This book is about responsive architectures. The project is an exploration of the interconnectedness of what surrounds us. The focus of this collection is on a new generation of interactive systems within science, art and architecture that are based on constantly evolving relationships. Using a wide definition of architecture that includes both built and natural realms, we examine dynamic systems and environments of scales from molecules to cities. A responsive environment can be described as a networked structure that senses action within a field of attention and responds dynamically with programmed and designed logic. Focusing the issue of responsiveness more precisely within the field of architecture raises multiple questions: which parameters of such environments might a designer address in order to imaginatively employ their capacities for dynamic transform and interaction? These projects cast light on the subject of responsive architecture from diverse viewpoints derived from current architecture, science, and art practices. They examine the relation between a physical environment and its inhabitants and focus in particular on professional practice. How do responsive systems affect us? Scientific research, art and architecture come together in this multidisciplinary forum documenting the 2006 Subtle Technologies Festival of Art and Science. Subjects include electronic art and performance installations, research in cell structures and natural systems, and design of interactive buildings. Discussions include historical context and contemporary implications.

Responsive Architectures : Subtle Technologies

Arts & Photography

Philip Beesley

Sachiko Hirosue

Jim Ruxton

Marion Trankle

Camille Turner

Architecture

Riverside Architectural Press

<p>The Inner Studio unveils a place of learning inside each of us where we can learn lessons about ourselves that are inseperable from what we design and build. Filled with anecdotes, examples and exercises, The Inner Studio guides readers into deeper levels of our imagination and decision making, focusing squareley on the experience of the designer during the creative act of design. How do designers convert their subjective and often unconscious experience of the world into design? What are the creative consequencesof what we may call, designing from within?" Welcome to the The Inner Studio.</p>

The Inner Studio : A Designers Guide to the Resources of the Psyche

Andrew Levitt

New software and digital fabrication is changing how we use wood. This book brings together international designers, manufacturers and researchers examining natural and synthetic wood technologies. Composite materials, parametric design and automated fabrication technologies are explored, illustrating new design tools, custom manufacturing and advanced assembly methods. The papers of this book were published on the occasion of the Canadian Design Research Network Parametric Modeling and Digital Wood Fabrication Workshop and Symposium held at the Forest Sciences Centre at the University of British Columbia, Vancouver on February 15-24, 2007. The essays and projects in this volume demonstrate flexible, adaptable design qualities reflecting a rapidly changing society. CD with complete electronic version of the book included. Contributors include: Omer Arbel, Philip Beesley, Hagy Belzberg, Christian Blyt, Karl Daubmann, Marty Doscher, Thom Faulders, Douglas Gauthier, Michael Green, Douglas Hecker and Martha Skinner, Achim Menges, Oliver Neumann, Christoph Schindler, Michael Stacey, Shane Williamson, Robert Woodbury and Brian Woudstra.

Future Wood

Oliver Neumann and Philip Beesley

Fabricate 2024

Mette Ramsgaard Thomsen

<p>This thoroughly-illustrated compendium of projects, writings and interviews focuses on how the field of drawing expands synchronously alongside technological and computational developments. Despite numerous developments in technological manufacture and computational design that provide new grounds for designers, the act of drawing still plays a central role as a vehicle for speculation. There is a rich and long history of drawing tied to innovations in technology as well as to revolutions in our philosophical understanding of the world. In reflection of a society now underpinned by computational networks and interfaces allowing hitherto unprecedented views of the world, the changing status of the drawing and its representation as a political act demands a platform for reflection and innovation. Drawing Futures critically reassess the act of drawing and where its future may lie. Bringing together practitioners from many creative fields, the book discusses how drawing is changing in relation to new technologies for the production and dissemination of ideas. Published to accompany the international conference of the same name held at The Bartlett School of Architecture, University College London (United Kingdom) in November 2016.</p>

Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture

Frederic Migayrou

Bob Sheil

Worldmaking as Techné: Participatory Art, Music, and Architecture outlines a practice that challenges the World and how it could be through a kind of future-making, and/or other world making, by creating alternate realities as artworks that are simultaneously ontological propositions. In simplified terms the concept of techné is concerned with the art and craft of making. In particular a kind of practice that embodies the enactment of theoretical approach that helps determine the significance of the work, how it was made, and why. By positioning worldmaking as a kind of techné, we seek to create a discourse of art making as an enframing of the world that results in the expression of ontological propositions through the creation of art-worlds. The volume focuses on the involvement of the techné of worldmaking in participatory art practice. Such practice can be found in all areas of art, however, under scrutiny for this particular book are: interactive, generative, and prosthetic art, architecture, and music practices that depend for their vitality and development on the participation of their observers. The book is organized into three sections: po(i)etic, machinic, and cybernetic, which explore the aesthetics, systems, methods, and ontological underpinnings of a worldmaking based practice. Each section contains historical texts alongside new texts. The texts were carefully chosen to highlight the integration of theory and practice in their approach. While the foundation of this worldmaking is deeply philosophical and rigorous in its approach, there is a need to connect this work to the World of our everyday experience. As we contemplate the issues of why we may want to make a world, we are confronted with the responsibilities of making the world as well.

Worldmaking As Techné: Participatory Art, Music, and Architecture

Félix Guattari

Heinz Von Foerster

Laura Beloff

Andrew Pickering

Sang Lee

Peter Blasser

James Coupe

Kathrine Elizabeth Johansson

Marcos Novak

Dan Overholt

Esben Poulsen

Chris Salter

Nicolas Schöffer

Edward Shanken

Graham Wakefield

History & Criticism

CITA Complex Modelling

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Books by Riverside Architectural Press