16.09.14

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The 9th of January, the historian and theorist of architecture and urbanism David Gissen presented his lecture: Reconstructions, fake histories and other historical provocations.


Is autenticity a crucial value for history? What can we learn from re-interpreting it, re-writing it, over-writing it, imagininig new realities or dreaming about new natural Frankensteins? Gissen’s unconcerned but not indifferent attitude dismantles preconceived certainties and dogmas: a shock for the conservative milieu of milanese restorers!

Here, the podcast and a few slides of the lecture:

Reconstruction within architecture
0:00 - 11:30
Julien David Le Roy (1724-1803)
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Fisher Von Erlach (1656-1723): architecture as reconstruction of a reconstruction of nature

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Rebuilding nature in the city

11:30 - 19:30

Kevin Roche: Ford Foundation, New York 1968

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MVRDV: Dutch Pavillion at Hannover World Fair, 2000

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Nature reconstruction in Los Angeles: from real river, to concrete motorway for Arnold Schwarznegger films to David Fletcher’s complex “urban-natural” project

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David Gissen’s works: towards a critical environmentalism

Flooding pool in East River, New York

21:30 - 25:10

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Central Park “fake exhibition”, New York
25:10 - 29:00

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"Thickness" of the Air conditioning (NY) and the Pollution (Pittsburgh): perceptible elements
29:00 - 32:00

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"Museological" apparatuses
32:00 - 42:00
Museum of the city, London (2011) 
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Museum of the city, New York (2011) image
Cross Bronx Expressway (2011)image

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Construction, destruction, reconstruction,… irony
42:00 - 1:04:30
Place Vendôme, Paris (2013)

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In case of revolution, break glass!

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Download the poster Material Contexts

more info: lablog

 

Text by Enrico Forestieri, Matteo Pace, Pietro Pezzani

Thanks to: David Gissen, Gennaro Postiglione, DAStU-Politecnico di Milano


 28.08.14

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-1- Hofdijk / Klein Volendam — Architects: Pietro Hammel, Jan Verhoeven, Piet Blom — 1977-1983

Lo so, mi sono perso: non ho una cartina, non ho annotato l’indirizzo dell’appuntamento. Forse è deliberato, forse inconscio, ma adesso non posso proprio confessarmelo; mi stanno aspettando a Post—Office, pazientemente…

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-2- City Building — Architects: Bosch Architects — 1997-2003

I know, I’m definitely lost: no map, no meeting address written down. Maybe it’s deliberate, maybe unconscious, but now, I cannot confess it, not even to myself; they’re waiting for me at Post- - Office, patiently…

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-3- Hofdijk / Klein Volendam — Architects: Pietro Hammel, Jan Verhoeven, Piet Blom — 1977-1983

La mia “immagine” di Rotterdam era, prima di CA, una fresca e labile prospettiva i cui due unici fuochi erano costituiti da Brandgrens e Hofbogen. A partire da questi due poli avevo immaginato a distanza la mia Rotterdam.

Un’immagine così vivida che, nel mio errare di primo mattino, è stata la mia unica (autoreferenziale) bussola: avevo associato ogni punto e luogo della città a Brandgrens e Hofbogen: pensavo di poterli riconoscere, eppure, dei due, nessuna traccia.

Ho esaminato ingenuamente le facciate degli edifici che costeggiavo alla ricerca (vana) di discontinuità materiche/stilistiche/storiche, indizi del perimetro del bombardamento della Seconda Guerra Mondiale. Ho chiesto a più persone di indicarmi dove la sopraelevata abbandonata tagliasse la città, ma sempre con risultati scoraggianti.

La mia visione era aberrata, i miei riferimenti erano inutili (almeno dal punto di vista pratico). Sembrava che i miei due unici capisaldi fossero stati rimossi dal “corpo fisico” della città e dalla “coscienza collettiva”, pur costituendone una struttura latente.

