The Alphabet And The Algorithm Mario Carpo

The Alphabet And The Algorithm Mario Carpo
The Alphabet And The Algorithm Mario Carpo
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6. The Alphabet and the
Alg
ori
thm

7. Writing Architecture series
A project of the Anyone Corporation; Cynthia Davidson, editor
Earth Moves: The Furnishing of Territories
Bernard Cache, 1995
Architecture as Metaphor: Language, Number, Money
Kojin Karatani, 1995
Differences: Topographies of Contemporary Architecture
Ignasi de Solà-Morales, 1996
Constructions
John Rajchman, 1997
Such Places as Memory
John Hejduk, 1998
Welcome to The Hotel Architecture
Roger Connah, 1998
Fire and Memory: On Architecture and Energy
Luis Fernández-Galiano, 2000
A Landscape of Events
Paul Virilio, 2000
Architecture from the Outside: Essays on Virtual and Real Space
Elizabeth Grosz, 2001
Public Intimacy: Architecture and the Visul Arts
Giuliana Bruno, 2007
Strange Details
Michael Cadwell, 2007
Histories of the Immediate Present: Inventing Architectural Modernism
Anthony Vidler, 2008
Drawing for Architecture
Leon Krier, 2009
Architecture’s Desire: Reading the Late Avant-Garde
K. Michael Hays, 2010
The Possibility of an Absolute Architecture
Pier Vittorio Aureli, 2011
The Alphabet and the Algorithm
Mario Carp0, 2o11

8. T h e M I T P r e s s
C amb rid g e, M a s s ach u setts
L o nd
o n ,
En gla n d
The Alphabet and the
Alg
ori
thm
Mario Carpo

9. © 2011 Massachusetts Institute of Technology
All rights reserved. No part of this book may be reproduced in
any form by any electronic or mechanical means (including
photocopying, recording, or information storage and retrieval)
without permission in writing from the publisher.
MIT Press books may be purchased at special quantity discounts
for business or sales promotional use. For information,
please email [email protected] or write to
Special Sales Department, The MIT Press, 55 Hayward Street,
Cambridge, MA 02142.
This book was set in Filosofia and Trade Gothic by The
MIT
Press. Printed and bound in the United States of America.
Library of Congress Cataloging-in-Publication Data
Carpo, Mario.
  The alphabet and the algorithm / Mario Carpo.
     p. cm. — (Writing architecture)
 Includes bibliographical references and index.
ISBN 978-0-262-51580-1 (pbk. : alk. paper) 1. Architectural
design. 2. Architectural design—Technological innovations.
3. Repetition (Aesthetics) 4. Design and technology. I. Title.
NA2750.C375 2011
720.1—dc22
2010031062
10
âOR9âOR8âOR7âOR6âOR5âOR4âOR3âOR2âOR1

10. C o n t e n t s
Preface― iX
15 Variable, Identical, Differential― 1
E 1.1 Architecture and the Identical Copy: TimelinesâOb12
E 1.2 Allography and N otationsâOb 15
E 1.3 AuthorshipâOb 20
E 1.4 The Early Modern Pursuit of Identical ReproductionâOb26
E 1.5 Geometry, Algorism , and the Notational BottleneckâOb28
E 1.6 The Fall of the IdenticalsâOb 35
E 1.7 The Reversal o f the Albertian ParadigmâOb 44
25 The Rise― 51
E 2.1 Alberti and Identical CopiesâOb 53
E 2.2 Going DigitalâOb 54
E 2.3 WindowsâOb 58
E 2.4 ID Pictures and the Power of FacsimilesâOb 62
E 2.5 Alberti’s I mitation Game and Its âOb 68
E Technological FailureâOb
E 2.6 The Invention of the Albertian ParadigmâOb 71

12. 35 The Fall― 81
E 3.1 FormâOb 83
E 3.2 StandardâOb 93
E 3.3 AgencyâOb 106
45E pilogue: Split Ag ency― 123
Notes― 129
Index― 165

