The Digital Complex

Author(s): Stan Allen

Source: Log, No. 5 (Spring/Summer 2005), pp. 93-99
Published by: Anyone Corporation
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StanAllen
The

Digital

Complex

It stems
myterrible
frommyignorance,
oftheworld,
ignorance
knows
howthelightimmediate
who
my
especially
surroundings
theindustrial
orthephysical,
electrical
bulbworks,
processes,
?
processes
TonyCragg
It has now beenmorethana decadesincetheexperiments
thatlauncheda new setof digitaldesignprotocolsin architecture.Drivenbypractitioners
and theorists
suchas Frank
Gehry,GregLynn,and BernardCache,schoolsof architecture(Columbia,SCI-Arc,UCLA,and others)retooledtheir
infrastructure
and teachingmethods.The
technological
practicefollowedclosebehind,and bythemiddleof the
had emerged,as architects
borrowed
1990sa new virtuosity
softwareand techniquesfromdigitalfilmanimationand the
aviationindustry.
The computermadecomplexity
lookeasy,
and designers
werefascinated
enabled
bythenew plasticity
fluid
The
to
the
invisiby
modelingtechniques. ability map
blevectorsof siteand programencourageda process-driven
approachmodeledon D'ArcyThompson'sdictumthat"form
is a diagramof forces."
Of course,in architecture's
recenthistory,
processhas
oftenbeenevokedforitsformalends,and itwas no different
in thiscase. In theseearlystages,theeffectof digitaltechformal.It was characterized
nologywas primarily
byan
interestin continuoussurfacesand complexbiomorphic
forms.Butthenoveltyof theoutcomesrapidlygrewformulaic as techniquesbecamecodified.Whatwas at one timea
radicalexperiment
becamenecessity
as otherschoolsfollowedthelead of theseearlyadaptors.Youngfacultywho
couldteachcomputerskillsfoundthemselves
in demand,
and trainingin theuse of digitaltechnology
has now become
an integralpartof an architectural
education.
Withouta doubt,thedesignstudiolooksverydifferent
thanit did 10yearsago. This digitalembracehas createdan
air of self-satisfaction,
announcepunctuatedbybreathless
mentsofyetanotherparadigmshift.Buttoday,theformal
and workroutinesof digitaldesignare no longer
expressions
novel.The computeris a familiarfixturein thedesignstudio.
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Ata timewhenall buildingsare designedon thecomputer,

