PUBLISHING info: LOG 1: Observations on Architecture and the Contemporary City, Cynthia Davidson, ed., spring 2003

It is dangerous to run the risk of trivializing a process, or to point out something that seems so apparent as to reduce it to the seemingly pedestrian or arcane. Yet, as I was plowing through United Architects’ many sketches for the Museum of Modern Art’s upcoming “Tall Buildings” exhibition, some from distinguishable hands and others not, it dawned on me that somehow their method of working together mimicked the bundled tubes of redundant structure used in their design proposal for the World Trade Center site. The notion of multiplicity and singularity within a field of forces – of maintaining the

both/and instead of the either/or – has become a way of working that has taken on its own form, a form as pertinent to the contemporary dialogue as anything else. From the intersection and divergence of projects, conferences, exhibitions, publications, individuals, and firms, a seamless continuity of difference arises. The form is evolutionary, behavioral, orienting, disorienting, meaningless, and meaningful in context; the approach, additive or reductive, experimental and open, geometric, graphic, and intricate. Yet all collapse in building. Looking overhead from within a structurally stable moment of form then, one sees an evolution from surface to plane to bundled tube, a shift from flatness to depth of volume. Multiple time collapses in seamless structures, where surface has become skin, and skin, triangulated

structure. Architecture, no longer a translation from theory or diagram, takes on form, materiality – its solid state – the minute one logs in. What follows is an attempt to indicate where we are by mapping not distance traveled over time as linear connections between points but mapped a series of events within a field of forces. This log, produced through conversation and work with United Architects’ principals – Foreign Office Architects, Greg Lynn Form, Imaginary Forces, Kevin Kennon Architect, UN Studio, and Reiser+Umemoto – reveals telling rhythms and allows for new definitions of old terms.

log 1 : a cylinder of bundled tubes that measures time as multiplicitous and continuous in a field of forces, where space is without orientation and distance traveled is so arbitrary as to be dismissed 2 : a current method of estimating (possible) states of a system by recording or mapping singularities (e.g. projects, conferences, exhibitions, publications) within the flow of space of which the system itself is a part 3 : form characterized as the irruption of a discontinuity (magnetism or diffusion) not on the system but in or of it [n.b. this form represents nothing absolute, but rather a structurally stable moment within the system’s evolution]

build : that within which all forces and methods converge

sur·face 1 : a device that creates seamless differences between the theoretical, the diagrammatic, and its physical manifestation 2 : a connective tissue that orients, disorients, determines flow thereby structuring movement 3 : that within which resides the idea that geometry can acquire difference 4 : the seamless articulation of structure within which the fluency between form, function and material is manifest 5 : that which is brought to life through the kinetic energof light, projection, texture, motion, and animation ‹mediated ~ › consider also TOPOLOGY, TOPOGRAPHY, PLANE, IMAGE, GROUND-ROOF-WALL-FLOOR, LANDSCAPE

meth·od 1 : a collective expertise rooted in building and thinking 2 : additive urban barometers of radicality critical open inventive public science experimental research-drive communicative restless unfolding generative evolutionary reductive also approach, practice

move 1 : the first principle of organization 2 : public forces that inform organizational principles 3 : circulation 4 : implying a subject 5 cinema : often associated with the movement of the camera compare to ANIMATE

an·i·mate 1 : that which involves evolution and growth in and of the system 2 cinema, graphic design : the moment when typography takes on behavior

for·ces 1 : resulting from strife and conflict, the behavior of which, in space over time, determines form ‹multiple ~ › ‹multidirectional ~ › 2 : areas of expertise ‹imaginary ~ › ‹symphonic ~ › ‹ ~ in flux›

Work: Writing