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-4- Hofdijk / Klein Volendam — Architects: Pietro Hammel, Jan Verhoeven, Piet Blom — 1977-1983

Before CA, my “image” of Rotterdam was a fresh and evanescent perspective – the two unique focal points of which were de Brandgrens and de Hofbogen. From these poles I’ve constructed by “remote control”, here in Milan, my Rotterdam.

It was such a vivid image that, in my early morning wanderings, it became a kind of unique (self-referential) compass. Every point and place in the city was lodged between those coordinates: de Brandgrens and de Hofbogen. I thought I could recognise them, but still found no trace of them.

I naïvely inspected building façades, (vainly) searching for material - stylistic - historical discontinuities, possible clues of the WWII bombed area perimeter. I asked some people to show me where the abandoned high-line cut through the city. But no one could answer.

My framework was distorted, my key points useless (at least from a practical point of view). It looked like my personal cornerstones had been removed both from the“physical body” and “collective consciousness” of the city, although they were present as a latent structure.

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-5- MiniMall + Hofdijk / Klein Volendam — Architects: Pietro Hammel, Jan Verhoeven, Piet Blom — 1977-1983

Effettivamente, Brandgrens e Hofbogen scardinano il principio secondo cui la “crescita” è necessariamente un processo additivo. Mostrano in modo evidente e complementare il paradosso di una stratificazione urbana che procede per rimozione / sottrazione sia in termini fisici che immateriali.

Hofbogen, con i suoi due chilometri di binari e sue le banchine sospesi a pochi metri da terra, è un “pieno” rimosso totalmente dalla memoria cittadina, nonostante la sua estrema visibilità e relativamente facile accessibilità. Un’amnesia collettiva che limita (eccetto pochi eventi e il MiniMall nel suo “capolinea”) la possibilità di immaginare una profanazione (inteso come “restituzione di un luogo all’uso comune”. - Giorgio Agamben, Profanazioni) di questo spazio “in attesa”.

Brandgrens sono 10 km2 di vuoto urbano artificialmente “scolpito” in meno di quindici minuti, il 14 Maggio 1940. Quest’assenza è stata rimossa dalla città con pragmatismo e rapidità (cfr anche con Sebald, Storia naturale della distruzione). Sostituzioni moderne e pastiches storicisti hanno così sfumato la percezione della “frontiera del fuoco”, oggi illuminata da fiochi bagliori di marketing urbano.

Come profanare l’assenza

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-6- Maashaven Zuidzijde

This is perhaps appropriate as both de Brandgrens and de Hofbogen expose the paradox of a kind of urban layering that progresses by removal and subtraction, in physical as well as immaterial terms. These cases undermine the idea that “growth” is necessarily and additive process.

De Hofbogen (with its two kilometers of rail and platforms, floating a few metros above ground level) is a “solid part”of the city that has been completely removed from the collective memory, in spite of its extreme visibility and relatively easy access. It’s a collective amnesia that limits (except for a few surrounding temporary events and the MiniMall in its terminus) the possibility to imagine any kind of profanation (in Giorgio Agamben’s terms ‘returning the space to common use’, Profanations) for this “waiting-to-be” space.

Likewise, de Brandgrens is a 10 square-kilometres urban void, artificially “sculpted” in less than fifteen minutes on the 14th of May 1940. This absence was quickly and pragmatically removed from the city (compare also with WG Sebald’s On the Natural History of Destruction). Modern replacements and historicist pastiches have blurred the perception of the “fire threshold”, which nowadays is lit by dim flares of urban marketing.

How to profane the absence?

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-7- Maashaven Zuidzijde

Mapping beyond objectivity

Le città fronteggiano e metabolizzano gli effetti di decisioni/scelte guidate da un mix di cinismo, distacco, calcolo e/o professionalità. Gli esempi di Brandgrens e Hofbogen mostrano come anche “aerei nemici” e “bilanci economici” possano convertirsi in potenti strumenti di trasformazione (in)consapevole del paesaggio e dell’immaginario urbano.

Nel 2001, il duo elettronico Matmos releases A chance is to cut, a chance is to cure, un album composto unicamente da ronzii chirurgici e atmosfere ospedaliere, remixati per organizzare nuove sequenze sonore, nuovi improbabili interventi chirurgici.

