10 X 10 by Haig Beck, Jackie Cooper

By Haig Beck, Jackie Cooper

10x10 is a complete view of latest structure at the present time. 10 of the world’s best-informed critics every one chosen 10 of the world’s so much extraordinary rising architects. the varied and leading edge initiatives of those a hundred architects make up an inspirational and exact choice of fresh structure. The e-book good points over 250 constructions and tasks, together with lately equipped paintings in addition to tasks at present below development and due for of entirety. every one critic additionally contributes an essay solely for this book and has chosen 10 works from various genres and media to demonstrate the context during which architects function this present day.

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24 Beside archaeologists and classical scholars, medievalists have also weighed in on the matter. Something similar to proportionally drawn plans and elevations can be dated to the thirteenth century, and more convincingly to the fourteenth and fifteenth centuries (the famous drawings from the workshop of Peter Parler in Prague are coeval to Brunelleschi’s work on the Florence dome). These, and other textual documents, have led some to suggest that “construction by remote control” was common among Gothic master builders, and that adequate notational tools, and social practices, already existed to support such design methods well before, and unrelated to, the new architectural theory of the Italian humanists.

Ultimately, Alberti’s modern and humanistic authorial tenet, which called for the final notation of an object (its blueprint, in twentieth-century parlance) to be materially executed without any change, may also be doomed in a digital design environment. Projects (and not only for buildings: the principle can be generalized) are increasingly conceived as open-ended, generative scripts that may beget one or more different objects—redesigned, adapted, messed up, and tampered with by a variety of human and technical agents, some of them uncontrollable and unpredictable.

Under this semantic regime of modernity, only signs that are visually V ariab l e , I denti c a l , D ifferentia l 4 5 identical have identical meanings. This is the way modern logos, emblems, and trademarks work. They are recorded and protected by copyright laws, which register an original and all identical copies of it—but leave resemblance and similarity in limbo. Similarity, imitation, and mimesis are essentially premodern, nonquantifiable notions, and as such are hard to appraise in a modern marketplace, and hard to defend in a modern court of law.

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