makingdigitaldesignprotocolsexplicitno longerseemsto
be an urgenttask.
It's easyto forgetthatthegroundfortheinnovative
workof the1990swas prepareda decadeearlier,at a time
was stillout of
whenreal accessto computertechnology
At
reachformostexperimental
designers. thattime,large
as a way to
had
offices
adoptedCAD systems
corporate
butbothcomputers
theproductionof documents,
streamline
to use. As a
werecostly,slow,and difficult
and software
of cyberpunk
the
influence
in
the
first
result,
stage(under
withdigithediscipline'sengagement
and deconstruction),
As accessto the
was primarily
tal technology
metaphorical.
werefascinated
Internetexpanded,manyarchitects
bythe
or
fluid
of
networked
personal
interconnectivity
potential
Architects
identity
promisedbythisemergenttechnology.
triedto capturesomeof thisnew sensibility
throughexperisometimes
mentalprojectsand installations,
incorporating
buttheseprojectswere,forthemostpart,
digitalimagery,
means.
realizedwithconventional
workof the1980s
It's clearthataftertheexperimental
and 1990swe are now enteringa third,moremature,and
to digitaltechnology
lesscomplexphasein our relationship
-a
of thepossibilities
and
extension
of
consolidation
phase
of thedigital.Thanksin partto a new generationof archiwithinthedigital
tectswho havebeeneducatedentirely
regimeand,on theotherhand,to thefirstgenerationof digwho havecontinuedto evolvetheir
itallytrainedarchitects
the
thinking, computeris beginningto havea moretangible
and immediateimpact.Thesedesignersarepragmaticabout
thecomputer'spowerfulabilityto generatenew formal
at thesametimethattheyare realisinnovationsand effects,
These
ticaboutitstechnicaland procedurallimitations.
of the
mixtures
designersfindnew potentialsin unexpected
digitaland theanalog,therealand thevirtual,or theeverydayand thefantastic.
In a movethathas littleto do withtheliteralincorporato do witha new
buteverything
tionof digitaltechnologies
of netmadepossiblebythepenetration
way of thinking
intoall aspectsof our everydaylife,the
workedtechnologies
mostprogressive
workingtodayhaveturnedto the
designers
and operativepotentialof thecomputer.
Theysugstrategic
that
forms
the
new
not
is
is
what
that
digital
significant
gest
of
forms
the
new
but
softwares
practicethat
promote
design
a
has
Form
enables.
powerfulagency,
digitaltechnology
whichtakesitsplacealongsidequestionsofperformance,
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and programmatic
invention.New strategies
organization,
of implementation
traditional
go beyondarchitecture's
architect-client-builder
to
relationships positionarchitectural practicemorestrategically
and proactively.
Architects
who
controlthemeansof digitalfabrication,
forexample,can
the
builder
and
talk
to
the
machine.
bypass
directly
and
this
is
a moreexpedient
Pragmatic,inventive, hands-on,
to
which
is now underapproach digitaldesignexpertise,
stoodto be onlyone amongmanydesignintelligences.
In part,thisexpediencyis generational,
and in partit is
a productof theadvancement
of thetechnologies
themselves.
In the1980sand 1990s,thecomputerretaineda cultlikestatus.It dividedarchitecture
intobelieversand nonbelievers,
a
worldof highpriests,disciples,and enthusiastic
converts.
Like anyothercult,it had itssecretlanguageand privaterituals. Today,whatsetsthemostinteresting
contemporary
workapartis itsopenattitudetowarddigitaltechnology.
Hardwareand softwareis cheap,widelyavailable,and userbecomemore
has,in effect,
friendly;
digitaltechnology
distancedfromitscultlikeorigins.It's hardto
democratic,
fetishizesomething
you livewitheveryday.A new generationthathas grownup withdigitaltechnology
has created
an enormousreservoirof expertise.Today,thecomputeris
nota new technology
to be eithercelebratedor deconstructit
is
a
fact.
Its
ed;
simply
logichas beenfullyabsorbedinto
practicesand habitsof thought.In schoolsof
contemporary
studentsand youngerfacultyare theonesmost
architecture,
fluentin thesenew technologies.
No longerseducedbyits
formaleffects
norintimidated
thesedesignbyitsdifficulty,
ershavecultivatedan expedientrelationship
withavailable
technologies.
It is sometimesthecase thatbecausewe are too closeto
our own discipline,it is easierto discernpatternsin other
fields.Pd liketo quicklyoutlinethreeexamplesofpractices
thatstrikeme as reasonable,inventive,
and expedientin
theiruse of availabledigitaltechnologies
withinthelogicsof
theirown discipline.Each one is relaxedand pragmatic,
moreinterested
in consequencesthanin consistency.
The e-book vs. "On-demand" printing
Do notconfuse
whatis valuablewithwhatis merely
difficult.
- Fortunecookie
Whilethelargemediacompaniescontinueto promotepro- small,booklike
prietarydedicatede-booktechnologies
hardwaredeviceswithtextdisplayedon-screen- independent
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Stillsfrom
Waking
Life, directhavedevelopedworking
engineersand smallentrepreneurs
edbyRichard
Linklater
(2001).
for
"on-demand"
Theseare lightweight,
prototypes
printing.
Courtesy
ofFoxSearchlight
machines
of
Pictures.
portable
capable downloadingcontentfromthe
and bindinga decentpaperbackbook(as
Internet,
printing,
opposedto an unwieldystackof pagesyou mightprintout
on yourlaserprinter)in about12minutes.In thisinstance,
thetechnological
advanceshavemoreto do withengineering
know-howthancomplexsoftwareor computertechnology.
The advancecomesin thestrategic
thatcomintelligence
binestheold and new technologies
in an innovativeway.
The potential,say,to increaseliteracyin remoteareaswhere
it is difficult
to shipbooks(and whereexpensiveand fragile
dedicatede-bookdevicescouldneversurvive)is enormous.
Someobserversof thebookindustry
suggestthattheeffect
be
to
the
introduction
of qualitypapermight comparable
backbooksin the1950s.
Monsters, Inc. vs. WakingLife
- everyone
Don'tusesoftware
hasit.

