Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0008
Levi R. Bryant
In this chapter, following his ontology that focuses on what it means to give an account of something, Levi R. Bryant not only defines building as a machine, but building as a void and an enclosure where architecture operates in, through and on it. After elaborating on his argument that all of being is composed of machines, calling this metaphysics or ontology ‘machine-oriented ontology’, he goes onto sketching the outlines of a machine-oriented architecture and the ways in which distributions of space operate on bodies, create subjectivities and form communities. He concludes by asking what a revolutionary enclosure would be to connect it with our ability to create enclosures that act upon us and potentially enhance our becoming and movement.
在本章中，遵循他的本体论，关注对某事的描述意味着什么，Levi R. Bryant不仅将建筑定义为一台机器，而且将建筑定义为一个空间和一个圈地，建筑在其中运行，通过它并在其上运行。在详细阐述了他的观点，即所有的存在都是由机器组成的，称这种形而上学或本体论为“面向机器的本体论”之后，他接着描绘了一个面向机器的体系结构的轮廓，以及空间分布对身体的作用、创造主体性和形成社区的方式。他最后问了一个问题，什么是革命性的圈地，将它与我们创造圈地的能力联系起来，这些圈地对我们起作用，并有可能增强我们的成长和运动。
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0010
J. Parikka
In this chapter Jussi Parikka discusses air pollution and waste as media, data and environmental art created in the contemporary smart city. The way these, otherwise unwanted, elements are sensed and perceived unveil the political subjectivity in an urban context and as data feedback from various readings, understandings and governance of the city. This sort of a materiality is one that is about folds between architectures, data and the chemistry of the air -a sort of a media ecology of multiple materialities. The creative power of smog that intertwines old computational infrastructures of urban pollution and new infrastructures such as monitors, programming and data storage is explained. The chapter focuses on urban environments as defined by the emergence of new forms of measurement of the city -and its airborne pollution - through smog sensors. The smart, modern city as defined through its unwanted elements, in this case, pollution and waste, are further discussed.
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0004
K. Oosterhuis
The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The chapter depicts the trajectory of ONL, the author’s practice, and how with this mission it has moved to the third industrial revolution that has altogether revolutionised architecture as a whole. In this chapter Kas Oosterhuis redefines the fundamentals in three phases; phase A: mass production, phase B: mass customisation - in which phase ONL’s built projects are positioned - and moving into the upbeat of phase C: distributed robotic design, production, assembly and operation, in which phase the achievements of Hyperbody’s interactive architecture are positioned. He concludes by challenging the traditional role of the architect that has shifted, nowadays, to that of an expert.
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0012
Fernando Zalamea
Fernando Zalamea begins with an emphatic argument that from mathematics to its plastic influence, Grothendieck topoi are used to understand the human and the nonhuman creativity in three variously relevant and yet different disciplines; that of cinema through the work of Andrei Tarkovsky, architecture through the work of Frank Gehry and art through the work of Anselm Hiefer. The chapter starts by introducing the work of Alexandre Grothendieck from a conceptual standpoint, focusing on his topos theory (1962), a general setting which encompasses both arithmetic (number) and geometry (space) under a common abstract perspective (sheaves: a far-reaching tool which helps to glue the local and the global). Grothendieck's revolution, wider than Einstein's interlacing of space and time, has radically changed mathematics, but its plastic influence beyond the specialty has yet to be developed.
Fernando Zalamea首先强调，从数学到其可塑性的影响，格罗腾迪克拓扑被用来理解人类和非人类的创造力，在三个不同的相关学科中;电影通过安德烈·塔可夫斯基的作品，建筑通过弗兰克·盖里的作品，艺术通过安塞尔姆·希弗的作品。本章首先从概念的角度介绍Alexandre Grothendieck的工作，重点介绍他的topos理论(1962)，在一个共同的抽象视角下，一个包含算术(数)和几何(空间)的一般设置(捆:一个有助于粘接局部和全局的深远工具)。格罗滕迪克的革命，比爱因斯坦的空间和时间的交织更广泛，从根本上改变了数学，但其超越专业的可塑性影响尚未得到发展。
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0014
M. Voyatzaki
Maria Voyatzaki begins by dwelling on the question: if technical, material objects are inorganic, organised beings, possessing their own dynamics that give to matter the hallmark of vital activity with a strong claim on human experience, behaviour and perception, then what is happening with architecture? The chapter elaborates on the new speculative, but not dogmatic, axioms and mythologies that are expressed with machinic parrhesia; the world, and therefore architecture, become a challenging project. Digitising the analogue, once again, but, this time, with aspirations towards a new earth, the returning Gaia, by experimenting with its dust we can construct new perspectives on matter. It is experimentation with the ‛other’, the ‛xenon’ that aims at proposing a new way of forming an innovative view on earth by redefining its geopolitics and territorial disputes from polluted waters that travel through nations to micro particles in the air. Architecture is working on ‛xenomateriality’ to define new polities, new spatiotemporal assemblages with specific demands.
