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historical mathematical developments that preceded it, so t o o w i l l an ani mate approach t o a r c h i t e c t u r e subsume t r a d i t i o n a l models o f statics i n t o a m o r e advanced system o f dynamic organizations. Traditionally, i n architec t u r e , t h e abstract space o f design i s conceived a s an ideal n e u t r a l space o f Cartesian coordinates. In o t h e r design fields, however, design space i s c o n ceived as an environment o f f o r c e and m o t i o n r a t h e r than as a n e u t r a l vac uum. In naval design, f o r example, t h e abstract space of design i s imbued w i t h t h e p r o p e r t i e s of flow, t u r b u l e n c e , viscosity, and drag so t h a t t h e f o r m o f a hull can be conceived i n m o t i o n t h r o u g h water. Although t h e f o r m o f a b o a t hull i s designed t o anticipate m o t i o n , t h e r e i s no expectation t h a t i t s shape w i l l change. A n ethics o f m o t i o n n e i t h e r implies n o r precludes l i t e r a l m o t i o n . Form can be shaped by t h e c o l l a b o r a t i o n b e t w e e n an envelope and t h e active c o n t e x t i n w h i c h it i s situated. W h i l e physical f o r m can be defined in terms o f static coordinates, t h e v i r t u a l force o f t h e e n v i r o n m e n t in w h i c h it i s designed c o n t r i b u t e s t o i t s shape.The p a r t i c u l a r f o r m o f a hull stores multiple vectors o f m o t i o n and f l o w f r o m t h e space i n w h i c h i t was designed. A sailboat hull, f o r example, i s designed t o p e r f o r m under m u l t i ple p o i n t s o f sail. For sailing d o w n w i n d , t h e h u l l i s designed a s a planing s u r face. For sailing i n t o t h e wind, t h e h u l l is designed t o heal, presenting a greater surface area t o t h e water. A b o a t hull does n o t change i t s shape when it changes i t s d i r e c t i o n , obviously, b u t variable points o f s a i l a r e i n c o r p o r a t e d i n t o i t s surface. I n this way, t o p o l o g y allows f o r n o t just t h e i n c o r p o r a t i o n o f a single m o m e n t b u t r a t h e r a m u l t i p l i c i t y o f vectors, and t h e r e f o r e , a m u l t i p l i c i t y o f times, i n a single continuous surface. Likewise, t h e forms of a dynamically conceived a r c h i t e c t u r e may b e shaped i n association w i t h v i r t u a l m o t i o n and f o r c e . b u t again, this does n o t man date t h a t t h e architecture change i t s shape. Actual movement o f t e n involves a mechanical paradigm o f m u l t i p l e d i s c r e t e positions, whereas v i r t u a l move m e n t allows f o r m t o occupy a m u l t i p l i c i t y o f possible positions continuous ly w i t h t h e same form. The t e r m v i r t u a l has r e c e n t l y been so debased t h a t it o f t e n simply refers t o t h e digital space o f c o m p u t e r - a i d e d design. It i s o f t e n used interchange ably w i t h the t e r m simulation. Simulation, unlike virtuality, i s n o t i n t e n d e d as a diagram f o r a f u t u r e possible c o n c r e t e assemblage b u t i s instead a visu al substitute. V i r t u a l r e a l i t y m i g h t describe architectural design b u t as it i s used t o describe a simulated e n v i r o n m e n t it w o u l d be b e t t e r replaced by simulated reality o r s u b s t i t u t e reality. Thus, use o f t h e t e r m v i r t u a l here refers t o an abstract scheme t h a t has t h e possibility o f becoming actual ized, o f t e n in a variety o f possible configurations. Since architects produce

T h e r e i s one aspect o f v i r t u a l i t y t h a t a r c h i t e c t s have neglected, however. and t h a t i s t h e principle o f v i r t u a l f o r c e and t h e differential variation it implies. A r c h i t e c t u r a l f o r m i s conventionally conceived i n a dimensional space o f idealized s t a s i s , defined by Cartesian f i x e d - p o i n t coordinates. A n o b j e c t defined a s a v e c t o r whose t r a j e c t o r y i s relative t o o t h e r objects, forces, fields and flows, defines f o r m w i t h i n an active space o f f o r c e and m o t i o n . T h i s shift f r o m a passive space o f static coordinates t o an active space o f interactions implies a m o v e f r o m autonomous p u r i t y t o c o n t e x t u

a l specificity.2 C o n t e m p o r a r y animation and special-effects software are j u s t n o w being i n t r o d u c e d as t o o l s f o r design r a t h e r than a s devices f o r rendering, visualization and imaging.
T h e d o m i n a n t mode f o r discussing m o t i o n i n a r c h i t e c t u r e has been t h e cin ematic model, w h e r e t h e m u l t i p l i c a t i o n and sequencing o f static snap-shots simulates movement. T h e p r o b l e m w i t h t h e m o t i o n - p i c t u r e analogy i s t h a t a r c h i t e c t u r e occupies t h e r o l e o f t h e static frame t h r o u g h which m o t i o n progresses. Force and m o t i o n are eliminated f r o m f o r m only t o be r e i n t r o duced, a f t e r t h e fact o f design, t h r o u g h concepts and techniques o f o p t i c a l procession. In contrast, animate design i s defined by t h e co-presence o f m o t i o n and force at t h e moment o f formal conception. Force i s an initial condition. t h e cause o f b o t h m o t i o n and the particular inflections o f a f o r m . For example, i n what i s called inverse kinematic animation, the m o t i o n and shape of a f o r m i s defined by multiple interacting vectors t h a t unfold i n t i m e perpetually and openly. W i t h these techniques, entities are given vectorial properties before they are released i n t o a space differentiated by gradients o f force. Instead of a neutral abstract space f o r design, t h e c o n t e x t f o r design becomes a n active abstract space t h a t directs f o r m w i t h i n a c u r r e n t o f forces that can be stored as i n f o r m a t i o n i n the shape o f t h e f o r m . Rather than as a frame through which t i m e and space pass, architecture can be modeled as a participant immersed w i t h i n dynamical flows. In addition t o t h e special-effects and animation industries, many o t h e r disciplines such as aeronautical design, naval design. and automo bile design employ this animate approach t o modeling f o r m in a space that i s a medium of movement and force. Previous architectural experiments in capturing m o t i o n have involved t h e superimposition o f simultaneous instances.The superimposition o f a sequence of frames produces memory i n t h e f o r m o f spatio-temporal simultaneity.This idea o f an architecture i n which t i m e i s b u i l t i n t o f o r m as memory has been a persistent theme throughout i t s history, b u t it was Siegfried Giedion i n b o t h Mechanization Takes Command ( I948) and Space, Time. and Architecture ( I 94 I ) w h o established these themes a s t h e p r i m a r y concern of twentieth-century
11

drawings o f buildings and n o t buildings themselves, architecture. m o r e than any o t h e r discipline, i s involved w i t h t h e p r o d u c t i o n o f v i r t u a l descriptions.
10

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t e r m t h a t has emerged i n t h e last t w e n t y years a s a graphical n o t a t i o n o f t i m e and m o t i o n i n architecture.* In such projects, a design process o f sequential f o r m a l operations i s r e c o r d e d i n t h e buildings configuration t h r o u g h c o l o r s , alignments, imprints, additions and subtractions. O n e such example i s t h e simultaneous presence o f m u l t i p l e h i s t o r i c a l g r o u n d condi t i o n s a t a single m o m e n t . The intervals b e t w e e n t h e moments t h a t are superimposed generate i r r e s o l u t e conditions which a r e e x p l o i t e d f o r t h e i r destabilizing effect o n t h e present. I n all o f these i n d e x i c a l responses t o t i m e , a s u p e r i m p o s i t i o n o r sequence o f static f o r m s i s p u t i n t o r e l a t i o n such t h a t t h e v i e w e r resolves m u l t i p l e states t h r o u g h t h e i n i t i a t i o n o f o p t i c a l m o t i o n . A l t h o u g h f o r m i s t h o u g h t i n series and m o t i o n i n these examples, m o v e m e n t is s o m e t h i n g t h a t i s added back t o t h e o b j e c t by t h e v i e w e r . T h i s involves a d i a l e c t i c d e f i n i t i o n of m o t i o n t h a t assumes t h a t m a t t e r i s i n e r t w h i l e o u r e x p e r i e n c e o f it involves m o v e m e n t . Statics becomes t h e c o n d i t i o n o f m a t t e r w i t h o u t f o r c e and dynamics becomes t h e c o n d i t i o n o f m a t t e r a c t e d o n by f o r c e . B o t h p o s i t i o n s assume t h a t f o r c e i s s o m e t h i n g w h i c h can b e added o r subtracted f r o m matter. T h e m o d e l i n g o f a r c h i t e c t u r e i n a c o n c e p t u a l f i e l d p o p u l a t e d by forces and m o t i o n c o n t r a s t s w i t h these previous paradigms and technologies o f f o r m a l s t a s i s . Stasis i s a c o n c e p t w h i c h has been i n t i m a t e l y l i n k e d w i t h a r c h i t e c t u r e i n a t least five i m p o r t a n t ways, i n c l u d i n g I ) permanence. 2 ) usefulness, 3) t y p o l o g y , 4 ) procession, and 5) v e r t i c a l i t y . H o w e v e r , statics does n o t h o l d an essential g r i p o n a r c h i t e c t u r a l t h i n k i n g as m u c h a s i t i s a lazy h a b i t o r default t h a t a r c h i t e c t s e i t h e r c h o o s e t o r e i n f o r c e o r c o n t r a d i c t f o r lack o f a b e t t e r model. Each o f these assumptions can be t r a n s f o r m e d once t h e v i r t u a l space i n w h i c h a r c h i t e c t u r e i s c o n c e p t u a l i z e d is m o b i l i z e d w i t h b o t h t i m e and f o r c e . W i t h t h e example o f p e r m a nence, t h e d o m i n a n t c u l t u r a l e x p e c t a t i o n i s t h a t buildings m u s t be b u i l t f o r e t e r n i t y w h e n i n fact m o s t buildings a r e b u i l t t o p e r s i s t f o r o n l y a s h o r t t i m e . R a t h e r t h a n designing f o r permanence, techniques f o r o b s o lescence, dismantling, r u i n a t i o n , r e c y c l i n g and a b a n d o n m e n t t h r o u g h t i m e w a r r a n t e x p l o r a t i o n . A n o t h e r c h a r a c t e r i s t i c o f static m o d e l s i s t h a t o f f u n c t i o n a l fixity. Buildings are o f t e n assumed t o have a p a r t i c u l a r and f i x e d r e l a t i o n s h i p t o t h e i r programs, w h e t h e r t h e y a r e i n t e r s e c t e d , c o m b i n e d o r even f l e x i b l y p r o g r a m m e d . Typological fixity, o f t h e k i n d p r o m o t e d by C o l i n R o w e f o r instance, depends o n a closed static o r d e r t o u n d e r l i e a family o f c o n t i n u o u s variations. T h i s c o n c e p t o f a discrete, ideal, and f i x e d p r o t o t y p e can be subsumed by t h e m o d e l o f t h e n u m e r i cally c o n t r o l l e d m u l t i - t y p e t h a t i s f l e x i b l e , m u t a b l e , and d i f f e r e n t i a l . T h i s m u l t i - t y p e , o r p e r f o r m a n c e e n v e l o p e , does n o t p r i v i l e g e a fixed t y p e

Flgre I:
Bucharerr urban dertgn compeurion x u d y using particle mimauon flows to define
variable deniirier a c r m s The site

Figure 2.
Marcel Ouchamp. Nude Dercendmg ( Storrrorc. N o 2 (1912) Ph#ladelph#aMuseum o f
I Art. Louise and Walter Arenrberg Coilecrton.

