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DESIGN TECHNIQUES

SOLIDSOLIDSOLIDSOLIDSOLIDSOLIDHARVARD SYMPOSIA ON ARCHITECTURE SOLID SERIES

SOLIDSOLIDSOLIDSOLIDSOLIDSOLIDDESIGN TECHNIQUES

HARVARD SYMPOSIA ON ARCHITECTURE SOLID SERIES

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INDEPENDENT MAGAZINE OF ARCHITECTURE+TECHNOLOGYSPRING 2015. ISSUE 45 FREE OF ADVERTISING

EDITORSAurora Fernández Per Javier Mozas

GRAPHIC CONCEPTAurora Fernández Per

LAYOUT AND PRODUCTIONDelia Argote

MANAGINGIdoia Esteban

COMMUNICATION AND PRESSPatricia García

EDITOR, ENGLISH-LANGUAGE VERSIONKen Mortimer

SUBMISSIONS, SUBSCRIPTIONS & ORDERS a+t architecture publishersTel. +34 945 134276submission@aplust.netorders@aplust.netwww.aplust.net

PUBLISHERa+t architecture publishersISSN 1132-6409ISBN 978-84-606-9238-6Frequency: Bianual (Spring and Autumn)

PRINTINGGráficas Irudi s.l.VI-683/94 DISTRIBUTION(Europe, USA, Canada, Australia, Asia)Idea BooksNieue Herengracht 11. 1011RK Amsterdam. The NetherlandsTel. +31 20 6226154Fax +31 20 6209299idea@ideabooks.nlwww.ideabooks.nl(Spain, Portugal and Latin America) a+t architecture publishersTel.+34 945 134276orders@aplust.netwww.aplust.net

COPYRIGHTSCopyright of the edition: a+t architecture publishers.Copyright of the projects, articles and photographs: their authors.All the material has been provided by Harvard GSD Department of Architecture.No part of this publication, including the cover, may be reproduced or transmitted without the express authorization in writing of the publisher.

COVER Anne Liu. Embodied Cognition.Eyeris helm for haptic eye contact. Photo: Hang Xu.

a+t architecture publishers General Álava, 15 2ºA. 01005 Vitoria-Gasteiz. Spain. www.aplust.net

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EDITORIAL COMMITTEEIñaki Ábalos

Aurora Fernández PerJavier Mozas

Collin Gardner

HARVARD SYMPOSIA ON ARCHITECTURE COMMITTEEIñaki Ábalos

Kiel MoeAli Malkawi

Shantel BlakelySharon Johnston

Mark LeeAurora Fernández Per

Javier MozasCarles Muro

Mariana IbánezAntoine Picon

Collin Gardner

a+t magazine of architecture initiates SOLID, a new series published in collaboration with Harvard GSD Department of Architecture.DESIGN TECHNIQUES, the first volume in the series, is a selection of shared knowledge from the academic year 2014-2015 on the current techniques in architectural design. Faculty, critics and theorists, and students discuss the different approaches contributing personal experiences, working practices, and opportunities encountered in the field of design.

La revista de arquitectura a+t inicia SOLID, una nueva serie editada en colaboración con Harvard GSD Department of Architecture.DESIGN TECHNIQUES, el primer número de la serie, es una selección del conocimiento compartido durante el curso 2014-2015 en torno a las actuales técnicas de diseño arquitectónico. Profesorado, arquitectos invitados y alumnos discuten las distintas aproximaciones, aportando sus experiencias personales, formas de trabajar y oportunidades encontradas en el campo del diseño.