14. Not long ago, in the nineties, no one doubted that a “digital
revolution” was in the making—in architecture as in all aspects
of life, science, and art. Today (early 2010) the very expression
“digital revolution” has fallen into disuse, if not into disrepute;
it sounds passé and archaic, at best the reminder of an age gone
by. Yet digital technologies, now ubiquitous, have already signifi-
cantly changed the way architecture is designed and made. They
are changing how architecture is taught in schools, practiced,
managed, even regulated. Etymologically, as well as politically,
the notion of a revolution implies that something is or has been
turned upside down. It may be too soon to tell if the digital is a
revolution in architecture, but it is not too soon to ask what may
be upended if it is. If the digital is a “paradigm shift,” which para-
digm is shifting? If architecture has seen a “digital turn,” what
course has turned?
This work will trace the rise of some aspects of modernity that
have marked the history of Western architecture. They all relate
to one key practice of modernity: the making of identical cop-
ies—of nature, art, objects, and media objects of all sorts. From
the beginning of the Early Modern Age, and until very recently,
the cultural demand and the technical supply of identical copies
rose in sync. Identical copies inspired a new visual culture, and
prompted new social and legal practices aimed at the protec-
tion of the original and its owner or creator. At the same time,
new cultural technologies and new machines emerged and were
developed to produce and mass-produce identical replications:
from printed images and text set with moveable type to the
P r e fa c e

15. x��Preface
industrial assembly line, from perspectival images to photography
to the Xerox machine.
Two instances of identicality were crucial to the shaping of
architectural modernity. The first was Leon Battista Alberti’s
invention of architectural design. In Alberti’s theory, a building
is the identical copy of the architect’s design; with Alberti’s
separation in principle between design and making came the
modern definition of the architect as an author, in the human-
istic sense of the term. After Alberti’s cultural revolution, the
second wave of identical copies in architecture came with the
industrial revolution, and the mass production of identical
copies from mechanical master models, matrixes, imprints, or
molds. Industrial standardization generates economies of scale—
so long as all items in a series are the same.
The modern power of the identical came to an end with the
rise of digital technologies. All that is digital is variable, and digital
variability goes counter to all the postulates of identicality that
have informed the history of Western cultural technologies for
the last five centuries. In architecture this means the end of nota-
tional limitations, of industrial standardization, and, more gen-
erally, of the Albertian and authorial way of building by design.
This book recounts the rise and fall of the paradigm of identi-
cality, and shows that digital and premechanical variability have
many points in common. It discusses the rise of new forms of
postindustrial digital craftsmanship by showing their relation to
hand-making and to the cultures and technologies of variations
that existed before the humanistic and modern rise of machine-
made, identical copies. The first part of the book is a synopsis of
the general argument; the second focuses on the mechanical rise
and the digital fall of identical copies. A bit of repetition is inevi-
table, but the argument is simple—symmetrical, in a sense—with
a beginning, climax, and end.

16. k P refacekxi
This chronicle situates today’s computational tools in archi-
tecture within the ambit of a centuries-old tradition, with all
of its twists and turns, of which the digital represents the most
recent. Technologies change rapidly—“new” technologies in
particular. To predict, and even interpret, new developments in
cultural technologies on the basis of their recent history is risky,
as one needs to extrapolate from a curve that is too short and
build on evidence that has not been sifted by time. A more distant
vantage point entails a loss of detail, but may reveal the outlines
of more general trends. I shall endeavor to highlight some of
these trends, and accordingly offer some conclusions—almost a
morality, as in old tales.
In addition to the many friends, colleagues, and publishers that
are mentioned in the book, special thanks are due to Megan
Spriggs, who edited earlier drafts of most chapters, to Cynthia
Davidson, who turned those chapters into a book, and to Peter
Eisenman, who found a title for it.

17. 1

18. On the evening of Sunday, August 15, 1971, U.S. President Richard
Nixon announced in a televised speech
1
a series of drastic eco-
nomic measures, including the suspension of a fixed conversion
rate between the dollar and gold. The end of the gold standard,
which had been reinstated by the Bretton Woods Agreement in
1944, had momentous economic consequences.
2
Its cultural fall-
out was equally epochal. Only a few years later, the founding
fathers of postmodernism saw in “the agony of strong referentials”
3

one of the symptoms of the postmodern condition, and Nixon’s
abolition of the dollar’s gold parity should certainly rank among
the most prominent harbingers of many postmodern “fragmen-
tations of master narratives”
4
to follow. From what is known
of him, chances are that Nixon (who died in 1994) was never
fully aware of his inspirational hold on Deleuze and Guattari’s
rhizomatic theories of mutability.
5
But from the point of view of
historians of images, the end of the dollar-gold standard should
also be noted for tolling the knell of one of the most amazing and
miraculous powers that images ever held in the history of the
West—one that art historians have often neglected.
British banking history may illustrate the relationship of paper
currency and precious metal over a longer period of time than the
history of the dollar would allow. From 1704, when banknotes
were declared negotiable in England and Wales, until—with minor
interruptions—1931, when the Bank of England in fact defaulted,
Variable,
Identical, Differential

