T H E S E C O N D D I G I TA L T U R N Writing Architecture series A project of the Anyone Corporation; Cynthia Davidson, editor Earth Moves: The Furnishing of Territories Bernard Cache, 1995 Architecture as Metaphor: Language, Number, Money Kojin Karatani, 1995 Differences: Topographies of Contemporary Architecture Ignasi de Solà-Morales, 1996 Constructions John Rajchman, 1997 Such Places as Memory: Poems 1953–1996 John Hejduk, 1998 Welcome to The Hotel Architecture Roger Connah, 1998 Fire and Memory: On Architecture and Energy Luis Fernández-Galiano, 2000 A Landscape of Events Paul Virilio, 2000 Architecture from the Outside: Essays on Virtual and Real Space Elizabeth Grosz, 2001 Public Intimacy: Architecture and the Visual Arts Giuliana Bruno, 2007 Strange Details Michael Cadwell, 2007 Histories of the Immediate Present: Inventing Architectural Modernism Anthony Vidler, 2008 Drawing for Architecture Léon Krier, 2009 Architecture’s Desire: Reading the Late Avant-Garde K Michael Hays, 2009 The Possibility of an Absolute Architecture Pier Vittorio Aureli, 2011 The Alphabet and the Algorithm Mario Carpo, 2011 Oblique Drawing: A History of Anti-Perspective Massimo Scolari, 2012 A Topology of Everyday Constellations Georges Teyssot, 2013 Project of Crisis: Manfredo Tafuri and Contemporary Architecture Marco Biraghi, 2013 A Question of Qualities: Essays in Architecture Jeffrey Kipnis, 2013 Noah’s Ark: Essays on Architecture Hubert Damisch, 2016 The Second Digital Turn: Design Beyond Intelligence Mario Carpo, 2017 T H E S E C O N D D I G I TA L T U R N DESIGN BEYOND INTELLIGENCE MARIO CARPO THE MIT PRESS C A M B R I D G E , M A S S A C H U SETTS LONDON, ENGLAND © 2017 Massachusetts Institute of Technology All rights reserved No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher This book was set in Filosofia OT and Trade Gothic LT Std by Toppan Bestset Premedia Limited Printed and bound in the United States of America Library of Congress Cataloging-in-Publication Data Names: Carpo, Mario, author Title: The second digital turn : design beyond intelligence / Mario Carpo Description: Cambridge, MA : The MIT Press, 2017 | Series: Writing architecture | Includes bibliographical references and index Identifiers: LCCN 2016054313 | ISBN 9780262534024 (pbk : alk paper) Subjects: LCSH: Architecture and technology | Architecture Information technology | Architecture Computer-aided design Classification: LCC NA2543.T43 C37 2017 | DDC 720.72 dc23 LC record available at https://lccn.loc.gov/2016054313 10 9 8 7 6 5 4 3 2 1 CONTENTS ACKNOWLEDGMENTS ix 1 INTRODUCTION THE SECOND DIGITAL TURN 2.1 Data-Compression Technologies We Don’t Need Anymore 2.2 Don’t Sort: Search 2.3 The End of Modern Science 2.4 The New Science of Form-Searching 2.5 Spline Making, or the Conquest of Free Form 2.6 From Calculus to Computation: The Rise and Fall of the Curve 2.7 Excessive Resolution 2.8 The New Frontier of Alienation, and Beyond THE END OF THE PROJECTED IMAGE 19 23 33 40 55 65 70 79 99 3.1 Verbal to Visual 102 3.2 Visual to Spatial 104 3.3 The Technical and Cognitive Primacy of Flatness in Early Modern Art and Science 111 3.4 The Underdogs: Early Alternatives to Perspectival Projections 115 3.5 The Digital Renaissance of the Third Dimension 120 THE PARTICIPATORY TURN THAT NEVER WAS 131 4.1 The New Digital Science of the Many 4.2 The Style of Many Hands 4.3 Building: Digital Agencies and Their Styles 132 135 140 ECONOMIES WITHOUT SCALE: TOWARD A NONSTANDARD SOCIETY 145 5.1 Mass Production, Economies of Scale, Standardization 147 5.2 The Rise and Fall of Standard Prices 149 5.3 The Digital Mass-Customization of Social Practices 153 6 POSTFACE: 2016 159 NOTES 165 INDEX 217 remarks-president-state-union-address On the