Siteless

An attempt to free architecture from site and program constraints and to counter the profusion of ever bigger architecture books with ever smaller content. Some may call it the first manifesto of the twenty-first century, for it lays down a new way to think about architecture. Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, SITELESS is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he “didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction.” What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published. The 1001 building forms in SITELESS include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing—and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. SITELESS presents an open-ended compendium of visual ideas for the architectural imagination to draw from. The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a “scale test,” showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

Apply your experience of web development with HTML and JavaScript to build micro frontends for large-scale web projects using frameworks such as React and popular web tooling such as Node.js with Express or webpack Key FeaturesCut through the complexities of designing a monolithic web architecture using micro frontend architectureExplore architecture patterns for building large-scale applicationsLearn how to build, test, and secure your micro frontends efficientlyBook Description Micro frontend is a web architecture for frontend development borrowed from the idea of microservices in software development, where each module of the frontend is developed and shipped in isolation to avoid complexity and a single point of failure for your frontend. Complete with hands-on tutorials, projects, and self-assessment questions, this easy-to-follow guide will take you through the patterns available for implementing a micro frontend solution. You’ll learn about micro frontends in general, the different architecture styles and their areas of use, how to prepare teams for the change to micro frontends, as well as how to adjust the UI design for scalability. Starting with the simplest variants of micro frontend architectures, the book progresses from static approaches to fully dynamic solutions that allow maximum scalability with faster release cycles. In the concluding chapters, you'll reinforce the knowledge you’ve gained by working on different case studies relating to micro frontends. By the end of this book, you'll be able to decide if and how micro frontends should be implemented to achieve scalability for your user interface (UI). What you will learnUnderstand how to choose the right micro frontend architectureDesign screens for compositional UIsCreate a great developer experience for micro frontend solutionsAchieve enhanced user experiences with micro frontendsIntroduce governance and boundary checks for managing distributed frontendsBuild scalable modular web applications from scratch or by migrating an existing monolithWho this book is for This book is for software/solution architects or (mostly lead) developers as well as web developers and frontend engineers. Beginner-level knowledge of HTML and CSS along with a solid understanding of JavaScript programming and its ecosystem, including Node.js and NPM, is assumed.

With its powerful combination of visual layout tools, application development features, and code editing support, Dreamweaver MX 2004 is sure to become your tool of choice for creating and managing Web sites. This book offers the key to all of its magic. Sure, you could wade your way through a thousand-page tome to learn the ins and outs of every Dreamweaver feature, but as a Web developer or designer focused on deadlines, details, and putting across an effective message, what you really need is somebody else to do that work for you: to dig up the time-saving tips and shortcuts that will get you to your destination fast. Lucky for you, authors Joseph Lowery and Angela C. Buraglia have done just that, drawing on their own vast Dreamweaver experience to deliver a book that's nothing but those cool sidebar tips. In the process, they cover all of Dreamweaver MX 2004's new features: built-in image-editing technology that lets you edit your images without leaving Dreamweaver, painless cross-browser development, and more.

A photographic survey of the robotic face of Tokyo buildings and an argument that robot aesthetics plays a central role in architectural history. In Tokyoids, architect François Blanciak surveys the robotic faces omnipresent in Tokyo buildings, offering an architectural taxonomy based not on the usual variables—size, material, historical style—but on the observable expressions of buildings. Are the eyes (windows) twinkling, the mouth (door) laughing? Is that balcony a howl of distress? Investigating robot aesthetics through his photographs of fifty buildings, Blanciak argues that the robot face originated in architecture—before the birth of robotics—and has played a central role in architectural history. Blanciak first puts the robot face into historical perspective, examining the importance of the face in architectural theory and demonstrating that the construction of architecture’s emblematic portraits triggered the emergence of a robot aesthetics. He then explores the emotions conveyed by the photographed buildings’ robot faces, in chapters titled “Awe,” “Wrath,” “Mirth,” “Pain,” “Angst,” and “Hunger.” As he does so he considers, among other things, the architectural relevance of Tokyo’s ordinary buildings; the repression of the figural in contemporary architecture; an aesthetic of dismemberment, linked to the structure of the Japanese language and local building design; and the influence of automation technology upon human interaction. Part photographic survey, part theoretical inquiry, Tokyoids upends the usual approach to robotics in architecture by considering not the automation of architectural output but the aesthetic properties of the robot.

Design disciplines are challenged by the condition of the zero point. “Zero-context,” “cities from scratch,” and “zero-carbon” developments all force designers to tackle fundamental questions regarding the strategic relevance and impact of a design intervention. As much as the zero point presents naïve innocence and embodies contradictory notions, it also creates a ground for doubt, self-critique, and rejuvenation for architecture and urbanism. As cities are built before they can even be imagined, what do these projects suggest for the design disciplines? Rather than reductive aestheticization or total rejection, what are possible critical ways to reflect on this condition? Beyond a possible focus on the ambitions of these projects, it is important to see them as symptomatic of a much broader condition within contemporary architecture and urbanism. Along with the challenges inherent in the zero point, perhaps more meaningful are the provocations of the “after the zero” condition, which clearly marks the need to seriously explore fundamental inquiries regarding form and context (physical, social, political). After Zero is an opportunity to imagine alternative futures and a revitalized project for the city.

Que crafted this book to grow with you, providing the reference material you need as you move toward proficiency with Studio MX and use of its more advanced features. Special Edition Using Macromedia Studio MX 2004 is the only book you need to get the most from Macromedia Studio MX 2004, including the newest versions of Flash, Dreamweaver, Fireworks, FreeHand, and ColdFusion Developer Edition. Book jacket.

The PC era is giving way to a new form of popular computing in which smart, globally-connected objects and environments are the new computational ground. This new ground is the exigence for a new approach to digital rhetoric and writing. In Suasive Iterations, Rieder calls for an approach that is grounded in a new canon of digital style. He explains that the growing range of microcomponents and –processes can be botanized for the new canon. Drawing on Claude Levi-Strauss’ theory of bricolage, he describes his stylistic approach as a transductive science of the concrete, the goal of which is to engage audiences suasively by allegorizing aspects of the physical world to which the new era of microcomponents give us access. Suasive Iterations will appeal to scholars and practitioners—faculty and graduate students—in digital rhetoric, writing, digital humanities, and the digital arts. One of its innovative features is the inclusion of original, open-source programming projects for each of the four main chapters. The projects are written in/for Arduino, Processing, and the Kinect sensor. They are designed to highlight issues in the scholarly tradition.