SOLID SERIES HARVARD SYMPOSIA ON ARCHITECTURE

44 CONTENTS. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

IÑAKI ÁBALOS

On design techniques 6

TOM EMERSON / 6a architects

Design is only re-design 16

KERSTEN GEERS / Office KGDVS

False friends 28

JEANNETTE KUO / Karamuk * Kuo Architects

Constructing logics 34

FLORIAN IDENBURG / SO - IL

To be determined 42

SHARON JOHNSTON & MARK LEE

Approximation 48

ANNE LACATON and JEAN PHILIPPE VASSAL

The city from and by housing 56

IÑAKI ÁBALOS, RENATA SENTKIEWICZ

Dualisms and a conversation with Enrique Walker 62

CAMILO RESTREPO / AGENdA

Rolling Intersections 76

LOLA SHEPPARD and MASON WHITE / LATERAL OFFICE

Undisciplined 84

MARÍA LANGARITA and VÍCTOR NAVARRO

Bust and Pelt 92

DESIGN TECHNIQUES CONTENTS

55CONTENTS. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

MOMOYO KAIJIMA / ATELIER BOW-WOW

Graphic: from diagram to public drawing 102

CRISTINA DÍAZ MORENO & EFRÉN Gª GRINDA /AMID.cero9

In an increasingly familiar world 110

PHILIPPE RAHM

Spectrum, background and gradation as design techniques 122

ENRIQUE WALKER

How do you design? 136

ANTOINE PICON

Are you talking about techniques....? 139

SÍLVIA BENEDITO

Téchne and modus operandi 140

Conversation: Sharing the hot-wire cutter 141

Conversation: Are we talking about design...? 142

Conversation: Originality and intuition 143

WESLEY HO

Air Frontier 144

COLLIN GARDNER

Non-authorship 148

ANNE LIU

Embodied cognition 152

KRZYSZTOF WODICZKO

A technique of the self 155

BIOGRAPHIES 156

PHOT

O: Z

ARA

TZAN

EV

6 IÑAKI ÁBALOS: ON DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

It should come as no surprise that the first of the symposia to be held by the GSD Department of Archi-tecture in coming years is to deal with design tech-niques. The D in GSD has great significance in the cul-ture of this institution insofar as it is indicative that in order to get to the core of a discipline such as Archi-tecture it is healthy to conduct not only introspective research but also to encourage the limits to be tested, to look further on to encounter similar disciplines casting off inherited conventions. Design is a term which undoubtedly encompasses many disciplines, leading a pathway towards a shared ‘outwards’. Both outward and inward moments are nevertheless nec-essary and complementary, the systoles and the di-astoles of a system which grants us a certain vitality and enables us to plan for the future.Planning for the future involves to a certain extent pointing forwards and saying “we’re going that way”. Making the right decision, not only in terms of the profession agreeing but also in terms of social and cultural reality into consideration, along with all its issues and aspirations, and adding a new idea of beauty to cultural material. None of this is achieved either by looking outwards and pointing or by tak-ing refuge in an unyielding disciplinary autonomy. Yet maybe we should start today with something a little more modest and necessary and interrogate ourselves about what we are doing, what we are doing collectively and how we are doing this right now and one at a time: which design techniques re-ally interest us, which ones do we believe in, why do their outcomes speak to us in the language of our times and say to us: “we don’t like this any longer, we don’t believe in this or that, their time has come and gone, don’t ask me why, I’m only doing what I be-lieve I should be doing and hardly know how or why I’m doing it”. How or why I am doing this, what and who inspires us (we shall come back to this elusive word later): this is the main issue of this symposium whose aim is to initiate an ambitious series of sym-posia on highly relevant and paradoxically concealed topics which are avoided in a profession whose cul-ture is often far too benevolent towards the mighty words of philosophy and science.Two prior points: the importance of how and why is explained by attempting to identify that core moment which keeps architects (and students) absorbed and focused, enthralled by their profession, devoting countless hours to this “Aristotelian mover”, design, which enables them to capture in one pleasurable moment a vast amount of initially chaotic data of all types, converting this into a vision which will take

El primero de los simposios a realizar por el Departa-

mento de Arquitectura del GSD en los años próximos

está dedicado no por casualidad a las técnicas de dise-

ño. La D de GSD significa mucho en la cultura de esta

institución precisamente porque indica que para llegar

al núcleo de una disciplina como es la Arquitectura es

saludable no sólo una investigación introspectiva, sino

también favorecer la expansión de los límites, mirar

más allá y encontrarse con disciplinas afines borran-

do muchas de las convenciones heredadas. Design es

un término que sin duda engloba muchas disciplinas,

abriendo el camino hacia un ‘afuera’ compartido. Am-

bos momentos, hacia dentro y hacia afuera son, sin em-

bargo, necesarios y complementarios, sístole y diástole

de un sistema que nos proporciona cierta vitalidad para

poder proyectar el futuro.

Proyectar el futuro es de alguna manera señalar con el

dedo y decir “hacia allí vamos”. Acertar, en el sentido no

sólo de que la profesión asienta, sino de que la realidad

social y cultural se sienta acogida en sus problemas y

aspiraciones y la cultura material quede expandida con

una nueva idea de belleza. Nada de esto se logra sólo

con mirar afuera o señalar con el dedo, ni tampoco que-

dándose recluido en una resistente autonomía discipli-

nar. Pero quizás debamos empezar hoy con algo más

humilde y necesario e interrogarnos a nosotros mismos

sobre qué hacemos, qué estamos haciendo colectiva-

mente y cómo lo estamos haciendo ahora mismo y uno

a uno: cuáles son las verdaderas técnicas de diseño que

nos interesan, en las que creemos, por qué sus resulta-

dos nos hablan en el lenguaje de nuestro tiempo y nos

dicen: ”ya no nos gusta esto, no nos lo creemos, ni aque-

llo, ya pasó, no me pidas cuentas, yo sólo sé que hago lo

que creo que debo hacer y a duras penas sé cómo o por

qué lo hago”. Cómo o por qué lo hago, qué y quiénes nos

inspiran (hablaremos de esta palabra tan escurridiza

más tarde): ese es el tema central de este simposio, el

primero de una ambiciosa serie sobre cuestiones críti-

camente relevantes y paradójicamente escondidas, evi-

tadas en una profesión cuya cultura muchas veces se

entretiene demasiado benévolamente con las grandes

palabras de la filosofía o la ciencia.

