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RUR: PROJECTS
Tuesday, April 24, 2012 · 6:20 p.m. · 01h 27m 50s
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but honestly
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um you can you also have you been euro room a sector
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um confront was doing a cool when we to eh does your visor
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a minimum in a cool remote to think that too he elected to do portrayal mess there
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into something conference ethics impacting or just you guys know people would actually take to begin with you
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an agreement which did you i was a computer coop cooper union information back should take to be there just
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just so you guys are like detectable professor houses you know the should take
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to evaluate c. to do our princeton use on senior uh couldn't yeah university
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you are don't agree more do you confront also citizen you on hope you chapel
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he opened will uh uh no mortgage small uh academic
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medical remote to it just you guys it can squeeze
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yea participle or do not broken cool well before uh
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you're gonna laughter going to shoulder concepts you might be mobile
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her do construction 'cause you don't still comics you had a lot to conditional
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uh delimiters want to build a measure you deserve has to to
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using going you might be amenable to more quick will portray people music centre
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exactly the proportion to buy your thumb or going to support onto her pleasure do master plan
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using soup to reconnaissance and tennis you know like mobile to luke with the local politicians them
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complete is actually to come first through excess position
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nemo superb you are people challenging borders you she won
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but it was more maybe you're confusing me know her start to depict december twenty people
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what we really wanted to learn how to to add a gentle even use you you learn
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present to you know or unix was your piece epic trance urbanism pretty susan b. could urges
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don't care um you can use your do push
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broom soon loopy price liverpool external so when design
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we'll do i couldn't you are wanting architecture the learner continue meeting to present to the lip
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just because they have to medical remote tools can use
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you know below her kimono bottling homeowner can lose reduces your
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look good you can instruct you can format to put her in a patsy per unit should pictures pretty normal t.
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privilege unlikely telecom to to get some cash chicago personal mobile to prepare
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the proportionate to local cepstral who beep more her you just gonna reasoner
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so i'm gonna cool i'm just sleep a younger will come here tonight and
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thank you for your presence under um you have the floor no thank you
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that thank you uh zero uh the kind introduction it's really
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fun to be here in such an intimate group i think um
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we can perhaps be less formally and try to get into the
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substance of four projects to uh present is yet are we yeah
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if we're going to talk about our fourteen protecting alright index
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we live in cities to sending apple tang yeah
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alright thought that that they're meant of of fourteen ended up motto
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and also we discussed competition winning protecting time one
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one d.'s are for domino intros shown and
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the are the escape a pop music centre
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the borders of the uh project uh where into the
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design process oh sure is in a fraction document phase
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and take a pope after complex and negotiation between the music
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industry taipei city and then faded out government is in schematic design
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okay i will be talking about the the first project the oh for
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teen project which was completed a little over a year ago and uh
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uh one of the things that i guess pulls together
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of the projects we're gonna be talking about this evening
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uh i mean aside from being a it these two of them being a competition projects
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um is the question of uh of context in contemporary work and
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uh for better or worse these projects um of course deal uh with
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uh places that are quite remote from our office in new york
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and uh uh therefore uh we're not talking about
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the normative or perhaps perhaps old fashioned form of locality
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but of about another a kind of a merging form which
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i would say operates on a number of levels this diagram here
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uh shows the players involved in the creation of the over teen project
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uh no no whom actually uh are in the by with the exception of the developer
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so uh it's a very interesting kind of new situation uh related to
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c. d.'s that are growing quite rapidly where they're bringing 'em expertise in
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from outside and they converge on these places and the consequences of that
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kind of a um architectural design in city making i think are quite different
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uh from the kind that would classically have developed even in a late modernism so
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um one could imagine other diagrams as well just in terms of how we would consider the
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local but that's just the readers a a these these two images of course show the star
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change uh of the dubai of nineteen ninety one uh to that of two
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thousand and five means really uh practically a kind of popular ross a situation
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where are venice or been plans are brought in uh this mainly uh was
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the consequence of expertise brought in from
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uh england from large corporations like help though
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uh and uh the uh very uh kind of circumspect way
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of designing a what we in parentheses might call city um
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everything in dubai past ninety one uh acquired the
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each of the zones within the kind of extended by
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uh i think in the long fairly mon of functional idea
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and uh while they're inland they could honestly be cold highlands even
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though there on the ground there actually a circumscribed by infrastructure the quite
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uh isolated from one another in order to move from one a c. d. to the next
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you have to get onto highway even though they're in very close proximity so
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it's a very peculiar form of urbanism and it it produces a a very kind of this thing
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a set of consequences so this rendering that we're showing
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here uh was the rendering that we were presented with
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uh when we first got involved in competitions in dubai we
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competed against a palm main room full house and the heart beat
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uh all of those sort of heavy weights uh to design this uh uh
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central's around a central kind of eye contact our uh for this development which was
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the him towards business called business bay and the nickname in the office was
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that we were really so much delving into one of the circles of hell um
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we were a kind of a put off in a way by
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uh the way in which the the meeting and then the appropriation of
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a kind of almost a postmodern a sense of the c. d.
