Lynn, Greg (1964)
November 7, 2009 | In: Architectural History
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‘The studio of Greg Lynn FORM has been at the cutting edge of design in the field of architecture when it comes to the use of computer-aided design.’ This statement from Lynn’s publicity materials is important when considering the vast number of his publications, exhibitions, and lectures. Experimenting with advanced technology for design and fabrication, he has been innovative with ‘smooth, shiny, undulating, unarticulated, and seamless’ digital forms for his design process.
Lynn graduated from Miami University of Ohio in 1986 with Baccalaureate degrees in Philosophy and Environmental Design. He attended Princeton University for his Professional degree, Master of Architecture. He worked briefly in the office of Antoine Predock Architect in 1987 before his employment with Eisenman Architects from 1987 to 1991. With his own practice, Lynn began working on competitions and theoretical projects. Although continuously involved with competitions, in recent years he has also collaborated on several built works, including the Korean Presbyterian Church of New York (1999); Cincinnati County Day School (2001); and Ark of the World Museum and Interpretive Center, San Juan, Costa Rica (1999).
Considering his theoretical approach, Lynn has taught at Universities in Europe and the United States. Much of his time is spent with exhibitions of his work and writing. His most recent books are Predator, published by the Wexner Center, and Embryological House, published by Princeton Architectural Press.
In some of his writings, Lynn has speculated on the sketch, especially concerning how he uses the digital medium to sketch. He discusses three forms of sketches. First, the sketch as expression, where the image envisions the future architecture and communicates design intent. The second is the diagram, which can be ‘used for disciplining complexity into legible spatial simplicity.’ The third sketch he titles the plexus, and is depicted as ‘a centralized organization defined by a cloud or collection of points’ that can be ‘a network of curved vectors that imply a relative center without an exact point of origin or radius.’ Lynn recognizes that the computer sketch has tremendous precision,
but instead of finding limitation in this medium, he employs its properties to experiment with digital fabrication and calculus-based form.
This freehand image appears to be from a computer-generated exploration of tubular form. The geometries of the shapes, although repetitive, are each slightly irregular. On the page Lynn has identified the various bundles of shapes in organic terms: bloom, orchid, and petal. Strikingly, these forms appear to be sketched with construction in mind. Although perspectives dashed lines within their shapes show the form in its entirety. This use of see-through glasses to view what is behind suggests this sketch is not about viewing the finished composition, but rather inspecting the joining of the shapes. Although a common drawing convention, the dotted line technique helps to clarify the relationships between the pieces and adds to the three-dimensional impression.
Rendered in blue ink, the sketch is remarkably precise – very necessary when viewing such complex combinations. Often, drawing can be a factor in understanding, and although rendered easily with a computer program, the hand sketches may have allowed him a chance to analyze during the action of sketching.
