Showing posts with label what is architecture. Show all posts
Showing posts with label what is architecture. Show all posts

SKATE BREAK / ZENGA BROS

Zenga Bros, a Vancouver-based, multidisciplinary creative duo, in collaboration with professional skateboarder Andy Anderson, created an ingenious furniture collection with a rebellious spirit - Skate Break. The collection consists of five unique pieces that can seamlessly transition between functional office furniture and skate-ready ramps. Each piece invites a different use, expanding the furniture’s utility beyond a single, static purpose. In the accompanying short film for the Skate Break collection, Andy Anderson showcases the skateable furniture pieces in action, illustrating how everyday items can redefine form and function with thrilling, playful results.

With this furniture collection, the Zenga Bros challenge us to rethink the spaces we inhabit and the way we design them. This approach aligns with architect Bernard Tschumi’s theory of Event Architecture, where space is not merely a container but an active participant in the experiences it hosts. Tschumi’s concept of “transprogramming” — fusion of two programs, regardless of their incompatibilities, together with their respective spatial configurations — mirrors the Zenga Bros’ innovative approach of blending workspaces with skate parks, letting two seemingly incompatible functions share a dynamic relationship.


In Tschumi’s words, architecture should be more than just form or function; it should be about creating “conditions” that encourage diverse and unexpected uses. The Skate Break pieces are exactly that — furniture that responds to both the need for functionality and the desire for play, creating moments of surprise and non-conventional interaction within the everyday.

The Skate Break furniture collection concept also finds a compelling resonance in Bobby Young’s article “A Skateboarder's Guide to Architecture or an Architect’s Guide to Skateboarding”, which positions skateboarders as some of the most functional, innovative users of urban spaces. Young argues that skaters, like architects, question the relationship between form and function, yet do so in a direct, physical manner. While an average person engages architecture and urban space at only one level and sees a bench merely as a place to sit, a skateboarder sees a set of opportunities: slides, grinds, or foot plants. Skateboarders are “purist” users of architecture, as Young notes, bending traditional uses and engaging the urban environment in unconventional ways. Similarly, Skate Break invites us to question the boundaries of work and play, practicality and imagination, as each piece blurs the line between art and action, utility and excitement.

Through Skate Break, the Zenga Bros and Andy Anderson are not just designing furniture, they’re redefining the relationship between function and form, making it easier to challenge conventional perceptions of space and purpose as these products become more accessible. Imagine a kindergarten furnished with these objects—instilling from an early age a sense of creativity and possibility, and reshaping how everyday environments are experienced and understood.
These multi-functional, skateable objects represent a call to action — a chance to see potential in the mundane, to engage with our environment on multiple levels, and to celebrate the playful possibilities that lie just beneath the surface of the everyday.


WISDOM AND DOUBT / JUHANI PALLASMAA

The theme of this year's Helsinki Design Week is Wisdom. To do this subject honor, HDW's team decided to make sure that the attendants come to the event charged and updated - they are gifting their audience a series of columns that tackle the subject of wisdom written by selected thinkers, designers and creatives that will be published during the following nine months before the event starts.

The first column in the series comes from Juhani Pallasmaa -  Finnish architect, professor emeritus and writer:

// Wisdom is not identical with intelligence or knowledge. It is a hidden mode of creative vision, arising from certain outsideness and distance, combined with an empathic identification with the situation. While knowledge aims at certainty, wisdom is grounded on the acceptance of doubt, uncertainty and the possibility of failure. Wisdom is not necessarily a result of specific education; a fisherman, hunter, farmer or a traditional craftsman can possess remarkable wisdom in his/her work. Knowledge and skills are facts, whereas wisdom calls for relatedness and a distinct humanistic and life supporting perspective. In the post-industrial cultures, broken into countless specializations, we are especially in need of the unifying visions of wisdom. Yet, in our current quasi-rational culture of persuation, insistance and manipulation, wisdom is a disappearing quality.

