Architectural Marginalia

The margins of texts, often become their own locus.

From Pliny the Elder’s Historia Naturalis to medieval glóssae and the marginalia of architects like Giovanni Battista da Sangallo and Inigo Jones, the history of dictionaries and architectural texts reveals a shift from subjective accumulation to systematic knowledge.

The Margins of printed books, acted as spaces for annotation, sketching, and dialogue, mediating between observation and theory.

On the Digital Model

The use of digital models has changed fundamentally.

The idea of chance became central for the Dadaists and Surrealists of the 1920s as a counterpoint to a controlled, even positivist modernity. Artists like Marcel Duchamp explored the creative principle of par hasard, letting threads fall freely to the floor in 1914, while the objet trouvé shaped art for decades. Chance was discovered as both an objective and subjective force, materialized in art and linked to the unconscious. It appeared liberating and revolutionary, defining the prototype of the avant-garde.

Architectural Psychology

Questions about early Architectural Psychology……

The idea of chance became central for the Dadaists and Surrealists of the 1920s as a counterpoint to a controlled, even positivist modernity. Artists like Marcel Duchamp explored the creative principle of par hasard, letting threads fall freely to the floor in 1914, while the objet trouvé shaped art for decades. Chance was discovered as both an objective and subjective force, materialized in art and linked to the unconscious. It appeared liberating and revolutionary, defining the prototype of the avant-garde.

Lexical Ambiguety

Is it a Bunny or a Duck?

The idea of chance became central for the Dadaists and Surrealists of the 1920s as a counterpoint to a controlled, even positivist modernity. Artists like Marcel Duchamp explored the creative principle of par hasard, letting threads fall freely to the floor in 1914, while the objet trouvé shaped art for decades. Chance was discovered as both an objective and subjective force, materialized in art and linked to the unconscious. It appeared liberating and revolutionary, defining the prototype of the avant-garde.