super-EXPOSE(ition) by elizabiteaustin

super-EXPOSE(ition) > > >

Elizabeth [Austin] + Jacob [Hedaya] Pratt Institute Degree Project [2017-2018]

SECTIONS >

Mission

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Foundation

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Position

050

Experimentation

072

Function

120

Location

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Citation

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MISSION

In which we tell you what this is all about

MISSION

THE SOCIETAL AND PHYSICAL CONSTRUCT OF THE CITY, WHICH FUNCTIONS TO INCREASE HUMAN PRODUCTIVITY, CAN BE MINED, ALTERED, TRANSPLANTED, PERVERTED, TRANSFORMED, OR SUBJUGATED TO DECREASE HUMAN PRODUCTIVITY. We were shortchanged by the technological revolution. With a rise in our collective effective labor, shouldn’t actual labor decrease? Our tools, networks, and systems are only becoming more productive, yet New York City expects each of us to maintain our hustle. The re-definition of labor paradigms through technology should relieve stress and provide a path to transition to a healthy work/play balance. The technological revolution isn’t going to save us. We need to fight back. Meet Architectural Hacking: a subversive form of activism that injects leisure into the urban environment, undermining these systems of efficiency and rebelling against current labor trends.

MISSION

FOUNDATION

In which we show you the cool things we referenced

HACKING > DESCRIPTION

Hack > Even dictionaries mis-define the term: “Use a computer to gain unauthorized access to data in a system”. - Merriam Webster

Image 001 > The Face of Hacking // Anonymous

Citation 001 > Eric Raymond, “How to Become a Hacker,” Thyrsus Enterprises, 2001, Web.

FOUNDATION

INVENTION, CREATION, EXPERIMENTATION Hacking has received a bad reputation since the tech boom in the 1990s. It has become associated with salacious and mischievous breaching of private digital information. It is considered a crime committed for personal social, monetary or other gain. However, we believe this group of criminals has stolen a term that doesn’t truly apply to them. Eric Raymond, a famed American software developer, discusses the misappropriation of the term arguing that these badintentioned practitioners “loudly call themselves hackers, but aren’t,… real hackers call these people ‘crackers’ and want nothing to do with them,… being able to break security doesn’t make you a hacker any more than hot-wiring cars makes you an automotive engineer.”001 In short: hackers build things, crackers break them. Let’s re-clarify the meaning and the intentions of the term “hacking”.

Forbidden Knowledge > Defines threshold between hackers + mainstream

Image 002 > Invention

A HACKED DEFINITION 1. Hacking is about invention, or the creation of new things, methods, or activities from existing systems. 2. Hacking is about experimentation, or taking something apart, understanding it, and re-making it different. 3. Hacking is about subversion, or the acquisition of so-called â&#x20AC;&#x153;forbiddenâ&#x20AC;? knowledge and the conquering of an intellectual challenge. 4. Hacking is about improvement, or the desire to circumvent the limitations of our environments and the exploitation of a system with the goal of making it better. 5. Hacking is about identifying vulnerabilities and exploiting them for a specific goal.

FOUNDATION

HACKING > ETYMOLOGY

Image 003 > The Original Analog “Hacking”

Citation 002 > Ben Yagoda, “A Short History of ‘Hack’,” The New Yorker, 6 March 2014, Web.

TO CUT WITH HEAVY BLOWS From Middle English hacken, hakken, from Old English *haccian (“to hack”; attested in tōhaccian (“to hack to pieces”)), from Proto-Germanic *hakkōną (“to chop; hoe; hew”), from Proto-IndoEuropean *keg-, *keng- (“to be sharp; peg; hook; handle”). Cognate with Saterland Frisian häkje (“to hack”), West Frisian hakje (“to hack”), Dutch hakken (“to chop up; hack”), German hacken (“to chop; hack; hoe”), Danish hakke (“to chop”), Swedish hacka (“to hack; chop”). Hack is the word of the moment, as marketers want to “growth hack” and the website Lifehacker offers articles about how to create things or take shortcuts to improve our lives. It derives from a verb that first appeared in English around 1200, meaning to “cut with heavy blows in an irregular or random fashion,” as the Oxford English Dictionary defines it.002 At MIT in the 1960s, the term first became associated with fussing with machines. The earliest iterations simply meant “working on” a tech problem in a different manner. The term suggests an approach to creative problem solving where one is willing to undermine something in the process of improving it.

FOUNDATION

HACKING > HISTORY

David and Goliath > This is our last biblical reference, we promise

Image 004 > Cap’n Crunch Bo’sun Whistle

Citation 003 > Ralph Lee, dir. The Secret History of Hacking (2001; BlackOpsPro07, 2012), YouTube.

CEREAL BOX TOYS TAKE ON TELECOM Hacking began before computers, with the phone system, a cereal box prize, and a loose society comprised mostly of blind teenagers in various area codes. Phone phreaks, or the first hackers, were people who explored, exploited, and experimented with the phone system. With the advent of automatic operators, calls were routed with a series of specific tones, which could be replicated by ‘phreaks’ to reverse engineer the system and make free phone calls. In the beginning, the system was mostly hacked by curious blind teenagers who had perfect pitch and could whistle the tones. There was also the discovery of a whistle that came in a box of Captain Crunch that perfectly emulated the tone to route long-distance calls. Later, phreaks built “blue-boxes”, or devices which could play a variety of tones.003 The story of phreaking is truly a David and Goliath moment, where a plastic toy defeated an entire telecommunication network. While the manipulation of the phone system could easily be understood as a circumvention of an organization for monetary gain, the phone phreaks did it for fun, and rarely used their knowledge to make actual necessary phone calls. They enjoyed discovering this elaborate operation and holding conference calls with other ‘phreaks’ that equated to the chat rooms of today. Just as the computer would become, the phone system was a technological playground for those who understood it.

FOUNDATION

Motivation > Driven by the challenge itself

Image 005 > Computer Hacking Ingredients

Citation 004 > Ralph Lee, dir. The Secret History of Hacking (2001; BlackOpsPro07, 2012), YouTube.

ANALOG TO DIGITAL With the development of computers, hacking took a turn towards more complex technology at the Berkeley-based Home Brew Computer Club. While computers were considered something to be respected and revered, the young students of the social group approached the technology in a different manner. As the first model of “open source electronics”, the club acted as a platform for information and knowledge sharing regarding the building and engineering of computers. After learning how to use the technology, they penetrated and expanded it, using it in ways that weren’t available to the general public. They constantly mastered the art of getting computers to do new things and exploited their existing functions.004 The hacking that happened in Home Brew was all in good fun - that is to say that no one really cared about making new products or money. It was all about hacking for the sake of playing and learning. The members and other hackers alike came up with genuine advancement due to their pleasurable efforts in tinkering. Hackers invented the modern world, but it was a world where they were no longer wanted once their engagements became viewed as criminal and mischievous.

FOUNDATION

HACKING > PLACE HACKING

Unworthy > Worthless spaces are vulnerable

URBAN EXPLORATION: THE FRONT LINE OF ARCHITECTURAL HACKING

Image 006 > Trespasser // Bradley L. Garret

Place hacking is a hobby that is a rebellious misuse of utilitarian space for pleasure in the context of the city. It is broken into three branches: urban exploration, urban adventure, and infiltration.005 Much of the motivation to hack a site is fueled by the chance to revel in spectacular views of cityscapes that even skydivers canâ&#x20AC;&#x2122;t approach. Some examples of spaces that place hackers explore are construction sites, transit tunnels, bridges, the roofs of skyscrapers, or abandoned buildings.

Citation 005 > Michael J. Rosen, Place Hacking: Venturing Off Limits (Twenty-First Century Books, 2015), 16.

For some, the goal is to briefly claim off-limits or hazardous sites. They specifically look for locations that a community views as unworthy of upkeep or attention. These hackers often question a societyâ&#x20AC;&#x2122;s values. Other reasons include documenting the adventure, the adrenaline rush, or just because they can.

FOUNDATION

HACKING > DESIGN HACKING

Image 007 > No Stop City

Image 008 > paraSITE

Image 009 > Modified Social Benches

Image 010 > Flower Flash

Image 011 > Park(ing)

Image 012 > Graffiti Research Lab

PRECEDENTS EXPLORING EXPLICIT DESIGN HACKING There is precedence in projects that subvert the city and the mundane to encourage leisure or play. These interventions represent interests which aim to bring more pleasure to a cityâ&#x20AC;&#x2122;s inhabitants or subvert the structure of the city to provide new spaces for inhabitation. No Stop City [ArchiZoom] // The hacking of tools or technology for architectural means ParaSITE [Michael Rakowitz] // The exploitation of the byproducts of infrastructural systems for public gain Modified Social Benches [Jeppe Hein] // The insertion of play into the mundane urban environment through an ordinary object Flower Flashes [Lewis Miller] // The performance of flower flashes in the urban context to inspire spectacle Park(ing) [Rebar] // The conversion of public parking spaces into temporary parks with meters James + John Whitney // The hacking of obsolete analog missile technology to create generative drawing devices Graffiti Research Lab // The treatment of the city as a canvas for a new form of civic engagement

FOUNDATION

NO STOP CITY // ARCHIZOOM

THE HACKING OF TOOLS OR TECHNOLOGY FOR ARCHITECTURAL MEANS Archizoomâ&#x20AC;&#x2122;s critique of modernism with their 1969 project No-Stop City is not only visible in the project itself, but in the representational tools employed to articulate it. Beyond its analysis and speculation of the contemporary urban condition is an exercise in generative design hacking. The plans for the project emerged from the limitations of a typewriters typesetting.

