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When is the digital in architecture? What are the conditions that led architects to integrate digital tools into their practices? Over the course of the Archaeology of the Digital research program, the CCA has collected the archival records of twenty-five projects realized between the late 1980s and the early 2000s in order to understand this moment as a point of origin(...)
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When is the digital in architecture? What are the conditions that led architects to integrate digital tools into their practices? Over the course of the Archaeology of the Digital research program, the CCA has collected the archival records of twenty-five projects realized between the late 1980s and the early 2000s in order to understand this moment as a point of origin(...)
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When is the digital in architecture?
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When is the digital in architecture? What are the conditions that led architects to integrate digital tools into their practices? Over the course of the Archaeology of the Digital research program, the CCA has collected the archival records of twenty-five projects realized between the late 1980s and the early 2000s in order to understand this moment as a point of origin for the digital. But if we take care to identify the digital as a condition that is made possible by the conceptual foundations of digital media and not necessarily by digital media itself, the boundaries of the digital moment—when it began and under what circumstances—become less clear. There are eight million stories of the origins of the digital in architecture, and this book brings together fourteen of them in a chronology of responses to the question of when the digital is in architecture. The arguments address specific changes in ways of thinking about architecture, building, and cities, as well as the shifts in technology that resulted from these changes, marking both a capstone to Archaeology of the Digital and the beginning of an investigation of other beginnings of the digital in architecture. Asking a question like When is the digital in architecture? can produce eight million stories in response, and eight million digressions and redirections that narrow in focus and change geographies, producing a Tristram Shandy of the digital as the CCA continues to build its digital archive and makes it increasingly accessible to researchers. If this novel of digressions is distributed across future research projects and extended with studies of new archival material, so much the better for the reader, in our opinion.
When is the digital in architecture?
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When is the digital in architecture? What are the conditions that led architects to integrate digital tools into their practices? Over the course of the Archaeology of the Digital research program, the CCA has collected the archival records of twenty-five projects realized between the late 1980s and the early 2000s in order to understand this moment as a point of origin for the digital. But if we take care to identify the digital as a condition that is made possible by the conceptual foundations of digital media and not necessarily by digital media itself, the boundaries of the digital moment—when it began and under what circumstances—become less clear. There are eight million stories of the origins of the digital in architecture, and this book brings together fourteen of them in a chronology of responses to the question of when the digital is in architecture. The arguments address specific changes in ways of thinking about architecture, building, and cities, as well as the shifts in technology that resulted from these changes, marking both a capstone to Archaeology of the Digital and the beginning of an investigation of other beginnings of the digital in architecture. Asking a question like When is the digital in architecture? can produce eight million stories in response, and eight million digressions and redirections that narrow in focus and change geographies, producing a Tristram Shandy of the digital as the CCA continues to build its digital archive and makes it increasingly accessible to researchers. If this novel of digressions is distributed across future research projects and extended with studies of new archival material, so much the better for the reader, in our opinion.
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books
books
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June 2017
June 2017
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CCA Publications
CCA Publications
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359 pages : illustrations (some color) ; 24 cm
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359 pages : illustrations (some color) ; 24 cm
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Rotterdam, The Netherlands : NAi Publishers, ©2004.
Rotterdam, The Netherlands : NAi Publishers, ©2004.
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Van Herk & De Kleijn : tools and architecture / samenstelling, Arne van Herk [and others] ; [with texts by] Hans Ibelings, Adriaan Geuze, Cilia Erens.
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359 pages : illustrations (some color) ; 24 cm
Van Herk & De Kleijn : tools and architecture / samenstelling, Arne van Herk [and others] ; [with texts by] Hans Ibelings, Adriaan Geuze, Cilia Erens.
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359 pages : illustrations (some color) ; 24 cm
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books
books
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Rotterdam, The Netherlands : NAi Publishers, ©2004.
Rotterdam, The Netherlands : NAi Publishers, ©2004.
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$21.50
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Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace(...)
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Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace(...)