Un’attitudine post-produttiva consiste nell’invenzione di protocolli di uso per strutture formali esistenti: con cinica, ostentata professionalità Matmos squarciano il corpo/corpus sonoro registrato nei corridoi ospedalieri, dissezionano membra schioccanti all’interno delle camere operatorie e ne riassemblano i brandelli.

La finalità di queste operazioni non è interrogarsi retrospettivamente su sonorità ed effetti isolati, quanto la selezione di strategie per abitare le stesse forme [suoni] producendo effetti completamente differenti (Nicolas Bourriaud, Post Production).

Così, il duo si concentra sulla messa a punto dell’ordine e della modalità in cui i frammenti risuonano nel nuovo contesto e in come scivolano uno nell’altro, rappresentando allo stesso tempo un prodotto, uno strumento e un supporto (Bourriaud, ibidem).

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-8- Peperklip — Architects: Carel Weeber — 1979-1982

Cities face and metabolize the effects of external decisions and choices which are driven by a mix of cynicism, detachment, personal profits and - or professionalism. The examples of de Brandgrens and de Hofbogen show how “enemy bombers” and “balance sheets” can turn into powerful tools for (un)conscious urban landscape and the transformation of images.

In 2001, the electronic duo Matmos released A Chance to Cut Is a Chance to Cure. This album is uniquely composed of surgical buzzes and hospital atmospheres. These elements are then remixed together to assemble new sound sequences, inventing new improbable “surgical operations”.

A post-productive attitude consists of the invention of protocols for using already existing formal structures. And it’s with a cynical, flaunted professionalism that Matmos lances through the sound corpus (recorded in hospital passages), splicing flesh within surgical rooms and reconstituting their scraps.

The purpose of these operations is not to retrospectively question isolated sounds and peculiar atmospheres. Rather it’s the selection of 'strategies which can inhabit the same forms [sounds] and produce completely different effects (Nicolas Bourriaud, Postproduction).

In this case, the electronic duo focus on tuning a layout, the procedures by which fragments resound in a new context, and how they blend together, ‘representing at the same time a product, a tool and a support' (Bourriaud, ibid.).

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-9- Spangen Housing — Architect: Michiel Brinkman — 1919-1922  +  Kantoorgebouwen Europoint — Architects: SOM — 1971-1975

Allo stesso modo le mappe, come dei filtri, si sovrappongono alla realtà, ne alterano la percezione, favoriscono l’emersione di determinate proprietà e l’invenzione di nuovi significati e relazioni.

Pochi parametri deliberati restituiscono visioni allucinate eppure dai colori vividissimi, strutture e relazioni invisibili ad un’analisi “accademica”: un processo altamente soggettivo, che per tentativi, errori e corto circuiti, rivela la sua natura profonda.

Intuito, cinismo, distacco, professionalità ritornano ancora una volta nel momento della scelta: A chance is to cut a chance is to cure.

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-10- OUD (1925-1927) vs OMA (1997-2014)

In the same way, maps, as filters, can overlap onto reality. They modify perception, they foster the emergence of peculiar properties – inventing new meanings and relations.

In setting a few deliberate parameters, one returns with visions saturated in colour, hidden structures and unexpected connections (invisible to the “academic” eye); a highly subjective process, that through attempts, mistakes and short circuits reveals that reality’s profound nature.

Once again, intuition, cynicism, detachment, professionalism come back in the moment of the choice: A chance is to cut, a chance is to cure.

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-11- De Rotterdam — Architects: OMA —1997-2014  +  Erasmusbrug — Architects: UN Studio — 1990-1996

Testo e fotografie di / text and photos by Enrico Forestieri.

Thanks to Clare Butcher for English translation.

Clashing Architecture Worshop was organized by Hinke Majoor, Marloes van der Pols, Rosa Cornelissen  in Rotterdam (7-12 July 2013) with TU Delft support. It was a great pleasure to tutoring there together with Negar Sanaan Bensi and Simone Pizzagalli.

