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Ensamble studio
Monday, April 16, 2012 · 6:36 p.m. · 01h 28m 31s
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well i thank you very much for coming next night i see a lot
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uh we organised i liked it i you know i chair
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ah it doesn't you don't you don't know me and genetic
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well i teach second here and that is that is and it
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and ah and uh we'd like to welcome you tonight too it's wonderful lecture
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ah and what s. e. of examples studio for me
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whose work i was also ah genius for our midterm reuse
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and i think overall i hear now had quite request last ah months
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and ah constructive discipline
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we stopped and it's it's making out of it's it's ten discrete elements reconstruct relations
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really just we had its ability and the context that we occupy
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relationships it's a new set of activities and experiences
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construct our own discipline me along the way that
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we work the process by which are designed can see
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and it sounds it is that we impose to push the limits of our profession da speech style technological material
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cases it is an intersection all three of these conditions
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and this is where we find work and one guest yeah i. d.
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and it has a seat a header scope in house and ate his work constantly tests
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and redefines the processes of construction to produce cases that marriage and it's it's not making
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he combines no tack with high tech often find new uses for
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old materials or it's nineteen with p. education to minimise construction times
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like his lecture stones and beans his work often seems impossibly simple even primordial
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it is always preceded by a precise and painstaking process of planning and calibration
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you can i yeah that is architecture is it's not just the process at me as it is the end product itself
00:02:41
and many of these constructs in capital wonderfully document on video which i hope you will also so today
00:02:48
ah that body technique universe yet let it a long time and
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i just like to he will be joining the faculty at cyanide see
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and and actually also visiting professor before at harvard as well as an i. t. n. x. received
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number of awards including everyone understands academy it was the first prize
00:03:10
in the year two thousand he's also it's yeah actually that's a lie
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i think it's getting
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up for thank you and thank you for the invitation worse
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a big place so to to join your your studio i really enjoyed first of
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all the uh the approachable architect of a a share up and the yeah the yeah
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starting at work of the students who
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even though there's no four more weeks to continue all the the
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mission for no yeah you got the chance to make some things
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yeah i i think i knew life
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the the work of aware of office the last a year season too
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very simple names knows the one and
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stuff which has file row oh uh_huh
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yeah
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sure
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okay off uh_huh uh_huh uh_huh oh
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okay well thank you yeah
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so some some beam was yeah do not
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for their work in chronological order it thus
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actually yeah mm that refer to
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different constructive and structural approaches her and
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yeah mostly to the way you construct this i know the i beam is
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very abstract eh into near it element
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that we the architects and engineers designed as the figure of maximum
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sufficiency in terms of mechanics and that's the reason of its form
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so these are projects that we constructed with
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beams mostly a with the priestess concrete yeah yeah
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do we have to construct this site all their like synthesised elements
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that belong to a system and that system it's how to numbers uh
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yeah within the side that it's a construct that no on
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the contrary the stones are a set of projects where these
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yeah elements that we eh extracts from from from
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a local quarries or a a governor's or or
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or or or or the particular size that do have a special
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meaning like some tara comp are still our make igor these places where
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we decided to work with this site yeah we understood that these uh mm
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category of projects have not only the the the joint to condition of being
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worked with stone mush but also the that uh they do re for you
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know very strong dialogue with the with the with the place now with the site
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so uh i want to start with a very uh um mm mm
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yeah abstract to project where we tried
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to an expression re present the assassin exhibition
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proposal in venice be another two years ago a part of our work now and
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uh try to create also at the low with existing us another building no yeah
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this was commissioned by by then it's been ali who was created by his him ah
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and the issue talent uh just to uh to create a space yeah
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and she offered us the possibility of a work in this eh enormous a
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part of there's an alley so our
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i'm now whether and projects was to me
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trying to re percent and express these to mature palate that that
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we work with null it that's gravity that sickly barium that's balance that's
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yeah also some structural elements that haven't on
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italian an individual person so we started without
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figure that the that symbolically represents an enormous load mostly in the italian quote from like across
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how big crossover these and longitudinal section of there's another that i'm sure
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you all remember no this is on an enormous scale like about cyclical
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eh if figure no with these three very vertical elements eh
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governed by the presence of these yeah enormous brick columns no
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so mm anything that you insist installed here is immediately
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yeah they were rated by the the persistence of the of there's another space no
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so we uh we uh it tried to
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create that harmonious or the sorted of eh eh
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balance between the existing structure and a new structure
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based in the uh the the balance of these two
