Abstract
AbstractIn the last decade, the impact of the digital on form‐finding in architecture has been conspicuous. Could working with computational algorithms as the primary generative material, however, have deeper, more far‐reaching effects on the creative field? Here, Pia Ednie‐Brown asserts that a new paradigm in composition is being articulated, as exemplified by the Invisibles installation, created by the New York‐based practice biothing. Copyright © 2006 John Wiley & Sons, Ltd.
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