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studio agenda

October 17, 2011

Freestyle as a way of thinking about personal creative output can be probably dated back to the beginning of the 20th century. Shaped by specific socio-political circumstances, it preferes community over institution, passion over profesionalism, playfullness over production. In fact it’s a way of describing a state of mind rather then individual stylistic preference, since anything from sound creation to visual arts to body movement can be thought of this way. Instead of labeling a set of formal qualities, or affiliation to an established general movement, it appreciates virtuosity in any media as an expression of freely unfolding personality. Be it an individual or a group.

How could such an efemeral term apply to the goal-oriented, efficience-based and essentialy hierarchicaly stiff practice of architectural design?

Desire to create intricate spaces seems to be contradicted by obsessive precission on the building site. Architecture becomes tailored to the components it’s being made of and industries surrounding it. Opressed design content is being replaced by repetitive decoration justified functionally in order to explain overblown budgets. In such context achieving saturation and complexity by aggregation of autonomous responsive systems step by step might become a benefit both aestheticaly and economically. Principles of growth and coevolution might replace metaphors of the maschine. Instead of distinctions between finished and unfinished, notions of wholeness and maturation could be used, reestablishing connections between architects, artist and craftsmen.

Traditional dualistic principle of concept-idea and building-representation is being questioned and altered. While CAD technologies enabled precise manufacturing of digitaly designed structures we want to take an alternative approach, linking behaviors with their solid traces – treating space as a medium of record. Such understanding of formal activity unfolds new perspectives not only for reading and interpreting the content behind virtually designed objects, but also for imagining and prototyping ways, how architecture could actually be constructed. Supported by growing access to knowlege and creative use of digital technologies, full scale applications might redefine the relations between simulated and emergent domains of design process – planning and making.

Should large scale material culture of networked society be necessarily highly technological?

What could be the alternatives to industrial design precission and control?

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