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eh beams that two percent i'm not one to one scale the
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the the the structure that we worked with it hard to turn the
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the the the longitudinal space into an oblique element
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had to turn the practicality i all these columns on
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these yeah spaces into an already some de lint
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turns on it also how to express and money festive
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the the the presence of gravity through these uh it keep
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human games no balancing act was the name of the installation
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that we built a one to one more cup to stressing me a blocks of foam through uh
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our mother that i had the possibility first to
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to show in a a in upper upper scale
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this k. the the the structure that we had in different
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projects that were represented in in in in the in the
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exhibition and also on being able to to make present the
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gravity not to two percent and and and almost yeah offer
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if the city of gravity as the main material that we work with no so these double yeah it's
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scale the several lake to off of the projects
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that we showed with with the with the material eh
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eh of the structure here was say our uh main idea
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uh this is uh how's that yeah yeah
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works with these scale no these yeah the
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mel scorpion how's is uh about that this act
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of seven elements yeah that are stacked on
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our piled together in these eh eh the
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really quite does sequence journal as our gravitate toward reality parody
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that provoke eight's the the the the fluid and the light
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to space through these heavy traces of eh would be much
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of a to stress concrete no yeah yeah these to the structure
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is based in the fourteen distorted idea yes a fourth of the
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stress that all the eh pretension parse tension uh of the of the
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beams gives to the uh to the to the form to the
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eh um conventional form of the of the of the of the beam
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so mm we did like these uh
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um a crude nature of of the industrial
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element now by the way also these classical shape deals with with uh with the
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with the construction or it really seems to be like a court nice all far
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of a classical element or a or a mm
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don't do it as space no so we made these great reputation of these elements recast the
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them in a factory and after creating these
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in a enormous eh mid three yeah um yeah
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yeah foundations where all the loads are
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the positive we eh and started these yeah
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the script of pretty fabrication based in how the you know the
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location of these eh the beams one to each other noise you can see all
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the klee bloom is based in one encountered a cunt lever that receives the next one
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and again can't deliver some lucy the next one and the well the sequence all
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the security gets lighter and lighter uh until
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it's ants in these counterpoint eh that uh
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eh requires these twenty times of ground i tend to cut the theory of the structure and
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to re percent otherwise the the the gravitate toward real essence of the space of the house
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so um this is the structure us it was finished and this is the how's yeah
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a completely eh finished with all the the
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facades on the on the on the yeah mm
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installations so it's it's our um
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eh it was i was surprised to discover how present was the
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space once the structure was completely finished now and the how eh
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howell the little extra requirements does
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the structure to eh and complete there
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the architect conical professional yeah there we were attacked the by the idea of
00:13:58
of inserting that's really all the landscape through uh and the distant how does one
00:14:02
know and the and the uh confronting these very tense lines by those traces of
00:14:09
of the of the length of the structure
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that's who's that wrinkle persons of of of the
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horace on on giving all that a contrast between all the tension of the traces on the
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and the and the and the transponders the footnotes buttons of the
00:14:28
of the landscape and also um it was i ah were and
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we're idea to to be able to create ah very light space
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it started with a heavy elements no these yeah apparently contradiction
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does operate in the way we architects manipulate the notions of
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wait and national so these elements we could affirm that they are very massive in terms of
00:14:58
of uh of towners the these to be me is more or less a fifty tones but the
00:15:06
the the the consecutive especial consequences of the sickly
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bloom of this position of these yeah and about lessons
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eh and systems do and create the the the likeness of space
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and uh uh mm the these video shows yeah
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how the the audi is not very good you will
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see it immediately but these bigger shows how
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we operate in a somber studio we're in our
00:15:39
decisions in the office and the constructive process are quite similar or analogue
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yep yep
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up up
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up
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up
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up
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up
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up
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up
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up up
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up up up
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up
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up up
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up
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up up
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up up up
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up up up
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up up up
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up up up
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up up up
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up up up
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up up up
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up up up
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up
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up up
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up
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up up
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up up up with a club
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oh
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um
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mm up or
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mm up club
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mm up up
