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Digital Hadid, Patrik
Schumacher
91 000 characters (with
spaces) 101 images (13
projects) Contents
I. The
prehistory of the new digitally based architecture
The quest for new design media
Zaha Hadid in her own words
Graphic Space
Post-modernism, Deconstructivism, Folding
Mechanisms of Invention
II. Current work – towards
a new digitally based architectural language Organic Interarticulation
Centre for Contemporary Art,
Rome
Art Centre, Graz
Quebec National Library,
Montreal
One North Masterplan, Singapore
BMW Central Building, Leipzig
Ice-storm, Lounging Environment
Z-Scape, Lounging Furniture
BBC Music Centre,
London
Fine Arts Centre,
University of Connecticut
Fast Train Station,
Florence
Fast Train Station, Naples
Temporary Guggenheim Museum, Tokyo
Guggenheim Museum,
Taichung
Further Reading
Project Credits
IntroductionDigital Hadid
will explore
the contribution of Zaha Hadid and of Zaha Hadid Architects to the
development of the new architectural language and paradigm that is fast
becoming hegemonic within avant-garde architecture
today. There is an unmistakable new
style manifest within avant-garde architecture today. Its most striking
characteristic is its complex and dynamic curvelinearity. Beyond this
obvious surface feature one can identify a series of new concepts and
methods that are so different from the repertoire of both traditional and
modern architecture that one might speak of the emergence of a new
paradigm for architecture. It seems difficult to give a unified name to
this new paradigm that succinctly captures the essence of the current
trend. One difficulty lies in the question whether such a defining term
should refer to the formal features, the guiding concepts or the
methods/techniques that characterize this new paradigm. Contenders are
Blob-architecture, Folding , Deformation, Parametric Architecture, Digital
Architecture. This new language (or style)
of architecture seems to be based upon the adoption of a new generation of
3D modeling tools. Indeed a lot of commentators tend to construe a direct
causal link from this new paradigm back to the IT revolution that has
transformed the discipline in last 10 years.
Indeed the choice of a
representational/design medium has a huge impact on the character of the
design results. The medium is never neutral and external to the work. It
constitutes and limits the design issues treated and the universe of
possibilities for effective design speculation. Design thinking is bound
to the representational medium and its scope can be expanded by the
expansion offered by the new digital design tools. The reflection upon
“design worlds” (Mitchell 1990),
and their embeddedness in the “discursive formations” (Foucault 1972) of
the discipline, is a necessary component of taking a progressive stance
towards the possibilities of design research.
However, I shall argue and
demonstrate that such a simple reduction of the new type of work to the
availability of computing in architecture would be a fallacy. While it is
undeniably true that the arrival of the new tools (3ds max a.o.) had a
huge impact and that these tools have been able to monopolize the
production of contemporary work
- without these tools nothing goes - I will argue that the adoption of
animation tools was not at all inevitable, but rather had to be prepared
by certain conceptual and methodological advances that preceded the
arrival of these tools. To uncover and explicate this pre-digital pedigree
of the current digital architecture will be the task of the first part of
the book. In this prehistory one can locate Zaha Hadid’s most original and
path-breaking contributions to the development of contemporary
architecture. In this era –
the 1980s - Hadid was one of
the key protagonists in a field of radical conceptual and formal
architectural research, and her pre-eminent reputation was established on
the basis of pictorial research without the completion of a single
building during this first decade of her career. During this period the
computer was absent from Hadid’s design studio. However, the innovation of
certain analog design media deployed was crucial in the formation of her
work. The second part of the book will focus on the development of the work since the introduction of the computer in 1990. Here I will introduce a series of key projects and key concepts that have been important with respect to the development of the current flourishing of “digital architecture” both within and beyond Hadid’s practice. This period in also the period in which Hadid’s architecture has made the transition from concept to material realization without compromising its innovative thrust. The involvement of the 3D modeling tools in this process of realization will be explained. Finally, I will present and discuss the most recent work of Zaha Hadid Architects which is marked by the fact that a new level of structural complexity, tectonic fluidity and plastic articulation has been mastered with precision and confidence.