Limitations Tabs, indentation, < spacing, and characters

Image 013 No Stop City <

FOUNDATION

Image 014-015 No Stop City <

FOUNDATION

PARASITE // MICHAEL RAKOWITZ

THE EXPLOITATION OF THE BYPRODUCTS OF INFRASTRUCTURAL SYSTEMS FOR PUBLIC GAIN ParaSITE functions at the intersection of social activism, hacking, and architecture by supplying a form of shelter to the homeless that is quite literally fueled by the byproducts of our collective urban existence. In these parasitic appendages, HVAC exhaust is mined as both a form of inflation for portable inflatable spaces and as a form of heat. These shelters feed off of our wasted energy, diverting it to those who are most vulnerable.

Appendage A thing that is added or < attached to something larger or more important (often with negative or pejorative connotations)

Image 016-19 paraSITE <

FOUNDATION

MODIFIED SOCIAL BENCHES // JEPPE HEIN

THE INSERTION OF PLAY INTO THE MUNDANE URBAN ENVIRONMENT THROUGH AN ORDINARY OBJECT

Image 020-023 Modified Social Benches <

Jeppe Hein uses the typical typology of a city bench and subverts the nature of the structure to make the act of sitting a conscious physical endeavor. The modified benches transform their surroundings into places of activity rather than rest and solitude. They foster exchange between the users and the passers-by, thus lending the work a social quality.

FOUNDATION

FLOWER FLASHES // LEWIS MILLER

THE PERFORMANCE OF FLOWER FLASHES IN THE URBAN CONTEXT TO INSPIRE SPECTACLE

Image 024-027 Flower Flashes <

Where is the line between vandalism and beautification? Lewis Miller begs this question with something he calls “Flower Flashes,” where he takes leftover flowers to create spontaneous installations in the urban environment. These interventions build off of the urban context, inserting spectacle into the mundane. At the same time, a level of impermanence/ temporality is embedded into them, as the flora + fauna die or get carried away by passersby one by one.

FOUNDATION

PARK(ING) // REBAR STUDIO

THE CONVERSION OF PUBLIC PARKING SPACES INTO TEMPORARY PARKS WITH METERS This project addresses the imbalance of public parking versus public parks in our urban environments with interventions that conform to their systems of efficiency. Metered parking commodifies urban space down to 15 minute slots. What you do with this space, as long as the meter is fed, becomes a matter of choice. Park(ing) enables you to rent precious real estate for public recreation. These interventions are forms of timid hacking, yet push the boundaries of what is possible within them.

Timid Hacking In that they rely on and respect < their environments

Image 028-031 Park(ing) <

FOUNDATION

JAMES + JOHN WHITNEY

THE HACKING OF OBSOLETE ANALOG MISSILE TECHNOLOGY TO CREATE GENERATIVE DRAWING DEVICES Brothers James and John Whitney jump-started their careers in computer animation with a series of explorations using antiquated missile technology for visual effects. By recognizing and redefining the visual arts implications of a World War II M-5 anti-aircraft gun directorâ&#x20AC;&#x2122;s analog calculations of trajectories and time, the Whitneys created a mechanical model of the modern digital computer graphics engine. They used deterministic systems of efficiency to create un-deterministic visual art.

Deterministic Outcome predefined by the process <

Un-deterministic Outcome subjected to inconsistency <

Image 032-033 The Machine <

Image 034 Arabesque <

Image 035 Lapis <

FOUNDATION

GRAFFITI RESEARCH LAB

THE TREATMENT OF THE CITY AS A CANVAS FOR A NEW FORM OF CIVIC ENGAGEMENT

Image 036-038 L.A.S.E.R. Tag <

Graffiti Research Lab is a fluid group of hackers, artists, activists dedicated to providing open source technologies for urban communication to the masses. Their work relies heavily on projection as a subversive form of commandeering building envelopes for a specific cause. Their tools democratize the urban environment as a form of media, leveling the playing field in terms of the power of our voices. The media surrounding us is curated/controlled by people with interests/ motives that vary from our own. GRL gives people the tools to override these channels of information with their own using minimal means. With their tools, architecture becomes a free billboard.

Citation 006 S. James Snyder, “Graffiti 2.0: < Gone by Morning,” Time, 14 April 2008, Web.

Citation 007 Monica Ponzini, “Graffiti < Research Lab: Writers as Hackers as Artists,” Digicult, Web.

“Weapon of mass defacement.” - James Powderly006 “We see this similarity between graffiti writers and hackers: graffiti writers sort of hack the city, street artists and pranksters sort of hack public spaces to twist systems that happens in the city into sort of their own message.” - Evan Roth007

FOUNDATION

PROJECTION > DESCRIPTION

Image 039 > Illustration of Camera Obscura Principle

HOW LIGHT WORKS There are two types of optical projection: optical projection through a point and optical projection from a point. In the first, a three-dimensional object of scene scatters and/ or emits light. Some of the light passes through a point of projection and reaches a surface, producing a two-dimensional image that is a geometric projection of the scene. This is how cameras, telescopes, and eyes work. In the second, a very small source of light acts as a physical point of projection. The emitted photons travel in all directions, in straight rays. The photons that pass around or straight through the object reach a surface, producing an image that is a geometric projection of the object. In technical drawing and computer graphics, graphical projection produces a two-dimensional drawing or image of a three-dimensional drawing, object, or scene. The projections used can correspond to possible optical projections, or they can be mathematically defined transformations that are difficult or impossible to produce with real optics.

FOUNDATION

Light as a Line Beam <

Light as a Line Projection on a Surface <

Light as a Surface Network of Lines <

Light as a Surface Projection on a Surface <

Light as a Volume Conical Beam <

Light as a Volume Projection through a Substrate <

PROJECTION > LIGHT AS AN ARCHITECTURAL MEDIUM

Line > A straight or curved continuous extent of length without breadth

Surface > A continuous set of points that has length and breadth but no thickness

HARNESSING THE IMMATERIAL Light can function as an architectural medium in one of three tectonic typologies: as a line, as a surface, or as a volume. There are multiple methods to achieve each of these spatial conditions. Looking at various light installations pictured on the following page, we have identified six methodologies for utilizing light to create the illusion of geometric form.

Volume > A figure with three dimensions

Image 040 > Light as Geometry

FOUNDATION

Light as a Line Beam <

Image 041-042 Jungle [TeamLab] <

Light as a Line Projection on a Surface <

Image 043-044 Daydream [Nonotak] <

Light as a Surface Network of Lines <

Image 045-046 Hakanai [Adrian M + Claire B] <

Light as a Surface > Projection on a Surface

Image 047-048 > Isotopes [Nonotak]

Light as a Volume > Conical Beam

Image 049-050 > Forest of Light [Sou Fujimoto]

Light as a Volume > Projection through a Substrate

Image 051-052 > Solid Light [Anthony McCall]

FOUNDATION

PROJECTION > DAYLIGHTING AS PROJECTION

Image 053-055 > Saint-Pierre Church

Image 056 > Secretariat Building

Image 057 > Notre Dame du Haut

Image 058 > La Cite Radieuse Marseille

LE CORBUSIER’S LIGHT The filtering of sunlight through architectural means pushes the immaterial boundary of light into the physical space of human occupation and interaction. Perception of space varies due to the temporal quality of daylight. Much of Le Corbusier’s work exemplifies this condition. The indefinite character of light in the spatial realm offers opportunity for the adjustment and augmentation of form through economical means.

Image 059-061 > Sainte Marie de La Tourette

FOUNDATION

PROJECTION > VERMEER’S CAMERA OBSCURA

Image 062 > Music Lesson // Johannes Vermeer [1665]

MASTER PAINTER OR HACKER? Johannes Vermeer’s paintings have puzzled artists and art historians since the 17th century. His technique had photorealistic qualities with tonal, light, and detail that seemed exceptional considering a lack of evidence for base drawings or any formal training. With the advent of photography, many qualities of his painting style seemed as if they were optical artifacts of a lens or means of projection. The instances of lens distortion, accurate color, tonality, chromatic aberrations, bokkeh, and focus blur in his paintings finally made sense. Yet it was almost another century until someone was able to recreate his method. The camera obscura that many historians believe he used didn’t have a mechanism by which it “captured” anything. This optical device just allowed him to see in a particular way. His paintings are the first images captured by camera - painted manually by hand in a way that’s familiar to the era. He became part of the machine’s process of capturing a scene, operating as an objective extension of his optical invention. Ultimately, his device presented a unique way of “seeing.”

FOUNDATION

POSITION

In which we convince you to believe what we believe

TECHNOLOGY

Image 063 > The Third Industrial Revolution

Citation 008 > “Technology Isn’t Working,” The Economist, 4 October 2014, Web.

Citation 009 > John Maynard Keynes, “Economic Possibilities for our Grandchildren (1930),” Essays in Persuasion (New York: Harcourt Brace, 1932), 360.

REVOLTING AGAINST THE REVOLUTION We are in the midst of a Third Industrial Revolution. Technology is complementing and slowly eclipsing our roles in the workforce. The nature of our work is at the mercy of evolving technologies that are automating activities and boosting productivity. By utilizing both humans and machines, the city’s labor force will be able to do more work than ever before. Yet the digital economy isn’t bringing shorter working days or pushing up wages across the board in response to higher productivity. Why isn’t this technological progress trickling down to us? Productivity growth should yield more time for leisure, or at least the financial freedom to decide how we spend our time. Economists tell us to be patient and that the same thing happened in the First Industrial Revolution. There was very little improvement in living standards in Britain in the century after the First Industrial Revolution.008 Instead of waiting to see what the Third Industrial Revolution has in store for us, let us decide our fate. John Maynard Keynes coined the term “technological unemployment” in 1930 to describe labor-saving innovation out-pacing the ability to find new things for people to do.009 Will this trend inevitably result in an abundance of labor, rendering humans redundant? There has to be a social negotiation on how to handle this over supply of labor. This discourse starts here.

