Modern architectural design typically creates a schematic drawing containing hundreds of untested decisions, with no step-by-step testing against real life.

Entities in the same semantic neighborhood but without a typed relation to this one — candidates for new edges or unrecognized duplicates.

• In modern architecture, neither design nor construction typically works step by step; instead there is a fixed end-state produced without realistic feedback.claim0.862
  Contrast between living process and current architectural practice.
• The schemata created by modern and modernistic architectural efforts in the 20th century are too crude to carry the load of creating living geometry.claim0.836
  Critique of 20th-century modernism's inadequate form language.
• Many modern designs could not, under any circumstances, have been created by a structure-preserving step-by-step process; they are conceptual and barren.claim0.813
  In-principle impossibility claim.
• Architectural 'design,' the 20th-century process, does not work and cannot work in principle.claim0.812
• It is theoretically impossible to build a successful building from a set of drawings specifying every detail.claim0.806
  Because feedback is needed to shape elements during construction.
• Architectural form should be calibrated with forces of environment through artificial design methods, extending natural processes of interaction between specific quantifiable forces.claim0.805
  Alexander's structuralist approach treating design as homeostatic adaptation analogous to biological systems.
• To have living modern architecture, society must have a process capable of generating building form dynamically, step by step, at all scales.claim0.805
  The need for a new kind of process in society.
• Both cybernetic and semiotic diagrams sought to remove design from the autographic and subjective realm of the architect, taking an interest in understanding architecture as a process based on explicit rules.claim0.803
  The paper’s opening assertion that cybernetic and semiotic diagrams shared an anti-subjective formal ambition, despite ideological divergences.