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uh was kind of forced on the competitors so there was a push for a comic buildings that
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was expected of all of the projects and actually expected of all the projects were showing this evening so
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the issue of i can a city uh is not something that we even have to uh
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can can develop but it's a demand at this point in project searches these so
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this is the reality of the site this was before this is that central uh
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area i was pointing to so really still the top your rounds
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uh by their dream of the city around it actually is beginning
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uh yeah is actually quite developed at this point that and go to purchase ed stifling heat
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all of the arguments on making tonight in this is a bit of
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shameless advertising are gonna be in our book which will be coming out
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uh in about a month and a half so there's some fantastic essays by jeffrey kip that's
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and uh silvio even in bright steel of the architectural association
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uh has been involved um all along the process of design as well in the project anyway okay well
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but the pain i'm trying to kind of put forward to is not so much the uniqueness of the device psych
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as much as recognising that these kinds of c. d.'s are popping up uh you
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know along the pacific room they're more similar the i would say than they are different
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uh and they then mandate a certain uh approach
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to an architecture now you might see this is completely
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in authentic c. d. building as something really negative but uh we had we thought we had to embrace
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uh what those conditions were and try to operate in such a way as to at least attempt
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another kind of architecture uh within a context of just that
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this uh image would choose from home or may was
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there a rendering for that central like on a building
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in device oh baby delivered more or less a
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modernist project to this i looking back at projects um
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like you spend the rose renderings uh in berlin but the idea was that they tried to
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take three deep what the competitors would produce that they would produce a very stark kind of
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our uproot modernist prism uh surrounded by all of the formal access the
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calisthenics that the competitors would like these are hot or they assumed us
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uh our project on the left is actually the
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united architects project for downtown manhattan for ground zero
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so they figured we do something like that anyway it was an interesting piece of politics within our vision
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uh and so yeah the the call haas
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project uh in terms of approach would mimic
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uh that as early modern uh proposals that would
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starkly contrast the modernist prism in in nineteen century city
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we thought that there had to be some other way because uh dealing with the dubai context
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uh and we felt strongly as the project develop
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uh that we we didn't wanna do yet another a
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kind of a us that's the one glass curtain wall building
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uh but that there were other potentials in terms of ah how to build in that environment
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ah how to produce another kind of architectural expression
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it didn't get associated with the kind of skyline type
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but would in a sense a merge round in
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sky high in another uh a kind of architectural model
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and uh in addition to that as i
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mentioned um this project was your generated by developer
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uh so there were expectations that we would produce an icon of sorts
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but we weren't interested in the typical i conduct buildings that we'd seen
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uh that's for so that was a challenge and in a sense was the kind of inverse of
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uh the situation imposed by developers when they started
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doing tall buildings in chicago in the nineteen century where
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uh the developer mandate was to produce a the most efficient space the frame
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structure of the chicago buildings uh you know was to produce the most efficient
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a cost effective space with the least amount of materials
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in the bar i there was a no the logic at work which also dealt with
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efficiency but was inefficiency of access a new
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of course it reflected that specific moment ah
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uh probably about seven or eight years ago when there was a lot of money in dubai
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uh there was a demand by clients to uh
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to be in need architecture they would sacrifice efficiency
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uh for uh some uh uh notion of of being in a kind of in
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the other aspect of this uh kind of
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urbanism uh was the one was kind of
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delivery package notion up to power and
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associated of buildings like parking building so this
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image of shake side road which is a sort of a central kind of road in
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to buy as a typical sort of a deployment of power
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on the street frontage which would be a no of of any kind of style but i don't suppose
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modern you generally and then on the back street
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would be a typical uh kind of parking structure which
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occupied that whole back area and really made a kind of guide street behind the kind of manger
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x. so um that was also something that developers and builders expected as a kind of norm there
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uh and then we of course we were handed uh the the the design guidelines
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by business pay development again uh it was generated by a british
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firm called how pro which is a big fan of multinational conglomerate uh
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enforcing a kind of post modern uh had a
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static on the development they did try to mandate
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uh arcades at the base uh some form of uh uh middle and then a kind of a
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decorated top uh and again uh suggesting the way in
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which parking would be uh and associated with the building
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so we worked very hard with the developer to rethink those guidelines we
