Antoine Picon – författare

A fascinating exploration of how the growth of digital mapping, spurred by sensing technologies, is affecting cities and daily lives  What have smart technologies taught us about cities? What lessons can we learn from today’s urbanites to make better places to live? Antoine Picon and Carlo Ratti argue that the answers are in the maps we make. For centuries, we have relied on maps to navigate the enormity of the city. Now, as the physical world combines with the digital world, we need a new generation of maps to navigate the city of tomorrow. Pervasive sensors allow anyone to visualize cities in entirely new ways—ebbs and flows of pollution, traffic, and internet connectivity.  This book explores how the growth of digital mapping, spurred by sensing technologies, is affecting cities and daily lives. It examines how new cartographic possibilities aid urban planners, technicians, politicians, and administrators; how digitally mapped cities could reveal ways to make cities smarter and more efficient; how monitoring urbanites has political and social repercussions; and how the proliferation of open-source maps and collaborative platforms can aid activists and vulnerable populations. With its beautiful, accessible presentation of cutting-edge research, this book makes it easy for readers to understand the stakes of the new information age—and appreciate the timeless power of the city.

The professions of architect and engineer, which had maintained very close links since the time of the Renaissance, became increasingly isolated from one another in France during the course of the eighteenth century, the 'Age of the Enlightenment'. This book analyses the meaning of this gradual mutual isolation, the consequences of which can still be felt at a variety of different levels, and offers a unique insight in English to the teaching and practice of architects such as Jacques-Francois Blondel and Pierre Patte, and engineers such as Jean-Rodolphe Perronet and Gaspard-Riche de Prony. The text of the book is clear and easily comprehensible, and presents a fully accessible account of this key period in the development of architectural achievement and debate.

Authorship critically examines emergent themes in contemporary architecture by revisiting the seemingly defunct notion of design authorship. As we revel in the death of the master architect, how do we come to terms with the shifting role of creativity in architecture’s cultural production? In Authorship, a cross-disciplinary group of designers and scholars explores this topic through a myriad of lenses. Subjects include the impact of digital tools and computational scripts on the conception of buildings in the age of robotics, the current climate of appropriation and sampling as a counter-form of authorship, and the rise of reauthored materials in a postdigital age. These questions are cast against alternative ideas of authorship that, in turn, reposition the history of architecture. Featured essays investigate the separation between the personal and the authored while other contributions expose meaning, symbolism, and iconography as the subjects of authority—not authorship. Ultimately, this book dismantles, realigns, and reassembles disparate architectural conditions to form new ways of thinking.Discourse is a biannual publication series that presents timely themes on and around architecture. A selective compilation of essays, interviews, roundtable discussions, featured exhibitions, photo-essays, and collateral materials—such as architectural models, sketches, and built works—highlight architectural culture, practice, and theory.

Once condemned by Modernism and compared to a ‘crime’ by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.

Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the ‘subjective’ – the human interaction that ornament requires in both its production and its reception – and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today’s ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?

Once condemned by Modernism and compared to a ‘crime’ by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.

Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the ‘subjective’ – the human interaction that ornament requires in both its production and its reception – and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today’s ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?

Even more than authorship, ownership is challenged by the rise of digital and computational methods of design and production. These challenges are simultaneously legal, ethical and economic. How are new methods of fabrication and manufacture going to irreversibly change not only ways of working, but also designers’ ethics and their stance on ownership? In his 2013 second-term State of the Union address, President Obama stated that 3D printing ‘has the potential to revolutionize the way we make almost everything’. Nowhere will the impact of 3D printing be felt greater than in the architectural and design communities. When anyone can print out an object or structure from a digital file, will designers still exert the same creative rights or will they need to develop new practice and payment models? As architecture becomes more collaborative with open-source processes, will the emphasis on signature as the basis of ownership remain relevant? How will wider teams working globally be accredited and compensated? This issue of AD explores this subject; it features the work of designers who are developing wholly new approaches to practice by exploring means of commercialising process-based products rather than objects.