comments that followed the president’s address, see Nick Bilton, “Disruptions: On the Fast Track to Routine 3-D Printing,” New York Times, February 18, 2013 Accessed June 1, 2015, http://bits.blogs.nytimes.com/2013/02/17/disruptions-3-d-printing -is-on-the-fast-track Around that time, 3-D printing also featured prominently in American popular culture (in US late night talk show The Colbert Report on June 8, 2011, for example, and, less than two weeks before President Obama’s speech, in an episode of the American sitcom The Big Bang Theory on January 31, 2013) 49 The only source for the history of the device at the time of writing is Wikipe- dia; Microsoft’s corporate website only describes the current version of the software and hardware, March 3, 2016, http://www.microsoft.com/en-us/ kinectforwindows/meetkinect/about.aspx See also note 50 50 Jason Tanz, “Kinect Hackers are Changing the Future of Robotics,” Wired 19, no (July 2011) Accessed June 1, 2015, http://www.wired.com/2011/06/ mf_kinect; Rob Walker, “Freaks, Geeks and Microsoft How Kinect Spawned a Commercial Ecosystem,” New York Times Sunday Magazine, June 3, 2012 Accessed June 1, 2015, http://www.nytimes.com/2012/06/03/magazine/ how-kinect-spawned-a-commercial-ecosystem.html 51 Wheatstone, “Contributions Part the First,” 380 52 Accessed March 3, 2016, http://www.123dapp.com/catch 53 Accessed March 3, 2016, https://www.google.com/atap/project-tango 54 Accessed March 3, 2016, http://www.factum-arte.com 55 Accessed March 3, 2016, http://www.scanlab-ucl.co.uk, http:// scanlabprojects.co.uk/visualisation 56 The French company Photomaton, known for owning and operating thou- sands of automatic photo booths in public places, has recently launched a 3-D photo booth that, along with traditional ID pictures, construes a volumetric scan of the bust of the client; a statuette can then be 3-D printed off-site and shipped to the address provided August 17, 2016, http://www.photomaton fr/innovations/cabine_3d 57 Accessed August 17, 2016, http://www.lytro.com/about 58 See Facebook’s Oculus Rift, Samsung’s Gear VR, or Microsoft’s Hololens 210 Notes 59 William J Mitchell, The Reconfigured Eye Visual Truth in the Post-Photographic Era (Cambridge, MA: MIT Press, 1992) See Carpo, “The Photograph and the Blueprint Notes on the End of Some Indices,” in Das Auge der Architecktur, ed Andreas Bayer (Munich: Wilhelm Fink Verlag, 2011), 467–482 60 Jacopo Pontormo, letter dated 18 February [1546] in Varchi, Due lezzioni, 134 See Panofsky, Galileo as a Critic of the Arts, CHAPTER A version of this essay was published as “Digital Style,” Log 23 (Fall 2011): 41–52 See chapter 2, note 71 The term “Web 2.0” appears to have been introduced by the publisher and technologist Tim O’Reilly, and it rose to prominence after the first Web 2.0 Conference held by O’Reilly Media in San Francisco, October 5–7, 2004 Mario Carpo, The Alphabet and the Algorithm, (Cambridge, MA: MIT Press, See in particular James Surowiecki, The Wisdom of Crowds (New York: Dou- 2011), 123–128 bleday, 2004; repr New York: Anchor, 2005), chapter 1, “The Wisdom of Crowds,” 3–22; chapter 11, “Markets: Beauty Contests, Bowling Alleys, and Stock Prices,” 224–258; and chapter 12, “Democracy: Dreams of the Common Good,” 259–271 See the afterword added to the 2005 edition of Surowiecki, Wisdom of Crowds, 273–282; and Howard Rheingold’s pioneering Smart Mobs: The Next Social Revolution (Cambridge, MA: Perseus, 2002) See the vast literature on the so-called Efficient-Market Hypothesis: if all market participants can interact with all others at all times (and digital information and communication technologies can get fairly close to that), market valuations always reflect all available information, hence market