A wise person keeps him/herself outside of the center of action, as wisdom arises from internalizing and grasping simultaneously large entities and the merging of peripheral and focused attentions. The technologized societies are split into countless domains of expertise, individuals who are assumed to know and master a specific area of knowledge or activity. However, expertise is a focused capacity, whereas wisdom arises from an unfocused and comprehensive understanding. Expertise is valid only within its limited and constrained area, whereas wisdom is the capacity of grasping complex entities, often consisting of conflicting aspects, requirements or dimensions. Most of the seminal societal tasks, such as political decision making, planning and  architecture characteristically consist of conflicting realities, intentions and interests. Situations in real cultural and societal activities merge numerous dimensions of reality and, consequently, they cannot be resolved with intellect, reason and logic. In his inaugural lecture as Member of the Academy of Finland in 1955, Alvar Aalto pointed out the irreconcilable inner structure of design tasks: ”In every case one must achieve the simultaneous solution of opposites. Nearly every design task involves tens, often hundreds, sometimes thousands of different contradictory elements, which are forced into a functional harmony only by man’s will. This harmony cannot be achieved by any other means than those of art”.[1] Aalto´s statement could well terminate in the word , ”… wisdom”.

In the modern world, architecture is usually seen as problem solving; architectural projects are even commonly called ”solutions”. The use of this notion reveals a fundamental misunderstanding of architecture; it does not solve problems, as it mediates our relationship (movements, physical and sensory conditions and mental experiences) with the world, both natural and man-made. It is an irreplaceable mental mediation between us and the world, not a problem to be solved by intelligence and expertise. Indeed, philosopher Maurice Merleau-Ponty argues: ”We come to see not the work of art, but the world according to the work”[2]. This argument reveals the mediating and dialogical essence of artistic works, including architecture.

Joseph Brodsky is critical of our culture of expertise : ”In the business of writing what one accumulates is not expertise but uncertainties”[3]. In the poet’s view, even master craftsmen are engaged in uncertainties rather than expertise. Wisdom acknowledges evolution, processes and change, and contains a temporal judgement that fuses the time perspective in its judgement.  

Knowledge and skills can be taught, studied and learned, but wisdom grows and matures by itself through lived experience. Wisdom is contextual; the wise individual sees the phenomenon in its total context and dynamics. In traditional societies wisdom relied on mythical and symbolic knowledge and magic, while in our self-claimed age of reason, it is an exceptional human gift. It is not a conceptualized and structured mental construction; it is a natural ability to sense the essences and interactions of things. 

Wisdom is usually related with age, as only rich experiences of authentic life and culture can prepare a person or group for the required diffuse attention and judgement. The common view suggests that responsible decisions in demanding situations call for intelligence, but emotive and empathic capacities are more essential. Choices of wisdom are usually based on emotive, not rational certainties. Mark Johnson, another philosopher, claims: ”Emotions are not second-rate cognitions; rather they are affective patterns of our encounter with our world, by which we take the meaning of things at a primordial level [… ] Emotions are a fundamental part of human meaning”.[4]  Wisdom fuses knowledge and emotion, intelligence and memory, reason and vision, certainty and doubt. It also calls for imagination, and, in fact,  it is fundamentally an imaginative skill. But wisdom has also an ethical component, as there is no wisdom without ethical judgement and responsibility. Wisdom is an existential gift, and it is undoubtedly the highest of human qualities. //

[ Source: Helsinki Design Week ]

OCTOSPIDER / EXPOSURE ARCHITECTS

Breaks can be very beneficial to our workflow and productivity. When done properly, they prevent "decision fatigue", help consolidate memories, replenish attention, restore motivation and consequently help us in achieving our highest level of performance.

The architecture of one corporate canteen in Bangkok supports some concepts of quality "downtime" by giving its users a change of environment, connection with nature and by provoking movement. 

Designed by Exposure Architects, this canteen sits in the center of Satin Textile manufacturing plant’s ‘campus’, elevated with slim concrete and steel legs 8m above a shallow artificial pool made from the factory's cooling system drainage water. 

The canteen is accessed by a long pedestrian ramp that climbs up, tangents the building, and then leads back to the ground finishing a semicircle. Three long dining hall arms radiate from the central elongated body of the cafeteria. They are clad in glass offering the diners a calming view of the surrounding nature and taking them briefly away from the work environment. 

