While the book presents two
parts representing two phases in the development of Hadid’s oevre pre-digital and (post)digital
- I think the work has a
strong continuity overall.
The computer was introduced in the late eighties, early nineties,
when we started with simple forms of 3D-modelling with Model-shop and
later FormZ. That was a process parallel to hand drafting and painting.
They were quick three-dimensional sketches. The computer was used because
it was helpful for what was already established as an architectural
language. The computer programs that work with splines and smoothly
deformable meshes were introduced much later, in the second half of the
nineties. The 2D computer-drafting, for the plans and sections, started in
the mid-nineties. That was a big shift, because it meant not just working
in layers, which you can also do on transparent paper, but it meant that
we could work on all plans simultaneously. The latest shift is the
introduction of 3D modeling and complex curvelinearity. That made more
complex compositions possible. But the desire for complex form was always
building upon the formal and conceptual innovations achieved previously.
The tools came in as soon as they were available, keenly taken up to
support the ambitious design manoevers already under way. It was a
dialectic amplification, in which the new work spurned the search for new
tools and the introduction of new tools facilitated the work further,
pushing the most ambitious tendencies to new extremes. This process was an
evolution of many smaller steps, not of a few singular
breaks.
I. The prehistory of the new digitally based architecture
The quest for new design media
One of the most significant
and momentous features of architectural avant-garde of the last 20 years
is the proliferation of representational media and design processes.
In the early eighties Zaha
Hadid burst onto the architectural scene with a series of spectacular
designs embodied by even more spectacular drawings and paintings. The
idiosyncrasies of these drawings made it difficult to read them as
straightforward architectural
descriptions. This initial openness of
interpretation might have led some commentators to suspect ‘mere graphics”
here.
There is an obvious parallel
here with the skepticism which confronted the early, abstract experiments
in computer surface modeling in the mid-nineties. However, these unusual modes
of representation played a fundamental role in the development of a series
of highly original and influential expansions of the formal and conceptual
repertoire of architecture. Modes of representation in architecture are at
the same time modes of generation. The creative process to a large extent
resides in these modes and means. The creativity and information
processing capacity of the “imagination” or ”inner eye” is rather limited
and itself dependent upon being trained and developed in conjunction with
the development of the media. That is why “Digital Hadid” is part of a
significant series of investigations.
Computer technology, i.e. the
new digital design tools have had an important and increasing influence on
the work of Zaha Hadid Architects over the last 10 years. This concerns
primarily the handling of increasingly complex geometries within the
designs. However, the desire for such tools to be imported from the
animation industry originated in the fact that the tendency towards
complexity and fluidity was already manifest in the work before those
tools were available. Hadid’s early elaborate techniques of projective
distortion - deployed as a cohering device to gather a multitude of
elements into one geometric force-field - were already setting the
precedence of the current computerbased techniques of deformation and the
modeling of fields by means of pseudo-gravitational forces.
Hadid used axonometric and
perspective projection in a new way to dynamize the implied space.