FlgUre 3
Umberro Eorrmni. Dynomlrm o f 0 Soccer Ployel (1913) Museum 01 Modern Art. N e w
York,The Sidney and H a m e t Jilnls C o l l e i r ~ o n

architectural t h e o r y and design.4 Giedion included b o t h cubist and futurist approaches t o capturing m o t i o n in form, using as examples the w o r k of Marcel Duchamp (fig. 2) and U m b e r t o Boccioni (fig. 3). Giedions interpreta t i o n o f these cubo-futurist experiments continues t o influence contemporary design and t h e ~ r y . ~ b o t h approaches. multiple static frames o f an object in In time are captured and superimposed in the same space simultaneously, gener ating a temporal palimpsest. A n o t h e r model o f indexical t i m e i s associated w i t h C o l i n R o w e and hts dis ciples. In Rowes t e x t , Transparency: L i t e r a l and Phenomenal, co-authored w i t h R o b e r t Slutzky, the idea o f a formal, o r phenomenal, transparency i s proposed along w i t h literal transparency.6 Phenomenal transparency I S the tracing o r i m p r i n t i n g o f a deeper f o r m a l space o n a surface. Similarly, exam ples o f f o r m a l o r phenomenal t i m e include shearing, shifting. and rotat ing operations. Superimposed snap-shots o f m o t i o n imply t i m e as a phe nomenal movement b e t w e e n frames o r moments. F o r instance. Kenneth Framptons description o f Charles Gwathmeys early w o r k as rotationol i s one such example o f t i m e being used t o describe t h e movement between superimposed, f o r m a l moments. A n o t h e r example i s t h a t o f t h e troce. a
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nnimate

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Form

b u t instead models a s e r i e s o f r e l a t i o n s h i p s or expressions b e t w e e n a range o f p o t e n t i a l s . Similarly, i n d e p e n d e n t i n t e r a c t i n g variables can b e l i n k e d t o influence o n e a n o t h e r t h r o u g h l o g i c a l expressions d e f i n i n g t h e size, p o s i t i o n , r o t a t i o n , d i r e c t i o n , o r speed o f an o b j e c t b y l o o k i n g t o o t h e r o b j e c t s f o r t h e i r c h a r a c t e r i s t i c s . This concept o f an envelope o f p o t e n t i a l f r o m w h i c h e i t h e r a single o r a series o f i n s t a n c e s can b e taken. i s radically d i f f e r e n t f r o m t h e i d e a of a f i x e d p r o t o t y p e t h a t can b e varied. Finally. static models u n d e r w r i t e the r e t r o g r a d e understanding o f gravity as a simple. unchanging. v e r t i c a l f o r c e . A r c h i t e c t u r e remains as t h e last refuge f o r members o f t h e f l a t - e a r t h society. T h e relationships o f s t r u c t u r e t o f o r c e and gravity a r e b y d e f i n i t i o n m u l t i p l e and interrelated, y e t architects t e n d t o reduce these issues t o w h a t i s s t i l l held as a c e n t r a l t r u t h : t h a t buildings stand u p vertically. In fact, t h e r e are m u l t i p l e i n t e r a c t i n g s t r u c t u r al pressures e x e r t e d o n buildings f r o m many directions, including lateral w i n d loads, uplift. shear, and earthquakes, t o name a few o f t h e n o n - v e r t i c a l conditions. A n y one of these l i v e loads c o u l d easily exceed t h e relative weight o f t h e building and i t s v e r t i c a l d e a d loads. The naive understanding o f s t r u c t u r e as p r i m a r i l y a p r o b l e m of t h e v e r t i c a l transfer o f dead gravity loads t o t h e g r o u n d excludes, f o r instance, t h e fact t h a t l i g h t e r buildings have a tendency t o uplift; t h e main s t r u c t u r a l concern i n these cases is how t o t e t h e r t h e r o o f . O f c o u r s e a r c h i t e c t s and s t r u c t u r a l engineers d o n o t i g n o r e these o t h e r s t r u c t u r a l factors, b u t t h e primary perception o f s t r u c t u r e has always been t h a t it should b e vertical. A reconceptualization o f g r o u n d and verticality i n l i g h t o f c o m p l e x v e c t o r s and movements might n o t change t h e expediency and n e e d f o r level f l o o r s , b u t it w o u l d o p e n up pos sibilities f o r s t r u c t u r e and s u p p o r t t h a t t a k e i n t o account o r i e n t a t i o n s o t h e r t h a n t h e simply vertical. These concerns are not merely technical as architecture presently expresses also t h e cultural diagrams of stasis. D e s p i t e t h e popular conception among architects t h a t gravity is a fact, t h e c o n t e m p o r a r y debates about t h e o r i e s o f gravity c o u l d i n f o r m present discussions o f a r c h i t e c t u r e i n t h e same spir it t h a t t h e y have done i n t h e past. T h e h i s t o r y o f t h e o r i e s o f gravity are extremely nuanced. fascinating and unresolved. Since t h e t i m e of S i r Isaac N e w t o n , gravity has been accepted as t h e mutual relative a t t r a c t i o n o f masses i n space. Given a constant mass, stability i s achieved t h r o u g h o r b i t s r a t h e r than stasis. This d i s t i n c t i o n b e t w e e n stasis and o r b i t a l or dynamic stability i s i m p o r t a n t . In t h e case o f a single, simple gravity, stasis i s t h e o r d e r i n g system through t h e unchanging constant f o r c e o f a g r o u n d p o i n t . I n t h e case o f a m o r e c o m p l e x c o n c e p t o f gravity, mutual a t t r a c t i o n gener ates motion; s t a b i l i t y is t h e o r d e r i n g o f m o t i o n i n t o rhythmic phases. In
14

t h e simple, static m o d e l o f gravity, m o t i o n i s e l i m i n a t e d a t t h e beginning. In t h e complex, stable model o f gravity. m o t i o n is a n o r d e r i n g principle. Likewise, dtscreteness. timelessness, and f i x i t y a r e characteristic o f stasis; multiplicity, change, and development are c h a r a c t e r i s t i c o f stability. These differences are very apparent i n t h e t w o models o f gravity debated by R e n e Descartes and G o t t f r i e d W i l h e l m Leibniz. Descartes i s o l a t e d and reduced elements i n a dynamic system t o t h e i r c o n s t i t u t i v e i d e n t i t i e s t o c r e a t e a steady-state equation: h e e l i m i n a t e d t i m e and f o r c e f r o m t h e equa t i o n in o r d e r t o calculate a precise p o s i t i o n . Leibniz. on t h e o t h e r hand, examined components w i t h i n t h e i r c o n t e x t u a l f i e l d o f influences and w i t h in a developing temporal continuum. By r e t a i n i n g t h e creative s t r u c t u r a l r o l e o f t i m e and force, Leibniz determined t h a t a p o s i t i o n in space can o n l y b e calculated continuously as a v e c t o r a l flow.9 T h e name t h a t h e a t t r i b u t e d t o any provisionally reduced c o m p o n e n t o r p r i m i t i v e element i s t h a t o f t h e monad. W h e r e N e w t o n used calculus t o replace t h e z e r o value o f statics w i t h a derivative, Leibniz f o r m u l a t e d t h e c o n c e p t o f t h e integral, w h e r e w i t h i n any monad t h e r e is a k e r n e l o f t h e w h o l e equation i n t h e f o r m o f t h e variables. A n y monad has t h e a b i l i t y t o u n f o l d a possible world. Thus i n t e gral calculus i s s t r u c t u r e d o n a m o n a d logic o f continuous r n u l t i p l i c i t y . T h e s h i f t f r o m a discrete m o d e l o f gravity as a f o r c e t h a t c o u l d b e e l i m i n a t e d f r o m matter, t o a concept of gravity as i n t e g r a l and continuous with mass es in space, involves a r e d e f i n i t i o n o f space f r o m being n e u t r a l and timeless t o being temporally dynamic. O n c e design is posed w i t h i n a Leibnizian m o n ado\ogical space, a r c h i t e c t u r e may embrace a sensibility o f m i c r o and m a c r o c o n t e x t u a l specificity as a logic t h a t can n o t b e idealized i n an a b s t r a c t space o f f i x e d coordinates. In such an a b s t r a c t active space, t h e statics o f f i x e d p o i n t s i n n e u t r a l space i s replaced b y t h e stability o f vectors t h a t bal ance o n e another in a phase space. I f a r c h i t e c t u r e i s t o approach t h i s m o r e c o m p l e x concept o f gravity, i t s design technologies should also i n c o r p o r a t e f a c t o r s o f t i m e and m o t i o n . T h r o u g h o u t t h e h i s t o r y of a r c h i t e c t u r e , d e s c r i p t i v e techniques have impacted t h e way in which a r c h i t e c t u r a l design and c o n s t r u c t i o n has been p r a c t i c e d . In t h e eighteenth century, t h e o r r e r y (fig. 4) came t o represent n o t o n l y t h e image o f t h e machine b u t also t h e conceptual processes o f a universe t h a t is harmonically regulated as a c l o s e d system of c i r c u l a r o r b i t s a r o u n d radial c e n t e r points. Because an o r r e r y uses f i x e d radial points, any d i s c r e t e m o m e n t i n t i m e can b e calculated as a f i x e d p o i n t . T h e compass. l i k e t h e o r r e r y , has imphcbt in it a series of conceptual and disciplinary lim i t s t h a t are rehearsed with every arc t h a t i s drawn. Events such as t h e advent o f perspective. stereometric p r o j e c t i o n . and o t h e r geometric t e c h niques have extended t h e d e s c r i p t i v e r e p e r t o i r e o f a r c h i t e c t u r a l designers.

