tag:blogger.com,1999:blog-29307448919079060902024-03-24T00:28:15.093-07:00THIS IS REAL ARCHITECTURErionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-2930744891907906090.post-12948947566020223912013-08-28T02:46:00.001-07:002013-08-28T02:46:07.468-07:00God's Architects<iframe src="//player.vimeo.com/video/6475035" width="750" height="413" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> <p><a href="http://vimeo.com/6475035">GOD'S ARCHITECTS trailer</a> from <a href="http://vimeo.com/zackgodshall">Zack Godshall</a> on <a href="https://vimeo.com">Vimeo</a>.</p>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com4tag:blogger.com,1999:blog-2930744891907906090.post-73782153426910113092013-08-21T06:44:00.004-07:002013-08-28T02:51:10.881-07:00Lina Bo Bardi – With People at the Heart<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #1b0e07; font-family: Arial, Helvetica, sans-serif;">Lina Bo Bardi saw
Architecture as spaces created by our occupation rather than inert spaces that
we occupy. She understood the complex reciprocal relationship between people
and space, culture and architecture. Through her work, architecture can be
understood as a time based art that is inseparable from the way people perceive
and use it. Bo Bardi’s architecture works like a conversation.</span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">Bo Bardi’s
architecture achieves this by placing human activity at its centre, with an
awareness of the cyclic relationship between the two. We can see this
philosophy embodied in projects such as SECS Pompeia, which transformed an
industrial drum factory into a recreational and social leisure centre through
utilising the street as a vessel for public life placed at its heart. <o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">Bo Bardi’s
Architecture is not static; it reveals to us architecture as a dynamic process
of interactions and relationships. Bo Bardi shows us that architecture is
conversational – it is in constant dialogue with its users, inhabitants and
surroundings. To Bo Bardi architecture relies on our participation and the
unique way we construct our experience by giving meaning as an observer -
“Until man enters a building, climbs steps, and takes possession of the space
in a ‘human adventure’, which develops over time, architecture does not exist.”<o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">This illustrates
the architecture as a unique creative act that not only happens as the result
of the architect’s design but also as cognitive acts fundamental to our
perception and subjective experience of space. In this ‘human adventure’ as Bo
Bardi calls it, architecture can be seen as an event or series of events,
existing in space like a continual piece of music or perpetual performance,
reliant upon performers and protagonists. <o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">Fundamental to our
perception of the world, are these cognitive acts which ‘re’-present our
sensory information into our subjective experience of architecture. These acts
are iterative and recursive, allowing us to build a continuous picture of the
world. It is like the process of design itself, I its looping, repetitive and
iterative nature; it is a cyclic process with new iterations being informed
from lessons learnt from the last. <o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">When we experience
a building the recursive processes that created it through design continue in
our individual acts of perception and interactions, from which we create our
subjective experience. Designing no longer resides solely with the architect,
but is something that we all do continually in our conscious awareness. Our
cognitive and perceptive faculties perpetually construct our reality moment to
moment. Each new experience is informed from past experience as we imbue
meaning from memory into the present, thus ‘designing’ our reality to fit with
our belief systems, cultural background, preferences and psychological makeup.
Cyberneticians in the 1960s, notably Gordon Pask, likened our construction of
reality to a conversation between two people.</span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">This conversation can be seen at the heart of all Bo Bardi’s work. Her
buildings are designed with the understanding that they are reliant upon the
animation and activation of human participation and interaction. As such they
provoke the imagination and encourage social interaction.<o:p></o:p></span></span></div>
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<i style="font-family: Arial, Helvetica, sans-serif; text-align: center;">'Linear time is a Western invention; time is not linear, it is a marvellous tangle where at any moment, points can be selected and solutions invented without beginning or end.’ Lina Bo Bardi</i><br />
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">Bo Bardi’s buildings conversational abilities stem from her philosophical approach to time and space. Her philosophy removes organisational hierarchy ‘such that routes, transitional spaces, juxtapositions of scale, materials and found objects, and a fusion of plant life with built form, all become very important - drawing people around a building as if in a sensual dance, engaging the whole body and all its senses.’ De Oliveira (2006).<o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">Bo Bardi’s people centric work emerges in contrast to the ‘utopian optimism’ of the time, embodied in the work of Lucio Costa and Oscar Niemeyer who used flamboyant and evocative forms to proclaim a better future. Her buildings offered spaces that listened before they spoke, incorporating the vernacular and the local, seeking to use and celebrate what already exists and is available. Rather than purely seeking form, Bo Bardi’s work utilises human activity as a dynamic building material that can transform the sensation and experience of the space. The physical materials she employs are shaped by the local human activity; such as the wooden stair at Solar do Unhão, which was built using techniques adapted from the making of ox carts (Moore 2012). Physically her buildings are a wealth of tactile experiences and interactions.<o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">As well as conversational elements, Bardi creates dialogues with the natural elements; The Bardi home for example was designed to allow the natural environment to flourish in and around the home over time. The SESC Pompéia celebrates the tropical rainfall like a jubilant waterpark with its playful pebble dashed water channels.<o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">From the liberating span of the MASP, to the open and convivial streets of SESC Pompeia, these buildings act as catalysts for culture in Brazil. They create environments, which intensify the already existing social activities and communication of the city. By treating her buildings as time based, not static spaces, she creates spaces for interpretation, indeterminacy, and the unexpected – she creates places of improvisation.<o:p></o:p></span></span></div>
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<span style="color: #1b0e07;"><span style="font-family: Arial, Helvetica, sans-serif;">It is no coincidence that Bardi’s work evokes such a reaction, as it reflects the rich improvising culture that exists within Brasil. Improvising arts flourish in Brasil, largely in part as a result of Brasil’s dark history of slavery and colonialism. Now popular art forms such as Capoeira (a martial art disguised as a dance) and Samba (a popular musical form) were born from the traditions carried over from the West African slaves. These traditions rely on improvisation at their heart, when an individual places his own value or interpretation on a common rhythm in music or in dance that expression contributes to unify a whole. This experience is fundamental to building communities as well as an important means to transmute suffering. Improvising arts are forms of creative communication and are conversational systems in the same way as Bo Bardi’s buildings.</span></span></div>
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<span style="font-size: large;"><i style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><br /></i>
<i style="font-family: Arial, Helvetica, sans-serif; text-align: center;">'Linear time is a Western invention; time is not linear, it is a marvellous tangle where at any moment, points can be selected and solutions invented without beginning or end.’ </i></span><br />
<i style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="font-size: x-small;">Lina Bo Bardi</span></i><br />
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com4tag:blogger.com,1999:blog-2930744891907906090.post-81295020236745622222013-06-28T03:43:00.000-07:002013-07-11T14:32:09.540-07:00A Tribute to a pioneer of Time Based Architecture - Mark Fisher<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG-TogFuSQp8jHibrBAcd9Bo_rlqgy5dNLgbsGqddWmWAPXCYDITDMZ3T88CqjkMXP1rtcVxURIxYg9T-6wsV7xP8nLj8xGz4zktFHiMVtJk2-Xwk6T50d7B9MDUHAaONE6ykMy-GlQFU/s630/M_MarkFisher630_062713.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG-TogFuSQp8jHibrBAcd9Bo_rlqgy5dNLgbsGqddWmWAPXCYDITDMZ3T88CqjkMXP1rtcVxURIxYg9T-6wsV7xP8nLj8xGz4zktFHiMVtJk2-Xwk6T50d7B9MDUHAaONE6ykMy-GlQFU/s640/M_MarkFisher630_062713.jpg" width="640" /></a></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-family: "HelveticaNeueLT Std","sans-serif"; font-size: small; mso-bidi-font-size: 11.0pt;">It
was with great sadness to hear of the death of Mark Fisher on the 25<sup>th</sup>
June. He was an architect and stage designer who transformed the world of rock
concert and large scale live event design. Famed for his work with U2, The
Rolling Stones, Pink Floyd Fisher, Cirque Du Soleil and Olympic opening
ceremonies, Fisher was an innovator from his early days at the AA, where he
studied during a time of radical experimentation. <o:p></o:p></span></span></div>
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early work involved experiments with inflatable structures and pneumatic
architecture, influenced by the work of Archigram. This led Fisher to develop
his own language of temporary deployable architectural systems. This language quickly
found home in the temporary festivals and live shows of the emerging youth
culture. <o:p></o:p></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-family: "HelveticaNeueLT Std","sans-serif"; font-size: small; mso-bidi-font-size: 11.0pt;">Fisher’s
work reflected his relationship with the youthful counter cultures of the time.
