Greg Lynn, in his writing "Blob Tectonics, or Why Tectonics is Square and Topology is Groovy" , begins with an interesting statement on tectonics. He writes "...discussions of tectonics have involved the difficult task of combining the particular with the general...the particular is understood...as the highly localized techniques of construction...[meanwhile] the general stands for universalized ideals which are embodied in local typologies." But in all the knowledge and discourse of tectonics the idea and the topic of the blob has not been brought to attention. It becomes important to consider blobs for their ability to "seep into those gaps in representation where the particular and the general have been forced to reconcile". "Blobs suggest alternative strategies of structural organization and construction [to relate] the homogenous or general to the heterogenous or particular."
Lynn places the blob in three categories or as he states "regards": (1) horror films, (2) viscous composite entities, and (3) contemporary construction techniques. By horror film standards "the blob is all surface" it is a "gelatinous surface with no depths per se; its interior and exterior are continuous." The film industry has in essence provided us(architecture) with "a working knowledge of blob behavior and morphology". As a composite entitiy, the blob challenges architects to move past the rigid approach of buildings as "crude, upright, vertical [etc]", which leads to the blob in use and construction.
The blob in architecture and construction allows for a divergence from the time tried tradition of vertical buildings. It allows for a spatial theme to develop beneath the structure as seen in Shoei Yoh's work: "enclosure of a diverse group of programs under a single roof". As of "Blob Tectonics" the structure and construction techniques of the blob requires further development but shows potential.
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