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Figure 4
Reproduction of the apparatus ~ o m m i s
rloned by Charles Boyle. 4 t h Earl of
C o r k and Orrery. showing rhc relarive
po,ririonr and motions of bodies m the
solar ryrrern by balls moved by wheel-
work Reproduction b y Van C a r t
Inrfrumenfr. In'

Figure 5
An elipre conrrrucced wirh four circler
wlrh four radii The connecting lines
between the radii become t h e points o f
tangency where the comporlre curves
change from bemg defined in relation to
one radius 10 anorher

In o u r present age, the v i r t u a l space w i t h i n which a r c h i t e c t u r e i s conceived

i s n o w being r e t h o u g h t by t h e i n t r o d u c t i o n o f advanced m o t i o n t o o l s and a constellation o f new diagrams based o n t h e computer. The g e o m e t r y and t h e mathematics that Leibniz invented t o describe this i n t e r a c t i v e , combi natorial. and m u l t i p l i c i t o u s gravity remain as t h e foundations f o r t o p o l o g y

Figure b
Plan derail of Borrornini'r sketch for
Fontane" Church of Sa" Carlo.
rhowing rhe use of complex comporire
cuwes connruced out of linked regmenrr of
ctrclei and spheres From Anrhony Blunr. VIIO
e opere d# Bvrrmini (Rome Edifori Larema.
1983). 51
"Quatrro

and calculus upon which c o n t e m p o r a r y animation technology i s based. There can be l i t t l e d o u b t t h a t t h e advent o f computer-aided visualization has allowed architects t o e x p l o r e calculus-based f o r m s f o r t h e first t i m e . The sequential c o n t i n u i t y o f m o r e than t w o variables i n t e r a c t i n g w i t h one a n o t h e r poses a p r o b l e m t h a t only calculus can answer. F i r s t posed by K a r l Weierstrass. Charles H e r m i t e and Gosta Mittag-Lefler i n 1885, the "n b o d y " p r o b l e m was later made famous by H e n r i Poincare in 1889. when he was able t o p r o v e that n o d i s c r e t e s o l u t i o n f o r such a p r o b l e m c o u l d exist. The fundamental aspect o f this p r o b l e m , r e f e r r e d t o a s " t h e Poincare threebody problem." i s that t h e t e m p o r a l and spatial p o s i t i o n o f entities cannot be mathematically calculated f o r a f u t u r e p o s i t i o n w i t h o u t sequentially cal culating t h e positions leading up t o t h a t m o m e n t . The mathematics o f f o r m and space t h a t architects have h i s t o r i c a l l y u n d e r s t o o d , involve mathemati cal descriptions f r o m w h i c h t i m e has been eliminated. I n t h e t h r e e - b o d y p r o b l e m however. time. o r m o r e p r o p e r l y d u r a t i o n and sequence, are i n t e gral t o t h e spatial relationships being calculated. A n o t h e r aspect o f this k i n d o f relationship in w h i c h t h r e e o r m o r e objects interact, i s t h a t they o f t e n p r o d u c e nonlinear behavior.The m e t h o d by which these problems can be calculated i s through a mathematics t h a t i s sequential and continuous: thus t h e i n v e n t i o n by b o t h N e w t o n and Leibniz of d i f f e r e n t i a l calculus. Although t h e mechanical, acoustic, and s t r u c t u r a l systems of buildings have been calculated and conceived using t h e t o o l s o f calculus, architects i n f r e quently use calculus f o r t h e design o f f o r m . The fact t h a t a r c h i t e c t u r e i s so heavily dependent o n mathematics f o r the d e s c r i p t i o n of space has been a
16

Figure 7
A ceiling derail of The cupola of
B o r r o r n d r ' Quarrro F o m a o e " From
Anrhony Blunt. Vflu r opere d! Borromini
(Rome Edtfori Lareria. 1983). 51

stumbling b l o c k t o t h e use o f m o t i o n and f l o w i n t h e design process, as these ideas r e q u i r e t h a t architects draw g e o m e t r i e s whose underlying mathematics i s calculus. The t o o l s t h a t a r c h i t e c t s use t o draw, such as adjustable trlangles and compasses, are based o n simple algebra. The preva lence o f t o p o l o g i c a l surfaces i n even t h e simplest C A D software, along w i t h t h e ability t o tap t h e t i m e - a n d - f o r c e modeling a t t r i b u t e s o f animation s o f t ware, presents perhaps t h e f i r s t o p p o r t u n i t y f o r architects t o draw and sketch using calculus. The challenge f o r c o n t e m p o r a r y a r c h i t e c t u r a l t h e o r y and design i s to t r y to understand t h e appearance o f these t o o l s i n a m o r e sophisticated way than a s simply a new s e t of shapes. Issues o f force. m o t i o n and r i m e . w h i c h have perennially eluded a r c h i t e c t u r a l d e s c r i p t i o n due t o t h e i r "vogue essence," can n o w be e x p e r i m e n t e d w i t h by supplanting t h e t r a d i t i o n a l t o o l s o f e x a c t i t u d e and stasis w i t h t o o l s o f gradients, flexi ble envelopes, t e m p o r a l f l o w s and forces.1 As architects have been disciplined t o eliminate questions o f f l o w and m o t i o n f r o m t h e r i g o r o u s d e s c r i p t i o n o f space, these qualities have been relegated t o personal taste and casual d e f i n i t i o n . Because of the present lack o f experience and precedent w i t h issues o f m o t i o n and f o r c e in archi

m i m a t e farm

In a d d i t i o n t o t h e aesthetic and material consequences o f computer-gener a t e d f o r m s , c o m p u t e r software also offers capabilities as a conceptual and organizational t o o l . B u t because o f t h e stigma and fear o f releasing c o n t r o l o f t h e design process t o software, few a r c h i t e c t s have attempted t o use t h e c o m p u t e r as a schematic, organizing and generative medium f o r design. T h e l i m i t s and tendencies o f this tool. as a medium f o r design, must be clearly u n d e r s t o o d conceptually b e f o r e t h e y can b e grasped b y a systematic i n t u ition.1' T h e r e a r e also some misconceptions about t h e r o l e o f computers i n t h e
Figure 8
A spline wrface drawn
Figure 9

with v e ~ i o r s h x f

hang from potntr

design process. A precious f e w a r c h i t e c t u r a l designers and t h e o r i s t s , K a r l Chu and J o h n Frazier being t h e m o s t l u c i d among them. argue f o r t h e c r e a t i v e capacity o f computers t o facilitate g e n e t i c design strategies. T h e genetic, or rule-based, phenomenon o f c o m p u t a t i o n should not b e dis counted. Yet a t t h e same t i m e , genetic processes should n o t b e equated w i t h e i t h e r intelligence or nature. T h e c o m p u t e r i s not a brain. Machine intelligence might b e s t be described as t h a t o f mindless connections. W h e n connecting m u l t i p l e variables, t h e c o m p u t e r s i m p l y connects them, it does not t h i n k c r i t i c a l l y about h o w it connects. T h e present limits o f connec t i o n i s m a r e staggeringly complex, and t h e directness w i t h w h i c h m u l t i p l e e n t i t i e s can b e r e l a t e d challenges human sensibility. T h e response has been t o a t t e m p t t o develop a commensurate sensibility i n t h e machines t h e m selves; b u t t h e failures o f a r t i f i c i a l intelligence suggest a need to develop a systematic human i n t u i t i o n about t h e connective medium, r a t h e r t h a n a t t e m p t i n g t o b u i l d c r i t i c a l i t y i n t o t h e machine, Even i n t h e m o s t scientific applications of c o m p u t e r simulations it is argued t h a t f i r s t an i n t u i t i o n m u s t b e developed i n o r d e r t o recognize t h e n o n l i n e a r behavior o f c o m p u t e r simulations." Also, t h e c o m p u t e r I S n o t nature. A l t h o u g h it makes shapes t h a t a r e t e m p o r a l l y and f o r m a l l y open t o d e f o r m a t i o n and inflection, those shapes a r e not o r g a n i c . T h e organic appearance o f w h a t will l a t e r be dis cussed as a system o f i n t e r a c t i o n and c u r v i l i n e a r i t y i s a r e s u l t o f organiza t i o n a l p r i n c i p l e s based o n differentials.The f o r m a l organizations t h a t r e s u l t f r o m t h e sequential mathematical calculation of d i f f e r e n t i a l equations a r e i r r e d u c i b l y o p e n i n t e r m s o f t h e i r shape. They are o f t e n i n t e r p r e t e d as organic because o f t h e inability t o reduce these shapes t o an ideal f o r m . In c o n t r a s t , t h e r e d u c i b l e , f i x e d f o r m s of simple mathematics-such as spheres, cubes, pyramids. cones and cylinders-have a simplicity and p u r i t y t h a t a l l o w s t h e m t o transcend t h e i r f o r m a l p a r t i c u l a r i t i e s . Instead o f approaching t h e c o m p u t e r as e i t h e r a b r a i n o r nature, t h e c o m p u t e r might b e considered as a p e t . Like a p e t , t h e c o m p u t e r has already been domesticated and pedigreed. y e t i t does n o t behave w i t h human i n t e l -

The +me

surface after

being

converted

IO

rrlangular polygons

t e c t u r e , these issues m i g h t b e s t b e raised f r o m w i t h i n t h e technological regimes o f t h e tools r a t h e r t h a n f r o m w i t h i n a r c h i t e c t u r a l history." Through experimentation with n o n - a r c h i t e c t u r a l regimes, architects may discover h o w t o engage t i m e and motion in design. T h e c o m p u t e r has already proven t o be useful as b o t h a d e s c r i p t i v e and a visualizing t o o l t o architects, b u t t h e i n t r o d u c t i o n o f t i m e and motion techniques i n t o archi t e c t u r e i s not simply a visual phenomenon. T h e visual qualities of c o m p u t er-generated images may b e i m p o r t a n t b u t it seems misguided t o under stand g e o m e t r y i n t e r m s o f style. T h e i n v e n t i o n o f stylistic categories risks t h e r e p r o d u c t i o n o f t h e same spurlous comparisons o f m o d e r n a r c h i t e c t u r e t o boats and aircraft based o n t h e s i m i l a r i t y o f shapes. F o r instance, although geodesic domes o f t e n employ triangulated surfaces and some computer programs c o n v e r t v e c t o r surfaces t o f i x e d p o i n t s t h r o u g h t h e use o f triangular polygon meshes (figs. 8 and 9 ) , i t is a v e r y shallow comparison t o equate architecture designed using t o p o l o g i c a l surfaces t o Buckminster Fuller simply because o f t h e c o m m o n a l i t y o f t r i a n g u l a t e d surfaces. ' 2 Nonetheless, t h e r e are d i s t i n c t f o r m a l and visual consequences o f t h e use
of computer animation. F o r instance. t h e m o s t obvious aesthetic conse

quence is t h e shift f r o m volumes defined b y Cartesian coordinates t o t o p o logical surfaces defined b y U and V v e c t o r coordinates (fig. 12). A n o t h e r obvious aesthetic b y p r o d u c t o f these spatial models is t h e predominance o f deformation and transformation techniques available i n a time-based sys tem o f flexible surfaces (fig. 13). These a r e n o t m e r e l y shapes b u t t h e expression o f t h e mathematics o f t h e t o p o l o g i c a l medium.

