论文代写之六
艾森曼表示，该体系结构的采用的新媒体文化是一个“迟到”（埃森曼，2010）。在这里，埃森曼认为，现代主义，他还介绍了“晚期资本主义的消费主导的社会架构已经下降到迟到的状态。”迟到描述了一个时期的风格，基本上处于停顿状态;不再是一个机会对“新奇，”导致在一个时期内，设计师和艺术家搜索一个新的风格或“主义。”的结果，在埃森曼的意见，是的虚假出现的媒体驱动的建筑的“拿来主义”的时候，这里的精神媒体是计算机和所得的数字成像，表面和算法设计的使用。埃森曼认为，架构仍是在“晚期”，并错误地采用了数字化进程作为一种新的设计风格。他认为，由于采用面向过程的数字化设计，架构之间的战斗是在时间的时代精神和精神的地方守护神的精神。这些过程，体现时代精神的架构，而最终离开一个地方的感觉和关系到社会经济和文化的特殊性，它所服务的人民。 （埃森曼，2008年）。相反，天才基因位点被替换自己的设计过程，是自我指涉的设计。自我参照这些设计风格，描述了他们永久的停滞，没有一个空间参考，他们仍然是晚期风格，继续在哲学的现代主义，建构主义和先锋级设计。
论文代写之Modernism
Eisenman expresses that architecture’s adoption of the new media culture is a result of the ‘lateness,’ (Eisenman, 2010). Here, Eisenman sees that architecture has fallen to a state of lateness in reference to Modernism, which he also describes as the consumer driven society of ‘Late Capitalism.’ Lateness describes a period of style which has essentially stalled; there is no longer an opportunity for ‘newness,’ resulting in a period within which designers and artists search for a new style or ‘ism.’ The result, in Eisenman’s opinion, is the false emergence of media driven architectural ‘ism’ as the spirit of the time—here media is the use of the computer and the resultant digital imagery, surfaces and algorithmic designs. Eisenman believes that architecture is still in the ‘Late Period’ and has falsely adopted digital processes as a new style of design. He argues that as a result of the adoption of process oriented digital design, architecture is in a battle between the spirit of the time—zeitgeist—and the spirit of a place—genius loci. These processes that embody the zeitgeist have ultimately left architecture without a sense of place and a relationship to the socioeconomic and cultural particularities of the people it serves. (Eisenman, 2008). Instead, the genius loci have been replaced with designs that are self-referential to their own design processes. The self-referential style of these designs describe their perpetual stagnation; without a spatial reference they remain as late style, continuing to design within the philosophies of Modernism, De-constructivism and the Avant-grade.