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had to work within limits but one level but also cleverly subvert the so
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uh the one thing that the the first thing was the question of the podium base uh
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instead of seeing it as a base uh
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we thought instead to look towards more modernist
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uh antecedents that that base actually could be super
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elevated a raised above the ground plane and essentially
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open up the ground plane and then furthermore have
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another the availability of another uh kind of urban space
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uh at the top of the podium this was something actually that uh for short time was
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being developed by o. m. a. for this
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master plan to with the short light association
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but we thought it was a fantastic uh idea that you could have
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active but not only active round plain but these boat here which we're mandated
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could be connected and then develop this other strata of life in the city
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so it's still there in the project although uh uh sadly the other buildings basically
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uh don't uh uh basically wall at all but it's
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part of the kind of ideological dimension project i would say
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the idea of the arcade also had to be rethought um and our our notion
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was not to make it an up five days but to essentially provide the space
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uh for the arcade it would be signalled by
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apace but more by clearing away from the uh
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the the uh lobby space and one could enter it but there wouldn't be a a kind
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of classical stratification of how that you would find in the arcade but who work is that
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and uh again i'm in super elevating
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the base we we'll we we argued successfully
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with the developer that we could eliminate the parking that's typically place that here
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make it a because it's on a walk the water's edge uh that they could uh make a
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lot more money uh with commercial space or uh
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develop a nova spaces inside that super elevated podium
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rather than for we for so we successful a kind of argue below ground parking is there as well
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so essentially in effect where trying to open up a both the ground plane to the waterfront
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esplanade and then make available uh the second
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level uh oven habitation which could theoretically be connected
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the other part of the project that i would want to open up here um is
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um what we're attempting to do with the effective the architecture uh which i don't
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mentioned uh obliquely earlier and i go back
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to some of the the writings specifically um
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a work by walter ben you mean that i'm sure or you know i'll call
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the work of our the age mechanical reproduction and i was just rock re reading it
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when he talked about uh what uh the
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original sort of notion of a place was which
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like a mountain which you gave as an example produces the
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kind of effective distance when you look at it that a regional
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uh uh kinds of places that are not kind of susceptible to production
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um these produces strange uh kind of effect which equals that of a distance
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and i began to rely is that those kinds
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of potentials that one typically would associate with natural objects
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are suddenly being a four possible to play around with an
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architecture now given the the new tools that we have available
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uh we can produce a kind of second nature i would say in terms of the appearance of the building
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uh which produces a kind of uncanny effect between the artificial and the natural
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i mean that's also a question of how one uses things like gradient fields in design
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a continuous variation and so forth but you'd get things strange effect
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um which i would say are more question of management then of composition
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uh and they produce a very different kind of skyline object when one is dealing say with the tower
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and i think that's part and parcel of the way things are being
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produced now that we're not really talking about the regionals versus copies anymore
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but that we work uh in iterative uh models were we do
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in a a lot of variations of the design uh exploring uh no
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different possibilities and weigh the building can and the forces moving through it can be read
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uh so there is we know regional here but it's
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rather uh you know i feel the possible uh oh
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iterations which we would finally converge on as a being the best in the project
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there's also the question of how these buildings of this kind
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might relate to context and i get this example to kind of
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comedians that in a way uh relate to architectural approaches one is the
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uh who work uh woody allen those uh fill many years uh call holds alec
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uh where there was a kind of chameleon like
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character to basically became anything he got close to so
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yeah an arch example of context rulers and our uh a person
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or an architecture that tries to blend in wherever uh he is
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and so the the piano to buy you cultural centre in
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a way flirts with this idea of looking at it can
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textual architecture and then mixes it with the kind of high tech model and this is the kind of result you get
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but then there would be other ways though i think of
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looking at context which uh deals with uh and embrace of ambiguity
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and i give another comedian this is um peter sellers playing
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a chance the gardener in a movie called being there we're
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in fact he's always saying the same thing but
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then whoever he's coming into contact with reads a completely
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different story into his simple sentences so ah i
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like to think that our approach is closer to that