Dos puntualizaciones previas: la importancia del cómo

o por qué viene explicada por tratar de desentrañar el

momento nuclear que mantiene a los arquitectos (y es-

tudiantes) absortos y concentrados, adictos a su profe-

sión, dedicándole infinitas horas a este “motor aristo-

télico”, el diseño, que permite cristalizar en un instante

feliz cientos de datos de todo orden, inicialmente caóti-

cos, transformándolos en una visión que tardará años,

lustros o décadas en materializarse, acarreando en el

camino innumerables problemas. Para muchos es un

ON DESIGN TECHNIQUES*Iñaki Ábalos

*Introduction to Symposium on Architecture: Design Techniques I, held at Harvard GSD on 30th October 2014.Introducción al Symposium on Architecture: Design Techniques I, celebrado en Harvard GSD, el 30 de octubre de 2014.

7 IÑAKI ÁBALOS: ON DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

years or decades to materialize, coming up against countless problems on the way. For many this is an important moment; for the vast majority it is the sin-gle most important one, the moment which assigns meaning to Architecture, the one which best ex-presses its dual condition as science and art, knowl-edge and subjectivity, the basic ingredients to build a meaningful framework for human life.The second point refers to the differences between tools and project techniques. We do not mean the ac-tual toolkit but how we use this and for what. It may indeed be true that there is, in a general sense, a di-rect relationship between the means and the ends yet we are more interested in the continuity of the means over the ends. The case Gehry vs. Lévi–Strauss may shed light on the subject. We all know the beautiful pages written by Claude Lévi–Strauss in The Savage Mind on the difference between the bricoleur and the scientist (often referred to as Engineer or Wise man in the text). The bricoleur works with no plan, with resources and procedures unlike normal technology. He works with ready–made rather than raw mate-rials: products, fragments, left–overs and bits and pieces; in the words of Lévi–Strauss “a cultural sub–set” whose instrumentality he invents himself. The engineer distances himself from the here and now of the bricoleur and questions the “here and now and beyond” (the universe in the words of Lévi–Strauss) knowledge on the basis of the relationship nature/culture of his time and selects the material resources to construct in the best way possible according to the ends. These are two completely different worlds which underpin two different types of material cul-ture. Seemingly, in an initial reading, to speak of design techniques is to speak of the means, to con-sider that the differences, such as the representation techniques ranging from hand–drawing to conical perspective and the use of parametric algorithms, have implications on the decision–making process in terms of what and why we feel it is of interest to us to undertake one project or another. However, Frank Gehry (like many other architects in periods of technological transition) enables us to question assumptions made too rapidly. An ac-claimed bricoleur in his early career: a brilliant builder of houses made literally from the materials at hand and assembled with the immediacy typical of the bricoleur. Few will doubt this methodological beginning yet the fact remains that today, with Gehry Technologies and with the use of Catia and other ad-vanced computer assisted design programs, his of-fice pioneers a science–based algorithmic research

momento importante; para la gran mayoría es el más

importante, el que da sentido a la Arquitectura, el que

mejor expresa su doble condición de ciencia y arte, co-

nocimiento y subjetividad, ingredientes necesarios por

cierto para construir con sentido el marco de la vida

humana.

La segunda puntualización se refiere a las diferencias

entre instrumentos y técnicas de proyecto. No estamos

hablando de la caja de herramientas sino de cómo y

para qué la usamos. Si bien es cierto que hay, desde

el punto de vista general, una relación inmediata entre

los medios y los fines, lo que nos interesa, sin embargo,

es la continuidad de los medios sobre los fines. Quizás

el caso de Gehry frente a Lévi–Strauss arroje un poco

de luz. Todos conocemos las bellas páginas de Claude

Lévi–Strauss en El Pensamiento Salvaje sobre la dife-

renciación entre bricoleur y científico (a veces llamado

Ingeniero o Sabio en el texto). El bricoleur obra sin plan

previo, con medios y procedimientos diferentes de las

tecnologías normales. No opera con materias primas

sino ya elaboradas: productos, fragmentos, sobras y

trozos; en palabras de Lévi–Strauss “un subconjunto de

la cultura” cuya instrumentalidad inventa. El ingeniero

se distancia del aquí y ahora del bricoleur y se interroga

sobre el “aquí, el ahora y el mas allá” (el universo en

palabras de Lévi–Strauss) basándose en el estado de

la relación naturaleza/cultura de su tiempo y escogien-

do los medios materiales para construir, de acuerdo a

los fines, de forma optimizada. Dos mundos completa-

mente diferentes que dan lugar a dos formas de cultura

material diferente. Desde luego, en una primera lectura

parece que hablar de técnicas de diseño es hablar de

los medios, pensar en las diferencias, por ejemplo, que

las técnicas de representación, desde el dibujo a mano

o la perspectiva cónica, hasta el uso de algoritmos pa-

ramétricos, implican en los modos de tomar decisiones

sobre qué y por qué nos parece que es interesante ha-

cer este u otro proyecto.

