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Architecture in the Age of Apparatus-Centric Culture

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Architecture in the Age of Apparatus-Centric Culture Architecture in the Age of Apparatus-Centric Culture Proefschrift ter verkrijging van de graad van doctor aan de Technische Universiteit Delft; op gezag van de Rector Magnificus Prof. ir. K. Ch. A. M. Luyben; voorzitter van het College voor Promoties in het openbaar te verdedigen op de eenentwintigste dag, februari, 2014 om vijftien uur door Sang LEE Licensed Architect, State of New York M.Arch., University of Pennsylvania, Philadelphia B.Arch. Hon., Illinois Institute of Technology, Chicago geboren te Wonju, de Republiek Korea This Thesis is approved by the promoter: Dit proefschrift is goedgekeurd door de promotor: Prof. ir. S. U. Barbieri Examination Committee: Promotiecommissie: Prof. ir. K. Ch. A. M. Luyben, Rector Magnificus, Chairman Prof. ir. S. U. Barbieri, Promoter, TU Delft Prof. A. Aymonino, Università IUAV di Venezia Prof. Dr. N. Leach, University of Southern California Prof. M. Novak, University of California Santa Barnara Prof. ir. K. Oosterhuis, TU Delft Dr. P Rawes, Bartlett School of Architecture, University College London Prof. ir. M. Riedijk, TU Delft PROPOSITIONS STELLINGEN These propositions are considered opposable and defendable, and have been approved as such by the promoter, Prof. ir. S. Umberto Barbieri: Deze stellingen worden opponeerbaar en verdedigbaar geacht en zijn als zodanig goedgekeurd door de promotor, Prof. ir. S. Umberto Barbieri: 1. “Technê” and “poiêsis” refer to the nature of the relations between the constituent singularities. As such, they establish the ecological and material binding of the aggregates in both formal and substantive modalities of architecture. “Technê” en “poiêsis” verwijzen naar de aard van de relaties tussen de samenstellende eigenaardigheden. Als zodanig vormen zij de ecologische en materiële binding van de aggregaten in zowel de formele als substantieve modaliteiten van architectuur. 2. Architecture is neither autographic nor authorial in the sense of the singularity such terms may indicate, and cannot be evaluated as such. Rather, architecture has come to denote the contingencies that are composed of relational encodings, thus thoroughly allographic. Architectuur is noch autografisch noch terug te leiden tot de maker in de vorm van een eigenaardigheid die deze termen kunnen betekenen, en kunnen dus niet als zodanig worden geëvalueerd. Architectuur heeft thans eerder de functie de eventualiteiten aan te duiden die uit relationele coderingen van een grondige allografische karakter bestaan. 3. The potential of the algorithmic encoding, codification, and affectation in architecture lies in its very capacity for allopoiesis, rather than augmenting, expanding, and reinforcing the appearance of the regime of authorial totality. De kracht van de algoritmische codering, codificatie en gekunsteldheid in de architectuur ligt in haar mogelijkheid tot allopoiêsis, eerder dan in een manier die het uiterlijk van het regiem van de makers totaliteit versterkt, vergroot of doet toenemen. 4. Architectural composition is an assemblage of unstable mediations, of which the tectonics is disjointed and discrete, yet entangled in a series of dependences. The concept of unstable mediation indicates and underscores the volatility of authorship and authenticity. The discursive fragmentation and reconstitution of the assemblage become more graduated and explicit. De architecturale compositie is een assemblage van onstabiele bemiddelingen, waarvan de tektoniek is ontwricht en discreet en tegelijkertijd verward is geraakt in een reeks van afhankelijkheden. De notie van onstabiele bemiddeling verwijst naar en onderstreept de lichtzinnigheid van het auteurschap en de authenticiteit. De discursieve fragmentatie en reconstitutie van de assemblage worden meer gradueel en toch expliciet. 5. In contrast to the smooth spatialization of surface unity, the algorithmic apparatization, encoding, and codification of architectural composition consist of persistent slippages and displacements, which take place in the parsing, transposition, reconstitution, and remediation of the intermodal content inherent in the languages of algorithmic encoding and codification. In tegenstelling tot een gladde ruimtelijk definitie van een oppervlakkige eenheid bestaan algoritmische apparatisatie, codering en codificatie van een architecturale compositie uit volhardende en weerbarstige verschuivingen en verplaatsingen die plaatsvinden door ontleding, transpositie, reconstitutie en remeditaties van intermodale inhouden die inherent zijn aan de talen van algoritmische codering en codificatie. 