Initially such projections were deployed according to their proper
function as means of representation. However, it soon became apparent that
there was a “self-serving” fascination with the extreme distortion of
spaces and objects that emerged from the ruthless application of
perspective construction – no0t unlike the anamorphic projectionsone can
find in certain 17th Century paintings. Hadid built up
pictorial spaces within which multiple perspective constructions were
fused into a seamless dynamic texture. One way to understand these images
is as attempts to emulate the experience of moving through an
architectural composition revealing a succession of rather different
points of view. Another, more radical way of reading these canvasses is to
abstract from the implied views and to read the swarms of distorted forms
as a peculiar architectural world in its own right with its own
characteristic forms, compositional laws and spatial effects. One of the
striking features of these large canvasses is there strong sense of
coherence despite the richness and diversity of forms contained within
them. There is never the order of monotonous repetition, but the field
continuously changes its grain of articulation. Gradient transitions
mediate large quiet areas with very dense and intense zones. Usually these
compositions are poly-central and multi-directional. All these features
are the result of the use of multiple, interpenetrating perspective
projections. Often the dynamic intensity of the overall field is increased
by using curved instead of straight projection lines. The projective
geometry allows to bring an arbitrarily large and divers set of elements
under its cohering law of diminuation and distortion. The resultant
graphic space very much anticipates the later (and still very much
current) concepts of field and
swarm. The effect achieved is very
much like the effects currently pursuit with curve-linear
mesh-deformations and digitally simulated “gravitational fields” that
grip, align, orient and thus cohere a set of elements or particles within
the digital model. A second prevalent feature of
Hadid’s large paintings is the technique of layering and the concomitant
technique of rendering elements as transparent to reveal the depth of the
composition. This transparent superposition of the elements of a drawing
anticipates the literal spatial interpenetration of geometric figures in
order to create more complex organizations. A third
characteristic of Hadid’s early work that anticipates a pervasive
preoccupation of the recent avant-garde is the idea of manipulating the
ground plane by means of cutting and warping. (Tomigaya, Al Whada,
Duesseldorf) This elaboration of the ground as manipulated/moulded surface
anticipates the current use of digital surface modelers and the attendant
idea of architectural articulation by means of surface foldings implying
the concept of the building as a single continuous
surface.
Zaha Hadid in her own
words:
Here is what Zaha Hadid had to
say about the role of design media in general and digital media in
particular in an interview with the Chairman of the Architectural
Association School of Architecture Mohsen Mostafavi (El Croquis 103):
MM: You touched
on the question of mechanisms or means of
representation. How do you think
your approach has changed in the last 5 or 10 years? What is the tension
between your own
drawings/conceptualisations and the way in which in your own
office computers are
playing such a central role ?
ZH: I still
think that even in our later projects, where the computer was already
involved, like for instance the
IIT project, the
2-dimensional plan drawings are still seminal. I still think the
plan is critical. The computer shows what you might see from various
selected viewpoints. But I think this doesn't give you enough
transparency; it's much too opaque. Also, I think it
is much nicer on the screen than when it is printed on to paper, because
the screen gives you luminosity and the paper does not unless you do it
through a painting. Further I think
if you compare computer renderings with rendering by hand I must say that
you can improvise much more with hand drawing and painting. As you go
along, there is another layer of operation, while you're working on the
drawing which is somehow missing in the computer rendering. Some people
still have this raw talent. Some people can do drawings and plans (by hand
or by computer). They can manipulate them so much. Somebody like Patrik
can do plans like nobody else. Some people have an incredible way of
dealing with 3-dimensional modelling in the computer; but they don't have
the same value. You can achieve certain things through technology. But you
can't abstract in the same way. When drawing a perspective by hand you can
decide that you want to show and edit out some other things. It's not
about wire-framing. Rather you can decide to focus on the thing you want
study at the time as you're doing the drawing. It focuses you more on
certain critical issues. However, because
I'm sitting there with 15 or 20 computer screens in front of me and I can
see them all at the same time, it gives me yet another repertoire. You can
see at the same time the section, the plan and several moving 3-D
views, and in your mind you can see them in yet a
different way. So I'm not sure if it weakens or strengthens your view. I
just think it's a different way. And we still do physical models all the
time, and I still do the sketches.
MM: With your
drawings you were often dealing with a certain notion of distortion, which
allowed certain conventions to be looked at again.
ZH: Yes, but
what is interesting is that these ideas, at the time we did these
drawings, allowed us to see a project from every possible and impossible
perspective. May be you can do that now with the kind of animated
fly-over. You can. But the nice thing about the elaborate drawing is that,
because they take such a long time to construct, they give you the time to
add many layers. With physical models it is the peculiar nature of the
material which affords design opportunities. Because I am always doing the
contouring of the site in plexi we began to see a similarity between
liquid space and rock. Such “discoveries” can be productive. By the sheer
use of the model, almost by total accident, you begin to look at things in
different ways. So I'm saying that the presentation began to inform the
work and it gives you ideas. In the case of the Tomigaya project in Tokyo
we did these every difficult drawings where we saw everything
simultaneously in 3-D. This coincided at the time with the appearance of
the plexi model, about 15 years ago. What does it mean to see in a
transparent way through a building? One of the implications for us was the
realisation that we do not have to have the vertical circulation operate
like an extrusion or vertical core but rather allow the vertical path to
shift from one level to the next. This was discovered because we had the
different plans overlaid with each other, to construct a way to connect
the levels in a new way. I think that in
a way one can say that these very elaborate, complicated drawings –
without saying that they are definitely finished - did their job at the
time. At the time I could not present the work in a normative way. The
work could not be done just through a simple set of plans and sections
only. There was an element of shock, really, which was to shock or
challenge normal conventions.