POSITION

ARCHITECTURAL HACKING

Image 064 > Bleeding Building

/AHR-KI-TEK-CHER-UHL HAK-ING/ verb 1. subverting corporate, technological, or infrastructural systems to provide spatial opportunities for leisure 2. using the built environment to divert energy from means of efficiency to sources of leisure Our analog world is reaching a saturation level of pervasive productivity and labor. Itâ&#x20AC;&#x2122;s time we circumvent these systems, creating our own on our terms. Architectural hacking gives the user the tools to break down their own urban environment and expand its limitations of leisure. Architectural hacking is about identifying opportunities to infiltrate the productivity of our urban environment. We have to see architecture through the lens of a hacker; by trying to exploit vulnerabilities for a specific gain.

POSITION

RECREATIONAL SPACES

Image 065 > Bathroom

LEISURE AND WORK ARE SPATIAL ACTS OF REBELLION

Image 066 > Subway

Spaces cannot be inherently productive or unproductive. All spaces are misused and appropriated for other types of activity. The only separation of program is temporally. Spaces can encourage pleasure or productivity, but specified design can backfire and facilitate both. The misuse of space allows for new types of entertainment, productivity, or a combination of the two. We explore these ideas in the collages to the left by juxtaposing various utilitarian and pleasurable activities performed in typical daily spaces.

Image 067 > Office

Image 068 > Bedroom

Every space has a history that is both utility and leisure. Since pleasure and leisure are subjective, the program of a space is also inherently left to each individual to decide. Therefore, a purely leisurely space is impossible to design. Instead of undermining this truth by spatially separating work and fun, accepting them as intertwined will lead to new forms of space and activity or a combination of the two. Psychologically, leisure is an important human need that increases productivity. Providing spaces throughout the city that encourage play, but do not dictate it, will both decrease and increase productivity.

POSITION

LIGHT + TIME

Image 069 > Light + Leisure

LIGHT LIMITS LEISURE The cycle of day and night means that time is defined by light. Activity in structured society is defined by time of day, and therefore by environmental light conditions. During the day, humans are generally “productive” and night provides “free time”, or the opportunity for leisure. We explore this concept in the collage to the left by identifying activities associated with conditional light qualities. By creating the possibility of recreational activity during idle or passive moments throughout the day, the lines between leisure and productivity will be blurred. This immaterial boundary is further dissolved by the reclaiming of light for time dedicated to pleasure.

POSITION

CONTEXTUALIZATION

Image 070 > Drop-Ride Elevator

CAPITALISM BREEDS CONTEMPT In a near-future New York City, political unrest has resulted in citizens taking back the city through design, rebelling against the capitalist constraints which extort productivity and commodify leisure. Capitalist society functions under an economic system that utilizes the operation of the means of production for profit. This encourages the exploitation of employees during both labor and leisure. Workers are overworked and underpaid in order to increase profit margins. Their own free-time is then commodified by selling so-called leisurely activities back to them. Fed up with consumerist culture, the citizens of New York City build public and private interventions that inspire play during the most mundane of daily activities. The following collages consider the pleasurable possibilities of this potential city.

POSITION

Image 071 Jacuzzi Taxi <

Image 073 Roller-Coaster Subway <

Image 072 Television Times Square <

Image 074 Gutter Toboggan <

Image 075 > Fire-Escape Slides

Image 077 > Reverse-Zoo Central Park

Image 076 > Trampoline Sidewalk

Image 078 > Bungee-Jump Lunch Break

POSITION

OPERATION

Disparate > Read: anti-social

Image 079 > Spotted on 52nd + Broadway

Citation 010 > Situationist International, “The Use of Free Time,” Bureau of Public Secrets, 1960, Web.

FIGHTING PASSIVE CONSUMPTION Leisure today has become about passive disparate consumption, as we fill our free time with Netflix, Buzzfeed listicles, and Spotify. Even the enjoyment of books, live performances, and other more “wholesome” activities qualifies as inactive entertainment. Situationist International notes the commonality of equating free time with passive consumption, “as if the only use of free time was the opportunity to become an increasingly full-time spectator of the prevailing absurdities.”010 The alternative and solution then, seems to be in active creation. In psychology, flow, also known as the zone, is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does, and a resulting loss in one’s sense of space and time. Studies have recognized that the best opportunities for flow come from making and active participation, rather than consuming and passive absorption.

POSITION

Image 080 > MakerSpaceBot

A HACKED-SPACE HACKERSPACE Just as the hackers of the Home Brew Computer Club hacked for the sake of exploration, we aim to create architecture as leisure, rather than architecture for leisure. This space for experimental play is best compared to the program we understand today as makerspaces. Makerspaces, also referred to as hacklabs, hackerspaces or hackspaces, represent the democratization of design, engineering, fabrication, and education. The generic makerspace is an opportunity for recreation through creation, however generic that creation is. Our architecture will be a makerspace for inventing new architectural hacks. We are seeking to create a makerspace that does not merely feed an old value system or perpetrate neoliberal ideals. This intervention will not only participating in the new architectural hacking culture, but further the movement through its use and occupation.

POSITION

TYPOLOGY

Image 081 > Mark Power // England [1998]

ARCHITECTURAL HACKING’S POINT OF ENTRY: BREACHING THE URBAN ENVIRONMENT How can an architectural typology not only anticipate, but promote agency for the occupant of architecture? As a capital Architect, there’s an approach by which we hand agency over to the occupant, the lower case architect. We can design “ingredients” instead of complete works, promoting user assembly and disassembly. Adopting the ideologies of hacking and the open source movements democratizes ideas, releasing the concepts of Architects, and creating a whole new category of creators, architects. The urban environment today is designedly non-malleable; a solid landscape of order and structure. An architectural typology that intends to challenge the status quo must, like a hacker, find an entry point or area of vulnerability within our environment. We find this not in the explicit urban architecture, but in the implicit. Scaffolding is the architecture that makes architecture. It’s something that’s overlooked as a “jig,” or just a means to an end. It is seen as a temporary structure to facilitate the construction of a permanent one. This temporality, flexibility, and modularity presents itself as an opportunity to the architectural hacker; it’s vulnerable. While one needs a wrecking ball to disassemble an office building, scaffolding can be disassembled with a few wrenches.

POSITION

Symbiotic > Mutual need, reliance

SYMBIOSIS TO PARASITISM

Parasitism > Subversive, disruptive, unwanted infestation

Scaffolding is a constant reminder that our city is evolving around us to be more and more efficient. What it stands for (growth, continuation of urbanity, cycles of efficiency/ construction) can be totally negated and turned against itself.

Image 082 > A Studio Beneath a Bridge // Fernando Abellanas [Valencia, Spain]

At its core, scaffolding as an architectural typology has a symbiotic relationship with the structure itâ&#x20AC;&#x2122;s associated with. What if this relationship was shifted from that of symbiosis to parasitism. We seek to create an architecture that behaves as a parasitic scaffolding, attaching itself to existing structures and programs in order to improve the quality and quantity of leisure available in these places.

POSITION

EXPERIMENTATION

In which we show you the cool things we made

LIGHT 3

Image 083 > Cubic Light // Pinhole Architecture

SPATIALIZING THE IMMATERIAL Our experimental research confronts notions of light, time, projection, and drawing from multiple angles. At its core, this body of work is about questioning the means/media/methods we employ as Architects. We utilize the form of a cube in each of our experiments as a base spatial typology from which we can complexify our methodologies in our future design process.

EXPERIMENTATION

DIGITAL CAMERA OBSCURA

Image 084 > Digital Camera Obscura in Action

Video 001 > Time-lapse [Machine Process]

LET’S BECOME A MODERN VERMEER Inspired by several camera-less photography methods, we developed a machine that replaces the “camera”, capturing code, algorithms, and digital form instead of scenes or portraits in a process that marries analog and digital. Photography is fundamentally time and light, captured by either a digital sensor or film. Camera-less photography takes the camera out of the equation and works directly with the manipulation of film and photo-paper in an inherently analog way. Conventional techniques typically go through a process where the whole paper is exposed, and then goes through several complete “baths”. We developed a process by which we can take advantage of several of these analog techniques more systematically. We hacked a FDM printer to expose photo paper with moving light. Our process allows us to expose small areas, or “pixels”, individually. It’s both a computer numerically controlled camera and darkroom, capable of variable localized exposure. By hacking a purpose built machine and replacing two fundamentally efficient processes with an indirect method of producing an image, the machine critiques the efficiency of technology and productive processes. Form and space is “digested” through this system. It provides a new way of seeing. Drawings explore the possibilities of light as an architectural medium/material in a way that embeds notions of time.

EXPERIMENTATION

ANALOG CAMERA OBSCURA

1 Optics +lens focuses and directs light

2 Mirror +concave mirror positions/reﬂects light on comparative mirror

3 Artists transfer image from comparative mirror to painting +matches edge of mirror to paint until it “disappears”

DIGITAL CAMERA OBSCURA

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+ NH2 Me +

Conversion from digital form to g.code +XYZ coordinates +Speed +Laser Brightness

EXPERIMENTATION

2 Computer-numerically-controlled laser exposes B+W photographic emulsion +5mw +600nm

HSO4 -

Emulsion developed through traditional print making techniques +Develop +Stop +Fix

DIGITAL CAMERA OBSCURA > STUDIES

DIGESTING FORM: A WAY OF SEEING As Architects, we have great intentionality with the tools we use. This process speaks to both this intentionality and hacking ideology. This device uses a laser for exposure; which gives us a high concentration of light in a small area. A laser is a sharpened pencil, while something like a LED is a bucket of paint.

Cartesian x,y,z <

Image 085 Digesting Form <

Exposure is controlled by two factors: the amount of light and the duration of exposure. As the photographic paper is optimized for the amount of light used in traditional darkroom techniques, exposure times with a laser are very short. This conclusion drove us towards low power lasers, which inherently have low quality lenses. Cheaper lenses usually lend themselves to a shorter dispersion and focus range. The drawing implications of this are that the further the laser is from the paper, the less powerful and concentrated the light. This dynamic produces natural line weights in our drawings. By drawing devices with light in three-dimensional Cartesian space, the three-dimensional information is translated into the drawings.