His drawings and speculative projects embraced a spirit of hedonism and playful
freedom. Soon he was to find himself designing stage structures at the Isle of
Wight festivals with engineer Antony Hunt, eventually leading to his phenomenal
career as a pioneer in entertainment architecture and stage design.<o:p></o:p></span></span></div>
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<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">His
work brought joy and delight to millions and will remain an inspiration. </span></span><o:p></o:p></span><br />
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com2tag:blogger.com,1999:blog-2930744891907906090.post-24149214381932648002013-06-19T03:23:00.002-07:002013-06-19T03:25:13.251-07:00JONAH - Factory Fifteen<iframe src="http://player.vimeo.com/video/58646255" width="750" height="422" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/58646255">JONAH</a> from <a href="http://vimeo.com/user7380331">Factory Fifteen</a> on <a href="http://vimeo.com">Vimeo</a>.</p>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-42755831644131918132013-06-19T03:21:00.000-07:002013-06-19T03:21:07.689-07:00Red Fractals - Muralla Roja by Ricardo Bofill<div class="separator" style="clear: both; text-align: center;">
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<br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-75570772639713800722013-06-07T16:43:00.002-07:002013-06-07T16:43:36.017-07:00Draughting Layered Complexity - Perry Kulper<div class="separator" style="clear: both; text-align: center;">
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<br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-58611342552039860062013-04-24T09:27:00.002-07:002013-04-24T09:29:07.883-07:00Mark Fischer - Armies of Pleasure<iframe width="853" height="480" src="http://www.youtube.com/embed/_3B7-lEGUR0" frameborder="0" allowfullscreen></iframe>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-26591934638270544622013-04-12T06:24:00.000-07:002013-04-12T06:24:26.890-07:00Festo Air Jelly<iframe allowfullscreen="" frameborder="0" height="480" src="http://www.youtube.com/embed/OxVf9QY_TFs" width="853"></iframe><br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-32570058173875705232013-03-23T17:18:00.002-07:002013-03-23T17:22:33.355-07:00Solipsist<div class="separator" style="clear: both; text-align: center;">
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<iframe src="http://player.vimeo.com/video/37848135" width="995" height="560" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/37848135">SOLIPSIST</a> from <a href="http://vimeo.com/user1293099">Andrew Thomas Huang</a> on <a href="http://vimeo.com">Vimeo</a>.</p>
rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-89729909425675837382013-03-21T10:33:00.002-07:002013-03-21T10:33:26.952-07:00Loop System Quintet - Conrad Shawcross<div class="separator" style="clear: both; text-align: center;">
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-59315969239422640132013-03-21T04:17:00.002-07:002013-03-21T04:17:25.231-07:00Projects 17 - Diller and Scofidio<div class="separator" style="clear: both; text-align: center;">
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<br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-39109650098022128202013-03-17T18:02:00.000-07:002013-03-17T18:03:32.468-07:00Transfiguration - Olivier de Sagazan<div dir="ltr" style="text-align: left;" trbidi="on">
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I first came across the surreal and disturbingly powerful performances of Oliver de Sagazan in the recent Ron Fricke film, Samsara. These performances are a reflection of our traumatised society, suffering from delusions, paranoia, obsessed with self image. Olivier de Sagazan points to how our identity is fleeting, reconstructed and destroyed.<br />
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-619994727972994332013-03-15T06:51:00.000-07:002013-03-15T06:51:26.588-07:00Music For Airports<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;">Having
spent a number of years working on the design of major international airport
terminals, as well as travelling in many of them, it has been illuminating
revisiting Eno’s music for airports. Eno describes the music being a result of
an experience where he was delayed at Cologne Bonn Airport for several hours.
Struck by the amount of attention and design given to every other facet of the
airport, the soundscape had been essentially left to chance, and as a result
was uninspiring. <o:p></o:p></span><br />
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<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span><span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;">How
a building sounds, unless it is a concert hall, is something architects rarely
consider. Airports are no exception, they are vast halls where the lighting,
signage, passenger flows and even advertising placement has been carefully
orchestrated. The resultant soundscape however is rarely considered beyond
tannoy placement and reducing the noise of aircraft. Eno felt that a functional
soundtrack could be designed to uplift and inspire passenger experience. <o:p></o:p></span></div>
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<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span><span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;">Airport
clients carefully define and break down into quantifiable parameters for what
makes for good passenger experience. Speed, ease of use (the phrase ‘intuitive
way finding’ is a common one) and durability often head the list. Successful
airport architecture has gone to great lengths to ensure visually that
successive parts of the airport read clearly and are well defined, so that the
passenger seamlessly moves from one function to the next, without having to
engage in strenuous navigation. <o:p></o:p></span></div>
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<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span><span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;">The
neglect of attention to a soundscape could work against the careful calculation
of architectural wayfinding. An airport’s soundscape can potentially be
chaotic; multiple tannoys, noise of jets and the consumer frenzy of duty free
can be disorientating. On the other end of the spectrum waiting when waiting for
a plane the soundscape is totally inane, magnifying the already intense dis-ease
our culture suffers from of not being able to sit quietly. <o:p></o:p></span></div>
<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span><br />
<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;">Eno
clearly recognised these chaotic and banal sound environments as missed
opportunities to ‘celebrate of the achievements of mankind’ and ‘to reflect on our
mortality’. The result was Music for airports, a set of musical compositions
specifically designed for an airport environment.<o:p></o:p></span><br />
<span style="font-family: "HelveticaNeueLT Std","sans-serif"; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span><br />
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-21992830492066503682013-03-15T04:38:00.001-07:002013-03-15T04:39:47.084-07:00Chronos<iframe src="http://player.vimeo.com/video/35770492?title=0&byline=0&color=e99900" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/35770492">Choros</a> from <a href="http://vimeo.com/langanfilms">Michael Langan</a> on <a href="http://vimeo.com">Vimeo</a>.</p>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-20162966172489967782013-03-15T04:33:00.003-07:002013-03-15T04:35:19.946-07:00Shabono<div class="separator" style="clear: both; text-align: center;">
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-68188118541575390892013-03-06T03:13:00.000-08:002013-03-06T03:13:19.763-08:00Architecture Schools Should be Dissolved*<div class="separator" style="clear: both; text-align: center;">
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<br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com1tag:blogger.com,1999:blog-2930744891907906090.post-19557346152826849672012-11-29T09:53:00.002-08:002012-11-29T09:53:27.965-08:00Designing Conversations<span style="font-family: Arial, Helvetica, sans-serif;">
</span><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">As architects we strive to maintain a
professionally independent and holistic view of the process of architecture.
This is to serve and assist the local and larger communities within which we
operate. Codes of conduct set out by governing bodies such as the ARB reflect
this aspiration but serve only as a minimum standard of behavior expected of
those using the title of architect. <o:p></o:p></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span style="font-family: Arial, Helvetica, sans-serif;">The architect, like the client they work
for and all those who will experience a built piece of architecture, belong to
a community that informs and shapes its own physical environment. All of us are
engaged in this process of creation, whether we are aware of it or not. On an
individual level, our own cognition and perceptual processes fuel our personal
and subjective experience of architecture. Our thoughts, belief systems and
cultural ideologies weave a complex and intricate web of perceptual filters
that interprets an external reality into subjective experience. Our behaviour and
the way we respond are extensions of this experience. This process is the way
we exchange ideas with our environment, thus shaping it. It in turn shapes us, continuing
a complex reciprocal relationship. <o:p></o:p></span></span><br />
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</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">This model of experience illuminates architecture
and our physical environment not as inert spaces that we occupy but rather spaces
created by our occupation<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #535353; font-family: "Cambria","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>.
It is an intimate and cyclic relationship between people and space, human
communication and architecture. Our environment is inseparable from the way we
perceive and use it.<o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">This insight leads us to realise we are
ultimately responsible for our own experience. We are continuously constructing
our own realities and creating our environment. The polymath Gordon Pask </span><span style="color: #535353; mso-bidi-font-family: Arial;">recognised</span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"> this intimate relationship we have with our environment describing the
interaction as a conversation, operating with the same mechanics as a dialogue does
in language<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #535353; font-family: "Cambria","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>. To Pask communication and
conversation differ. Communication is a linear process of information going
from A to B, in a rather passive way. Conversation operates at a deeper level, is
participatory and active. It is a looping, recursive and iterative process
between two or more cognitive systems, distinct perspectives or individuals. Most
importantly conversation requires understanding and agreement over the concepts
and ideas, which are shared between individuals. The result of conversation is a
new perspective to both individuals. <o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Pask considered architecture as one of
the fundamental conversational systems in human culture and that we are
observing beings who construct our view of the world by interacting with it
through conversations. With this perspective Architecture reveals itself as a time-based
phenomenon, which relies on the unique construction of the observer. Viewing
architecture in this light begins to place the architect in an interesting
position not simply as designer of physical form and aesthetic but as system
designers, designing systems that grow, develop and evolve<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #535353; font-family: "Cambria","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>.<span style="mso-spacerun: yes;"> </span>A building is a living entity, a system which
operates within a larger system (e.g. a city, human society) and it is these
larger systems that the architect also designs.<o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">A conscientious architect, like Pask,
cannot view a building in isolation but will consider the wider context
(physical, social, cultural etc.) with the deeper understanding that a building
is only meaningful as a human environment. Our built environment is
simultaneously serving us and influencing our behaviour<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #535353; font-family: "Cambria","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>.
