Pablo Lorenzo-Eiroa
Dr. Pablo Lorenzo-Eiroa is an Associate Professor, the AI Lab Director, and first Director and syllabus author MS in Architecture, Computational Technologies at the School of Architecture and Design at New York Institute of Technology (NYSED approvals). He is the design lead of the experimental practice e-Architects (NYC, BA) based on an emerging Architecture and Urbanism of Information. Lorenzo-Eiroa is an international architect and scholar in the fields of architecture, urbanism, ecology and computation. His work innovates in information-based representation and construction systems through materials, robotics and digital fabrication.
Lorenzo-Eiroa has authored and co-edited more than 40 articles and 6 books, including: "Digital Signifiers in an Architecture of Information: From Big Data and Simulation to Artificial Intelligence" Routledge, 2023; Architecture In Formation, Routledge, 2013; Instalaciones: Sobre el trabajo de Peter Eisenman, DLO/RE, Buenos Aires, 2008 and others.
e-Architects develops software, information “mapping” and “visualizations” using Big Data for cities-environments, including machines to “draw” and machines to “build”, understanding them as proto-architectural. e-Architect’s design philosophy is to question the representational, technological, ecological and spatial parameters that become referential in architecture.
Prof. Lorenzo-Eiroa has been appointed at several universities, including The Cooper Union (2004-2018), UPenn, Columbia University, UIC Barcelona, Sapienza University in Rome, Universidad Di Tella, and the University of Buenos Aires (1998-2001). He was invited to lecture in more than +70 events including several keynote lectures at institutions globally including The Cooper Union, Princeton University, UPenn, Harvard GSD, Rice University, Art Institute Chicago, ETH-Zurich, ENSA-Strasbourg, Hong Kong University, Tel Aviv University, UCPRP, and others. Prof. Lorenzo-Eiroa has been successfully through many blind and open peer review conference processes, publishing essays, presented and exhibited projects in different media, and institutions including the Venice Biennale (XIII, XIX, XIV, XVI, XVII, XVIII), MoMA, MAS Summit, NYC Media Lab, the New York Times, Clarin Arq, Constructcs (Yale), Pidgin (Princeton), The Generic Sublime (Harvard/Actar), Paradigms in Computation (eVolo), Imagining Ground Zero (Rizzoli), and others.
Address: New York, New York, United States
Lorenzo-Eiroa has authored and co-edited more than 40 articles and 6 books, including: "Digital Signifiers in an Architecture of Information: From Big Data and Simulation to Artificial Intelligence" Routledge, 2023; Architecture In Formation, Routledge, 2013; Instalaciones: Sobre el trabajo de Peter Eisenman, DLO/RE, Buenos Aires, 2008 and others.
e-Architects develops software, information “mapping” and “visualizations” using Big Data for cities-environments, including machines to “draw” and machines to “build”, understanding them as proto-architectural. e-Architect’s design philosophy is to question the representational, technological, ecological and spatial parameters that become referential in architecture.
Prof. Lorenzo-Eiroa has been appointed at several universities, including The Cooper Union (2004-2018), UPenn, Columbia University, UIC Barcelona, Sapienza University in Rome, Universidad Di Tella, and the University of Buenos Aires (1998-2001). He was invited to lecture in more than +70 events including several keynote lectures at institutions globally including The Cooper Union, Princeton University, UPenn, Harvard GSD, Rice University, Art Institute Chicago, ETH-Zurich, ENSA-Strasbourg, Hong Kong University, Tel Aviv University, UCPRP, and others. Prof. Lorenzo-Eiroa has been successfully through many blind and open peer review conference processes, publishing essays, presented and exhibited projects in different media, and institutions including the Venice Biennale (XIII, XIX, XIV, XVI, XVII, XVIII), MoMA, MAS Summit, NYC Media Lab, the New York Times, Clarin Arq, Constructcs (Yale), Pidgin (Princeton), The Generic Sublime (Harvard/Actar), Paradigms in Computation (eVolo), Imagining Ground Zero (Rizzoli), and others.