EXPERIMENTATION

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8{5}

30{6}

30 24 20 14 8{8}

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8{3}

30{0}

13{8;0} {8;0} 11{0;19;1;0} 27 28{8;0} 16{8;0} 28{8;0} 17{8;0} 29{8;0} 29{8;0} 18{8;0}

17{8;0} 28{8;0} 28{8;0}

16{8;0}

16{8;0} 16{8;0} 28{8;0}

16{8;0}

15{5;0} 15{6;0} 28{8;0} 27{0;40;1;0} 27{7;0} 13{8;0} 15 17 14 20 24 26 25 23 19 16 18 22 12 21 8{8;0} 27 {0;19;0;0} 23{1;0} 18{8;0} 23{0;21;1;0} 12{0;23;1;0} 26{0;38;0;0} 24{0;25;1;0} 30{8;0} 23{0;18;1;0} 26 {0;27;1;0} 12{0;38;1;0} {0;0;0;0} 19 {8;0} 29 11{0;21;0;0} 13{0;30;0;0} 8{0;2;1;0} 25{0;35;1;0} 12{0;23;0;0} 10{0;16;1;0} 25{0;32;1;0} 20{0;5;0;0} 24{0;25;0;0} 29{8;0} {0;35;0;0} 25{0;36;0;0} 21{0;7;1;0} 27{2;0} 14 12{0;27;0;0} 17{8;0} {0;0;1;0} {0;37;1;0} 20 26 9{0;10;0;0} 24{0;29;1;0} 13{0;33;0;0} 10{0;12;1;0} {0;40;0;0} 8{0;3;0;0} 14 25{0;32;0;0}10{0;14;0;0} {4;0} 9{0;5;1;0} 15 17{8;0} 25 22{0;15;0;0} {0;34;1;0} {0;8;0;0} {8;0} 21 27 {8;0} {0;17;1;0} 29 10 {0;33;1;0} 13 14{0;37;0;0} 22{0;11;1;0} {8;0} 9{0;10;1;0} 16 13{0;30;1;0} 11{0;20;0;0} 14{0;39;1;0} 10{0;13;0;0} 23{0;22;0;0} 29{8;0} 27{3;0} 22{0;15;1;0} 12{0;24;0;0} 17{8;0} 27{8;0} 14{0;39;0;0} {0;18;0;0} 23 {0;31;0;0} 13 {0;26;0;0} 24 {0;28;0;0} 12 9{0;9;0;0} 16{8;0} 11{0;20;1;0} 23{0;22;1;0} 28{8;0} 12{0;24;1;0} 24{0;28;1;0} 9{0;6;1;0} 12{0;26;1;0} 16{8;0} 19{8;0} 28{8;0} 20{0;4;0;0} 14{0;36;1;0} 16{8;0} 19{8;0} 20{0;1;1;0} 13{8;0} 20{0;1;0;0} 8{0;2;0;0} 8{0;3;1;0} {0;6;0;0} 9 {0;4;1;0} 20 15{8;0} 21{0;8;1;0} 22{0;11;0;0} 9{0;7;0;0} 10{0;13;1;0} 13{0;34;0;0} 10{0;16;0;0} 9{0;9;1;0} 22{0;12;0;0} 18{8;0} 22{0;14;1;0} 10{0;17;0;0}

15{8;0}

{8;0} 30 {8;0} 16

13{8;0}

25{0;31;1;0}

30{8;0} 18{8;0} 23{0;0}

29{8;0} 17{8;0} 29{8;0} 18{8;0} 30{8;0} 24{0;29;0;0} 18{8;0} 19{8;0}

12{23}

21{40} 21{40} 20{40} 20{40} 20{40} 19{40}

19 20 25 26 27 15 16 17 18 29 30 28{40}

19{40}

24{40} 23{40} 23{40}

12{21} 13{24} 13{26} 11{19} 14{28} 14{30} 15{32} 11{16} 15{34} 16{36} 16{38} 11{13} 16{40} 22{40} 17{40} 18{40} 10{10} 18{40}

22{40}

12{22} 13{25} 13{27} 14{29} 14{31} 15{33} 16{35} 16{37} 16{39} 17{40} 17{40} 18{40} 19{40}

9{7} 9{4} 8{1} 8{0} 8{3} 8{2} 9{6}10{9} 9{5} 11{12} 10{8} 11{15} 11{18} 10{11} 11{14} 11{17} 12{20}

