The theme of the 19th Oslo Architecture Triennale, Enough: The Architecture of Degrowth plays with the explosive power of this word to open up new debates into how much the pursuit of economic growth has damaged the environment and of the need to try out new solutions in architecture (floornature). The curators (Matthew Dalziel, Phineas Harper, Cecilie Sachs Olsen and Maria Smith) argue that “architects are mistaken if they believe they can confront the climate crisis by merely rethinking the way they design buildings. Instead, it is the economy and the very armature of our civilisation that requires a rigorous redesign.” (AR)
You must be brave to peel back the skin concealing the ugly ribcage of our economic system, its guts ingesting gas, coal, trees, animals, minerals, water and clean air and flatulently defecating an endless stream of clothes, plastic bags and neat packets of processed food. (AR)
The program develops in the “Academy,” the “Theatre,” and the “Playground,” until November 24. (Official site)
I am so delighted to have been part of this book my dear friend and collaborator Christos P. Kakalis has edited so beautifully. The chapter we co-authored (Chapter 7), discusses silence in architectural education. I hope you’ll like it as I am very proud of this work and the people who made this happen.Thank you Christos for trusting me with this!
This book explores the role of silence in how we design, present and experience architecture. Grounded in phenomenological theory, the book builds on historical, theoretical and practical approaches to examine silence as a methodological tool of architectural research and unravel the experiential qualities of the design process.
Distinct from an entirely soundless experience, silence is proposed as a material condition organically incorporated into the built and natural landscape. Kakalis argues that, either human or atmospheric, silence is a condition of waiting for a sound to be born or a new spatio-temporal event to emerge. In silence, therefore, we are attentive and attuned to the atmosphere of a place. The book unpacks a series of stories of silence in religious topographies, urban landscapes, film and theatre productions and architectural education with contributed chapters and interviews with Jeff Malpas and Alberto Pérez-Gómez.
Aimed at postgraduate students, scholars and researchers in architectural theory, it shows how performative and atmospheric qualities of silence can build a new understanding of architectural experience.
I only bumped into this artist because of a post he made on Instagram I read about on Dezeen. Influenced by the group finch3d and their Adaptive Plan 3d algorithm for designing houses Sebastian Errazuriz urged architects through his post to “continue to think and design “architecture” for more abstract systems” in fear that the nature of the profession is changing and fewer architects will be needed in the future.
The finch3d tool is actually pretty fun to watch: a house plan keeps changing while someone presses/slides different buttons of a grasshopper code. Yet I fail to see how that changes architecture. First of all, someone did write that code, probably an architect, choosing what parameters can be changed and how. The very choice of what can be changed is already intentional; it expresses the hierarchical thinking of its designer. By transferring this intentionality to a potential client you only allow him/her to think within a framework that is already set. Unless the client himself/herself writes this code, finch guarantees no more freedom in planning than before.
And by allowing/promoting the use of such tools to the greater public do we really think that we are being deprived of designing? Hasn’t it always been the case in anonymous architecture? US building code for example allows people to freely build their houses on their own as long as they comply to state regulations. So what if that person used the finch tool? And why is the finch tool any different in its conception that the state regulations? They both perceive design as in keeping up with predetermined rules.
So, do I think that architecture is an endangered profession? Do we really risk our jobs by evolving and expanding into new realms? Not really. Experimenting with different design tools has always been a core activity of our profession. But designing is not just designing space, is it? Because then, a code like that could definitely jeopardize what we do. We don’t design space: we design spaces for the people who use them. And it is the elusive nature of human thinking and being keeps us afar from any certainties. It is this incompleteness, the lack of a single answer that drives us and will keep on driving us to explore what it means to be fully human.
And then I see Errazuriz’s breathtaking installation: a led lit image of the earth set in an urban void, an unexpected surprise event that invites viewers to contemplate on the “fragility of our existence.” (artist’s own words). And then I think: “go ahead and make as many codes as you like. You will never be able to codify the feeling/the sense of fragility of existence.”Because there are qualities and values in architectural designing that can not possibly be expressed algorithmically.
Architecture can never be generic, nor abstract. In that case, it isn’t architecture, it’s just building. Architecture in my understanding is site-specific, it is contextual, it is a means of communicating who we are not just in terms of our physical existence, but also in relation to others, it is transcendental, just like that earth image suddenly hitting you as you walk by. And if there is ever a code that does that, hell, I am gonna be the first to use it.
The base of the Wikkelhouse is ‘virgin fiber paperboard’, which is made from Scandinavian trees. This so called goldboard, is wrapped around a huge mold, with a method patented by RS Developments, while environmentally friendly glue is added. This creates a tough and insulating sandwich structure. By this wrapping process a heat insulation and construction method are integrated in a sustainable way. Afterwards each segment is finished with a protective film and a shell of wooden slats.Wikkelhouse meets the criteria for temporary or permanent housing. It is about eight times more durable than traditional construction.
This Embassy comprises partners who are working on this future scenario through practical design assignments and by exploring new approaches. The key questions are: how can we scale, what does a new circular construction chain look like and which new design language is associated with using biobased building materials?
energy efficient high-tech, low-tech, or vernacular strategies
health, well-being, and quality of life issues
an analogy to natural forms or from processes in natural systems
performance over appearance
appearance over performance
intelligent and responsive materials, renewable, recyclable, biodegradable
resilience and circular economy
not building at all and instead promote virtualization
ecological footprinting and consumerist lifestyles
best practice guidelines, assessment methods
All above-mentioned concepts are context-specific and inevitably contested. Enacting and translating sustainability in arch design practices can occur in different stages of the design/build process:
during the design brief phase that defines the sustainability targets: translating the concept of sustainability into design practices, recognizing the controversial issues to tackle/ those is in charge of giving directions should ask those bidding to work on giving meaning to these goals
when analyzing the ways in which design strategies are constructed between the distinct vocational design actors
when establishing supposed equivalences between projected and actual design
Schröder, T. (2018). Giving meaning to the concept of sustainability in architectural design practices: Setting out the analytical framework of translation. Sustainability, 10(6), 1-15. . DOI: 10.3390/su10061710