Address: New York, New York, United States
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What would be the means to propose our future ways of living in relation to our global environmental commons? How can we secure a real time system including local zoning laws and global parameters that include humans, post-humans, non-humans in a post-Capitalist post-Anthropocene?
These issues are addressed in the emergent architecture and urbanism of information, which consists in surveying reality, reading, interpreting, mediating, and organizing information flows identifying conflicts of interests between data acquisition, their representation and functionality.
Ecoinduction, is an ongoing research that integrates different survey and measuring systems, such as Big Data, simulations, Machine Learning (ML) and Artificial Intelligence (AI) to activate real time a dynamic varying ecological zoning thinking cities as global interconnected space-environments.
We propose the United Biomes of the World, a thermodynamic blockchain platform that surveys and integrates multidimensional information in a dynamically continuously changing system that can inform reality real time.
ISBN 978-84-124111-7-1
representation. The question is why architecture
does not have an active role in the contemporary
investigations over conceptions and developments
on multidimensional spaces.
Computation has established new representational
paradigms that can be compared to the revolution of
perspective in the Renaissance. But architects have
now limited authorship in the current digital
revolution that is transforming systems of
representation that they work with every day.
The essay is based on latent problems of
multidimensional spatial projection from the
development of linear perspective in the
Renaissance to the complexity of multidimensional
representation in the Baroque.
The essay explores higher dimensional space in
computer representation by displacing conventional
spatial projection methods, from perspective, to
topology, to big data processing.
"This is a pre-copy edited version of a contribution published in Graphic Imprints of Carlos Marcos, EGA, Springer 2018. The definities authenticated version is available online via https://doi.org/10.1007"/978-3-319-93749-6_34
conceived by the previous revolution. But the proliferation of digital techniques ended up replacing personal design agendas. A strange sense of similar complexity was perceived in the indexing of the structural forms of common algorithms that
were being applied across different design agendas and cultures. One can argue that this sense activated certain reactionary positions in architecture, which then tried to
reclaim the essence of design culture—positions later identifi ed as the post-digital.
As critical recognition of such positions, the post-digital attitude can be understood in two different ways. One way frames the post-digital as a negative dialectic
reaction by simply replacing the digital with an architectural culture independent from technology—an eclecticism that, interestingly, aims to construct a visual,
critical synthesis out of a collage of cultural projects and techniques, and thereby reactivates a problematic post-modernism. The other way frames the post-digital
as an attempt to establish design authorship at higher levels of representation—an attempt that sought to engage with a deeper understanding of computation and to avoid visual historicism. This attempt was based on earlier efforts to recognize, and critique, the spread of computation as the emergence of a new renaissance. 1
By now, it is crucial to establish a retroactive and, simultaneously, a continuously expanding project for computation; we must critique both its widespread structuralism and its cultural simplification. One cannot separate technology from culture since revolutionary architecture necessarily involves critical integration and
innovation at both levels. As part of this scenario, the cultural role of the architect necessarily changes: contemporary architects will engage with the coding of reality, expand design authorship to computational systems, and become more relevant in the development of new technologies. They will take uncomfortable leads, as architects so notably did during the Renaissance with perspective, by developing an
architecture of architectures, and by expanding design authorship to the conditions and parameters that explicitly reference architecture. In other words, architects will confront the emerging definition of the architecture of information.
philosophy is to design at the same level both foreground and background processes, displacing systems, parameters, computer codes and fabrication technologies, to secure cultural innovation at a structural level, opening new possibilities for new architectures. The issue is how to expand design authorship, critiquing the division of labor (Fordism).
