In Greek mythology the Chimera was a monstrous fire-breathing creature. She had the body of a lioness, a tail ending in a snake’s head, and a goat’s head arising on her back at the centre of her spine. There are of course many other examples in different cultures that could also be referred to as Chimeras. In genetics, biology and botany a Chimera represents an animal or plant with genetically distinct cells from two different zygotes or genetically different types of tissue; the resulting organism is a mixture of tissues, and of different sets of chromosomes. In paleontology, it is a fossil reconstructed with parts from different animals.
aRC(2)himera is an architectural chimera. From its distinct sets of digital chromosomes and analogue chromosomes evolves a monstrous mix-up of various approaches that go from developing skin morphologies, structure anatomies, ornamental textures, responsive environments, biological growth, robotic behaviour, miniature devices, machined fabrication, interactive media design, sensorial feedback etc. To some this may look and sound outrageous and horrific—as it is neither elegant nor pure, nor truthful or correct (process-wise).
Why this Frankensteinian, modern Promethean approach? The grotesqueness of aRC(2)himera is only relative. aRC(2)himera must be seen in a postvirtual and postdigital context of New Materialism, which marks the ambition to escape from the old unsustainable (socially and environmentally) virtual and cyber architectural visions, and from the old off-the-shelf and unsustainable (environmentally and financially) architectural production methods towards innovative applicable theories, techniques and technologies. Read the rest of this entry »