19. 1 21
any banknote issued by the Bank of England could be converted
into gold or sterling silver at a fixed rate: paper stood for metal
and one could be exchanged for the other at the same rate at any
time. After Bretton Woods the British pound was pegged to the
American dollar, and the dollar to gold, which, if one reads this
story in British history books (and in Ian Fleming’s Goldfinger),
6

means that the pound was once again on a gold standard, and if
one reads it in American books means that the British pound was
pegged to the dollar. Either way, the statement that still appears
in small print on British banknotes—“I promise to pay the bearer
on demand the sum of” £10, for example—before 1971 meant that
the bearer would be paid on demand an amount of metal con-
ventionally equivalent to ten pounds of sterling silver; as of 1971
and to this day, the same phrase means, somewhat tautologically,
that the Bank of England may replace that banknote, on demand,
with another one.
7
The almost magic power of transmutation whereby paper
could be turned into gold was canceled, apparently forever, on
that eventful late summer night in 1971. For centuries before
Nixon’s intervention that alchemical quality of legal tender was
guaranteed by the solvency of an issuing institution, but bestowed
upon paper by the act of printing. For that miraculous power of
images did not pertain to just any icon, but only to very particular
ones: those that are identically reproduced, and are visually rec-
ognizable as such. Identicality and its instant visual recognition
are what used to turn paper into gold; and identicality still makes
legal tender work the way it does. A banknote that is not visually
identical to all others in the same mass-produced series (with
the exception of its unique serial number) may be fake or worth-
less. And as we have seen plenty of identical banknotes, until very
recently we were expected to be able to tell at first sight when
one is different, or looks strange, and reject it. Before the age of

20. 7 Variable, Identical , Differentia l73
banknotes, the same pattern of visual identification applied to
coins and seals, whose value and identification depended on the
sheer indexicality of a mechanical imprint, and on the cultural
and technical assumption that all valid copies could and would
be reproduced identically.
These instances of “indexical” sameness—a quintessential
feature of the mechanical age, and of mechanical reproducibil-
ity itself—are in direct contrast with other paradigms of vision
that both preceded and followed the age of mechanical copies.
To keep to monetary examples, the variability of artisanal hand-
making survives today in personal checks, where the authority
of the bank is attested to by the part of the check that is printed,
but the validity of the check is triggered only by the manuscript
signature of the payer. Like all things handmade, a signature is
a visually variable sign, hence all signatures made by the same
person are more or less different; yet they must also be more or
less similar, otherwise they could not be identified. The pattern
of recognition here is based not on sameness, but on similar-
ity. Similarity and resemblance, however, are complex cognitive
notions, as proven by the history of mimesis in the classical tra-
dition, both in the visual arts and in the arts of discourse. Even
today’s most advanced optical readers cannot yet identify nor
authenticate personal signatures, and not surprisingly, personal
checks are neither universal nor standard means of payment
(unless the bearer can be identified by other means, or is known
in person, and trusted).
In the world of hand-making that preceded the machine-
made environment, imitation and visual similarity were the
norm, replication and visual identicality were the exception. And
in the digital world that is now rapidly overtaking the mechanical
world, visual identicality is quickly becoming irrelevant.
Credit
cards may well be in the shape of a golden rectangle (or a fair ap-