prices are always “right.” Trademarked by Google and named after Larry Page, cofounder of the com- pany On the engineering of Google’s information retrieval, see chapter 2, note 26 This famous statement appeared on Google’s corporate website as late as June 27, 2011, but when this article was first written (August 2011), the chapter on N o t e s 211 search relevance on Google’s website had already been rewritten to take into account the customization of search results See “PageRank,” Wikipedia, accessed August 1, 2011, n At the time of revising this article (March 2016), the reference had also been removed from the Wikipedia entry, March 21, 2016, https://en.wikipedia.org/wiki/PageRank Early modern authorship rose in sync with print technologies, which fa- vored a new format of identically reproduced, “authorized” textual versions protected and separated from the permanent drift of scribal copies Not coincidentally, that notion of authorship is now being demoted by the new variability of digital media 10 On the difference between “information products” and “physical products” in user-centered innovation and peer production, see Eric von Hippel, Democratizing Innovation (Cambridge, MA: MIT Press, 2005), esp 1–6 11 This idea was prefigured by Marshall McLuhan in 1972 See chapter 2, note 49 12 A web search on the exact phrase “ways to get to the same result” returns thousands of hits from all sorts of software tutorials, often claiming that this heuristic approach makes learning more natural, spontaneous, or amusing 13 Alexandre Koyré, “Du monde de l’‘à peu près’ l’univers de la précision,” Critique 28 (1948): 806–823; reprinted in Koyré, Études d’histoire de la pensée philosophique (Paris: A Colin, 1961), 311–329 Koyré’s view of a clear-cut linear progression from ancient negligence to a modern quest for exactitude is often seen today as simplistic and West-centered 14 For what an anecdote may be worth, I can refer to the case of the assistant to a very important person who has been curating said person’s biographic entry in Wikipedia for the last ten years, and has developed over time a special literary skill: when editing or updating that entry, she redacts all new text in a deliberately fragmentary way, sometimes even introducing partially inconsistent or redundant information; the purpose being that her own authorial text should read just like a real Wikipedia entry should—that is, as if it had been written by many people of variable literary talent editing one another over time Digital aggregation has already begot a recognizable literary style— the Wikipedic style of many hands 212 Notes 15 Interactivity and variability are considered here only as attributes of the design process and as reflected in architectural notations, which are pure data The material variability, interactivity, or responsiveness that may be built in some buildings, structures, or design pieces is not relevant to this discussion 16 Carpo, The Alphabet and the Algorithm, 83–93, 123–129; “The Craftsman and the Curator,” in Tala Gharagozlou, David Sadighian, and Ryan Welch, eds., “Domain,” special issue, Perspecta 44 (2011): 86–91 See note 21 and chapter 2, notes 49, 71 17 BIM technologies, as they took shape in the early 2000s, represent to date the most advanced—and, in many ways, daring—Web 2.0 experiment in architecture and design, and are likely the only significant example of transition from mass customization to mass collaboration in the design professions There is no reliable historical timeline of the development of the concept of BIM, other than that provided by its protagonists: see, for example, the Wikipedia entry on “Building Information Modeling,” accessed December 12, 