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oh
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yep
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yep
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oh
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yep yep
00:19:02
oh
00:19:07
where several days a hand uh
00:19:13
and uh we got some confidence of working with these a ski instructor so
00:19:19
uh we actually the the all the construction where the contractors of these houses
00:19:26
um and this project we are just finishing it now and will couple of months
00:19:32
also this documentation what you're going to see is not really
00:19:34
updated but it talks about the structure and uh is very similar
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to uh they d. s. we'd and developed for the venice be another
00:19:45
the fashions this is a real project the bin is is
00:19:48
we know some exhibition but we had to work in this um
00:19:53
the slaughterhouse this is the whole slaughterhouse of mother read but
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it has the historical protection very similar to the one of
00:20:00
them was zero o. for the brow or not so imagine
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what a kind of project we could do is just um about
00:20:07
furnishing interior accommodation of the installation stuff that they don't know
00:20:12
so all our proposal was to turn these two part a little
00:20:16
yeah it buildings into one single project no
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so our idea was to cross all these breeders
00:20:24
within the windows while trying to demonstrate that yeah these were part of the yeah
00:20:31
um movable elements of their of their of the building and
00:20:38
make again a a dramatic transformation of
00:20:42
the space transforming the legality of these
00:20:46
yeah or regional buildings into a transverse
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attention and also and putting in comparison all
00:20:54
the all the the structure with the new structure no the
00:20:57
fragility of the of the yeah metallic yeah mm process of of
00:21:04
the industrial track system building with the lintel snow with a with
00:21:09
the bridges of posters concrete that the program is an exhibition area
00:21:15
some uh room mush for the classrooms predication i
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mean the upper level with all these bridges are like
00:21:23
lines of investigation or this these bridges can generate ah i
00:21:29
like i like are listed level where all the research activities happened
00:21:34
sure you can see the section or the product is
00:21:37
based in these transverse show connectivity between the two buildings
00:21:40
and the creation of fine intervals street like at the
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the like this pint of of both the buildings and
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oh yeah all the the the air for the structural effort was how to answer
00:21:56
these unique pieces off off thrusters concrete without touching the structure and guiding them with uh
00:22:02
fully engineering position through the through the windows
00:22:07
no so again i want to show you these
00:22:10
yeah mm transformation of the regional space by the insertion of
00:22:15
an improve or eh is structured in that system and how the
00:22:20
the space really it changed dramatically anywhere by the presence and the the
00:22:26
challenge of of these different font mainly of structures even though both
00:22:32
belong to these industrial world they have like completely an extremely different natures
00:22:39
and especially these eh elevated alien yeah eh lines where there's
00:22:45
a a second scale more intimate scale of for research or these
00:22:50
yeah the aeroplanes will have people who sit with computers in participated
00:22:56
as a whole but belonging to their own eh eh eh eh
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indeed the dual eh space so um let me show you another video that uh
00:23:09
mm refers to the process together process
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ah
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oh
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oh
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oh
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ah
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oh are
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oh
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yeah
00:25:08
oh
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oh
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or
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ha ha
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or
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yeah
00:26:56
well yeah we've also done some research projects eh that's sorta sometimes as an
00:27:03
academic exercise like this one where uh
00:27:06
we uh try to demonstrate how all the
00:27:10
yeah ideas from really the the reduction could be a examined through uh
00:27:15
in a let's say a technological update that technological update was to respond
00:27:22
i'm sure to at least a year of look
00:27:24
always he off stacking space and structure the same time
00:27:29
without challenging anything that these in the us
00:27:34
yeah skates just using these p. fabrication logic into
00:27:40
all the different parts and attending all these eh
00:27:46
re reinterpretation of the structural sell off
00:27:51
lonely they mean able not to insert metaphorically
00:27:56
yeah uh i sailing target either yeah what it's not really the process
00:28:01
of building lonely today but being able to start with eh contemporary it
00:28:06
boosters technologies and actually elements like the cranes that we do have now
00:28:12
and the the the the sales of lonely table so all these um
00:28:18
structure does give us an enormous i uh freedom no not
00:28:23
only to resolve the the sale of the system but to be
00:28:27
able to incorporate more variable was into that process and all
00:28:32
that was what a lead as eh into eh the exploration of
00:28:39
yeah a new eh housing systems based in these
00:28:43
and interpretation of the salad local b. c. m. so
00:28:48
we do think that uh this uh the new logic that becomes
00:28:53
eh eh as the response of our contemporary war that has another variables
00:28:58
and is part of the again the memory of the process of building
00:29:05
and this is the last project i uh of these beam
00:29:08
category that we're working in yeah it's a competition that we want
00:29:12
in midland recently is is this is not the year as you can imagine yeah the and the uh_huh
00:29:20
that is basing these happy fabrication logic no
00:29:23
we first design the system and after we like
00:29:27
eh gave a case study in in these particular competition so
00:29:33
these are residential tower high rises uh i would try to
00:29:37
eh understand the logic of me yes now when he
00:29:41
was challenged by the real state of new york of
00:29:47
yeah to to build uh uh the the best and most efficient
00:29:51
yeah office building or that that that all the time so we
00:29:54
asked how many lives could do fit in milan today and how
00:30:00
different schemes and we thought that it's a plurality to replicate a hundred twenty times the
00:30:07
same apartment though so we decided that we're plan was going to be a little afraid
00:30:13
a frame where we could locate the needs that all the people will
00:30:21
have like the infrastructure needs elevators that that uh eh the the private infrastructures
00:30:27
like keats in a installations mechanics at the data and the two other
00:30:33
corners of the views the light here and in this empty frame anyone could
00:30:40
provide and draw a construct their own life no so we copy pasted the
00:30:45
yeah exist in a languages of architecture and or like i'm sure you can
00:30:52
follow the eh the cultural line of each
00:30:57
of these ways no understanding that i am
00:31:01
these five media add a convention of farmland all big family
00:31:06
could be the neighbour of these out up eh fake anal
00:31:10
or eh someone that wants to commission c. d. my uh
00:31:15
the his apartment he has to be free of it and
00:31:18
we would like to have these as an office makes use the office and leaving
00:31:22
no so when this to that we had to provide that structure that gives all
00:31:27
that leave it the all that freedom to be able to uh eh respond to
00:31:33
any kind of meets a initially our
00:31:36
project was two towers and finally the competition
00:31:40
the the uh provide one tower to eh it also to the mode uh another one two and summers to you
00:31:47
and the dialogue between these non yeah it
00:31:51
between elements is based on the countries are social
00:31:55
i shall we show and i wish we call it it's a towel because we are stacking all the structures according
00:32:01
to the geometry of us you know us it was you
00:32:05
know it's two different elements that get together and have like
00:32:10
tends to buy ah vertical continues element it's how to most of the length yeah
00:32:18
and has no finish your starting is just
00:32:22
a structure that provides an enormous tension to these
00:32:25
parts and he's able to cut the lever the other three fourths of the structure so these
00:32:32
he's the way we are going to a organise the the
00:32:37
the the the general balance of these tower trying to pour stands
00:32:42
these parts in the four thirty but there'll borders you know very rigid
00:32:48
yeah mm column where the course are in
00:32:51
the perimeter and giving an enormous liberty of
00:32:56
eh uh of uh voiding of twenty meters of each
00:33:00
quarter in every apartment and so this key more or less
00:33:05
these these that combines the double or that with two independent
00:33:08
units and creates a with full plan where there's an area
00:33:15
that we call that the the night area how that they they area the different spatial differences that
00:33:21
that night eh is eh um eh and under the influence of that structure that
00:33:28
