<?xml version="1.0" encoding="UTF-8"?><?xml-stylesheet type="text/xsl" href="static/style.xsl"?><OAI-PMH xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/ http://www.openarchives.org/OAI/2.0/OAI-PMH.xsd"><responseDate>2026-09-19T11:15:53Z</responseDate><request verb="GetRecord" identifier="oai:dspace.mit.edu:1721.1/129846" metadataPrefix="dim">https://dspace.mit.edu/server/oai/request</request><GetRecord><record><header><identifier>oai:dspace.mit.edu:1721.1/129846</identifier><datestamp>2026-06-06T00:47:49Z</datestamp><setSpec>com_1721.1_7582</setSpec><setSpec>com_1721.1_7581</setSpec><setSpec>col_1721.1_131023</setSpec></header><metadata><dim:dim xmlns:dim="http://www.dspace.org/xmlns/dspace/dim" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:doc="http://www.lyncode.com/xoai" xsi:schemaLocation="http://www.dspace.org/xmlns/dspace/dim http://www.dspace.org/schema/dim.xsd">
   <dim:field mdschema="dc" element="contributor" qualifier="advisor" lang="en_US">Mariana Ibañez.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="author" lang="en_US">Földesi, Dalma.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="author" lang="en_US">Seo, Jung In,</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="other" lang="en_US">Massachusetts Institute of Technology. Department of Architecture.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="department" lang="en_US">Massachusetts Institute of Technology. Department of Architecture</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="accessioned">2021-02-19T20:16:18Z</dim:field>
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   <dim:field mdschema="dc" element="date" qualifier="copyright" lang="en_US">2020</dim:field>
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   <dim:field mdschema="dc" element="identifier" qualifier="uri">https://hdl.handle.net/1721.1/129846</dim:field>
   <dim:field mdschema="dc" element="identifier" qualifier="oclc" lang="en_US">1236890156</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, February, 2020</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Cataloged from student-submitted thesis.</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Includes bibliographical references (pages 138-140).</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="abstract" lang="en_US">More or Less Exact tests the fidelity of material control by hands, by machines, and by the interaction of the two. We overlap two models of exactitude within the discipline of architecture to expose a design space at their intersection. One model, underlying Western practice since modernism, is based on specifications provided by the architect. Distancing designer and builder, this model locates the 'exact' in dimensional stability. The built outcome always approaches, though never reaches, a geometric ideal through correction and repair in an attempt to deny any material transformations due to the process of construction and the passing of time. The other model finds exactitude in the fidelity of actions that control material. This model incorporates a notion of continuous maintenance, as the building no longer needs to approximate a geometric a priori. Setting these two models in dialogue, More or Less Exact opens up an undervalued design space: rather than optimizing for the more and more exact, we dynamically navigate the liminal space between the two definitions. Learning from techniques of shaping clay--manual and mechanized--, we operate in the space between the two 'exacts' by compounding actions that control material. Relocating precision to the design of tools, we conceive of building as continual process: a sequence of actions performed collaboratively between human and nonhuman agents.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="statementofresponsibility" lang="en_US">by Dalma Földesi and Jung In Seo.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="degree" lang="en_US">M.Arch.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="collection" lang="en_US">M.Arch. Massachusetts Institute of Technology, Department of Architecture</dim:field>
   <dim:field mdschema="dc" element="format" qualifier="extent" lang="en_US">141 pages</dim:field>
   <dim:field mdschema="dc" element="language" qualifier="iso" lang="en_US">eng</dim:field>
   <dim:field mdschema="dc" element="publisher" lang="en_US">Massachusetts Institute of Technology</dim:field>
   <dim:field mdschema="dc" element="rights" lang="en_US">MIT theses may be protected by copyright. Please reuse MIT thesis content according to the MIT Libraries Permissions Policy, which is available through the URL provided.</dim:field>
   <dim:field mdschema="dc" element="rights" qualifier="uri" lang="en_US">http://dspace.mit.edu/handle/1721.1/7582</dim:field>
   <dim:field mdschema="dc" element="subject" lang="en_US">Architecture.</dim:field>
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   	&lt;Title>More or less exact&lt;/Title>
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        	&lt;DisplayName>Földesi, Dalma.&lt;/DisplayName>
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        	&lt;DisplayName>Seo, Jung In,&lt;/DisplayName>
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    &lt;Keyword>Architecture.&lt;/Keyword>
   	&lt;Abstract>More or Less Exact tests the fidelity of material control by hands, by machines, and by the interaction of the two. We overlap two models of exactitude within the discipline of architecture to expose a design space at their intersection. One model, underlying Western practice since modernism, is based on specifications provided by the architect. Distancing designer and builder, this model locates the &amp;apos;exact&amp;apos; in dimensional stability. The built outcome always approaches, though never reaches, a geometric ideal through correction and repair in an attempt to deny any material transformations due to the process of construction and the passing of time. The other model finds exactitude in the fidelity of actions that control material. This model incorporates a notion of continuous maintenance, as the building no longer needs to approximate a geometric a priori. Setting these two models in dialogue, More or Less Exact opens up an undervalued design space: rather than optimizing for the more and more exact, we dynamically navigate the liminal space between the two definitions. Learning from techniques of shaping clay--manual and mechanized--, we operate in the space between the two &amp;apos;exacts&amp;apos; by compounding actions that control material. Relocating precision to the design of tools, we conceive of building as continual process: a sequence of actions performed collaboratively between human and nonhuman agents.&lt;/Abstract>
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