Our buildings are not static but are growing, living and evolving. As an
architect it is imperative to recognise our role and responsibility in the
development of our society’s conventions and traditions.<o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">We are becoming more aware of the
importance for architects to design with provision for unknown future uses and
the evolution of a design. The ecological crisis that we are currently facing reflects
our civilization’s avoidance of meaningful conversation with the natural
environment. Ensuring our built environment converses sensitively with the
ecological cycles that govern our planet is an urgent activity that all of us
share responsibility in. As architects, city planners and engineers we are in
fortunate positions that our professions can make a significant impact within
these conversations.<o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Our cities will survive long after us
and will carry with them our intentions and negligence for future generations
to inherit. Buildings, which are ill conceived lack consideration for their
entire lifespan and fail to recognise the interconnectedness between our cities
and our wellbeing. A built environment that is conceived to be static and
non-conversing perpetuates social division, financial deprivation and
ecological instability. <o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">The architect is an enabler of
conversation; not only between buildings, their inhabitants and the natural
environment, but also between the numerous forces and mechanisms, which shape
and influence the built domain. Clients, stakeholders, consultants,
politicians, planners, contractors, public user groups, heritage and
conservation groups and numerous others must all converse effectively with each
other and themselves to achieve common goals that are beneficial to all. This
is often a difficult process. Shared and common objectives are often ill
defined, lack wisdom and holistic thought. Short-term economic and political
agendas all too often take over a conversation reducing it to one-sided
communication. The architect has a duty to maintain professional independence
within this process. He is to ensure integrity whist providing a service for
his client, but also remembering the higher service to the larger conversations
of our cities and planet. Considering the wider context within which we build and
ensuring conservation is one of the most fulfilling aspects of architecture, bringing
more meaning and depth into our work. Sharing this outlook with our clients,
and all those involved in building procurement is essential, as is being open
and receptive to the ideas and perspectives that others also bring to the
conversation. <o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">There have been many architects who have
recognized architecture as a dynamic process, which is given meaning by its
occupants. The visionary architect Cedric Price, who would have been involved
in discussions with Pask at the Architectural Association, explored architecture’s
potential to nurture conversation. Price, although building very little in his
life became one of the most influential architectural thinkers of the last
century. In a series of unrealized projects, Price presented architecture as a
dynamic process between user and building. <o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p> </o:p></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Fun Palace (1961) in collaboration with
theatre director Joan Littlewood, embodied conversational philosophies, and
sought to provide a building that was defined by the changing desires and needs
of the users. The project embraced optimism for current technology to provide a
flexible and responsive architecture. Consisting as a kit of parts, a
structural grid of steel lattice columns and beams provided a frame within
which dynamic elements such as hanging theatres, activity spaces and cinema
screens could be assembled, moved and taken apart as required<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #535353; font-family: "Cambria","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>.
The result was playful, free spirited proposal defined by the activities of the
users. Focusing in on the time based nature of architecture paved a way for
subsequent architectural thinking and expanded the potential of architecture as
a social catalyst. <o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8wFyYgGnBaqkX2nV5V3nMNUPMHvXO0-85kRvSllQ2TuXymS4IP8oCZ7J_GdCDdsAlIaEx9RMSmb0-b28QUyi6I3_Jk2GRbgC8JO_yrPvKrYzIugjjvGIAL0DcDqmE6KnWmizaOPX30bY/s1600/02%5B1%5D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8wFyYgGnBaqkX2nV5V3nMNUPMHvXO0-85kRvSllQ2TuXymS4IP8oCZ7J_GdCDdsAlIaEx9RMSmb0-b28QUyi6I3_Jk2GRbgC8JO_yrPvKrYzIugjjvGIAL0DcDqmE6KnWmizaOPX30bY/s640/02%5B1%5D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="color: #535353; font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><strong><span style="font-family: Arial, Helvetica, sans-serif;">Plan of the Fun Palace illustrating dynamic elements<o:p></o:p></span></strong></span></td></tr>
</tbody></table>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #535353; mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;"><v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f">
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<v:path gradientshapeok="t" o:connecttype="rect" o:extrusionok="f">
<o:lock aspectratio="t" v:ext="edit">
</o:lock></v:path></v:stroke></v:shapetype></span><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Buildings such as the Pompidou Centre in
Paris clearly echo philosophies of Price’s work. Rogers and Piano’s competition
entry was the only scheme to divide the Beauborg site into two halves, with one
half being entirely given over as a public piazza.<span style="mso-spacerun: yes;"> </span>The building itself strived for an inherent flexibility
through spacious floor plates uninterrupted by services and vertical
circulation. The strategies employed recognise conversational ideologies by
placing human activity at the heart of the scheme. The public piazza, which
continues to attract performers, museum goers, and a multitude of public life,
has served to regenerate and revitalize a once forgotten part of Paris. The
users of the piazza continually re create it through occupation and use. This
conversation between inhabitants and environment becomes an enjoyable spectacle
in its self, which in turns attracts more users. A successful public realm such
as this is a place for the city to become aware of itself. <o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgE4kVpl7cIEUDMFjOzwQ7oJ4JbJ1qld31gZKqU_l5Rgo7JtQbcoQjMx1rPRBxgruvRt0YCmLwagXZCzvMJx8ENjxtpgsomu5mLJC7svx6S2H5xObM2Se2rQEXlC7G28xYbhMXbFDJCqM/s1600/99_0316_1_medium.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgE4kVpl7cIEUDMFjOzwQ7oJ4JbJ1qld31gZKqU_l5Rgo7JtQbcoQjMx1rPRBxgruvRt0YCmLwagXZCzvMJx8ENjxtpgsomu5mLJC7svx6S2H5xObM2Se2rQEXlC7G28xYbhMXbFDJCqM/s640/99_0316_1_medium.jpg" width="468" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="color: #535353; font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><strong><span style="font-family: Arial, Helvetica, sans-serif;">The city becoming aware of itself at the piazza of the Pompidou<o:p></o:p></span></strong></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">In London, Denys Lasdun (who also worked
with Cedric Price) designed the National Theatre at the south bank, which can also
be seen as a functioning conversational system. One of the great successes of
the National has been its dynamic dialogue with the public. The building’s
concrete landscape provides large floating terraces which serve to reconnect
the site to different parts of the city, such as providing access from the top
of Waterloo Bridge to its underside, and offering intimate views across the
Thames. This increased connectivity facilitates pedestrian movement encouraging
human interaction. This increased animation allows the terraces themselves to become
stages for public life. Often the events outside of the building, such as the
recent Inside Out festival, are as popular as those that are contained within. </span><span style="color: #535353; mso-bidi-font-family: Arial;"><o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBrruBuWeVu9eteBKwrYehRcV-3LrZhXI277HB1Iawv5J25ySEUXfALwaa_TYttYwDkLxQmB6poezsvpYI72KAWSSGQoXrRE1uYpxzaFjN5o3cZUcGia-ZKBlFoDe8p8WPflC7gJ1JkH0/s1600/Building9%5B1%5D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBrruBuWeVu9eteBKwrYehRcV-3LrZhXI277HB1Iawv5J25ySEUXfALwaa_TYttYwDkLxQmB6poezsvpYI72KAWSSGQoXrRE1uYpxzaFjN5o3cZUcGia-ZKBlFoDe8p8WPflC7gJ1JkH0/s640/Building9%5B1%5D.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #535353; font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="font-family: Arial, Helvetica, sans-serif;">Floating terraces and public realm weaves in and out of the National Theatre allowing external performance spaces to emerge<o:p></o:p></span></span></b></div>
<span style="font-family: Arial, Helvetica, sans-serif;"></span><br /></td></tr>
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<span lang="EN-US" style="color: #535353; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span style="font-family: Arial, Helvetica, sans-serif;">Recognising architecture as a dynamic
process, operating as a conversational system makes it impossible to view a
building in isolation.<span style="mso-spacerun: yes;"> </span>Often a client
will make a set of stringent demands based on financial and political
imperatives. If these obscure a holistic perspective of how our buildings will
operate within the larger context, then our architecture will fail to participate
in meaningful conversation, perpetuating social disparity and ecological
imbalance. As architects we have a civic responsibility to ensure our buildings
are capable of such conversation and have the potential to empower human
activity.<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">[1]</span></span></span></span></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Walter Benjamin, One Way Street, 1924<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">[2]</span></span></span></span></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Paul Pangaro, Cybernetics and
Conversation, 1996<o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">[3]</span></span></span></span></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">
