Jaque Disobedients A_10_red

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“Andrés Jaque (*1971, Madrid) is not a typical architect. His radical stance breaking the traditional boundaries of architecture makes of him is one of the most relevant figures in the contemporary European architecture scene. Talking with Andrés is always inspiring and his words are a gust of fresh air to any preconceived statement about what contemporary architecture means nowadays. His firm Andrés Jaque Architects founded in 2000 and its spin-off Office for Political Innovation started three years later are a continuous stimulating source of inspiration for a whole new generation of young and not that young architects all around Europe that claim a change in the discipline. From his very first projects he showed an interest in working with conventional domestic realities that had been omitted by the architects and the political and corporative realm.

Gonzalo Herrero Delicado – Your work has always been charged with a very critical political load. What is the relevancy of politics into architecture?

Andrés Jaque - Architecture makes possible to coexist different agents in the city that won’t be able to live together without its presence. From this point of view, the architecture is always a political action itself and its challenges are simultaneously discussed in the urban and domestic arenas. The conventional descriptions of a city are out of phase and are now more and more complex. Nowadays also the politics are not as easy to be defined and are described by spatial structures simultaneously connecting different countries. The politic sphere is not just defined by a single government or society but by many imperceptible spatial structures and networks. [...]

GHD – Another main focus of the core of your work is the connection between architecture and the society as it happened with the acclaimed performance IKEA Disobedients but at the same time this project was also widely criticised because it didn’t provide an architectural solution, what do you think about it?

AJ - After we made the first performance of IKEA Disobedients in Madrid, Candela, one of the characters featured in the project, was menaced to be evicted and because she was part of this project, there was many spontaneous protests in the streets of Madrid to support her. Also thanks to the massive media impact created around the project after being acquired by the MoMA, she was not finally evicted from her house. There you have the solution. In fact this is probably the most architectural project we have ever done in the office. [...]“

Gonzalo Herrero Delicado: The Daily Politics of Architecture – An Interview with Andrés Jaque. A10 MAgazine #58. July-August 2014 

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For a quick look at the IKEA disobedients project/performance/exhibition, check this video at MoMA’s site. For an overview of Jaque’s work, check the Office for Political innovation webpage. Gonzalo Herrero’s multiple activities can also be checked in his own site.

NK15 Underwater Zoom

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The original cartoon can be found as originally published in the “Klaus Kube” section of Uncube Magazine #22: Water, edited by Sophie Lovell, Florian Heilmeyer, Elvia Wilk et al, which focuses on Water as a design material, and gathers everything from Matthias Schuler to the Hoover Dam or rei Otto. Federico Fellini, Aronofsky’s ‘Noah’ and Archigram’s Warren Chalk may not seem to go hand in hand to everyone, but in my mind, it makes perfect sense. Maybe that speaks tons of the way it works. More on that later. Maybe not.

This cartoon was drawn on May 2014, which marks the 50th anniversary of the original publication of ‘Amazing Archigram 4: Zoom Issue’, where ‘Underwater Zoom’ was a whole section. Happy Birthday! An exhibition may be in the works.

Clog - Rem - It's not easy being Kool

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“[...] For those who were already, let’s say, ‘architecturally active’ in the 90s, the second half of the decade featured an increasing presence of Koolhaas-isms in the architecture published  by architectural media. Be it young offices paging Bakema through the Educatorium (those ubliquitous ‘single surfaces’ Jeff Kipnis still chitchatted on in his lectures more than ten years later), forests of tilted pilotis, cheap rubber surfaces or else, OMA’s supposed ‘house style’ had permeated through a whole generation that made justice to the old Spanish writer’s adagio: “Blessed are our imitators, for theirs will be our flaws”. Because, notwithstanding their varying degrees of success, none of those byproducts of OMA’s discourse seemed able to grasp its spirit. And it still goes on… monkey see, monkey do.

But, which is this discourse? Certainly, Koolhaas’ scant prose is, within its own scarcity, rich in suggestive, elusive terms: Manhattanization, Junkspace, Bigness -and you really know you have made it when Hal Foster writes a review of something like the Harvard Design School Guide to Shopping [ii]. However, as in Foucault’s Other Spaces/Hetrotopias, these are texts and terms that one seems to be able to make less sense of with each subsequent reading. All in all, it seems just a private a game, carefully designed to keep his audience intrigued while feeding his own legend by building an aura of impenetrability, to the point that one’s tempted to believe that every move is carefully staged: His carefully careless lectures, his unsophisticated, even clumsy descriptions of his own buildings, or his nervous, uncomfortable responses in interviews, all contribute to enlarge the halo of mystery that surrounds him. And, as I deduce from his always packed , rock-star-like conferences, it definitely works.

