Q: In the description of genetic architecture on the Web site, you write, "Some of the technological solutions mentioned in this initiative for genetic architecture are not yet capable of realistic implementation." Where do you think we (architects as builders as well as critical thinkers) are now in relation to "realistic implementation"? How much have you been able to implement at the EXPO 2000 Youth Pavilion?
Q: EXPO 2000 and the Bionic Pavilion seem to emphasize a biomorphic formal expression of genetic architecture. Could you tell us more about how biological models have influenced the designs? For instance, do you call on computational technology to implement biologically-derived generative formal systems (such as L-systems) and to merge them with other architectural concerns? Has expo 2000 undergone the same kinds of reiterative and evolutionary design strategies of the Bionic Pavilion? If the Bionic Pavilion is an ideal for genetic architecture, how closely does EXPO 2000 come to it?
Q: If hardware is a metaphor for physical form, have you been able to design or include a genetic architecture of the software and data? In other words, have you similarly been able to address, for example, the spatial organization of the program, or demographic makeup of the occupants?
Q: "Genetic architecture" brings to mind several pioneers on the technology/architecture axis: Marcos Novice, John Frizzier, Karl Chu, Lars Spuybroek and Greg Lynn among others. Doing a Web search just to refresh my memory brought up a transcript of a Bartlett lecture by Manfred Wolff-Plottegg < that seems to share your attitude as well. The drawing upon biology for inspiration also reminds me of Rene Thom, D’Arcy Thompson, Roger Caillois and even Sanford Kwinter. Where do you see your work in relation to the works of these people? For that matter, who else is out there now exploring likenesses of genetic architecture? Who else is currently working toward it from other disciplines (e.g. computation, physics, biology, economics)?
Q: Is listening to music an important part of your design process?
Q: How does youth culture affect your designs?
Q: Do you have favorite pop culture outlets? Magazines, MTV, etc.
Q: What’s next in your genetic architecture plans?
Q: Ever been to Los Angeles? Las Vegas?
Q: Firm info? Names? Backgrounds? Ages?
Q: Favorite French intellectual?
Q: Ever thought about marketing the speech-recognizing letterforms to Berlitz?
Dear loud paper,
A: We developed the theory of genetic architecture for the "Der visionaere Pavillon" as a proposal for the art exhibition, Dokumenta X, in 1997. As a free work we worked on the Case Study 1 the next year and presented the Konzept as a free proposal to the EXPO 2000. A Bionic Society saw it there and we decided together to work at a Bionic Pavilion for the EXPO 2000, using the claim Man, Nature, Technology.
A: This Project is the Case Study 2 as you can see in the genetic architecture-folder and on http://www.3deluxe.de. All the knowledge about the fusion between the computer technology and biology and all the inspirations from the sciences grew directly into the concept of the scape pavilion at the expo. The similarities in the form finding processes inspired us to draw on our understanding of static flow and we transferred these to our computer models in soft image.
A: The company Moss, from Boston, saw our renderings at the expo and called us and told us that they really wanted to build this genetic architecture. And they did a great job. We transferred our DAT to their system and with a huge computer-controlled cutting table they generated the exact cutting to build our normally unbuildable forms. You’ll reach a new genetic architecture site on www.visionscape.de. The site will be ready in the next days. On <
A: I did not get any to connect but I’m really interested in all the people you recommended in your mail.
A: Music was and is still very important to our work. Every project has its own suitable style and ever since we began music and youth culture has influenced our projects. In a lot of projects we create a stylish "chilloutzone" without declaring it. (please have a look to the "memorylounge" at visionscape.)
A: But our projects are influenced in a liquid interface by science, music…I have been to Las Vegas only once a couple of years ago, but I keep an eye on that electric city. Maybe that place could be the place to be with our plans.
A: In 1993 I worked for Philippe Starck in Paris, but I didn’t come and still don’t come very much in touch with the scene of French intellectuals. I have been in LA a lot of times. I made four yearlong shootings for the German street-fashion label, Overlook (www.cyber-pirates.de). My brother lives there and I like the atmosphere at this very special city.
A: With Andreas and Stephan Lauhoff we founded 3 de luxe in 1991. After a couple of years our friend Dieter Brell stopped his own artist group, Adieu New York, and joined as the fourth member of 3 de luxe. He is 40; all the others are 34.
A: The speech-recognizing letterform was Andreas’ degree at the St. Martins College in London. It was not developed for a commercial application. But if you see interesting possibilities please contact him at firstname.lastname@example.org.
Please don’t hesitate to ask further questions. Can you please send us one of your magazines?