WORK : Program Primer 111

PRAXIS 8

anua itects
Brought to you by Dan Wood and Amale Andraos of WORK

Introduction: About the Primer

01
8/8/18
Unknown Program is back! After years of postmodern whimsy, paper architecture , blobs ,
and countless other formalist tendencies, we have come full circle back to good
old form that originates in function. Or have we? In buildings such as the
Seattle Public Library a new, broader definition of "function " has given rise to an
unbelievable array of spatial configurations and formal expressions . This more
inclusive definition of the architectural program encompasses ecological con-
cerns, cross-disciplinary collaborations, new technologies and virtual spaces ,
exploitation of the temporal and seasonal, and any number of combinations ,
juxtapositions, manipulations, and reinventions of the simple list of spaces and
02 areas that heretofore bore its name.
Unknown

Many architects today are interested in incorporating this new approach into
their designs , but are unsure about how to do it . After years of toiling away on
napkin sketches and then looking for inspiration in the beautiful crumple of the
rejects, it is understandably difficult to set aside your self-image as an artiste
and start designing by Excel. This Primer will help you get started with a simple
series of exercises and examples designed to open up your mind to the new pos-
sibi Iities for creative expression through programmatic exploration. In no t ime,
you will find yourself doodling diagrams and graphs and-hopefully-creating
the next generation of masterworks that combine both programmatic var iation
and formal elegance.

How this Primer is organized:

+ Program Basics
+ Program Exercises
+ Beyond Architectural Tools
+ Ten Changes You Can Expect from Program
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Program Basics I
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1. The Definition of Program + Critical Distance Maintaining the energy and discipline I
I The traditional definition of the program is "the formal , required to reimagine , reinvent , and recombine elements I
I written instructions from the client to the architect , setting of the client's program , no matter how detailed , boring , I
I out the necessary requirements for a building !' For our pur-
3-5 or complete the document they hand you seems . I
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poses , we are interested in expanding that definition to + Range of Motion Finding potentially interesting aspects I
I include the informal and the unwritten as well as alternate of a project unaddressed in the client 's official program I
I sources of "requirements": from mechanical and structural and making them integral to the project.
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engineers to artists, technology experts, consultants , + Flow The ability to quickly switch back and forth I
I authors , users, builders, and-most importantly-the between the quantitative aspects of a program and the
architect. By thinking creatively about certain performative
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I qualitative ones , identifying and finding the potential
requirements for architecture, and through careful and I
8-9 I
2 notes:
for synergy between the two.
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clever manipulation of the input of all of the other inter-
I + Opposition The staging of disparate elements towards
ested parties , the architect can actively participate in the the formulation of a concept: adjacency tensions ,
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10-11 redefinition of program every time a project is begun. negative/positive , three-dimensional figure-grounds ,
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power relationships , etc. I

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2. The Evolution of Program (see John McMorrough, + Dieting Weeding through the reams and reams of a writ- I
I "Notes on the Adaptive Reuse of Program;' p. 102-110) ten program in order to find the essential kernels of use, I
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activity , performance , or function that will transform an I
14-16 I 3. The Eight Great Principles of Program
3 notes: ordinary building into a lean , program-dri ven machine . I
I + Diagram The generation of strong concepts-simple
I enough to incorporate the huge number of complex rela- 4. What You Need To Get Started I
I tionships that exist in every architectural project- + Pentel sign pens or sharpie markers Throw out those I
I through the drawn , written, or spoken "diagram ": fine liners ; programmat ic expression is about clear con- I
I a quantitative and qualitative means of expressing a cepts and integrating the quantitative . A broad pen aids
set of spatial relations and describing experiential
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I in this broad-brush approach .
needs without any overt reference to form , using only I
I + Plain paper If you are going to have fresh ideas , why
17-19 iconic elements , words , or numbers . I
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3 notes: trace over something old? Put those rolls away.
+ Shuffling The utilization of architects ' capacity for com- + Model-making materials In the end, we are creating
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plex mental manipulation of three-dimensional space to three-dimensional space . Working with diagrams , graphs , I
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shuffle and recombine programmatic elements instead . lists and charts can sometimes allow you to get carried I
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What used to be called "deconstructing" can be utilized away. By immediately and often translating your program- I
I as a critical reading of program where parts are omitted , matic ideas into spatial ideas , you will never lose sight of I
I others are recombined, new parts are created , relation- the goal. I
I ships are broken , and others established .
22-25 + A project This is up to you . Go get one! I
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+ Sampling The ability to insert events, expertise , tech- + And some imagination Make that a lot. Never underesti- I
I nologies, and programs outside the common field of mate the power of a good idea . I
26-28 I architecture into a project .
3 notes: I
I + BreakBeat A non-linear approach to design where "this "
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uncertainties, clash , and the unexpected .
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 PRAXIS 8 WORK : Prog ram Prim er 113

