
Discrete
Description
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Person
Gilles Retsin is Tutor at The Bartlett (UCL) and a Senior Lecturer at the University of East London. Having studied in Belgium, Chile and the UK, he worked as a project architect with Christian Kerez in Switzerland and with Kokkugia in London. He now has his own London-based practice. His work has been acquired by the Centre Pompidou in Paris. He has exhibited internationally in museums, such as the Museum of Art and Design in New York, the Vitra Design Museum in Weil-am-Rhein, Design Exchange Toronto and the Zaha Hadid Gallery in London. He has been invited professor at the Texas A&M University and has lectured and taught internationally.
Content
- Cover
- Title Page
- Copyright Page
- Contents
- About the Guest-Editor
- Introduction: Discrete Architecture in the Age of Automation
- Computational Parts
- Moving On From Craft
- A Discrete Paradigm for Design and Production
- A New Platform
- Notes
- The Origins of Discretism: Thinking Unthinkable Architecture
- In Search of Foundations
- The Supremacy of Effectiveness
- Notes
- Architecture for the Commons: Participatory Systems in the Age of Platforms
- Dissolution of Tectonics
- The Discrete Proposition
- Platform Design
- Rethinking the Socio-Economic Implications of Design Frameworks
- Notes
- Mereological Thinking: Figuring Realities within Urban Form
- Beyond Quantities
- What Can Mereology Do For Architecture?
- Parts Without Wholes
- Part to Part
- Thinking Parts
- Notes
- Bits and Pieces: Digital Assemblies: From Craft to Automation
- Automation as Design Project
- Digital Syntax
- Low Resolution
- Notes
- Our Automated Future: A Discrete Framework for the Production of Housing
- Finally, We Are Digital
- Prosumerist Co-production
- Automated Redistribution
- Towards Discrete Continuity
- Notes
- Rubens Structures: A Different Lightness Through Performance Adaptability
- Difference in Degree
- Continuous Equilibrium
- Efficiency Through Redundancy
- New Models of Structural Analysis
- The Future of Structural Time-Based Variation
- Notes
- Distributed Fabrication: Cooperative Making with Larger Groups of Smaller Machines
- The Robot Arm is Not (Always) the Solution
- Co-designing the Process, the Machine and the Artefact
- Experimenting with Heterogeneous Robot Teams for Filament Materials
- A Larger Library of Robotic Tools and Processes
- Notes
- Discrete Flexibility: Computing Lightness in Architecture
- Computing Lines
- Softmodelling
- Digital Bamboo
- Discrete Lightness
- Towards Universal Flexibility
- Notes
- Et Alia: A Projective History of the Architectural Discrete
- Elements
- Standard Types
- Units and Cells
- Connected Objects
- Bits and Voxels
- Particles and Agents
- The Unassigned
- Notes
- Particlised: Computational Discretism, or The Rise of the Digital Discrete
- A New Visuality
- Material (Dis)continuity
- Excessive Resolution
- Notes
- Complicit: The Creation Of and Collaboration With Intelligent Machines
- The Pixel/Voxel as Raw Material
- Teaching Algorithms to Design
- Spaces From/For Data
- Transforming Design through Nonhuman Collaboration
- Notes
- Discrete Sampling: There Is No Object Nor Field. Just Statistical Digital Patterns
- Statistical Seeing
- Discrete Fields
- Notes
- Series and Other Unit-Based Alternatives: Notes on Contemporary Digital Operations
- Revisiting Systems Aesthetics
- Latourian Networks and Composition
- 'Poppy Red': A Series-Oriented Study
- Notes
- Soft Discrete Familiars: Animals, Blankets and Bricks, Oh My!
- Familar Bricks
- Familiarity in Architectural Form
- Notes
- The Discrete Charm of the Glitch
- Continuity in Discreteness
- Form in Four Dimensions
- Glitch Engines
- Notes
- Meta-Utopia and the Box: Two Stories about Avant-Garde Projects
- Meta-Utopia
- The Box
- Re-instrumentalising the Box?
- Notes
- Counterpoint: There Is No Such Thing as a Digital Building
- The Digital is Not a Style
- The Problem of Architecturalisation
- There is No Such Thing as a Digital Material
- Notes
- Contributors
- EULA
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