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than that of the um then would be one side and uh i think it also has to do with
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uh an embrace uh not only of a computation which
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i think is actually fairly secondary in the project quite frankly
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but to look um uh at uh what one would
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call them minor arts and to recognise that the minor arts
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are probably in some sense the first international uh style if you will
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i mean that basket so basket weaving cross cultures all over the world
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they immediately associate the project with being
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local but in fact there in international structure
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and so uh the project both resonates with those kinds of of models
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but equally gets associated with uh you know image of combination
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or in terms of performance bone or natural forms of fast get the laundry baskets
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or uh uh uh even uh outside of our own interpretation people on
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the web immediately connected our project to mel mccall's house uh in moscow
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and in d. um they were really interesting resonances
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in retrospect ably ah even crossed into a kind of
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expressionism which uh i thought was fascinating and of course
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there are things that are simply out of one's control
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yeah
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so um i would dance now into the
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building a quite simple as a twenty two story
00:24:18
a project um there's a in x. o. skeleton of concrete
00:24:23
which does all of the kind of vertical supporting takes care
00:24:28
as well um most of the lateral forces on the tower so
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because this is a concrete kind of access skeleton like a
00:24:37
nuclear reactor shell um the core actually could be fairly light weight
00:24:43
because almost all of the lateral forces were taken by this axis scale and that access
00:24:49
gotten uh is about a metre away from the slab it so there's a glazing line here
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um and the what we call the towns which then
00:25:00
connect to the shell so there's a void space the meter
00:25:04
it was based on a purely pragmatic consideration that that's enough space
00:25:09
for a window washer uh to get in to behind the shell uh to clean the
00:25:14
glass and then there was also a measure of economy because uh we didn't have to
00:25:20
a deal with the problematic so putting blazing into the holes
00:25:25
uh but that we could use a fairly standard window wall that would basically it's go you know spanned from
00:25:32
a sled top the slab bob um so it it it it's all the number
00:25:37
problems about technical in in terms of a
00:25:41
crafting this project uh by separating the glazing
00:25:45
but it wasn't earlier a set of iterations that were far more conventional that i should just touch on
00:25:52
um hum everything moves so quickly in dubai in terms of the the bands of the developer
00:25:58
that um the first iteration of the of the tower actually mixed residential office
00:26:04
so they kind of working notion in this very early model which was more more fake
00:26:10
uh was to do a more conventional uh you know
00:26:13
a column and slab structure with an applied for and all
00:26:17
and then the christa form shape at the top would handle the residential in this case
00:26:22
series of duplex apartments and then the project would sort of belly out
00:26:27
uh and widened to accommodate the office space well in the event
00:26:32
um it became all office space and we also had a kind
00:26:37
of crisis in terms of uh the direction the design was taking
00:26:43
and then shifted to a completely different model which was the axis skeleton project
00:26:52
so um this this sort of project
00:26:56
um is really an anti frame model uh
00:27:00
there's a moment in a really wonderful essay by collin row so called chicago frame
00:27:07
where he departs from the chicago that the frame model and then he
00:27:11
starts talking about this peculiar project really great project by frank lloyd wright
00:27:17
a call the saint mark's power and again retrospectively our project
00:27:23
probably belongs more to this lineage uh in this case course
00:27:27
the the the tree form of the part of this project
00:27:32
uh you know concentrates the the structure towards the centre and then you get branching
00:27:38
a tray is that come out of this central three uh in our case it's almost
00:27:42
the inverse that three has expanded to and become the periphery and then the sleds hang in
00:27:49
and connect to the central for but i think it belongs to that kind of lineage you uh away from
00:27:55
the frame model and they kind of uh of the older uh you know
00:28:00
nineteen century derivatives or even the new versions of frame that you see in dubai
00:28:07
so this notion lee is what happened in the project but it starts with the column feel
00:28:13
for facade that idea got hold of the outside
00:28:19
and then the the envelope a becomes a uh
00:28:26
hawk mark with holes which provide about forty percent open this more or less uh the
00:28:32
same as that one would find in in the normal building with with a very different distribution
00:28:39
and um
00:28:42
as we develop the project um there of course was the necessity of how we would make
00:28:48
connections uh from this podium structure which is a two story
00:28:53
structure down below uh in in through the tower so we
00:28:57
devise the series of ridges um that connect to the podium
00:29:02
and they go through uh the holes and then connected in
00:29:06
a part of the slab but actually two separate buildings structurally distinct
00:29:12
um the other thing that was really interesting at that moment in the project was
00:29:17
that we went from much of a shell that tapered continuously
00:29:22
to a hard change of scale of that of the show also went from sixty centimetres down at that
00:29:28
a podium level up to forty so got an interesting detail in the holes in that transition zone
00:29:35
remember back so i so i would wanna be honest about this the
00:29:43
next
00:29:47
as a consequence of that separation are mechanical engineer
00:29:53
told us early on that we would be able to have a a real
00:29:57
benefit in terms of shading and cooling of the building course we knew that they
00:30:01
the shading in uh would be highly effective but we weren't aware until he pointed it out
00:30:07
uh that you would get a chimney effect in that yeah that actually uh
00:30:12
would substantially lower the cooling costs of the building and once we found that out
00:30:17
we then work to really uh within the design to optimise that potential
00:30:24
but uh that leads to um a larger question uh about
00:30:32
the issue of sustainability in relation to design which i think
00:30:36
uh you know has been troubling me it's really something that's very much on
00:30:40
the minds of american architects i'm not sure how it's being played in switzerland
00:30:45
um but i can't to relies that yeah it if you're dealing with the body
00:30:52
uh like leads in america where you have to meet certain a numerical performance standard
00:30:59
uh and you start to look at the architecture that's actually you winning these lead awards
00:31:06
they're practically in different to the architectural expression in other words
00:31:11
you have bob stern on the one hand with george bush presidential library
00:31:17
and a postmodern your classical project or
00:31:20
tom mains project both me the numerical demands
00:31:26
ah but they couldn't be more like architecturally which in the
00:31:32
when you think about it is actually a really good thing
00:31:36
that there isn't any sort of codified sustainable style so to speak
00:31:42
but it's a purely based on those issues the performance so that i think in a sense is a liberating
00:31:49
in addition rather than thinking that one would have to do an architecture that
00:31:54
represented sustainable values it's far more open than that
00:32:03
so i think this is yeah just an animation of the cooling effect
00:32:15
and i also want to be um begin to talk about
00:32:19
this specific games uh but time behind the expression and the aesthetic appeal
00:32:25
in relation to that idea of the artificial natural so uh next
00:32:32
so um
00:32:34
we we'll well is that as the project develop it got volume magically
00:32:39
relatively simple it was just the next rooted kind of soft cruiser form
00:32:44
and i remember look remember seeing uh you know these kinds of monolithic
00:32:50
uh structures like the permit obsessed use in rome where you really don't
00:32:56
have a clear idea of how big that monolithic form is especially if the day is misty put look
00:33:03
