Teaching Architecture - A dialogue

What are the pressing questions in architecture – in teaching, research and practice? Based on their many years of experience, professors Inès Lamunière and Laurent Stalder come together in five meetings to search for answers. They describe an approach to architecture that is based on intellect as well as intuition and is both strict and pragmatic. And they sketch out creative processes that are indispensable in the development of projects with all their constraints in order to master the future challenges faced by the art of building.

La création d'une japonité moderne (1870-1940), ou Le regard des architectes européens sur le Japon

Irène Elizabeth Vogel Chevroulet

This thesis questions the fundamentals and modes characterising the European architects' way of looking at Japanese architecture and garden art between 1870 and 1940. It establishes the corpus of the major writings and of other texts published by their Occidental and Japanese contemporaries in English, French and German. We analyse the writings' major issues, outstanding specifics and realisations. We detect and describe the creation of a modern Japan-ness through the writings of four major protagonists. Firstly, Josiah Conder was professor of Architectural History and Theory at Tokyo Imperial College and later considered as the "father of modern architecture" in Japan. We discuss his articles and books, published between 1877 and 1893, as being inaugural as well as forerunners of Japan-ness. Between 1903 and 1910, the architect Chûta Itô and the art historian Kakuzô Okakura gave its premises in their publications. The engineer Franz Baltzer as well as the architects Ralph A. Cram and Frank Lloyd Wright confirmed some of these ideas in their books published between 1903 and 1912. Secondly, we study writings from an architect who never traveled to Japan : Robert Mallet-Stevens. His articles, written in France from 1911 et 1913, were an indirect reference to Conder's articles. Thirdly, we analyse the theoretical and innovative works published by Bruno Taut between 1924 and 1937. We look at the way in which he valued and consolidated an intercultural Japan-ness. We question the existence of a Japan-ness in garden arts' writings. We establish how his contemporaries spread Japan-ness specificities : the architects Wajiro Kon, Kôji Fujii, Tetsuro Yoshida, Sutemi Horiguchi, Wells Coates, Richard Neutra and Antonin Raymond, the art historian Jirô Harada, the landscape designers – Tsuyoshi Tamura, Percy. S. Cane et Christopher Tunnard –, and the writer Jun'ichiro Tanizaki. We identify which specificities had already been defined by Itô, Kon and Horiguchi before Taut validation. Fourthly, Charlotte Perriand confirmed this established modern Japan-ness as a source of inspiration with her notes taken during her stay in Japan between 1940 and 1941. The thesis chronicles the impact of her notes onto some of her realisations in Japan and later in France. Thanks to this comparative analysis of texts, the thesis argues that the European gaze towards Japan is reflecting its preoccupations towards justifications for its own architectural development. This gaze is also orientated by the interests of the Japanese themselves. These are looking for an international recognition of their traditional architecture. We describe then how Japan-ness is created through writings and how it works as an appropriation of modernity enabling Japanese architecture to step in an avant-garde role. This creation follows two stages. The first one is a process of distinction from Asian architecture by identification and reinforcement of Japanese specifics. At its core lies the discourse upon the differences of the Japanese shintoist and zen soul. The second one is a process of sorting out common specificities with Western avant-garde ones. This time, the discourse concerns abstract similarities. The whole set of Japan-ness specificities defines an intercultural architecture which distinguishes itself both from Japonisme and from Occidentalisme. Lastly, the results show the profits gained by this European gaze and taken into account in their own architecture.

