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Impossible and Hyper-Real Elements of Architecture: Exercises, Provocations, and Theories of Digital Representation [Paperback / softback]

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  • Format: Paperback / softback, 288 pages, height x width: 254x203 mm, weight: 1330 g, 200 Illustrations, color
  • Pub. Date: 14-Mar-2023
  • Publisher: Oro Editions
  • ISBN-10: 1951541553
  • ISBN-13: 9781951541552
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  • Price: 43,23 €
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Impossible and Hyper-Real Elements of Architecture: Exercises, Provocations, and Theories of Digital RepresentationLarger Image
  • Format: Paperback / softback, 288 pages, height x width: 254x203 mm, weight: 1330 g, 200 Illustrations, color
  • Pub. Date: 14-Mar-2023
  • Publisher: Oro Editions
  • ISBN-10: 1951541553
  • ISBN-13: 9781951541552
Other books in subject:
Permanent link: https://www.kriso.ee/db/9781951541552.html
Keywords:
Impossible and Hyper-Real Elements of Architecture addresses how and why architects, artists, and designers manipulate reality.

Front and center in this discourse is the role of rendering. Most often, to render is to engage a thick software interface, to accept a photographic framework of variables and effects, and to assume an unquestioned posture of articulating material, mass, and color. But like drawing, rendering is an interdisciplinary, algorithmic, historically rooted cultural practice as much as it is a digital vocation.

The elements explored in this book are labeled “impossible” because they avoid a fixed relationship to a singular built reality. Digital bonsai trees, pixels, video game levels, grids, and dioramas extend like skewers through multiple media and formats. Through work that looks very real and can’t possibly exist, representation becomes the territory of speculation, ambiguity, and curiosity.
Acknowledgments 9(2)
Introduction 11(8)
Chapter 1 Bits Mapped
19(64)
The Pixel
21(2)
Constructing Elements in Pursuit of Impossibility
23(2)
1988, the Year of the Pixel
25(6)
Pixel Creating Cultures
31(9)
Preserving the Pixel, Releasing Style from Technology
40(5)
The Contemporary Binary Bitmapped Surface
45(3)
Draw by hand within the space of a digital image
48(30)
Resolve to true or false with tons of information
78(5)
Chapter 2 Every Grid is Material
83(40)
Julie Kress
Every tool is Pre-Gridded
87(2)
Every Grid is Aesthetic
89(5)
Every Grid is Constructed
94(5)
Every Grid is Imposed
99(3)
Build and Break a Scaffold
102(3)
Every grid wants to go on infinitely
105(2)
Every grid has mass
107(5)
Contain a Grid
112(3)
Every grid does not need to be the same
115(3)
Un-Standardized Fixtures
118(5)
Chapter 3 Using a Tree to Represent a Tree
123(42)
Bonsai is an Action and an Element
127(1)
Books About Bonsai are Like This Book
128(1)
The Tree Behind the Tree
129(4)
Designing Tools to Control or Release Natural Randomness
133(7)
Random Salt Crystals
140(2)
Who is the "User-Author"?
142(1)
Using Software the Wrong Way
143(6)
A Tree Yet Rendered is Three Hundred Text Files in a Folder
149(1)
Sometimes a Tree Looks Nothing like a Tree
150(4)
Everything is Bonsai when in Pursuit of Bonsai
154(2)
Over Time, of Time
156(3)
The Pot is a Diorama
159(6)
Chapter 4 A Room that Becomes a Diorama; A Diorama Afflicted with Room Envy
165(52)
Almost but not Quite a Diorama: The Room, its Powers, and its Limits
167(5)
Model your space with every regard for detail and no regard for accuracy
172(1)
All Apertures Become Dioramas
173(11)
The Room as a Diorama
184(4)
Model from Memory
188(1)
American Landscape as Diorama
189(7)
Like (Performed) Magic
196(12)
Can a Diorama be Separated from Its Content?
208(9)
Chapter 5 Rendering the Almost Invisible
217(32)
Straining to Become Invisible
221(5)
Unrealistic Material
226(1)
Massive, but Immaterial
227(11)
Can a Diorama Become Invisible?
238(2)
Everything but the Thing
240(2)
What about the shape of the invisible element?
242(1)
Essentially Animate
243(6)
Chapter 6 Operating on the Violence-Aggression Axis by viola ago
249(38)
In the Space of Animate Memory Sequences
251(3)
Transformation Matrix
254(2)
Relational Architecture: Between Violence and Aggression
256(2)
Chop, Drop (does it Roll?)
258(1)
Intentionally Corrupted Surface, the Resurgent Line
259(7)
Surface Frictions
266(1)
Lyricism and Empathy (Or Bad Responses to External Calls)
267(4)
On Haptic Sways Between Fiction and the Real
271(11)
Overcoming Systemic Cognition
282(5)
Chapter 7 Anxious Vision: Real Time and the First-Person PerspectiveView
287(42)
Hans Tursack
Picture Windows
289(2)
No Time Like Real Time
291(11)
Tunnel Vision
302(3)
Design Notes: Levels as Perceptual Arenas
305(5)
Objects in a Networked Field: The Architectural Complex
310(2)
Object-Buildings in a Complex
312(2)
A Complex Without a Game
314(1)
Linear Movement in a Complex
315(3)
Play the Complex
318(3)
The Creative Necessity of Gaming Discourse
321(1)
Displacement of the Viewing Subject
322(7)
Chapter 8 Transition Elements: Rendering by Drawing
329(46)
The Case for Lines
332(10)
Geometry of the Surface
342(7)
Words and Reality
349(8)
Optics of Material
357(8)
Representation as an Open Loop
365(1)
Represent, Disassociate, Operate, Re-associate with Something Else
366(4)
Structure Discourse Around Exercises
370(5)
Image Animation Index 375
Carl Lostritto is an associate professor and graduate program director at RISD Architecture. His teaching, practice, and research explores the intersections between computation and representation. 



Viola Ago is an Albanian architectural designer and researcher. She directs MIRACLES Architecture and recently held the Wortham fellowship at the Rice University School of Architecture.



Julie Kress is a lecturer at the University of Tennessee Knoxville College of Architecture + Design. Her work straddles across realms of architecture, exhibition design, and research in digital media.



Hans Tursack recently served as the MIT Pietro Belluschi research fellow. His writing and scholarly work have appeared in Perspecta, Pidgin, Thresholds, Log Dimensions, Archinect, and the Architects Newspaper.