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-12- Unilever - Royal Bank of Scotland — Architect: Jan Hoogstad —1988-1992


 21.08.14

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16:9 endless activity

(starring Mozo)


 03.05.14

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The 100 Gram Cycle was awarded the 2nd prize in the REcall competition.

Here you can find the 4 DIN-A1 boards and the complete booklet of the project

The 100 gram cycle is a project by Sophie Anderton (UK), Enrico Forestieri (IT), Julia Heslop (UK) for RE-Call competition.

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The 100 gram cycle project will be exhibited, along with the other REcall entries, in Berlin at the Nordic Embassy from 30th of April 2014 to 10th of May 2014 and Falstad Center.

 

Thanks to: Afonso Sanches, Isabel Lima, Toby Phips Lloyd

 

REcall is a research project founded by EC Culture 2007-13 Programme (n. 2012 -0927 / 001 - 001 CU7 COOP7) focused on the possible roles Museography can play when dealing with Difficult Heritage such as the ones coming from conflicts and wars. REcall wishes to envision new ways to the handling of Painful Places & Stories going behind any traditional approach: there is the need to shift from the ‘simply’ commemoration attitude to a more active involvement and participation of people in/with Places & Stories, through design strategies of ‘reappropriation’.


 09.04.14

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Perturbazioni, oltre la meteorologia

Perturbaciones, más allá de la meteorología

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Guarda e scarica la presentazione completa su ISSUU 

Mira y Descarga la presentación completa en ISSUU

 

Presentato il 201404501 da Enrico Forestieri

Laboratorio di Progettazione 2012-13 (Postiglione-Scaramellini-Dolce)

Politecnico di Milano


 19.02.14

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On 7th April 1944 in the Ostiense neighbourhood of Rome, an attack was carried out on the Tesei bakery by a group of women. As a result, ten women were led onto the parapet of the nearby bridge – the Ponte dell’Industria - and shot by the SS. This attack was a spontaneous and unorganised assault, driven by pure desperation and hunger, coerced by the rationing of bread to only 100 grams per family, per day. An instance of unprompted civil resistance, this event led to further attacks on bread ovens throughout the city.

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Within this story there is a key material element which we have made the focus of our proposal: bread. The potency of the 100 gram piece of bread as a ration is a powerful one and we have explored the use of bread throughout Italian history as an influential social and political tool; one of rhetoric and propaganda.

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Ostiense is now a post-industrial landscape and the site of a stop-start regeneration process. A cultural area - the Gasometro - lies alongside the River Tevere and provides entertainment throughout the summer months. We propose to use part of the Gasometro, next to the Ponte dell’Industria, to build a wheatfield. Five local schools will sow, nurture and harvest the wheat in collaboration with agricultural organisations. When the wheat is harvested the school children will bake it into 100 gram pieces of bread, replicating the rations given to families during the war. The bread will be disseminated at two feasting events – a harvesting festival and a celebration on 7th April to commemorate the massacre.

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As a permanent, cyclical process, the field will be renewed annually, reinvigorating the memory each year. This process enables the local community to take possession of their difficult heritage and the memorialisation of it. Furthermore, the activities of the community in nurturing the wheatfield reinforce the notion of civil action in an everyday manner, which is so integral to our story, whilst the involvement of children will create an innovative space of shared learning and memorialisation which is relatable for a new generation. 

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Here you can find the 4 DIN-A1 boards and the complete booklet of the project

The 100 gram cycle is a project by Sophie Anderton (UK), Enrico Forestieri (IT), Julia Heslop (UK) for RE-Call competition. It won second prize in this competition.

 

The 100 gram cycle project will be exhibited, along with the other REcall entries, in Berlin at the Nordic Embassy from 30th of April 2014 to 10th of May 2014. 