EPFL2009

Architecture without Content 4: Necessary Architecture

Kersten Geers, Andrea Zanderigo

The Data Center is the most definitive and yet invisible typology of our contemporary world. It is the densest spot in our digital universe, a physically invisible space virtually visited by many. In a time when the collective spirit of the net itself is more and more in peril, these privately owned devices represent, in many ways, the pinnacle of our shared infrastructure. Therefore, Data Centers are intrinsically collective infrastructures. Unfortunately the buildings themselves remain largely invisible. Subject to technical and environmental requirements, they tend to hide in the fringes of our world; fringes that are increasingly scarce. The Cloud, inhabitant of the data center, struggles with its own invisibility as the place where our valuable content is stored. Both dynamics are problematic but offer an opportunity. As in our cities, what was formerly considered collective is increasingly privatized (one thinks of schools and communal offices). It might be argued that Data Centers are amongst the few leftover opportunities that, because of their intrinsic content, have the potential to acquire collective meaning. This is not the first time we have investigated this potential. Two years ago, in the first studio at Columbia called Architecture without Content we tried to portray the absolute potential of these big boxes because of the evident impact of their sheer mass when projected in the even covered field. In this studio Architecture without Content 4 we return to the center of the city and investigate the potential of these enormous buildings if they would be located on Roosevelt Island; formerly the outskirts of Manhattan, today the very center of New York. Roosevelt Island is strategically positioned and highly wired. It has a latent potential for symbolic representation, as was recently exemplified by the posthumous execution of Kahn’s Roosevelt memorial and the numerous paper projects that preceded that monument. In parallel, it is undergoing a process of reinvention as a new center of excellence, as exemplified by the recently announced plans of Cornell University to open a new hightech campus on the island. Within all this activity, an overall project is lacking. Architecture without Content 4 reconnects to Venturi’s concept of a Difficult Whole. The Difficult Whole is not a group form, nor a mere collection of elements, but a formal strategy that seeks for a cohesive composition of parts through inflection. Each of the parts influences each other, while the parts retain their individuality. Each of the Data Centers on Roosevelt Island aspire to do the same. Their content is an alibi for architectural form whereas their position is integrally part of the overall project for the island. The immutable forms of these big boxes are able to capitalize on their invisible content to create a disposable sanctuary for our contemporary Information Age. The project for Roosevelt Island announces its very decay the day of its completion—an empty civic center.

2013

Conduit, Patio, Waste: Mapping Environmental Relations in Bairro da Malagueira

Bárbara Maçães E Costa

The ongoing ecological crisis is reframing the common binary opposition between architecture and nature and provoking us to ask what kinds of buildings we collectively want to create for the ecosystems that we inhabit. The environment is not a neutral background, a natural scenery, or a container of pre-social resources; and architecture is not a collection of objects floating in a vacuum. Buildings and landscapes constitute each other dialectically. The environmental question in Western architecture had a peak moment during the contextualism debates of the 1950s and 60s, in the UK and Italy. They equated context with ideas such as ecological urbanism and habitat, or preesistenze ambientali and continuita . But by the 1970âs there was a shift from a sort of socio-biological determinism towards a more culturalist approach. Context became synonymous with historical context, and site-specificity was to be achieved less through a dialectical interplay with material reality than through a referential, typo-morphological approach. Gradually, a rift emerged: ecology became a matter of natural fact to be technologically calculated, and context became a matter of cultural identity to be narrated and deconstructed. From this point onwards, and in tandem with the rise of neoliberal commodification and its correlate ideology of postmodernism, Western architecture lost the ability to tackle the environmental question beyond the narrow scope of the individual architectural object. Before this split, the modernist tradition had attempted to address the built environment, and housing projects in particular, as a socio-ecological totality. Backed by large-scale funding initiatives from social-democratic states, human and non-human life could be understood dialectically, with the neighbourhood scale functioning as a mediating unit between the individual and the social. Alvaro Siza's Bairro da Malagueira was one of the last projects of this generation. It emerged from the very particular conditions of the 1974/75 Carnation Revolution and the state-sponsored housing program SAAL, a dual power structure made up of construction technical brigades and neighbourhood committees. During this process, the SAAL-Norte produced a series of projects focused on reinventing the typology of the ilha, and Alvaro Siza wrote a text considering the hypothesis of the proletarian island as basic element of the urban tissue. What was taken from these islands was less their stylistic or typological configuration than the system of environmental relations that they fostered, predicated on a series of threshold spaces and open interiorities. From Bairro da Malagueira, this thesis proposes a method for mapping environmental relations in architecture. It does so by identifying a series of thresholds, namely the conduit, the patio, and the waste, understood as structures that convert space into bounded associations, mediating between inside and outside, foreground and background, architecture and nature. Each threshold acts as a time-space frame with a specific magnitude of approximation, and each internalizes sets of social relations, such as class, gender and race, with corresponding modes of environmental production, namely the hidden backgrounds of territory, domesticity, and wilderness. Bairro da Malagueira hence becomes a template through which this thesis explores a dialectical understanding of architecture as an agent of environmental history.

EPFL2021