- https://doi.org/10.1525/hsns.2023.53.5.518
Coded Objects
- Nov 1, 2023
- Historical Studies in the Natural Sciences
- Anna-Maria Meister
Essay| November 01 2023 Coded Objects: The Forms of Proto-Algorithmic Thinking Anna-Maria Meister Anna-Maria Meister Lise Meitner Research Group Leader, Kunsthistorisches Institut in Florenz—Max Planck Institute and Professor for Architecture Theory, Department of Architecture, KIT Karlsruhe Institute of Technology anna-maria.meister@khi.fi.it Search for other works by this author on: This Site PubMed Google Scholar anna-maria.meister@khi.fi.it Historical Studies in the Natural Sciences (2023) 53 (5): 518–528. https://doi.org/10.1525/hsns.2023.53.5.518 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Anna-Maria Meister; Coded Objects: The Forms of Proto-Algorithmic Thinking. Historical Studies in the Natural Sciences 1 November 2023; 53 (5): 518–528. doi: https://doi.org/10.1525/hsns.2023.53.5.518 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentHistorical Studies in the Natural Sciences Search Consider this office. It could be the view into a creative practice, with models and drawings strewn across desks, hung on walls, or stuffed into shelves. Or, backing up: consider the digital reproduction of a photograph originally taken in the office of the architect Frank Gehry. Gehry’s office is “digital” in more than one sense, not only because you are almost certainly viewing it as a digital image. But it was also in this office, in the 1990s, that Gehry proposed new digital modes of form-making and production, with staff developing their own software to optimize and translate their projects’ complex geometries. Gehry thus paved the way for the representation of his office in this exhibit and architecture’s digital turn. And yet calling it “digital” is not that simple. Depicted at the office’s center are, after all, people—surrounded by the very analog “stuff” of architectural practice, not least the... You do not currently have access to this content.