Hernán Díaz Alonso and Florencia Pita
XEFIROTARCH, 400 South Main St., #208
Los Angeles, CA 90013 USA

It is impossible to think of design and mathematics as separate terms after the advent of digital design into architecture; calculus is embedded in the operations that gave rise to a new way of performing in design. The tool does not represent, it engenders; it is a technical apparatus that insers a generative mechanism; it is a technique. This approach to design through technique has transcended the problem of representation and proved to be an effective design tool. Given that the software is in fact a tool that pertains to a large degree the highest control of the manipulations of formal strategies, we can assert that we are in fact within a terrain of form and proportion. Thus what digital design has brought into the fore is a model of form in continuous change, a mindset of variation where we no longer think of a unique idea or design but rather particular strategies for design. The new technology brought up a new vocabulary of forms and tools along with a new aesthetic. If taditional architecture needed to determine the degree to which a particular project had achieved its extent of beauty, digital architecture would dig into the ugly and the horrific as ways of material shock, the ugly being a reverse mechanism of a more traditional beauty (a polarity that merges into one) and the horrific as a will to anguish, to a more appalling encounter with the work. From the ugly to the horrific, it is intuition through technique that creates a provocation in the material to create distress, as shocking effects have a resonance beyond the particularities that bring them on.

This email address is being protected from spambots. You need JavaScript enabled to view it.

The correct citation for this paper is:
Hernán Díaz Alonso and Florencia Pita, "From the Ugly to the Horrific", pp. 9-11 in Nexus V: Architecture and Mathematics, ed. Kim Williams and Francisco Delgado Cepeda, Fucecchio (Florence): Kim Williams Books, 2004.