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I Program Exercises ••••
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2 notes: The Twist I
I Combining two or more programs in a single form I
I Take two programs whose co-dependency is either unex- I
I pected or so unquestioned as to be banal and t wist them - I
I together in such a way that the resultant combination cre- I
I ates an entirely new sequential experience and form . Like
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I Mr. Softee 's chocolate-vanilla swi rl, the excitement is in
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the combination , and how it was achieved, rather than the
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fact that you now have two flavors in your cone. Nicholas
I Grimshaw 's first project , a tower of bathrooms for a stu- I
I dent hostel in a group of bui ldings without plumbing , is I
I such a project. The pre-fabricated WC and shower units
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I are arranged around a spiral ramp that accesses each
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I floor. The genius of the solution is in this ramp . It cre-
ates-through what on the surface appears to be purely I
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functional means-an incredible social space for the hos-
I tel. Student residents , in their search up or down for an I
I available unit, encounter other students from other floors I
I and are almost forced to interact. The fact that most are
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I in their bathrobes makes an already-charged atmosphere
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I even more so ...
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33-34
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2 notes: The Square Tomato
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Creating new forms for programs
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An Italian engineer realized t hat shipping tomatoes was a tricky business , with a lot of wasted product . His solution was to grow
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them within boxes , creating perfect cubes for easy stacking and shipping . Never mind that people did not want to eat square toma-
I toes-they did pack like a dream. Any form can be reinvented and impro ved. Try to rethink form from a programmatic perspective I
I and the results can be revolutionary. PLOT's design for a municipal swimming pool is a case in point. Their circular design not only I
I provided for an exciti ng building , it also allowed for continuous lane swimming by running the main lap poo l around the perimeter. I
I No more bumping into that lady in the fl owered bathing cap as she tries to execute the perfect turn off the wall ...
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35-36
2 notes: Pearl in the Oyster
I Play between the generic and the specific
I Many buildings and projects feature repetitious spaces or large areas of space
I where the opportunities for architectural expression are limited. By searching
I out areas of specificity and exploiting them strategically within the expanse
I of generic program, the interplay between the generic and the specific can
I create interesting and dramatic tension. OMA's Universal Building employed
this strategy at an enormous scale by concentrating not only all of the "ugly
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duckling" specificities (see "The Swan" p.114) of risers, elevators, emergency
I stairs, etc. within four enormous cores, but also by including all the architec-
I turally interesting spaces there as well: double-height "lofts;' courtyards,
I meeting rooms , executive suites, etc. The bulk of the building, generated
I through research into the most efficient office planning modules and require-
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I ments, was left open as a horizontal plane; the four "towers" of specific
program cut through this plane to provide vertical architectonic relief from I
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potential corporate monotony.
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37-38
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The Time Share
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Different uses at different times in the same place
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I Find ways to exploit uses which do not overlap in time; spaces can be used for
different things during the night and the day, from one season to the next, or I
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periodically throughout a single day. Universal space, the dream of the mod-
I ernists, does not have to be so ponderous and empty-think of the high school I
I gymnasium that sponsors dodgeball as well as commencement, the holiday I
I pageant at night, and mystery meats in the afternoon. The most innocuous
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I coincidences of time can sometimes be exploited to create enormous cultural
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I change. The longest drought in LA history, the invention of new types of resin
plastics for wheels earlier that year, and a small gang of disaffected surfers, all I
I came together in a series of dry pools one summer to change sports, fashion , I
I and the face of teenage cool forever.
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PRAX I S 8

