omaton. Instead of being our passive plaything, can architecture play with us? In all three areas what you see is the beginning of the question, not a resolution. As such, it is almost un-designed.
Although slightly tangential to the main thrust of Chard’s research, the bird flight track illustrated here provides a first provocation to test these varied themes in one strain of work. What will emerge out of it? Three things: content for the current generation of drawing instruments to discuss; examining the emergence of an architecture unencumbered by precedents and testing the awkward possibilities implicated in our relationships with machines.