Architecture and the creation of worlds

This thesis is an enquiry by creative practice into the academic and aesthetic (avant-garde) practice of architecture. It explores the notion of the virtual as pure potentiality following an event, and defines architecture as the site of such potentiality. (Alain Badiou names event as the moment /encounter which initiates a radical break from a given situation /state of affairs. There are four types of event: artistic, political, scientific and amorous). The thesis follows two parallel strands of enquiry. One, into the material production of the architectural object and topological space, this is titled the actual; and the other, an investigation into the philosophical and antagonistic nature of the virtual, this is titled the virtual. The actual deals with the literature review, methodology, context of study and proposal for (the site of) actual engagement with theory, including a design element (House of the Chinese Mantis); while the virtual explores (through a series of five international and interdisciplinary conference papers) the philosophical problems of emergence. The 'context of study' in the actual centres around the move from the fetish of commodities to seduction and concludes with eroticism, while the body of work in the virtual concentrates on the notions of sovereignty, becoming, and concrete subjectivity. Following the technological practices of the avant-garde between hypersurface theory and catalytic formations in architecture, the thesis rejects the claims of virtual space as the digital space of computer -based design, and of emergence as mimetic and /or algorithm based design. It argues that the virtual is the intangible space of creative unfolding following Bergson and Deleuze, but resists the claim in Deleuze that event is a chance occurring. Also, it resists the claim in Baudrillard that seduction and /or enchanted simulation are event and abandons them to focus on the amorous (one of the four events in Badiou). This creates an inflection in the enquiry, moving the thesis towards Plato and the Renaissance, and a contemporary resurrection in architecture, of the tragic, as concrete manifestation of the amorous encounter. The method of inquiry is structured after the nomadic logic of the War Machine in the philosophy of Deleuze and Guattari, and of the revolutionary nature of fidelity to the scientific event in Badiou, which argues that new knowledge is created by 'revolutions' and from the anomalies and collaborations which arise as a result of such 'detours'; it is a strategy justified by the science historians Feyerabend, Kuhn and Lakatos. The thesis takes the form of two books (the actual and the virtual), and concludes that the avant-garde practice of architecture, with its infinite potentialities is distinct from the bureaucratic or State apparatus of building, and that the commonplace appropriation of the avant-garde by the State, as seen in the institutional recourse to parametrics, appears unproductive and uncreative with regard to knowledge.