protected covered sit and the the the now and the and the day eerie out does
00:33:34
create that uh like a but you'll be law eh continuity with that next that
00:33:39
now traversed no so finally the the the
00:33:42
simplicity of these scheme will eh will eh
00:33:46
eh eh they give the liberty of the real estate
00:33:49
market to organise very conventional like these images for the developer
00:33:56
eh ways of interpreting their own their own vision
00:33:59
of life that we as architects in our version
00:34:03
don't want to manipulate at least a hundred fifty times no
00:34:08
so and b. c.'s the way these two buildings will it dialogue with each other uh
00:34:14
we we we uh ones that transcends off shadows sideways and or is some tell it the
00:34:21
investors have recent dial i'm a lake and eh vibration off
00:34:26
of of the wrinkles of of the of
00:34:30
of metal and a glass that's what is proposed
00:34:35
and uh now i go to the other side of the coin
00:34:40
and they want to start with a small point about major this is a hard uh
00:34:45
small house how old also room that we built this beautiful landscape both
00:34:51
some girl compose the logo i'm sure isabel have talked to you sometimes what
00:34:56
kind of spain we do have in the northwest no it's really nothing similar to
00:35:03
the mediterranean it's exposed to the it to the atlantic it's uh it has
00:35:09
completely different climb at the the the rough and this and that and the beauty
00:35:13
of landscape is based in dallas in these while the national and we wanted
00:35:18
to create dismisses these strong contact with nature no not trying to reinterpret the nature
00:35:25
but trying to understand what they're lost the the logic of it you know and
00:35:30
then and uh from these the whole uh uh of of of of the cave
00:35:37
to these hot there's there's this i'm starting point no so we wanted to to
00:35:44
to uh to incorporate all the major a loss like time like a like a the
00:35:50
presence of bets double knits or the the animal need to the human nature into
00:35:55
our uh the the process tunnel yeah trying to manage the uncertainty of the major also
00:36:02
i'm not trying to control everything we did this as a performance not with plants just with the idea
00:36:09
and eh with just the reference of the look about out of records here this is our cabin on the bit don't yeah
00:36:16
that these are rounded on the constructs the program
00:36:19
through the perimeter in a in a sub similar scale
00:36:24
so the truffle yeah is there a
00:36:29
piece of nature that we accommodate to
00:36:32
uh update the topic space like digging a hole reordering all the bits the wall
00:36:38
yeah this is all over the south of the site and inserting after
00:36:43
an architect tonic object more like a volume shaped with stacked hey beers
00:36:51
and filling the space between these two all their that the elements
00:36:55
no the the the condensed here the the the pressurised this or that
00:37:00
and the the the the but the the concrete liquid conquers the after these we obtain these
00:37:06
maps is not uh i take to worship prefabricated
00:37:10
stole i could say no but we discovered how
00:37:14
yeah the the the pressure that the action that reaction of
00:37:19
the chemistry of concrete with the with the elements of
00:37:22
the of the mater hard hard core no and we start
00:37:27
the architect conical eh actions like routing chopping digging no and
00:37:33
we we wanted also to let the time happen in it
00:37:37
in different process or like the the pouring of concrete to catch what
00:37:41
they after we've covered it with solely talkers like half a year to to
00:37:47
leave uh these two uh components to react and and then transfer the
00:37:52
property one to another and after inserted a cow i borrowed from the neighbour
00:37:58
but uh take another here to to to we now but that's pays make it
00:38:04
yeah yeah and and and they get fed about with all the
00:38:09
eh hey because that we had previously bought our neighbour so these were
00:38:13
all local materials yeah what we clean these dirty on haiti concrete no
00:38:19
we discovered these extraordinary materiality no basting the
00:38:23
viscosity of concrete imprinted with the hay bales
00:38:27
or the same action of vertical uh putting complete over the plastic no we had us a
00:38:36
wow this that idea of what the the the result of these but we didn't
00:38:41
no how how much these inverted dole was going to press right the space or how
00:38:48
consistent these what was going to be but the process left that memory
00:38:52
in the walls and the prince of
00:38:55
exterior and interior and these communion with
00:39:02
with meters what interested that's
00:39:05
these are obstruction based in that a minute to reality of
00:39:10
of the reaction of the local elements with the put concrete
00:39:15
and the uncertainty later by the governments of
00:39:19
the architect but without trying to control it off
00:39:28
you are those
00:39:31
uh_huh
00:41:56
oh
00:42:15
ha
00:43:50
or oh
00:43:57
or
00:44:02
or oh
00:44:08
or
00:44:10
are are are
00:44:14
oh
00:44:21
oh
00:44:26
oh
00:44:37
oh
00:44:39
we're
00:44:50
oh
00:44:52
oh
00:44:58
it's
00:45:20
oh
00:45:25
here
00:45:37
we're
00:45:40
are are are are are ah
00:45:51
or
00:45:53
or
00:45:54
oh
00:45:55
oh
00:45:57
we're
00:46:01
oh
00:46:05
this is yeah this project gave us some clues to work in these next one
00:46:11
it really act as a prototype testing how mass
00:46:16
behave seen concrete we always used to use concrete in strict
00:46:21
forms containing dominating it and we wanted to leave concrete us
00:46:28
as it is almost a liquid that lotion pressurised the form with some kind of freedom
00:46:35
so we wanted to design this church going back to
00:46:38
the principles to the essence of the sacred space no it's
00:46:43
some of the essence the principles of architecture no we we operate with earth
00:46:49
with light so what idea was to a construct these unfinished
00:46:56
yeah the figure that could contain that a very abstracted could be cup
00:47:04
manipulated by why my band space while the exterior is just the yeah
00:47:11
the correlation between these yeah architect device planes
00:47:15
with these and leave it freely pulled concrete
00:47:21
yeah the the the the metaphor for that search for that i could many churches how
00:47:27
we're innovating justin and shape them finished figure while
00:47:32
the interior is um or had paul said that this
00:47:36
was going to be close to a project that we
00:47:40
yeah we'll not construct the was a tower of music as a
00:47:46
mm as a provocative contour points with no why these somebody ten
00:47:53
structure voided the some massive compact
00:47:57
structure and eh both weight the same
00:48:02
and that song of the truffle video yeah it's called uh yeah it made
00:48:08
us some does that mean dark shadows with these dark shadows ease the way
00:48:13
yeah i think yeah not only classical but particularly the guy like i'm
00:48:18
eh uh architecture is because you know so this is our first project
00:48:23
first probably we built was a small music school that had very compact
00:48:28
eh can week of cried with m. m. t. core trying to to contrast
00:48:35
again eh the the the the the the crude mater of of uh uh
00:48:43
stone no elaborated like in the greek up yeah walls
00:48:48
or columns has a heart raincoat element that inserts light where
00:48:55
where where where shadows are supposed to be and vice versa
00:49:00
and we like unfolded that classical air column into a a big
00:49:04
lead to land tried to express that uh but the reality that
00:49:09
way eh the landscape and the lighting so they're composed a lot happens with
00:49:15
these uh composition that makes the also the expressive mess of the ancient of the
00:49:20
arc i come with a very contemporary language no using very classical proceed years
00:49:25
no of joining stalls by is that with the lead like the romans with eh
00:49:30
talk to resign but finally it's a assistant that pilots
00:49:36
these frocks and how uses the shadows last
00:49:39
last megastore murders the dark shadows hit to
00:49:43
hide the the windows within the wrinkles or the regularities of the still no on the contrary
00:49:51
the interior spaces have really abstract neutral space where the
00:49:54
same stone is just caught with that want ropes and
00:49:59
the good machinery to obtain a linear
00:50:03
and neutral cubic element where the vertical lines have are already traced no
00:50:10
but eh reacts by difference the way you all with all these wrinkles these
00:50:18
these accidents of the of the natural stone express the the the building of the exterior
00:50:25
after building these we had the opportunity to build another building in the same site what it's extraordinary
00:50:31
yeah yeah with the difference that this is a pavilion with no other reference but you there's a wall
00:50:38
but then this is the whole plot at this next building is in the war so we wanted
00:50:43
this is guy building to belong to that a topological nature to be part of the
00:50:49
world are not being in a building no so we ear went back to the context
00:50:55
eh but a very long distant construct or it barely three uh uh belongs to that
00:51:01
eh i'm atlantic arts where all the mentality constructions are
00:51:06
holding you rope mostly nor like elaborate on your order
00:51:10
the beauty silence really his part of that eh
00:51:15
uh of that eh area no so uh i
00:51:19
wanted to work with the same fascination though the old
00:51:22
architects no with the presence of gravity with the primary it can leave room with the with the with the
00:51:28
with the role of of disposing masses in in in in different positions
00:51:34
that what they were no so these building it is part of that
00:51:39
yeah i'm getting that expressing with the materiality with this
00:51:42
scale with the structure of these walls semester ourselves some main
00:51:47
yeah to political structure of the primary structure all the
00:51:50
different semantic meanings that i wanted to transfer to space
00:51:55
so yeah so he said these space between the walls refer to the store because c. t.