2015, https://en.wikipedia.org/wiki/Building_information_modeling#BIM _origins_and_elements The problem is compounded by the absence of a consensual definition of BIM, which makes a history of BIM almost coextensive with the history of computer-aided design, or even of computing itself See, however, Chuck Eastman et al., eds., BIM Handbook, A Guide to Building Information Modeling for Owners, Managers, Designers, Engineers, and Contractors (Hoboken, NJ: Wiley, 2008), xi-xii; Peggy Deamer and Phillip G Bernstein, eds., Building (in) the Future: Recasting Labor in Architecture (New York: Princeton Architectural Press, 2010); Richard Garber, ed., “Closing the Gap: Information Models in Contemporary Design Practice,” special issue (AD Profile 198), Architectural Design 79, no (2009); Richard Garber, BIM Design: Realizing the Creative Potential of Building Information Modeling (Chichester: Wiley, 2014) 18 See Phillip Bernstein, “A Way Forward? Integrated Project Delivery,” Harvard Design Magazine 32 (2010): 74–77; Deamer and Bernstein, Building (in) the Future, esp Bernstein’s essay, “Models for Practice: Past, Present, Future,” 191–198; Carpo, “Forward,” in Garber, BIM Design, 8–13 N o t e s 213 19 In a strange and visionary book that is one of the foundations of the open- source movement, Eric S Raymond calls the initiator and moderator of an open-source project a “wise leader” and a “benevolent dictator.” Eric S Raymond, The Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary (Beijing: O’Reilly Media, 1999), 101–102, 111 See also Carpo, “The Craftsman and the Curator.” 20 On the role of digital tools in the design and construction of Eisenman’s Aronoff Center for Design and Art, University of Cincinnati (1988–96), see David Gosling, “Peter Eisenman: Addition to the College of Design, Architecture, Art and Planning,” Architectural Design 67, nos 9–10 (September– October 1997): iii–xi; and in the same issue, Charles Jencks, “Nonlinear Architecture: New Science = New Architecture?,” 21 On one full-fledged application of digital parametricism that high- lighted user interaction and participatory design, Bernard Cache’s Tables Projectives (2004), see Carpo, The Alphabet and the Algorithm, 103–104 and 157, note 48 CHAPTER Versions of this chapter were previously published as “Micro-Managing Messiness,” AA Files 67 (2103): 16–19; “Micro-managing Messiness: Pricing, and the Costs of a Digital Non-Standard Society,” in James Andrachuk, Christos C Bolos, Avi Forman, and Marcus A Hooks, eds., “Money,” special issue, Perspecta 47 (2014): 219–226 (with illustrations by Emily Orr) Fixed prices were also needed for another of Boucicaut’s innovations, the money-back guarantee See Robert Phillips, “Why Are Prices Set the Way They Are?,” in The Oxford Handbook of Pricing Management, ed Özalp Özer and Robert Phillips (Oxford: Oxford University Press, 2012), 13–44; on fixed pricing see section 2.5, “Why retailers sell at fixed prices?,” 28–38; on Boucicaut see in particular section 2.5.3, “Why fixed pricing?,” 33–35 Ibid., 33–34 Ibid., 29 See Mario Carpo, The Alphabet and the Algorithm (Cambridge, MA: MIT Press, 2011), and “Introduction,” in The Digital Turn in Architecture, 1992–2012 (Chichester: Wiley, 2013), 8–14; Chris Anderson, Makers: The New 214 Notes Industrial Revolution (New York: Random House, 2012), 81–98; chapter 2, notes 49, 71 See chapter 4, note 6, and elsewhere The story is told in Dio Cassius’s Roman History, Volume IX: Books 71–80, trans Earnest Cary and Herbert B Foster (Cambridge, MA: Harvard University Press, 1927; Loeb Classical Library 177), LXXIV:11, see esp 142–143 See chapter 4, notes 7, In 1999 Coca-Cola unsuccessfully tested a vending machine with prices that changed based on demand; more recently, outrage