Gordon </span><span lang="EN-US" style="color: #535353; font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Pask, The Architectural
Relevance of Cybernetics, Architectural Design (39) September, 1969 </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">[4]</span></span></span></span></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Ibid</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2930744891907906090#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">[5]</span></span></span></span></span></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: EN-US; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Canadian Centre for Architecture, <span style="mso-spacerun: yes;"> </span>http://www.cca.qc.ca/en/collection/283-cedric-price-fun-palace<o:p></o:p></span></span></div>
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</span>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com2tag:blogger.com,1999:blog-2930744891907906090.post-81635376649805004172012-08-24T06:31:00.001-07:002012-08-24T06:33:42.370-07:00Manhattanhenge<span style="font-family: Arial, Helvetica, sans-serif;">I recollect a summer vacation in New York City a few years ago
and witnessing a stunning sunset as it aligned with the city’s uniform grid, framed
by Manhattan’s vertical sky rises. People took to the streets blocking traffic
to photo the astrological urban phenomenon. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Every year Manhattan’s distinct uniform grid layout (as does
any city with this patterned master plan) lends itself to becoming an
astrological calendar. Sunsets begin around May and last for a few months, on a
clear night the uncluttered western horizon of NY provides the perfect backdrop
to this spectacle. <span style="mso-spacerun: yes;"> </span>Over the years it has
become something of mini solstice gathering, with the public halting the city’s
incessant movement for a few moments to witness an everyday wonder that so
often gets forgotten and missed in an urban context. </span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">These spontaneous gatherings, not organised or corporately
funded, occurring in the one the world’s busiest metropolises, in a place not
designated for public crowds is poignant. It reminds of the importance and
innate wonder of sharing such an experience. The ancients recognised this and deliberately
utilised it for worship, politics, and to disseminate ideals. In contemporary
society, our busy lives and fragmented cities obscure, much of the natural
phenomena we unconsciously yearn for. When however these same cities unexpectedly
assist a natural spectacle, we are forced to stop and reflect. The urban henge
reminds us all of our shared cosmological journey and thus serves as an important
opportunity for human connection. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Thanks to </span><a href="http://v-e-n-u-e.com/Manhattanhenge"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">http://v-e-n-u-e.com/Manhattanhenge</span></a><span style="font-family: Arial, Helvetica, sans-serif;">
for reminding me of this event.</span><br />
<span style="font-family: Calibri;"></span><br />
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-67161409454585816852012-08-16T09:35:00.000-07:002012-08-16T15:37:59.763-07:00Michelangelo's Repertoire of Invention<span style="font-family: inherit;">I first came across these images of Michelangelo’s designs for fortified defenses around Florence on the blog of Lebbeus Woods. They are hugely compelling visual documents, which only but hint at Michelangelo’s enormous repertoire of invention. </span><br />
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<span style="font-family: inherit;">Michelangelo was commissioned by the Florentine Republic to design these bastions in the early part of the 16th Century. At this time Florence was under the threat of attack from the Papal armies wishing to restore the Medici family to autocratic power.* When the attack arrived, the city’s defensive wall had been strengthened by Michelangelo’s fortifications. As a result Florence was able to defend herself for close to a year against a supreme army. Florence succumbed to the military might through an act of political treachery in 1530. *</span><br />
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<span style="font-family: inherit;">The geometries of these drawings derive from their very practical purpose, allowing structural defense from the incoming missiles of the attackers and allowing retaliation from the defenders. </span><br />
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<span style="font-family: inherit;">On their own they radiate a complex beauty and power. As an architect looking upon these drawings, the forms look almost contemporary not something expected from the renaissance epoch. The top image here is particularly powerful, as begins to hint at the mechanics of Michelangelo’s genius. The plan appears to be drawn in ink with the masterly control of superfluous brush strokes. Interestingly it lies on top of a set stunning and sensitive figure studies. Other sketches in this set also create a superimposition of the architectural solution atop of the figurative study. Here is an interesting point to depart into a conversation on the interwoven links between the depth of Michelangelo’s anatomical understanding and his engineering faculties.</span><br />
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<span style="font-family: inherit;">For me these sketches from the great renaissance masters illustrate the importance of fluidity within architectural thought and discipline. It could be argued, that the diet of intensive observational and anatomical drawing that the renaissance period cultivated develops a powerful non verbal understanding of mechanical and structural principles. Lebbeus Woods, argues that it is Michelangelo’s extreme precision and dexterity with free hand line (no doubt a result from his latent genius and hard graft refining this skill through observational drawing) that allows him to be so courageous and inventive with the forms explored in these sketches. </span><br />
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<span style="font-family: inherit;">These sketches, largely unseen amidst the multitude of masterpieces from Michelangelo, are just as inspiring. They remind us of important faculties we possess as humans, and the latent potential of imagination fused with perseverance and dedication. </span><br />
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<span style="font-family: inherit;">*<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><em>http://lebbeuswoods.wordpress.com/2012/05/22/michelangelos-war/</em> </span></span><br />
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-65770595402366240082012-08-13T17:01:00.004-07:002012-08-13T17:01:52.219-07:00Primitive future: The Improvised spaces of Sou FujimotoNest or Cave?<br />
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Sou Fujimoto recently posed this question at the opening of
his lecture at the GSD Harvard. He eloquently explains his concept of a ‘nest’,
which implies a space that has been specifically prepared for human
habitation.<span style="mso-spacerun: yes;"> </span>A cave is the opposite of
this: a naturally formed space, which to be used for dwelling requires a
creative act on behalf of a human. The cave alters the behaviour of its
occupant by offering no clear way in which to use the space. Although to some
degree this ambiguity is inherent in all spaces, the cave is completely
undefined. He calls these creative acts of appropriation the beginning of
architecture.<br />
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Within the cave the body needs adapt to the space to meet
its needs. As the body adapts, the space takes on a new subjective and temporal
definition, unique to each occupant. A harmonious relationship is established
between the body and space. The ambiguity of the cave offers a surprisingly flexible
architecture, and it is this idea that Sou Fujimoto has explored in much of his
conceptual and built work.<br />
His buildings and experimental homes create spaces within
spaces that blur into one another and have no definite boundaries or pre
determined routes through them, requiring the user to create their definition
through use - akin to the cave or a natural setting. In Primitive Future house
Fujimoto explores an architecture that begins to relinquish prescribed spaces.<br />
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<br />
In his work the Wooden House project we see these ideas manifest
into their first built work, Fujimoto explains:<br />
<br />
<span lang="EN-US"><i>'I thought of making an ultimate wooden
architecture. It was conceived by just mindlessly stacking 350mm square. Lumber
is extremely versatile. In an ordinary wooden architecture, lumber is
effectively differentiated according to functions in various localities
precisely because it is so versatile. Columns, beams, foundations, exterior
walls, interior walls, ceilings, floorings, insulations, furnishings, stairs,
window frames, meaning all. However, I thought if lumber is indeed so versatile
then why not create architecture by one rule that fulfills all of these
functions. I envisioned the creation of new spatiality that preserves primitive
conditions of a harmonious entity before various functions and roles
differentiated. There are no separations of floor, wall, and ceiling here. A
place that one thought was a floor becomes a chair, a ceiling, a wall from
various positions. The floor levels are relative and spatiality is perceived
differently according to one’s position. Here, people are distributed
three-dimensionally in the space. This is a place like an amorphous landscape
with a new experience of various senses of distances. Inhabitants discover,
rather than being prescribed, various functionalities in these convolutions.'</i></span><br />
<span lang="EN-US"><i><br /></i></span>
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<span lang="EN-US"><i><br /></i></span><o:p> </o:p>For me it is interesting to consider the importance that Japanese
Zen traditions place on the rituals of the everyday, and use this for
illuminating the context within which Sou Fujimoto works. For example making a
cup of tea in a traditional tea ceremony is highly a refined meditative
exercise involving precise controlled movements and a heightened sense of