It is interesting to make sense of two seemingly unrelated issues: first, the earlier disciplinary reference to the ground condition, and second, the current appeal of the image of a building as it is activated by media reproduction. What determines reference in contemporary architecture after decades of referencing the ground? In contemporary architecture, it can be argued that the envelope of a building, its façade, is what indexes both parametric codes and media reproduction. Considered as a thickened surface, the façade synthesizes the previous experience of grounded buildings by redefining the building's containment. Therefore, contemporary façades reference complex, parametric algorithms that not only index formal differentiation, but also engage the thicker, topological interior/exterior relationships of the spaces within. Through their intrinsic iconicity, then, the façades of buildings actually index the signification forced upon them by media reproduction. These are the two aspects of signification in contemporary architecture, i.e. – the structuring of codes that organize differentiation and media reproduction, that are synthesized in the surface of a building.
Architecture in Formation aims to consolidate, reorganize, and critique what has constituted a revolution in the discipline over the past ten years. This revolution is based on a growing recognition to acknowledge deeper structures in architecture. Information technologies presented a new paradigm to architectural representation through the possibility to work directly with deeper relational structures such as computer codes.
This revolution is reacting against late post-structuralisms that
rely only on visual judgment without acknowledging deeper relational structures. This transformation is built from a renewed advancement in digital architecture representation and architecture organization, motivating a fully integrated systemic approach ranging from bits, to codes to the structuring of relationships. Although, this cultural transformation seems to be propelled once more from a historical cyclical purge reacting consistently between two opposing forces.
"There is a necessity to rethink the relationship between post-structuralism as a critique of determination and a new structuralism as a continuity, disclosing deep structures to the foreground addressing their role in qualifying affection."
FORM:IN:FORM:
COMPUTATION AND AUTHORSHIP (Lorenzo-Eiroa, P. "Design Authorship, ACADIA 2010 Conference Introduction", At Cooper, 2010):
Language as author in relation to computation and computational languages discussing linguistics and media determination in the originating role of digital signifiers.
"In order to avoid any semantic representation of extrinsic content, it is imminent to activate a topological loop between representation and actualization, acknowledging the parameterization of the interfaces that striate the logic of what constitutes the work."
THE ROLE OF RELATIVE DISPLACEMENT:
"The implicit project in parametric variations is to resolve within relative topological displacements such a structural typological change that is able to critique and transcend the departing implicit or explicit organizational structure."
REVOLUTION OR PROGRESS? TECHNOLOGY AS CULTURE:
"Architecture must stop defining its avant-garde renewing itself cyclically by actualizing technology. Architecture must invert this relationship to actively inform technology from a cultural position."
IN:FORMED AHISTORIC ARCHITECTURE (...)
The new political agenda in architecture is once more related to questioning representation and the imposition of a structuralism by computation. Digital architecture has been redefining its project as a
progressive, infinite force, self-declaring a continuous actualization of architecture’s avant-garde by indexing
the most recent technological innovations. Digital architecture is aiming for a certain stability in this
process, replacing a false idea of continuous revolution with a sense of progress, where cultural values, such as
aesthetics, became equally informed and exchangeable with technological innovation.
What would be the means to propose our future ways of living in relation to our global environmental commons? How can we secure a real time system including local zoning laws and global parameters that include humans, post-humans, non-humans in a post-Capitalist post-Anthropocene?
These issues are addressed in the emergent architecture and urbanism of information, which consists in surveying reality, reading, interpreting, mediating, and organizing information flows identifying conflicts of interests between data acquisition, their representation and functionality.
Ecoinduction, is an ongoing research that integrates different survey and measuring systems, such as Big Data, simulations, Machine Learning (ML) and Artificial Intelligence (AI) to activate real time a dynamic varying ecological zoning thinking cities as global interconnected space-environments.
We propose the United Biomes of the World, a thermodynamic blockchain platform that surveys and integrates multidimensional information in a dynamically continuously changing system that can inform reality real time.
ISBN 978-84-124111-7-1
representation. The question is why architecture
does not have an active role in the contemporary
investigations over conceptions and developments
on multidimensional spaces.
Computation has established new representational
paradigms that can be compared to the revolution of
perspective in the Renaissance. But architects have
now limited authorship in the current digital
revolution that is transforming systems of
representation that they work with every day.