ensued when Amazon was suspected of charging different prices to different customers based on their past buying behavior See Robert Phillips, Pricing and Revenue Optimization (Stanford: Stanford University Press, 2005), 302–303, 312 The “e-hailing” upstart Uber was founded in 2009, and it started to expand internationally and to gain media attention in 2012 See Marcus Wohlsen, “Uber is Back for NYC Cabs as Taxi App Wars Escalate,” accessed March 16, 2016, http://www.wired.com/2012/12/uber-flywheel-taxi-app-wars 10 Jean-Franỗois Lyotard, La condition postmoderne (Paris: Les Éditions de Minuit, 1979), 31; published in English as The Postmodern Condition: A Report on Knowledge, trans Geoff Bennington and Brian Massumi; foreword, Fredric Jameson (Minneapolis: University of Minnesota Press, 1984) Lyotard’s original expression was “décomposition des grands Récits.” 11 Hong Kong and Singapore are the best-known cases The City of London, a medieval corporate body that has maintained many of its traditional privileges and franchises, is a less well-known example Outside of the Western political tradition, some political and religious entities appear to be merging premodern tribalism and digital technologies to create territorial institutions alien and opposite to the modern nation state as it was crafted in the West during the industrial revolution ISIL’s caliphate is a case in point POSTFACE: 2016 On the notion of “favorable environment” in the history of technological innovations, see André Leroi-Gourhan, Milieu et techniques (Paris: Albin Michel, 1992), 373–377 (first published Paris: Albin Michel, 1945) N o t e s 215 Rephrasing the celebrated topos by the Protestant theologian Matthäus Richter on the use of print to disseminate the words of Martin Luther (1566) See chapter 2, note 20 See in particular Jeremy Rifkin, The Zero Marginal Cost Society The Internet of Things, The Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave Macmillan, 2014) 216 Notes INDEX I I n n d d e e x x © Massachusetts Institute of TechnologyAll Rights Reserved Accolti, Pietro, 115, 116, 123, 207n34 Adobe Systems, 69, 192n75 PostScript, 69, 192n75 Airbnb, 153 Alberti, Leon Battista, 77, 101, 103–105, 111, 112, 114, 115–120, 127, 141, 143, 195–196n87, 200n2, 201n7, 201–202n8, 203nn12–15, 205nn27–28, 207n36, 208nn39–40, 209n43 De Pictura, 104, 105, 200n2, 202nn8, 10, 203nn12, 14, 15, 205nn27, 28, 208nn39, 40, 209n43 De re aedificatoria, 115, 195–196n87, 207n36 De Statua, 75, 105, 117–119, 200n2, 202n10, 203nn12, 14, 205nn27–28, 208nn39–40, 209n43 Alfa Romeo, 162 Alhazen (Abu Ali al-Hasan ibn al-Haytham), 207n32 Alias Systems, 187n57, 188n65 Al-Khowârizmỵ, Muhammad ibn Musa, 165n2 Amazon, 33, 34, 152, 172n27, 215n8 Anderson, Chris, 173–174n30, 181n49 Andrasek, Alisa, 41, 53, 70, 74, 90, 174n32, 193n77 BLOOM, 74, 193n77 (see also Sanchez, Jose) Wonderlab (AD Research Cluster 1, B-Pro M.Arch Architectural Design, The Bartlett UCL), 41, 53, 90 Apple Company, 192nn74, 75 iTunes, 153 “Archaeology of the Digital,” 188n65 “ArchiLab,” 70, 192n76, 193n77, 209n47 “ArchiLab 2004,” 192n76 “ArchiLab 2013,” 70, 193n77, 209n47 Architectural Association Design Research Lab, 43 “Architectures non standard,” 181n49 Aristotle, 26, 48, 49, 169n15, 178n42 Autodesk, 187n57, 189n66 123D Catch, 123 AutoCAD, 63 Maya, 187n57 AutoDesSys Form-Z, 63, 189n67 Banham, Reyner, 183n49 Baraniuk, Chris, 172n27 Bartlett School of Architecture, University College London (UCL), 40, 41–42, 53, 90, 123, 168n12, 174n32, 176n35 Beatles, 68 Bendix Corporation, 193n81 Bernini, Gian Lorenzo, 107 Bernstein, Phillip G., 213nn17–18 Bézier, Pierre, 58–63, 65, 68, 185–186n53, 186n54, 187n58, 187–188nn60, 61, 63 curves, 59–60, 62, 63, 69, 188n64, 191n71, 193n81 Biennale