awareness of the body in space. This awareness of the body is a key aspect to
many Zen practices and is often viewed as a gateway to spiritual insight. When
we inhabit or navigate an undefined organic space we seem to naturally become
of aware of the body as we search for ways to adapt and utilise the space. It
is this heightened state that Fujimoto refers to as the primitive conditions of
harmonious entity.<br />
House
NA develops these ideas further <span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">. 21 floor plates at varying heights
connected via stairs and ladders create a house with a gradation of spaces that
flow into one another. The home offers a unique dwelling experience, emulating
a nomadic quality and sense of movement that echoes habitation amongst trees.</span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><br /></span>
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><i>“The intriguing point of a tree is that these places are not hermetically isolated but are connected to one another in its unique relativity. To hear one’s voice from across and above, hopping over to another branch, a discussion taking place across branches by members from separate branches. These are some of the moments of richness encountered through such spatially dense living.”- Sou Fujimoto</i></span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><i><br /></i></span>
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rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com1tag:blogger.com,1999:blog-2930744891907906090.post-70507635639936217592012-07-26T18:09:00.001-07:002012-07-26T18:09:09.437-07:00"Everything is Architecture" - Hans Hollein<br />
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<em style="margin-bottom: 0px !important; margin-top: 0px !important; outline-color: initial; outline-style: none; outline-width: 0px;">'Architects have to stop thinking in terms of buildings only. Built and physical architecture, freed from the technological limitations of the past, will more intensely work with spatial qualities as well as the psychological ones. The process of erection will get a new meaning, spaces will have more consciously have haptic, optic and acoustic properties. A true architecture of our time will have to redefine itself and to expand its means. Many areas outside traditional building will enter the realm of architecture, as architecture and “architects” will have to enter new fields. All are architects. Everything is architecture.' </em></div>
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<em style="margin-bottom: 0px !important; margin-top: 0px !important; outline-color: initial; outline-style: none; outline-width: 0px;">-Hans Hollein, 1966</em></div>
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Amen to that! What a dictum, it is reassuring that great architects such as Hans Hollein were positing nearly half a century ago! As we've repeated here on this blog several times, Architecture is not just buildings but a process, a discipline, a way of doing. As architects we are trained to see the architecture in things...in all things. Learning to see Architecture in things is the building blocks of creating architecture. Architecture is a psychological and cognitive act first, long before anything becomes manifest...some of these cognitive acts are part of the oldest parts of our brains, evolved from the ancient impulses that drives all life to shelter, hide, dwell, hibernate, nest, burrow, protect, rest...the results of these impulses build upon the results of the previous generations and species. It has been happening since the very first life form existed on the planet. A long cyclical evolutionary path of Architecture has been unfolding stemming from the basic impulses and instincts that govern the growth of life...</div>
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Everything is architecture and as architects we must learn to see the architecture in all things not just buildings. Learning to trust our intuitive faculties is imperative to this. It is intuition that guides us into architectural solutions that deal with the ordering of the highly complex, science and technology then quickly becomes a powerful allies in illuminating and revealing what intuition was pointing us towards.</div>
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Look for the architecture beneath, listen for it in a piece of music, sense it in a piece of poetry, feel it a dance, see it in a painting, contemplate it in the cosmological, observe it in your own perceptual faculties. </div>
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<span class="Apple-style-span" style="color: #444444; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;">Images from Hans Hollein, who inspired this post.. </span></div>
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</div>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-7339315189047334172012-07-10T03:44:00.000-07:002012-07-10T03:44:06.967-07:00Fuelling the Architectural Mind-set: Frank Lloyd Wright Contributions to Graphic Design<!--[if gte mso 9]><xml>
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Frank Lloyd Wright’s contributions to architecture are well
catalogued and any course on contemporary architecture would be incomplete
without noting some of his built work. However his graphic work is lesser know
and also highly compelling. Following on from my previous post regarding
architectural graduate shows where we witnessed the development of graphical
dexterity in exploring architectural ideas, <span style="mso-spacerun: yes;"> </span>I’d like to continue the thought upon the
importance of graphical disciplines to a practicing architect.<o:p></o:p></div>
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Wright explored many themes and architectural ideas within
his graphical work, this clearly becoming a place for experimentation and
further cultivation of his immense creativity. <span style="mso-spacerun: yes;"> </span>It’s clear to see how rug designs, stained
glass patterns and other ornamentation were explored through drawing and
graphics but it’s less clear to understand how the graphics would have
influenced his architectural thinking and vice versa. For me many of these
images illustrate a process of how Wright’s reverie for the natural world
becomes manifest into architecture. The ability to interpret organic form into
abstract compositions with clear rhythms and structure is clearly an important
step towards later architectural solutions. It is interesting to speculate upon
other great architects of the last century such as Le Corbusier and Alvar Aalto
who also had extensive forays into other disciplines, (including painting
graphics and vase making) which they often credited to greatly assisting their
architectural thinking.<o:p></o:p></div>
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Frank Lloyd Wright’s contributions to typography, graphic
design, poster, book and mural art has been comprehensibly documented and illustrated
in the book Frank<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"> Lloyd Wright: Graphic Artist.</span><o:p></o:p></div>
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<!--EndFragment-->rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com1tag:blogger.com,1999:blog-2930744891907906090.post-40785527806268057002012-06-28T08:59:00.002-07:002012-06-28T14:33:39.722-07:00Speculating with Architecture – Architecture Graduate Shows 2012I was prompted to write this blog posting in response a friend’s comments on the recent architectural graduate shows that are currently on around London and the rest of country. Needless to say he was less than impressed with the work he viewed, dismissing the majority of it as ‘utter crap’ which is having a detrimental effect to the profession as a whole. Worryingly, this ill informed and distressing perception is too common; you only need to look at the BD website comments about the recent Bartlett show to see a number of opinions claiming the work as non-architecturally relevant. <br />
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These comments are usually inarticulate and unsubstantiated. One reader even proudly claims that he has never visited any of these shows, but can tell enough from the thumbnail images that they were not ‘architecture’. The absence of any analytical critique and his lack of viewing the work only serve to undermine the validity of his opinion.<br />
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Fortunately however these comments are outnumbered by well thought out responses, critique and praise for the creative fervour of these young architects. These responses coming from a place of deeper understanding of the life long process of architectural education. For example:<br />
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‘<em>The Bartlett School of Architecture has historically very often been criticised of its imaginative approach to architecture. From my experience in this school during the past two years, I believe that students and staff see criticism as an essential method for the evolution of creativity and innovative thinking and thus take it very seriously.</em><br />
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<em>I have learnt that "criticism" can lead to the production of knowledge when it is very specific and open to thoughtful discussion, rather than when it is being purely emotional and generic. The way I understand "criticism" in its most dynamic form, is when it is questioning itself.</em><br />
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<em>The variety and depth of analysis on historical, social, political, religious, technical, economical and philosophical questions of the students projects, is articulated in their "portfolios" and "technical reports", where the so called "reality" is the driving force and presupposition for the breeding of their imaginative thoughts and creations.</em><br />
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<i>The show, is exactly a "show", where in most cases, the students present more of a minimum of their creations and research and less of a process. But, I believe that this is exactly the point of a show: To walk through a space where creativity and passion for innovative thinking prevail. If this is crudely called "art", then it is a compliment.'</i><br />