A preview of the show will be held in Amsterdam at M4gastatelier within the Next Monument context from 19th of February 2014

 

Thanks to: Afonso Sanches, Isabel Lima, Toby Phips Lloyd

 

REcall is a research project founded by EC Culture 2007-13 Programme (n. 2012 -0927 / 001 - 001 CU7 COOP7) focused on the possible roles Museography can play when dealing with Difficult Heritage such as the ones coming from conflicts and wars. REcall wishes to envision new ways to the handling of Painful Places & Stories going behind any traditional approach: there is the need to shift from the ‘simply’ commemoration attitude to a more active involvement and participation of people in/with Places & Stories, through design strategies of ‘reappropriation’.


 26.01.14

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The 19th of December, the Roman artist Gian Maria Tosatti presented his lecture: Arte come dispositivo (Art as a device).

Hôtel de la Lune at Space Metropoliz (Rome) and La Peste, the first installation of the series Le sette stagioni dello spirito, in SS. Cosma and Damiano church (Naples) are devices which rediscover and release at the same time marginal communities and urban spaces.

A few gestures and actions completely transform the perception of the places in which we live in and the awareness of our role within the society.

During the following debate, artist Stefano Arienti and the audience have bombed Gian Maria with across-the-board questions: from squatting to capitalistic patronage.

 

Here, the podcast and a few slides of the lecture:

Hotel sur la Lune - Space Metropoliz  (2011)
0:00 - 25:30
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La peste - Le sette stagioni dello Spirito (2013)

26:00 - 54:30

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Proposta per la Cupola di San Gaudenzio, Novara (2014?)

1:57:30 - 2:07:00

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Download the poster Material Contexts

more info: lablog

 

Text by Enrico Forestieri, Matteo Pace, Pietro Pezzani

Thanks to: Gian Maria Tosatti, Gennaro Postiglione, DAStU-Politecnico di Milano


 07.01.14

Giovedì 9 GennaioDavid Gissen presenterà al Politecnico di Milano: Reconstructions, fake histories and other historical provocations.

David Gissen è uno storico e teorico dell’architettura e dell’urbanistica, Professore Associato in Architettura e studi visivi e coordinatore del programma in storia/teoria in architettura al California College of the Arts. Il suo lavoro recente si concentra specificatamente sullo sviluppo di un nuovo concetto di natura nel pensiero architettonico e sulla definizione di nuovi parametri per una pratica sperimentale della storiografia dell’architettura.

I suoi lavori nel campo della curatela, della storiografia sperimentale  e della progettazione sono stati esposti in molte istituzioni d’arte e di architettura degli Stati Uniti e di altri paesi.
Politecnico di Milano
Facoltà di Architettura e Società (via Ampère, 2)
Aula Gamma, ore 18:00
9 Gennaio 2014

 

Thursday 9th of JanuaryDavid Gissen will present at the Politecnico di Milano Reconstructions, fake histories and other historical provocations

David Gissen is a historian and theorist of architecture and urbanism. He is associate professor (with tenure) of architecture and visual studies and coordinator of the  history/theory curriculum for architecture at the California College of the Arts. His recent work specifically focuses on developing a novel concept of nature in architectural thought and the parameters for an experimental form of practice in architectural history. His curatorial, experimental historical, and design work has been staged in many architectural and art institutions in the U.S. and abroad.


 17.12.13

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Giovedì 19 Dicembre: Gian Maria Tosatti presenterà al Politecnico di Milano: Arte come dispositivo

Gian Maria Tosatti è un artista visivo romano. Si è formato al Centro per la Sperimentazione e la Ricerca Teatrale di Pontedera. Ha ricevuto, tra gli altri, il premio Terna 01 (2008), ArtSlant (2009-2010), Talent Prize (2011); è stato resident artist del Lower Manhattan Cultural Council, New York (2011) e della Fondazione Spinola-Banna, Asti (2013).

Dal 2005, le sue opere, generalmente grandi installazioni “ambientali” site specific, indagano le relazioni tra arte e architettura. Un lavoro paziente su tracce e memoria, capace di riscoprire, riattivare e riconnettere al presente luoghi abbandonati / dimenticati da tempo, grazie a poche, meditate azioni di trasformazione.
Tra i suoi lavori recenti ricordiamo “Spazio #6″ e la “Tetralogia della polvere” a Casa Bossi, Novara (ciclo “Le considerazioni sugli intenti della mia prima comunione restano lettera morta”). Poche settimane fa, Tosatti ha inaugurato a Napoli una nuova installazione (“la Peste”) e un nuovo ciclo di progetti (Le sette stagioni dello spirito) che ambiscono a ridefinire il valore sociale dell’arte nella città contemporanea.