d’Architettura, Venice, 85, 191n71 Blanchard, Thomas, 208n41 Bochenski, Joseph M., 169n16 Boehm, Barry W., 186n53 Boeing, 62, 188n62, 189n65 Bon Marché, 149 Boucicaut, Aristide, 149, 214n1 Braque, Georges, 207n33 Brecht, Bertolt, 80, 197n91 Briant, Levi, 199n97 Briggs, Henry, 15, 166n3 Brin, Sergey, 170–171n26 British Aircraft Corporation, 62 Brother ProCal, 14 Building Information Modeling (BIM), 5, 140–142, 213n17 Buonarroti See Michelangelo Buonarroti Burry, Mark, 176n35 Butades of Sicyon, or Corinth, 203n11 Cache, Bernard, 58, 63, 64, 140, 180–181n49, 190n69, 191n71, 214n21 218 Index Cam, Daghan, 40, 53, 90 See also Andrasek, Alisa Camerota, Filippo, 207n34 Camillo, Giulio, 27–28, 169n22, 170n25 Canadian Centre for Architecture, Montréal, 188n65 Carpo, Mario, 169nn18–19, 21–22, 174n33, 176n35, 178n43, 181n49, 183nn50–51, 199n98, 201n5, 202n8, 207nn34, 36, 208n39, 211n59, 211n3, 213n16, 213n18, 214n19, 214n 21, Cassius Dio, Lucius, 215n6 Castiglione, Baldassarre, 111, 204–205n25, 205n26, 207n36 CATIA, 62, 188–189n65 Catmull, Edwin Earl, 187n57 Centre Pompidou, 43, 181n49, 193n76 Chaikin, George M., 186–187n57 Chaitin, Gregory John, 172–173n28 Champaigne, Philippe de, 107, 110, 204n23 Christie, Gwendoline, 87 Cicero, Marcus Tullius, 27–28, 31, 100 Cigoli, Ludovico, 112, 206n29 Citroën, 58, 61, 185–186n53, 187nn58–59, 188nn60–61 DS, 61 GS, 61 Clark, Jim, 187n57 CMS North America, 193n81 Coca-Cola Company, 215n8 Colletti, Marjan, 71, 86–87, 193n77 Conway, John, 199–200n100 Cooper Union, The, 187n57 Cruz, Marcos, 70–71, 193n77 Cukier, Kenneth, 167n8, 174n30 Darwin, Charles, 132, 176n35 Dassault Aviation, 61, 189n65 Avions Marcel Dassault–Breguet Aviation, 189n65 Dassault Systèmes, 62, 188–189n65 Davis, Stanley M., 180n49 Deamer, Peggy, 213nn17–18 De Boor, Carl, 62 De Casteljau, Paul de Faget, 58–61, 185–186n53, 187nn58–59, 188nn60–61 algorithm, 59, 185–186n53 De Rahm, Georges, 187n57 DeLanda, Manuel, 199n97 Deleuze, Gilles, 47, 57–58, 140, 143, 177n38, 180n49, 191n71 Derrida, Jacques, 143 Descartes, René, 65, 67, 206n32 Deutsche Lufthansa AG, 145 Dexter, Henry, 119–120, 121 Diano, Carlo, 178n42 Dillenburger, Benjamin, 77, 82–83, 120, 194n85, 194–195n86, 209n47 See also Hansmeyer, Michael Digital Grotesque (Grotto Prototype), 77, 82–83,120, 194n85, 194–195n86, 209n47 Doo, Daniel, 187n57 Dürer, Albrecht, 115 Eastman, Chuck, 213n17 Eiffel, Alexandre Gustave, 47, 52 Eisenman, Peter, 4, 58, 63, 143, 183n51, 189n67, 199n96, 214n20 Aronoff Center for Design and Art, University of Cincinnati, 214n20 Frankfurt Biozentrum, 189n67 Eisenstein, Elizabeth L., 167n5, 201n5 Engels, Frederick, 168n12 EZCT Architecture & Design Research, 70, 73, 192–193n76 See also Morel, Philippe Computational Chair Design Studies, 70, 73, 192–193n76 Facebook, 5, 210n58 Oculus Rift, 210n58 Factum Arte, 123 Farin, Gerald, 184n52, 185n53, 185n55, 186nn56–57, 188n62 Fonds Régional d’Art Contemporain (FRAC), Orléans, 77, 78, 193n77, 194n85, 209n47 Forrest, Robin, 62, 188nn62, 64 Foster, Norman, 176n35 Great Courtyard of the British Museum, 176n35 Gage, Mark Foster, 199n97 Galilei, Galileo, 35–38, 48, 112–115, 205–206n29 Discorsi e Dimostrazioni Matematiche intorno due nuove scienze, attinenti alla mecanica e i movimenti locali, 35, 37, 173n29 Siderus Nuncius, 112 Galton, Francis, 132–133,134, 136 Gannon, Tom, 198n96 Gaudí i Cornet, Antoni, 176n35 Sagrada Familia, 176n35 I n d e x 219 Gehry, Frank O., 62, 63–64, 85, 96, 120, 143, 188n65, 190n70 Barcelona Fish (El Peix), 62, 188n65 Guggenheim Bilbao, 64, 96–97, 190n70 Gehry Technologies, 142, 179n46 General Motors (GM), 62 Gessner (Gesner), Conrad (Konrad), 27, 28, 32 Google, 23, 24–26, 28, 33, 70, 96, 134–135, 152, 170–172n26, 211n7, 211–212n8 Books, 171n26 Gmail, 21, 23–26, 