Sin embargo, Frank Gehry (como muchos otros arqui-

tectos en periodos de transición tecnológica) nos permi-

te cuestionar suposiciones precipitadamente asumidas.

Bricoleur consagrado en la primera parte de su carrera,

brillante constructor de casas hechas literalmente con

los materiales a mano, ensamblados con la inmediatez

propia del bricoleur, pocos podrán poner en duda este

origen metodológico aunque hoy su oficina lidera con

Gehry Technologies y con los usos de Catia y otros avan-

zados programas de diseño asistido, una sistemática de

investigación algorítmica de orden científico líder en la

profesión. Pero, sustancialmente, ninguna de sus ideas

de qué y cómo quiere que sean sus diseños puede de-

cirse que haya experimentado el más mínimo cambio

TOM EMERSON: DESIGN IS ONLY RE-DESIGN. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES2626

1 6a architects. Lifting frame. South London Gallery. Peckham. London. 2010.

2 Jacques Tati. Mon Oncle. 1958.3-4 6a architects. South London Gallery.

Peckham. London, 2010. 5 6a architects. South London Gallery.

Peckham. London, 2010. Artwork by Paul Morrison.

6 6a architects. South London Gallery. Peckham. London, 2010. Artwork by Dan Perjovschi.

7 6a architects. South London Gallery. Peckham. London, 2010.

8 Richard Wentworth. Making Do & Getting By, Regent’s Park, Early C21st.

Planet Earth. NASA Apolo 11 image.

2 3

6

1

4

5

7

8

TOM EMERSON: DESIGN IS ONLY RE-DESIGN. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES 27

que aguante la actitud y el presupuesto de una obra en

el sur de Londres.

De hecho la tolerancia debería ser un compañero de

viaje ético y proporcionado para el diseño.

El ritmo de la estructura de madera todavía aparece a

trozos.

Materiales recuperados de lo que anteriormente

había ahí, este ensamblaje desordenado nos trae unos

recuerdos muy diferentes. La paleta de materiales de

la construcción victoriana, en su faceta industrial y

económica, es plural, ingeniosa y práctica.

El ocre del ladrillo con juntas no es tan distinto del

hábitat natural de Mon Oncle.

Evolución, oportunismo, acumulación, carácter

orgánico; tal vez incluso natural.

Como lo es para Soane, o 96 Hands, o el paisaje

alemán, o la calle de Londres, el diseño es acerca de

la escala, la naturaleza y también sobre el tiempo. Se

ocupa de la historia, la tradición, la continuidad y la

tolerancia, pero es igualmente sobre partidas, hiatos y

cambios. Así es como las cosas evolucionan. Esa es la

forma en la que evolucionamos.

In fact tolerance should be an ethical and dimensional travelling mate for design. The rhythm of timber frame still comes through in fragments. Drawn from what was there, this messy assembly has a completely different memory. The construction palette of the Victorian industrial economy is plural, ingenious and matter of fact. Brown for cooked earth, white for joinery.Not so unlike Mon Oncle’s natural habitat.Evolution, opportunism, accretion, organic –perhaps even natural. And so it is for Soane or 96 Hands or the German landscape or the London street, design is about scale, nature and it is about time. It is about history, tradition, continuity and about tolerance but it is equally about departures, hiatus and shifts. That is how things evolve. That is how we evolve.

DAVI

D GR

ANDO

RGE

(ALL

TH

E PH

OTOS

OF

SOUT

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ONDO

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ALLE

RY)

ANNE LACATON AND JEAN-PHILIPPE VASSAL: THE CITY FROM AND BY HOUSING. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

UNIDAD URBANA DE MEDIDA: La unidad urbana de

medición es la vivienda. No la vivienda en general, sino

una casa o un piso.

Significa una atención continua a los residentes,

multiplicada 10.000 veces, 50.000 veces, 1 millón de

veces.

LA PLANIFICACIÓN URBANA: Es un urbanismo

secuencial, multiplicativo y simultáneo dedicado a

hacer coherente la totalidad del territorio existente con

los derechos esenciales de su uso: el hogar, la libertad

de movilidad y el acceso; el derecho a un ambiente

excelente, a la serenidad y a la seguridad.

La ciudad se concibe como una serie de situaciones en

proceso y de movilidades.

Vivir bien, estar a gusto en tu salón, estar delante

de tu puerta, estar cerca de los servicios, de las

tiendas, sintiéndote bien al caminar por el parque,

encontrándote con la gente...

Cualquier intención de densificación debe estar

vinculada a esta estrategia de las relaciones y a la

facilidad y continuidad entre la calidad de un interior,

un área común y un espacio público.

LA DENSIDAD: densificar significa proporcionar más

espacio sin comprimir el espacio individual.

Dar la posibilidad a la vivienda y a los residentes de

experimentar un montón de situaciones.