 

Thursday 19th of December, Gian Maria Tosatti will present at the Politecnico di Milano: Arte come dispositivo

Gian Maria Tosatti is a Roman visual artist. He studied at the Centro per la Sperimentazione e la Ricerca Teatrale in Pontedera. He was awarded, among others, with the Terna 01 prize (2008), ArtSlant (2009-2010), Talent Prize (2011); he has been resdent artist for the Lower Manhattan Cultural Council, New York (2011) and for th Fondazione Spinola-Banna, Asti (2013).

Since 2005, his work, generally big, environmental, site specific installations, investigate the relationships between art and architecture.A patient work on traces and memory, able to re-ñdiscover, re-activate and re-connect abandoned / forgotten places to the present time, thank to a few, selected actions.
Among his recent work we remind “Spazio #6” and la “Tetralogia della polvere” at Casa Bossi, Novara (both belonging to the series “Le considerazioni sugli intenti della mia prima comunione restano lettera morta”). Some weeks ago, Tosatti has opened a new installation in Naples (“La Peste”) and has launched a new cycle of projects (“Le sette stagioni dello spirito“) which try to question the social value of art in the contemporary city.

 

immagine editata a partire dall’originale: Tommaso De Luca 

 


 12.12.13

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The 28th of November, Samantha Hardingham (AA - London) presented her lecture called “Cedric Price: the FEET have it”, concerning the life and work of the british architect.

She showed that CP is not only Fun Palace and Potteries Thinkbelt.

Presenting lesser known projects, illustrated with marvellous unpublished material, Samantha spoke about harbour landscapes converted into dining rooms for birds, and the importance of good manners in architecture.

Through precious biographical notes and hilarious anecdotes, she made a lively and inspiring portrait of the english architect. She also gave an insight on her current titanic work on Cedric Price’s archive, which will soon give birth to a complete retrospective monography.

 

Here, the podcast and a few slides of the lecture:

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01:00 - 26.00 Evocking Cedric Price: Samantha’s memories and documents from CP Archive at CCA build up a deep, inspiring portrait of the young Cedric Price.

A delight for instability and change.

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26:30 “..if you were busy looking at the birds but suddenly, the ground would be quite unstable and maybe you would take off or fall off. An absolutely  perfect example of what he would call calculated uncertainty” 

31:00-32:30 Cedric Price:Technology Is the Answer, But What Was the Question?

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33:00 Ducklands - Hamburg

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36:30 preliminary actions: demolishing, flooding, …image

38:00 a dining room for birds

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39:00 territories

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39:30 “supper drawings” show the everchanging connective patterns enablend by the project

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41:30 the hated mud-mobile: “sculpted” by J, Petto (Cedric’s brother). ahahah

47:00 «”No one should be interested in building bridges, they should be interested in how to get to the other side”. I think it’s very profound in the Ducklandsproject he’s entirely humanistic in his approach to the work….»

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48:15 South Bank project: city as a cohesive landscape

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54:00 Solid River: a new public space spanning the River thames: “too big to be called bridge

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58:00 the Thing: food+view: double delight.

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01:02:45 Fun Palace:providing accessiblity and exchange all along the whole section at any speed

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01:08:30 PortHole project: a secret and safe space

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01:11:00 a lead tent

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01:12:30 chasing the sun

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Download the poster Material Contexts

more info: lablog

 

Text by Enrico Forestieri, Matteo Pace, Pietro Pezzani

Images: copyright Cedric Price Estate. Published in OPERA (Samantha Hardingham ed.)First Works: Emerging Architectural Experimentation of the 1960s & 1970s (Brett Steele and francisco Gonzalez de Canales) and OASE n35 

Thanks to: Samantha Hardingham, Cedric Price Estate, Gennaro Postiglione, DAStU-Politecnico di Milano


 26.11.13

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Giovedì 28 Novembre, Samantha Hardingham presenterà al Politecnico di Milano:  Cedric Price: the FEET have it.