29, 67, 168nn13–14, 171n26 Project Tango, 123 Grasshopper, 176n35 Greenberg, Clement, 207n33 Guattari, Félix, 177n38 Gursky, Andreas, 34 Hadid, Zaha, 64, 143 Heydar Aliyev Centre, 72 Hamda, Hatem, 73, 192n76 Hansmeyer, Michael, 77, 82–83, 120, 194n85, 194–195n86, 209n47 See also Dillenburger, Benjamin Digital Grotesque (Grotto Prototype), 77, 82–83, 120, 194n85, 194–195n86, 209n47 Harman, Graham, 80, 81, 197nn92, 94, 198n96, 199n97 Hebeler, Gráinne, 168n12 Heidegger, Martin, 80, 197n92 Hensel, Michael, 199n98 Hewlett-Packard Company, 192n74 Holland, John Henry, 176n35, 199n98 220 Index Homer, 20 Horace, 105, 203n16 Houellebecq, Michel, 81, 197n94 Huygens, Christiaan, 207n32 ICD Institute for Computational Design, University of Stuttgart, 40, 44–45, 46, 66 See also ITKE Institute of Building Structures and Structural Design, University of Stuttgart ICD/ITKE Research Pavilion (2012), 40, 44–45, 46 ICD/ITKE Research Pavilion (2014–15), 66 International Business Machines Corporation (IBM), 62, 188n65, 192n73 Isidorus Hispalensis (Isidore of Seville, Saint), 26, 102, 200n4 Issigonis, Alec (Sir), 141 ITKE Institute of Building Structures and Structural Design, University of Stuttgart, 40, 44–45, 46, 66 See also ICD Institute for Computational Design, University of Stuttgart ICD/ITKE Research Pavilion (2012), 40, 44–45, 46 ICD/ITKE Research Pavilion (2014–15), 66 Ivins Jr., William M., 200–201n5, 202n9 Jencks, Charles, 182n49, 199n98, 214n20 Jesus Christ, 20 Jimenez-Garcia, Manuel, 42 See also Retsin, Gilles CurVoxels, 42 (see also Retsin, Gilles) Jouve, Franỗois, 175n35 Julianus, Didius, 152 Jỹrgen Mayer H., 187n57 Kant, Immanuel, 198–199n96 Kepler, Johannes, 166n4, 167n5, 207n32 Tabulae Rudolphinae, 167n5 Kerez, Christian, 85 Kittler, Friedrich, 167n7, 201n8 Klein, Karel, 71, 193n77 Knippers, Jan, 40, 44–45, 46, 66, 174n33 Koufidis, Christos, 176n35 Koyré, Alexandre, 139, 212n13 Krautheimer, Richard, 103, 201n6 Kubo, Michael, 196n88 Kudless, Andrew, 71, 193n77 La Fontaine, Henri, 170n23 Laplace, Pierre-Simon de, 13, 17, 166–167n4 Latour, Bruno, 80, 197n92 Le Corbusier, 2, 170n23 Lee, Rensselaer W., 105–106, 203n16 Leibniz, Gottfried Wilhelm, 26, 57, 58, 64–65, 67, 167n6 Leroi-Gourhan, André, 159, 215n1 Llull, (Lull, Lullus) Ramon (Raymond), 26 Logan, Robert, 167–168n10 Lomas, Andy, 40, 53, 90 See also Andrasek Alisa Loos, Adolf, 79 Los Alamos National Laboratory, 199n100 Lotto, Lorenzo, 107, 108, 204n21 Lovecraft, H P., 81, 197n94 Luther, Martin, 169n20, 216n2 Lynn, Greg, 63, 64, 180–181n49, 188n65, 189n67, 190n69 Lyotard, Jean-Franỗois, 215n10 Lytro, 124125 MakerBot, 120, 209n46 Marshall, Alex, 190n70 Marx, Karl, 81, 168n12, 198n95 Massachusetts Institute of Technology (MIT), 62, 188n65, 193n81 McLuhan, Marshall, 181–183n49, 212n11 Meillassoux, Quentin, 198n96 Menges, Achim, 40, 44–45, 46, 54, 66, 174n33, 179n44, 179nn45, 48, 199n98 Mennan, Zeynep, 181n49 Michelangelo Buonarroti, 75, 106, 208n40 Microsoft, 122, 210nn49–50, 58 Hololens, 210n58 Kinect, 122, 210nn49–50 Migayrou, Frédéric, 181n49, 193n77, 194n85, 209n47 Mitchell, William J., 62, 129, 180n49, 188n65, 211n59 Monge, Gaspard, 117, 208n37 Monoprix, 149 Morel, Philippe, 70, 73, 182n49, 184–185n52, 187n57, 192–193n76 See also EZCT Architecture & Design Research Computational Chair Design Studies, 70, 73, 192–193n76 I n d e x 221 Morse, Samuel F B., 119, 208n41, 209nn42–43 code, 200n1 Moussavi, Farshid, 196n88 Napier of Merchiston, John, 166n3 Napoletani, Domenico, 178n40 Narcissus, 105, 203n13 Nervi, Pier Luigi, 47 Newton, Isaac (Sir), 38, 64–65, 67, 207n32 Nizzoli, Marcello, 11 Norwood, Bryan E., 198–199n96 Obama, Barack, 122, 209–210n48 Ohio State University, 63, 189n67 Olivetti, 11, 16–17, 188n60 Ong, Walter J., 167n9, 168n10, 168n12, 