Lo ordinario como algo extraordinario.

La libertad, la movilidad, la porosidad y la generosidad

deben constituir la base de cualquier discusión sobre

la densificación.

Densificar con cuidado, ampliar las situaciones

existentes, sin derrochar el territorio, aplicar una

estrategia de superposición, explotar la proximidad

-caso por caso-, aglomerar, ampliar, sumar.

URBAN UNIT OF MEASURE: the urban unit of measurement is housing.Not housing in general, but one house or one flat.It means continuous attention to the inhabitant, multiplied 10,000 times, 50,000 times, 1 million times.

URBAN PLANNING: it is a sequential, multiplicative, and simultaneous urbanism dedicated to making the entire existing territory consistent with the essential rights of its use: home, freedom of mobility, and access; the right to a remarkable environment, serenity, and security.The city is conceived as a series of to-be-continued situations and mobilities.Living well, to be well in your living room, to stay in front of a door, being close to services, shops, feeling good while walking through the park, meeting people…Any intention of densification must be linked to this strategy of relationships, and ease and continuity between the quality of an interior, a common area, and a public space.

DENSITY: to densify means providing more space without compressing individual space. To give the ability to housing and residents to experience plenty of situations. The ordinary as extraordinary. Freedom, mobility, porosity, generosity should form the foundation of any discussion on densification.To densify carefully, to extend existing situations, to not waste land, to apply a superimposition strategy, to exploit proximity –case by case– to agglomerate, to expand, to add.

“WE DON’T HAVE any problems with aesthetics. Aesthetics are part of the project. And we know that in the end, we produce an aesthetic. We work with precision. We care about the way construction is done, about how materials are implemented. But aesthetics are not what drives the projects. They’re more a result of intentions that start from the quality of the interior space and from the relationships that we introduce from inside to outside.”

“NO TENEMOS ningún problema con la estética. La estética es parte del proyecto. Y sabemos que, al final, producimos una estética. Trabajamos con precisión. Nos preocupamos por cómo se construye, por cómo se usan los materiales. Pero la estética no es lo que impulsa los proyectos. Es más bien el resultado de las intenciones que parten de la calidad del espacio interior y de las relaciones que establecemos desde el interior hacia el exterior.”––––––––––––Anne Lacaton during her lecture with Jean-Philippe Vassal.

“AESTHETICS is for us one of the most important aspects of any architecture. Aesthetics is aboutgiving emotion, creatingsensitive situations for people, both inside and outside. But aesthetics, for us, result from the process. If the thinking, the participation, the generosity, the ambition, and the freedom for inhabitants to use and to add stays at its maximum, the aesthetics, the beauty, will be there in the end. We believe in that.”

“LA ESTÉTICA es para nosotros uno de los aspectos más importantes de cualquier arquitectura. La estética provoca emoción, y crea entornos sensibles para las personas, tanto por dentro como por fuera. Pero la estética, para nosotros, es el resultado del proceso. Si el pensamiento, la participación, la generosidad, la ambición y la libertad de los habitantes al utilizar y añadir llega a su máximo, al final surgirá una estética, una belleza. Confiamos en eso.”––––––––––––––Jean-Philippe Vassal during his lecture with Anne Lacaton.

58

LACATON & BASSAL. RÉ-GÉNÉRATION GRAND PARC. Bordeaux, 2015.

PHIL

IPPE

RUA

ULT

ANNE LACATON AND JEAN-PHILIPPE VASSAL: THE CITY FROM AND BY HOUSING. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

Architectural devices according to principles for a RE-DEFINITION OF URBAN LIVING

A PLACE FOR DOING NOTHING YET EVERYTHING. GSD, 2015

David Pearson & Hayrettin Günç

Option Studio: Re-Defining Urban Living: Life in the City.

More Space and More Density.

Harvard GSD. Spring Semester 2015.

Instructors: Anne Lacaton & Marcos García Rojo

“THE ACT OF DESIGNING is a continuous process of assemblage.

Unique and independently coherent pieces of existing situations

(fragments) conform the imagined space. The fragments serve to

virtually recreate precise conditions, capture their essential quality and

activate them.The process is analogous to the act of filmmaking: capturing, cutting

and editing physically disconnected situations in order to produce a

coherent set of frames that, put one after the other, tell a story.

The collage is used as the medium to bring together the fragments,

homogenize them and activate the whole as a promise of an imagined

set of qualities and potentials. Once the essence is captured,

implicit spatial qualities contained in the collage are translated into

a buildable space by the use of different architectural devices.”

“EL ACTO DE DISEÑAR es un proceso continuo de ensamblaje.

Piezas únicas, e independientemente coherentes de las situaciones

existentes (fragmentos), conforman el espacio imaginado. Los

fragmentos sirven para recrear virtualmente condiciones precisas,

capturar su calidad esencial y activarlos.