Samantha Hardingham è autrice e critica dell’architettura. ha studiato alla AA negli anni 1987-93. É stata Senior Research Fellow alla University of Westminster (2003-08), Visiting Scholar al Canadian Centre for Architecture, Montreal (2009), borsista della Graham Foundation nel 2012. Le sue ricerche approfondite sull’architetto britannico Cedric Price hanno permesso la pubblicazione di Cedric Price Opera (2003), Cedric Price Retriever (2007) and A Forward-minded Retrospective: Cedric Price Works 1958–2003 (2014). É stata tutor di progettazione all’ Architectural Association fin dal 2006, dove oggi dirige il Diploma Unit 7 in collaborazione con David Greene degli Archigram.

 

Thursday 28th of NovemberSamantha Hardingham will present at the Politecnico di Milano Cedric Price: the FEET have it

Samantha Hardingham is an architectural author and researcher. She studied at the Architectural Association from 1987-93. She was Senior Research Fellow at the University of Westminster (2003-08), Visiting Scholar at the Canadian Centre for Architecture, Montreal (2009) Graham Foundation grantee in 2012. Her extensive research on the British architect Cedric Price has led to the publication of Cedric Price Opera (2003), Cedric Price Retriever (2007) and A Forward-minded Retrospective: Cedric Price Works 1958–2003 (2014) She has been a studio tutor at the Architectural Association since 2006, where she actually runs the Diploma Unit 7 in collaboration with David Greene of Archigram.


 24.11.13

The 24th of October, Maarten Gielen, founding member of Rotor collective, came to Politecnico di Milano to give the first lecture of Material Contexts cycle. During his presentation, entitled On Pre-existing Conditions, Maarten spoke about the job of pairing unpaired shoes; about stuffed rhinos preemptively deprived of their horns in Brussels post-colonial Royal Museum; about office towers converted in temporary showrooms for used furniture and interior building materials; about industrial wastes changing their degree of sustainability during truck transport; about exhibition design as a way to redirect the attention of the visitor in everyday life. Alles ist architektur…

 

Here, the podcast and some slides of the lecture:

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2:30 what is waste?

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3:30 average deviation

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6:15 pairing unpaired shoes

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10:45 “vintage switches and an old broken clock… there is a limit to the junk you can store in your home”

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11:45 other models to deal with materials

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12:30 second hand virtuosity 

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13:00 Deal!

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19:00 cut&paste strategies -1

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22:15 cut&paste strategies -2

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27:00 liability and second hand materials

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28:00 a step further the infomal market of second hand materials

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30:00 Opalis: second hand database

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39:00 Brundtland Commission: aspirational goals for the world community

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40:30 sustainable development: designed notion: ”sustainable development meets the needs of the present without compromising the ability of future generations to meet their own needs”, negotiating with reality

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44:00 Siemens CEO “being poor is unsustainable”…

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47:00 100%image

48:00 “green parasites” to “grey cycles”

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50:15 Masdar City: “the green square”: inside vs outside

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52:00 Masdar City: zooming out: multiscalar relationships.

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54:00 “Taking responsibilities in an unsustainable and limited material world..”

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1:00:00 Bruxelles: bureaucratic heart of Europe 

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1:01:30 Bruxelles: Leopold Colonial Museum

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1:02:00 Leopold Colonial Museum: permanent exhibition has not changed since 1958. Unfortunately, it will be renovated in a few months

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1:04:15 stuffed rhinos preemptively deprived of their horns

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1:04:30 disclaimer..

