No more need for drama! Today I am back amongst the living! That annoying big yellow thing in the sky (quoting Oliver) makes my room feel like a sauna but my laptop’s resisting the heat. I tried to find codes to make my panning a little less boring but I couldn’t implement it. I interlinked the pages but I will have to keep working on it tomorrow as well. I also started a final drawing to distract me from the boring html and css coding.
The creation of architectural projects is stuck in a mode of simulation and repetition rather than ideation and experimentation. Although the architect’s tools are as expansive as never before, we are limiting our means to produce objects which are, if at all, just good enough and instantly obsolete. Furthermore, the world of electronic informational media involves all of us at once and no detachment is possible. Content is irrelevant and it is time to look at formats as framing devices in the production of knowledge, architecture and identity.
Format is essential to creating the little order which protects us from chaos. In the projection from ideas to drawings and translation into buildings, architects combine single impressions into an imaginative whole. It is a subjective process and objective product. Every step in their thinking consists in understanding the relations between disparate narratives and objects by taking them out of and deconstructing and reconstructing new contexts. This process constantly challenges the notion of originality in order to create new myths. But more importantly, the architect is constantly altering between ways of seeing and ways of arranging the cultural and physical world. He shapes his own identity through his relation to the objects by formatting them in a constant negotiation between opening up or framing them as content. The architect can now misuse the techniques of a linear narration and dualistic oppositions in order to exceed the ontological, epistemological and methodological frameworks imposed by history in favour of his own, more intuitive, fictional truths. He is reading and assembling figures on and as ground, presenting a sequence of events within a vertical plane and a constellation of images on a horizontal plane. He is creating a living reciprocity between the act of knowing and the object of knowledge, which approximates the message and the medium.
Format Factory is therefore seen as a project which could stand for an epistemic model which allows us to dissolve obsessive frameworks, bridge the abyss of non-meaning and face reality as it may be for youth today. The process of subjectivation is fundamental for more autonomous architecture practices which will need to understand material and immaterial labour and an architecture beside itself in the age of allatonceness.