00:52:02
to the light of the day with these
00:52:05
them a composition off chunks of stone while
00:52:10
the the the the back of these building gave a very neutral crystal in face to the to
00:52:16
the to the street of the modern city no and in the in the interior below the ground
00:52:23
also the walls that constructed these hundred forty meters long a building
00:52:30
had also that location of expressing that not only the memory
00:52:34
of how was built but also the summer these one special preferences
00:52:39
in between these two walls that are part a
00:52:41
little there's these counterpoint or like the rope that tennis
00:52:48
the arch and eh provokes the distinctive materiality
00:52:53
to omit the position that that that i think
00:52:55
that this is the load yeah this is the the welcoming miracle fit the uh the data
00:53:01
and lower level we have a ah to be sort
00:53:04
of a possible auditoriums some performing holes recording areas lobby eh
00:53:12
yeah and the storage so to be structures the first thing we wanted to
00:53:20
test is the foundations so we we asked the the the the quarry old in
00:53:27
managers and they showed us very primitive way of matching two stalls or like cutting in different
00:53:34
oblique and goes to stores and put them together no the space in between there were the result
00:53:39
of instructing the same cutting both stones even enormous
00:53:43
stability because it's uh like i don't fall that
00:53:47
arch in a linear this position where all these
00:53:51
encounters eh i to me to uh to several
00:53:55
distinctive and not symmetrical loads all because our proposal was to
00:54:01
mm defined in all these recede you there are thousands
00:54:07
of tons of adjusted well big chunks of ground like that
00:54:11
how about that because the form does not fit eh
00:54:18
adopting minus the industrial process and for us where just a bit before
00:54:23
so we pick them and put them on balance rapidly first with these
00:54:27
the dangers games between these two machines but finally we wear testing how
00:54:33
we could create like the beat of likely bruno with some
00:54:38
compressors that gave partial balance yes you can see there's upbeat here now and we were
00:54:45
i'm trying to find an to match this that exam
00:54:48
the static snow the mechanics with the proportion in everyday life
00:54:53
eh in and action now here we didn't have the time to to to to
00:54:59
draw or to calculate or to measure is
00:55:01
was just an inch thick the instinctive there
00:55:07
i am the it's a process now is this was going to be just a small
00:55:12
model but we carry on in korean and
00:55:15
we finally built the full structuring the korean yeah
00:55:21
so it's another per fabrication system no we test the then
00:55:25
they're they're they're the structure we we we made some calculations
00:55:31
so many because i would engineer imagine the face people when he where we brought him there so with
00:55:40
yeah and the uh now that the next step was how
00:55:44
to demolish this and we believe they get the same way no
00:55:48
so we did all kind of tricky things uh but finally we arrive to these easy way of marking
00:55:54
the connectivity no the the the points where gravity stuns
00:55:58
me that the the the the points where the stones
00:56:02
at each other and it worked well we we we didn't lose
00:56:07
uh_huh so many storms in the in the process of transporting it and we we discovered how easily
00:56:14
we we were able to recover so the that you
00:56:17
know and the final result is this combination of walls where
00:56:22
the the depth uh off of of the of the of
00:56:27
the space between the was is he then is high then
00:56:30
heightening eh hitting the the the thickness off off of the
00:56:36
program that he's behind these c. d. cases will this is uh
00:56:40
like a memorial wall of of the digital element no it's built with five hundred thousands of
00:56:46
c. a. c. d. and d. v. d. cases stacked with silicone and and the with fibre optic snow and
00:56:54
these wars to give us okay lana like technology it's
00:56:58
like all the walls all so these eh the chunks off
00:57:02
of dark and light is the result of that filter
00:57:06
and these coloured abstract synthetic light so the l. d. b.
00:57:11
is the result of using this these poly carbonate does not reflect or
00:57:14
like the lights and these mm combination or of of the load yeah
00:57:21
with the with the with the separated and facade no yeah and
00:57:26
these perversion of of tainting these old stones with the the the
00:57:30
contemporary callers well eh created these the complexity of these building this
00:57:36
that is post over the existing the wall of the story can uh
00:57:42
yeah b. stella yeah plot i mean the interior also we use these wrinkle cordoned off
00:57:50
of a of a concrete exposed to compare to
00:57:55
uh e. is not to the picture uh um
00:57:58
wow another quarter of you clash not to to to to uh
00:58:03
expressed from the t. v. or the the the pressures both of the
00:58:07
garden and the and the and the city the other side i and the
00:58:14
this is the last project that we're building now
00:58:18
yeah it's a mythical scroll the the for want to see the rower we call
00:58:23
it the level bail out there really is the keystone or this and still yeah
00:58:29
it's in the middle of these uh this call it master plan air this this whole my
00:58:36
yeah museum of uh uh uh fernando are made all these believe would be built by tipper filled
00:58:41
and this is our corporate master plans with towers on the and the everything and
00:58:49
and there we arrived very late to this party yeah and uh
00:58:53
huh and he wasn't all enough room for additional show up yeah
00:59:00
yeah it's a long story but there to make a very short while we arrive there
00:59:06
everything was really going on you know the the structure of it that what was already
00:59:11
up so i'm the only way we could build where i wanted to be what's here
00:59:17
so i gave the climb the opportunity the of architecture to resolve
00:59:23
eh eh eh me a. d. uh on his problems no yeah i
00:59:28
my problems my problems was that i didn't want to belong to this
00:59:32
so i wanted to abstract from all the craziness of mexico the f.
00:59:38
and provide that public space some kind of intimacy in all these eh
00:59:43
mon strollers of almighty noise no so being in the garden i
00:59:49
was taught to do was to to create a no numbers void
00:59:53
and to locate into that void the black box of the theatre and some tell ourselves that would
01:00:00
eh eh uh create the the public eh lobby
01:00:03
sample office no but within the interior of that
01:00:07
and void that we had created in the garden no and that the put the the the model
01:00:12
mentality uh of the spatial strength of that excavation
01:00:17
eh could it should be able to lift that the
01:00:22
we called it sounds don't yeah another
01:00:25
baylor and to eh mon tame uh
01:00:31
like a magnetic or grab it that ordeal bothers between these two
01:00:34
elements not that cannot touch each other because they belong to different made
01:00:39
yeah a real nature of leather willa eh house i geometrical response to
01:00:46
the the act of moving not only the uh but only trying to
01:00:50
trap all the different rays of light snow in a bi directional movement
01:00:55
and also the out by the originality and that movement of the triangle to
01:01:01
structure gives an enormous utility to it as a slap
01:01:05
and and an enormous paucity i saw some stuff so
01:01:11
the scheme is at the at the that provokes foretell versus yeah
01:01:16
all again emulating the the the the the main so maybe can or
01:01:20
the prick columbine vision of the the or band spaces if you remember
01:01:26
eh the the the midday i've taken spaces that they work on
01:01:29
or the or the mayan spaces are basing terraces through nature no
01:01:34
eh mm digging the presence of the already some uh
01:01:39
we wanted that immersion into the depth of the earth
01:01:45
to confront that eh depth of that vertical depth with their recent polity of
01:01:52
eh or a light for that matter is usually the overlap
01:01:58
and the program is so um uh some office space to rule yeah the the
01:02:04
the theatre a black box with all the technology at that's to it
01:02:08
and a sequence of love us that in these like o. d. l.