A n i m a t e form

n n i m a t e Form

ligence. Just as a p e t introduces an element o f wildness t o o u r domestic habits t h a t m u s t b e c o n t r o l l e d and disciplined. t h e c o m p u t e r brings b o t h a degree o f discipline and u n a n t i c i p a t e d behavior to t h e design process. By negotiating t h e degree o f discipline and wildness, one can cultivate an i n t u ition i n t o t h e behavior o f computer-aided design systems and t h e math ematics behind t h e m . T h e r e are t h r e e fundamental p r o p e r t i e s o f organization in a computer t h a t are v e r y different f r o m t h e c h a r a c t e r i s t i c s o f i n e r t mediums such as paper and pencil: t o p o l o g y , time. and p a r a m e t e r s . These t h r e e p r o p e r t i e s should b e discussed. beginning w i t h t h e principles o f t o p o l o g i c a l entities, c o n t i n u i n g w i t h t h e i m p l i c a t i o n s t h a t t o p o l o g i c a l f o r m s raise f o r t h e rela t i o n s h i p between t i m e and shape. and concluding w i t h a discussion o f sta tistics and parameters t h a t can b e s t o r e d i n these t i m e d surfaces. O n e o f t h e f i r s t principles of t o p o l o g i c a l e n t i t i e s i s t h a t because t h e y are defined w i t h calculus t h e y take t h e shape o f a m u l t i p l i c i t y ; meaning t h e y are n o t composed o f d i s c r e t e p o i n t s b u t rather, t h e y are composed o f a con tinuous stream o f relative values. Historically, baroque geometries o f corn p o s i t e entities, such as m u l t i p l e radii, have been c i t e d as m u l t i p l i c i t o u s spaces. B u t t h e idea t h a t t h e baroque p e r i o d anticipates t o p o l o g y in archi t e c t u r e i s somewhat misplaced. T h e r e is a c r i t i c a l difference between t h e discrete geometry o f baroque space-a g e o m e t r y o f m u l t i p l e points, and t h e c o n t i n u i t y o f topology-a m u l t i p l i c i t y w i t h o u t p o i n t s . W h e r e baroque space i s defined b y m u l t i p l e radii, a t o p o l o g i c a l surface is defined as a f l o w t h a t hangs f r o m fixed p o i n t s t h a t a r e weighted. Although baroque space i s geometrically highly continuous and highly differentiated, it does retain m u l t i p l e spatial centers. T h e continuous c o n t o u r s of baroque i n t e r i o r s are composed o f segments o f m u l t i p l e d i s c r e t e radial elements (figs. 5 and I O ) . F o r example, i n Francesco Borrominis Q u a t t r o Fontane t h e complex o f p r i m i t i v e volumes i s tangentially aligned t o produce a continuous surface, giving t h e space simultaneous dynamism and c e n t r a l i t y (figs. 6 and 7). The relationships between these radial p r i m i t i v e s are o f t e n o f bilaterally sym m e t r y and always o f tangency. Instead o f being defined b y p o i n t s and centers, t o p o l o g y is characterized by flexible surfaces composed o f splines (fig. I I ) . T h e s e splines a r e o r i e n t e d i n an opposing U and V o r i e n t a t i o n t o c o n s t r u c t surfaces composed o f c u r v e n e t w o r k s (fig. 19). U n l i k e lines, splines a r e v e c t o r s defined w i t h direction. T h e v e c t o r s a r e suspended f r o m lines w i t h hanging weights similar t o t h e g e o m e t r y of a catenoidal c u r v e . l S Yet u n l i k e a catenoidal c u r v e , a spline can accommodate weights and gravities d i r e c t e d i n f r e e space. T h e points, or c o n t r o l vertices. f r o m w h i c h these weights hang, and t h r o u g h which the
21

20

Figure 10. An example of a cornporire c u r v e using t h e same logic of mgianal dcf,n,r,on and tangency a$ the elllple descrtbed Jn Figure 5 Each i e c ~ l o n t h e composite curve I I defined by fixed radius The C o n n e ~ t t o n e w e e n radlal Curve reg of b

rnenrl occurs line regrnenrr

a t points o f tangency that are defined by a line connecr~ng the rad,, Perpendlculnr co r h e r e i Ilner. r r r a ~ g h r can be inserted between the radial C Y ~ I O I .

mimate Forn

nnLnate Form

t h e c o n t r o l vertices o r t h e degree o f t h e spline. t h e shape will be altered w h e n t h e weight o r d i r e c t i o n o f any o f t h e n o r m a l s i s a l t e r e d (fig. 18) A change i n any p o i n t d i s t r i b u t e s an i n f l e c t i o n across regions o f these e n t i ties. Because splines are v e c t o r i a l flows t h r o u g h sequences o f points they are by d e f i n i t i o n continuous m u l t i p l i c l t i e s r a t h e r than discrete entities. A m u l t i p l i c i t y i s a c o l l e c t i o n o f components t h a t i s n e i t h e r reducible t o a sin gle e n t i t y n o r t o a c o l l e c t i o n o f m u l t i p l e e n t i t i e s . A m u l t i p l i c i t y i s neither o n e n o r many, b u t a continuous assemblage o f heterogeneous singularities t h a t exhibits b o t h collective qualities o f c o n t i n u i t y and local qualities o f heterogeneity. In the use o f t o p o l o g y in design, these m u l t i p l i c i t i e s imply a v e r y d i f f e r e n t approach t o l o c a t i o n . as t h e r e a r e n o discrete points along a spline. The t w o linked principles t h a t are central t o t h e t e m p o r a l component o f t o p o l o g y are ( I ) the immanent curvatures t h a t r e s u l t f r o m the combinato rial logic o f differential equations and (2) t h e mathematical cause o f that c u r v a t u r e . Because topological entities are based o n vectors, they are capa ble o f systematically i n c o r p o r a t i n g t i m e and m o t i o n i n t o t h e i r shape as i n f l e c t i o n . Inflection. o r continuous c u r v a t u r e i s t h e graphical and math ematical m o d e l f o r t h e i m b r i c a t i o n o f m u l t i p l e forces i n time.The shift f r o m l i n e a r i t y t o c u r v i l i n e a r i t y i s a feature o f c o n t e m p o r a r y mathematics and g e o m e t r y t h a t has been discussed e l s e w h e r e . I 6 C u r v i l i n e a r i t y i s a m o r e sophisticated and complex f o r m o f organization than linearity i n t w o regards: ( I ) it integrates m u l t i p l e r a t h e r than single entities, and (2) it is capable o f expressing v e c t o r i a l a t t r i b u t e s , and t h e r e f o r e t i m e and m o t i o n . C u r v a t u r e i n a t e m p o r a l e n v i r o n m e n t i s t h e m e t h o d by whtch t h e i n t e r a c t i o n o f m u l t i p l e forces can b e s t r u c t u r e d , analyzed, and expressed. The calculation o f t i m e as expressed t h r o u g h c u r v a t u r e i s possible w i t h cal culus. which animates numerical snapshots a t an i n f i n i t e speed, simulating t i m e . U n d e r l y i n g all o f t h e c o n t e m p o r a r y a n i m a t i o n software i s a math ematics o f t h e infinitely small i n t e r v a l w h i c h simulates actual m o t i o n and t i m e t h r o u g h k e y f r a m i n g . T h e s e t r a n s f o r m a t i o n s can be linearly m o r p h e d o r t h e y can involve nonlinear i n t e r a c t i o n s t h r o u g h d y n a m i c s . These sequential t r a n s f o r m a t i o n s are possible because t h e f o r m a l entities t h e m selves are described using flexible t o p o l o g i c a l surfaces made o f v e c t o r splines r a t h e r than points. A n example o f c u r v a t u r e as a mathematical and i n t u i t i v e system can b e explained by t h e situation o f a FrisbeeTM being chased by a running dog. T h e r e are at least t h r e e c o n t r i b u t i n g elements t o t h e path o f t h e dog and i t s possible i n t e r s e c t i o n w i t h t h e p r o j e c t i l e . F i r s t , t h e FrisbeeTM has a vec
23

Figure 12
A spline surface that begins 21 1 twisted rnobiur band and 1 5 rrrerrhed and p i n e d along ~ f edger to farm a rctlh,ter
s recring rvrlace Enclosed v o l ~ m e farc mapped wirhin t h e rurlace by both the p n 8 n g and ~ncerrecringopeiatlons From
Stephen Barr. Eiperfmcnfr 10 Topalory (New York Dover Publmrlonr. In? , 1964). 6 9
Figure 13