21. 1 41
proximation thereof: it is not known whether this happened by
chance or by design), and still bear logos, trademarks, and some
archaic machine-readable characters in relief—a reminder of the
time when they were invented in the late fifties. But today the
validity of a credit card depends almost exclusively on a unique
string of sixteen digits that identifies it, regardless of its format,
color, or the material of which the card is made.
8
Indeed, for
online transactions the physical existence of the card is neither
required nor verifiable. The first way to confirm the validity of
a credit card is to run a check on the sixteen-digit sequence of
its number using a simple algorithm, known as
Luhn’s formula,
which in most cases (statistically, nine times out of ten) is enough
to detect irregularities. No one would try to judge the creditwor-
thiness of a credit card by looking at it, in the way one would pe-
ruse a banknote or inspect its watermark. Visual identification is
now out of the game. In this instance, exactly transmissible but
invisible algorithms have already replaced all visual and physical
traces of authenticity.
Albeit anecdotal, these monetary examples illustrate three
paradigms of visual identification, essentially related to three
different ways of making things. The signature, the banknote,
and the credit card: when objects are handmade, as a signature
is, variability in the processes of production generates differ-
ences and similarities between copies, and identification is
based on visual resemblance; when objects are machine-made,
as a banknote is, mass-produced, exactly repeatable mechani-
cal imprints generate standardized products, and identification
is based on visual identicality; when objects are digitally made,
as are the latest machine-readable or chip-based credit cards,
identification is based on the recognition of hidden patterns, on
computational algorithms, or on other nonvisual features. This
loss of visuality, which is inherent in the mode of use of the latest

22. 7 Variable, Identical , Differentia l75
generation of credit cards, may in turn be a prelude to the even-
tual disappearance of the physical object itself: credit cards are in
most cases already obsolete, as many of their functions may soon
be taken over by cell phones, for example.
The list of objects of daily use that have been phased out by
digital technologies is already a long one: digital consumer appli-
ances tend to merge on a single, often generic technical platform
a variety of functions that, until recently, used to be performed
by a panoply of different manual, mechanical, or even electronic
devices (from address books to alarm clocks to video players).
Industrial designers and critics have taken due notice, as is
shown by the ongoing debate on the disappearance of the object
(or at least of some objects).
9
However, alongside and unrelated
to this seemingly inevitable wave of product obsolescence—or
perhaps, more appropriately, product evanescence—digital tools
are also key in the design and production of a growing range of
technical objects, old and new alike—from marble sculptures to
silicon chips. And the technical logic of digital design and pro-
duction differs from the traditional modes of manufacturing and
machinofacturing in some key aspects.
A mechanical machine (for example, a press) makes objects.
A digital machine (for example, a computer) makes, in the first
instance, a sequence of numbers—a digital file. This file must at
some later point in time be converted into an object (or a media
object) by other machines, applications, or interfaces, which
may also in turn be digitally controlled. But their control may be
in someone else’s hands; and the process of instantiation (the
conversion of the digital script into a physical object) may then
be severed in space and time from the making and the makers
of the original file. As a consequence, the author of the original
script may not be the only author of the end product, and may not
determine all the final features of it.

23. 1 61
To go back to image theory, a comparison may help to make
the point. Each print of a picture in the same print run looks the
same. All mass-produced series include minor accidental vari-
ances, but by and large, all buyers of the same postcard (printed,
for example, in one thousand copies) will buy the same picture.
On the contrary, a digital postcard, e-mailed from a computer to
an electronic mailing list of one thousand recipients, is sent as a
sequence of numbers that will become a picture again only upon
delivery—when it appears on one thousand different computer
screens, or is printed out by as many different printers. The digi-
tal file is the same for all. But each eventuation of that file (in this
instance, its conversion into a picture) is likely to differ from the
others, either by chance (some recipients may have different ma-
chines and applications), or by design (some recipients may have
customized their machines or may deliberately alter the picture
for viewing or printing). Some of this customizable variability
certainly existed in the good old days of radio and television, and
even of mechanically recorded music. But the degree of variabil-
ity (and indeed, interactivity) that is inherent in the transmis-
sion and manipulation of digital signals is incomparably higher.
We may well send the same digital postcard to all our friends. Yet
there is no way to anticipate what each of them will actually see
on the screen of his or her computer or cell phone (and even less,
what they will see if they decide to print that picture on paper—or
on any other material of their choice, for that matter).
The loss of visual significance that is so striking in the in-
stance of the credit card may simply be the terminal phase of the
general regime of visual variability—or sensorial variability if we
include other senses beyond sight—that characterizes all digital
environments. Variability is also a diacritical mark of all things
handmade, but artisanal and digital variability differ in another
essential feature. Handmade objects can be made on demand,

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