// Eating has always been a social event, a need transformed into a ritual for all social classes”, writes Exposure of their inspiration behind the design. “Today’s life has endangered this act, has brought it back to mere functional activity. In designing a factory cafeteria, it has been therefore of paramount importance to give some nobility to the moment of eating, while keeping always in mind the notions of efficiency, timing and economy. //


























// Based on the strength of its guiding concept (the web of a spider or the tentacles of an octopus, if we are to be led by the compound name that the project has been given), Octospider is also an intelligent revisiting of the architectural promenade concept and a study on centrality in the relationship between volume and space. It originates in the obvious pleasure of organizing a neo-constructivist pathway along which one encounters a curved generator with four interpenetrating, resolute, sharp lines. It is finalized in the contrast between the opposite principles of the weightiness of matter and the lightness of an upward thrust that is made possible by 12-centimetre diameter poles up to 8 metres long, nearly at the limit of their tensile strength. //

5 LESSONS / NORMAN FOSTER

A few quotes I picked up from "5 Lessons From Norman Foster’s Lecture at the Barbican", an article I read at ArchDaily:
1. Architecture is more than a building
As obvious as this may sound, it is easy to fixate on a facade or roof, the most ego-driven aspect of any project. But what we can lose in the quest for Instagram perfection is the true purpose of architecture: designing a space to be used by a community. 

2. Research is king
If a decision is well researched then it can rarely be wrong, avoiding the awkward silence after a client (or college reviewer) asks “but... why?”


3. “We all gravitate to what we do best”
He claimed that he was far more useful as a designer, leading by example, than he would ever be as a politician arguing day after day. Taken at face value, this sentiment is key to the effective communication of ideas. Improving holistically is still important, but our skills are naturally weighted in certain areas; be it model-making, drawing, pitching or detailing; and in focusing on your strengths you can help maximize a project’s success. In Foster's case, it's also probably the reason why the former RAF man has designed no less than 7 airports—he's good at it.

4. Bold solutions
To be bold in architecture is difficult, as the hundreds of constraints and regulations try their best to maintain a palatable level of status quo. However, it is often in seemingly crazy ideas that change is facilitated. Creating something new—even if it means swimming against the tide—is critical for positive change within architecture, and as George Bernard Shaw once said: "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man."

5. “Doing more with less”
Foster frequently referred back to conversations he had with "Bucky," using him as a touchstone in what he was trying to achieve and how he wanted to achieve it. The famous Fuller quote “doing more with less” is usually attributed to the performance of a project: using technological advancements in order to create a more efficient input (less) with a larger output (more). This is seen first hand in his geodesic dome, and later the Dymaxion House, and the relatively simple mantra mimics the sustainable agenda we face, reducing global reliance on finite supplies, something Foster addressed in the new Bloomburg European HQ. You can also apply this to the time you spend at work, maximizing output and leaving space to live—something essential for general well-being.

[ Source: ArchDaily ]

THE TENT / IGOR PONOSOV AND BRAD DOWNEY

// This year, a speech delivered by Putin declared, with lips split by a smile, the purpose of Crimea’s annexation as, “protecting the interests of the Russian-speaking population in Crimea.” This absurd oversimplification undermines the reality of the actions that took place. The annexation resulted in disorder and chaos, and deep mistrust between countries. In yet one more simplification of this complex situation, governments in both the East and the West, have executed orders motivated by greed that resulted in tragic loss.
The artists, Brad Downey, an American, and Igor Ponosov, a Russian, developed an altruistic friendship, despite odds being against them. Physical distance and language barriers stood as challenges, but over the course of four years, the artists came to know one another as brothers. They realized projects together many times and travelled to meet each other in different countries. They hoped to do a project in Ukraine one day, since Igor had especially come to love spending time there. When they heard about the conflict in Ukraine, they decided that now would be the best time to finally realize the project they wanted to do there.
It would be a chance to symbolically subvert the greed displayed by government. They prepared for the trip to Ukraine by stealing advertisement banners, a representation of consumerism, hence purchases obtained by money and influenced by greed. Brad and Igor converted the appropriated advertisement banners into a mobile artist workspace. The tent could be deconstructed easily and stored in a small backpack. By the time Brad and Igor were ready to go to Ukraine the peninsula had been annexed. Instead, they went to the Russian territory of Crimea. They asked no one to help fund this trip, for they wanted to accomplish it without external influences, during a time and in a location where outside influence ruled. For three days, they hiked to reach the Crimea’s highest plateau. Throughout this period of living inside the creation, they cherished the beautiful countryside and mourned the actions, or lack of action, from both the East and the West.//