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These shows (and I mean all shows around the country not just the Bartlett) are indeed a celebration of the potential of architecture, stretching its periphery and how it’s defined. The results often leave you feeling invigorated, refreshed, uplifted and inspired! And that’s exactly what these shows should do. As mentioned above we only get to catch a glimpse of the intense and rigorous processes that go behind the work on show but the purpose of the show is to share a small piece of their infectious creative energy.<br />
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I hope that these shows remind us that Architecture is not only a profession, nor is it only built work…it’s a discipline, a concept, an event, an act, a process, a time based phenomena... – all the ingredients that make it such a rich and diverse subject. Architecture is primarily a way of doing things and as such it will always seep out and merge into other disciplines. <br />
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An integral part of being an architect/ designer is to be able to broach new topics and subjects quickly with a powerful analytical outlook. This is what we’re seeing developing here. The fact that a school like the Bartlett produces students who don’t just enter the world of architecture but go into other disciplines such as film, art, product design, fashion, music etc or become pioneers in, for example, emerging worlds of interactive space and augmented realities is incredibly exciting and illustrates how powerful this creative training is. And for those who do remain in the more ‘traditional’ architecture roles, they tend to be better rounded and successful architects. Why is it that these types of students are so highly sought after by majority the architectural profession?<br />
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It’s wonderful to see and to be a student experimenting and speculating about what architecture is and can be, these are very real skills that are imperative to the practicing architect who wants to raise the aspirations of his clients and other stakeholders, find inventive solutions to a brief, help facilitate a conversation with communities about creating unified vision, refine a concept down to the working detail etc. Just looking through a technical report that accompanies a project and you quickly realise the depth of analytical thought and research that has gone into each project...these are not just whimsical ideas floating around in a world of fantasy.<br />
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On show at our architectural schools are the early stages of a long process that lasts a lifetime and beyond. Schooling offers a unique opportunity to explore and develop creative faculties, an architectural mindset and rigorous approach. It doesn’t always work or suite everyone although the profession as a whole is looking at widening the ways you can train to be an ‘architect’ (and the way the profession self critiques itself is greatly assisted by the analytical tools you see being demonstrated in our schools). <br />
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I hope to be working with some of these young talented architects very soon as they enter back into practice. I am looking forward to their enthusiasm, inventiveness and creativity enriching and challenging my own working practices. <br />
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Here are some examples of student work from the Bartlett work featured in the current show. (Apologies for focusing on the Bartlett primarily, I hope to feature work from other schools in the near future. Also apologies if I haven't credited your work for some of the photos I took at the show - contact me and I will)<br />
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<tr><td class="tr-caption" style="text-align: center;">Ayaka Suzuki - Place Making</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">BSc Arch Year 1 Library Bed Brass</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">BSc Arch Year 1 Small Drawing Room Chest Lead</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQvdM4deKUWtw94Zgr8iTA3s5IEI59-u2Hnk7cAwD_swe4liJUGhkxBQaY5d4rk6F_Yn3oEjiJ2iQXOJtvUT4JB-vrnPEdLtbqrS5WQEx2WMy1z2q22kahM0CcX5nWxthpnUjIoBOV2z4/s1600/Chimera+RC2+group+Project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQvdM4deKUWtw94Zgr8iTA3s5IEI59-u2Hnk7cAwD_swe4liJUGhkxBQaY5d4rk6F_Yn3oEjiJ2iQXOJtvUT4JB-vrnPEdLtbqrS5WQEx2WMy1z2q22kahM0CcX5nWxthpnUjIoBOV2z4/s1600/Chimera+RC2+group+Project.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chimera RC2 Group Project</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuBgkvhpbNeDjftC2vlGlZBUPvvY59oEsra717cFPafpw-rxpF5lCADEu3ePGkEOSjnp3FR45GDrPVFBUEe9s6lMvwCmMizSnBP5iXCx-LsZH9Ym1r1qKotX8SoEHsIK8aFdHVJWuP7A/s1600/Fergus+Knox+Pearl+River+gardens+regeneration+project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuBgkvhpbNeDjftC2vlGlZBUPvvY59oEsra717cFPafpw-rxpF5lCADEu3ePGkEOSjnp3FR45GDrPVFBUEe9s6lMvwCmMizSnBP5iXCx-LsZH9Ym1r1qKotX8SoEHsIK8aFdHVJWuP7A/s1600/Fergus+Knox+Pearl+River+gardens+regeneration+project.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fergus Knox Pearl - River Gardens Regeneration Project</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY4QKNptghgIZwO6fkLc6qe1wT363MVl7SsWCKQDn_up9S2XCLYrlCB5tSCkDytMF7nyuCvEEfy3n0fQYRclCMGa21MVdnNj_21AfESZK_hDA5rQ6DfXuuQKvEMdEYvK1ZNdStmhSPB5g/s1600/Ifigeneia+Liangi+Nostalgia+of+the+Future+2013.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY4QKNptghgIZwO6fkLc6qe1wT363MVl7SsWCKQDn_up9S2XCLYrlCB5tSCkDytMF7nyuCvEEfy3n0fQYRclCMGa21MVdnNj_21AfESZK_hDA5rQ6DfXuuQKvEMdEYvK1ZNdStmhSPB5g/s1600/Ifigeneia+Liangi+Nostalgia+of+the+Future+2013.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ifigeneia Liangi - Nostalgia of the Future 2013</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKoNiyKMYlNOKIiZOGdam1wrf2eXcS6FILmu-lmBobGnCfiCSFX309EoYoShtybDjq3RFfedINXpQksvf02pBUXzEQO4kD9arE_veVgDft5FRwu5pYwCMZRxOGt4QVyh-pGWKdz5VVP-E/s1600/Katherine+Hegab+gaming+monastery+tokyo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKoNiyKMYlNOKIiZOGdam1wrf2eXcS6FILmu-lmBobGnCfiCSFX309EoYoShtybDjq3RFfedINXpQksvf02pBUXzEQO4kD9arE_veVgDft5FRwu5pYwCMZRxOGt4QVyh-pGWKdz5VVP-E/s1600/Katherine+Hegab+gaming+monastery+tokyo.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Katherine Hegab - Gaming monastery, Tokyo</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmCq35egTHaJXi1jHfYbx43LoPtm3yQe4Wznb8nZ_Inv06pcmwFIbsZbPtCZiIPahX-k1lF38Xet_MOv6F554Fk-QkS2H45Meo5qA8Jfu_NcpD-AQMFt7M9rZ01wbZpTAlTMn9y7oVyJw/s1600/Lewis+James+A+Catylytic+Architecture.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmCq35egTHaJXi1jHfYbx43LoPtm3yQe4Wznb8nZ_Inv06pcmwFIbsZbPtCZiIPahX-k1lF38Xet_MOv6F554Fk-QkS2H45Meo5qA8Jfu_NcpD-AQMFt7M9rZ01wbZpTAlTMn9y7oVyJw/s1600/Lewis+James+A+Catylytic+Architecture.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lewis James - A Catylytic Architecture</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAgydZnBlfUZz4ZvtPnDRmGnL1dp07JdPXnaSTBg_ZbYdpJ0BBFqcB5EG7EJgHyKa_m1p4dAU60Q0chjg2n_NWZuiXC4jrEtjbCQUPik3MTQHi_qSTtdyjwcR9K4xH0FuAWBEOd8Ojhow/s1600/Luke+Royffee+Macys+Balloon+assembly+of+Kermit.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAgydZnBlfUZz4ZvtPnDRmGnL1dp07JdPXnaSTBg_ZbYdpJ0BBFqcB5EG7EJgHyKa_m1p4dAU60Q0chjg2n_NWZuiXC4jrEtjbCQUPik3MTQHi_qSTtdyjwcR9K4xH0FuAWBEOd8Ojhow/s1600/Luke+Royffee+Macys+Balloon+assembly+of+Kermit.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luke Royffee - Macys Balloon assembly of Kermit</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHpF7avFBA-2GTpxCwayxSwtAols0s83fBXnZ3wt_V7wOmvsj194rwY7lXb9EKmCYc-sVHoYzud3lkepeq0KkTM8yyMjg5Ow7WNkwsMMSSi_qp0DG5tjPWVcMwJ0W3u7TqAkVb8jHX8to/s1600/Man+Fai+(Martin)+Tang+Eternal+Autumnal+Micro-climates+of+Kyoto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHpF7avFBA-2GTpxCwayxSwtAols0s83fBXnZ3wt_V7wOmvsj194rwY7lXb9EKmCYc-sVHoYzud3lkepeq0KkTM8yyMjg5Ow7WNkwsMMSSi_qp0DG5tjPWVcMwJ0W3u7TqAkVb8jHX8to/s1600/Man+Fai+(Martin)+Tang+Eternal+Autumnal+Micro-climates+of+Kyoto.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Man Fai (Martin) Tang - Eternal Autumnal Micro-climates of Kyoto</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaCHgexopW8mxd50Gq3HDphUggduiLGpfLhik-L2VH8SCIpqFSPONQWS57ZRNnaJVlt53DE7-NY9hDdvxNXPmlS2pPdANFL9cimJRk3fW5iZevvSFT_WZLIkrUXC78KHs8FTkRLtmSB-A/s1600/Michelle+F+C+Lam+The+Tanka+Archipelago.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaCHgexopW8mxd50Gq3HDphUggduiLGpfLhik-L2VH8SCIpqFSPONQWS57ZRNnaJVlt53DE7-NY9hDdvxNXPmlS2pPdANFL9cimJRk3fW5iZevvSFT_WZLIkrUXC78KHs8FTkRLtmSB-A/s1600/Michelle+F+C+Lam+The+Tanka+Archipelago.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michelle F C Lam - The Tanka Archipelago</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgMleFjuHbsmqlhprePsKzarzrk75PD1MSq46m4SszfBaG7VEVDf_fvSS7PZPBa0omoGbtpSj3mMfHlkmh_PcoUhMLmDPSzsj_JJ5EmZtuLuXCrtK8fuOus_h3pclqRXeb_KAhkJaEYo/s1600/Ming+Deng+urban+carnival.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgMleFjuHbsmqlhprePsKzarzrk75PD1MSq46m4SszfBaG7VEVDf_fvSS7PZPBa0omoGbtpSj3mMfHlkmh_PcoUhMLmDPSzsj_JJ5EmZtuLuXCrtK8fuOus_h3pclqRXeb_KAhkJaEYo/s1600/Ming+Deng+urban+carnival.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ming Deng - Urban carnival</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2jPCnw2fbgDPCIY1WV5AvbBhW3HfGwVqUXUtKkPwoV4MnWqf6-6XSoRg4v4UJd26n4hZ5jI0erTQxo-nkDWTpDfTwJ5SMF_vh9ma-9yCQqRABSt1EKA5RJloE2Iv8RPF-oCnM1DCAAHM/s1600/Tom+Smith+-+Simulating+a+car+crash+architecture.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2jPCnw2fbgDPCIY1WV5AvbBhW3HfGwVqUXUtKkPwoV4MnWqf6-6XSoRg4v4UJd26n4hZ5jI0erTQxo-nkDWTpDfTwJ5SMF_vh9ma-9yCQqRABSt1EKA5RJloE2Iv8RPF-oCnM1DCAAHM/s1600/Tom+Smith+-+Simulating+a+car+crash+architecture.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tom Smith - Simulating a car crash architecture</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNpmvjVbagyZ_A8UmCPjkZVrtonqRW-bCBdb3Dl_CnglzPCLbylmCF6WPW0pWmBOYRPGyU7zIbJzdJz0UcpUGUi3EUL3mcYrNqsLXOZ02Q3Nsxi6O1gTn5Z8j_wwT5Ixs29i186yC4y4/s1600/Yeung+Piu+So+Karl+Marx+Allee+Monument.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNpmvjVbagyZ_A8UmCPjkZVrtonqRW-bCBdb3Dl_CnglzPCLbylmCF6WPW0pWmBOYRPGyU7zIbJzdJz0UcpUGUi3EUL3mcYrNqsLXOZ02Q3Nsxi6O1gTn5Z8j_wwT5Ixs29i186yC4y4/s1600/Yeung+Piu+So+Karl+Marx+Allee+Monument.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yeung Piu So - Karl Marx Allee Monument</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmXEPi0hSOGocIrCsDtWVO733LgKmI_0PeA76uHAXva5TJVSFrXcOxNgUzUi5Qdo_sDPc2xsXfb6t8DtVoIEu8T5CG-EptMSeuDWe0rnpJz77kRHj74JeS2t9O9C3qmlosZSvg9Dh5itE/s1600/Yolanda+Leung+Refuge+and+floating+research+platform.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmXEPi0hSOGocIrCsDtWVO733LgKmI_0PeA76uHAXva5TJVSFrXcOxNgUzUi5Qdo_sDPc2xsXfb6t8DtVoIEu8T5CG-EptMSeuDWe0rnpJz77kRHj74JeS2t9O9C3qmlosZSvg9Dh5itE/s1600/Yolanda+Leung+Refuge+and+floating+research+platform.jpg" vca="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yolanda Leung - Refuge and floating research platform</td></tr>
