Front Matter

Source: Log , Summer 2013, No. 28 (Summer 2013)

Published by: Anyone Corporation

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 Lo 2
Summer ion S' "Z.:,
Stocktaking JS* 'z'

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 à Coincidentally, two things in particular bear on Log 28. The first is historian
t Anthony Vidier and architect Peter Eisenman's guest editorship of this issue,
in which they reprise the idea of "stocktaking" from Reyner Banham's series
of probing articles published in Architectural Review in 1960. The second is
the exhibition "Archaeology of the Digital," curated by architect Greg Lynn
Editor for the Canadian Centre for Architecture. In both this issue and Lynn's show,
Cynthia Davidson which opened in Montreal in May, the unspoken question seems to be, Have
we really come very far, so fast?
Guest Editors Vidier and Eisenman use the framework of stocktaking to talk with col-
Peter Eisenman leagues in their fields about architectural practice and pedagogy today, just as
, „ Banham did more than 50 years ago to interrogate the then perceived schism
' between tradition and technology in architecture. Lynn goes back 25 years to
establish a framework for inspecting archives of digital work - such as they
Managing Editor are _ an(ļ projects that he considers at the root of what I might call computa-
David Huber tion today. In fact, the weight of the seemingly ephemeral digital practice
(and its very definition) hovers over this issue. Brett Steele tells Vidier, "The
Assistant Editor digital thing is yesterday. It's 20 years old. In terms of machine time, the mo-
Luke Studebaker ment is over."
If Steele is to be believed, there is all the more reason for "Ar
PROTAGONISTS t^ie which, CCA director Mirko Zardini writes
Denise Bratton defines the digital as experimental projects that "engaged p
jy £ ļ creation and use of digital tools to reach otherwise inaccessi
puts it in yet another context: "Too often in architecture, the wo
Catherine Ingraham been qualified by the words: in the future." The exhibiti
Manuel Orazi sumes that technology can no longer be discussed [as] in the
Julie Rose recent fast"
Sarah Whiting The exhibition spans six galleries that display in rich d
very different projects: Frank Gehry's sculptural Lewis Residence, P
Eisenman's analytical Frankfurt Biozentrum, Chuck Hoberman's
Expanding Sphere and Iris Dome projects, and Shoei Yoh's roofs fo
complexes in Japan - one of which, the Galaxy Toyama Gymnasiu
the only project in the exhibition that was built. Each, however, rad
freshness that begs the question of time. More telling of the very fa
their making is a room of bulky darkened monitors sitting alongsid
hard drives, slack printers, a fax machine, a FedEx envelope, and sof
manuals - now faded if not forgotten precursors to the machines an
common in architecture today.
"Archaeology of the Digital" is not the first, nor will it be the la
tigation of the inroads of computation in architecture, but it is a pr
starting point. Just as the exhibition looks at the recent past in orde
present anew, this issue attempts to take stock of current thinking a
in architecture as a way of looking in the mirror again, if only to s
that mirror might be cracked. - CD

Log 28 Copyright © 2013 Anyone Corporation. All Rights Reserved.

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 Log
Summer 201? Stocktaking

Pier Vittorio Aureli 67 A project is a lifelong thing; if you see it, you will only s
it at the end
Preston Scott Cohen 27 The inevitable flatness of floors interests me

Elizabeth Diller 21 Architecture is a technology that has not yet discovered its agen
Peter Eisenman 143 In Conversation
& Anthony Vidier
Lydia Kallip oliti 53 It is our obligation to translate the emerging ecolog
Jeffrey Kipnis 133 I am for tendencies
Greg Lynn 59 If I can take a ride in a driverless car on a public st
see no reason why my building can't wiggle a little
Patrik Schumacher 39 I am trying to imagine a radical free-market urba
Felicity D. Scott 79 I want to argue that contemporary scholarship be ca
of ongoing counter-memory to familiar historical narr
Brett Steele 87 The key project of the architectural school today
making of audiences, not architects
Bernard Tschumi 99 I do not mind people being innocent, but I hate
they're naive
Anthony Vidier 12 Taking Stock: Architecture 2013
Sarah Whiting 109 I am interested in a project of engaged autonom
Alejandro Zaera-Polo 119 Humans are not so interesting now; at least not
interesting

Cover Story: Reyner Banham at John Muir School, Santa Mon

Postcard photo: © Los Angeles Times

28

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 In of ^ HHļļļ^ļ
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 Archaeology
of the Digital

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7 May -13 October 2013
The exhibition examines the foundations of digital architecture at the end of
the 1980s and the beginning of the 1990s through object-based investigations
of four projects by Frank O. Gehry, Peter Eisenman, Chuck Hoberman and
Shoei Yoh. Each project established a significant direction for architectural
research by experimenting with the possibilities offered by novel digital tools.

CCA
Centre Canadien d'Architecture | Canadian Centre for Architecture
1920, rue Baile, Montreal 514 939 7026 cca.qc.ca/archaeologyofthedigital
Images: Frank O. Gehry, Lewis Residence, Lyndhurst, Ohio: Study model of the entry hall (detail), 1989-1995. Image provided by Gehry Partners, LLP; Peter
Eisenman, Eisenman/Robertson Architects, Biozentrum, Biology Center for theJ.W. Goethe University, Frankfurt am Main, Germany: Schematic representation
of a DNA sequence (detail), 1987. Peter Eisenman fonds, Canadian Centre for Architecture; Chuck Hoberman, Hoberman Associates, Expanding aluminum Proud Partner
sphere, partially deployed (detail), 1991 . © Walter Wick; Shoei Yoh, Shoei Yoh + Architects, Galaxy Toyama, Gymnasium, Imizu, Toyama, Japan: Experiment
of photoelasticity for the roof (detail), 1990-1992. © Shoei Yoh + Architects
ri Hydro
The CCA gratefully acknowledges the generous support of the Ministère de la Culture et des Communications, the Canada Council for the Arts, the Conseil des ł Ai,âÍ»
arts de Montréal, the Graham Foundation for Advanced Studies in the Fine Arts and Hydro-Québec. UuCDcC

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