A rraniformatlon o f a r8ng Into a cup through the flex8blIicy of Topology ( N e w York Dover Publicattons. I n c , 1964). 4

m g l e surface. From Stephen Barr. Cxpertmentr

(0

spline flows. are located i n X.Y. Z c o o r d i n a t e space. F r o m a sequence o f c o n t r o l vertices the d i r e c t i o n and strength o f weights establishes a tension along the hulls.Although t h e c o n t r o l vertices, hulls, and weights are defined in a point-based. Cartesian. space, t h e splines are n o t defined as points b u t as f l o w s . T h e spline curve i s unlike a l i n e o r radius in t h a t i t s shape i s n o t reducible t o exact coordinates.The spline c u r v e flows as a stream between a constellation o f weighted c o n t r o l vertices and any p o s i t i o n along this continuous series can o n l y be defined relative t o i t s p o s i t i o n i n the sequence.The f o r m a l character o f a p a r t i c u l a r spline i s based o n t h e num b e r o f c o n t r o l vertices influencing a p a r t i c u l a r r e g i o n o f t h e f l o w . For instance. a three-degree spllne (fig. 14) w i l l begin a t i t s r o o t and determine i t s i n f l e c t i o n between every t h r e e p o i n t s in a series. A seven-degree spline curve (fig. 15) w i l l be defined by groups o f seven c o n t r o l vertices, thus appearing smoother. A t w o - d e g r e e spline (fig. 16) w i l l appear linear because it lacks s m o o t h c o n t i n u i t y b e t w e e n c o n t r o l vertices. Even though t h e con t r o l vertices remain constant i n these examples, t h e p a r t i c u l a r shape changes due t o t h e degree o f relative d e f i n i t i o n o f the c o n t r o l l i n g points o f t h e sequential flow. Similarly, w i t h o u t changing the p o s i t i o n o f any one o f
22

j
1

miinate Form

nnimate Form

Cartesian space o f neutral e q u i l i b r i u m a s a m o r e active space o f m o t i o n and flow. The curvilinearity which results f r o m these m u l t i p l e parameters has previ ously been simplistically u n d e r s t o o d as a debased f o r m o f linearity, b u t in fact, it i s t h e o r d e r i n g o f a dynamical system o f differential factors In t h e early p a r t o f this century, Scottish z o o l o l o g i s t S i r D ' A r c y Thompson ana lyzed variations i n t h e m o r p h o l o g y o f animals using deformable grlds. which yielded curvilinear lines due t o changes i n f o r m (fig 20) H e compared the c u r v a t u r e o f deformations i n f o r m a l configurations t o t h e c u r v a t u r e o f s t a tistical data, such a s speed, t e m p e r a t u r e , and weight Thompson was one of t h e first scientists t o n o t a t e g r a d i e n t forces (such a s t e m p e r a t u r e ) through d e f o r m a t i o n , i n f l e c t i o n , and c u r v a t u r e 1 ' These t h r e e t e r m s a l l involve t h e registration o f f o r c e o n f o r m Rather than t h i n k i n g o f deforma t i o n as a subset o f t h e pure. t h e t e r m d e f o r m a t i o n can be u n d e r s t o o d as a system o f regulation and o r d e r t h a t proceeds t h r o u g h t h e i n t e g r a t i o n and r e s o l u t i o n o f m u l t i p l e i n t e r a c t i n g forces and fields W h e r e Thompson pioneered t h e analyses o f d e f o r m a t i o n as an index o f c o n t e x t u a l forces acting o n an organism, i n t h e late nineteenth c e n t u r y Etienne-Jules Marey pioneered t h e study o f c u r v a t u r e a s t h e n o t a t i o n of b o t h f o r c e and time. Francois Dagognet described t h e p r o j e c t o f Marey as

Figure 10.

Study of the transformation of

~ r u i t a c e m carapaces through
che deformation of a flexible
grid o r " r u b b e r mar" by
D ' A r c y Thompson From
Thompson. On G r o w t h and
Form. The Complete Rcvircd

Edition

( N e w York

Dover

Publicarianr. Inc , 1992).

1057.

Figure 21

henne-Juler Marey used

pneumatic triggers. arnched IO
the ) o i n i ~ mimalr. co trigger
of camera exporvrer 8" rhythmic
sequencer I n this way, <he
rhychm of photographic
instances w e r e sequenced t o
the movements of the animal.
"Device for harnessing the
plgeon t o the revolvtng frame."
from Marey, "Le Val der

ol5e.Yx:'

a5

appears

I"

F r a n ~ o t r Dagognet, Et,eme
]"le$ Marey A Parrioo for rhc
Trwe ( N e w York L o n e Books.
1992). 85

. . . showing whot one could leorn from a curve, which wos not merely o simple 'reproduction.' I t wos from ond with the curve thot forces could ini tially be colculoted. I t wos eosy to obtain the moss of the body os well os the speed i t was going (chronobiology); from this one could induce the force that had set i t in motion, the work expended to produce this oction. The troJectory olwoys hod to be questioned ond interpreted. N o t only were the slightest nicks and notches in the line due to certain foctors, but they enabled the determinotion o f resistances as well as impulses.'*
Marey was one o f t h e first m o r p h o l o g i s t s t o move f r o m t h e study o f f o r m i n i n e r t Cartesian space, devoid o f f o r c e and m o t i o n . t o t h e study o f rhythms, movements, pulses, and f l o w s and t h e i r effects o n f o r m These fac t o r s he t e r m e d "motor evidence" I n his b o o k Animal Mechonism he shifted his a t t e n t i o n f r o m t h e study o f i n t e r n a l pulses and rhythms t o t h e external movements of animals U n l i k e Muybridge and o t h e r s w h o also employed chronophotography techniques. Marey t r i g g e r e d t h e exposures w i t h b o t h pneumatic and electrical sensors l o c a t e d o n t h e animals (fig 21) This. along w i t h his m e t h o d o f attaching t i n y r e f l e c t i n g o p t i c a l disks allowed Marey t o sequence t h e exposures w i t h r h y t h m s o f m o t i o n (fig 22) Dagognet describes Marey as pursuing "movements not moments" i n his continuous
26

e n i m a t e Form

Figure 2 2 -
Marey used reflective optical dirks atrached to kc? painrr of t h e body co capture points of rnor~on In tho5 example of
a horse walklng. the film i s expored a t a rata where rhe pa,nrs begln t o blur m o motton w a d s 'Osc~llartonr f the
o
front limb of the horse walking:' from Marey."LeVoi der OII~IUX." A Passion for [he Trocc (New York Zone Books. 1992). 7s
IS

appears ,n ~

a ~n

o ~r~~~~~ ~ j U i e s M~~~~ a ~ ~ ~

Figure 23
Mare7 would c o n n e ~ fcurved lines through there pomtr to d c r r r l b e a c y r v ~ l ~ n e acontlnurty across t h e rnaprhotr r
"Orc~liarioni of the front i h b of rhe horse gaIlap8ng." from Marey. ' L e Vol des o,seaux,'' I S appears ~n Francotr Dagognec, Erreooe-Jules Marey A Parrian for the Trace ( N e w York. Zone Books. 1992). 7 5

data recordings. A f t e r exposing r h y t h m i c sequences o f images o n a single plate, Marey w o u l d connect c u r v e d lines t h r o u g h these p o i n t s t o describe a c o n t i n u i t y across the snapshots (fig. 23). To b o r r o w a t e r m used t o describe the behavior o f chaotic a t t r a c t o r s . Marey p r o d u c e d "phose p o r traits" by describing time as a c o n t i n u o u s c u r v i l i n e a r flow, r a t h e r than a divisible sequence reducible t o discrete frames. This i s t h e critical differ ence between Marey's traces of v e c t o r movement and t h e techniques o f sequential traces. Marey's m o d e l f o r continuous t i m e based o n t h e inflec t i o n and c u r v a t u r e o f m o t i o n paths and flows, i s akin t o c o m p u t e r anima tion. In a d d i t i o n t o these examples o f analyzing tlme. movement, and transfor mation. another model t h a t has been developed i n c o n j u n c t i o n w i t h evolu t i o n a r y theories i s t h e idea o f t h e fitness landscape. W i t h t h e replacement o f fixed types by temporally organized phylogenetic t r e e s , came t h e model of the developmental landscape t o describe t h e space w i t h i n w h i c h organ isms evolve. In mathematics t h e landscape m o d e l has been developed by Rene Thorn. i n physics by S t u a r t Kauffman and i n developmental biology by C o n r a d Waddington. It initially appeared w h e n Francis G a l t o n described evolution i n terms o f a fitness landscape; whereby a surface represents an external environment across which a facetted sphere r o l l e d . The facetted sphere represents an organism w i t h i t s o w n i n t e r n a l constraints, and the
2a

landscape represents i t s p o t e n t i a l pathways o f development. This concept o f a landscape o f development i n f o r m e d Charles D a r w i n ' s e v o l u t i o n a r y the o r y o f speciation. Similar t o any landscape m o d e l o f organization i s an evo l u t i o n a r y o r developmental logic.

A landscape i s a system w h e r e a p o i n t change i s d i s t r i b u t e d s m o o t h l y across a surface so t h a t i t s influence cannot be localized at any discrete p o i n t . Splines are t h e c o n s t i t u e n t element of topological landscapes. Spllne surfaces have already been explained as v e c t o r sequences whose regions of i n f l e c t i o n p r o d u c e singularities o n a continuous surface. The slow undula t i o n s that are b u i l t i n t o any landscape surface a s hills and valleys d o n o t m o b i l i z e space t h r o u g h a c t i o n b u t instead t h r o u g h implied v i r t u a l m o t i o n . T h e movement o f a p o i n t across a landscape becomes t h e c o l l a b o r a t i o n o f t h e initial d i r e c t i o n , speed, elasticity, density, and f r i c t i o n of t h e o b j e c t along w i t h t h e inflections o f t h e landscape across w h i c h it i s traveling.The
landscape can i n i t i a t e movements across itself w i t h o u t literally moving.The inflections o f a landscape p r e s e n t a c o n t e x t o f gradient slopes which are enfolded i n t o i t s shape.The c o n d i t i o n o f o r i e n t e d surfaces has been elabo r a t e d by Paul V i r i l i o and Claude Parent i n t e r m s o f "oblique" rnovement.19 Likewise. any o b i e c t moving across a landscape has an initial c o n d i t i o n of speed and density t h a t i s unfolded across t h e landscape, This c o l l a b o r a t i o n o f enfolding a c o n t e x t and unfolding an o b i e c t i s a t e m p o r a l , mobile, and

combinatorial model f o r s t a b i l i t y and organization. In this schema the o b j e c t has actual force and m o t i o n , w h e r e t h e landscape has virtual force and m o t i o n s t o r e d in i t s slopes.The slope o f a landscape i s a gradient of m o t i o n , direction. and t i m e . A landscape also implies a geological time-scale o f f o r m a t i o n in that although i t appears static a t any instant, i t s f o r m i s t h e p r o d u c t o f long historical processes o f development.This class o f landscape objects can be extended t o include any f o r m f r o m which temporal devel o p m e n t cannot be simply reduced. Topological surfaces t h a t s t o r e force in t h e inflections o f t h e i r shape behave as landscapes i n t h a t t h e slopes that are generated s t o r e energy i n t h e f o r m of o r i e n t e d r a t h e r than neutral sur faces.
Figure 24

