Hughes, F 2019, Architectures of Prediction, Inequalities of Ice,Double Blind, 1, ARQ Ediciones, Santiago, Chile.
Compiling three of her most recent essays, this new ARQ DOCS explores the futility of architecture’s various systems of measure and prediction in order to disarm the filthy logics to which they attend. The essays examine three predictive architectures central to architectural reproduction: the algorithm, the measured survey and the bell curve. “Truth is in the Tower” recovers Ramon Llull’s efforts in the medieval age to devise a machine (the first computer?) to calculate the truth. “Inequalities of Ice” examines how the aestheticization of measurement systems ends up betraying measurement itself. “Double blind” finally, explores how the logics of statistics and standardisation represented by the claustrophobic space inside the bell curve somehow predefine contemporary domestic interiors.
Hughes, F 2014, The Architecture of Error: Matter, Measure, and the Misadventures of Precision, MIT Press.
Why the rise of redundant precision in architecture and the accompanying fear of error are key to understanding the discipline's needs, anxieties and desires.
When architects draw even brick walls to six decimal places with software designed to cut lenses, it is clear that the logic that once organized relations between precision and material error in construction has unraveled. Precision, already a promiscuous term, seems now to have been uncoupled from its contract with truthfulness. Meanwhile error, and the always-political space of its dissent, has reconfigured itself.
In The Architecture of Error Francesca Hughes argues that behind the architect's acute fetishization of redundant precision lies a special fear of physical error. What if we were to consider the pivotal cultural and technological transformations of modernism to have been driven not so much by the causes its narratives declare, she asks, as by an unspoken horror of loss of control over error, material life, and everything that matter stands for? Hughes traces the rising intolerance of material vagaries—from the removal of ornament to digitalized fabrication—that produced the blind rejection of organic materials, the proliferation of material testing, and the rhetorical obstacles that blighted cybernetics. Why is it, she asks, that the more we cornered physical error, the more we feared it?
Hughes's analysis of redundant precision exposes an architecture of fear whose politics must be called into question. Proposing error as a new category for architectural thought, Hughes draws on other disciplines and practices that have interrogated precision and failure, citing the work of scientists Nancy Cartwright and Evelyn Fox Keller and visual artists Gordon Matta-Clark, Barbara Hepworth, Rachel Whiteread, and others. These non-architect practitioners, she argues, show that error need not be excluded and precision can be made accountable.
Hughes, F 2013, Drawings that Count.
This collection of 60 large drawings produced over five years by students of the Architectural Association Diploma Unit 15 addresses the construction of context by architecture for its own very particular purposes.
Kovács, G & Hughes, F 2016, 'Fear is in the Detail', Harvard Design Magazine, vol. 42, no. Spring/Summer, pp. 86-93.
Hughes, F 2018, 'Inequalities of Ice' in Ferrari, M, Pasqual, E & Bagnato, A (eds), A Moving Border: Alpine Cartographies of Climate Change, Columbia Books on Architecture and the City, New York.
Italy, Austria, and Switzerland have consequently introduced the novel legal concept of a moving border, one that acknowledges the volatility of geographical features once thought to be stable.
Hughes, F 1998, 'Faking it: Pregnant Pauses and Other Constructions of Delay' in Davidson, CC (ed), Anyhow, MIT Press, Cambridge, Massachusetts, pp. 74-79.
Anyhow asks how in relation to process, infrastructure, money, information, and program, is architecture in fact done today?