</tbody></table>
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<tr><td class="tr-caption" style="text-align: center;">Unit 23</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Unit 9</td></tr>
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<br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com5tag:blogger.com,1999:blog-2930744891907906090.post-76153975020965738582012-06-19T16:36:00.000-07:002012-06-19T16:42:55.415-07:00Wang Shu's Amateur Architecture<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">'I design a house instead of a building. The house is the amateur architecture approach to the infinitely spontaneous order. Built spontaneously, illegally and temporarily, amateur architecture is equal to professional architecture. But amateur architecture is just not significant.</span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />One problem of professional architecture is, that it thinks too much of a building. A house, which is close to our simple and trivial life, is more fundamental than architecture. Before becoming an architect, I was only a literati. Architecture is part time work to me. For one place, humanity is more important than architecture while simple handicraft is more important than technology.</span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />The attitude of amateur architecture, - though first of all being an attitude towards a critical experimental building process -, can have more entire and fundamental meaning than professional architecture. For me, any building activity without comprehensive thoughtfulness will be insignificant.</span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />Winning this award is something that I had not expected. For many years, I have been pursuing my dream on a solitary course. Before this award, I had never published any architectural design collections or designed any buildings outside of China. I always see myself as an amateur architect, so it was a huge and pleasant surprise for me to receive this honor. I wish to thank the judges for their insight and comments.' - <i>Wang Shu</i></span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i><br /></i><b>Pritzker Prize acceptance Speech</b> </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As the first architect born and educated in China to win this award, I accept with both honor and reverence. You should know that China, despite its great architectural tradition, has not had an official system for professional architects over the past thousands of years. Modern architecture as a profession, starting from my teacher's teacher, has only been in existence for three generations, making this award one of special importance for Chinese architects. A young architect myself, I have to say that I owe this award to the age we now live in. It is in this golden age that China has achieved unprecedented prosperity and openness, giving me so many opportunities to make difficult architectural experiments in a short span of time. Here, I wish to thank my partner Lu Wenyu and all my friends who have helped me before. Yes, I can see some of you in this room today.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />Maybe it is because the professional architecture system in this country is still in its infancy stage, or maybe it is because so many things have happened in the past decades, but I still remember that 30 years ago, when I was studying at the architecture department of Nanjing Institute of Technology, "What is architecture?" was the question most often raised. Once, Mr. Tong Jun, my respected professor, who is also the first architect in modern China to study traditional gardens, was asked this same question by a humble student. His answer was simple, "Architecture is just a small thing."</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />Yet, it is this small thing that has profoundly changed the outlook of China and the lives of the Chinese people over the past 30 years. It has been a process full of experiments and confusions. As an architecture student who had read too much philosophy at school, I first embraced modern architecture with full passion, and then quickly turned my attention to post-modern architecture. Just as I was starting to feel bored about the extensively artificial features of the modern buildings, I fell in love with deconstruction philosophy and architecture. I was so excited that I even designed and built several deconstructive buildings myself. But throughout the process I was confused by the same question, "Are my buildings deeply rooted in my own culture?" This was one of the reasons why I chose to live in seclusion in the 1990s. I withdrew from the professional architecture system, and turned to the renovation of old buildings. I spent days and nights working with local craftsmen. And I realized that compared with modern buildings that are more about fabrication, there is another type of building that recognizes things that are already in existence. Unlike modern buildings that focus on abstract space, this other type of building focused on creating a sense of place and connecting with the past. And compared with buildings carrying a strong human imprint, traditional Chinese buildings are closer to nature, taking architecture to a whole new horizon. It is an entirely different world of architecture that I had never seen or learned before, but it contains something more valuable than what modern buildings can offer. If modern architecture is all about the professional architecture system, I would rather call myself an amateur.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">All my architectural activities so far have taken place in and for China, but the issues involved in these activities are not confined to China. Many of the architecture-related issues that have emerged in China amidst tectonic changes in the past decades have all been experienced in other parts of the world, although they are taking place in China on a larger scale, with a stronger impact and at a faster speed. In a country that only had craftsmen but not architects just 100 years ago, such changes have resulted in a sharp conflict of civilizations. Therefore, architects should not just see themselves as professional technicians, but also demonstrate a wider perspective, deeper thinking, clearer values and conviction.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />In all of my architectural design activities I have constantly asked myself the following questions: How can an architecture founded on craftsmanship survive in today's world? What is the relevance of the traditional Chinese landscape system in a world filled with gigantic artificial structures? In a society undergoing massive city-building campaigns, how should urban development be handled without resorting to major demolition and reconstruction? How can new urban buildings connect with memories of the past–that might be otherwise lost as structures are demolished–and re-establish their cultural identities? What can be done in the realm of architecture to overcome the stark contrast between urban and rural areas in China? Is it possible to ensure that alongside the top-down professional system of modern architecture, ordinary people’s right to initiate their own building activities is also protected? Is it possible to find smarter ways for addressing environmental and ecological challenges by drawing on the wisdom found in traditional architecture and grassroots building activities? Is there a way for us to express our architectural pursuit with stories and feelings without resorting to gigantic, symbolic and iconic structures? How can an independent architect maintain the attitude and work style against the background of a powerful modern system?</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"><span class="Apple-style-span" style="font-weight: normal;">I always say that I am not just designing a building, but a world of diversity and difference and a path that leads us back to nature. These are the questions I was asking myself when I learned I was given the award, and these are the questions I will continue to focus on in my future endeavors.</span> </span><br />
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<br />rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0tag:blogger.com,1999:blog-2930744891907906090.post-45500924778167735182012-05-15T14:07:00.003-07:002012-05-15T14:07:32.860-07:00The Differing realities of Architecture - Raimund Abraham<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For Raimund Abraham architecture ‘was a device to elevate
the sacred with the profane.’ </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Throughout
his career drawing was a powerful tool in exploring his architectural vision,
in his own words ‘</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">as an architect it is very important
that you distinguish between different realities. There’s the reality of the
drawing and the reality of the building. So one could say, or at least it is
the common belief that architecture has to be built; I always denied that,
because ultimately it is based on an idea. I don’t ever need a building to
verify my idea. Of course, what with a building is more its vanity and actual
physical experience. But I anticipate; I wouldn’t even build it if I could not
anticipate how it would be.’ (Taken from the full logos interview below).</span></span><br />
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">For me Raimund’s ideas on the
differing realities of architecture resound very deeply with the ethos of many
ideas I have discussed in this blog. Architecture is not only a built reality
but has another reality that exists within the mind of the creator (and once
built it is recreated in the subjective experiences of the observer), drawn
realities here are equal and often more powerful than their built counterparts.