01:02:13
eh rectangle now is like a strict mathematical proportion of these uh object
01:02:20
eh that this post over that the whole over that void and
01:02:26
qualifies noise you can see the geometries have some inflection points that coincide
01:02:32
with like projection comes with the with
01:02:35
the print of those yeah different levels
01:02:39
of the void no and there are some moments of for stability
01:02:44
well they're totally appears not to receive the loads what up pillars should be
01:02:50
located no you from years button that or a lift his head
01:02:53
to to the pillar here now and but we thought that those dealers
01:02:58
should never be columns should be like area t. v.s in the roman work no
01:03:02
hiding the rabbit that ordeal mission the through the form or their space no and
01:03:09
participating in that distinction of what's going on
01:03:14
here is that the the main of people
01:03:17
this is the uh that's the the main of earth in light of of of sort of eh eh i liked
01:03:24
so these again difference is nature's well what happens
01:03:31
in in in the garden what it's did in the ground and
01:03:37
eh the construction of a lot a lot of a law
01:03:41
is the argument of the project now and again to build these
01:03:47
object the subsequent only had been built into places in the world the mythical oranges and no
01:03:55
yeah i dreamt of it to be built in switzerland and we did all the planning through
01:04:01
two in in in stainless steel like the donor jets cultures are
01:04:06
to be cut it in the last mile or what digit computerised systems
01:04:11
and we're closer to jackson pollock now yeah they we they cut them back
01:04:16
by hand it worked a it's it's just another way of understanding
01:04:21
architectures person no i have to confess that my first vision was that
01:04:28
almost heavenly built structure uh and now it's become very human right
01:04:38
well this is the model of the of the metal company it was a bit of a model yeah trying to show
01:04:44
these read i didn't tell him the screws but he discovered
01:04:47
that two of them were vertical no yeah they painted in red
01:04:51
because he always thought that the thrill of we're going to be there no uh and uh
01:04:59
and first of all what what's a base to like ah like
01:05:04
when we were kids and we start drawing we knew these great no
01:05:08
to have a first reference system would be the need these reference system
01:05:13
to build it because once we've caught that all the different parts and
01:05:17
we had to put them together and match with precision
01:05:21
all these millie metrical tolerances of steel so we prefabricated
01:05:27
a hundred kilometres away and this was a good statistical vision because i don't know if
01:05:34
my client would had followed the full process if we had yeah this is the back now
01:05:41
so like in the clandestine e. d. we went to this place and started building first these
01:05:49
or to canal greed not some references and depreciation
01:05:52
here have to be like completely hundred persons we small
01:05:56
yeah because if not the the pull out the the the the the the other plate will not match no
01:06:03
and we're but finally with some little hope yeah they matched and as you
01:06:08
can see this scale of these plates is quite a big these these a sandstone
01:06:15
and waits a thousand dollars even though it seems sort of some light and fried island i ariel
01:06:22
yeah that's the reaction of gravity and earth and and the like together no but in terms of mass
01:06:29
these delivers a thousand dollars to the f. not and
01:06:34
we rebuild it very rapidly i don't have just get a video of it and mm yeah
01:06:41
and uh now it's a we're in the moment off
01:06:46
yeah yeah um i always dreamt of this plane to
01:06:49
have 'em membrane of centres for to work like sales
01:06:54
permeable enough to leave the lighting that interview and with that eh
01:06:58
that's a a metaphor of of the sound in our contemporary world no
01:07:03
yeah and we're now discussing if if that member is going to be built
01:07:07
or not but as you can see
01:07:09
this structure creates an enormous and very violent
01:07:16
provoke a the dialogue between them on the mentality of the format the volume of virtues
01:07:22
the space well it's a all button no volume versus baseball
01:07:27
ah i this is the deck simple thing i tell you
01:07:30
is i like stairs that the people wired like printing no in my
01:07:34
structure all over the place it and well but finally it's okay in it
01:07:40
this is the pillar where all the water will flow out no
01:07:45
i won that mm reaction of of the elements within the structure no
01:07:51
and the yeah i missed ability the you will never associate these formal in that position
01:07:57
to up pillar abilities that no i discuss always with mind you knew that i've never
01:08:03
built appeal were column i prefer the lintel so the kind that is no but i
01:08:08
am and the uh when we i work these with a mastering engineer call the yeah
01:08:15
the the point only nice either one is like ninety five years old he needed by hand yeah and uh
01:08:24
the only way you can do this in first by hand after you can do all these thin it systems the bit about the first
01:08:31
conception the them mentioning it was i had and he
01:08:37
always told me that the key didn't know yet if these
01:08:42
pillar was hiding from though below or holding leather with
01:08:45
no eh what it doesn't work and we have already tested
01:08:50
that these will be condition of the pillar was to avoid the or
01:08:54
example movement in the earthquakes and we've already had one seven point six
01:09:00
earthquake doing thirty seconds that the people told me that this was like moving any but it's it's still there yeah
01:09:08
so as you can see all the pillars somehow establishes the different spatial
01:09:13
dialogue within the parts on the hole and the perspectives are completely different
01:09:18
eh in the position do that you can see it
01:09:21
no now all these void is covered so we cannot
01:09:26
feel all that persons of the depth of the earth
01:09:29
yeah but eh believe me it's under there and um with
01:09:35
this is the mets sick i'm already taken pillar has like a next to
01:09:40
the that i beautician between um yes on the repeal i'm at the computer
01:09:45
i actually holes like fifty percent over five hundred over there are sometimes
01:09:50
we call this the full that pillar that turns the inertia from the ground to the error oh
01:09:58