El proceso es análogo al acto de hacer cine: capturar, cortar

y editar situaciones físicamente desconectadas con el fin de

producir un conjunto coherente de fotogramas que, puestos uno detrás

de otro, cuenten una historia.El collage se utiliza como medio

para reunir los fragmentos, homogeneizarlos y activar todo con la esperanza de que sea un conjunto capaz de cualidades y potencialidades. Una vez que la

esencia es capturada, las cualidades espaciales implícitas contenidas en

el collage se traducen en un espacio edificable por medio de diferentes

dispositivos arquitectónicos.”––––––––––––––Marcos García Rojo.

59

150 COLLIN GARDNER: NON–AUTHORSHIP. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

Floor plan server Floor plan utilities

Typical sections

A NON–AUTHORED TYPE

151 COLLIN GARDNER: NON–AUTHORSHIP. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

The result is a repetition of New York Stock Ex-Change Data–Center, with the same specifications, the same server stacks, and same roaring ventila-tion systems. All that has changed is the type. The normal practice of architecture occurs within the framework of a predominant type: a paradigm in both senses of the word. Our current paradigm ren-ders the data center invisible precisely because the data center is coincident with our current paradigm. This project captures a fleeting glimpse of what the data center might be in a different world, with a pre-dominate type different to ours.

El resultado es una repetición del Centro de Datos de la

Bolsa de Valores de Nueva York, con las mismas espe-

cificaciones, las mismas pilas de servidores y los mis-

mos ruidosos sistemas de ventilación. Lo único que ha

cambiado es el tipo. La práctica habitual de la arquitec-

tura se produce en el marco de un tipo predominante:

un paradigma en ambos sentidos de la palabra. Nuestro

paradigma actual hace que el centro sea invisible pre-

cisamente porque el centro de datos es coincidente con

nuestro paradigma actual. Este proyecto capta la visión

fugaz de que el centro de datos podría estar en un mundo

diferente, con un tipo predominante diferente al nuestro.

“PARADIGMS ARE INCOMPATIBLE. One subsumes

the other: deactivating its components, degrading its

presuppositions, bankrupting its foundational axioms, dismissing

them as superfluous, false, or ornamental. Architectural

revolutions begin with the articulation of a new type, and the

disintegration of a former paradigm. In recalling history, one sees that no paradigm is absolute –one is always free to step out. In doing

so, one risks utter failure and faces enormous anxiety. And yet, one

can tamper with the foundations of prevailing thought –all leaps

have. Put otherwise, the symptoms of contemporary architecture are

determined by its present paradigm, but individual architects are

emphatically not.”

“LOS PARADIGMAS SON INCOMPATIBLES. Uno subsume al

otro desactivando sus componentes, degradando sus presupuestos,

llevando a la bancarrota a sus axiomas fundamentales, calificándolos como

superfluos, falsos, u ornamentales. Las revoluciones arquitectónicas

comienzan con la articulación de un nuevo tipo y la desintegración de un

antiguo paradigma. Al recordar la historia, se ve que ningún paradigma

es absoluto. Siempre es posible distanciarse. Al hacerlo, se corre el

riesgo de un absoluto fracaso y uno se enfrenta a una enorme ansiedad.

Y, sin embargo, se pueden alterar los fundamentos del pensamiento

dominante, todos los cambios bruscos lo hacen. Dicho de otro

modo, los síntomas de la arquitectura contemporánea están determinados

por su actual paradigma, pero en ningún caso los

arquitectos.”––––––––––––

Collin Gardner.

MOMOYO KAIJIMA: GRAPHIC: FROM DIAGRAM TO PUBLIC DRAWING. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

In this field work, conducted at the Kaijima Laboratory, we studied how property within Mito City was being used,

divided and classified each using colors, and represented these in a map that showed the city’s movements and activities.

En este trabajo de campo,

realizado en el Laboratorio Kaijima,

estudiamos cómo se utilizaba la

propiedad dentro de la ciudad

de Mito.

Dividimos y clasificamos cada

una de ellas utilizando colores y

las representamos en un mapa

que mostraba los movimientos y

actividades de la ciudad.

THE MITO CITY CHECK MAP

Atelier Bow–Wow

During a local community workshop conducted with the Kaijima Laboratory, the students drew a large axonometric and incorporated

ideas from the meeting in real–time so that the drawing itself became the meeting minutes for the workshop.

Durante un taller en una

comunidad local llevada a cabo

con el Laboratorio Kaijima, los

estudiantes dibujaron una gran

axonométrica, al mismo tiempo

que se iban incorporando las

ideas de la reunión en tiempo

real, de modo que el dibujo en sí

mismo se convirtió en las actas

de las reuniones del taller.

A REAL–TIME DRAWING OF KITAMOTO

Atelier Bow–Wow

0 500250

“IN THE DRASTIC transformation of Japanese urban space, diachronic example will be synchronic example. We analyzed the contemporary condition of the medieval city. In Mito City, the urban texture from the Edo period is kept but the buildings were rebuilt after World War II in the 1960’s.”