All great physical architecture points towards this inner experience in one way
or another, perhaps this is what Raimund meant by to be successful at making
architecture the ‘sacred must prevail.’<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">I hope you enjoy this inspiring
interview:<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">A Conversation with Raimund Abraham</span></b><span lang="EN-US"> <b>with Gregory Zucker taken from <a href="http://archtalks.com/archtalks-home/2010/6/14/raimund-abraham-logos-interview.html">LOGOS INTERVIEW</a></b><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i><span lang="EN-US">Q:</span></i></b><i><span lang="EN-US">
Earlier, we spoke about the difference between architecture and “buildings”.
Could you explain what you meant?</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">A:</span></b><span lang="EN-US"> I
consider architecture a discipline, not a profession. Considering the classic
periods of architecture, architecture was more or less confined to the sacred
and political power. Architecture represented a spiritual device and now it is
considered that it should merely ornament our lives.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">I
think the major break in history occurred at the beginning of the twentieth
century. When the old social or the known social structures collapsed: no more
monarchies and a new society emerged. With that new society entered an
evolution in technology. You had new programs so architecture became synonymous
with the new ideologies and the power of the worker in work more than
celebrating the sacred, so, for example, you had the factories and workers’
housing. Now it appears that almost any domain can be expressed through
architecture. Maybe this is true. Yet, for me architecture’s role is to elevate
the profane with the sacred. If you succeed in making architecture, the sacred
has to prevail. That means that in the most profane or the most <i>pragmatic</i>
program, the program always has to succumb to this period of the sacred whether
it is a small house, a cathedral or a temple.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">It
is the nature of making things which I believe is the true foundation for any
artistic discipline, whether it’s film-making, architecture, painting, or
sculpture. This whole “making” is challenged by new technology. The technology
is totally divorced from the “making” because ultimately you make things with
your hands. When I met Jonas Mekas and other experimental filmmakers, I was
inspired by the idea that you only need a camera to make a film. Similarly, you
can reduce the making of architecture to a piece of paper and a pencil. Even if
I don’t build, when I make an architectural drawing I construct it so I always
anticipate the physicality, the decay, the atrophy of material in the metal so
this has to do with making. There’s incredible precision. The beautiful
mystery of architecture is rooted in the precision of how to put one stone on
top of the other. It’s not the stone itself; it’s the cut in between the
stones, the seam. The precision of the emphasis is the principle of structure.
How they are joined or how they are divorced.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">As
an architect it is very important that you distinguish between different
realities. There’s the reality of the drawing and the reality of the building.
So one could say, or at least it is the common belief that architecture has to
be built; I always denied that, because ultimately it is based on an idea. I
don’t ever need a building to verify my idea. Of course, what with a building
is more its vanity and actual physical experience. But I anticipate; I wouldn’t
even build it if I could not anticipate how it would be.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i><span lang="EN-US">Q:</span></i></b><i><span lang="EN-US">
Once the building is actually built the public is forced to deal with it. How
should architecture relate to the public?</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">A:</span></b><span lang="EN-US"> It has to
relate to program. Without program you can’t have architecture, but the program
has to be translated; it has to be challenged by the ideal of the discipline.
So the program can never dominate. It’s a conflict, which, of course, does not
exist in film because film is done and then it is shown to the public. It is
self-contained, while architecture is not because when it is built it is the
offered for use. It all depends on how you define “use’” philosophically.
‘”Use” can either be a celebration of function, which ultimately in its optimal
implication would be a Fascist result because it would be completely covered by
how the program had been implemented. So in architecture I think the program
has to be reinterpreted. Even on a very basic level. For example, when the
artists discovered the lofts in New York, completely new ways of living were
offered because they had universal space. If you compare loft-living with an
apartment where you have an entrance, you have a living room, a bedroom, and a
bathroom, your life is defined by the nature of the rooms. Thus, the more, I’d
say, bourgeois inhabiting those spaces becomes. It’s more oppressive because
then life becomes a habit and I believe that architecture has a role of
challenging that habit at all times. It becomes a creative force in your
life. Architecture has that ability, otherwise it would just be too <i>oppressive</i>,
too influential, and perhaps it would <i>dictate</i> the way you behave in
space.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">In
order to build something you have to violate the site. You dig a hole in the
ground, which means you violate. That’s why the Indians only build teepees or
build their permanent structures of stone on the rocks and never violated out
of respect for the earth. So there is this conflict between the structure and
the site. The reconciliation is that you create the formal conditions, a new
equilibrium. The equilibrium you have intervened into and disturbed has to be
reconciled. That is really the role of architecture.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i><span lang="EN-US">Q:</span></i></b><i><span lang="EN-US">
And what about your project in China?</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">A:</span></b><span lang="EN-US"> Like many
other sites in China, they have erased all traces of what was there before. So
I had to create my own memory. Instead of intervening in a landscape, as I
discussed before, I had to imagine the block, with houses, whatever function it
had and then I carved into the block. So the block became actually an extension
of the earth. And then of course the challenge was how to geometricize that. It
was an emotional act from the first moment I held that chisel; that chisel bit
the block, then I started to translate that emotional topography into a
constructible geometric landscape. And so every single point in the landscape
now is defined.<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i><span lang="EN-US">Q:</span></i></b><i><span lang="EN-US"> I
see, but you’re dealing with a culture that has a very long history of
architecture<b>.</b></span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">A:</span></b><span lang="EN-US"> This
history is completely ignored by the present so-called ruling class. I feel
like China wants to do, or is more or less successfully doing, what took the
industrialized world, like America, a hundred years. They’re doing it in ten
and, of course, there is a consequence. The culture is in danger. The only part
of their culture that you can still sense is their food.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">The
real conflict is between the land and the city. All this progress, this
obsession with reaching the top level of progress in industrialization in the
world leaves all the peasants behind. Eighty percent of China is made up of
peasants. This is also the lifeline for the country and there’s no program of
how to cope now with that conflict of the poverty in the country and the new
wealth in the cities. It’s apocalyptic out there. Beijing was a horizontal city,
only pagodas, and the architecture was visible or reached above the horizon of
the houses. Now they just have left a small portion of it, which is now being
gentrified; its becoming like a SoHo and so that’s what you witness there.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i><span lang="EN-US">Q:</span></i></b><i><span lang="EN-US"> I
am interested in hearing your critique of the project at Ground Zero, as well
as hearing your explanation for the design you proposed.</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">A:</span></b><span lang="EN-US"> There was
no hope from day one that the commercial world would really go for an
architectural gesture that would be as radical as the event they claimed 9/11
was. Instead of saying, “Okay, now Mr. Silverstein, let’s get you some
architects to build the most efficient commercial buildings there,” they tried
to cover their intentions by saying, “Okay, now we need architecture.” From day
one, the project was a disguised commercial site plan. It is very clear that
when the pragmatic force starts to dominate that process, they will do whatever
they want and then more or less declare the imprints of the two commercial
towers as sacred because of the original event. I think that is blasphemy. It’s
a fake…you see that’s what I called it at the beginning: the necessity of
architecture to celebrate the sacredness; this is just the opposite. It’s fake
sacredness.<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">What I made
was a metaphoric proposal. I just had three gigantic blocks which formed three
walls, parallel walls on the side, and then I chose the moments when the event
occurred, when the first plane and the second plane hit the towers. Then, when
the first tower collapsed and when the second tower collapsed, simply as
moments of an event. I located the sun vertically and horizontally for each of
those time frames. I cut through those three walls in that angle of the sun.
So, in a way, you caught the moment, a moment without any kind of a narrative
reference. When you would be standing in that cut, at that particular moment in
time, the sun would hit you. The architecture would celebrate and essentially
revive that space and time, which became synonymous.</span><span lang="EN-US" style="color: #343434;"><o:p></o:p></span></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/7lT5OtQ_4_M" width="560"></iframe>rionwillard@hotmail.comhttp://www.blogger.com/profile/07617031757444869710noreply@blogger.com0