Greg Lynn

Künstlerisch-architektonische Gestaltung und die gesellschaftliche Formung von Subjekten stehen in einem engen Wechselverhältnis. Aktuelle Varianten des Organizismus nehmen hierin eine wichtige Rolle ein, indem sie mit ihrem holistischen Anspruch auf eine ökologische Ganzheitlichkeit gesellschaftlichen Lebens zielen.
Erschienen im Passagen Verlag
http://www.passagen.at/titel.php?isbn=9783709203934&L=0

The new design approaches that prevail today suggest a certain shift in the way architecture is conceived, materialized and described: architecture is now “animate,” “animalistic,” “evolutionary.” The leading fallacy towards which these words are paving the way is that form can be self-formatted; that new machines, robots and threedimensional (3D) printers – which are now themselves regarded as animate – could substitute for human labor and create surplus value – contrary to what Karl Marx’s analysis on machines has claimed. This paper focuses on the elucidation of such fallacies: on their exposition, their challenging.
Key Words: animate architecture, machinic surplus value, Greg Lynn, Karl Marx
Konstantina Kalfa (2015) Where the Spell is Chanted (Fallacies of Contemporary Architectural Discourses), Architecture and Culture, 3:3, 315-325

El doblez proyectado es indisoluble de la geometría que lo hace posible. Para
establecer un claro control sobre el doblez es necesario realizar un documento
proyectivo, un plano. Es por eso que los asuntos ligados a la geometría y al
control matemático de los patrones de doblado han sido siempre fundamentales
en la construcción de este tipo de diseños. Nos acercamos aquí a uno de los
principales referentes y precursores sobre el estudio y desarrollo de los patrones
de doblado para fines volumétricos, Ron Resch. Se trata de un desconocido
artista y científico computacional norteamericano cuyo trabajo se menciona de
modo repetido cuando se habla de arquitectos contemporáneos como Greg Lynn,
quien ha aplicado también el uso del ordenador como herramienta de control
y desarrollo geométrico. Para situar el momento, veremos el trabajo didáctico
de Josef Albers y su manera de “abrir los ojos” mediante la experiencia con la
manipulación restringida de la materia. El trabajo de Ron Resch establece una
manera científica de aproximarse al problema y de aplicar las por aquel entonces
incipientes herramientas computacionales, como son la elaboración de modelos
3D o la utilización de maquinaria CNC para el corte o el marcado. Los sistemas
topológicos de Resch son en gran medida el origen de lo que hoy es el diseño
paramétrico y la arquitectura de desarrollo con ordenadores.




The designed bending is inseparable of the geometry that makes it possible. To
establish a clear control over the fold it is necessary to make a projective document,
a plan. That is why issues related to geometry and mathematical control of
bending patterns have always been fundamental in the construction of this type
of design. Here we are approaching to one of the main references and pioneers
on the study and development of bending patterns for volumetric purposes, Ron
Resch. He is a not very well known American artist and computational scientist
whose work is mentioned repeatedly when contemporary architects such as Greg
Lynn are mentioned, who have also applied the use of the computer as a tool for
control and geometric development. In order to situate the moment, we will look
at Josef Albers’ didactic work and his way of opening the eyes through experience
with the restricted manipulation of matter. Ron Resch’s work establishes a scientific
way of approaching the problem and applying the incipient computational tools
at that moment, such as 3d modelling or the use of CNC machines for cutting or
marking. The topological systems by Resch are to a large extent the roots of what
is now parametric and computer development architecture.

El Centro POIESIS 1 y la Unidad de Arquitectura Paramétrica (UAP) 2 ha trabajado en la problemática de la vivienda (y más específicamente, en la problemática de la vivienda colectiva), haciendo foco en los modos del habitar desde su fundación. Estas dos líneas de acción (la vivienda colectiva y los modos de habitar) representan dos fuertes líneas de pensamiento que caracterizan las investigaciones que giran en torno al centro. Por un lado, la imperiosa y creciente necesidad por parte de la Academia de dar respuesta a la emergencia habitacional que sufre nuestra región. Que, al parecer, no ha encontrado un camino franco que posibilite una mirada regional a los problemas específicos que atañen a nuestra forma de vivir en comunidad. Sobrados son los casos de "experimentos" arquitectónicos importados de otras regiones e implantados en nuestros territorios y su posterior rotundo fracaso. Por otro lado, el tema de los modos de habitar, nos refiere a la necesidad de modificación de los dispositivos 3 instalados en nuestra sociedad. Las investigaciones referidas a la problemática de los modos de habitar, tienden a buscar alternativas arquitectónicas que den respuesta a las nuevas maneras de apropiación de nuestro entorno físico.