WELTSTADT - WHO CREATES THE CITY / GOETHE-INSTITUT

//Cities today are in constant flux, adapting to the many problems they are facing such as migration, mobility, security, social polarization and demographic change. Besides experts, politicians and investors, new actors and groups are answering to these challenges, questioning traditional practices of top-down city planning and development. Against this backdrop, the project Weltstadt – Who creates the city? asks: Who really creates the city today? And who will shape its future? Inspired by these central questions, Weltstadt aims to connect projects initiated by the Goethe-Instituts and their local partners worldwide, which all deal with new forms of local city-making. Weltstadt identifies projects that share a common interest in testing urban visions and are engaged in compiling new constellations of urban actors for a better tomorrow.//

WHAT IS ARCHITECTURE

//Ernst May's plan for Frankfurt, Martin Wagner's Berlin, Fritz Schumacher's Hamburg, and Cornelis van Eesteren's Amsterdam are the most important chapters in the history of modern urban planning. Yet beside the oases of order that were the Sieldungen - true constructed utopias, on the margins of an urban reality little affected by them - the old cities continued to accumulate and multiply their contradictions. And for the most part, these contradictions would soon appear more vital then the tools established by the architectural milieu to control them.//
[ Hays, K., Michael, Architecture theory since 1968,  The MIT Press, 1998. / p. 23 ]

WHAT IS ARCHITECTURE

//So you see, no matter how popular and successful a public space may be, it can never be taken for granted. Public spaces always -- this is it saved -- public spaces always need vigilant champions, not only to claim them at the outset for public use, but to design them for the people that use them, then to maintain them to ensure that they are for everyone, that they are not violated, invaded, abandoned or ignored. If there is any one lesson that I have learned in my life as a city planner, it is that public spaces have power. It's not just the number of people using them, it's the even greater number of people who feel better about their city just knowing that they are there. Public space can change how you live in a city, how you feel about a city, whether you choose one city over another, and public space is one of the most important reasons why you stay in a city. I believe that a successful city is like a fabulous party. People stay because they are having a great time.//

WHAT IS ARCHITECTURE?

// One day an artist was going on at length about all he did to purify and perfect his colors. M. Chardin, annoyed at hearing such talk from a man whom he knew to be no more than a cold and careful technician, said to him; "But who told you that painting was done with color?" "What is it done with, then?" the other artist asked in surprise. "Colors are employed," said M. Chardin, "but painting is done with emotions." //


[ Cochin, Charles-Nicolai, Essay on the Life of M. Chardin ]

THE FINE ART NUDES / RASMUS MOGENSEN

//Photography is for me a search for harmonious shape and composition. What keeps me going is the fact that a creative career is a never-ending evolution in the search for a perfection that does not exist. I love the fact that there is always something you can become better at in the process.//

[ juxtapoz, Rasmus Mogensen ]

URBAN YOGA / ANA HUMLJAN

Project named Urban Yoga is, by the words of it's author Ana Humljan, actually an architectural experiment intended to analyze space potential and the connection between human body, architectural structures and urban settings. This exploration has been documented by a series of photographs in which the author poses in a white bodysuit, striking various yoga positions in unlikely urban scenes. The photograph series has later resulted in a photo book.
In context of questioning how our bodies inhabit urban spaces, this project does not bring much novelty. For more than half of a century now we are able to witness a spectacle in which human body engages the built environment in a dynamic way based on improvisational thinking - skateboarding. Open to the experience, skateboarders have not only developed new ways of moving through space but blurred the lines between right and wrong in the form-function relationship. In the //All is fair in love an war// style. Seeing the city as a landscape instead of user-manual operated machine, opens that possibility for improvisation. The exchange between the user and architecture is not fixed but plastic, changeable and each time a little bit different.
This flexible relationship between architecture and program is explored at large by architects such as Tschumi and Koolhaas. Insisting in the first place on event and program, they use open structure theory and programmatic diagrams as tools to create an architectural framework that supports dynamic relationships between movement, program, and space. 
These concepts are important because we now live in a complex environment that is highly activated and full of uncertainty. As architects we can offer guidelines in form of spatial configurations that hold the possibility for improvisation and offer kind of possibilities about which people didn't think before. 
Still, architecture is a medium that is slow and it is important to know that, to solve a problem, ti isn't always necessary to have an "open structure" but an open mind.


