Catálogo de publicaciones - revistas

<jats:title>Abstract</jats:title><jats:p>As the 1970s faded, Lebbeus Woods set about memorialising the great theoretical physicist Albert Einstein and his theory of relativity. A cosmic scale and an anti‐gravity mode of this visual and poetic remembrance is embodied in his Einstein Tomb project. <jats:bold>Joseph Becker</jats:bold>, Associate Curator of Architecture and Design at the San Francisco Museum of Modern Art, articulates its evolution, marrying Woods's cyclic epistemology with the quadripartite mandala form.</jats:p>

<jats:title>Abstract</jats:title><jats:p>When an architectural argonaut whose creative life was spent on a quest to open more possibilities for architecture meets another, a special mutual respect is instilled. <jats:bold>Peter Cook</jats:bold>, Archigram co‐founder and doyen of the Architectural Association (AA) in the 1980s, recalls his initial encounter and some of the moments he has shared with Lebbeus Woods over the decades.</jats:p>

<jats:title>Abstract</jats:title><jats:p>For architects, the construction of a dataset for use in AI, whether imported from somewhere else or newly created, is fundamentally an epistemological canon of references, likes and preoccupations often predicated on the selection of so‐called masterpieces of Western art. The canon represents ideals of beauty and knowledge, but it also reflects a bias in favour of art created by those who have occupied the most socially, politically and economically powerful positions in culture. <jats:bold>Mario Carpo</jats:bold>, architectural historian, critic and Reyner Banham Professor of Architectural History and Theory at the Bartlett School of Architecture, University College London, leads us through a succinct series of eras and architectural styles to demonstrate this fact and their lack of diversity.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Architectural discourse has often been described as predicated on the lone architect genius backed by a studio of supplicant architectural assistants. In recent years there has been a swing to the idea of crediting the numerous creative collaborations in the development of the arts – buildings or not. Guest‐editor of this 2 <jats:bold>Matias del Campo</jats:bold> uses AI to further question the independent, original‐thinking concept of authorship before reaching the ultimate conclusion.</jats:p>