At the advent of the 20th century, people learned how to fly. Intricate machines were used to convert energy into altitude and velocity, as well as to gradually transform architectural design from meticulously crafted works into complex mass-produced assemblies. Thus in the Machine Age, science collided with social culture, and “energy” became the mediator that linked the part and the whole.
In the mean time, filmmaking advanced and broke away from linear narratives to offer different spatial and temporal concepts and experience, evident in the works of filmmaker Sergei Eisenstein and artist Moholy-Nagy. Formerly independent cultural codes in daily life like texts, images, sounds and movements were edited into new and assembled narratives through maneuvers such as collage, exchange, fragmentation, substitution and interconnection. Hence, “everyday living” became the mediator that linked the part and the whole. Formerly lucid relationships with apparent purpose and functionality were gradually transformed into ambiguities with double meanings and double functions.
We could almost predict, as we face another imminent major shift in the relationship between the part and the whole, that architecture and context must ultimately tackle multidimensional issues resulting from the juxtaposition of varying systems in environment, mindset and information. In this world of hyperlinked conceptual elements like artificial objects, natural objects and avatars, the 2018 ADA Awards seek, by exploring the relationship between the part and the whole in architecture, to observe how the new generation of architects practice. They are scripting collisions between architecture and culture to create new sounds in contemporary Taiwanese architecture, and the mediator with which they link these juxtaposed conditions is “complex relationships” generated by nature, perception, history, artificial intelligence and the cloud.