[EN]CODING ARCHITECTURE 2013

CONFERENCE THEME

The architect is no longer an organizer of matter and space, but a designer of systems with multi-layered components and increasingly complex relationships. [En]Coding Architecture 2013 invites rising superstars, experienced researchers and designers to present experimental work derived through computational thinking and digital making. [En]Coding Architecture 2013 positions the field as an alloy of programming, digital tooling, art and science. This conference synthesizes new trajectories for the profession within the context of tectonics, cultural philosophy, architectural theory and geopolitics. Undeniably, there is a global desire to re-discuss architecture now

Submission in the following fields are encouraged

  • Material Morphology and Code
  • Tooling
  • Interaction I Human Computer Interface I Behavior
  • Augmented Construction I Architectural Robots in the Built Environment
  • Data I Architecture as Geopolitical Act
  • The new Pathology of Architecture I Indulging Opulence I Flesh
  • More information on session subjects can be found here

 

Lebbeus Woods [1940-2012]



SCAR construction, Sarajevo, 1993. Drawing by Lebbeus Woods


Loss is inevitable in the story of each person. Losing your wallet, losing your job, losing your home, your family, your city—the degree of loss escalates from the inconvenient to the inconceivable, and with it the experience of the ineffable. Loss, however, is necessary in order for us to change, not only in our habits, but also in our understandings and beliefs. As long as we cling comfortably to what we are and know, we cannot learn, or create. If design is to be a creative act, it must take on the most difficult situations in our lives. It must offer more than comfort and reassurance. It must confront the unspeakable—the ineffable—and become a means by which we can transcend it.

-excerpt from TERRIBLE BEAUTY 2: the ineffable

The Subconscious, Weakness, Old Age and Luxury, Death, Religion, and Dreams



"[. . .] in view of this, why do you behave the way that you do? For instance, you have been known to drive in a car filled to the roof with cauliflowers. You lectured, as I mentioned, once with your head enclosed in a diving helmet and you almost suffocated. You issue bizarre statements about your love for rhinoceros horns and so on. You're a dedicated artist, why do you or why must you do these things?"
Because for this [sic] kind of eccentricities correspond with [the] more important and the more tragical part of my life. 



Salvador Dali. The Mike Wallace Interview. 1958.

SECOND ANNUAL HOUSTON FINE ART FAIR: POST-RECEPTION // DAY 01




Anya Tish Gallery. Houston, TX 






Galerie Kashya Hildebrand. Zurich, Switzerland 






Anya Tish Gallery. Houston, TX 






Anya Tish Gallery. Houston, TX 






I can't recall the artist for this piece; will check during my next visit.
[collaborator] Josephine Tran. 






Deborah Colton Gallery. Houston, TX