enormously huge and then when you get up close to what you relies it isn't all that big also
00:33:08
uh that was a really interesting potential for the project to deal with the monolithic and then on the
00:33:13
other side to deal with something that was highly
00:33:16
figured uh having access of features like this oh good
00:33:21
uh which basically has a kind of disrupted camouflage pattern on
00:33:28
so in thinking through the use of the directory of
00:33:31
one of the things that we were playing around with
00:33:35
was uh to try not to be able to read the floor heights clearly
00:33:41
that if we uh so on the left is the more typical correlation say between the
00:33:46
crossing points of the dire grid and the floor slabs where you get equally spaced connection
00:33:53
we deliberately scrambled that we made those patterns
00:33:57
a very much out of phase and so uh they were a
00:34:00
whole series of consequences of load from that new one of which is
00:34:05
uh that it becomes very hard to read have told building is
00:34:10
uh and also that you get very asymmetrical uh connections to the outside
00:34:17
because basically the slabs connect to wherever there's all so uh a very different kind of spatial
00:34:23
effect when you go under uh in in between that's in that's possible to look up and see
00:34:31
so this was kind of proof of concept there blockers we're trying to correlate
00:34:36
holes a kind of describe demurely renderings uh and
00:34:40
highlights the ones that were in the actual building construction
00:34:46
um and we you know again through the iterative process we're really trying to uh
00:34:53
find a way of not reinforcing the
00:34:56
load path visually in the project but to
00:35:00
uh create a series of discontinuous zones of sour that would finally trickle down
00:35:07
to what is actually a very regular column great in the
00:35:10
structure although so that more or less the spacing of these solid
00:35:15
when this surfaces peeled around correlates the regular grids in the parking structures
00:35:21
that we would find a very kind of devious way uh to bring the loads down in in the pattern
00:35:29
so this is an unfolded view of the geometry
00:35:32
them inside knows dash those horizontal batches or connections slap
00:35:38
so there's an effect as a consequence of that kind of move to
00:35:43
the regularity so contrast doing this with the typical of the saudi
00:35:49
on sixth avenue in manhattan where you have
00:35:52
very clear perspective viable didn't we didn't you mission
00:35:57
uh which kind of reflects back on the subject uh as a kind of soul
00:36:01
a kind of owner of that due to uh the
00:36:05
variable uh perspectives that kind of contractions in expansions of
00:36:12
this uh produce a number of almost competing uh energies on
00:36:18
the surface of the building when you look at the movie
00:36:21
and it reminded me of um some of the allusions that were part of that even the op art
00:36:28
a pop in the sixties where this is from yellow submarine the
00:36:32
kind of nowhere manned space where up down right left becomes very ambiguous
00:36:40
we also were very concerned about how people work what the
00:36:44
atmosphere of the office would be especially in the future so
00:36:49
this is a kind of quintessentially image of being pigeonholed in an office
00:36:54
with your own cubicle integrated for plan that and uh me an alienation
00:37:00
and so we also were trying to loosen up that relationship
00:37:06
uh between the order of the plan and venice duration and then
00:37:11
how people um might begin to occupy a the space of the office
00:37:17
so uh in contrast to that more kind of uh organised plan which
00:37:22
frankly uh you know aside from the
00:37:25
you kind of frame model also gets reinforced
00:37:30
in a period where all storage must i was bulky and
00:37:34
large and immediately had a key into the grid as well uh
00:37:39
the the proposition here was that increasingly and
00:37:43
this since this is a building with high turnover
00:37:46
the technologies of storage are gonna get lighter and lighter therefore
00:37:50
um there are other potential ways of uh occupying an office for
00:37:57
and of organising furniture and so forth and that would
00:38:01
be further enhanced by dealing with the non uniform envelope
00:38:06
uh rather than one that basically or gains the same high margin is wrapper all way around
00:38:13
so you get very strange an interesting um
00:38:17
views out uh and ones that because the
00:38:21
the shell is some distance away from the the edge of the of wall
00:38:26
uh allows one to look up and down obliquely as well as
00:38:31
in the kind of stand with fine in the normative office building
00:38:37
so a very different experience of the contact optically and then pulling
00:38:42
out there was also a you know a very interesting phenomena which
00:38:46
isn't just a you know related to our project that i think
00:38:50
is part and parcel of comp use of computation these days where
00:38:54
uh i think people are already pointing out that the it's very
00:38:58
hard to distinguish the renderings of a project from the bill project
00:39:04
uh and that was certainly true uh in the kind of development of oh fourteen where
00:39:10
uh you get the most sort of material expression during construction and then
00:39:16
once the building was finished at least for a certain number of months
00:39:20
uh this incredible kind of idea now the of the service almost looking like the rendering
00:39:27
now it's in the forced pay is uh with all of the paging and the desert dust
00:39:31
and it's starting to look more like a kind of strain has a plan to it but it's all
00:39:36
it's a very interesting um kind of evolution i would say and that's you know a an impersonal one
00:39:43
the other thing that ah we began to uh explore in the genesis of the building
00:39:51
was the they kind of the issue of its
00:39:53
up its materiality and its relationship to the geometry
00:39:58
um on the left is an analysis of done
00:40:02
by princeton students and uh the engineer d. norton's and
00:40:07
for the tall building show using modern art of the of the
00:40:11
world trade centre uh the one that went down in two thousand one
00:40:15
by the engineer les robertson and he use
00:40:19
something like fifteen different alloys of steel strain
00:40:23
um in order and then the colour coding basically a kind
00:40:28
of charts that but in order to keep the facade holy regular
00:40:33
right so different worse owns a and then different strains in order to kind of maintain how how much in
00:40:40
a it we were always that we were sort of on the other end of the spectrum in regards to this
00:40:45
and so what we were um exploring really was
00:40:49
an assumed a kind of extreme redundancy of structure
00:40:54
uh which gave us a lot of flexibility so we went for the uh the highest rate concrete um
00:41:01
and uh the reinforcement such that we could really gain a lot of flexibility
00:41:08
in the way we could module like the size of holes in their position so
00:41:12
i think they're part of this uh you know uh connected spectrum it's
00:41:16
not totally different but a different way of of thinking through those relationships
00:41:22
so the user yep both of them are tube structures more or less world trade and ours
00:41:28
um but one is not quite a regular eyes and ours
00:41:33
deals with regularity related to uh the regular the regular um
00:41:40
so minute passes through an an echo will talk about um okay
00:41:46
so at work i ever talk about sending airport for for short time
00:41:50
and this uh i say they have bought a was a definitely
00:41:56
are coming out of our fourteen buildings and so we've had a debit up the extra
00:42:01
skeleton in whole don't or forms but also send time that grey and ask us to
00:42:08
design on d. uh how to end
00:42:11
the opt because our plan from an organisation
00:42:16
what are of the program was set in a down by at the architect
00:42:24
so uh ten ga well it's that maintaining out uh
00:42:30
a diet will have great consistent for the grazing and buy
00:42:36
a and manipulating in asking and the acting to the local dawns
00:42:40
program inside and outside and the moment of sand and flow of
00:42:46
people it's created on over different sees weeds interfere with up to share
00:43:14
yep
00:43:28
for our way e. thing or a sec
00:43:36
and also then yeah they can't way or some local rising any away at a lot of people's
00:43:42
activities well are you to opening is reacting to
00:43:46
the movement of people and the view of outside
00:43:52
and that they packed oh how or why the different because uh we change
00:43:57
the size of a whole but most or changing the angle of the whole
00:44:02
so we didn't need to keep our out ascii
00:44:04
art today i don't know uh and feared a consistent
00:44:11
and in the case of a fourteen we can map always the module system
00:44:16
of openings because we thought it to be so expensive to do everything different
00:44:22
back at the end of the day it was easier to make a new one for each call
00:44:28
it meant that we could have looking thing a a variation of holes
00:44:37
and here is the air class action shot already in the building showing
00:44:43
there that they agreed over including add paired with it over the info cement
00:44:48
and that this is their platform for the board for for the air beneath nation
00:44:55
a nice hair
00:44:57
change the thickness from sixty cent to made to to to pay add to
00:45:02
the base at the base and to the forty thin tomato at the top