Dirconnecred primiriver "red

10

compare a n isomorphic polyrurface

The e a r l i e r example o f t h e b o a t h u l l i s itself a micro-landscape f o r t h e movements s t o r e d i n i t s surface shapes, across which viscous water flows. Similarly t h e global flows o f t h e w a t e r and w i n d present a macro-landscape f o r t h e m o t i o n of t h e boat t o f l o w through. O t h e r topological landscapes include isomorphic polysurfaces ( o r blobs), s k e l e t o n s ( o r inverse kine matics n e t w o r k s ) , w a r p s , f o r c e s , and p a r t i c l e s . Spline entities are inten sively influenced by t h e i r c o n t e x t due t o t h e fact t h a t they are defined by hanging weights, gravity, and force. F o r example, t h e weights and directions pulling o n c o n t r o l vertices i n space can be affected by gradients o f attrac tive o r repulsive force in w h i c h t h e spline i s situated. Similarly, t h e weights of one spline surface can effect t h o s e o f a n o t h e r spline surface (figs. 24 and 25). These resulting structures are called blobs f o r t h e i r ability t o mutually i n f l e c t one another and f o r m c o m p o s i t e assemblages. The blob i s an a l t e r native example o f a topological surface e x h i b i t i n g landscape characteristics although it does n o t look like a topography.These b l o b assemblages are nei t h e r m u l t i p l e n o r single. n e i t h e r i n t e r n a l l y c o n t r a d i c t o r y n o r unified. T h e i r c o m p l e x i t y involves t h e fusion o f m u l t i p l e elements i n t o an assemblage that behaves as a singularity w h i l e remaining i r r e d u c i b l e t o any single simple organization. W i t h isomorphic p o Iys urfac es. "meta-clay," " meta- ba II," o r " b l o b " models. the geometric o b j e c t s are defined as monadlike primitives w i t h i n t e r n a l forces of a t t r a c t i o n and mass. A b l o b i s defined w i t h a center, a surface area. a mass relative t o o t h e r objects. and a field o f influence.The field of influence defines a r e l a t i o n a l zone w i t h i n which t h e blob will fuse with, o r b e inflected by. o t h e r blobs. W h e n t w o o r m o r e linked b l o b objects are p r o x i m a t e they will e i t h e r ( I ) m u t u a l l y redefine t h e i r respective sur faces based o n t h e i r p a r t i c u l a r gravitational p r o p e r t i e s o r ( 2 ) actually fuse i n t o one contiguous surface defined b y t h e i n t e r a c t i o n s o f t h e i r respective centers and zones o f i n f l e c t i o n and fusion. Because i t i s n o t reducible t o any single simple o r d e r i n g principle, a blob's fusion and unification are d i s t i n c t f r o m a d i s c r e t e t o t a l i t y or whole. In the

Figure

15

isomorphic palyrurface with primitives fused info a m g l e surface

case of t h e i s o m o r p h i c polysurfaces, either a l o w number o f i n t e r a c t i n g components o r a regular d i s t r i b u t i o n o f components w i l l yield a global f o r m t h a t i s m o r e o r less simple. O n the o t h e r hand, a high number of com ponents and an irregular d i s t r i b u t i o n o f t h o s e components yields a global f o r m t h a t i s m o r e o r less complex.The difference b e t w e e n simple and com plex systems i s relative to t h e number o f i n t e r a c t i o n s between c o m p o nents. I n this schema, t h e r e i s n o essential difference b e t w e e n a m o r e o r less spherical f o r m a t i o n and a b l o b . T h e sphere and i t s provisional symme t r i e s are merely t h e index o f a r a t h e r l o w level o f interactions. w h i l e the b l o b i s an index o f a high degree of i n f o r m a t i o n , w h e r e i n f o r m a t i o n i s equated w i t h difference. Thus, even what seems t o be a sphere i s actually a b l o b w i t h o u t influence; an inexact f o r m t h a t merely masquerades as an exact f o r m because it i s isolated f r o m adjacent forces.Yet, a s a blob, i t I S capable o f fluid and continuous d i f f e r e n t i a t i o n based o n interactions w i t h n e i g h b o r i n g forces w i t h w h i c h it can be e i t h e r inflected o r fused. In this way, c o m p l e x i t y i s always p r e s e n t a s p o t e n t i a l i n even t h e m o s t simple o r p r i m i t i v e o f forms. Moreover, it i s measured by t h e degrees o f b o t h c o n t i n u i t y and difference chat are copresent a t any m o m e n t . Like a n a t u r a l landscape t h a t stores the h i s t o r y o f i t s geological f o r m a t i o n i n i t s shape, these fused t o p o l o g i c a l aggregates manifest t h e i r geological c o n g l o m e r a t i o n o n a single surface. Time, force, and m u l t i p l i c i t y c o n s t i t u t e t h e f o r m o f a geological landscape. This s t r u c t u r i n g o f t i m e and energy t h r o u g h curvilinear inflections i s characteristic o f m o t i o n o r a c t i o n geom
31

nnmate

Form

mimate f o r a

1
i
j

i
b

e t r y . These inflections i n d e x b o t h t h e i n t e r n a l combinations and relation ships of elements and t h e i r deformation w i t h i n a larger c o n t e x t u a l field. W h e n proposing t h e m o d e l o f an i n t e r n a l l y regulated s t r u c t u r e , t h e r e are t w o possibilities: t h e f i r s t approach posits an essential i n t e r n a l o r d e r that can b e discovered through r e d u c t i v e analysis, t h e second i s a loose binding o f c o n s t r a i n t s t h a t can be realigned and r e c o n f i g u r e d in a proliferative and e v o l u t i o n a r y manner. In t h e second category, t h e i n t e r n a l o r d e r is b o t h activated and made legible t h r o u g h t h e unfolding o f i t s o r d e r instigated by e x t e r n a l forces. T h e relationship b e t w e e n a system o f i n t e r n a l constraints, such as skeletons (inverse kinematic chains), particles, or blobs and t h e c o n t e x t i n which t h e y u n f o l d is intensive. Just as a t o p o l o g i c a l landscape o r an assemblage o f blobs s t o r e s various a t t r a c t i o n s and combinations in a sin gle surface, so too can t o p o l o g i c a l e n t i t i e s b e m u t u a l l y inflected by t h e fields i n w h i c h t h e y are situated. F o r instance, t h e space in which a surface or surfaces are l o c a t e d can b e assigned w i t h d i r e c t i o n a l f o r c e which w i l l i n f l e c t t h e normals o f a surface, thus inflecting t h e shape o f t h e surface based on t h e relative p o s i t i o n t o t h e p o i n t f r o m which t h e f o r c e i s emanat ed. T h e field i n which f o r m s a r e defined i s no t n e u t r a l b u t can be populat e d by a v a r i e t y o f i n t e r a c t i n g f o r c e s w h i c h establish gradients o f influence i n a modeling space. Gradient shapes a r e areas t h a t d o n o t have distinct c o n t o u r s or edges b u t a r e instead defined b y dissipation f r o m points o f emission. These gradients are n o t measured based o n p o i n t s or coordinates b u t on fields. Like a t e m p e r a t u r e map t h a t measures t h e continuous and gradual change o f f o r c e across a field, these f o r c e gradients d o n o t have edges or c o n t o u r s . The spatial c o n t e x t w i t h i n which surfaces and splines are conceived t h e n i s also animate r a t h e r t h a n static. T h i s possibility o f an animate field opens up a m o r e i n t r i c a t e relationship o f f o r m and field than has been p r e v i o u s l y possible. Rather t h a n an entity being shaped only by i t s o w n i n t e r n a l definition. these t o p o l o g i c a l surfaces are i n f l e c t e d b y t h e field in which t h e y a r e modeled. I f an e n t i t y i s moved i n space, i t s shape m i g h t change based o n t h e p o s i t i o n w i t h i n gradient space even though t h e d e f i n i t i o n o f t h e e n t i t y remains constant. Thus, t h e same e n t i t y duplicated identically b u t i n a d i f f e r e n t g r a d i e n t space m i g h t have a d i f f e r e n t configuration. A sequence o f identical e n t i t i e s l o c a t e d i n a series t h r o u g h a gradient space w o u l d c o n s t i t u t e b o t h a self similarity and a dif ference based o n t h e characteristics of t h e gradients and h o w they were p o s i t i o n e d . This relationship between a f o r c e and t h e o b j e c t which stores t h a t f o r c e i n i t s f o r m i s reminiscent o f t h e insight made b y H e n r i Bergson i n his bbok, M a t t e r and Memory, in which he argues f o r a nondialectical understanding o f t h e relationship b e t w e e n substance and energy.20 Bergson argued t h a t m a t t e r c o u l d n o t be separated f r o m t h e h i s t o r i c a l process o f i t s becoming.
32

C o n t e m p o r a r y t h e o r i e s o f organic f o r m , e v o l u t i o n , m u t a t i o n and vitalism. as defined as t h e developmental unfolding o f a s t r u c t u r e i n a gradient environment o f influences, might be i n f o r m a t i v e t o t h e discussion o f t o p o l ogy, t i m e , and parameters as t h e y apply t o a r c h i t e c t u r a l design. Such discussions o f organic processes o f t e n involve non-dialectical relation ships between m a t t e r and i n f o r m a t i o n , f o r m and t i m e , and organization and f o r c e . This resistance t o t r e a t f o r m . t i m e , and motion discretely is equivalent t o w h a t might b e understood as an organic t r a d i t i o n . The t h r e a d o f anorganic vitalism t h a t runs f r o m Leibniz t h r o u g h Bergson and Gilles Deleuze c o u l d u n d e r w r i t e such a discussion, w h i l e replacing t h e i r n a t u r a l essentialism w i t h a revised cybernetic c o n c e p t o f t h e machine as a feedback device t h a t creates hierarchy and organization. O n e of t h e best possible models o f anorganic vitalism is t h e p r o p o s i t i o n o f fused assemblages p u t f o r w a r d by Lynne Margulis. T h e m a l o r revision t o concepts o f h o l i s m t h a t Margulis i n t r o d u c e s is f r o m a predetermined i d e n t i t y t o i d e n t i t i e s o f becoming. Margulls f o r m u l a t e d t h e e v o l u t i o n a r y hypothesis t h a t micro-organisms evolve t h e i r c o m p l e x i t y b y i n c o r p o r a t i n g simpler organisms i n t o larger m u l t i p l i c i t i e s t h a t become capable o f r e p r o d u c t i o n as a singularity.2 Thus, organisms a r e seen as previously f r e e living c o l o n i e s of organs t h a t become a fused singularity. I n h e r schema, t h e r e i s l i t t l e difference between a single b o d y and an ecology o f organisms, as b o t h e x p l o i t one anothers f u n c t i o n s and machinic behav iors t h r o u g h feedback and exchange. A body, Margulis suggests, is t h e fused assemblage o f an ecosystem operating w i t h a high degree o f c o n t i n u i t y and stability. T h e r e i s n o essential s t r u c t u r e t o such an assemblage t h a t o n e can uncover or deduce, a t e i t h e r t h e m a c r o or m i c r o scale. It is a logic of d i f f e r e n t l a t i o n , exchange, and assemblage w i t h i n an environment o f g r a d i e n t influences. T h e f o r m , or shape, m o s t o f t e n c i t e d in reference t o such an environment i s t h a t o f t h e landscape.The epigenetic landscape is a t h e o r e t i c a l and analytic device used t o d e s c r i b e t h e relationship between an evolving f o r m , or organism, w i t h i n i t s developmental field,
o r environment.