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1:05:20 venice: red carpet

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1:06:10 Ghent: “opening up” “vacant”, “abandoned” structures

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1:07:30 Exhibitin the structure itself

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1:08:00 annoyng sandblasting on “Rothko-like square”

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1:08:30 restoring the concrete “painting”: post naif attitudeimage

1:09:00 faking natures:

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1:11:00 “flora rebels” and their narratives

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1:13:00 beyond white cube

Download poster Material Contexts

more info: lablog

 

Text by Enrico Forestieri, Matteo Pace, Pietro Pezzani

Thanks to: Maarten Gielen, ROTOR, Gennaro Postiglione, DAStU-Politecnico di Milano


 06.11.13

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Le maquette sono come “figli modello”.

Pazienti, sempre in posa perfetta, assecondano vanità e aspirazioni dei loro padri architetti, da ormai più di un secolo. 

Ecco le migliori foto di famiglia; per una selezione ancora più ampia cliccate qui

 

Las maquetas son “niños-modélicos”

Desde hace mas de un siglo, siempre pacientes, con la pose perfecta, secundando las vanidades y aspiraciones de sus padres arquitectos. 

Aquí, los mejores ´retratos de familia´: si queréis mas, podéis encontrar una selección mas amplia aquí

 

Architectural models are like ‘model children’.

For more than a century they have been patient, perfectly posed; pandering to the vanities and expectations of their father-architects.

Here are the best family portraits.For a wi(l)der selection click here.

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Insomma, Chi vo’ male a’ chesta casa ha da murì primma che trase


 03.10.13

Il panorama progettuale e critico contemporaneo ha visto emergere una postura “realista” all’interno della quale si riscontra un rinnovato interesse per il contesto, ricondotto ad un puro aspetto di materialità.

Questa linea di azione è sovente caratterizzata da un approccio conservativo, benché il suo movente sia distante dalle istanze della disciplina conservativa tradizionale.

Emergono così nuove strategie di inclusione dell’aspetto caduco e metamorfico della materialità architettonica; si esplorano le potenzialità spaziali, percettive e tipologiche del riuso edilizio; si incorporano le ricadute economiche ed energetiche dei cicli materiali; si agisce sulla città come ecosistema minerale sedimentato ed in costante trasformazione.

 

 Architecture’s contemporary operative and critical scenario is witnessing the emergence of “realist” positions that show a renovated interest in context considered as mere materiality.

This line of action/research is frequently characterized by preservative approaches and practices, yet it doesn’t necessarily share the same premises and ends of traditional disciplines of preservation and restoration.

New strategies emerge, in which the metamorphic and decaying aspect of architectural materiality is incorporated; spatial, perceptual and typological potentialities of building re-use are explored; economical and energy repercussions of material cycles are investigated; city is interpreted as a mineral ecosystem in constant transformation.

 

El escenario crítico y operativo de la arquitectura contemporánea asiste a la aparición de posiciones “realistas” que señalan un renovado interés para el contexto, considerado como mera materialidad.

Esta línea de acción/investigación se caracteriza frecuentemente con acercamientos y prácticas conservativos, aunque ésta no comparta necesariamente las mismas premisas y fines de la disciplina tradicional de la conservación y restauración.

Nuevas estrategias incorporan el aspecto metamórfico y caduco de la materialidad arquitectónica; se exploran nuevas potencialidades espaciales, perceptivas y tipológicas relacionadas con el re-uso de los edificios; se investigan las repercusiones económicas y energéticas de los ciclos materiales; se interpretan las ciudades como un ecosistema mineral en constante transformación.

 

Calendar:

24 October 2013: Maarten Gielen (ROTOR) – Brussels / Bélgica

28 November 2013: Samantha Hardingham (AA) – London / UK

19 December 2013: Gian Maria Tosatti - Roma / Italia

9 January 2014: David Gissen (HTC EXPERIMENTS - CALIFORNIAN CENTRE OF ARTS) – San Francisco / USA

 

Download poster Material Contexts

more info: lablog

 

Curated by Enrico Forestieri, Matteo Pace, Pietro Pezzani

Supported by DAStU (Dipartimento di Architettura e Studi Urbani)

Thanks to Prof. Gennaro Postiglione

All events are free and open to the public


 03.10.13

info and updates:#material contexts and lablog


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