00:45:10
so tell you the rooftop view each hole frames of different our view
00:45:18
at o. or a view of the whole buildings the podium is facing to to buy creek
00:45:25
and connected to the power always have more to
00:45:28
pull bridges main engines eight from the roads right
00:45:35
their breeding uh get the complete different um relationship with
00:45:39
the flow and openings compare with that are no more buildings
00:45:45
and the podium is connected to the building with multiple brie cheese
00:45:55
the rates that pass through the extra scare turn
00:45:58
and connect with the flare up of the building
00:46:03
the rest foreign occupied that power at the podium
00:46:07
top and extends to the outdoor dining a yeah
00:46:13
um this is the yeah right kate spacing between
00:46:16
excess scared don't and the window or at the base
00:46:21
oh so sorry that our flights showed us
00:46:24
that connection parent to dish yeah only look up
00:46:31
and the view is looking down and feared of their
00:46:34
parent between space of extra scared on and the window or
00:46:40
the view of the our our public space and ike eight
00:46:47
for fourteen and its neighbouring um confection always abide to carry far
00:46:54
in the background which is the tories berating now in the war would
00:47:00
here is the date there of extra scared done
00:47:03
at the roof level the slide shows they're changing geometry
00:47:09
up the opening as they move orbital convex and concave surveys of this yeah
00:47:17
have you the way that we will open sort of take
00:47:22
these views um from and that the podium showed hair oh
00:47:27
eighties independently supported it also shows the bridge
00:47:32
it's coming out of to lever or podium
00:47:38
and they are not be days got it to work are quite long time like he and
00:47:44
i have to make this desk and building was completed in two and a half in it so
00:47:52
and then reflection of out of or in the lobby frosted glass wall
00:48:00
that this slide shows the podium for start
00:48:08
okay
00:48:10
okay i will um talk about um competition that we won um
00:48:15
that year and a half ago for the taipei pop music centre
00:48:22
uh it was a very um interesting kind of moment
00:48:26
in the history of taiwanese competitions for the first time um
00:48:31
the taiwanese government uh started to deal with keen sense of competition uh
00:48:37
from uh countries like mainland china especially in regards their music industry so
00:48:43
uh the taiwanese basically evolved uh the first versions of asian pop
00:48:50
and it became a model that spread uh to the continent
00:48:54
uh and they're now uh you know actively seeking to support
00:48:59
uh the music industry uh how they you know a turnout groups and the
00:49:05
create a place where this uh would happen in taipei in a concentrated way
00:49:10
uh and also be a place that would equally be a a
00:49:14
mediated place so uh that it was assumed from the get go
00:49:19
um that these kind this kind of project would have to be
00:49:23
deal with mass media with the television will uh in the design so
00:49:29
two in a way conflicting demands one to create a
00:49:32
kind of physically embodied urban space that had to deal
00:49:36
with uh not just the pop music industry but with
00:49:38
the fabric of the city and other uses and and people
00:49:43
and on the other hand uh again a kind of push
00:49:46
to make an icon it project that would represent a taiwanese pop
00:49:52
so the this site um is presently
00:49:57
a kind of derelict um industrial area that
00:50:02
they want to redevelop they're going to be doing
00:50:05
uh some large uh towers residential towers flanking the site
00:50:10
uh and uh the mandate of the
00:50:13
competition was the somehow uh in gauging drawing
00:50:18
do you really different site conditions won a super low have long and narrow
00:50:22
one and then across a there's enjoying record or uh this no wider side
00:50:29
most of the competitors decided to consolidate their building
00:50:33
on uh of the uh roughly square shaped site
00:50:37
but we felt very strongly that this project was not just about a big building
00:50:43
uh but that it had to engage a of the
00:50:46
organism of this place and that they would have to be
00:50:50
an exploration not only of the buildings and their uses per se
00:50:54
but of creating what we call the kind of new ground for the project to mix
00:50:59
in other words um notions of
00:51:01
a landscape design infrastructure and architecture
00:51:09
so a lot that man really working intensively not only with a single surface
00:51:16
um but the deal with the multiple levels in the city uh
00:51:21
to create an elevated a kind of flexible park space have that engage
00:51:26
um this first iteration of the main whole this is upon a rendering during the competition
00:51:32
um we felt also that we weren't going to be designing a normal
00:51:37
theatre building that was just the theatre but that there was an opportunity
00:51:42
um so how was the music industry executives and they're really competing for rooms
00:51:49
in that power that would have direct communication with the back of house
00:51:54
uh facilities of this here so uh the idea here in
00:51:59
this project that we weren't creating a centre that would uh
00:52:04
i dunno receive groups internationally like you to they would
00:52:08
probably have such big crowds that they would come and use the stadium but this was more for
00:52:14
a a a medium to large size who um at that point in the competition i believe the the main
00:52:21
holes around three thousand people and then they asked for
00:52:25
the provision for outdoor performance uh for close to eleven thousand
00:52:30
so uh kind of big bridging structure uh the main components are
00:52:36
um this stage which is actually a mobile stage what we call the robot
00:52:41
um the main hall that use all the section
00:52:44
of earlier and then um the hall of fame space
00:52:49
which was basically can see that is the kind of vertical museum space
00:52:54
with seating carved out of the face of the q. and that's eating
00:52:58
uh would actually be a start engaging this stage and also you that second
00:53:05
so the urban it's the concept really was that uh you know we're dealing with
00:53:13
a a set a very old models that we would uh in a sense mutate so
00:53:19
a a stadium of notion has a single focus
00:53:24
if you turn the stadium into a circus they're multiple foe side multiple places of of interest
00:53:30
about the problem of both the stadium in the circus is that
00:53:33
they're quite circumscribed there we don't really connect with their up contact
00:53:39
um so our idea was to basically take the circus model and
00:53:46
elevation of a very old roman model make great public access from both ends
00:53:52
and then a further to branch that a model
00:53:57
and have it basically crossed over other road dividing the
00:54:01
two sides and then to place these three uh kind of major object uh buildings on the side so
00:54:09
of this and you click on that is the animation showing
00:54:14
notion way how
00:54:16
the project of the surface that all first
00:54:21
and then the components on the server
00:54:24
and i would also want to talk about this relative to
00:54:27
the recent history i mean it's closest antecedent in a way
00:54:31
yeah is the yokohama port terminal by apple way
00:54:35
but increasingly in dialogue with people of my generation
00:54:39
beginning to relies that this uh sort of single
00:54:42
surface or topological project is not adequate and that actually
00:54:48
a really interesting way of engaging kind of did
00:54:52
that created around an object buildings as possible so
00:54:56
uh but part of that legacy a kind of common like i see no reason exploration
00:55:02
they mentioned before the building had to be a kind of
00:55:06
a tele gigantic i would say be an icon but next
00:55:13
uh the question of it's like in a city was
00:55:16
also something that we were uh in a very different way
00:55:20
there and say oh fourteen trying to explore uh so
00:55:24
that rather than a kind of fixed icon like um
00:55:28
hi pay one o. one and there's a newscaster whose age listen united states you probably don't know
00:55:33
name bob cost this was sort of like the kind of human equivalent to taipei one o. one
00:55:39
rather than that the madonna model seemed really interesting that she is always the same but she's always different
00:55:46
uh so how to deal with something that's the same maybe geometrically but then
00:55:51
mutable in terms of ah how you deal with media how you'd you would change
00:55:57
uh was a really important issue especially because it's a place that has a constant
00:56:02
no turnover of acts an of an advance both related to pop and ah so
00:56:09
uh our thought about the project was to make
00:56:13
a both and project basically that we could um
00:56:17
in one mode of the project when this page which i mention is immobile oh
00:56:23
is that the end of the site one can host a large concert ah but then
00:56:29
uh as one moves this they use on propose on
00:56:32
rails uh you might get a smaller of venue and then
00:56:38
following in its wake one could have the opportunity of
00:56:41
having fully public space non paying space and then finally
00:56:46
uh in the most kind of compressed form when this page is actually guessing with you with their seating
00:56:53
this would become entirely open public park without payment uh so
00:56:58