But it's not enough to just, say, do anything formally different. I
think that 20 years ago, when my formal repertoire has developed over a
number of years, in every project, the idea of the project was first
challenged, and then it was worked on formally. We never set out
explicitely with the intention of formal discovery, through a drawing with
the prediction that we would discover something. All these drawings which
were quite elaborate needed a scenario. These drawings were developed over a considerable length of time.
Therefore I would say, the
formal repertoire that emerged was not completely accidental, perhaps a bit of
accident at the beginning may be, prior to the development of the project.
But then those accidental discoveries have been worked out through very
precise drawings.
Graphic Space
The predicament to start (and
ultimately stay) with drawings, i.e. with objects lacking the third
dimension, has been
architecture’s predicament ever since its inception as a discipline
distinguished from construction. As Robin Evans pointed out so bluntly:
architects do not build, they draw. Therefore the translation from
drawing to building is always problematic – at least under conditions of
innovation. Architecture as a design
discipline that is distinguished from the physical act of building
constitutes itself on the basis of drawing. The discipline of architecture
emerges and separates from the craft of construction through the
differentiation of the drawing as tool and domain of expertise outside
(and in advance) of the material process of construction.
The first effect of drawing (in ancient
Greek architecture) seems to be an increased capacity of standardization,
precision and regularized reproduction on a fairly high level of
complexity and across a rather wide territory. Roman architecture could
benefit from this but also shows hints towards the exploitation of the
capacity of invention that the medium of drawing affords. Without drawing
the typological proliferation of Roman architecture is inconceivable.
Since the Renaissance (via Manerism and Baroque) this speculative moment
of the drawing has been gathering momentum. But only 1920s modernism
really discovers the full power and potential of the drawing as a highly
economic trial-error mechanism and an effortless plane of invention - in fact inspired by the
compositional liberation achieved by abstract art in the 1st
decade of the 20th Century. Drawing accelerates the evolution
of architecture. In this respect modern architecture depends upon the
revolution within the visual arts that finally shook off the burden of
representation. Modern architecture was able to build upon the legacy of modern abstract art as the conquest of a previously
unimaginable realm of constructive freedom. Hitherto art was understood as
mimesis and the reiteration of given sujets, i.e. re-presentation rather
than creation. Architecture was the re-presentation of a fixed set of
minutely determined typologies and complete tectonic systems. Against this
backdrop abstraction meant the possibility and challenge of free creation.
The canvas became the field of an original construction. A monumental
break-through with enormous consequences for the whole of modern
civilisation. Through figures such as Malevitsch and vanguard groups such
as the DeStijl movement this exhilarating historical moment was captured
and exploited for the world of experimental architecture.
My thesis here is that the
withdrawal into the two-dimensional surface, i.e. the refusal to interpret
everything immediately as a spatial representation, is a condition for the
full exploitation of the medium of drawing as a medium on invention. Only
on this basis, as explicitly graphic manoevers, do the design manoevers
gain enough fluidity and freedom to play. They have to be set loose, shake
off the burden to always already mean something determinate. Obviously,
this stage of play and proliferation has to be followed by a tenacious
work of selection and interpretation. At some stage architectural work
leads to building. But not in every “project”. Some architectural projects
remain “paper projects” which are “translated” later, by other projects.
The discipline of architecture has learned to allow for this. Major
contributions to the history of architecture have been made on this basis.
