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Log 38
Fall 2016

Log 38 is an open issue of observations on architecture and the contemporary city.

Submission deadline: Monday, June 6, 2016

Log 37: cataLog
Spring 2016

This summer Log becomes cataLog: the official color catalogue for “The Architectural Imagination,” an exhibition for the US Pavilion at the 2016 Venice Architecture Biennale.

Winter 2016
Guest Edited by Greg Lynn

The submission deadline has passed.

A couple years ago I was driving in California and looked over to see a Toyota Prius, with a roof-mounted sensor network and a Google logo, driving with a passenger in the driver’s seat. It crossed my mind that if a car could navigate a freeway perhaps buildings could do a little more. If my car is already a robot, why isn’t my studio?

In the 1990s it was countercultural when an architecture student would state, “I don’t want to produce drawings and models in a corporate firm. I want to be a maker.” Today we are surrounded by “makers.” Digital technology and digital connectedness have provoked two related cultural responses: a reactionary return to artisanal crafts and an appropriation of industrial processes. From home pickling, canning, curing, and brewing to domestic 3-D printing, things are being made both with and against digital technology. There was one person in the field of architecture in the 1990s combining these compartmentalized activities, and he is both a maker and a thinker. To understand the 20-year-old fixation with digital “fabrication” in architecture, one need only look to Bernard Cache. Cache saw digital technology as the instrument to translate the architect’s geometric expertise into craft and therefore to empower architects through their command of a legion of robotic carpenters. Primitive huts fabricated by robots has been the dominant form of architectural innovation ever since. With the will to digital control came a return to essential theories of tectonics and design that one can observe today in the very thoughtful and rigorous theories of parametricism offered by Patrik Schumacher and Mario Carpo. Yet the sheen of fabrication is quickly tarnishing with its wholesale adoption by corporate practices. For example, derivatives of Cache’s panels can be seen inside museum galleries, on hotel facades, and in steakhouse interiors and elevator lobbies. If the caste of robots is as carpenters, welders, and masons, then some of the greatest minds in architecture can continue to invent new more complicated yet affordable things for them to make. The project of digital fabrication may not be complete, but it now belongs to the architectural mainstream.

Meanwhile, the rest of humanity looks to self-driving cars, drones, and the “internet of everything.” Companies involved in digital data, like Google, Facebook, Amazon, and Trimble, are bringing robots into the built environment to animate it. Innovations in environmental intelligence and dynamics are being developed in Silicon Valley as an extension of and expansion beyond the screen. Smart environments are imagined by architects with regularity, but the profession’s infatuation with instruments of construction often eclipses an engagement with the intelligence and behavior of animate buildings. Log 36: ROBOLOG will look at the relevance of robotics to architecture, with one exclusion: using robots to make things.

There is a legacy of architecture conceived as giant robot. Beginning with the New York World’s Fairs, the Festival of Britain, and Expo ’70 in Osaka, architects as diverse as Norman Bel Geddes, Arata Isozaki, Cedric Price, Archigram, and Charles and Ray Eames were conceiving and sometimes realizing massive robotic structures. During the 1980s there were other architects working with technologists and artists in Northern Europe and North America who rejected the digital turn toward making in favor of making environments more dynamic, intelligent, and interactive. TED conferences, the MIT Media Lab, Ars Electronica, the Netherlands Media Art Institute (NIMk), V2_Institute for Unstable Media, and the Banff Centre were all hubs for architects searching for new spaces, environments, and experiences related to the transformation of buildings into giant robots. The legacy of this moment can be seen in a few cases such as the theatrical work of Mark Fisher’s studio and selected recent projects by Diller Scofidio + Renfro, David Rockwell Group, and OMA that integrate large-scale robotics into buildings to introduce dynamism and interactivity. In the tragic fashion of architecture, ideas were generated in the field and then abandoned, only later to become the most important and profitable topic in the world. ROBOLOG will reexamine the concepts, technologies, and projects imagined by architects to connect robotics with physical environments. It aims to reconnect the discipline with the intelligent environments, like the autonomous car, that are being realized today.

ROBOLOG welcomes any and all proposals by innovative thinkers regarding the integration of digital technology into architecture, with one exception: makers need not apply. – Greg Lynn
Log accepts unsolicited submissions of previously unpublished work, including, but not limited to, writings, drawings, and photos.

To determine what kind of material we are interested in, please consult past issues of Log (many excerpts are available here), as well as the description of the journal found here. In general, Log prefers texts that are conceived and written as essays or brief “observations,” not academic papers or project statements. Length may vary, but we rarely can accept essays over 5,000 words.

Observations are pithy one-page remarks (100–300 words), accompanied by an image, on a phenomenon, event, or occasion of relevance to contemporary architecture.

Due to the volume of submissions, we can only respond to authors whose articles we expect to publish. Contact will be made within 45 days of each issue’s submission deadline.

Submission Guidelines
We can only accept submissions sent electronically as attachments to submissions [at] anycorp.com. Please include the word submission in the subject line and attach texts and images as separate files. Total submission size must not exceed 2 MB.

Texts should be submitted as a file that can be opened with Microsoft Word. Please be sure to include your name at the top and append your contact info and a very short bio to the end. We prefer to receive texts in customary manuscript format (double-spaced, 12-point Times New Roman, 1" margins, US letter-sized page). While we work with authors to refine submissions, we request that all submitted essays be carefully edited and as complete as possible. Please consult The Chicago Manual of Style for appropriate stylistic standards for text and footnotes.

Images may be collected and submitted, along with caption and credit information, in a single (multipage) low-res PDF; please do not embed images in text files.