21{40} 22{40} 22{40} 22{40} 23{40} 24{40} 24{40}

EXPERIMENTATION

85 11 {244} 11 {244} 1111 {244} 11 {244} 11 {244} {244} 11{244} {244} 11 {244} 1111{244} {244} 1111 {244} {244} 11 {244} {244} 12 {244} 1111 {244} 11 {244} 12 {244} 15 {244} {244} 12 {244}11 {244} 11 {244} {244} 12 11 {244} 11 {244} 1515 {244} 12 {244} 11 15 {244} {244} 11 {244} 11 {244} 15115 {244} 5{244} {244} 12 {244} 12 {244} {244} 15 {244} 15 {244} 1515 {244} 15 15 {244} 15 {244} {244} 12 15 {244} {244} 12 {244} 12{244} {244} 12 {244} 12 15 {244} {244} 12 {244} 1212 12 {244} {244} 12 {244} 12 {244} 12 {244} 12 {244} 12 {244} 12 {244} 12 {244} 13 {244} 12 {244} 12 15 {244} {244} 12 {244} 13 {244} 12 {244} 12 {244} 13 {244} 13 {244} 12{244} 12 15 {244} {244} 13 {244} 13 {244} 12 {244} 12 {244} 13 {244} 13 {244} 13 13 {244} {244} 15 {244} 115 5{244} {244} 15 15 {244} {244} 1616 {244} 15 {244} {244} 16 15 {244} 15 15 {244} {244} 13 {244} 13 {244} 13 {244} 13 16 {244} {244} 13 {244} 15 {244} 15{244} {244} {244} 15 {244} 1313 {244} 15 15 {244}15 {244} {244} 15 {244} 16 {244} 16 {244} 15 12 {244} {244} 15 {244} 16 {244} 16 {244} 16 {244} 15 {244} 16 {244} 16 13 {244} 15 {244}15 {244} 14 {244} 16 14{244} {244} {244} 15 {244} 16 {244} 16 {244} 16 15 {244} {244} 16 {244} 16 {244} 13 {244} 16 {244} 13 14 {244} {244} 13 13{244} {244} {244} 16 12 {244} 16 {244} 16 14 {244} 13 {244} {244} 15 13 {244} {244} 16 {244} 16 14 {244} 14 {244} 16 13 {244} 14 {244} {244} 16 15{244} {244} {244} 16 14 {244} 14 {244}{244} {244} 16 15 14 {244} {244} 16 {244} 14 {244} 16 14 {244} {244} 16 15 {244} {244} 16{244} 15 {244} 15 {244} {244} 17 1515 {244} 15 {244} {244} 15 14 {244} 15 {244} 15 {244} 13 15 {244} {244} 15 14{244} {244} {244} 15 {244} 16 {244} 16 {244} 16 14 {244} {244} 16 {244} 16 {244} 16 {244} 15 {244} 15 {244} 15 14 {244} {244} 15 {244} 15 15 {244} 15 {244} 15 {244} 14 {244} {244} 13 14 {244} 14 {244} 14 {244} 14 {244} 14 {244} 13 {244} 13 {244} {244} 12 13 {244} 14{244} {244} 14 14 {244} 14 {244} 14 {244} 16 {244} 16 {244} 16{244} 13 {244} 14{244} {244} 14 14{244} {244} 16 {244} 14 16 {244} {244} 1414 {244} 16 {244} 13 {244} 14{244} {244} 14 {244} 16 {244} 16 15 {244} {244} 1617 {244} {244} 1617 {244} 14 {244} 11 {244} 14 {244} 14 {244} 14 {244} 14 {244} {244} 15 {244} 1{244} 14 {244} {244} 11111 {244} 11 11 {244} {244} 1717 15 {244} 13 {244} {244} 15 {244} {244} 11 {244} 11 {244} 15 {244} {244} 1111 {244} 1715 {244} 14 {244} 17 {244} 15 {244} 16 {244} 13 {244} {244} 12 1514 {244} 11 {244} 13{244} {244} 15 {244} 13 {244} 16 {244} 15 {244} 13 {244} 11 {244} 14 15 {244} 16 {244} 11 {244} {244} 15 {244} 11 {244} 13 14{244} {244} 15 {244} 11 {244} 11 {244} {244} 11 {244} 11 {244} {244} {244} 1110 11 15 {244} 12 {244} {244} 11 {244} 11 {244} 13 {244} 10 {244}10 11 13 {244} {244} 13 {244} {244} 11 14 {244} 10 {244} 14 {244} {244} 11 14 {244} {244} 12 {244} 11 14 {244} 11 {244} {244} 13 {244} 12 13 {244} 16 {244} {244} 11 {244} 12 10 {244} {244} 12 10 {244} 13 {244} 1311 {244} 11 {244} 11 10 {244} {244} 11 14 {244} 10 {244} {244} 11 {244} 13{244} 15 {244} {244} 14 {244} 10 {244} 11 {244} {244} {244} 11 13 {244} 14 {244} 13 {244} 14 {244} 14 {244} 13 {244} 12{244} 13 {244} 11 13 {244} 12 {244} 12 {244} 13 10 {244} 10{244} {244} 1010 10 {244} 10{244} {244} 14 {244} 14 {244} {244} 10 {244} {244} 10 {244} 13 10 {244} 13 14 {244} {244} 15 {244} 10 {244} 10 {244} 10 {244} 1414 1{244} {244} 14 4{244} {244} 14 {244} {244} 17 14 {244} {244} 11 10 {244} {244} 1313 10 {244} 14 13 {244} 10 {244} 14 {244} {244} 14 {244} 14 {244} {244} 11 1313 {244} {244} {244} 11 {244} {244} 11 1414 {244} 14 {244} 13 {244} 13 10 {244} 10 {244} {244} 13 14 {244} {244} 13 13 {244}{244} {244} 12 10 {244} {244} 13 {244} 14 12 15 {244} {244} 14 {244} 14 {244} 14 {244} {244} 14 {244} 12 15 {244} 14 {244} {244} 1313 {244} 13 {244} 13 {244} {244} {244} 13 12 10 {244} 1010 {244} {244} 12 10 {244} 10 {244}12 {244} 13{244} {244} {244} 1212 14 10 {244} 14{244} {244} 14 {244} {244} 13 {244} 12{244} {244} 12 13 {244} 10 {244} {244} 13 {244} 13 12 {244} 12 10 10{244} {244} 13 {244} 10 {244} 13 {244} 12 {244} {244} 11 12 10 {244} {244} 13{244} {244} 11 {244} 11 12 {244} {244} 1111 13 {244} 10 {244} 11 10 {244} 13 {244} {244} 12 {244} 12 {244} 11 10 {244} {244} 13 {244} {244} {244} 13 1312 {244} 12 {244} {244} 13 13 {244} 14 {244} {244} 1010 {244} {244} 13 1414 {244} {244} 11 {244} 13 {244} 9 {208} 12 12 {244} {244} 12 1313 {244} {244} 11 {244} 1113 {244} 11 {120} {244} 11 {244} 13 {244} 12 10 {244} {244} {244} 15{244} {244} {115} {244} 11 99 14 {244} {244} 11 12 {244}12 {244} {244} 11 10 {244} 15 99{119} {118} {117} 10{244} {244} 10 {244} 15 {244} {244} 12 {244} 12 {244} 12 {244} 13 11 {244} 10 14 14{244} {244} 14{244} {244} {244} 11 {244} 11 {244} 11 11 {244} 13 {244} 12 15 {244} 14 {244} {244} 12 17 {244} 14 {244} {244} 1112 {244} 12 {244} 12 12 12 {244} {244} 9 {116} 10 {244} 10 {244} 12 {244} {244} {244} 11 10 {244}1314 15 {244} {244} 10{244} {244} {244} 12 14 {244} 14 {244} 14 {244} 14 {244} 13 {244} {244} 13 {244} 9 {209} {244} 12 {244} 14 {244} {244} 12 15 {244} 10 {244} 14 {244} 15 {244} 14 {244} {244} 12 {244} 1212 9 {207}10 14 {244} 13 {244} {244} 13 {244} 12 13 {244} 14 {244} {244} 10 {244} 13 {244} 10{244} {244} {244} 17{244} 910{167} 17 14 {244} 13 {244} 15 {244} 10 12 {244} 10 {244}14 10 {244} 10 {244} {244} 13{244} 10{244} {244} 9 9{206} 10 {244} 10 9{205} {168} 12 15 {244} 17 10 10{244} {244} 9 {166} 10{244} {244} 12 {244} {244} 17{244} 12 12 {244} {244} 14 {244} 13{244} 10 {244} 11 14{244} {244} {210} {244} 99 {165} {244} 12 {244} 11 10 {244} {244} 13 {164} 1010 {244}910 17 {244} {244} 13 10 {244} {244} 13 {244} {244} 11 {244} 13 {244} 13 14 {244} {244} 16 14 {244} {244} 10 {244} 1414 {244} 17 {244} {244} {244} 16 13{244} {244} 14 {244} 11 {244} {244} 1313 {244} 16 1011 {244} {244} 14 {244} 12 {244} 13 {244} 13 14{244} {244} {244} 17 14 {244} 13 {244} 10 {244} 17 {244} {244} 13 {244} 13 13 {244} 12 {244} 17 {244} 13 {244} 12 {244} 13 {244} 13 {244} 13 {244} 1 3 {244} 13 {244} 13 {244} 17 {244} 13 10{202} {244} {244} 12 11 {244} {244} 13 {244} 13 9{204} 13 {244} 14 {244} 17 13 {244} {244} 12 {244} 13 13 {244} 17 99 {244} 17{244} 12 {244} 13 {244} 13 11 {244} 14 {244} {244} 12 13 {244} 13 {244} {244} 13 {244} 17{244} {203} {244} 12{244} 14 {244} {244} 12 14 {244} {244} {244} 12 {244} 13 13 {244} 14 {244} 11 {244} {244} 13 9 11 {169} 14 {244} {244} 13 13 {244} {244} 12 {244} 1212 {244} 12 14 {244} {244} 12 {244} 13 {244} 17 {244} {244} {244} 12 {244} 17 {244} {244} 12 9 11 {161} 14 {244} 99 {163} 13 {244} {162} {244} 13 11 {244} 11 {244} 11 {244} 16 {244} 14 {244} 17 {244}17 {244} 12 {244} 12 {244} 12 {244} 1{244} 2 {244} 12 11 {244} 13 {244} 12 {244} 12 {244} {244} 1617 {244} 12 {244} 12 {244} 12 {244} 12 17 {244} {244} 13 12 {244} 12 {244} 11 {244} {244} 13 {244} 13 13 {244} 11 {244} 14 {244} 14 {244} 14 {244} 14 {244} 16 {244} 14 {244} 14 {244} {244}12 {244} 12 {244} 12 13 17 {244} 11 {244} 12 {244} {244} 17 {244} 16 {244} {244} 1717 {244} 12 13 {244} {244} 16 12 {244} 13 {244} 11 {244} {244} 12 {244} 16 17 {244} 17 {244} {244} 16 {244} 13 11 {244} 11 {244} 12 {244} 12 {244} 16 17 {244} {244} 16 {244} 12{244} {244} 16 13 {244} 12 {244} {244} 16 {244} 16 {244} 17 {244} 16 {244} 12 {244} 16 {244} 13 {244} 12 12 {244}11 {244} 13 {244} {244} 12 {244} 17 {244} 13 {244} 13 {244} 17 {244} 13 {244} 13 13 {244} {244} 13 {244} 12 {244} 17 {244} 12 {244} 13 13 {244} {244} 13 {244} 11 {244} 13 {244} 13 {244} 12 {244} 12 {244} 13 {244} 12 {244} 17 13 {244} {244} 12 {244} 13 13 {244} 12 {244} 13 {244} 12 {244} 11 {244} 13 {244} 12 {244} 13 {244} 12 17 {244} 12 13 {244} {244} 13 {244} 13 {244} 11 {244} 13 {244} 12 14 {244} {244} 17{244} {244} 13 13 {244} {244} 12 12 11 {244} {244} 12 13 {244} 12 14 {244} {244} 12 {244} 11{244} {244} 12 1414 {244} {244} 12 {244} 14 {244} {244} 12 11 {244} 1414 {244} 11 {244} {244} 14 {244} 14 {244} 14 {244} 14 {244} 11 {244} {244} 12{244} 11 {244} 13 {244} 1111 14 {244} 14 {244} 14 {244} 14 {244} 11 {244} {244} 1212 {244} {244} 12 {244} 11 {244} {244} 16 {244} 16 {244} 16 {244} 16 14{244} {244} {244} 16 {244} 16 15 {244} 14 {244} 16 12 {244} {244} 16 11 {244} 13 {244} {244} {244} 17 {244} {244} 1112 15 {244} 1414 11 {244} 12 {244} {244} {244} {244} 12 {244} 11 {244} 12 14 {244} 15 {244} 15 13 {244} {244} 12 {244} {244} 11 {244} 11 {244} 1312 {244} 15 {244}15 {244} 11 15 {244} {244} {244} 13 11 {244} {244} {244} 1111 15 {244} 15 {244} {244} 13 13 {244} {244} 13 11 {244} 12 {244} 12 {244} 17 {244} 15 {244} 15 {244} 13 {244} 13 16 {244} 12 {244} 15 {244} {244} 11 {244} 1212 {244} 13{244} {244} 1517 16 {244} {244} 15 {244} {244} 13 11 {244} 11 {244} 15 {244} 16 {244} 15 {244} {244} 13 17 {244} {244} 11 {244} {244} 12 {244} 1111 {244} {244} {244} 12 17 {244} 11 17 {244} {244} {244} 11 11 {244} 12 {244} 12 12 {244} 12 {244} 12 {244} 11 {244} 12 11 {244} 17 {244} {244} 12 {244} 12 {244} 12 {244} 11 {244} 12 {244} 12 12 {244} {244} 12 {244} 16 12 {244} 12 17 {244} 12 {244} {244} 12{244} {244} 16 11 {244} 12 {244} 11 {244} {244} 16 12 {244} 11 {244} 17 {244} 16 12 12 {244} 11 {244} {244} 16{244} 17 {244} 12 {244} 12 {244} 11 {244} 12 {244} 12 {244} 11 {244} 11 {244} 11 {244} 17 {244} 11 {244} 12 {244} 17 {244} 12 {244} 11 {244} 11 {244} 11 {244} {244} 17 {244} 17 {244} 17 {244} 17 {244} 17 {244} 16 {244} 16 11 {244} {244} 16 {244} 17 {244} 11 11 {244} 16 {244} 12 17 {244} 11 {244} 16 {244} 12 {244} 12 {244} 17 {244} 16 {244} {244} 17 {244} 16 {244} 1616 11 {244} {244} {244} 16{244} {244} {244} 1216 16 17 {244} 11 {244} 16 {244} {244} 16 {244} 1112 {244} 11 {244} 11{244} 17 {244} 16 {244} 16 {244} 17 {244} 11 {244} 11{244} 17 {244} {244} 11 {244} 17 {244} 16 {244} 16 {244} 11{244} 11 17 {244} 11 {244} {244} 17 17 16 {244} {244} 11 {244} 16 {244} 17 {244} 11 {244}16 {244} {244} {244} 1717 16 {244} 17 {244} 16 {244} {244} 17{244} 16 {244} 17 17 {244} {244} 17{244} 16 {244} 17 {244} 17{244} 17 17 {244} 16 {244} 17 {244} 11 {244} 12 {244} 10 {244} {244} 11 1010 {244} 10 {244} {244} 12 10 {244} 10 11 {244} {244} 9{244} 9{244} {214} 99 {244} {213} 99{215} {174} 9{244} {173} {244} 1212 {244} 11911 12 137} 9 {172} {135} 99{{63} {97} 9{136} {95} 12 {244} {64} 9{96} {94} 12 {244} 911 {62} 9{171} {134} 9{212} {244} 11 9{244} 999 11 {244} 911 {244} {61} {244} 1010 {244} 9{93} {60} 11 {244} {244} 11 {244} 11 12 {244} 1111 {244} 8{244} {244} {244} 11 12 9{14} 11 9 {133} 11 {244}{244} 10 99{65} {244} 1010 {244} 11 {244} 10 {244} 10{244} {244} {244} 12 9{98} {175} {244} 11 {244} 9 {170} 10 9{138} {216} {244} 12 10 10 {244} {244} 12 9 {211} {244} 10{244} {244} 812 15 {244} {13} {244} 12 11 {244} 8 {7} 10 8 {0} {244} {244} 10 {244} 11 8 8 {4} {244} 11 109{244} 8 {15} {244} 12 {244} {217} {12} 8 {244} {6} 10 {244} {46} 12 {176} 11 8 9{1}{45}1299{244} 9{47} {48} 8 {2} {139} {244} 8 {3} 999{99} 11 {244} 12 {244} 10 {244} 8 {5} 12 10 {244} {244} 11 {244} 11{244} {244} 10 {244} {66}910{44} 9 {43} 11{244} 11 {244} 12 {244} 11 15 {244} 11 11 {244} 1010 {244} {244} 10 {244} 10 {243} 9{244} 9{191} 9{154} 9{114} {79} 8 8{33} {8} 15 {244} {244} {11} 10 {244} 8 {9} 8 88 {17} 9{16} 99{67} 10 {140} {10} 8 12 9{100} {177} {30} 10 {218} 10 {244} 1011 {244} 10 {244} 10 {244} 8 {18} 10 {244} {31} {244} 11 {244} 88 {32} 10 {242} 9 {190} 11 {244} 9 {153} 1010 {244} {244} 10 {241} 9 {113} 9 {189} 9 9 {112} 9 {78} {77} {76} {75} {111} {74} 9 {151} {244} 9{152} {110} 14 {244} 9 1010 {244} 12 {244} {244} 1111 10 {244} 9{188} {150} {244} 9{240} {187} 9 {49} 8{29} {27} {28} 14 {244} 1010 {244} 11 {244} {42} 10 {239} {26} 11 {244} 898 9 {109} 12 {244} 10 {244} 9 {50} {244} 11 10 {244} 11 {244} 15 {244} 10 {244} 10 {244} 11 {244} 11 {244} {244} 11 10 {244} 10 {244} 9 {149} 11 {244} {244} {244} 11 9 {40}910 11{39} 9 {41} {244} 11 14 {244} 9 {68} 10 {244} 10 {244} 910{38} 10 {244} {244} 11{244} 12 {244} {244} 11{244} 1111 9 {186} {244} 10 {244} 14 {244} 9 {51} {244} 1212 9 14 {244} {244} 89 {37} {34} {35} 10 {244} 10 {244} 10 {238} 10 {244} {244} 12 {81} 10 {244} 9{80} {244} 12 {244} 11{244} 99 {88} 9 {101} 9{87} 11 14 {244} 11 10 {244} 9{36} 9{121} 10 {244} 9{155} {59} 11 10 {244} {244} 11{244} 12 {244} {244} 11{244} {244} 1111 10 {244} 9 {122} {156} 8 {244} 12 {244} 12 {244} 9 {86} {160} 14{244} {244} {159} {158} 9 9{157} 11 {244} 10 {244} 14 9 {141} 99 {123} 9125} {126} 9 {9 {244} 12 {124} {24} {25} 88 {23} {244} 12 {244} 12 14 {244} 10 {244} 10 {244} {244} 12 12 {92} {90} 99 {91} {244} {89} 10 {244} 12 {244} 12 {219} 999 {83}{84} 9{237} 9 {85} 9 12 {244} 9{185} {148} 910{178} 14{244} {244} 11 9 {82} 9 {73} 14 9 {244} 12 {58} 8 8{21} 9 9 {22} {57} {244} 11{244} {72} 12 {244} {244} 9{108} {71} 12 {244} 11 9{147} {107} 9{184} 9{236} {19} 10 11 {244} 8 10 {244} 99{146} {106} 8 9{20} 11 10 {244} {56} {69} 9910 {142} 9{183} 9{102} {179} 12 {244} {244} 10 {244} 10 {220} {105} 10 {221} 9 {55} 9 {104} 9{235} 1010 {244} 10 10 {244} 9 {145} 10{231} {244} 12 {244} {244} 9 {70}10 9 {144} 10 {244} 14 {244} 9 {182} 9 {103}10 {244}9 {54} {244} {244} 1211 {244}9 {181} 1011 {234} 9 {52} 10 {244} 9 {143} 11 {244} 9 {53} 10 {244}10 {244} 10 {233} 9 {180} 10 {244} {244} 12 12 11 {244} 12 10 {244} {244} 1313 {244} 13 {244} {244} 12 {244} 12 {244} 12 {244} 12 {244} {244} 13 12 {244} 11{244} {232} {244} 10 {244}1010 14 {244} {244} 12 10 {244} 11 {244} 12 {244} 11 {244} 10 {244} 10 {244} 10 {244} 10 {244} 12 {244} 14 {244} 13 10 {244} 10 {244} 10 {244} 10 {230} 13 10 {222} {244} 13{244} 10 {244} {244} 11 10 {244} {244} 13 13 {244} {244} 12 {244} 12 10 {244} 10 {229} {244} 12 {244} 13 10 {223} {244} 1313 14 {244} {244} 12 13 {244} {244} 12 {244} 12 {244} 12 {244} 12 {244} 12 10 {244} 10 {244} 11 {244} {244} {244} 1211 10 {244} 10 {244} 10 {244} 10 {244} 10 {244} 10 {244} 12 {244} 10 11 {244} {244} 11{244} 12 {244} 10 {244} 12 {244} 10 {244} 12 {244} 10 {228} 13 {244} 11 {244} 11 {244} 10 {244} 10 {244} 10 {244} 10 {244} 13 {244} {244} 11{244} 10{244} {224} 10 {244} 10 10 {244} 11 11 {244} 10 {244} 11 {244} 11 {244} 13 {244} 11 {244} 10 {244} 10 10 {227} 11 {244} 13 {244} 10 {244} {244} 11 {244} 11 {244} 10 {244} {244} 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13 {244} 15 14 {244} 15 {244} 15 {244} 15 {244} 15 {244} {244} 14 {244} 15 14 {244} 14 {244} 14 {244} 14 {244} {244} 15 14 15 {244} {244} 15 {244} 15 {244} 14 {244} 14 {244} {244} 15 14 {244} 14 {244} 14 {244} 14 {244} {244} 16 14 {244} {244} 15 {244} 15 15 {244} 1516 {244} 16{244} {244} 15 {244} 15 {244} 14 {244} {244} 16 14 {244} 15 {244} 15 {244} 15 {244} 14 {244} {244} 15 15 {244} {244} 14 15{244} 15 {244} 15 {244} {244} 15 1515 {244} {244} 15 {244} {244} 15 15 {244} 15 {244} {244} 15 {244} 15 15 {244} 15 {244} 15 {244} 15 {244} {244} 15 15 {244} {244} 15 {244} 15 {244} 15 {244} 15 {244} 16 {244} 15{244} 16 {244} 15{244} 15 16 {244} {244} 15 {244} 15 {244} 15 {244} 16 {244} 15 {244} 16 {244} 15 15 16 {244}

