Abstract

With the dawn of digital media the architecture’s formal possibilities reached a level unknown before. The Guggenheim Museo branch in Bilbao appears in 1993 as the materialisation of the possibilities of the use of digital tools in architecture’s design, starting the development of a digital based architecture which currently has reached an exhaustion level that is evident in the repetition biomorphologic shapes emerged from the digital determinism to which some contemporary architectural practices have converged. While the digitalisation of the architectural process is irreversible and desirable, it is necessary to rethink the terms of this collaboration beyond the possibilities of the digital tools themselves. This article proposes to analyse seven texts written in the very moment when digitalisation became a real possibility, between Gehry’s conception of the Guggenheim Museum in 1992 and the Congress on Morphogenesis hold in the Architectural Association in 2004, in order to explore the possibility of reversing the process that has led to the formal exhaustion of digital architecture, from the acceptance of incorporating strategies coming from a contemporary critical formalism.