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39-40
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2 notes:
The Better Mouse Trap I
I Re-thinking the ordinary I
I Sometimes it is worthwhile to take the plunge and simply reinvent something no one had previously considered
worthy of reinven- I
I tion . A healthy degree of skepticism that everything that can be invented has been invented is necessary. To be
a good program- I
I your building and
driven architect , you must be able to imagine yourself in the shoes of your client or the people who will inhabit I
our clients do not
I re-imagine the ways that spaces can accommodate activity . In our own work , we have tried to do this even when I
the "urban dog ."
I wear shoes . The Villa Pup was a commission for a doghouse wherein we tried to imagine the ultimate home for
canine I
I A combination of treadmill , video screens , and an odor mach ine allowed the urban dog to experience some of the prosaic
the apartment.
joys of its rural cousins-chasing mailmen , Frisbee tossing , bark ing at cats-during the long days cooped up in
I Other scenarios included boosting the urban dog 's self-esteem-the Chihuahua racing the greyhounds , for example , and winning. I
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2 notes: Simile
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One program defining another
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I If something looks just like something else , or reminds
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you of something else , maybe it could be something
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else. Use a program, or an entire project, to define
I another in an efficient and architecturally-scaled meta- I
I phor. Someone was smart enough to note that, "hey- I
I this new Fiat factory is going to be as big as the testing I
I track " (or noted that the testing track was as long as
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I the factory) and architectural history was made .
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43
8/30/18
Unknown
The Swan I
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Beautifying the banal
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Unknown

Architecture is full of ugly ducklings. There I

I is vast un-mined potential in air conditioning
I ducts, grease traps, boiler rooms, and the
I like. Take the most unbelievably boring,
I maudlin, or ugly program and try to re-con-
ceptualize it as something beautiful, produc-
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tive, or inspiring. Artist Joep van Lieshout's
I "Total Faecal Solution," for example, tries to I
I maximize the benefits and aesthetic poten-
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I tial in the most base of human activities. A
I toilet is set high enough off the ground to

I incorporate a collection tank below. Methane

gas is siphoned off, water is filtered to the I
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point of potability, waste is compacted, and I
I compost is created. An adjacent garden and I
I strategically placed portholes provide evi-
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I dence of the process. The resultant struc-
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I ture-in van Lieshout's trademark style-is
both visually arresting and strangely beauti-
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ful. It becomes a true shrine to human I
I waste ...and human responsibility. I
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45-46
The Wedge of Swans I
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2 notes:

Take the Swan and scale it up I

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I Making beauty from detritus is even more challenging
at the large scale, but can also create amazing opportu- I
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nities for spatial and programmatic experimentation. I
I In the competition for "un-city," a huge development in I
I New York, the team of OMA, Toyo Ito, Davis Brody Bond ,
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I 2x4, and KPF teamed up with 0.1.R.T. Studio's Julie INTERNATIONAL
TOWER I
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WATER
Bargman to try to imagine an ecologically sensitive/ TOWER

celebrative two million sq ft development. The result- t1 I

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with grey water recycling running alongside ten-story (21 I
I LIVE!WORK
TOWER

escalators, a permeable asphalt parking structure, GARDEN I

I TO WE R

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and an atrium combined with "inlet" to cleanse water
from the development and the East River-was, in the
end, too much for the competition sponsors to take. e
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INTAKES
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47-48
2 notes: The Dive I
I Using a program to generate a single swooping form ...
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I It is somewhat of a rule for those of us not named Frank Gehry that the strange I
I shapes you can imagine are never as exciting as the strange shapes you find , often I
I in the most unlikely of places . Form that is derived from program often outshines
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I even the blobbiest of blobs. In their theoretical project for Dubai , L.E.F.T proposes
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I three high-rises in the midst of the desert whose forms are entirely driven by the
program they have chosen for the future of Dubai: landing for international planes . I
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The extruded and twisted runway patterns-taken from actual airport runway
I designs-create stunning forms in the desert. I
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49-50 I
Distr ibution of Wealth
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Maximizing the effects of the best programs
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I Many buildings are primarily composed of
repetitious elements that can overwhelm the I
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more interesting parts of the program . By
I sprinkling these interesting spaces through- I
I out the building, however , every repeating I
I floor or room can be energized with a new
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I activity . In their Hotel Pro Forma project ,
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nArchitects appropriated the most public
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and exciting part of the hotel program-
I the lobby-and distributed it equally in I
I between every floor , creating an alternating I
I section of bedroom floor/ lobby floor dia- •
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I gram which brings the excitement of a public
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I lobby to every bedroom floor .
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2 notes: The Mermaid I
I Juxtaposition of unlikely programs towards a
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I surrealist experience
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I Mythology is filled with lasting images of strange combinations : the centaur , the hippogriff , etc . The surrealists picked up on this and the I
I "surrealist object "-the unexpected element-became central to the ir philosophy . Simply placing one program in the context of another
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I can create extremely interesting conditions. Most of Atelier Bow-Wow 's work-both built and in the form of books-is a play on the
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I Mermaid. In their guidebook , 'Made in Tokyo: the group records the surrealistic urban objects of Tokyo. All of the buildings are described in
terms of an additive equation of unrelated parts: 'Vampire Park' = public square+ donation park ;' Royal Golf Apartments ' = 'royal host ' chain I
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restaurants+ golf practice range+ apartment building+ car parking , etc. In their Furnicycles project , Atelier Bow-Wow adds a different
I household furniture element to a series of bicycles , allowing for a small group of riders to come together and create an entire house . I
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RollOut
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Unknown
Repeating a single program over and over w ith
54 I
8/30/18 subtle variations I
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Unknown