The essay is based on latent problems of
multidimensional spatial projection from the
development of linear perspective in the
Renaissance to the complexity of multidimensional
representation in the Baroque.
The essay explores higher dimensional space in
computer representation by displacing conventional
spatial projection methods, from perspective, to
topology, to big data processing.
"This is a pre-copy edited version of a contribution published in Graphic Imprints of Carlos Marcos, EGA, Springer 2018. The definities authenticated version is available online via https://doi.org/10.1007"/978-3-319-93749-6_34
conceived by the previous revolution. But the proliferation of digital techniques ended up replacing personal design agendas. A strange sense of similar complexity was perceived in the indexing of the structural forms of common algorithms that
were being applied across different design agendas and cultures. One can argue that this sense activated certain reactionary positions in architecture, which then tried to
reclaim the essence of design culture—positions later identifi ed as the post-digital.
As critical recognition of such positions, the post-digital attitude can be understood in two different ways. One way frames the post-digital as a negative dialectic
reaction by simply replacing the digital with an architectural culture independent from technology—an eclecticism that, interestingly, aims to construct a visual,
critical synthesis out of a collage of cultural projects and techniques, and thereby reactivates a problematic post-modernism. The other way frames the post-digital
as an attempt to establish design authorship at higher levels of representation—an attempt that sought to engage with a deeper understanding of computation and to avoid visual historicism. This attempt was based on earlier efforts to recognize, and critique, the spread of computation as the emergence of a new renaissance. 1
By now, it is crucial to establish a retroactive and, simultaneously, a continuously expanding project for computation; we must critique both its widespread structuralism and its cultural simplification. One cannot separate technology from culture since revolutionary architecture necessarily involves critical integration and
innovation at both levels. As part of this scenario, the cultural role of the architect necessarily changes: contemporary architects will engage with the coding of reality, expand design authorship to computational systems, and become more relevant in the development of new technologies. They will take uncomfortable leads, as architects so notably did during the Renaissance with perspective, by developing an
architecture of architectures, and by expanding design authorship to the conditions and parameters that explicitly reference architecture. In other words, architects will confront the emerging definition of the architecture of information.
philosophy is to design at the same level both foreground and background processes, displacing systems, parameters, computer codes and fabrication technologies, to secure cultural innovation at a structural level, opening new possibilities for new architectures. The issue is how to expand design authorship, critiquing the division of labor (Fordism).
It is interesting to make sense of two seemingly unrelated issues: first, the earlier disciplinary reference to the ground condition, and second, the current appeal of the image of a building as it is activated by media reproduction. What determines reference in contemporary architecture after decades of referencing the ground? In contemporary architecture, it can be argued that the envelope of a building, its façade, is what indexes both parametric codes and media reproduction. Considered as a thickened surface, the façade synthesizes the previous experience of grounded buildings by redefining the building's containment. Therefore, contemporary façades reference complex, parametric algorithms that not only index formal differentiation, but also engage the thicker, topological interior/exterior relationships of the spaces within. Through their intrinsic iconicity, then, the façades of buildings actually index the signification forced upon them by media reproduction. These are the two aspects of signification in contemporary architecture, i.e. – the structuring of codes that organize differentiation and media reproduction, that are synthesized in the surface of a building.
Architecture in Formation aims to consolidate, reorganize, and critique what has constituted a revolution in the discipline over the past ten years. This revolution is based on a growing recognition to acknowledge deeper structures in architecture. Information technologies presented a new paradigm to architectural representation through the possibility to work directly with deeper relational structures such as computer codes.
This revolution is reacting against late post-structuralisms that
rely only on visual judgment without acknowledging deeper relational structures. This transformation is built from a renewed advancement in digital architecture representation and architecture organization, motivating a fully integrated systemic approach ranging from bits, to codes to the structuring of relationships. Although, this cultural transformation seems to be propelled once more from a historical cyclical purge reacting consistently between two opposing forces.