Producing a g e o m e t r i c f o r m f r o m a differential equation is problematic w i t h o u t a differential approach t o series and r e p e t i t i o n . T h e r e are t w o kinds o f series: a discrete, o r r e p e t i t i v e series and a continuous, or i t e r a t i v e series. In a continuous or i t e r a t i v e series, t h e difference between each o b j e c t in t h e sequence i s c r i t i c a l and individual t o each r e p e t i t i o n . If t h e difference I S t h e p r o d u c t o f t h r e e o r m o r e variables, and if those t h r e e variables a r e unrelated, t h e n t h e change b e t w e e n each i t e r a t i o n w i l l be n o n l i n e a r i n i t s s t r u c t u r e and it w i l l t h e r e f o r e b e d i f f i c u l t t o p r e d i c t w i t h absolute p r e c i s i o n . Each step is thus dependent o n t h e precise posi t i o n of each o f t h r e e or m o r e variables; meaning t h a t t h e f u t u r e p o s i t i o n

33

flnLmate Form

nncnate F o r b

o f t h e iterative s e r i e s cannot be calculated outside o f t h e s e r i e s itself. In an incremental, discrete series, t h e differences t h a t accompany each repe t i t i o n are linear and r e d u c i b l e . T h e e n t i r e i n f i n i t e s e t o f possible futures o f t h e series can be calculated i n advance w i t h a simple mathematical equation. I n the case o f t h e c o n t i n u o u s series such exact definitions a r e impossible t o determine a t the beginning, a s t h e beginning i s n o t an origin b u t merely a p o i n t of d e p a r t u r e . T h e f u t u r e possible positions o f a c o n t i n uous series must be t h o u g h t o f as a c o n t i n u u m r a t h e r than as an enclosed infinity. This points t o t h e i m p o r t a n t d i s t i n c t i o n between t h e infinite and t h e continuous. t w o t e r m s w h i c h are o f t e n casually conflated. Difference and r e p e t i t i o n , when t h o u g h t o f i n a c o n t i n u o u s r a t h e r than discrete man ner, mandate a thinking i n d u r a t i o n r a t h e r than i n points. This difference i s crucial t o an understanding o f t h e spatial difference between the infinite and t h e c o n t i n u 0 u s . A c o n t i n u o u s series can be "infini tized." o r reduced. through " i t e r a t i v e reduction," leaving a single, ideal type. In this method, a l i m i t e d set o f v a r i a t i o n i s organized in a series so t h a t its continuous differences can be progressively eliminated, leaving a discrete type t h a t can then be i n f i n i t e l y extended. This m e t h o d o f i t e r a t i v e reduc t i o n can be a t t r i b u t e d t o Edmund Husserl. as it i s central t o his invention o f phenomenology. M o t i o n and t i m e are similarly taken away t h e n added back t o architecture. A r c h i t e c t u r a l space i s i n f i n i t i z e d by r e m o v i n g m o t i o n and t i m e through i t e r a t i v e reduction. They are t h e n added back typically through phenome nology. The dynamic concept o f a r c h i t e c t u r e , however, assumes t h a t in any f o r m there a r e inflections t h a t d i r e c t m o t i o n and p r o v o k e and influence t h e forces moving through. over, u n d e r and a r o u n d surfaces. The f o r m i s t h e site f o r the calculation o f m u l t i p l e forces. This i s t h e case in the example o f t h e sailboat, w h e r e o n t h e hull's surface m u l t i p l e points of s a i l are calculated and resolved in t h e f o r m itself. The p e r c e p t i o n o f t h e
hull does n o t require t h e r e s o l u t i o n o f m u l t i p l e v e c t o r s of movement as those vectors are s t o r e d i n t h e o b j e c t itself as p o t e n t i a l energy o r f l o w w i t h i n a gradient f i e l d o f forces. Moreover, t h e p r i m a r y m e t h o d o f experiencing these v e c t o r effects i s n o t o p t i c a l o r t h r o u g h aesthetic contemplation b u t instead t h r o u g h p e r f o r m a n c e . The v e c t o r flows that are calculated and stored i n t h e shape o f t h e hull can be unfolded through b o t h aesthetic analyses and use. Perhaps t h e best precedent f o r the unfold ing o f curved space i s evident i n t h e c o n c e p t o f Frederick Keisler's "endlessness" along w i t h A d o l f Loos's c o n c e p t o f t h e "raurnplan" f r o m which it was derived while Kiesler was w o r k i n g i n Loos's office.22 Although a discussion o f the counter t r a d i t i o n o f m o d e r n endless space versus the canonical m o d e r n t r a d i t i o n o f i n f i n i t e space i s n o t possible h e r e , the

difference f r o m t h e m o r e classical and r e d u c t i v e models of m o d e r n f o r m should be recognized. The best m o d e l f o r t h e discussion o f non-reducible f o r m s o f m o t i o n might be t o r e t u r n t o t h e m o d e l o f t h e landscape o r the oblique ground, w h e r e m o t i o n i s s t o r e d i n t h e gradient slopes o f a surface across which an o b l e c t moves, H e r e t h e p o t e n t i a l m o t i o n o f an o b i e c t across a surface i s s t o r e d i n a v i r t u a l manner a s f u t u r e p o t e n t i a l energy. To r e t u r n t o t h e f o r c e discus sions, t h e influence o f a gradient space o f f o r c e and energy i s b u i l t i n t o t h e spline n e t w o r k s t h r o u g h t h e i n f l e c t i o n o f t h e i r normals. A landscape i s a g r o u n d t h a t has been i n f l e c t e d by the h i s t o r i c a l f l o w s o f energy and move m e n t across i t s surface. These historical forces manifest a geological f o r m o f development t h a t i s i n f l e c t e d and shaped by t h e f l o w s t h a t have moved across i t . These slow t r a n s f o r m a t i o n a l processes r e s u l t in f o r m s which are o r i e n t e d w i t h m o t i o n , b o t h t h e v i r t u a l m o t i o n o f t h e i r h i s t o r y and t h e actu al m o t i o n they i n i t i a t e t h r o u g h t h e i r slopes and valleys.This animation o f slow f o r m w l t h t h e h i s t o r i c a l processes o f gradual geological becoming i s a paradigm o f m o t i o n and t i m e t h a t renders substance v i r t u a l l y animated and actually stable. Rhythmic m o t i o n i s manifest i n stable-oriented f o r m r a t h e r than in literally moving oblects. In the words o f Hans Jenny,

. . . Nature reveals an abundance ofsculptured forms, and all of them, i t must be remembered, are the result o f vibration. If the tame ceases, the mass 'freezes.' Looking at these vibrational effects, i t would b e no exaggeration to speak of a true magnetocyrnatics with i t s own dynarnakinetic morphology. Experiments like this based on pure empiricism stimulate the plastic imagina tion and develop the power to feel aneselfinto a space permeated by farces.13
The w o r k o f Hans Jenny in t h e 1950s and 1960s i s undoubtably t h e best example o f t h e study o f h o w oscillating, fluctuating. gradient fields o f forces can p r o d u c e n o t o n l y p a t t e r n s b u t forms. The p r i m a r y theme t h a t runs t h r o u g h Jenny's w r i t i n g s a b o u t these experiments i s the continuous charac t e r b e t w e e n t h e f o r m s p r o d u c e d and t h e fields f r o m which they emerged. For example, Jenny argues t h a t i n t h e case o f "the vibrational field i t can be shown that every p a r t is. in the true sense, implicated in the whole."24 H i s experiments consisted o f t h e effects o f vibrations o n a p a r t i c u l a t e c o n c r e t e medium. The c o n c r e t e f o r m s he studied w e r e i n an e n v i r o n m e n t w h e r e v i b r a t i o n and wave phenomenon were i n h e r e n t t o the system o f f o r m gen e r a t i o n and evolution. H e gave these structures t h e name "cymatics" mean ing t h e "characteristic phenomenology o f vibratianol effects and wave phenom enon with typical structural patterns and d y n a r n i c ~ . "In ~general, Jenny p i o ~ neered t h e use o f viscous p a r t i c l e flows on plates t h a t w e r e b o t h vibrating and m a g n e t i z e d . H i s t e c h n i q u e s v a r i e d f r o m t h e study of i r o n fillings o n

34

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Figure 26 and 27.