Today we see architectural experiments and manifestos proliferating within
the virtual space afforded by the computer. Although the working interface
(computer screen) as well as the various output media (printing,
video-projection) remain strictly two-dimensional, the virtual
three-dimensionality afforded by 3D modeling software offers a new way of
working that combines the intuitive possibilities of physical model making
with the precision and immateriality of drawing. Further, as will
discussed in more depth below, certain 3D modeling and animation tools
introduce whole new series of “primitives” and manipulative operations
which are highly suggestive with respect to new architectural morphologies
and the conceptual build up of an architectural composition. However,
these new compositional techniques still share some of the productive
under-determination of the experimental drawing. 3D modeling can be
equally abstract and ambiguous with respect to the final translation into
physical constructs.
One of Hadid's most audacious
moves was to translate the dynamism and fluidity of her calligraphic hand
directly into equally fluid tectonic systems. Another incredible move was
the move from isometric and perspective projection to literal distortions
of space and from the exploded axonometry to the literal explosion of
space into fragments, from the superimposition of various fisheye
perspectives to the literal bending and melt down of space etc. All these moves initially appear
rampantly illogical, akin to the operations of the
surrealists. The level of experimentation
reached a point where the distinction between form and content within
these drawings and paintings, was no longer fixed. The question which
features of the graphic manipulation pertain to the mode of representation
rather than to the object of representation was left unanswered. Was the architecture itself
twisting, bending, fragmenting and interpenetrating or were theses
features just aspects of the multi-view-point fish-eye perspectives? The
answer is that over an extended process and a long chain of projects the
graphic features slowly transfigured into realizable spatial features. The
initial openness in this respect might have led some commentators to
suspect ‘mere graphics” here.
Within Zaha Hadid’s studio this uncertainty was productively
engaged through a slow process of interpretation via further drawings,
projects and finally buildings.
These strange moves which
seemed so alien and “crazy” -
once taken seriously within the context of developing an architectural
project - turn out to be powerful
compositional options when faced with the task of articulating complex
programmes. The dynamic streams of movements within a complex structure
can now be made legible as the most fluid regions within the structure;
overall trapezoidal distortions offer one more way to respond to
non-orthogonal sites; perspective distortions allow the orientation of
elements to various functional focal points etc. What once was an
outrageous violation of logic has become part of a strategically deployed
repertoire of nuanced spatial organisation and articulation.
Painterly techniques like
colour modulations, gradients of dark to light or pointillist techniques
of dissolving objects into their background assume significance in terms
of the articulation of new design concepts like morphing or new spatial
concepts like smooth thresholds, “field-space” and the “space of
becoming”(Eisenman). These concepts came to full fruition only with the
latest digital 3D modeling and animation software. Jeff Kipnis deserves
recognition here as someone who has theorised such possibilities of
“graphic space”. But it was Zaha Hadid who went first and furthest in
exploring this way of innovating architecture – without as well as with
support of advanced software.
Zaha Hadid has been a
persistent radical in the field of architectural experimentation for the
last 20 years. The importance of her
contribution to the culture of architecture lies primarily in a series of
momentous expansions - as influential as radical - in the repertoire of spatial
articulation available to architects today. These conquests for the design
resources of the discipline include representational devices, graphic
manipulations, compositional manoeuvres, spatial concepts, typological
inventions and (beyond the supposed remit of the discipline proper) the
suggestion of new modes or patterns of inhabitation. This list of
contributions describes a causal chain that significantly moves from the
superficial to the substantial and thus reverses the order of ends vs.
means assumed in normative models of rationality. The project starts as a
shot into the dark, spreading its trajectories, and assuming its target in
midcourse. The point of departure is the assumption of a new
representational media (x-ray layering, multi perspective projection)
which allow for certain graphic operations (multiple, over-determining
distortions) which then are made operative as compositional
transformations (fragmentation and deformation). These techniques lead to a new
concept of space (magnetic field space, particle space, continuously
distorted space) which suggests a new orientation, navigation and
inhabitation of space. The inhabitant of such spaces no longer orients by means of
prominent figures, axis, edges and clearly bounded realms. Instead the
distribution of densities, directional bias, scalar grains and gradient
vectors of transformation constitute the new ontology defining what it
means to be somewhere. These innovations have been
(and continue to be) produced within an international
collective/competitive milieu of experimenters. The totality of
discoveries emerging within this milieux is immediately appropriated - and rightly so - by each and
every contributor.