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Digital ground : architecture, pervasive computing, and environmental knowing
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Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace architecture. The young field of interaction design reflects not only how people deal with machine interfaces but also how people deal with each other in situations where interactivity has become ambient. It shifts previously utilitarian digital design concerns to a cultural level, adding notions of premise, appropriateness, and appreciation. Malcolm McCullough offers an account of the intersections of architecture and interaction design, arguing that the ubiquitous technology does not obviate the human need for place. His concept of "digital ground" expresses an alternative to anytime-anyplace sameness in computing; he shows that context not only shapes usability but ideally becomes the subject matter of interaction design and that "environmental knowing" is a process that technology may serve and not erode. Drawing on arguments from architecture, psychology, software engineering, and geography, writing for practicing interaction designers, pervasive computing researchers, architects, and the general reader on digital culture, McCullough gives us a theory of place for interaction design. Part I, "Expectations," explores our technological predispositions -- many of which ("situated interactions") arise from our embodiment in architectural settings. Part II, "Technologies," discusses hardware, software, and applications, including embedded technology ("bashing the desktop"), and building technology genres around life situations. Part III, "Practices," argues for design as a liberal art, seeing interactivity as a cultural -- not only technological -- challenge and a practical notion of place as essential. Part IV, "Epilogue," acknowledges the epochal changes occurring today, and argues for the role of "digital ground" in the necessary adaptation.
Digital ground : architecture, pervasive computing, and environmental knowing
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$21.50
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Summary:
Digital Ground is an architect's response to the design challenge posed by pervasive computing. One century into the electronic age, people have become accustomed to interacting indirectly, mediated through networks. But now as digital technology becomes invisibly embedded in everyday things, even more activities become mediated, and networks extend rather than replace architecture. The young field of interaction design reflects not only how people deal with machine interfaces but also how people deal with each other in situations where interactivity has become ambient. It shifts previously utilitarian digital design concerns to a cultural level, adding notions of premise, appropriateness, and appreciation. Malcolm McCullough offers an account of the intersections of architecture and interaction design, arguing that the ubiquitous technology does not obviate the human need for place. His concept of "digital ground" expresses an alternative to anytime-anyplace sameness in computing; he shows that context not only shapes usability but ideally becomes the subject matter of interaction design and that "environmental knowing" is a process that technology may serve and not erode. Drawing on arguments from architecture, psychology, software engineering, and geography, writing for practicing interaction designers, pervasive computing researchers, architects, and the general reader on digital culture, McCullough gives us a theory of place for interaction design. Part I, "Expectations," explores our technological predispositions -- many of which ("situated interactions") arise from our embodiment in architectural settings. Part II, "Technologies," discusses hardware, software, and applications, including embedded technology ("bashing the desktop"), and building technology genres around life situations. Part III, "Practices," argues for design as a liberal art, seeing interactivity as a cultural -- not only technological -- challenge and a practical notion of place as essential. Part IV, "Epilogue," acknowledges the epochal changes occurring today, and argues for the role of "digital ground" in the necessary adaptation.
Form:
books
books
Publication:
October 2005, Cambridge
October 2005, Cambridge
Subject:
Architectural Theory
Architectural Theory
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books
books
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$45.00
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and(...)
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and(...)
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
Publication:
August 2007, Minneapolis, London
August 2007, Minneapolis, London
Title:
Building a century of progress : the architecture of Chicago's 1933-34 World's Fair
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From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and cultural displays, many of which were housed in fifty massive and colorful exhibition halls, the largest architectural project realized in the United States during the Great Depression. In the richly illustrated "Building a century of progress", Lisa D. Schrenk explores the pivotal role of the 1933 Chicago World’s Fair in modern American architecture. She recounts how the exposition’s architectural commission promoted a broad definition of modern architecture, not relying on purely aesthetic characteristics but instead focusing on new design solutions. The fair’s pavilions incorporated recently introduced building materials such as masonite and gypsum board; structural innovations (for example, the first thin-shell concrete roof and the first suspended roof structures built in the United States); and new construction processes, most notably the use of prefabrication. They also featured curiosities like the giant, constantly operating mayonnaise maker and the glass-walled House of Tomorrow, which had no operable windows. Schrenk shows how the halls’ designs reflected cultural and political developments of the period, including the expanding relationships between science, industry, and government; the rise of a corporate consumer culture; and the impact of the Great Depression. Many of the designs provoked intense responses from critics and other prominent architects, including Frank Lloyd Wright and Ralph Adams Cram, fueling heated debates over the appropriate direction for architecture in the United States. Demonstrating the rich diversity of progressive American building design seen at the fair, this book captures a crucial moment in American modernism.