this is the the week or the kind i don't want to receive all the water yeah and
01:10:03
this is the a weekly the a pillar and i would climb is called
01:10:07
up area but he doesn't know there's a a a front on it so
01:10:13
and here's a game no this controversial mm differences between
01:10:20
the the form the seduction almost pornographic seduction of these enormous format
01:10:25
with the that depth off uh the perception of of unlike tectonic spatial
01:10:32
so it's again surfers versus depth and and please try to imagine this without these um
01:10:41
actually structure and with the presence of the double that up there no but this is the fifty meters
01:10:47
on the lower level low b. the intermediate level low b. and the theatre that we will be finished
01:10:54
the next i hope twenty five years and yeah we go
01:10:58
very slow thing goal we take our time so mm with
01:11:05
this is what we're working now and uh and this is the the
01:11:10
the the presence of these artifact in the middle of the garden and
01:11:15
how we to hold some support some references a public space and the
01:11:19
mystery of discovering the black box a big black box of the theatre after
01:11:26
that tina daddy to the platforms in
01:11:31
in the depth of these guard them that it's already built
01:11:34
yeah this is a another old eh eh eh picture yeah
01:11:52
as you can see again we prefer
01:11:56
to these principles to in our work nor the using gravity
01:12:00
and balance and the light in a in a way that we challenge that say the v. two v. on
01:12:07
eh view but we do packed is with with the same b. two b. m. i. b. two young elements
01:12:18
well thank you very much
01:12:35
okay thank you very much and ah and i equal like
01:12:44
thank you for most interesting presentation um i have
01:12:49
two questions and i don't remember the name of house
01:12:52
that was the first hour she shared with all that laughs
01:12:57
uh it's a coptic a hole in the summer
01:13:02
and warm in the winter and the other thing is how
01:13:05
are you sure that you should block uh granted isn't enough although
01:13:11
yeah a hundred percent i'm not sure but
01:13:18
you can never be kind of persons you're a very big yeah well
01:13:23
eh um the glass facade of the microscope in house it's open to north
01:13:29
and um
01:13:31
and the the parts that it's open to south and east yeah because the worst it's completely closed
01:13:38
it's protected by a thirty meters can't believe original so it really
01:13:43
all the patio does create a beep thematic kyle
01:13:48
cushion over that at the age i mean like no
01:13:52
and uh eh yeah my the that has ten days
01:13:56
a year of code no so we do have maybe twenty
01:14:01
but we have to eh we have to uh protect the house to the heat rather than to the call no
01:14:08
and the only way we have to protect to the
01:14:10
heat is to avoid the direct exposure eh or for
01:14:16
of the could the the the classes into eh and probably twelve to
01:14:23
nine o'clock at night six months or you know and that's the
01:14:27
form and that you're mature the house that provides that eh protection
01:14:33
i have to say that yeah the would have help some kind of insulation and
01:14:42
but only ten days a year and it's not because of the transfer of cold
01:14:48
but for the conversations but these kind of stuff you don't really notice them onto you build it yeah
01:14:55
we're we're working on it
01:15:02
yeah
01:15:04
no that's
01:15:10
i got a yeah thank you very much for like a mike was uneasy and
01:15:17
it's like a i mean you think about this time last week
01:15:26
with the use of mass on the line trying to link yes to find this historically okay
01:15:33
about the in between your work and and he's there if i can take to it so
01:15:37
and and the this idea of masking spitting out if annoying enough was back in the
01:15:42
these big stones and then you end up to like two with this budget that's only goes back
01:15:46
to what's on on to this idea of this on the young is you know with this light
01:15:51
but i mean that we resembles the clouds or the so
01:15:57
there's a like the whole way actually these are really influences in your
01:15:59
work and your process of thinking because eyes even with without the fascination
01:16:04
actually i i really want to see is really because it wasn't so much of the house with a with a little
01:16:11
things well i have to tell you that this building is the result of far
01:16:18
of i i did this project fifteen years ago
01:16:22
i was in rome in the academy of wrong doing nothing and that's what
01:16:28
we do in row yeah and uh and the like fifteen days before the this
01:16:36
your was over we had an exhibition shall we have to do
01:16:39
something that paintings painters had been painting than we actually we were
01:16:44
visiting things no so i did a project
01:16:50
in the i had been basic thing the quarries of travel time the close to the early thing
01:16:58
and i said okay want to use this print
01:17:02
of history no this void off of um uh
01:17:07
almost two million to two thousand years of stepping stone from here has
01:17:13
has the space to create ah have we left for agony pa yeah
01:17:18
yeah i mean i was a bit of a pond and as you know very close to at the end of his friend that was off
01:17:24
the but the mental and these below had like three elements based in the other yeah no
01:17:29
yeah in the letter the amount juxtaposition articulation of elements our my proposal had like
01:17:36
uh the the house of a police staff and
01:17:40
the theatre no like three prototypical that part of that
01:17:44
given program and these i used that void of the of the the quadruple bar cool and
01:17:53
insert the deaths these last the stolen no in the valley
01:17:59
yeah yeah
01:18:02
and that was that was like proportional after the laughing at fifteen years ago
01:18:08
this piece have eight p. less like me us no matter to me fifteen years
01:18:15
for us to the conclusion that those were not the could write pillars to connect not liking the column
01:18:21
the the the materiality of flight with the
01:18:26
mm grave presence of the void of history no
01:18:32
so when i had the chance to to to other was inspiration there
01:18:38
from an academy wrong wrong wrong by the n. o. t.
01:18:41
wally is the stone the quarry amy and wonder or an
01:18:46
this for kind of perversion optional and fifteen years after i had the opportunity to meet them to make
01:18:52
another theatre in another place where history has an enormous persons
01:18:58
where the uh the keystone leather will out that p. l.