169n18 O'Reilly, Tim, 211n2 Osorno, Emmanuel, 88 Otlet, Paul, 28, 170n23 Otto, Frei, 46 Ovid (Publius Ovidius Naso), 105, 203n13 Oxman, Neri, 50, 178–179n44 Pacioli, Luca, 10, 165n1 Page, Larry, 170–171n26, 211n7 Panofsky, Erwin, 106, 204n17, 206n29, 211n60 Panza, Marco, 178n40 Parsons, John T., 193n81 Payne, Alina, 196n88 PHOTOMATON, 128, 210n56 Picasso, Pablo, 207n33 Picon, Antoine, 197n88 Pliny (Gaius Plinius Secundus), 26, 104, 203n11 222 Index Pontormo, Jacopo, 129, 211n60 Prigogine, Ilya, 179n47 Prisunic, 149 Prix, Wolf, 143 Ptolemy (Claudius Ptolemaeus), 207n32 Quincy, Antoine-Chrysostome Quatrèmere de, 201n8 Quintilian (Marcus Fabius Quintilianus), 104, 203n11 Rabut, Christophe, 185n53, 186n54, 187n58 Ramus, Petrus (Pierre de la Ramée), 26–27, 28, 31, 169n18 Rand, Ayn, 141 Raphael (Raffaello Sanzio), 111, 207n36 Raymond, Eric S., 214n19 Renault, 58, 61, 62, 185n53, 188n61 Retsin, Gilles, 42–43, 174n32 CurVoxels, 42 (see also Jimenez-Garcia, Manuel) Protohouse, 43 Rhino (McNeel Rhinoceros), 189n67 Richter, Matthäus (Matthaeus Judex, or Iudex), 169n20, 216n2 Rimowa, 145 Rogers, David F., 184n52, 188nn62–63 Royal College of Art, 183n49 Rutten, David, 176n35 Ruy, David, 71, 193n77, 198n96 Sabin, Jenny E., 56, 71, 193n77 eSkin, 193n77 Polybrick, 56 Sabin, Malcolm, 187n57 Samsung, 21, 210n58 Gear VR, 210n58 Sanchez, Jose, 70, 74, 193n77 BLOOM, 74, 193n77 (see also Andrasek, Alisa) ScanLab Projects, 123, 125–126, 210n55 Schoenauer, Marc, 73, 192n76 Schoenberg, Isaac Jacob, 59, 186n56 Schönberger, Victor-Mayer, 167n8, 174n30 Schumacher, Patrik, 190–192n71 Schwartz, Barry, 181n49 Seagram Building, 117 Sennett, Richard, 46, 177n36 Shelden, Dennis, 179n46 Shklovsky, Viktor, 80, 197n91 Simondon, Gilbert, 173n28 Smith, Adam, 133, 137, 148 Smith, Rick, 62, 188n65 Socrates, 20 Steven, Grant P., 176n35 Stevin, Simon (Stevinus), 166n3 Struppa, Daniele C., 178n40 Surowiecki, James, 133, 211nn4–5 Takemori, Tensho, 188n65 Taylor, Frederick Winslow, 2, 79, 147 Texas Instruments, 14, 17 Townsend, Alastair, 184n52, 188n62, 192n75 Twitter, 160 Uber, 156, 215n9 Ulam, Stanislaw, 199n100 University of Bern, 186n53 Van der Wiel, Jolan, 87 Van Dyck, Anthony, 107, 109, 204n22 Van Herpen, Iris, 87 Varchi, Benedetto, 75, 106, 204n17, 208n40, 211n60 Varro, Marcus Terentius, 26 Vasari, Giorgio, 201–202n8, 203n12 Vercelli, Mr., 61 Versprille, Ken, 188n62 Vinci, Leonardo da, 106–107, 111, 114, 119, 206–207n32, 209n43 Vitruvius Pollio, Marcus, De Architectura, Von Neumann, John, 199n100 Wall, Jeff, 80, 197n93 Weinstock, Michael, 199n98 Wheatstone, Charles, 113–114, 123, 206nn30, 31, 210n51 Widrig, Daniel, 71, 78, 174n32, 193n77 Degenerate Chair, 78 Wikipedia, 5, 137, 139–140, 162–163, 183–184n52, 212n14 Wiscombe, Tom, 198n96 Wolfram, Stephen, 92–94, 95, 96, 199n99, 199–200n100 Mathematica, 92, 199n99 Xerox Corporation, 192nn73, 74 Xie, Yi Min, 176n35 Yale School of Architecture, 182n49 Yates, Frances Amelia (Dame), 169n17, 169n22 I n d e x 223 Yessios, Chris, 189n67 Yoh, Shoei, 181n49 Young, Michael, 80–81, 88–89, 197n91, 93 Young and Ayata, 88–89, 197n91 Zhou, Feng, 40, 53, 90 See also Andrasek, Alisa Zipcar, 153 224 Index ... Hubert Damisch, 2016 The Second Digital Turn: Design Beyond Intelligence Mario Carpo, 2017 T H E S E C O N D D I G I TA L T U R N DESIGN BEYOND INTELLIGENCE MARIO CARPO THE MIT PRESS C A M B... carry it off again this time around; the second digital turn has just started, and the second digital style is still in the air We may have the best ideas in the world—and I wrote this book precisely... multiplications, and, on the latest models, even divisions But divisions remained the trickiest task: the machine had to work on them at length, and the bigger the numbers, the longer the time and labor