Contemporary Techniques in Architecture

Contemporary design  techniques provide new transformative effects in cultural, social and political production. Such a technique acts on or influences an objects, which in turn modifies human behaviors and technical performance.
Our work seeks to harness the potential of contemporary techniques to produce new architectural effects.
Technology is not efficiency-oriented practice measured by quantities but a qualitative set of relations that interact with cultural stimuli.
Contemporary techniques enable us to access the potentials for maximizing new effects and separate  lineages.
Transmission across lineage is, perhaps, the major source of cultural change.
Contemporary techniques are organized and guided by probabilities, which are unlimited and allow for the production of performative effects in architecture.
Our intention in architectural projects is to actualise virtualities contained within the matrices of the Software that fully exploit its potential to produce new effects, which modify behaviors and performance.
Spaces are arranged by a more detailed set of performative possibilities. One location may provide for clustering and accumulative behavior, while another allows for ease of dispersion and continuity of space.
Spaces are modulated by the transformation of surface specificity which allows for various functions: sitting, eating, sleeping, bathing.
At the molecular level, continuous variation is possible within composite materials, densities or porosities provide a range of gradient effects.
The structure develops through the process simultaneously with its material counterpart, and affiliates itself with varying levels of porosity.

Skins and Bones

The article mainly talks about fold, fold embodied in objects and spaces, join and divide at the same time, produce shapes, especially curved and involuted spaces.
The baroque is an architecture with endless folds.
A complex curving of the skin, that tends to ignore rather than privilege the interior.
The Leibnizian fold , as an interior mechanism which at once reflects the outside and represents the forces of the inside, is more of a mediating device.
The generation of form from the outside, as envelop or skin, removes the humanistic subject definitely from all individual considerations.
The inside of architecture would not be shaped by occupation or by any other attribute than its profoundly residual character.
The space inside, residual, entirely formed by the dictates of outer skin, and strutted according to the needs of the skin support, served a conjuncturally useful purpose.
Folded city, above-ground and below-ground, private inside and public outside are forced into each other.

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Precedence

Lynn Readings

Geometry is the preferred language for architectural communication, geometric conflicts are important for the spatial and theoretical innovations. The exclusion of architecture from writing persists, demanding a further interrogation of geometry.
Any writing in architecture must begin with a geometry that does not reduce matter to ideal forms. The distinctions between exact, inexact, and inexact geometries, are becoming critical to any discussion of new spatial organizations.
 A case study of the random section model of probable geometry will provide architecture with he possibility of writing volumetric indeterminacy with a precise and rigorous system of measurement.
Contingent factors such as the highly localized techniques of construction and the spatial techniques associated with the use and organization.
Blobs constitute a formal intervention in contemporary discussions of tectonics. Blob construction id only in its nascent stages of development in contemporary architecture culture. Especially talks about the problems which long-span roof brings.
The multiplicity of minor variations does not add up to a single, simple global structure but instead manifests a blobular singularity.