- BruceMau

Anotherprovocative
exampleis RichardLinklater's2001
filmWaking
This
Life.
plotlessmoviewas
talky,essentially
filmedin digitalvideowithliveactors,in realspaces,taking
thatvideo
spontaneity
advantageof theimprovisational
devellow-tech
software
affords.
Then,using
technology
frameit
was
converted
director
Bob
art
Sabiston,
opedby
intoan animatedfeature.In contrastto mainstream
by-frame
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studiosPixar,forexample)whereenormousquantitiesof
expertpowerand vastresourcesof technological
computing
as
real
as
ise are devotedto rendering
fantasy
possible,the
effect
hereis an unstablemixtureof therealand thevirtual.
The realmaybecomemorefantastic
as a result,butit never
leaves
behind
the
texture
of
fully
reality.
The enablingpremiseof mainstream
animation(think
is
ofMonsters,
also
classic
Inc.y 2001)
suspensionof disbelief:
if therewerebig,furry,
thisis exactly
talkingmonsters,
whattheywould looklike.The hairflowsperfectly,
materials reflectlightrealistically,
movementis fluid,and soundis
thatmightpuncperfectly
synchronized.
Anyinconsistency
turethespellhas beeneditedout.In Waking
Life, bycontrast,
actorstalkand movenaturally.
Allof thehesitationand
uncertainties
of everydayspeechare preserved.The backgroundsretainall of theclutterand detailedtextureof real
life- thecomplexplayof lightand reflection,
thegritty
posturbanrealityof thelocationsin Austin,Texas,wheremost
of thefilmwas shot.Yetforall that,no one will mistakethe
Lifeforreality.Thereis absolutelyno preimagesof Waking
tenseto verisimilitude
here.The realityof thefilmis a
an
artificial
saturated- like
dreamscape,
realitythoroughly
our own day-to-dayreality withman-madeimages.
Ratherthansubjectthefictionalto a presumedrealityprinciple,everydayrealityis allowedto unfolditsunexpected
and plasticvirtualities.
Now it is no surprisethatin makinghis firstanimated
and
film,thedirectorof Slacker(1991) would refusedifficult
elaborateproductionvaluesand tendtowarda collaborative,
culture.In Waking
hands-on,improvisational
Life, each
characteris animatedbya different
and
artist, althoughunifiedbytheconventions
of thesoftware,
tracesof each animator'shandpersistin thefinishedfilm.The softwareitself
is relatively
low-tech,requiringtracingof separateframes,
about
colorvalues,lineweights,and theconvenjudgments
tionsof representation.
The artistsof Waking
Lifemakedo
withthetoolsat hand,ratherthandeployingcomplex
resourcesand purpose-built
tools.Theirsis a relaxedrather
thancomplexrelationship
to thecomputerthatcan only
at homewithtechnolemergewhenitsusersare completely
It's
the
ideasand strategic
thatdrivethe
ogy.
intelligence
and high-concept,
rather
film,whichitselfis low-definition
thanthehigh-definition,
of
mainstream
anilow-concept
mation.The experiential
consequenceis thatthefilmhas
rougheredgesthanmorecommercialproducts;therepresentationitselfis constantly
on our receptionof
intruding
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thefilm.This interrupts
our contemplative
viewing,
the
viewer
of
theartificiality
of themovie,while,
reminding
at thesametime,generating
an atmospheric,
dreamlike
that
is
the
to thefilm'sown medispace
perfectcounterpart
tationon dreamsand reality.
Neuromancer vs. Pattern Recognition
Wehavenofuturebecauseourpresentis toovolatile
.
- WilliamGibson
Finally,WilliamGibson'smostrecentnovelPattern
(2003) offersa way of closingthecircleon my
Recognition
own periodization.
Authorof thecyberpunk
classic
Neuromancer