9 {201}

9 {200} 9 {192} 9 {199} 9 {193} 9 {132} {131} {127} 99 {130} {128} 9 {129}

27 26 25 24 23 18 17 16 {244} 11 30 29 28

9 {198} {194} 9 9{197} 99 {196} {195}

{244} 1616 {244} {244} 16 16 {244} {244} 16 {244} 16 {244} 1616 {244} 16 {244}

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LENTICULAR(chitecture)

Image 086 > The Ambassadors // Hans Holbein [1533]

EXPERIMENTATION

DYNAMIC THREE-DIMENSIONAL DRAWINGS Traditionally, drawings exist in a single (x/y) plane. Take Holbein’s painting, The Ambassadors, and look at from a particular angle; a skull reveals itself. This process uses skewing to create a dynamic image. Yet this planarity limits the image’s interactivity.

Interlaced > Split and merged together in alternating strips

Image 087 > A Traditional Lenticular Lens

HOLOGRAMS MEET ARCHITECTURE Introducing a third dimension in a drawing by building off of the mechanics of lenticular images, we can create graphics that act dynamically within a space or on a form. Lenticular images rely on a wavy lens overlaid on top of an image which has been interlaced. This optical device allows the image to change as the viewing angle changes. What if the medium took on the roll of the lens?

EXPERIMENTATION

LENTICULAR(chitecture) > STUDIES

THREE-DIMENSIONAL PROJECTION Using our Digital Camera Obscura we designed a process of three-dimensional interlaced projection: a two-dimensional drawing onto a three-dimensional surface. We coordinated the drawing with the 3D printed medium to employ the mechanics of a lenticular lens at a larger scale. By coating the surface in emulsion we were able to map the drawing on the surface as we had previously done with photo paper.