TRAVEN / CHRISTIAN VIVANCO

// The challenge is not to offer to much design. It is to offer enough so each child can build his own story. //

Tavern is a collection of furniture for children designed by mexican designer Christian Vivanco in collaboration with the brand Nido Muebles. The collection is composed of an armchair, stool and toybox.

[ Sources: dezeen, Christian Vivanco ]


A BUTCHER SHOP INTO HOME / PAUL COUDAMY

Beauty is in the eye of the beholder. Tastes are different and there can be thousands of interpretations of the same thing, and all of them good. Designing a home for someone is personal and should be tailored to the future residents habits. Converting a former butcher's shop in suburban Paris into a private residence is interesting enough but,  installing a tilted mirror above the bookshelf so the owner can keep an eye on his parked motorcycle while relaxing in his armchair is the detail that makes a house and the owner a happy couple.
[ Source: dezeen ]



INFORMAL CHRISTMAS / ŽALIEJI SPRENDIMAI

// Like millions of people I was carried to work today in a comfortable metal box by the controlled explosion of 60 million year old dinosaur juice. (You call that petrol). I avoided unexpected traffic on my way thanks to flying machines orbiting the earth, which talked to a metal and glass supercomputer in my pocket smaller than a bar of soap. (You call that a phone). My pocket supercomputer is – of course – wirelessly connected to the entirety of humanity’s knowledge. The entirety of humanity’s knowledge is – of course – free. And I can search all of it as fast as I can type. None of this is even interesting to anyone anymore. // Writes Oliver Emberton

How thrilling it is to find a project like "Informal Christmas" by Žalieji Sprendimai! To stumble upon a Christmas tree in an unpredictable place but still its natural environment. It doesn't have to cost a lot to put a smile on people's faces. It takes creative people able to play. // You should be amazed. //






TOFER CHIN'S STALAGMITE INSTALLATIONS

// The results are these unique geometric forms, which open the dialog to a coexistence between man and nature. While the structures juxtapose the natural and the permanent, it also creates space for the evolution and adaptation of long-lasting art in nature. “I’ve always wanted to work with concrete and this is a resource that is so abundant there. I’m also really drawn to the drastic change in climate and seasons there. I wanted to leave behind works that would live and breath in this dramatic environment.” //
[ Source: TRENDLAND ]


HOUSE IN LOS MOLINOS / BIAGIONI PECORARI ARQUITECTOS

A weekend house for a family of five, 180sqm, located in Santa Fe, Argentina. With a narrow pallet of materials and colors BP architects created a beautiful house with a linear layout, designed to be executed in two stages. Spaces in the house are neutral, basic, enough. Orientation and fenestration allow the scenery to get inside. The family and the atmosphere give this house it's content and not the furniture and decorations.


PAINTING WALLS / THIERRY NOIR

Thierry Norir: // In Berlin, in London, you are pressed like a sardine. It's grey and you're tired, and suddenly you see a street painting... and you have one second of smile on your face... and this is, for me, the best //



ESTATE IN EXTREMADURA / ÁBATON

// Located in a privileged environment in the province of Cáceres, the goal was to transform an abandoned stable into a family home by completely renovating it in a way that would be consistent and respectful with the environment.
Problems relating to the electricity and water supply were solved through sustainability systems which ABATON uses in all its projects: a solar panel system with storage batteries was developed to supply energy during the summer; turbines were installed taking advantage of the course of the two streams that run through the estate providing electricity for the winter. 
//
 [ Sources: Ábaton, Designalmic ]
 


 



















WHAT IS ARCHITECTURE?

// For Alberti, architecture appears to have been an eminently political activity, since he considered architects to be the providers and safe-keapers of culture, who could offer a civic community ("civitas") security and protection, thus creating the conditions for social and intellectual progress. //

Evers, B., Thoenes, C., Architectural Theory: From the Renaissance to the Present, Taschen, 2006. / p.12, Biermann, V., Leon Battista Alberti ]