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The architect 's version of "staying on message"
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can at times be as effective as it is for our politi-
I cians. Sometimes a brilliant idea is best I
I expressed through repetition . This repetition is I
I often most sublime when it is dogged ly pursued
I through the stages of monotony , boredom , and ad

I nauseum to a point where its power cannot be

denied . In One Architecture 's planning project for
I Judenburg-West , they discovered that , in Europe, I
I significant subsidies exist for introducing much I
I safer traffic circles , rather than intersections , as
I connectors for new residential districts . These
I subsidies in fact outweigh the costs of construc-
tion , al lowing developers to use the money to
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introduce things like old-age housing, public facili-
I ties , and the like. One's natural reaction was
therefore to create a plan whose driving concept
was to introduce as many traffic circles as possi-
ble, finding a number of ingenious ways to occupy
their centers and peripheries .

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2 notes: Bondage I
I Using budget or other constraints as programs in their own right I
I "Creati vity " in architectural practice often seems like a technical I
I impossibility. Between building and zoning codes , client insecurities , I
I budgets created by dreamers , rigid requirements for adjacencies I
I and hierarchies , the limitations of construction and contractors , and
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I the simple tendency of everything to head inevitably towards that
lowest common denominator , it is often difficult to come up with any
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ideas that can get built . Since the best defense is often a good
I offense , one of the main tactics of program-based architecture is to I
I use these constraints as the departure point for design . In our proj - I
I ect for a residential tower in Beirut we quickly realized that-con -
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I trary to almost everything else in the city-the building rule s were
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incredibly constricting: the zoning envelope forced the building to sit
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at the very back of the site , away from any possible views of the
I Mediterranean ; every room required either a "primary " or "secondary " I
I view with strict definitions; balconies were mandated , etc . Our solu- I
I tion consisted of building our "ideal " building , facing directly towards I
I the sea, until the point at which the zoning envelope cut in, and then
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I sitting the mandated building on top, creating a building whose fifth
and sixth floors were more desirable than its seventh and eighth and
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allowing our clients to maximize their profits in the what are usually
I the least desirable lower floors . I
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Floors 10 to 18 Floors 10 to 18

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I The Blind Men and the Elephant
I Different faces can define a single form
I Complex agglomerations of program can present a unique challenge , especially in buildings that need to
I contain and present multiple identities to the world . The trick is to exploit this multiplicity while retaining
I harmony and identity in order to avoid a kind of schizophrenic pastiche . In our competition entry for the
I new Montreal Cultural and Administrative Complex we combined Montreal 's long love affair with the mega-
I structure with the stated desire that the disparate occupants of the building all retain their unique identi-
ties : the Provincial Government, a school for the performing arts, and the main concert hall of the city.
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Uniqueness was created by establishing different entrances and conditions for the three programs , each
I one facing a street appropriate to its program . (The concert hall entered from a grand boulevard , the
I school from the hip shopping street , and the administrative tower discretely from a side street.) To provide
I an overall concept, the program was laid out in three parallel bands that were then combined into a contin-
I uous ring of program around the building 's new centerpiece , the glass-roofed concert hall.