Image 088 Projected Cubes on a < Lenticular Surface

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AUGMENTED FORM(ality)

Image 089 > Visual Perception

LET’S GET META We explored the potentials of light as an ingredient of architecture: a medium that augments and interacts with another material in space and time. The human eye is incapable of seeing form or space; we see light. What you see as an object is merely the light reflected off of it. What if we could augment or hack the light that is being perceived without changing the form itself? Is there ultimately a difference between form and perceived form? Light has the power to augment an onlooker’s perception of form and space in a way that no other architectural material can. It’s dynamic, interactive, intimate, and immaterial.

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SUBVERTING THE CUBE

Image 090 Behind the Scenes <

Using a projector with scripted input and a three-dimensional printed object, we created animations that showcased this theory. The perceived form of the object is shifted based on the geometry of light received from the projector.

Video 002 Cinematic Transformations <

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projection source

3D projection surface

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PINHOLE ARCHITECTURE

Image 091 > Source, Screen, and Surface

A SPATIAL PINHOLE LENS How can some of these concepts operate within the constraints of conventional architectural methods? We exploited the mechanics of a pinhole camera lens to explore the possibilities of daylight augmenting interior spaces. This system works in two parts: a screen and a projection surface which are designed in conjunction with one another. Light becomes the operative component that acts as a catalyst to activate the system. The movement of light throughout the day changes the appearance of the space based on time. We are using the process of the natural environment to hack the form of the built environment.

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PINHOLE ARCHITECTURE > STUDIES

CHARTING CHANGE Using a hand-held light and a “dark-box” (covered by our “screen”), we exposed photo-sensitive paper (our “projection surface”) to map the augmentation of the screen geometry based on location of light source.

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Image 092 Dark-Box with Three-Dimensional < Screen

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FUNCTION

In which we explain what our project even does

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INTRODUCTION

Image 093 > Hacktivism

THE INTERSECTION OF DESIGN AND DEMONSTRATION Our project functions as a hacker-activist-space. We are addressing this new program by combining two existing programmatic missions. While both types of spaces work to serve the community and a larger purpose, they have operated on non-intersecting parallel paths until now. By merging the bodies of people that occupy these spaces, we are advocating for a future community that participates in a culture of activism through design.

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MAKERSPACES

Image 094 > ZB45 FabLab

DESIGNING A CULTURE Makerspaces are community centers with tools that enable the design, prototype, and creation of works. They combine manufacturing equipment, community, and education in order to facilitate fabrication. This level of production would not be economically or spatially possible with only the resources available to most individuals. Makerspaces also function as centers for peer learning and knowledge sharing. They often host events such as workshops, lectures, and presentations. Social activities for community members can also be an important use of the space. Maker culture encourages active learning in a social environment. It also emphasizes informal, networked, and shared learning motivated by fun and self-fulfillment. Maker culture encourages novel applications of technologies, and the exploration of intersections between traditionally separate domains. As a social movement with an artisan spirit, the maker movement has made the previously exclusively institutional domain of digital fabrication accessible at a personal scale.

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ACTIVIST SPACES

Image 095 > Occupy Wall Street

Citation 011 > Mona Harb, “Public Spaces and Spatial Practices: Claims from Beirut,” Jadaliyya, 25 October 2013, Web.

AN ADOPTIVE AND ADAPTIVE TYPOLOGY By nature, spaces for activism are largely co-opted places born from availability and opportunity. As these community born efforts often operate on volunteers and donations, the built environment they occupy is usually of minimal concern provided that it is a physical place to gather. Many other types of community centers, such as churches, also function as places of activism. The city itself is often the canvas for activism, as public spaces typically provide gathering spaces in parks and plazas. These spaces can function as the backdrop for various meetings, protests, and activist events. According to Mona Harb, “many scholars argue that cities without vibrant, dynamic, interactive public spaces do not breed collective action, as they do not allow people to meet, exchange, disagree, debate, and make claims.”011

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LOCATION

In which we explain where our project is

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111 EIGHTH AVENUE

Image 096 > The East End of 811 Eighth Avenue

LOCATION

A BLOCK OF BUILDING 111 Eighth Avenue is an art deco monolithic building encompassing an entire Manhattan block, between Eighth and Ninth Avenues, and 15th and 16th Streets. As the current NYC Google Headquarters, the building occupies the territory of technological advancement and the digital workforce. At 2.9 million square feet, 111 Eighth Avenue is the fourth largest building in the city, although it only stands 18 stories high.

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Image 097 Site Plan <

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Image 098 > Building Massing

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NEIGHBORHOOD

Image 099 > The Northeast Corner

A CHELSEA GIANT 111 Eighth Avenue is located on the southwest side of the island of Manhattan in Chelsea. The districtâ&#x20AC;&#x2122;s boundaries are roughly 14th Street to the south and the Hudson River and West Street to the west, with the northern boundary variously described as 30th Street or 34th Street, and the eastern boundary as either Sixth Avenue or Fifth Avenue. The neighborhood is primarily residential, with a mix of tenements, apartment blocks, city housing projects, townhouses, and renovated row-houses, but its many retail businesses reflect the ethnic and social diversity of the population. It was the industrialization of western Chelsea that brought immigrant populations into the neighborhood. 111 Eighth Avenue is located adjacent to the Chelsea Market and a short distance from the Highline, an increasingly popular post-industrial destination. The neighborhood also features over 200 galleries, making it one of the cityâ&#x20AC;&#x2122;s centers of the art world.

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HISTORY

Image 100 > Currently NYC Google Headquarters

INDUSTRIAL TO TECHNOLOGICAL Originally Union Inland Terminal, 111 Eighth Avenue was built in 1932 by architect Lusby Simpson of Abbott, Merkt & Co. It was originally a warehouse and union station which was used to transport goods by truck to and from railroad lines and shipping piers. The second floor was the commerce section, while upper floors were used for manufacturing. At its peak in the 1930s, 8000 tons of goods passed through it each month. When technology advanced and freight railroads played a diminishing role in Manhattan, the building converted to the Port Authority Building in 1947. The headquarters remained there until 1970. Previous to 1998, the building served a dwindling warehouse/back-office outpost. The acquisition of the building by Taconic Investment Partners lead to it being marketed as a carrier hotel for the new booming internet business. In 2005, Google began leasing space in the massive building. By 2010, the companyâ&#x20AC;&#x2122;s need for space had increased so much that they purchased the entire building. Since then, Google has had a challenging time releasing tenants signed with the previous owner and many large corporations still have offices there. Google embodies the labor shift in the tech revolution. Their takeover of the Port Authority Building does the same. As a city, weâ&#x20AC;&#x2122;re no longer a trade hub, but a tech hub.

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INTERIOR ENVIRONMENT

Image 101 > Google Scooters

TO WORK OR PLAY? Each floor at 111 is designed to provide environments for teaming and socializing as well as quiet, focused work. One side of each five-acre floor-plate features living room seating areas and other comfortable nooks. The center core is comprised of huddle rooms, massage rooms, pantries, etc. Along the other side of the long floor-plate are workspaces with extensive benched desking. In these areas, the volume is kept low so Googlers can focus on their projects. The mood on each floor is dictated by themes which vary from “The Four Seasons” to “New York City”. Because of their health focus and because the building is seriously under-served by elevators, Google emphasizes “active design”. Googlers are encouraged to use stairs to travel between floors and the long floor-plates ensure that Googlers take plenty of steps each day. In addition, Google offers massage services, fitness centers and various classes on their NYC campus. Google already sees themselves as destabilizing the labor economy, but are they succeeding? Does it actually change the nature of their work and their environment in a meaningful way?

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THE 20%

Image 102 > 20% of Space

Citation 012 > Jilian D’Onfro, “The Truth About Google’s Famous ‘20% Time’ Policy,” Business Insider, 17 April 2015, Web.

ENCOURAGING WORKING “FREE-TIME” One of Google’s most famous management philosophies is something called “20% time.” The founders encourage their employees, in addition to their regular projects, to spend 20% of their time working on what they think will most benefit Google. Supposedly, this empowers them to be more creative and innovative. Many of their significant advances have been formed in this use of employee time. These include Google News, Gmail, and AdSense. It is not something that technically gets formal management oversight, so the use of the policy waxes and wanes over time. Typically, employees who have an idea separate from their regular jobs will focus 10% of their time on it, until it starts to demonstrate impact. Last time the company checked, only about 10% of Google employees participate as well. Google HR boss Laszlo Bock explains the reality of the strategy. “In some ways, the idea of 20% time is more important than the reality of it. It operates somewhat outside the lines of formal management oversight, and always will, because the most talented and creative people can’t be forced to work.”012 Based on this policy, we’ve explored the concept of 20% space through simple massings attached to the NYC Google Headquarters. By spatializing the practice for creative productivity, architecture begins to play a role in the innovation that occurs.

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CITATION

In which we share the sources that influenced us

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Burnham, Scott. Design Hacking: DIY Innovation, Resourcefulness, Self-Reliance. Amazon Digital Services, 2016. In this essay, Burnham breaks down and rebuilds our preconceptions of the act of hacking, from the criminal breach of digital data to urban hacking projects. He defines “design hacking” as a spirit of resourcefulness of the individual to overcome the limitations of our products and systems through design. The work brings up notions of agency within design, seeing “design hacking” as a way to shift the imbalance from the designer to the user.

Davies, Daniel. Rebel Architecture: Building a Better World. 2014. Al Jazeera English, 2014. Web. This micro-documentary series follows six architects in developing, troubled, or disaster-stricken regions. All are working on projects that present a solution to critical living solutions. These architects navigate loopholes in the law, and often ignore the law altogether, to employ their skills and knowledge to address social needs. This series served as confirmation to us that rebel architects do exist and provided precedence for built structures that serve the community rather than the structured institutional framework they break.