A sequence of flowable miis through a vibrational mqgnetic field by Hans Jenny "There figurer show [he p l o r t ~ poltern
ef morcmrntr dirploycd by ( ferromagnetic moss m ~1 mqnetic field under the influence of wbmtions. The mass flows m rhe
I mopnct~cspore ond reflects ID c~nfig~rmioni.
wrrther, r e a n up, m d ttrctchcr out bur olwayr 8" 0 wdy that rcflerrr Ihe It ~ i f ~ o t i o n the mopetic field (11 that porndar time,'' From Jenny, "01 2 of Cymoticr. Wove Phenomenon Vibrdionol Effect% m Harmonic Osrdottoor with their ltruaurc. Kmeticr ond D y n a m m . (Barel- Basiliur PTCII. 1974). 6 2

Figurer 28 and 29:

Jenny's description of the formarion of there formr i n magnetic space taker t h e language of architectural I ~ T Y L
t u r e a s he mentions borh archer and walls.
"Under other cond11mns there are upfoldmgr which rise up IO form archer There i r r ~ ~ t u r e i
tower up and tend 10 flow d o n g a path. Then they thrust out ogoin inlo rpace. ond m the tnterplay between the cshcrron of the mars ond the map nelir force they spread, grow thm, and peter out. Farms tower up displaying the configuration wrought by mopnettc force and o ~ c i l l ~ f i o narge leaflike wollr toke rhope ond sway l o ond fro m the mognelic field." Jenny. Cymatirr. 61 L

Figurer 30 m d 3 I:
"There marwr h a r e solidified under wbro
tton The relief IS complicated m ~ l r u c t u r e
beroure eorh of the yorr0UI stage5 O f Con
~tency the moss hor porrcd throuph whde
solidifying hor left 11s imprint There ore
imge billow-like farmotioor ond tiny w r m
klcs. W O V E t r o m ru<ceedtog one another,
ond sudden chonger m the dvecrmo of flow
It i s 01 8 f the 'hirtory' o f the process hod
been recorded 8 0 tronsverre ond looptuda
no1 foldr.There IS 0110 0 tendency for 0 lot
trrework of folds t o tokc shape." jenny.
Cymmcr. 63

plates t o t h e sandwiching o f fluids b e t w e e n v i b r a t i n g glass plates. Jenny also used m o t i o n pictures t o capture t h e m o v e m e n t o f these f o r m s w i t h i n t h e magnetic pathways o f oscillating fields. His m e t h o d was t o study t h e m o t i o n sequences o f t h e forms r a t h e r than t h e i r static f o r m . Previously, particles o f filings and o t h e r materials w e r e t r e a t e d as discrete elements that w o u l d f o r m a p a t t e r n that was c o i n c i d e n t w i t h t h e g e o m e t r y o f t h e plate. By i n t r o d u c i n g viscosity t o t h e p a r t i c l e s thus f o r m i n g a continuous semi-solid flow, Jenny was able t o study t h e shaping o f f o r m i n f r e e space r a t h e r than in two-dimensional p a t t e r n only. By varying t h e Reynolds numbers o f these particles suspended i n a fluid, h e was able t o develop an i n t u i t i o n i n t o t h e m o r p h o l o g y o f forms w i t h i n magnetic fields. His studies involved t h e famil iar use o f a vibrating plate t h a t w o u l d configure i r o n filings i n t o patterns. A d d e d t o this influence was t h e presence o f magnetic fields t o impose polar patterns o n the filings.These forces w e r e t h e n t h o u g h t o f i n t e r m s o f p e r i odic excitement by b o t h t h e v i b r a t i o n o s c i l l a t i o n and t h e changing p o s i t i o n o f t h e magnet. Thus the f o r m s t h a t emerged w e r e studied b o t h i n t h e i r f o r m and i n t h e ways i n w h i c h t h e y w o u l d f o l l o w t h e magnetic pathways. The play between t w o types o f fields, magnetic and vibrational, produced f o r m . The character o f these f o r m s w e r e persistence and continuity, but, unlike discrete reducible f o r m s , t h e y remained continuous w i t h t h e fields w i t h i n which they were generated. Rather t h a n making shapes through t h e familiar operations o f a s c u l p t o r o r a r c h i t e c t , t h r o u g h d i r e c t manipulation

36

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Form

of m a t e r i a l f o r example, Jenny modulated f o r m t h r o u g h oscillating frequen cies and parameters. Jenny sculpted f o r m t h r o u g h t h e adjustment o f oscil l a t o r s w i t h o u t forfeiting his i n t u i t i o n t o a machine intelligence. The shift f r o m sculptural techniques o f whittling, carving, chipping, and scraping m a t e r i a l t o t h e modulation. oscillation, and v i b r a t i o n o f particles does n o t mandate t h e relinquishment o f creativity t o machinery. Instead. it suggests t h e creative manipulation o f a f l o w o f parameters i n time.
T h e use o f parameters and statistics f o r t h e design o f f o r m requires a m o r e abstract, and o f t e n less representational o r i g i n f o r design.The shape of s t a tistics, o r parameters. may yield a culturally symbolic form, yet a t the beginning, t h e i r r o l e i s m o r e inchoate. A r e t u r n t o t h e discussion o f t h e o r r e r y m i g h t supply t w o terms: t h e concrete ossembfoge and the abstract muchine. F o r example, i n Etienne-Louis Boullees Cenotaph t o N e w t o n , t h e o r r e r y operates as b o t h an abstract model and as a sign. The orrery, i n t h e sense t h a t it represents t h e movements and organization o f a centered and harmonically regulated universe, i s a c o n c r e t e assemblage. To t h e degree t h a t it i s a diagram f o r centralized harmonic regulation, like a compass, it i s an abstract machine. The diagram f o r t h e o r r e r y can b e seen to circulate among many institutional and symbolic regimes w h e r e it takes o n many meanings. As a statement o f centralized regulation, however, i t s abstract p e r f o r m a n c e i s consistent, A n y abstract machine, such as an orrery, can b e u n d e r s t o o d as b o t h a technical statement and as a signifier. N e i t h e r i t s rep resentational n o r i t s technical s t r u c t u r e can be u n d e r s t o o d independently. The difference between i t s abstract and representational roles can be l o c a t e d precisely a t t h e m o m e n t it crosses t h e technological t h r e s h o l d f r o m being a diagram t o a concrete assemblage. T h e use of the t e r m abstraction h e r e i s n o t intended t o b e confused w i t h t h e p u r i s t o r m o d e r n n o t i o n of visual abstraction. I n those instances abstraction involves an aes t h e t i c r e d u c t i o n t o fixed f o r m a l essences t h r o u g h t h e paring away of dif ferences. A n alternative c o n c e p t of abstraction, o n e t h a t i s m o r e generative and evolutionary, involves proliferation, expansion and unfolding.This marks a shift f r o m a m o d e r n i s t n o t i o n o f abstraction based o n f o r m and vision t o an a b s t r a c t i o n based o n process and movement. I n o r d e r t o define such a diagrammatic regime, it is perhaps m o s t helpful t o cite Michel Foucaults t e r m s ; abstract machine and diagrom. Gilles Deleuze has r e f e r r e d to these t e r m s as asignifying concepts. By definition, an asignifying concept i s i n s t r u m e n t a l b e f o r e it i s representational. This m o d e l depends o n t h e pre cise d i s t i n c t i o n b e t w e e n linguistic constructions and statements. Linguistic constructions, such as p r o p o s i t i o n s or phrases, can always be a t t r i b u t e d t o particular referents. Statements, o n t h e o t h e r hand, are n o t initially linguistic b u t are machinic processes.26 F o r instance. the sequence o f l e t t e r s Q, W, E, R,T,Y i s d i s t r i b u t e d o n a t y p e w r i t e r o r computer key

39

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board t o produce words.The logic o f t h e i r sequential d i s t r i b u t i o n i s based o n t h e c o n t r o l o f the speed a t w h i c h one can potentially type words i n t h e English language. There i s no single sentence o r w o r d t h a t tests this distri b u t i o n b u t rather an indefinite series o f existing and f u t u r e words. Because t h e r e i s an open series t h e system m u s t be characterized as indefinitely structured. The keyboard is an actual machine, or concrete assemblage, because it i s technological. B u t t h e d i s t r i b u t i o n o f i t s l e t t e r s o n keys in space i s a virtual diagram, o r an abstract machine. Statements such as these are machinic techniques, discursive concepts, o r schemata t h a t precede the representational and linguistic effects they facilitate. Signifiers are n o t rejected b u t delayed t o w a r d t h e m o m e n t t h a t they are found at the inter section of different systems and are cut across by the statement acting in the role of primitive function.27 Linguistic constructions are merely postponed, n o t abolished, and a regime o f abstract, schematic statements are seen t o preempt and sponsor them. F r o m t h e particular discursive f o r m a t i o n o f multiple, diagonally intersecting statements, some f o r m o f expression emerges. Through the i n t e r a c t i o n of a m u l t i p l i c i t y of abstract statements, signifiers emerge i n a m o r e dynamic manner than m e r e representational effects might.The shift f r o m linguistic models t o the p r o l i f e r a t i o n o f asig nifying statements marks what Deleuze t e r m s a move f r o m the archive t o t h e diagram.28 The move f r o m linguistic constructions t o statements, o r m o r e properly f r o m meaning t o machine, i s a necessary shift i n sensibility if one i s t o tap the potential o f abstract machines such as computational m o t i o n geometry and time-based, dynamic force simulations. This shift i s the primary explanation f o r t h e apparent alliance between cer tain aspects o f Deleuze and Foucaults discourse and many contemporary architects n o w weary of representational critiques spanning f r o m stylistic postmodernism t o deconstruction. I n Deleuzes i n t e r p r e t a t i o n of Foucaults c r i t i q u e o f panopticism, c o n c r e t e architectural f o r m i s transformed i n t o abstract machinic instrumentality. Techniques, as opposed t o technology, become an expression of cultural, social, and political relations r a t h e r than as an essential power. The effects of abstract machines trigger the forma t i o n o f concrete assemblages w h e n t h e i r v i r t u a l diagrammatic relationships are actualized as a technical possibility. C o n c r e t e assemblages are realized only when a new diagram can make them cross t h e technical threshold. It i s t h e already social diagrams t h a t select t h e n e w technologies. It i s in the s p i r i t o f the abstract technical statement y e t t o become concrete that topologies, animation and parameter-based modeling are being explored here. In o r d e r t o bring these technologies i n t o a discipline t h a t i s defined as the site o f translation f r o m t h e v i r t u a l i n t o t h e concrete, i t i s necessary t h a t we f i r s t interrogate t h e i r abstract s t r u c t u r e . W i t h o u t a detailed under standing o f t h e i r performance as diagrams and organizational techniques it
I

i s impossible t o begin a discussion o f t h e i r translation i n t o architectural f o r m . T h e availability and r a p i d colonization of architectural design by com puter-aided techniques presents t h e discipline w i t h y e t another o p p o r t u n i t y t o b o t h r e t o o l and r e t h i n k itself as it did w i t h t h e advent o f stereomet r i c p r o j e c t i o n and perspective. If t h e r e i s a single concept t h a t must be

engaged due t o the p r o l i f e r a t i o n o f topological shapes and computer-aided

tools, it i s t h a t i n t h e i r s t r u c t u r e as abstract machines. these technologies

are animate.

.o

! '

contents

This proj ect

h a s b e e n made p o s s i b l e i n p a r t
through t h e generous support o f
The G r a h a r F o u n d a t i o n
f o r t h e Rdvancenent o f t h e Humanities

Published by
project rditor: rherese uelly
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sook Design: ores Lynn, utrrka narlsson,
ueather noberqe, m d r e a s Froech
N e Y rork. N e W rork 10003, u 5 R

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Bnimate F o r m ~ r t i s t ss p a c e r n s t a l l a t t o n A r t i s t s space i n s t a l t a t t o n Design c a r d i f f Bay o p e r a House p o r t A u t h o r i t y Gateway Yokohama p o r t T e r m i n a l

HOUSe

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w e $ Lynn
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credits P r o j e c t flnimattons

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