Building a century of progress : the architecture of Chicago's 1933-34 World's Fair
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Summary:
From the summer of 1933 to the fall of 1934, more than 38 million fairgoers visited a 3-mile stretch along Lake Michigan, home to Chicago’s second World’s Fair. Millions more experienced the Century of Progress International Exposition through newspaper and magazine articles, newsreels, and souvenirs. Together, all marveled at the industrial, scientific, consumer, and cultural displays, many of which were housed in fifty massive and colorful exhibition halls, the largest architectural project realized in the United States during the Great Depression. In the richly illustrated "Building a century of progress", Lisa D. Schrenk explores the pivotal role of the 1933 Chicago World’s Fair in modern American architecture. She recounts how the exposition’s architectural commission promoted a broad definition of modern architecture, not relying on purely aesthetic characteristics but instead focusing on new design solutions. The fair’s pavilions incorporated recently introduced building materials such as masonite and gypsum board; structural innovations (for example, the first thin-shell concrete roof and the first suspended roof structures built in the United States); and new construction processes, most notably the use of prefabrication. They also featured curiosities like the giant, constantly operating mayonnaise maker and the glass-walled House of Tomorrow, which had no operable windows. Schrenk shows how the halls’ designs reflected cultural and political developments of the period, including the expanding relationships between science, industry, and government; the rise of a corporate consumer culture; and the impact of the Great Depression. Many of the designs provoked intense responses from critics and other prominent architects, including Frank Lloyd Wright and Ralph Adams Cram, fueling heated debates over the appropriate direction for architecture in the United States. Demonstrating the rich diversity of progressive American building design seen at the fair, this book captures a crucial moment in American modernism.
Form:
books
books
Publication:
August 2007, Minneapolis, London
August 2007, Minneapolis, London
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
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journals and magazines
journals and magazines
Title:
Detail 7/8 2017
Detail 7/8 2017
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$32.95
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The laws of the series. In the 1920s, a group of architects in Milan came together to form a movement that would later be known as Razionalismo. Architecture, they were convinced, must adhere to the rules of reason. They propagated the notion of “pure rhythm”, which was reflected in the repetition of individual elements as a fundamental design principle. Today, the(...)
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The laws of the series. In the 1920s, a group of architects in Milan came together to form a movement that would later be known as Razionalismo. Architecture, they were convinced, must adhere to the rules of reason. They propagated the notion of “pure rhythm”, which was reflected in the repetition of individual elements as a fundamental design principle. Today, the(...)
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Detail 7/8 2017
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$32.95
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The laws of the series. In the 1920s, a group of architects in Milan came together to form a movement that would later be known as Razionalismo. Architecture, they were convinced, must adhere to the rules of reason. They propagated the notion of “pure rhythm”, which was reflected in the repetition of individual elements as a fundamental design principle. Today, the relevance of serial production methods in architecture reach far beyond their significance at the time of Razionalismo. Repetitive structures can not only be found characterising the aesthetic appearance of buildings, they often play a decisive role in complex planning and construction processes, such as in the combination of individual modules or other industrially prefabricated elements. In our July/August issue, we present contemporary buildings that embrace the notion of the series in a variety of ways. For our Documentation section, Burkhard Franke explores examples in which aspects of repetition is used both as a design element and with respect to construction methodologies. A new social housing project by Florian Nagler in Munich, for instance, is a hybrid construction made with prefabricated wood elements. Meanwhile, a student housing complex in Berlin that Holzer Kobler Architekturen built using shipping containers resist any sense of monotony despite their stacked arrangement. For the exemplary French social housing buildings by Poggi & More near Bordeaux and by PPA architectures in Toulouse, modular components likewise contributed to the reduction of construction costs. Are buildings produced according to serial fabrication methods invariably cost effective? In our Technology feature, Frank Kaltenbach has compiled an overview of recent solutions in refugee housing. The majority of them needed to be built within a short time period and under high budgetary constraints. The ways in which serial production methods seem to be predestined for such demanding projects can be discovered in this issue.
Detail 7/8 2017
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$32.95
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Summary:
The laws of the series. In the 1920s, a group of architects in Milan came together to form a movement that would later be known as Razionalismo. Architecture, they were convinced, must adhere to the rules of reason. They propagated the notion of “pure rhythm”, which was reflected in the repetition of individual elements as a fundamental design principle. Today, the relevance of serial production methods in architecture reach far beyond their significance at the time of Razionalismo. Repetitive structures can not only be found characterising the aesthetic appearance of buildings, they often play a decisive role in complex planning and construction processes, such as in the combination of individual modules or other industrially prefabricated elements. In our July/August issue, we present contemporary buildings that embrace the notion of the series in a variety of ways. For our Documentation section, Burkhard Franke explores examples in which aspects of repetition is used both as a design element and with respect to construction methodologies. A new social housing project by Florian Nagler in Munich, for instance, is a hybrid construction made with prefabricated wood elements. Meanwhile, a student housing complex in Berlin that Holzer Kobler Architekturen built using shipping containers resist any sense of monotony despite their stacked arrangement. For the exemplary French social housing buildings by Poggi & More near Bordeaux and by PPA architectures in Toulouse, modular components likewise contributed to the reduction of construction costs. Are buildings produced according to serial fabrication methods invariably cost effective? In our Technology feature, Frank Kaltenbach has compiled an overview of recent solutions in refugee housing. The majority of them needed to be built within a short time period and under high budgetary constraints. The ways in which serial production methods seem to be predestined for such demanding projects can be discovered in this issue.