“LA DRÁSTICA transformación del espacio urbano japonés supone el tránsito del caso diacrónico al sincrónico. Analizamos la condición contemporánea de la ciudad medieval. En la ciudad de Mito, se mantiene la textura urbana del período Edo, pero con los edificios reconstruidos en los años sesenta, después de la Segunda Guerra Mundial.” –––––––––––Momoyo Kaijima during the discussion.

106

MOMOYO KAIJIMA: GRAPHIC: FROM DIAGRAM TO PUBLIC DRAWING. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

With Tsukamoto Laboratory, we analyzed examples of public spaces, in each case capturing the structure of the space, the movements of people, and the

relationships that emerged in a single axonometric drawing.

Con el Laboratorio Tsukamoto se

analizaron ejemplos de espacios

públicos. Se capturó en cada caso

la estructura del espacio, los

movimientos de las personas y

las relaciones que surgieron para

plasmarlo luego todo en un solo

dibujo axonométrico.

COMMONALITIES, PRODUCTION OF BEHAVIOR

Atelier Bow–Wow

In research for the Kaijima Laboratory, conducted in a fisherman’s village affected by the Tohoku earthquake, we asked the community how they envisioned the village’s future and made hand drawings from their descriptions. We drew by hand because we worked

in a dark gymnasium that had survived the earthquake, collecting the requests and hopes of the villagers, until we could understand and represent them in a single drawing: a map of the future village.

En la investigación del Laboratorio

Kaijima, llevado a cabo en un

pueblo de pescadores afectados

por el terremoto de Tohoku,

pedimos a los miembros de la

comunidad que nos dijeran cómo

se imaginaban el futuro del pueblo

y que hicieran dibujos a mano

de sus descripciones. Dibujamos

a mano porque estábamos

trabajando en un gimnasio

sin luz que había sobrevivido

al terremoto, recogiendo las

peticiones y las esperanzas de

los habitantes del pueblo, hasta

que las pudimos comprender y

representar en un solo dibujo:

en un mapa del futuro pueblo.

A HAND DRAWING MADE DURING ARCHIAID SUMMER CAMP

Atelier Bow–Wow

107

156 BIOGRAPHIES. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

IÑAKI ÁBALOS is a practicing architect based in Madrid and Cambridge, co-founder of Ábalos+Sentkiewicz Architects. He is the director of the Harvard Symposia on Architecture Committee, Professor in Residence of Architecture, and Chair of the Department of Architecture at Harvard GSD.

SÍLVIA BENEDITO is a co-director of OFICINAA, an award-winning Architecture + Urbanism office. Benedito received a degree in Architecture from the University of Coimbra and a Master of Urban Design at Harvard GSD. She serves as Co-Chair of the Sensory Media Platform at the GSD and is an Assistant Professor of Landscape Architecture at Harvard GSD.

CRISTINA DÍAZ MORENO is a practicing architect based in Madrid, co-founder of AMID.cero9. Unit Master of Diploma 5 at the Architectural Association in London, and Design Critic in Architecture at Harvard GSD.

TOM EMERSON is a practicing architect in London, co-founder of 6a architects, and Professor of Architecture at the ETH in Zurich.

EFREN GARCÍA GRINDA is a practicing architect based in Madrid, co-founder of AMID.cero9, Unit Master of Diploma 5 at the Architectural Association in London, and Design Critic in Architecture at Harvard GSD.

MARCOS GARCÍA ROJO is a registered architect, founder of mrojo architecture. He is an Architectural Design Instructor at GSAPP and an Instructor in Architecture at Harvard GSD.

COLLIN GARDNER is a research associate at the Harvard GSD where he coordinates events and publications for the Harvard

Symposia on Architecture Committee. He received a Bachelor of Architecture at The University of Waterloo and a Master of Architecture at Harvard GSD.

KERSTEN GEERS is a practicing architect in Belgium, co-founder of OFFICE Kersten Geers David Van Severen. He is an Associate Professor at the EPFL, and Design Critic at Harvard GSD.

HAYRETTIN GÜNÇ is architect and urbanist, co-founder of the Istanbul based non-profit organization Herkes Icin Mimarlik (Architecture for All). He is currently working with Team Better Block on tactical urbanism. He holds a Master of Architecture in Urban Design from Harvard GSD.

WESLEY HO currently works at OMA, New York. Formerly, he worked in ESKYIU and OMA, Hong Kong. He has been a teaching assistant for the option studio taught by Shohei Shigematsu and Christy Cheng at the GSD. He received his Bachelor of Architecture at HKU and a Master of Architecture at Harvard GSD.

MARIANA IBAÑEZ is an practicing architect based in Cambridge, co-founder of IK Studio, active member of the Harvard Symposia on Architecture Committee, and Associate Professor of Architecture at Harvard GSD.

FLORIAN IDENBURG is a practicing architect based in New York, co-founder of SO-IL and Associate Professor in Practice at Harvard GSD.

