| Summary: | The emergence of digital technologies has led to many transformations in architectural practices, mainly by creating a new space for design. It is also possible to identify a mutation of the design gesture, among some architects, which offer them a new “grasp” on the generation of objects and projects. Learning this digital grasping was done gradually, in phases, where the action of “let go” can be considered as the starting point. The difference between this special “let go” and the “let do by the machine”, is that the first one contains the moment of grasping; where the architects integrate the digitally simulated form into their own design concerns.The experiments of “let go-grasp” destabilize the design rhythms and gestures, forcing a series of adjustments, in order to be integrated in the architectural practices. This adoption of the digital technologies was not done at once, and unfortunately led to formal productions often below the initial expectations. To address this singular production, we need to focus on the digital experiments that raised new interactions between architects and software, instead of analyzing the spatial qualities of the future buildings.As in all explorations, the new medium has its own limits and loses its novelty, in waves. Therefore, it attracts less attention. This decreased attention is certainly one of the major problems showing the limits of the sensitivity of “let go-grasp”. As “the marks of a letting go”, an expression used by Jean-Luc Nancy in his works on the initial moment of painting in the cave, this “let go-grasp” describes one of the singular and original connection offered by the digital mutations of architectural gestures and architectural environments.
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