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I Program Identity Connections
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Fusion
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Creating power through fusing disparate elements together
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I While gourmet chefs and minimalists may disagree , a lot of excitement and activity
can be generated through the introduction of many different ingredients to a project
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and fusing them together with a common thread . In our competition project for a new
I plan for the sleepy town of Akureyri, Iceland , we created a continuous pedestrian loop
I connecting the main sights of the city. We then infused the loop with three programs:
I density , the introduction of new housing typologies based on density of units ; activity ,
I a series of paths and routes allowing people to ice skate , walk , rollerblade , kayak , jog,
swim , or ski around the loop; and ecology, a series of green spaces "curated" by the
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city's botanical garden plus a loop-wide concentration of alternate energy sources ,
I from wind-powered streetlights to solar collectors.
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PROGRAM PRIMER { 9} I
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 PRAXIS 8 WORK : Program Primer 121

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Beyond Architectural Tools: Ten Changes You Can Expect I
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I Equipment and Accessories From Programmatic Design I
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I + Foam Never Felt so Good: the Foam Cutter + A Firmer and Leaner Project
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I The hot wire foam cutter allows even the youngest intern to You'll be amazed how your project sails through client rev iews ,
crank out an unending stream of architectonic concepts within value engineering, and approvals processes once it has been I
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an extremely short time . Its power is awesome , allowing any idea imbibed with a strong and simple programmatic concept . I
I to be immediately expressed in three-dimensional form , cheaply
+ Better Posture
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I and efficiently . Have you noticed that European architecture
You'll be able to better defend your positions when others can eas- I
I these days is a little more daring and expressive? It's no co inci-
dence that there is not a single good manufacturer of small
ily understand the ideas you want to express in your architecture. I
hot-wire foam cutters in the US . + More Flexibility I
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If you start a project by creatively reimag ining its programmatic I
I + Abracadabra: Design by Excel
elements , it becomes easy to quickly do so throughout the I
I It's not just for MBA 's an more . Not only can a mastery of Excel
process as unexpected problems or conditions arise .
help break the ice with your developer clients (and don 't be afraid I
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to ask for tips , those guys are spreadsheet kings) it can also aid + Better Balance I
I immensely in the abstraction of program and the rapid manipula- Weighing options and variations eventually becomes second nature I
I tion of sizes , adjacencies , and distribution . It can help manage and you will find your decision making abilities streamlined .
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I your fees as well.
+ Less Back Pain I
I By cross-training-moving from Excel to the foam cutter to
+ Size Does Matter: Expanding and Contracting I
I Program with AutoCAD AutoCAD to meetings outside the office-you will find less strain
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I Budget cuts getting you down? Try "scale all 98% " to your pro- on your body .
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I gram diagrams to effect an across the board value engineering
+ New Friends
coup . Things not exciting enough? Selectively beef up certain I
I Eventually you will find yourself surrounded by non-architect
programs while slimming others ; the difference will only be I
I friends and colleagues . You'll find them much less intimidating
noticeable in the improved quality of the finished product . The
than you once imagined . I
I "Stretch " command is also handy . I
I + Social Skills
+ For Help Doing the Exotic Stuff I
I Instead of peppering your conversations with vague architecture-
Don't be afraid to call in experts , especially people who are not
speak , working with real world programmatic elements will give I
I architects . You would be amazed at how inspiring a theoretical
you a broad range of new subjects to talk about . I
I discussion with a mechanical engineer can be ...no one has asked
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I them anything except vent locations and shaft sizes for years . + Staying Power

If you are able to convince your client of the strength of your con- I
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cept , you will be surprised at the amount of ideas that will remain I
I in the project until the end . I
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+ More Fun I
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Admit it , it is more enjoyable to read a well-crafted story than I
I poetry ... you know it. I
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+ More Profit I
I Just kidding ... you 're still an architect! I
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Annotations

Program Primer v 1.0 A Manual for Architects

Wood, Dan; WORK, Amale Andraos of

01 Unknown Unknown Page 1

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¡El programa ha vuelto! Después de años de capricho posmoderno, arquitectura de papel, blobs e innumerables otras tendencias formalistas, hemos cerrado el círculo a la buena forma antigua que se origina en la función. ¿Ono lo
hemos hecho? En edificios como la Biblioteca Pública de Seattle, una definición nueva y más amplia de "función" ha dado lugar a una increíble variedad de configuraciones espaciales y expresiones formales. Esta definición más
inclusiva del programa arquitectónico abarca preocupaciones ecológicas, colaboraciones interdisciplinarias, nuevas tecnologías y espacios virtuales, explotación de lo temporal y estacional, y cualquier cantidad de combinaciones,
yuxtaposiciones, manipulaciones y reinvenciones de la lista simple de espacios y áreas que hasta ahora llevaban su nombre.

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Distancia Crítica

El mantenimiento de la energía y de la disciplina necesaria para reimaginar, reinventar y volver a combinar los elementos de programa propuestos del cliente, sin importar lo aburrido o complejo parezca el documento del encargo.