Gibson
defined
of
(1984),
many theconventionsof thegenre.In hisnew book,all of thoseconventions
are intact:thecharacters
inhabita dystopian
worldin which
has
of
everyaspect day-to-daylife,
technology penetrated
surveillanceis ubiquitous,identities
fluid,and encrypted
information
themostvaluablecommodity.
A shadowy
controls
a
hierarchical
vast,
network,
power
yetan agile
hackerculturemanagesto survivewithinthatverysame
network.Buttheastonishing
of thebookis
accomplishment
to renderall of thisentirely
believablein a novelthatis set
notin thefuturebutin thepresent.Gibson'snovelreminds
us thatto a largedegree,we now inhabitthatdystopian
futurehe imagined20 yearsago. Sciencefiction,
it seems,no
needs
the
future.
longer
***
One consequenceof digitaltechnology's
abilityto manage
massivequantitiesof information
has beena fascination
withemergence,
and self-organization.
geneticalgorithms,
But self-organization
requireshighlyspecificinitialcondithatis adaptiveand
tions.Hence,to imaginean architecture
to
a
is
not
propose vague"emergent"architecture
responsive
or to appealto old modelsof flexibility.
Rather,it impliesan
architecture
thatis precisein its formalpropositionsspecificin shape,material,and disposition yetstrategically
over
availableformultipleand unpredictable
appropriations
timebycannyuserswho understandthatprogramis never
definitive.
It couldbe understoodas a lightlyfixedscaffold
thatallowschangearounda minimalnumberof secure
points.Operatingmorelikea fitnesslandscape,successful
and levels
buildingsand citiesofferdegreesofappropriateness
contemto
the
of
of fit;an architecture
open
contingencies
a varietyof activities
and
of
life
capable
sponsoring
porary
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overtime.To designforthisuncertainty
requiresan intelliof
but
it
also
gentdeployment technology,
impliesa skepticismaboutsingular,totalizing,technological
solutions.
This is onlyone possibledirectionthatmightemergeout
of a lesscomplexrelationship
to digitaltechnology
in architecture- a reasonable,inventive,
and expedientuse of available digitaltechnologies
withinthelogicsof our own discipline.Othersincludeincorporating
digitaltechnologies
into
as
interactive
skinsor sensingdevices
directly buildings,
thatgo beyondcurrent"smartbuilding"technology.
The
is
an
abstract
and
it
machine, as movesbeyondthe
computer
of
new
visualization,
logics
potentialsopenup.
Thereis serioustheoretical
and criticalworkbeingdone
in
the
realm
of
butI am suspicious
today
digitaltechnology,
of thosewho exhibita nostalgiaforthecultishaspectof the
as a kindof secretsectwithitsown esotericlancomputer,
It
strikes
me thatthearchitects
mostcloselyassociatguage.
ed withthediscoursearounddigitaltechnology
stillhave
morein commonwithPixar weddedto extravagant
effects
- thanwiththe
and a logicsof opticality
improvisational
cultureof thelow-techanimatorsof Waking
Life.
whichconstructs
an artificial
worldout of a
Architecture,
could
benefit
from
giventechnological
reality,
enormously
theseexamplesof an expedientrelationship
to digitaltechthatis relaxedand pragmatic,
more
nologies:an architecture
in circumstances
interested
and consequencesthanin consisand
tency
complexity.

StanAllenisanarchitect
and
DEAN
OFTHESCHOOL
OF
Architecture
at Princeton
University.
Heistheauthorof
PointsandLines:Diagrams
and
fortheCity
Projects
andPractice:
1999)
(Princeton,
and
Architecture,
Technique
Representation
(G+BArts,
2000).
99

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