Greg Lynn is the principal of Greg Lynn FORM and has lectured and taught internationally, as Professor at the Universitat fur Angewandte Kunst in Vienna, as Davenport Professor at Yale, and as studio professor at UCLA. He curated the exhibitions 'Intricacy' (2003) at the ICA in Philidelphia, and 'Intricate Surface' (2003) at the MAK in Vienna.
This seminal book from Architectural Design was originally published in 1993, at a time of crucial change and on the eve of the digital revolution. It brought together a series of essays that many believe created the favourable environment in which computer-based design could thrive. Considered one of the most influential architecture publications of the 1990s, this book r This seminal book from Architectural Design was originally published in 1993, at a time of crucial change and on the eve of the digital revolution. It brought together a series of essays that many believe created the favourable environment in which computer-based design could thrive. Considered one of the most influential architecture publications of the 1990s, this book ranks as a classic and in itself is a crucial chapter of history, though one that has been out of print since 1999.
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This faithful reprinting includes a substantial new introductory essay by Mario Carpo, Head of the Study Centre at the Canadian Centre for Architecture, which examines the impact of the original texts and their ongoing significance. Thereafter, the book is true to its original content showcasing projects by ground-breaking architects such as Greg Lynn, Jeffrey Kipnis, Bahram Shirdel, Frank Gehry and Philip Johnson.
Contents.Life and works Lynn was born in, and claims always to have wanted to be an architect. 'When I was twelve, I could already construct perspective drawings and draw axonometric projections,' says Lynn. 'In high school, someone taught drafting and in the first day of class they saw that I could do all these constructed drawings. I started picking oddly-shaped objects like threaded combs and I would try to draw them in two-point perspective. I got into drawing as a kind of sport.' Lynn graduated cum laude from (OH) with degrees in Architecture and Philosophy, and with a Master of Architecture.
He is distinguished for his use of to produce irregular, architectural forms, as he proposes that with the use of computers, can be implemented into the generation of architectural expression. Lynn has written extensively on these ideas, first in 1993 as the Editor of an AD Special Issue called “Folding in Architecture”.
In 1999, his book “Animate FORM”, funded in part by the focused on the use of animation and motion graphic software for design. In “Folds, Bodies & Blobs: Collected Essays” is the republished essay from ANY Magazine “Blobs, or Why Tectonics is Square and Topology is Groovy” for which he is credited with coining the term ‘blob architecture’ later to become ‘’ popularized in a weekly Sunday New York Times article “ON LANGUAGE: Defenestration” by the late. The recent book “Greg Lynn FORM”, edited by Mark Rappolt, includes contributions by his colleagues, collaborators and critics including, Imaginary Forces,. Along with, and, he was one of the earliest teachers to explore the use of the digital technology for building design and construction when he was teaching the ‘Paperless Studios’ started while was Dean at (GSAPP) from 1992–1999. He was the Professor of at the (ETHZ) from 1999–2002 and was the Davenport Visiting Professor at the from 1999-2016.Lynn's New York Presbyterian Church in, with, is an early project which used vector-based animation software in its design conception. He was profiled by in their projection of 21st century innovators in the field of architecture and design.Lynn's latest works begin to explore how to integrate structure and form together as he discovered some biomorphic forms are inherently resistant to load.
He often experiments with methods of manufacturing from, boat building and automobile industries in his installations such as Swarovski Crystal Sails and for 2009, “” installation at the in Monaco, 1999 at with, and in his industrial design projects like the super formed titanium of 2003 and the Ravioli Chair. Working with Panelite his studio invented a hollow plastic brick called the Blobwall and using an approach to design and materials is repurposing children’s toys as the building bricks for Toy Furniture and a Fountain at the by scanning rotomolded plastic toys, composing them on a computer, cutting them with a 5 axis CNC router and assembling them into welded monolithic objects.