Form:
journals and magazines
journals and magazines
Publication:
July 2017
July 2017
Subject:
Magazines
Magazines
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books
books
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$99.95
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For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the(...)
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For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the(...)
Subject:
Landscape Architecture, Monographs
Landscape Architecture, Monographs
Publication:
October 2006, Baltimore
October 2006, Baltimore
Title:
The papers of Frederick Law Olmsted : volume VII, parks, politics, and patronage 1874-1882
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For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the development of the profession of landscape architecture. Olmsted's writings also provide a unique record of society and politics in post–Civil War America. Historians, landscape architects, conservationists, city planners, and citizens’ groups continue to turn to Olmsted for inspiration in their planning and protection of public open space in our cities. This latest and seventh volume of the Papers of Frederick Law Olmsted presents the record of his last years of residence in New York City. It includes reports on the design of Riverside and Morningside parks and Tompkins Square in Manhattan, as well as his comprehensive plan for the street system and rapid transit routes of the Bronx. It records his continuing work on Central Park and presents his final retrospective statement, “The Spoils of the Park.” In addition, volume seven contains an annotated version of the journal in which Olmsted recorded instances of political maneuvering and patronage politics in the years before his dismissal from the New York parks department in 1878. Later documents chronicle the early stages of his planning of the Boston park system—the Back Bay Fens, Arnold Arboretum, and Riverway. Other major commissions, each with its own political complications, were the grounds of the U.S. Capitol, the completion of the new state capitol in Albany, the designing of a park on Mount Royal in Montreal, and construction of the park system of Buffalo, New York. The volume also presents Olmsted’s commentary on issues of the times including federal Reconstruction policy and civil-service reform. The Olmsted Papers project is supported by the National Endowment for the Humanities, the National Historical Publications and Records Commission, the National Trust for the Humanities, the National Association for Olmsted Parks, as well as private foundations and individuals.
The papers of Frederick Law Olmsted : volume VII, parks, politics, and patronage 1874-1882
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$99.95
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Summary:
For decades Frederick Law Olmsted (1822–1903) designed parks and park systems across the United States, leaving an enduring legacy of designed public space that is enjoyed, studied, and protected today. His plans and professional correspondence offer a rich source for understanding his remarkable contribution to the quality of urban life in this country and the development of the profession of landscape architecture. Olmsted's writings also provide a unique record of society and politics in post–Civil War America. Historians, landscape architects, conservationists, city planners, and citizens’ groups continue to turn to Olmsted for inspiration in their planning and protection of public open space in our cities. This latest and seventh volume of the Papers of Frederick Law Olmsted presents the record of his last years of residence in New York City. It includes reports on the design of Riverside and Morningside parks and Tompkins Square in Manhattan, as well as his comprehensive plan for the street system and rapid transit routes of the Bronx. It records his continuing work on Central Park and presents his final retrospective statement, “The Spoils of the Park.” In addition, volume seven contains an annotated version of the journal in which Olmsted recorded instances of political maneuvering and patronage politics in the years before his dismissal from the New York parks department in 1878. Later documents chronicle the early stages of his planning of the Boston park system—the Back Bay Fens, Arnold Arboretum, and Riverway. Other major commissions, each with its own political complications, were the grounds of the U.S. Capitol, the completion of the new state capitol in Albany, the designing of a park on Mount Royal in Montreal, and construction of the park system of Buffalo, New York. The volume also presents Olmsted’s commentary on issues of the times including federal Reconstruction policy and civil-service reform. The Olmsted Papers project is supported by the National Endowment for the Humanities, the National Historical Publications and Records Commission, the National Trust for the Humanities, the National Association for Olmsted Parks, as well as private foundations and individuals.
Form:
books
books
Publication:
October 2006, Baltimore
October 2006, Baltimore
Subject:
Landscape Architecture, Monographs
Landscape Architecture, Monographs
