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Exploring architecture as a form of concealment and obfuscation in engendering new ways of understanding, conceptualizing, and reshaping the world. Architecture is the perfect form of camouflage. As buildings recede into the background of everyday life, the myriad forces that shape our natural, social, and political landscapes hide in plain sight. Embedded within the spatial and material organizations of the built environment are ideas of value, hierarchy, and control that tilt the ground and influence perception in the name of endless competing interests. Operating across multiple scales and mediums, architectural camouflage gives familiar form to obscure objectives. Design transforms and encodes our shared environments, from domestic domains to digital territories, through its material practices, aesthetics, and discourses. Immanent in the periphery, architecture’s images are internalized as forms for understanding and reshaping the world. Camouflage, in turn, dwells in the architecture of our collective subconscious. Latent within architecture’s deceptions is a profound capacity to reflect the elusive intentions and surreal ambiguities of our ecological entanglements. In masking hierarchies and shifting sensitivities to what escapes perception, architecture can engender vital questions around the agency and significance of its world-making practices. Mediating with and within the background, architecture can awaken new modes of attention to material and social layers previously unimagined or hidden and engage directly with the mirrored frameworks that define reality. This issue of Perspecta considers the complexities and potentialities of architectural concealment, obfuscation, and mimicry; of the power inherent in architecture’s expanding capacity as media. In the veiled extents of our physical and digital worlds, what is still not found? Contributors APRDELESP and Xavier Nueno Guitart, Ashley Bigham and Erik Herrmann, Esther M. Choi, feminist architecture collaborative, Marianela D’Aprile and Douglas Spencer, Theo Deutinger and Christopher Clarkson, DESIGN EARTH, David Freeland and Brennan Buck, Linda Gordon, Noah Kalina, Dana Karwas, Andrew Economos Miller, M.C. Overholt and Alex Whee Kim, Trevor Paglen, Lukas Pauer, Nina Rappaport, David Sadighian, Matthew Soules, Jerome Tryon, Michael Young
Considering a redefinition of global space. As much as it is a neoclassical compositional principle, the ensemble today is shifting into a new critical focus: it is a central figure in nascent developments in probabilistic mathematics and a critical logic in the development of artificial intelligence algorithms. Statistical ensembles are a specific adaptation of Markov processes. They produce and are produced by a highly circumscribed definition of creativity—that of a predictive state inherently based on a chain of linked, given events, thus a computational intelligence predicated on the established patterns of the database. Are these mathematical ensembles different from those of neoclassical composition? How are the new ensembles characterized and materialized relative to their conceptual tradition? This fifty-second issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—is a projective art history of ensemble as form and politics. It uses theories of ensemble to propose both alternative extensive stagings of design objects, as well as other resistant assemblies of the corps of architects. Ensemble is posed a lens to theorize object-parts and states of motion at once, together: an architecture of the city. The volume includes a new photographic essay on the contemporary city of Bengali by American and Indian artists. A collection of essays by interdisciplinary contributors interweave this new creative work, pointing toward a compositional project for an architecture that is multiple, extensive, spontaneous, collective, durational, temporary. Contributors Charlotte Algie, Hayden Bassett, Anya Bokov, Kim Bowes, Alex Bremner, Matteo Burioni, Swati Chattopadhyay, Jean-Louis Cohen, Mark Crinson, Arko Datto, Samia Henni, Heyward Hart, Mark Jarzombek, Vladimir Kulić, Jimenez Lai, Hannah Le Roux, John Loring, Zahra Malkani and Shahana Rajani, Emily Mann, Christina Maranci, Edward Mitchell, Brian Norwood, Itohan Oyasimwese, Cristina Osswald, Curtis Roth, Tapati Guha-Thakurta, Hans Tursack, Yasmin Vobis, Aaron Forrest
"After the Bauhaus's closing in 1933, many of its protagonists movd to the United States, where their acceptance had to be cultivated. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the paterns of fame-making that became typical of the post-World War II art world."--BOOK JACKET.
Dana Cuff delves into the architect's everyday world in "Architecture" to uncover an intricate social art of design, resulting in a new portrait of the profession that sheds light on what it means to become an architect.
Through the works of cutting-edge computer artists, composers, and designers, DIGITAL MOSAICS explores the possibilities of the digital medium and how it radically transforms the way art is produced and understood by the audience. Digital expert Steven Holtzman lays the groundwork for the digital and art worlds of our future. Index. 86 illustrations.
This book is the definitive guide to all of H.H. Richardson's work, built and unbuilt, extant and demolished - his municipal offices, educational buildings, department stores, libraries, railroad stations, churches, and private residences. It is heavily illustrated with sketches, plans, and interior and exterior photographs; maps and addresses are supplied for buildings which survive. The paperback edition contains new information on several of Richardson's projects as well as eight supplemental entries for projects uncovered' after the hardcover edition was published. Jeffrey Karl Ochsner practices architecture in Houston.
Architects, however, tend to deny this, fearing contingency and preferring to pursue perfection.
Essays and projects illuminate the nature of error and its creative possibilities for architecture. Architecture never goes entirely according to plan. Every project deviates from its designers' expectations, and wise architects learn to anticipate, mitigate, and sometimes celebrate the errors along the way. Perspecta 46 argues that error is part of architecture's essence: mistranslations, contradictions, happy accidents, and wicked problems pervade our systems of design and building, almost always yielding surprising aberrations. Today, with increasingly complex projects underpinned by layers of computer code, small errors can proliferate rapidly, and the dream of errorless architecture seems more utopian than ever. This issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—considers the challenge of defining error, the difficulty of diagnosing and managing it, and the promise (and peril) of following its lead. Essays and projects illuminate error's ambiguous agency both in reality and in the architectural imagination, covering topics that range from Dante's cosmos of divine justice and Michelangelo's architectural “abuses” to Dada urbanism and the warped skyscrapers of Google Earth.
In this volume the author analyzes 400 architectural books and articles published over the past 150 years to reveal changing societal preferences in architecture and to measure the reputations of individual architects - the text includes a ranked list of the 100 most famous architects.
This kaleidoscopic survey of architecture and design traces the federal government's role in shaping America's built environment from L'Enfant's baroque plan for Washington, D.C. to the space-age technology of Cape Canaveral. Its rich exhibit of documents and photographic material accompanied by a lively text reveal the U.S. government to be one of the most active, and at times most creative, patrons of architecture and design.