Maria Voyatzaki首先提出了一个问题:如果技术、物质对象是无机的、有组织的存在，拥有自己的动态，赋予物质重要活动的标志，并强烈要求人类的经验、行为和感知，那么建筑会发生什么?这一章详细阐述了新的思辨的，而不是教条的公理和神话，它们是用机械的直言表达的;世界，因此建筑，成为一个具有挑战性的项目。再一次将模拟物数字化，但这一次，带着对一个新地球的渴望，回归的盖亚，通过对其尘埃的实验，我们可以构建关于物质的新视角。它正在对“他者”、“氙”进行实验，旨在通过重新定义地缘政治和领土争端(从流经各国的受污染水域到空气中的微粒)，提出一种形成创新地球观的新方式。建筑正在致力于“异质性”，以定义新的政策，新的时空组合与特定的需求。
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0009
L. Spuybroek
In his chapter, Lars Spuybroek criticises the doctrine of emergence for hindering the reversal that allows wholes to connect to parts of other wholes and only done with beauty; beauty as inherent of things without which they cannot exist make a claim on their environment only by being beautiful. The chapter tries to deal with the question of how beauty constructs this intersection between the two states. He calls this intersection the middle and goes on to sketching its historical transformations and its subsequent variations, combining the two main agents of variability, smoothness and roughness. Things and feelings are both constructed in the same system. That forces subjectivism out of the scene and materialism prevailing as matter is simply what matters. For Whitehead beauty is about both mutual adaptation and patterned contrasts, about massiveness and intensity, about smoothness and roughness. These things have a consciousness of their own, a nonhuman thought. The essay develops a bi-axial structure into a genuine fourfold, and from there into a circular system where aesthetic feelings are equated with material objects.
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0002
Manuel Delanda
Though at first glance antithetical, these two concepts can be brought together by making changes to their traditional usage. Causality must cease to be thought as being linear, so that the same cause always produces the same effect and conceived as nonlinear and catalytic, hence, unable to bring novelty about. This, according to Manuel DeLanda, the author of the chapter, involves considering not only the capacity to affect the entity acting as a cause, but also the capacity to be affected by the one in which the effect is produced. Meaning also needs reconceptualisation. Specifically, two different senses of the word must be distinguished: semantic content or signification, and relevance or significance. Once these distinctions are made, the two concepts are connected using the ecological theory of perception: animals and humans perceive the opportunities and risks afforded by the environment, that is, the capacities to affect and be affected that are significant to them.
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0005
Marcos Cruz
In this chapter Marcos Cruz suggests a new way of biointegrated design which explores non-building, unthinkable novel materials that are products of in-vivo research on living organisms and forms that are physically built and yield new aesthetics, resulting from novel hybrid techniques of production. Nonhuman creativity comes from this new aesthetics and from the in-vitro mathematical systems and material computation that run parallel. Not only a new aesthetics is put forward, but also a new way of dealing with environmental issues, critical to future living. The chapter dwells on the shift from the performance of materials to their performativity, as a way of explaining the interactivity between materials and their broader ecology. Moreover, through his work as teacher and as practising architect, the author illustrates how nature itself is potentially programmable matter.
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0013
V. Bühlmann
Vera Bühlmann in this chapter inhabits Serres’s position on philosophy for architecture, suggesting that chance and necessity are not in conflict as necessity originates in chance and chance comprehends necessity. Matter in its quantum physical character is controlled by computational and chance bound calculation, but how can knowledge be new if it is rule-based. Serres’s exodic knowledge is capitalised in the case of this chapter as a way of looking at elements as coded, discretised and distributed while unaccountable and inaccessible, allowing building as an autonomous entity to be a function of rarity that is compatibility with the totality of economic and political power without dominating or being harnessed by them. Paris Hermitage project by Pa.La.Ce studio is the vehicle to discuss materiality, as this is initiated in the field of recent architectural theory, that incorporates code and a formality that is computational.
Vera b hlmann在本章中体现了Serres在建筑哲学上的立场，认为偶然和必然性并不冲突，因为必然性源于偶然，而偶然理解必然性。物质的量子物理特性是由计算和机会界计算控制的，但如果知识是基于规则的，它怎么可能是新的呢?Serres的异域知识在本章中被资本化，作为一种看待编码、离散和分布的元素的方式，同时不可解释和不可接近，允许建筑作为一个自治实体成为一种稀有的功能，与经济和政治力量的整体兼容，而不被它们支配或利用。Pa.La.Ce工作室的巴黎冬宫项目是讨论物质性的载体，因为这是在最近的建筑理论领域发起的，它结合了代码和计算形式。
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Pub Date : 2018-11-01DOI: 10.3366/edinburgh/9781474420570.003.0007
J. Preston, J. Archer-Martin
Julieanna Preston and Jen Archer-Martin attempt to reveal the agential voices of the assemblages of human and nonhuman agents. Such are the human embodiment in the form of performance as yet another self-organising pile, an assemblage of events operating across scales of temporality, materiality and affectivity and bitumen, a vital and vibrant surface of our living. A language shift away from clichés and stereotypes resets a new ecology of human and nonhuman materiality at work. Impressively vivid, live instances, captured in words, describe the malleability of all agents entangled in the same ecology. Bitumen is introduced through a coagulated dialogue between a poetic and philosophical voice. The labourer is replaced with that of a caretaker, informed by an ethic of care. This call for care is woven as a secondary thread into the context as both a disruptive and a reparative act, much as the roadworker’s high-visibility tribal garbs both screams ‘Take care!’ and reassures ‘I’ll take care of it’.
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