01:19:01
soul you know there's some stone is the most important archaeological discovery
01:19:06
from the eh i take ass culture is in the in the ecological niche
01:19:10
you mean mexico the f. and and and then it was a collision of
01:19:18
moments the cost us aside ideas and we we somehow
01:19:23
used that a previous research into
01:19:28
into ah real real project will show
01:19:34
and and the tower in the land has been also the result of a previous research now the things go so fast that
01:19:40
uh we don't have time to the same so we have to do the things and wait for the moment no
01:19:46
i i'm not able to thinking in two weeks or two months you know a project them
01:19:52
so i have something i have one of like an over and know where some abs i've backed up and
01:20:00
so sometimes you have to mix times and link difference it comes transitional
01:20:06
and the i'm that's not the answer to your question no
01:20:11
someone's very high within thinking
01:20:19
nicholas
01:20:22
actually i i have a a question for you i think than any
01:20:27
lets lets me a fascinating and and went back to work and and
01:20:31
uh also leather interested in when you hear is that there is something i ate sort of um
01:20:39
i i actually goes back to this idea of a state which actually is much more about that
01:20:43
it's been an idea the process and how we control the process architecture and i would like to uh
01:20:50
ask you know what you think about uh the smell it it to
01:20:53
where we are today with the profession ah this idea that returns to to
01:20:59
understanding architecture as a kind of constructed addison and uh and
01:21:04
how you see that was a potentially yeah exactly was it's it's
01:21:08
this quandary that we're in right now ah you know with with uh all this kind
01:21:12
of economic is is it happening how we can potentially bring back some control i asked us
01:21:18
well that's the key point because uh yeah we for as architects
01:21:24
have been rejected to participate in the most important part of the
01:21:29
process of building no for example now in milan that supposedly somewhat client
01:21:37
you the actual to model i have so it's nothing personal with
01:21:40
me no we are not able to take control of the construction
01:21:46
what do you want me to take control of well yeah yeah so we're
01:21:50
like the signers thing what a stupid question yeah yeah professional yeah and uh
01:21:58
yeah in my company milan and i have did it turn out the sticker
01:22:03
i don't know what that i mean you are so i'm not i'm out is uh uh so
01:22:09
eh this is the complexity of our mission no so i
01:22:14
think this is because of the under section which no they
01:22:17
have installed their methodology where the architecture so the signer and
01:22:21
there's another people that do the rest of the job no
01:22:24
show the process will always be handicapped now you know where personal experience
01:22:31
because the characteristics of our work we drop really didn't find a contractor
01:22:38
will show that the may thus be our own contractors all but now recently
01:22:46
fix the this kind of pressure we're doing the system does not allow us to be the contractors
01:22:52
because i think that we are not capable to take that especially the what is absurd home it's
01:22:58
much easier to do these and they are much popular house for example
01:23:04
so i've been thinking about this know what can
01:23:07
we do to to recover the control off with
01:23:14
of uh yeah of uh the process and of architects or no
01:23:19
and i think my my being mm wrong that uh
01:23:25
architects food not believe it anymore the
01:23:28
sign should transfer technology should transfer the knowledge
01:23:33
should be able to transfer those process about changes the rules of the game no
01:23:38
so if we are able to control through
01:23:42
research i previously given statement to the project
01:23:48
then the project is just like immediate consequence of that mm
01:23:54
mm dinner ready no
01:23:58
yes but that creates genetics huh
01:24:03
if but yeah e. the this project in in milan is
01:24:08
exactly that no or the or the or the interpretation off
01:24:12
of of the the the the the thing is
01:24:15
that we have already that uh that's a technology huh
01:24:21
we do not effect lined want us to to be that we won't be the signers we just
01:24:29
transfer him that system process i thought that at the time
01:24:34
i'm i'm from i'm sure i'm pro but uh yeah but i'm displayed
01:24:39
two yeah mm convince yeah my clients now that architects uh
01:24:46
use along it in a very between what we're doing now
01:24:51
is the cheapest and easiest thing like the sign and all the constructive process well
01:25:00
um but we are not the mandate to do that no more now and it's a very dramatic thing no
01:25:07
a we we will go back for sure yeah this is just to the resort out of
01:25:12
the excessive mass of architects the last twenty years
01:25:16
i'll show when they this will re calibrate it
01:25:21
it's
01:25:24
no
01:25:27
another question when you're thinking about building
01:25:31
now do you also think about things like
01:25:35
the energy that will be used for example
01:25:38
geothermal energy or putting 'em incorporating solar panels into
01:25:43
your roof line so that uh you're using
01:25:47
your basically creating our you're on electricity and maybe
01:25:51
using openings in the windows at times to get an error
01:25:55
current so that you're not using as much electricity to cool it
01:26:00
uh i'm taking in philadelphia you know in the summertime we get ninety one
01:26:04
and ninety percent humidity of not one hundred percent one hundred and ten degrees fahrenheit
01:26:10
do you do you think about things like that when you're making these wonderful buildings
01:26:14
hundreds of course i mean that's part of the genetic of architecture or has never been
01:26:21
abandoned no problem is now about architecturally selling that no
01:26:27
and about the good architecture for ever has considered all those elements now so it's
01:26:33
when when i hear about all these like stamps i i feel kind of from batter snow because
01:26:40
yeah its force has been always been that but we've never
01:26:43
use that as some might come televised and eh process yeah
01:26:49
eh of course them a scorpion how's have solar
01:26:52
panels eh room for the want bikes uh shows
01:26:56
yeah yeah grace about they've element has everything that are contemporary house has to have no
01:27:03
and the in mexico for example this is the most efficient that that paramount uh a design
01:27:08
they're done because it's buried so it has no exposure to sun sign it has no radiation transmission
01:27:14
acoustically is provided by her so i didn't waste anything
01:27:19
to provide that thermal an acoustical insulation even that always ah
01:27:23
why suppose i have to confess that they my idea was therefore double take plan of the full must
01:27:29
apply to both there's no greed in mexico to transfer
01:27:32
all that a. c. into two twenties so it's and
01:27:38
i think that the sign gauche beyond the technology in that aspect
01:27:44
yeah and generally you when you see all these green thing advertised
01:27:49
is that the design is so bad that you have to
01:27:52
like inflate with a sheep yeah we very expensive as gloomy technology
01:27:58
a a the about the sign no like
01:28:01
when i see green corporate buildings all glass oh
01:28:06
i mean here's your how they have to be clean
01:28:10
no with uh the wealth okay thank you yeah work
01:28:18
oh yeah the questions
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
A dispute of the ephemeral and permanent in architecture
May 21, 2013 · 12:04 p.m.
Peter Cook
May 27, 2013 · 6:12 p.m.
Radical Pedagogy: a collaborative projec
Oct. 29, 2013 · 6:32 p.m.
L'exploration du possible
Nov. 26, 2013 · 6:39 p.m.
Power of Place
Dec. 6, 2013 · 6:06 p.m.
Recommended talks
Transforming the chinese countryside
RUF - Rural Urban Framework
Dec. 16, 2014 · 5:11 p.m.
254 views