D’Onfro, Jilian. “The Truth About Google’s Famous ’20% Time’ Policy.” Business Insider. 17 April 2015. http://www.businessinsider.com/google-20-percent-timepolicy-2015-4. This article highlights the famous Google policy regarding the use of 20% of employee time for projects not specifically related to their workload. It cites “Work Rules!” by Google HR boss Laszlo Bock to explain the realities of the strategy and the downfalls of the system. D’Onfro notes the enthusiasm from other dot-com start-ups to implement similar policies. We used the information provided in this article to influence our opinion of Google’s work/play strategies and their effectiveness. 144

Greenwood, Jeremy. The Third Industrial Revolution: Technology, Productivity, and Income Inequality. AEI Press, 1997. This study confronts the technological revolution with its results on wages and labor, looking at the unintended consequences of its dynamics. In the short term, rapid technological progress widens wage inequality and actually slows down productivity. Greenwood takes an optimistic approach, preaching patience as the rise of technological advancement will inevitably lift everyone up.

Harb, Mona. “Public Spaces and Spatial Practices: Claims from Beirut.” Jadaliyya. 25 October 2013. http://www. jadaliyya.com/pages/index/14710/public-spaces-andspatial-practices_claims-from-be. In this essay about political protest in Beirut, Herb explains the importance and immediacy of public space for social change. By analyzing the spatial practices of the city, the author notes the possibilities and problems related to social gatherings of an activist nature. This information influenced our position about activist spaces and the public realm.

Ingalls, Julia. “paraSITE: The Bandage Over the Nomadic Wound.” Archinect Features. 27 May 2016. https:// archinect.com/features/article/149944931/parasite-thebandage-over-the-nomadic-wound. This interview of the artist Michael Rakowitz delves into the context, intentions, and implications of his late 1990 project, paraSITE. It frames Rakowitz as an activist that listened to the needs and desires of the homeless community to address their nomadic existence in our urban environment. He’s provided a playful way of protesting the condition of homelessness, turning a buildings wasted energy into a valuable commodity that makes public habitation possible. CITATION

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Keynes, John Maynard. “Economic Possibilities for our Grandchildren (1930).” In Essays in Persuasion. New York: Harcourt Brace, 1932. In 1928, Keynes speculates what a century of productivity growth would mean for labor. If the trend of the previous decade continued, Keynes suggests that the standard of life would be so improved by an abundance of labor that work weeks would be cut down to 15 hours. This “inevitable” dynamic would spur a whole new social issue: what do we do with our time? In the year 2017 much of Keynes projections have come true. The Unites States gross domestic product has grown by a factor of 16 and GDP per capita by a factor of 6. Obviously though, his projections concerning the labor/leisure balance haven’t been achieved. 2028 is quickly approaching, but where is our 3 hour workday?

Kingdon, Jason. “How Digital Labor Will Drive the Third Industrial Revolution.” Wired. October 2013. https:// www.wired.com/insights/2013/10/how-digital-labor-willdrive-the-third-industrial-revolution/. Kingdon describes software automation, not literal robots, as the hidden “robot” making the biggest impact on labor. He talks about the democratization of automation as more impactful than the automation itself.

Lee, Ralph, dir. The Secret History of Hacking. 2001. BlackOpsPro07, 2012. YouTube. The Secret History of Hacking is a 50 minute documentary featuring three hackers of various pursuits and backgrounds: John Draper, Steve Wozniak, and Kevin Mitnick. Through their personal experience in the worlds of phones and computers, they explore the history and evolution of hacking. Their insights into the motivations behind hacking furthered our understanding of the activity and influenced our inclination toward creating a hacking-oriented program.

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Manaugh, Geoff. A Burglar’s Guide to the City. New York: Farrar, Straus and Giroux, 2016. Geoff Manaugh is a trained architect and the author of BLDGBLOG. Through his experience working in the architectural field, he became interested in the limitations of the built environment that could translate into potential strengths in the eyes of the burglar. His book tells the story of the city through the eyes of the intruder, explaining how architecture can be viewed differently than we are trained to perceive it as indoctrinated design students. The wealth of anecdotes and references presented by this book aided our research into the misuse of places and challenged our perception of the city.

Ninjalicious. Access All Areas: A User’s Guide to the Art of Urban Exploration. Infilpress, 2005. Ninjalicious is one of the foremost and most famous urban explorers. His book, Access All Areas, acts as a guide and informational handbook for anyone interested in pursuing place hacking as a hobby. From finite details to theoretical framework, his knowledge provides the reader with an appreciation for all of the intricacies of this often illegal pastime. The content of the book is garnered from his own extensive experience. His wisdom in re-appropriation of urban spaces encouraged us to create an architecture hinged on subversion.

Ponzini, Monica. “Graffiti Research Lab: Writers as Hackers as Artists.” Digicult. http://digicult.it/ digimag/issue-030/graffiti-research-lab-writers-ashackers-as-artists/. Ponzini interviews the founders of GRL, James Powderly and Evan Roth, to talk about their development of open source technology and active art installations. They draw a parallel between graffiti writers and hackers, describing graffiti artists as urban hackers. GRL is a way to bridge the gap between the two like minded groups. Their tools of unconventional communication democratize the power of our voices in the urban context. CITATION

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Rakowitz, Michael. “paraSite.” Master’s thesis, MIT, 1995. The original text of Rakowitz thesis brings an understanding of his intentions with this project; society revisiting the nature of urban “Bedouins”. He defines the relationship of homeless people to the city as universally parasitic. His project manifests and builds off of this relationship, both helping those in need directly by providing shelter and indirectly raising awareness of their condition.

Ratti, Carlo. “Open Source Architecture.” Wikipedia, 2017. Ratti’s choice of medium for his architectural manifesto says a lot about the agenda of the work itself. It is open source: a dynamic, crowd sourced, editable document. Wikipedia acts as an open canvas manifesto for a citizen centered design movement. He goes through how each of the stages of the creation and utilization of architecture can be transformed to his vision of Open Source Architecture. In a lot of ways, Ratti’s approach mimics the open source movement in the software field. He implicitly poses the question, “What will the github of architecture be?”

Raymond, Eric. “How to Become a Hacker.” Thyrsus Enterprises. 2001. http://www.catb.org/~esr/faqs/hackerhowto.html. This is an actively evolving handbook defining hackers, what they do, and how you can do it too. This text also draws a distinction between “hackers” and “crackers”: hackers build things while crackers break them. The piece sets the tone for hacker ideology before it gets into the skills that define a hacker’s toolbox.

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Rosen, Michael J. Place Hacking: Venturing Off Limits. Twenty-First Century Books, 2015. Place Hacking is an introductory overview to the art of urban exploration. Rosen explores various ventures and place hacks around the world. Not written as a guide, but merely an informative examination, the book takes the reader through the guiding principles, motivations, and various typologies of the hobby. As a well-researched synopsis, this book guided our own exploration in viewing the city as a playground for misuse.

Situationist International. “The Use of Free Time.” Bureau of Public Secrets. 1960. http://www.bopsecrets. org/SI/4.freetime.htm. In “The Use of Free Time”, Situationist International writes about modern capitalism, consumption, and culture. They note the emptiness of leisure and the emptiness of life in modern day society, and how the framework of this society cannot fulfill these voids. This source functioned to inform our programmatic choice and our position on passive consumption in the modern world.

Snyder, S. James. “Graffiti 2.0: Gone by Morning.” Time. 14 April 2008. http://content.time.com/time/arts/ article/0,8599,1730645,00.html. This article documents GRL’s Brooklyn Bridge installation in which they used the “L.A.S.E.R. Tag” system to temporarily vandalize the bridge’s towers. The piece highlights the temporal nature of their work as free speech machines that appropriate architecture as open source billboards.

CITATION

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Steadman, Philip. Vermeer’s Camera: Uncovering the Truth Behind the Master. Oxford University Press, 2001. Steadman’s book is an intensely technical well researched argument that goes against the grain of art historians. At its core, it intends to prove that Johannes Vermeer was not the one of a kind masterful artist his legacy and work has made him out to be, but rather a “design hacker,” a tinkerer who carried out his work with the help of a visual device. The book analyzes Vermeer’s paintings, pointing out evidence that suggests, and in some instances flat out proves, the existence of an optical prosthetic in the artist’s process.

“Technology Isn’t Working.” The Economist. 4 October 2014. https://www.economist.com/news/specialreport/21621237-digital-revolution-has-yet-fulfil-itspromise-higher-productivity-and-better. This special report looks at the reality of what we refer to as the Third Technological Revolution: stagnant wages create greater inequality. The piece chronicles the failure of new technology to have a productivity boost upon their introduction and again suggests that this dynamic will shift in the future.

Varnelis, Kazyz. “Programming After Program: Archizoom’s No-Stop City.” Praxis 8, (2010): 83-91. Varnelis looks at the pretext (post modernism, technological revolution), intentions, and implications of Archizoom’s No-Stop City. Archizoom’s critique of modernism with this 1969 project is not only visible in the project itself, but in the representational tools employed to articulate it. Beyond its analysis and speculation of the contemporary urban condition through an exercise of generative design hacking. The plans for the project emerged from the limitations of a typewriters typesetting: tabs, indentation, spacing, characters.

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Witt, Andrew. “Design Hacking: The Machinery of Visual Combinatorics.” Log 23, (2011): 17-25. Witt’s essay is a chronological look at the history of design hacking focusing on analog, generative processes as a pretext for digitally aided hacking. It describes hacking as intervening in established sequences of operations shifting outcomes from deterministic to indeterminacy.

Yagoda, Ben. “A Short History of ‘Hack’.” The New Yorker. 6 March 2014. https://www.newyorker.com/tech/ elements/a-short-history-of-hack. In this article, Yagoda writes about the etymology and evolution of the word “hack”. Pointing to the common 21st-century usage, he emphasizes the positive connotations of the word in relationship to the widely-understood negative connotations. We used this piece to help form our own definitions of the word and concept.

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