"There is a necessity to rethink the relationship between post-structuralism as a critique of determination and a new structuralism as a continuity, disclosing deep structures to the foreground addressing their role in qualifying affection."
FORM:IN:FORM:
COMPUTATION AND AUTHORSHIP (Lorenzo-Eiroa, P. "Design Authorship, ACADIA 2010 Conference Introduction", At Cooper, 2010):
Language as author in relation to computation and computational languages discussing linguistics and media determination in the originating role of digital signifiers.
"In order to avoid any semantic representation of extrinsic content, it is imminent to activate a topological loop between representation and actualization, acknowledging the parameterization of the interfaces that striate the logic of what constitutes the work."
THE ROLE OF RELATIVE DISPLACEMENT:
"The implicit project in parametric variations is to resolve within relative topological displacements such a structural typological change that is able to critique and transcend the departing implicit or explicit organizational structure."
REVOLUTION OR PROGRESS? TECHNOLOGY AS CULTURE:
"Architecture must stop defining its avant-garde renewing itself cyclically by actualizing technology. Architecture must invert this relationship to actively inform technology from a cultural position."
IN:FORMED AHISTORIC ARCHITECTURE (...)
The new political agenda in architecture is once more related to questioning representation and the imposition of a structuralism by computation. Digital architecture has been redefining its project as a
progressive, infinite force, self-declaring a continuous actualization of architecture’s avant-garde by indexing
the most recent technological innovations. Digital architecture is aiming for a certain stability in this
process, replacing a false idea of continuous revolution with a sense of progress, where cultural values, such as
aesthetics, became equally informed and exchangeable with technological innovation.
abstract space relative to processing that has been producing
a shift in the core of the discipline. These questions imply
the overall ideological ambition of the conference. There is
indeed a trajectory that intends to build up a critical
alternative axis to the way digital information systems have
been understood in architecture since 1990s, primarily based
on a visual logic. Media has repressed digital architecture to
a mere representational role, negating the potential relational
logic of systems, a formal aesthetic fundament based on the
structuring of mental relationships. It is becoming quite clear
that if architects do not break or displace the given source
codes of algorithms and create their own, their work is
trapped by the predetermination of the set of ideas contained
within those programs. What this concept questions is
authorship, the necessity to displace and create structures
that organize and process information; and the extent
of an autonomy within the constitution of the logic of formal
processes. This understanding is based on an ambition
that may help a historical venture. Ultimately architecture
may inform and be relevant to technology, as opposed
to architecture being relative to technological actualization.
The growing array of interfaces that striate digital architecture
are layers where information is represented, crossed,
manipulated and ultimately presented. If interfaces are
spaces of representation, they are spaces of differentiation,
and since there is no information without representation,
these spaces activate a generative capacity, as architectural
content is constituted in a responsive topological loop
between form and content. The interface is the context
within which the work is made possible, implying a
topological relationship between the apparently formless
flow of data that is seen extrinsic to form, structure, the
interfaces involved and how information is constituted.
Historically, architecture has led spatial representation. Today, computation has established new representational paradigms that can be compared to spatial representations, such as the revolution of perspective in the Renaissance. Architects now use software, robotics, and fabrication tools with very little understanding and participation in how these tools influence, revolutionize, and determine both architecture and its construction today. Why does the discipline of architecture not have a higher degree of authorship in the conception and development of computational technologies that define spatial representation? This book critically explores the relationship between history, theory and cultural criticism. Lorenzo-Eiroa positions new understandings through parallel historical sections and theories of many revolutionary representational architecture canons displaced by conventional spatial projection. He identifies the architects, artists, mathematicians, and philosophers that were able to revolutionise their disciplines through the development of new technologies, new systems of representation, and new lenses to understand reality. This book frames the discussion by addressing new means to understand and expand architecture authorship in relation to survey, information, representation, higher dimensional space, Big Data, and Artificial Intelligence - in the pursuit of activating an architecture of information.
This will be important reading for upper-level students and researchers of architecture and architectural theory, especially those with a keen interest in computational design and robotic fabrication.