the m. idea was that you have of kind of flexible urban model rather than a fixed one
00:57:03
and varying degrees of openness are closer than is depending upon the scale of the venue
00:57:09
or the demand to have night markets or other
00:57:11
kinds of civic functions on related uh the pop music
00:57:18
so this is a uh one of the very early
00:57:20
rendering showing the outdoor performance space with the lighting at above
00:57:27
and then this in another modality when it's essentially an open and public or
00:57:33
and this you um shows that moment when the stage actually
00:57:38
cases the cube so you could have very intimate small scale performances
00:57:47
then then of you out of that you towards the site a different time
00:57:53
so there was always that kind of desire to gonna deal with
00:57:57
uh you know this notion of that one would have to host multiple
00:58:01
uh events and scales in this place to keep it active uh i'm not twenty four hour basis
00:58:09
and to you know look through uh what is possible to see given proximity of this changing state
00:58:17
um
00:58:19
the main halls i mentioned is really a kind of hybrid building
00:58:23
the lights our uh in a way super exaggerated to be calm
00:58:28
uh the office space for the music industry so are just uh
00:58:34
had direct access to producers backup house and
00:58:38
then there's a completely different kind of universe happening
00:58:42
front of house for the general public and their interaction with the artist
00:58:50
and this is a sliver space so as a matter of creating not
00:58:55
just the single surface anymore but really a second round so that commercial space
00:59:00
would occupy both the industry level but also a occupy that sandwiches well
00:59:08
so i kind of mix now the project has change and
00:59:11
it's changed again um there were a issues about the noise code
00:59:16
so uh this is one of the iterations of the project where we developed a
00:59:21
you know an acoustical shell but basically cover the outdoor space but again tried to keep
00:59:28
the uh connections are gonna stick way under the shed when there wasn't a a concert
00:59:35
uh being stay so uh doors would come
00:59:39
down and basically seal but project uh during
00:59:43
performance and that became a kind of an open shed all weather shed um when not
00:59:53
and then this is a yet another development this the most recent so this is more or less a sketch
00:59:59
but the um pop music industry demanded a
01:00:03
major increase a program for the main hall
01:00:07
they eliminated and earlier demand for broadway musical type
01:00:11
of stage just in case they didn't get enough that
01:00:14
and and so the project uh for the main whole has changed considerably
01:00:19
um offices have moved across the street uh so this is a very tentative kind of scratch
01:00:25
where we are now in redevelop in the project but i'll let's move now to the uh
01:00:32
animation that we showed in competition will will uh presentation without david
01:03:07
okay so i'm pouring and to explain our coast importer no our project and
01:03:15
actually care house from our product army or
01:03:18
out on our project we actually want nastier
01:03:23
but we're almost ending this project are we are at the end
01:03:28
of the class action document and after that we're going to the construction
01:03:33
so order um we started later but we yeah ending and then
01:03:39
we're going to construction are yeah then or type a pop music centre because uh
01:03:46
i'll cry and is that people who use
01:03:49
the building the indicator taipei pop music centre
01:03:53
there we have a few friends and they can't hardly on each other so the
01:03:58
it took us two years to to the d. r. start working on on the project
01:04:06
are so are um they're this uh in that this is
01:04:10
an international airport terminal in set and heart city all caution
01:04:15
instead of the plot commoners sitting alone in isolation
01:04:20
we try to activate that what the eighties
01:04:23
by connecting infrastructure of the city and ocean
01:04:29
they're a container portal kind of shoe is no one
01:04:33
no allied taste in the stage yet and light tasting taiwan
01:04:38
how soon is also one of the lightest are um in bestial centre in high one
01:04:44
how ever distinctly in this industry has a given away
01:04:49
to the posting best to use and so support it
01:04:54
being the band for the public
01:04:58
are there cypress design and therefore my industrial dark eight sacks of
01:05:03
from my segmentation of u. c.s up the probably like many other cities
01:05:09
our waterfront is cut off from the power break right to the model functional planning
01:05:17
our our case hours and schematic concept brings are
01:05:22
these are different is used to yeah
01:05:24
there or necessary uses segmenting them in section
01:05:30
sandy to withstand no use in a meter per breakable over and start with you know
01:05:37
connection from the good parts a and i live or to take and way to the
01:05:43
shape and satisfaction on the ground level at
01:05:47
u. c. and paprika on top of the podium
01:05:52
at to scare off the port terminal building these surveys that are in section
01:06:00
and are going for the power brake apparently now answered is function to work simultaneously
01:06:08
maybe you from that land far eight that departure and tries to the programming now
01:06:14
be a vehicular drop of their cars and taxis and by face
01:06:21
i ran airborne is that i live or how it is called ain't that
01:06:27
packs into and bath top and end yes of that and that where parking lot
01:06:35
the view of the product boardwalk which connect to the waterfront arose or
01:06:41
they are these are boardwalk supposed to continue and
01:06:44
then create the water water h. parks in the future
01:06:50
are there may never at six media is to depart careful
01:06:55
and there are direct access on narrow to the weighting it here and boarding now
01:07:02
the platform it's shaped like a minute fought planting from one
01:07:07
centre space to to the adventures face to the each functional role
01:07:16
alright the i. d. three lever of
01:07:19
the primary intersect with probably waterfront portable
01:07:24
this elevated pay based on boardwalk hates the top of the candy no law
01:07:30
and it's creating joan of arc on my seven movies fight at rice fan and shot
01:07:39
these labels are axes to do to escalate to in a push k. space of the war
01:07:47
that or vertical movement system happen between i was keeping a main volume for me
01:07:56
yes i i that's nice or so or the
01:07:59
engines flown a waterfront an entrance found an artifact
01:08:04
oh if it's downright relationship to the power brick space
01:08:08
thirteen point for me to to the top of the podium
01:08:16
there are physical models shows that parenting their
01:08:20
engines their departure unreliable or an office tower
01:08:26
their view of the office cow uh is sitting on the podium
01:08:33
the view of the netting role and the connection to the boardwalk
01:08:39
and a beer from the one of the roll
01:08:42
raise our race from one can look at activity inside
01:08:54
paraffin isolation is important not on me to do are putting
01:08:59
their right into the building backed to the project light out
01:09:04
our this is especially important for the building at
01:09:08
the water h. we're designing the dynamic lighting system now
01:09:14
at that podium of the time yeah space is bad
01:09:18
when she please note there are that parent marries the space
01:09:24
our that house import panel of others their public
01:09:27
space day always acting when i suppose not yeah
01:09:32
very good very d.'s ocean liner comes out one for
01:09:35
two weeks or their when chip is not there nobody's around
01:09:41
that space is no convention or open car
01:09:45
um fear right changing airspace delectable was taking
01:09:53
they're very simple fly and fiction shows that for their departing parsing yeah they
01:10:00
stay on a network but also they can see their function of boardwalk aboard
01:10:06
so if they have a time they can use those on many please
01:10:13
that that was king how's evacuations and a mechanic courses stand under
01:10:19
structure ceased and also create the air for or for recruiting the building
01:10:28
they're branding can't delivering blow out and then variables facts or for their power
01:10:36
parents are eight w. out part of a
01:10:39
continuing system which engages the age of the boardwalk
01:10:44
i'm connected to back to the waterfront which connect to your partner water from park
01:10:52
our um
01:10:55
they're known view from the however acts per order icon a possibility of the building
01:11:03
wow
01:12:38
uh_huh
01:13:24
ah uh_huh uh_huh
01:13:30
mm uh
01:13:37
oh
01:14:37
oh yeah uh_huh
01:14:43
thank you
01:14:53
i'm happy to take questions of your or
01:15:00
yes
01:15:05
oh
01:15:13
yeah
01:15:22
yes
01:15:37
uh_huh
01:15:41
ah um i guess we uh have share that interest in
01:15:47
the physical model making on the drawing with gary uh that
01:15:51
uh you know the office of course does and has been is known for its
01:15:56
use of computation but that's only one aspect
01:15:59
of the design work so uh unusual schemes
01:16:05
either they start with physical models or three the models are
01:16:10
drawn in the computer but they're always check with the physical because
01:16:14
uh we find that the distortions there the perspective window
01:16:20
never really give you know what the actual artifact is going to be so
01:16:27
