Abstract
Contemporary design practices use the diagram as an active agent in the development of form and matter into architectural space. Deleuze and Guattari, following Foucault,1 defined the diagram as an “abstract machine,” which “does not function to represent even something real, but rather constructed a real that is yet to come, a new type of reality.”2 This formulation emphasizes the diagram's configuration and its modes of operation through virtuality and potentiality. In this sense, the diagram is the architects' way of dreaming, the “no-place” encompassing the utopian act. Simultaneously being reality and process, the diagram delays the relation between sign and meaning and promotes a shift from architecture as form or sign to an architecture of forces, performance, and performativity.3
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