“To my mind, there are two significant historical moments of bionic sensitivity: the period 300 years ago—and the period around the turn of the last century.” Greg Lynn“Bionic Sensitivity” is what 39-year-old American architect Greg Lynn entitled one of his long essays explaining his unusual approach: to Lynn, convention and geometry have become less relevant. Each of his buildings is meant to be understood as a flexible entity that can adapt to its environment in terms of space and color. Doors and windows are derived from the typology of surfaces—pores, slits, strips. Traditional building conventions have outlived their usefulness. This also applies to how color is used. Lynn seeks to create surfaces that orient themselves toward the shimmering interplay of animal skin and water (tadpoles), land (frogs) and air (butterflies).„bionic sensitivity”For him, convention and geometry have lost in relevance. Each of his buildings is to be understood as a flexible, curvilinear entity. The openings derive from the typology of the surfaces – pores, slits, streaks – and not from conventional schemata.Lecture on the occasion of the exhibition Greg Lynn. Intricate Surface, MAK Gallery, 10 September–16 November 2003
“To my mind, there are two significant historical moments of bionic sensitivity: the period 300 years ago—and the period around the turn of the last century.” Greg Lynn
“Bionic Sensitivity” is what 39-year-old American architect Greg Lynn entitled one of his long essays explaining his unusual approach: to Lynn, convention and geometry have become less relevant. Each of his buildings is meant to be understood as a flexible entity that can adapt to its environment in terms of space and color. Doors and windows are derived from the typology of surfaces—pores, slits, strips. Traditional building conventions have outlived their usefulness. This also applies to how color is used. Lynn seeks to create surfaces that orient themselves toward the shimmering interplay of animal skin and water (tadpoles), land (frogs) and air (butterflies).
„bionic sensitivity”
For him, convention and geometry have lost in relevance. Each of his buildings is to be understood as a flexible, curvilinear entity. The openings derive from the typology of the surfaces – pores, slits, streaks – and not from conventional schemata.
Lecture on the occasion of the exhibition Greg Lynn. Intricate Surface, MAK Gallery, 10 September–16 November 2003
“Bionic Sensitivity” is what 39-year-old American architect Greg Lynn entitled one of his long essays explaining his unusual approach: to Lynn, convention and geometry have become less relevant. Each of his buildings is meant to be understood as a flexible entity that can adapt to its environment in terms of space and color. Doors and windows are derived from the typology of surfaces—pores, slits, strips. Traditional building conventions have outlived their usefulness. This also applies to how color is used. Lynn seeks to create surfaces that orient themselves toward the shimmering interplay of animal skin and water (tadpoles), land (frogs) and air (butterflies).
„bionic sensitivity”
For him, convention and geometry have lost in relevance. Each of his buildings is to be understood as a flexible, curvilinear entity. The openings derive from the typology of the surfaces – pores, slits, streaks – and not from conventional schemata.
Lecture on the occasion of the exhibition Greg Lynn. Intricate Surface, MAK Gallery, 10 September–16 November 2003