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.

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.

Architecture Design for Soft Errors provides a comprehensive description of the architectural techniques to tackle the soft error problem. It covers the new methodologies for quantitative analysis of soft errors as well as novel, cost-effective architectural techniques to mitigate them. To provide readers with a better grasp of the broader problem definition and solution space, this book also delves into the physics of soft errors and reviews current circuit and software mitigation techniques. There are a number of different ways this book can be read or used in a course: as a complete course on architecture design for soft errors covering the entire book; a short course on architecture design for soft errors; and as a reference book on classical fault-tolerant machines. This book is recommended for practitioners in semi-conductor industry, researchers and developers in computer architecture, advanced graduate seminar courses on soft errors, and (iv) as a reference book for undergraduate courses in computer architecture. Helps readers build-in fault tolerance to the billions of microchips produced each year, all of which are subject to soft errors Shows readers how to quantify their soft error reliability Provides state-of-the-art techniques to protect against soft errors

Whereas most humans spend their time trying to get things right, psycholo gists are perversely dedicated to error. Errors are extensively used to in vestigate perception, memory, and performance; some clinicians study errors like tea leaves for clues to unconscious motives; and this volume presents the work of researchers who, in an excess of perversity, actually cause people to make predictable errors in speech and action. Some reasons for this oddity are clear. Errors seem to stand at the nexus of many deep-psychological questions. The very concept of error presupposes a goal or criterion by comparison to which an error is an error; and goals bring in the foundation issues of control, motivation, and volition (Baars, 1987, 1988; Wiener, 1961). Errors serve to measure the quality of performance in learning, in expert knowledge, and in brain damage and other dysfunctional states; and by surprising us, they often call attention to phenomena we might otherwise take for granted. Errors also seem to reveal the "natural joints" in perception, language, memory, and problem solving-revealing units that may otherwise be invisible (e. g. , MacKay, 1981; Miller, 1956; Newell & Simon, 1972; Treisman & Gelade, 1980).

Against those who considerarchitecture to be a wholly optimistic activity, this book shows how the history of modern architecture is inextricably tied to ideas of failure and ruin. By means of an original reading of the earliest origins of modernism, the Architecture of Failure exposes the ways in which failure has been suppressed, ignored and denied in the way we design our cities. It examines the 19th century fantasy architecture of the iron and glass exhibition palaces, strange, unprecedented, dream-like structures, almost all now lost, existing only as melancholy archive fragments; it traces the cultural legacy of these buildings through the heroics of the early 20th century, post-war radicals and recent developments, discussing related themes in art, literature, politics and philosophy. Critiquing the capitalist symbolism of the self-styled contemporary avant-garde, the book outlines a new history of contemporary architecture, and attempts to recover a radical approach to understanding what we build. Douglas Murphy blogs at http://www.youyouidiot.blogspot.com/

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. In this BIT, Francesca Hughes examines the roots of architecture's fetishization of precision and fear of error.

More than fifteen years after the success of the first edition, this sweeping introduction to the history of architecture in the United States is now a fully revised guide to the major developments that shaped the environment from the first Americans to the present, from the everyday vernacular to the high style of aspiration. Eleven chronologically organized chapters chart the social, cultural, and political forces that shaped the growth and development of American towns, cities, and suburbs, while providing full description, analysis, and interpretation of buildings and their architects. The second edition features an entirely new chapter detailing the green architecture movement and architectural trends in the 21st century. Further updates include an expanded section on Native American architecture and contemporary design by Native American architects, new discussions on architectural education and training, more examples of women architects and designers, and a thoroughly expanded glossary to help today's readers. The art program is expanded, including 640 black and white images and 62 new color images. Accessible and engaging, American Architecture continues to set the standard as a guide, study, and reference for those seeking to better understand the rich history of architecture in the United States.