Glitch, defined for the first time in 1965 as an irritating disturbance by Time Magazine, refers to an unexpected result of a malfunction. Even though this term is mostly used in the computing and electronics industries, it has recently been adopted by the creative disciplines too (glitch art and glitch music).
Even thought the major results of “glitching” have often had a bi-dimensional nature, in recent years artists have produced works of a different nature in which is involved a physical and spatial dimension.
Starting from these analysis, this issue of Burrasca investigates the use of glitch in architecture; both as an aesthetic effect (a certain kind of artistic object in which colors and shapes loose a coherent formal whole) and as a technique: a tool enabling the introduction of mistakes in a process, whether it is analogical or digital.
The contributions – theoretical, visual or designs – collected in this publication have drawn an extraordinarily broad landscape of possible applications of the glitch in the architectural field.
Given the impossibility of predicting the future of architecture, Glitch is a concept worth of study because by its understanding and by deepening its theoretical background, it might be possible to imagine disciplinary trajectories to come.
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