Pre-specificity / Projective Theory of Technology / Thinking as an Algebraic Mechanist

Printing Architecture: Michael Hansmeyer’s and Benjamin Dillenburger’s Digital Grotesque

My colleagues have realised the first large scale instance of printed architecture, and they call it the Digital Grotesque. A disturbingly beautiful piece about which they say:

We aim to create an architecture that defies classification and reductionism. We explore unseen levels of resolution and topological complexity in architecture by developing compositional strategies based on purely geometric processes.

In the Digital Grotesque project, we use these algorithms to create a form that appears at once synthetic and organic. The design process thus strikes a delicate balance between the expected and the unexpected, between control and relinquishment. The algorithms are deterministic as they do not incorporate randomness, but the results are not necessarily entirely forseeable. Instead, they have the power to surprise.

The resulting architecture does not lend itself to a visual reductionism. Rather, the processes can devise truly surprising topographies and topologies that go far beyond what one could have traditionally conceived.

Digital Grotesque is between chaos and order, both natural and the artificial, neither foreign nor familiar. Any references to nature or existing styles are not integrated into the design process, but are evoked only as associations in the eye of the beholder.

As a fictive narrative space, the Digital Grotesque project is less concerned with functionality than with the expressive formal potentials of digital technologies. It examines new spatial experiences and sensations that these technologies enable. As such, Digital Grotesque is a lavish, exhilarating space, full of details at the threshold of perception, waiting to be discovered and spurring one’s imagination of what is yet to be created.

website of the Digital Grotesque.

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