Writing in 1986, Evans is admittedly responding to various cultural dialogues concerning, on one hand, the fabled autonomy of the drawing, and on the other, architecture’s abstract disciplinary knowledge. If Robin Evans’ ceaselessly regurgitated Translations from Drawing to Building was to signify anything other than a debunking of the common architectural myths associated with notions of drawing buildings and building drawings, it would be the emergence of a renewed interest in the intellectual value of scrutinizing the very media in which we work. Robin Evans, Translations from Drawing to Building 2 “The theme of this article is translation…There are all those other identically prefixed nouns too: transfiguration, transformation, transition, transmigration, transfer, transmission, transmogrification, transmutation, transposition, transubstantiation, transcendence, any of which would sit happily over the blind spot between the drawing and its object, because we can never be quite certain, before the event, how things will travel and will happen to them on the way.” Mario Carpo, The Alternative Science of Computation 1
"synopsis" may belong to another edition of this title.“ are no longer the tools for making: they are primarily tools for thinking.” As one ratifies the other, the exception becomes the ruler.Į-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
In this mosaic we glimpse a future city built with designed violence and the violence of design. The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Bratton's kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.īenjamin H.
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