our process is really a kind of pragmatic one i would say we use the tools that
01:16:32
past sort of solve the problem at hand but there's a lot of very classical making in the office and drawing
01:16:40
wow
01:16:44
uh_huh yeah sure a lot a lot of handling a lot
01:16:47
of adjusting and then also a lot of adjusting of contours
01:16:52
when people are uh i mean i would it's somebody's model ling
01:16:56
uh we're always catching an than you know
01:16:58
suggesting changes and adjustments as a lot of work
01:17:02
actually i we were talking about this the other night there's
01:17:05
actually a lot of two d. determination of work rather than
01:17:10
i don't know and i sort of it opens sense of three d. model link everything as us asked
01:17:17
more or less from two d. many many many to d. projections to
01:17:21
just uh you know those kinds of one that kind of or making yeah
01:17:29
yes
01:17:34
uh_huh
01:17:38
yeah
01:17:43
mm
01:17:49
yeah
01:17:52
uh_huh
01:17:56
uh_huh
01:18:03
uh_huh
01:18:06
uh_huh
01:18:11
uh_huh
01:18:13
no
01:18:20
uh_huh
01:18:30
uh_huh
01:18:34
uh_huh
01:18:40
uh_huh well it's that you know of a like kind of managing a whole complex of the man's it once i
01:18:47
would say i mean the ones of course there are other sort of parameters that are set up by the structural engineer
01:18:55
in terms of proximity of any of those holes and they're
01:18:59
you know how this would perform structure so they were uh have
01:19:03
guidelines that were set up at the beginning in terms of
01:19:07
how far we can push and pull out how we could very
01:19:11
um and then yeah i mean they were just constant iterations um
01:19:17
which uh i actually went from an initial enjoy
01:19:23
doing everything with a rhino scripting with scripting gradients
01:19:29
uh which actually um work to mechanical for
01:19:33
us we're actually dissatisfied with the scripting model
01:19:37
so then we had to uh you know go to or more uh a kind of a direct means
01:19:44
uh i'm beginning to to work so i enough money where i mean if you you know once
01:19:51
all of the parameters were sat there was actually a tremendous amount of freedom in how you get there
01:19:57
so one could work in a sense almost painter in a painterly
01:20:00
way knowing that they're all the caught all the quantitative issues with being
01:20:05
a sad as it was the whole lot of latitude so
01:20:09
um i again i guess it you know it it it's um
01:20:15
there wasn't one method but there were sort of balancing many sort of issues it once when we were working
01:20:21
through we would do an iteration geometrically it would go
01:20:24
back to the structural engineer they would run the calculations
01:20:28
uh they would see whether hotspots or you know where we had to change things that would come back to us
01:20:33
we would be dissatisfied with that we would adjust it again so it was
01:20:38
a continuous back and forth from the beginning we'll uh with with the structural for
01:21:02
well i mean they're yeah i guess there were technological uh sort of constraints
01:21:08
uh and then there was the desire to produce a a certain kind
01:21:12
of atmosphere in effect in the outside of the building as well um
01:21:17
while at the same time you know having the forty percent openness that was require them
01:21:22
doing all the things that would probably be associated with the more normative structure
01:21:28
so i mean they're not mutually exclusive fine
01:21:49
um yes
01:21:55
of course yeah no we we absolutely in fact computational be we don't see it as a your formal
01:22:02
from our point of view it's not about so much about the regular of the map that but about
01:22:07
being satisfied with the results so it's less about a rigorous tracking of process
01:22:13
absolutely but more a pragmatic approach in terms of what the final effects with the
01:22:21
yeah so yeah from the standpoint of a purist it's absolutely contaminated
01:22:27
yeah
01:22:33
uh_huh oh it is i mean
01:22:37
uh_huh
01:22:41
well i think it was you know uh and to kind of talk concretely
01:22:46
problems we weren't countering with the scripting was also even one up time that um
01:22:54
the scripts word kind of define rules for say producing a
01:22:59
gradient over certain number of holes with a certain amount of change
01:23:04
and the typical sort of situation there was that you
01:23:07
would get a fairly mechanical result you could uh i
01:23:12
mean maybe this is part of the applicable project that you could smell the system it looked too mechanical so
01:23:19
it meant to localise in the change more more more and then
01:23:22
it became absurd because they give the forgot i was writing code
01:23:27
uh you know for single lines of holes in order to get what
01:23:31
we want it so um it became in a way cumbersome and unrealistic
01:23:37
uh so i don't yeah it's ah it's hard to see because at all of course it's been unified
01:23:43
from you know in terms of the geometry that i've gone through periods but a lot of work was done
01:23:49
uh an order to try to sort of defeat the obvious
01:23:52
sort of room a reading of a load pads and also um
01:23:57
to vary the the gradients and it really was more like painting at the end of it
01:24:13
yes
01:24:16
uh_huh
01:24:24
yes
01:24:31
uh_huh
01:24:39
uh_huh
01:24:41
one
01:24:47
uh_huh
01:24:49
right
01:24:54
uh_huh
01:25:04
uh_huh
01:25:14
right
01:25:16
yes
01:25:19
uh_huh
01:25:26
uh_huh
01:25:30
right
01:25:31
well i mean i think that general at that in the office for better
01:25:35
or worse is that rather really make it you know to do the most
01:25:40
i don't know if it's the most extreme but we would want to do the project that we would do anyway
01:25:47
uh and not try to second guess you know the developers or ought to try though a kind of
01:25:54
overly accommodate the reality than the than the task is
01:26:01
uh is the kind of productive battle between the realistic
01:26:05
uh constraints in the man's and uh you know the status
01:26:09
of the project but to start with you know the barlow
01:26:14
means of project gets really but now really fast and almost don't wanna do it
01:26:19
um so yeah i mean our tendency is to really kind of pushed as hard as we can
01:26:26
in the direction of uh you know or what we would do anyway
01:26:32
i don't know if that answers your question but they were different you
01:26:35
know consequences right i mean the couch along project was basically i've owned
01:26:42
by the head of the port authority of that you know he runs the
01:26:47
whole thing and so he identified with the project became as champion where's taipei pop
01:26:53
deals with uh you know three or four bodies who actually you know can't stand each other
01:27:01
well one doesn't really know it you know in a competition uh you
01:27:06
know uh realistically also one and uh also a judge is that you're really
01:27:12
if the jury would even be receptive to are doing this admission that or whether it's a waste of time
01:27:19
sure sure that was probably more uh more media
01:27:24
set of concerns than uh the administration and the
01:27:28
pop music industry and so forth that is sort of a never made explicit until much much later
Conference Program
Vernissage de l'exposition Las Vegas Studio
Sept. 21, 2011 · 6:09 p.m.
Quand l'architecture et le cinéma transforment les territoires délaissés
Sept. 22, 2011 · 6:36 p.m.
PechaKucha 'Lumière
Sept. 24, 2011 · 8:22 p.m.
Las Vegas, Film, and the Mobilized Gaze
Oct. 19, 2011 · 6:33 p.m.
Metaphors We Live In
Oct. 26, 2011 · 6:33 p.m.
Craftsmanship
Nov. 8, 2011 · 6:34 p.m.
L'épaisseur des lignes
Nov. 9, 2011 · 6:32 p.m.
La controverse Learning from Las Vegas
Nov. 16, 2011 · 6:46 p.m.
Dans le paysage urbain
Nov. 22, 2011 · 6:38 p.m.
An Aggregate Body
Nov. 23, 2011 · 6:46 p.m.
Curating Postmodernism
Nov. 30, 2011 · 6:41 p.m.
Pièces à conviction – Une périphérie prend forme
Feb. 22, 2012 · 6:05 p.m.
Pechakucha 20x20
Feb. 23, 2012 · 7:03 p.m.
Espace, Lumière, Structure. 7 Concepts
Feb. 28, 2012 · 6:32 p.m.
Suburbia does not exist. Strategies for dense city growth
March 14, 2012 · 6:38 p.m.
CONSTRUCTIVE REACTIONS. The Architecture of Kurtogpi
March 27, 2012 · 6:32 p.m.
Les coulisses de Malley
March 28, 2012 · 6:38 p.m.
Débat critique - Projets de première année
April 3, 2012 · 5:15 p.m.
Ensamble studio
April 16, 2012 · 6:36 p.m.
Le travail d'ingénieur et le projet de modernité
April 18, 2012 · 6:35 p.m.
RUR: PROJECTS
April 24, 2012 · 6:20 p.m.
Conférence du cycle 'Pièces à conviction
May 8, 2012 · 6:34 p.m.
255 views
Paysages intérieurs
May 15, 2012 · 6:35 p.m.
Yona Friedman, Genesis of a vision
Sept. 19, 2012 · 6:13 p.m.
Working in Mumbai
Oct. 4, 2012 · 6:40 p.m.
Yona Friedman and the Gost of Utopia
Oct. 10, 2012 · 6:13 p.m.
Global Holcim Awards 2012 Gold
Oct. 12, 2012 · 6:06 p.m.
Just what is it that makes Friedman so appealing ? hier et aujourd'hui
Oct. 17, 2012 · 6:07 p.m.
Pour une histoire culturelle de la construction
Nov. 12, 2012 · 6:35 p.m.
Partage d'expérience
Nov. 21, 2012 · 2:17 p.m.
Hall Of Mirrors
Feb. 20, 2013 · 6:09 p.m.
Happy Street
March 13, 2013 · 6:29 p.m.
Pier Luigi Nervi : l'architecture comme défi
April 17, 2013 · 6:09 p.m.
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images: Part 1
April 24, 2013 · 6:34 p.m.
109 views
Pier-Luigi Nervi, entre ingénierie et architecture, chantier et images : Part 2
April 24, 2013 · 7:22 p.m.
Présentation de Riccardo Morandi
May 1, 2013 · 6:30 p.m.
Présentation des conférenciers, MM. Aurelio Muttoni & Mario Alberto Chiorino
May 8, 2013 · 6:31 p.m.
Présentation de Robert Maillart
May 8, 2013 · 6:33 p.m.
128 views