Contributors: Phil Bernstein, Mark Garcia, Antoine Picon, Carlo Ratti and David Ruy

Featured architects: Francis Bitonti, Marjan Colletti, Wendy W Fok, Panagiotis Michalatos, Jose Sanchez, Thibault Schwartz, Aaron Sprecher, Feng Xu and Philip Yuan

As cities compete globally, the Smart City has been touted as the important new strategic driver for regeneration and growth. Smart Cities are employing information and communication technologies in the quest for sustainable economic development and the fostering of new forms of collective life. This has made the Smart City an essential focus for engineers, architects, urban designers, urban planners, and politicians, as well as businesses such as CISCO, IBM and Siemens. Despite its broad appeal, few comprehensive books have been devoted to the subject so far, and even fewer have tried to relate it to cultural issues and to assume a truly critical stance by trying to decipher its consequences on urban space and experience. This cultural and critical lens is all the more important as the Smart City is as much an ideal permeated by Utopian beliefs as a concrete process of urban transformation. This ideal possesses a strong self-fulfilling character: our cities will become 'Smart' because we want them to.This book opens with an examination of the technological reality on which Smart Cities are built, from the chips and sensors that enable us to monitor what happens within the infrastructure to the smartphones that connect individuals. Through these technologies, the urban space appears as activated, almost sentient. This activation generates two contrasting visions: on the one hand, a neo-cybernetic ambition to steer the city in the most efficient way; and on the other, a more bottom-up, participative approach in which empowered individuals invent new modes of cooperation. A thorough analysis of these two trends reveals them to be complementary. The Smart City of the near future will result from their mutual adjustment. In this process, urban space plays a decisive role. Smart Cities are contemporary with a 'spatial turn' of the digital. Based on key technological developments like geo-localisation and augmented reality, the rising importance of space explains the strategic role of mapping in the evolution of the urban experience. Throughout this exploration of some of the key dimensions of the Smart City, this book constantly moves from the technological to the spatial as well as from a critical assessment of existing experiments to speculations on the rise of a new form of collective intelligence. In the future, cities will become smarter in a much more literal way than what is often currently assumed.

As cities compete globally, the Smart City has been touted as the important new strategic driver for regeneration and growth. Smart Cities are employing information and communication technologies in the quest for sustainable economic development and the fostering of new forms of collective life. This has made the Smart City an essential focus for engineers, architects, urban designers, urban planners, and politicians, as well as businesses such as CISCO, IBM and Siemens. Despite its broad appeal, few comprehensive books have been devoted to the subject so far, and even fewer have tried to relate it to cultural issues and to assume a truly critical stance by trying to decipher its consequences on urban space and experience. This cultural and critical lens is all the more important as the Smart City is as much an ideal permeated by Utopian beliefs as a concrete process of urban transformation. This ideal possesses a strong self-fulfilling character: our cities will become ''Smart'' because we want them to.

This book opens with an examination of the technological reality on which Smart Cities are built, from the chips and sensors that enable us to monitor what happens within the infrastructure to the smartphones that connect individuals. Through these technologies, the urban space appears as activated, almost sentient. This activation generates two contrasting visions: on the one hand, a neo-cybernetic ambition to steer the city in the most efficient way; and on the other, a more bottom-up, participative approach in which empowered individuals invent new modes of cooperation. A thorough analysis of these two trends reveals them to be complementary. The Smart City of the near future will result from their mutual adjustment. In this process, urban space plays a decisive role. Smart Cities are contemporary with a ''spatial turn'' of the digital. Based on key technological developments like geo-localisation and augmented reality, the rising importance of space explains the strategic role of mapping in the evolution of the urban experience. Throughout this exploration of some of the key dimensions of the Smart City, this book constantly moves from the technological to the spatial as well as from a critical assessment of existing experiments to speculations on the rise of a new form of collective intelligence. In the future, cities will become smarter in a much more literal way than what is often currently assumed.

As cities compete globally, the Smart City has been touted as the important new strategic driver for regeneration and growth. Smart Cities are employing information and communication technologies in the quest for sustainable economic development and the fostering of new forms of collective life. This has made the Smart City an essential focus for engineers, architects, urban designers, urban planners, and politicians, as well as businesses such as CISCO, IBM and Siemens. Despite its broad appeal, few comprehensive books have been devoted to the subject so far, and even fewer have tried to relate it to cultural issues and to assume a truly critical stance by trying to decipher its consequences on urban space and experience. This cultural and critical lens is all the more important as the Smart City is as much an ideal permeated by Utopian beliefs as a concrete process of urban transformation. This ideal possesses a strong self-fulfilling character: our cities will become ''Smart'' because we want them to.

This book opens with an examination of the technological reality on which Smart Cities are built, from the chips and sensors that enable us to monitor what happens within the infrastructure to the smartphones that connect individuals. Through these technologies, the urban space appears as activated, almost sentient. This activation generates two contrasting visions: on the one hand, a neo-cybernetic ambition to steer the city in the most efficient way; and on the other, a more bottom-up, participative approach in which empowered individuals invent new modes of cooperation. A thorough analysis of these two trends reveals them to be complementary. The Smart City of the near future will result from their mutual adjustment. In this process, urban space plays a decisive role. Smart Cities are contemporary with a ''spatial turn'' of the digital. Based on key technological developments like geo-localisation and augmented reality, the rising importance of space explains the strategic role of mapping in the evolution of the urban experience. Throughout this exploration of some of the key dimensions of the Smart City, this book constantly moves from the technological to the spatial as well as from a critical assessment of existing experiments to speculations on the rise of a new form of collective intelligence. In the future, cities will become smarter in a much more literal way than what is often currently assumed.