The concept of dynamic forces shaping form in order to increase performance was the foundation of Buckminster Fuller's most noted project, the Dymaxion House. While Fuller is best known for his dome structures, the Dymaxion House is perhaps the most important failed architecture project of the twentieth century. The house's significance, however, lies in the fact that Fuller reimagined the way people would live in the future, and introduced to the architectural profession new criteria by which to judge and assess housing design, which was according to a standard of improved performance, not unlike the manufacturing and performance standards of industrially-engineered objects such as boats, cars, and airplanes.

Greg Lynn's Embryological House was an early work of digital architecture: a work in which the computer was a fundamental part of the design process. It was the subject of a case-study in digital preservation by the Daniel Langlois Foundation's project for the Documentation and Conservation of Media Arts Heritage (DOCAM) and the Canadian Centre for Architecture (CCA). Research identified characteristics of digital architectural artifacts which are key to their long-term preservation. The results imply a shift in the focus of preservation from the artifact to its transformation in a digital context, and a re-evaluation of preservation strategies and principles.

According to Rudolf Wittkower, Andrea Palladio had develop a generative project system that allowed him to design his villas based on a nine square grid . The homogeneous space that resulted from Palladio´s project system was not revolutionary, but the way of producing family variations was something completely new. Thus, Palladio was inaugurating the single family home topic in the discipline and also he was inventing the heuristic project. This is, a project able to become different shapes and forms according to a variety of needs and programs.

Chapter 3 of 'Art, Design and Capital since the 1980s: Production by Design' (Routledge, 2019), pp. 60–77

https://www.routledge.com/Art-Design-and-Capital-since-the-1980s-Production-by-Design/Roberts/p/book/9781138313774

Chapter 3 considers Dusseldorf- and Los Angeles-based American artist Rita McBride’s sculptural interrogation of architecture, focusing on two significant instances of her work in public space, the sculptures 'Salford Arena' (2002) and 'Mae West' (2011). I argue that these public sculptures develop a critique of tendencies within contemporary architectural and urban design, and that, in so doing, they also mount a sophisticated critique of a nostalgic conception of artistic site specificity. In particular, they reveal the naivety of a prevalent tendency to presume the ongoing availability of a non-alienated relationship to space, amid its ‘de-localization’ within what the sociologist Manuel Castells theorises as today’s global ‘space of flows’.

Zitieren, Kopieren und Rekonstruieren sind gängige Verfahren im architektonischen Alltag. Anstatt sie zu verbergen, um den Originalitätsanspruch der Moderne zu wahren, werden sie in diesem Buch offengelegt.
Vier Architekten berichten im Gespräch mit den Herausgebern über mimetische Praktiken ihrer Entwurfsarbeit seit den 1990er Jahren. Der bewusst weit gespannte Rahmen umfasst sowohl formal-gestalterische Aspekte als auch prozessuale Formen der architektonischen Mimesis. Neben gängigen Analogiebildungen zum architektonischen Kontext, zu lokalen Bautraditionen oder zur Vorgängerbebauung finden anthropomorphe und biologische Bilder sowie philosophische Diskurse Beachtung. Die Gespräche spiegeln die zentrale Bedeutung mimetischer Praktiken für die neuere Architektur und Architekturtheorie wider und verstehen sich damit auch als Beitrag zur jüngsten Phase der Architekturgeschichte.

Just as the capabilities of machine tool design influenced the aesthetic form of streamlined industrial design products during the mechanical age, the embedded curves and splines of digital software employed by architects today originated in the offices of automobile and aeroplane manufacturers from the post-war era. The use and reproduction of smooth, curvilinear forms would not appear in the field of architecture until many decades after their development within industrial design. The current relationship between architecture and industrial design is forged through the innovative use of Computer Numerical Control fabrication and the parametric procedures and software invented for its use. This article investigates the history of designing and fabricating complex, curved surfaces in industrial design and architecture in order to establish the technological and theoretical links between these two fields. It involves the transfer of technological knowledge amongst a diverse cast of designers, engineers and architects from multiple continents that took place over a period of 40 years. Moreover, this research claims that the origins of parametric architectural design can be found in this moment of developing and programming numerically controlled machines.