embellishments.
This book, first published in 1981, explores why it is that the modern built environment, while successfully providing material comfort and technical efficiency, none the less breeds despair and depression rather than inspires hope and commitment. The source of this paradox, where material benefits appear to have been gained only at the expense of intangible values and qualities is found in humanism, the persistent and powerful belief that all problems can be solved through the use of human reason. But humanism has become increasingly confused, rationalistic, callously devoted to efficiency, and authoritarian. These confusions and contradictions, together with the anti-nature stance of humanism and its failure to teach humane behaviour, lead the author to conclude that humanism is best rejected. Such rejection does not advocate the inhuman and anti-human, but requires instead a return to the ‘humility’ that lies at the origin of humanism – a respect for objects, creatures, environments and people. This ‘environmental humility’ is explored in the context of individuality of settings, ways of seeing landscapes, appropriation and ways of building places. This title will be of interest to students of human geography.