Rachel Hicks, Kelsey Webb, Roberto Jaimes
Picon, “Architecture, Science, Technology And The Virtual Realm”
“What are the conditions that, at certain times, make the relations between science and architecture truly productive?” (pg 294, para 3)
Picon says, “Science and architecture meet when they both contribute to the cultural construction of perception.”(pg 295) What does this mean for the two disciplines?
How, as Picon says, is architecture a virtual reality? What are the differences between a design created on a computer versus a hand-drawn design?
What does Picon mean when he says “Information is nothing but a production of events”? (pg 304)
In using computers in architecture, how might we mitigate the impression of arbitrariness that work in the digital realm might create? (pg 304)
What kinds of issues of scale arise with the use of computers in architecture? (pg 307-8)
Allen, “Terminal Velocities: The Computer in the Design Studio”
How does Allen’s example of cats falling out of windows in NYC relate to his argument about virtual reality in architecture?
Allen quotes Paul Virilio: “The field of freedom shrinks with speed. And freedom needs a field. When there is no more field, our lives will be like a terminal, a machine with doors that open and close.” Do you agree with this? What might be the definition of “field”? (pg 72, par 2
In the undergraduate level, when, if at all, do you think the computer should be in the design studio?
“Technology, Michel Foucault reminds us, is social before it is technical.” (top pg 73) Is this true? Why or why not?