SHARON JOHNSTON is a practicing architect based in Los Angeles, co-founder of Johnston Marklee & Associates. She is an active member of the Harvard Symposia on Architecture Committee and a Design Critic in Architecture at Harvard GSD.

BIOGRAPHIES

157 BIOGRAPHIES. DESIGN TECHNIQUES. HARVARD SYMPOSIA ON ARCHITECTURE. SOLID SERIES

MOMOYO KAIJIMA is a practicing architect based in Tokyo, co-founder of Atelier Bow-Wow, Associate professor at the University of Tsukuba, and former Design Critic in Architecture at Harvard GSD.

JEANNETTE KUO is a practicing architect based in Zurich, co-founder of Karamuk*Kuo. She is a former Visiting Lecturer in Architecture and future Assistant Professor in Practice at Harvard GSD. She received her Master of Architecture at Harvard GSD.

ANNE LACATON is a practicing architect based in Paris, co-founder of Lacaton & Vassal, and Design Critic in Architecture at Harvard GSD.

María Langarita Is a practicing architect based in Madrid, co-founder of Langarita Navarro Arquitectos, and a lecturer in Architectural Projects at ETSA Madrid

NEIL LEACH is an architect, theorist, Professor of Digital Design at the European Graduate School, and a Visiting Professor in Architecture at Harvard GSD.

MARK LEE is a practicing architect based in Los Angeles, co-founder of Johnston Marklee & Associates. He is an active member of the Harvard Symposia on Architecture Committee and a Design Critic in Architecture at Harvard GSD.

ANNE LIU is a speculative technologist, artist, lecturer, and designer. She is a researcher in the Design Fictions group at MIT Media Lab. She received a B.A. from Dartmouth College, and a Master of Architecture at Harvard GSD.

ALI MALKAWI is an international scholar and expert in building simulation, Director of the Harvard Center for Green Buildings and Cities,

active member of the Harvard Symposia on Architecture Committee, and a Professor of Architectural Technology at Harvard GSD.

KIEL MOE is a registered practicing architect based in Cambridge and an active member of the Harvard Symposia on Architecture Committee. He co-directs the Master in Design Studies program, is a co-director of the Energy, Environments & Design research lab, and is an Associate Professor of Architecture & Energy at Harvard GSD.

CARLES MURO is an architect, writer, curator, founder of Carles Muro Architects. He is an active member of the Harvard Symposia on Architecture Committee and a Design Critic in Architecture and Urban Design at Harvard GSD.

VICTOR NAVARRO is a practicing architect based in Madrid, co-founder of Langarita Navarro Arquitectos, and Design Critic in Architecture at Harvard GSD.

DAVID PEARSON is a founder and director of PearsonByun and an adjunct professor at Woodbury University where he teaches graduate design studios. He received a Bachelor of Architecture at Cal Poly San Luis Obispo and a Master of Architecture II Post Professional Degree at Harvard GSD.

ANTOINE PICON Is a professor, historian, and author working on the history of architectural and urban technologies from the eighteenth century to the present. Picon is trained as an engineer, architect, and historian. He is a member of the Harvard Symposia on Architecture Committee, the G. Ware Travelstead Professor of the History of Architecture and Technology and Director of Research at Harvard GSD.

PHILIPPE RAHM is a practicing architect in Paris, founder of Philippe Rahm Architects, and Design Critic in Architecture at Harvard GSD.

CAMILO RESTREPO is a practicing architect based in Medellin, co-founder of Agenda, and Design Critic in Architecture at Harvard GSD.

RENATA SENTKIEWICZ is a practicing architect based in Madrid and Cambridge, co-founder of Ábalos+Sentkiewicz Architects, and Design Critic in Architecture at Harvard GSD.

LOLA SHEPPARD is a practicing architect based in Toronto, co-founder of Lateral Office, Associate Professor and Undergraduate Officer at the University of Waterloo, and Design Critic in Architecture at Harvard GSD.

JEAN-PHILIPPE VASSAL is a practicing architect in Paris, co-founder of Lacaton & Vassal, Visiting Professor at EPF Lausanne, current Professor at UDK Berlin, and former Design Critic in Architecture at Harvard GSD.

ENRIQUE WALKER is an architect based in New York, an Associate Professor at the Columbia University GSAPP, and a visiting Associate Professor at the Princeton SOA. He is a frequent host of lectures and conversations at Harvard GSD.

MASON WHITE is a practicing architect based in Toronto, co-founder of Lateral Office, Associate Professor at the Daniels Faculty of Architecture, Landscape, & Design at the University of Toronto, and Design Critic in Architecture at Harvard GSD.

KRZYSZTOF WODICZKO is Professor in Residence of Art, Design and the Public Domain at Harvard GSD. He is renowned for his large-scale slide and video projections on architectural facades and monuments.

2

Independent magazine of architecture+technologyFree of advertising / Spring 2015 issue 45

Revista independiente de arquitectura+tecnologíaNo contiene publicidad / Primavera 2015 número 45

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