Once condemned by Modernism and compared to a ‘crime’ by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the ‘subjective’ – the human interaction that ornament requires in both its production and its reception – and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today’s ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?

A new paradigm combining architectural tradition with emerging technologies Digital tools have launched architecture into a dizzying new era, one in which wood, stone, metal, glass, and other traditional materials are augmented by pixels and code. In this ambitious exploration, an eminent thinker examines what, exactly, the building blocks of architecture have meant over the centuries and how technology may-or may not-be changing how we think about them. Antoine Picon argues that materiality is not only about matter and that the silence and inscrutability-the otherness-of raw materials work against humanity’s need to live in a meaningful world. He describes how people define who they are, in part, through their specific physical experience of architectural materials and spaces. Indeed, Picon asserts, the entire paradox of the architectural discipline consists in its desire to render matter expressive to human beings. Through a retrospective review of canonical moments in Western European architecture, Picon offers an original perspective on the ways materiality has varied throughout centuries, demonstrating how experiences of the physical world have changed in relation to the evolution of human subjectivity. Ultimately, Picon concludes that computer-based design methods are not an abrupt departure from previous architectural traditions but rather a new way for architects to control material resources. The result reinforces the fundamentally humanistic nature of architectural endeavor with an increasing sense of design freedom and a release from material constraint in the digital era.

A new paradigm combining architectural tradition with emerging technologies Digital tools have launched architecture into a dizzying new era, one in which wood, stone, metal, glass, and other traditional materials are augmented by pixels and code. In this ambitious exploration, an eminent thinker examines what, exactly, the building blocks of architecture have meant over the centuries and how technology may-or may not-be changing how we think about them. Antoine Picon argues that materiality is not only about matter and that the silence and inscrutability-the otherness-of raw materials work against humanity’s need to live in a meaningful world. He describes how people define who they are, in part, through their specific physical experience of architectural materials and spaces. Indeed, Picon asserts, the entire paradox of the architectural discipline consists in its desire to render matter expressive to human beings. Through a retrospective review of canonical moments in Western European architecture, Picon offers an original perspective on the ways materiality has varied throughout centuries, demonstrating how experiences of the physical world have changed in relation to the evolution of human subjectivity. Ultimately, Picon concludes that computer-based design methods are not an abrupt departure from previous architectural traditions but rather a new way for architects to control material resources. The result reinforces the fundamentally humanistic nature of architectural endeavor with an increasing sense of design freedom and a release from material constraint in the digital era.

Paul Andreu (1938-2018) is a major figure on the international architectural scene in the second half of the 20th century. He left his mark on airport architecture not only during his long career with Aéroports de Paris, but also with his work in Asia, in Japan and China, where he was one of the first French architects to make his mark, with the Kansai airport in 1988 and the Beijing opera house, inaugurated in 2007. Founded on a constant demand for functionality and technical rationality, the work of this architect and engineer is rooted in the notion of threshold, passage and transformation, bringing into play fundamental principles: earth and sky, East and West, thought and matter. This monograph is amply illustrated with sumptuous archive photographs and contemporary views, as well as drawings from 69 sketchbooks recently donated to the Cité de l'architecture et du patrimoine.Text in French.

Even more than authorship, ownership is challenged by the rise of digital and computational methods of design and production. These challenges are simultaneously legal, ethical and economic. How are new methods of fabrication and manufacture going to irreversibly change not only ways of working, but also designers’ ethics and their stance on ownership? In his 2013 second-term State of the Union address, President Obama stated that 3D printing ‘has the potential to revolutionize the way we make almost everything’. Nowhere will the impact of 3D printing be felt greater than in the architectural and design communities. When anyone can print out an object or structure from a digital file, will designers still exert the same creative rights or will they need to develop new practice and payment models? As architecture becomes more collaborative with open-source processes, will the emphasis on signature as the basis of ownership remain relevant? How will wider teams working globally be accredited and compensated? This issue of AD explores this subject; it features the work of designers who are developing wholly new approaches to practice by exploring means of commercialising process-based products rather than objects.Contributors: Phil Bernstein, Mark Garcia, Antoine Picon, Carlo Ratti and David RuyFeatured architects: Francis Bitonti, Marjan Colletti, Wendy W Fok, Panagiotis Michalatos, Jose Sanchez, Thibault Schwartz, Aaron Sprecher, Feng Xu and Philip Yuan