This assessment of Hadid's
oeuvre in terms of the expansion of architectural methods and formal
resources is independent of the success and merit the various built and
unbuilt projects with respect to the particular tasks they are addressed
to solve. Rather than fulfilling only their immediate purpose as a state
of the art delivery of a particular use-value - e.g. a fire station or an
exhibition venue - the significance and ambition of
these projects is that they might be seen as manifestos of a new type of
space. As such their defining context is the historical progression of
such manifestos rather than their concrete spatial and institutional
location. The defining ancestry of e.g. the Vitra Firestation or the
Millennium Mind Zone includes the legacy of modern architecture and
abstract art as the conquest of a previously unimaginable realm of
constructive freedom. A key example for such a manifesto building is
Rietveld's House Schroeder. The value and justification of this building
does not only depend on the particular suitability to the Schroeder's
family interests. It operates as an inspiring manifesto about new
compositional possibilities which much later are further extended in the
Vitra Firestation - Hadid's first built manifesto to be understood within
Zaha Hadid's oeuvre at large. Both these manifesto buildings radically
violate the typological and tectonic norms of their time and dare to
suggest compositional moves hitherto unknown to the discipline of
architecture. Hadid's oeuvre in turn can be defined as an attempt to push
ahead with "the incomplete project of modernism". This is the most general
account Zaha Hadid has - on
many occasions - given of her
work. The "incomplete project of modernism" as Hadid understands it is
more tilted towards Russian Constructivism rather than German
Functionalism giving greater prominence to formal innovation than to
scientific rationalisation. But this opposition is one of degree rather
than principle. For all shades of the modern movement the historical
intersection of abstract art, industrial technology and the social
revolutions succeeding in the aftermath of the 1st world war have been the
indispensable ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in
artistic and intellectual history is always consuming its immediate
precursor as its defining opposite, maintaining and carrying it along like
a shadow. And this shadow carries a further shadow etc., so that a
cultural innovation can only be identified and appreciated by those who
are able to place it within the whole historical evolution. Such
appreciation therefor - on many occasions - given of her work. The "incomplete
project of modernism" as Hadid understands it is more tilted towards
Russian Constructivism rather than German Functionalism giving greater
prominence to formal innovation than to scientific rationalisation. But
this opposition is one of degree rather than principle. For all shades of
the modern movement the historical intersection of abstract art,
industrial technology and the social revolutions succeeding in the
aftermath of the 1st world war have been the indispensable
ingredients.
The introduction of categories
such as "manifesto", "the discipline of architecture " and "oeuvre"
suspends but does not cancel or deny concerns of utility. These categories
are not set absolute, autonomous and forever aloof from the functional
concerns of society. Rather the concrete uses and users are bracketed for
the sake of experimenting with new, potentially generalisable principles
of spatial organisation and articulation with respect to emerging social
demands and use patterns. Functional optimality according to well
corroborated criteria is thus renunciated for the experimental advancement
of social practises of potentially higher functionality. The very nature
of the kind of iconoclastic research
of "the avant garde" is that it thrusts itself into the unknown and
offers its challenging proposals to the collective process of
experimentation in a raw state rather than waiting until the full cycle of
experimentation, variation, selection, optimisation and refinement is
complete to present secure and polished results. Despite the often precarious
status of its partial and preliminary results I will argue that this
radicalism constitutes a form of research; an unorthodox research in as
much as it's methods include intuitive groping, randomisation and
automatic formal processes, i.e. the temporary relaxation and even
suspension of rational criteria.
Post-modernism, Deconstructivism, Folding
Hegel grasped that the New in artistic and intellectual history is always consuming its immediate precursor as its defining opposite, maintaining and carrying it along like a shadow. And this shadow carries a further shadow etc., so that a cultural innovation can only be identified and appreciated by those who are able to place it within the whole |