6. Algorithmic apparatuses, encoding, and codification in architecture do not simply serve as extensions of compositional capacities and affectation, but also as fundamental reformations of the compositional logic that is simultaneously autonomous and contextually variable, in relation to subjectivity. Algoritmische apparaten, codering en codificatie dienen niet eenvoudigweg een uitbreiding van de compositorische mogelijkheden en affectatie, maar eerder fundamentele hervormingen van de compositorische logica die opeens autonoom en contextueel variabel is in relatie tot de subjectiviteit. 7. Algorithmic processes in architecture do not simply denote the manner of presentation or style, but the discipline’s incorporative capacities. They embody autonomic potential that consists of extra-somatic material content that indexes the concurrent processes with which the architectural assemblage is to be imbued. Algoritmische processen in architectuur geven niet eenvoudigweg betekenis aan de wijze van presentatie of stijl, maar van de in de discipline ingebouwde mogelijkheden. Zij belichamen autonome krachten die uit extra-somatisch materiaal bestaat dat dient om de gelijkluidende processen aan te wijzen die in een architecturale assemblage worden opgenomen. 8. Phantasmagoric tendencies of mediatized and mediative architecture of algorithmic affective apparatuses further undermine the vestiges of architecture’s disciplinary identity. Fantasmagorische tendensen van architectuur die bemiddeld wordt in en door de algoritmische affectieve apparaten ondermijnt bovendien de gemeenplaatsen van de disciplinaire identiteit van architectuur. 9. The affective instantiation and presentation in phantasmagoric architectural work, the purpose of which is neither critique nor reform, are emblematic of excess, and reinforce the dominant dispositif. De affectieve verwerkelijking en presentatie in fantasmagorisch architecturaal werk, die noch het doel heeft om te kritiseren noch om te reformeren, is emblematisch van de buitensporigheid en versterken het dominerende dispositief. 10. Encoded architecture of environmental mediation articulates the convergence between the human necessity for dwelling and affective desires, and among the ontic relations of environmental entities. Gecodeerde architectuur van een op het milieu betrekking hebbende bemiddeling articuleert de convergentie tussen de menselijke noodzaak om te wonen en de affectieve begeerten, en tussen de ontische verbanden van milieueenheden. [Nederlandse vertaling door Herman van Bergeijk] Abstract This thesis examines the conception and composition of architecture, and the position of architectural presentation and denotation in the context of digital technology and mass media. It positions architectural composition within the technological events at the beginning of the 1990s, when personal computers and software became widely available, and the World Wide Web (W3) standards established the Internet as the predominant technology for society and culture at large, as well as business and commerce. It aims to explicate how digital technology intervenes in the disciplinary practice of architecture, with its algorithmic processes as an independent, substantive, discursive layer that superimposes its own distinctive logic and operative modalities, in contrast to the ideal of technology being transparent and invisible. It confronts digital algorithmic technology as a means for both extending and optimizing human physiology, and interjecting compelling discursive capacities. Thus, this thesis theorizes about the “apparatus-centricity” in the conception and composition of architectural work. This thesis takes Michel Foucault’s concept of the dispositif as a point of departure, and connects it to Martin Heidegger’s Ge-stell, and to Gilles Deleuze’s and Felix Guattari’s concepts of nomadic smooth spaces and assemblage. In this thesis, Foucault’s dispositif designates a conceptual device of strategic rationality, distinct from “apparatus,” its common English translation. Instead, in this thesis, the term “apparatus” designates the aggregate technics and instrumentation that augment and empower “dispositif.” This thesis employs the term simultaneously with “dispositif,” in order to present a concept-technic conflation as fundamental to discursive formation through digital encoding (algorithms), instrumentation (devices), and deployment (networks). This conflation helps explain how the digital software-hardware binding is deployed, and serves to create, augment, and enforce the strategies of the dominant power regime. This thesis presents and appraises specific historical examples in music and musicology as appropriate precursors to that which has transpired in architectural conception and composition, with regard to digital dispositif and apparatus. However, this thesis neither compares, nor advocates a comparison, between music and architecture as disciplines at large. Rather, this thesis proposes that the historic,
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