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Campo de acción
Encontrar aspectos potencialmente interesantes de un proyecto sin abordar en el programa oficial del cliente y hacerlos parte integral del proyecto.

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Flujo
La capacidad de cambiar rápidamente entre los aspectos cuantitativos de un programa y los cualitativos, identificando y encontrando el potencial de sinergia entre los dos.
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Oposiciones
La escenificación de elementos dispares hacia la formulación de un concepto: tensiones de adyacencia, aspectos negativos / positivos, relaciones tridimensionales entre figura/fondo, relaciones de poder, etc.

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1. La definición de programa
La definición tradicional del programa es "las instrucciones formales y escritas del cliente al arquitecto, estableciendo los requisitos necesarios para un edificio". Para nuestros propósitos, estamos interesados en expandir esa definición
para incluir fuentes informales y no escritas, así como fuentes alternativas de "requisitos": desde ingenieros mecánicos y estructurales hasta artistas, expertos en tecnología, consultores, autores, usuarios, constructores y más
importante, el arquitecto. Al pensar creativamente sobre ciertos requisitos de rendimiento para la arquitectura, y mediante la manipulación cuidadosa e inteligente de la entrada de todas las otras partes interesadas, el arquitecto puede
participar activamente en la redefinición del programa cada vez que inicia un proyecto.

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Recortar progresivamente la información de un programa escrito con el fin de encontrar los núcleos esenciales de uso, actividad, rendimiento o función que transformarán un edificio común en una máquina adecuada al programa.

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Los ocho grandes principios del programa

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La generación de conceptos fuertes lo suficientemente simples como para incorporar la gran cantidad de relaciones complejas que existen en cada proyecto arquitectónico a través del "diagrama" dibujado, escrito o hablado: un medio
cuantitativo y cualitativo de expresar un conjunto de relaciones espaciales y describir necesidades experienciales sin cualquier referencia abierta a la forma, usando solo elementos icónicos, palabras o números.

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La utilización de la capacidad de los arquitectos para la manipulación mental compleja del espacio tridimensional para mezclar y recombinar elementos programáticos en su lugar. Lo que se solía llamar "deconstrucción" se puede
utilizar como una lectura crítica del programa donde las partes se omiten, otras se recombinan, se crean nuevas partes, se rompen algunas relaciones y se establecen otras.

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Shuffling (Definition) is a procedure used to randomize a deck of playing cards to provide an element of chance in card games. Shuffling is often followed by a cut, to help ensure that the shuffler has not manipulated the outcome.

"Shuffling" es un procedimiento utilizado para aleatorizar una baraja de cartas para proporcionar un elemento de probabilidad en los juegos de cartas. La barajada suele ir seguida de un corte, para ayudar a garantizar que el barajador
no haya manipulado el resultado.

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La capacidad de insertar eventos, experiencia, tecnologías y programas fuera del campo común de la arquitectura en un proyecto.

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La capacidad de insertar eventos, experiencia, tecnologías y programas fuera del campo común de la arquitectura en un proyecto.

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Un enfoque de diseño no lineal donde "esto" no necesariamente sigue a "eso"; una forma que abraza las incertidumbres, el choque y lo inesperado.

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Breakbeat (también denominado breakbeats or breaks) es un término utilizado para describir varios subgéneros de música electrónica, generalmente caracterizados por el uso de patrones rítmicos diferentes del 4/4 (en contraposición
con el ritmo constante del house). Estos ritmos suelen ser sincopados y polirítmicos.

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La torsión
La combinación de dos o más programas en un sólo volumen

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El tomate cuadrado
Crear nuevos formas para programas.

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La perla en la ostra
El juego entre lo genérico y lo específico.

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El tiempo compartido
Diferentes usos en diferentes momentos en el mismo lugar.

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La mejor trampa para ratones
Repensando lo ordinario
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Símil (analogía)

Un programa que define otro.

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El Cisne
Embellecer lo banal

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La cuña de cisnes

Toma el cisne y escalalo

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La inmersión

Usando un programa para generar una sola forma continua

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La redistribución de la riqueza

Amplificando el efecto de la mejor parte del proigrama

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La sirena

Yuxtaposición de programas improbables para una experiencia surrealista

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Desenrollar
Repetir un solo programa una y otra vez con sutiles variaciones

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Esclavitud

Usar el presupuesto u otras restricciones como programas por derecho propio

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