Five years ago, I published the first ‘Hope’ cartoon, with Mr. K posing as Shepard Fairey’s Obama. Five years later, I still wonder how many people did not get it was a joke.”

[i] See Heron, Katrina: ‘From Bauhaus to Koolhaas’ in Wired issue 4.07, July 1996.

[ii] See Foster, Hal: ‘Bigness’, in London Review of Books Vol. 23, no. 23, 29 November 2001.

Klaus: It’s not easy being Kool – 2001 ways to misinterpret Koolhaas… and help him have it his way (excerpt) in VV.AA: Clog: REM, June 2014.

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So, in a sort of smart, happy and -also- inevitable move, the guys at Clog magazine sort of celebrated their 3rd anniversary (really, 11 issues already??) with their issue CLOG: REM, just in time for the Biennale. They also thought -as, apparently, everyone else- it was sort of inevitable to ask me to contribute. Of course, they were particularly entitled to, since they made sure to have me in Clog from the very beginning. Just  click on the “clog” tag in this very site and you’ll get the idea. Also, they decided to open the issue with my contribution, which was very nice on their part. Thanks, guys! Oh, and a tip of the hat to Benjamin Greaves (@MrGreavesSaysfor providing me with the title.

P.S.: For those among you who may have noticed, I’ve made a point of celebrating the 5 anniversary of “On Starchitecture” by using vriations of the “Hope” cartoon on all my contributions published around the time of the Biennale’s opening (all of them revolving about REMdamentals, of course). So far, you can check “Fundamentally… Myself” (in Spanish) in Mexican Magazine Arquine #68, and Keep your eyes open for Uncube #24: Mexico City.

It's not easy being Kool

Clog - REM - Cover - back cover

CLOG: REM, with contributions by Michael Abrahamson, Stan Allen, Joseph Altshuler, Serafina Amoroso, Haik Avanian, Cecil Balmond, Dorin Baul, Aaron Betsky, Petra Blaisse, Jim Bogle, Ole Bouman, Mat Bower, Eric de Broche des Combes, Brian Bruegge, Galo Canizares, Stephen Cassell, Archie Lee Coates IV, Rene Daalder, Ozge Diler, Ryan Drummond, Keefer Dunn, A. A. Dutto, Erez Ella, Valeria Federighi, Kim Förster, Jeffrey Franklin, Joseph Godlewski, Adam Himes, Matthias Hollwich, Julia van den Hout, Frances Hsu, Bernard Hulsman, Hans Ibelings, Klaus, Charlie Koolhaas, Tomas Koolhaas, Andrew Kovacs, Jimenez Lai, Stephanie Lee, Thomas Lozada, Winy Maas and Jacob van Rijs, Brandon Martinez, Isaac Mathew, Kyle May, Philipp Oswalt, Roberto Otero, Steven K. Peterson, Wim Pijbes, Jacob Reidel, Michael Rock, Joanna Rodriguez-Noyola, Fernando Romero, Alejandro Sanchez, Mika Savela, Jonathan A. Scelsa, Kyle Schumann, Brian Slocum, Galia Solomonoff, Frederieke Taylor, Will Thomson, Madelon Vriesendrop, Luke Yosuke Willis, Human Wu, Albena Yaneva, Alejandro Zaera-Polo and Zoe Zenghelis

NK14 blog 01

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“On our third week, we arrived in the city of Amaphonia. Some centuries earlier, the inhabitants of the city had filed a formal complaint, claiming that their architects did not pay attention to the acoustic needs of buildings. They should have known better. As architects’ minds go, this call for attention ultimately led into a fascination for the shapes of sound devices that soon translated into the urban form. Two hundread years later, the city showed the result of a formalistic fever that had turned the urban scene into a mechanical forest of gigantic microphones, loudspeakers and musical instruments that turned the amaphonians into Liliputians visiting a music store.(…)”

Rago Michaelis: Chronicles of the Pneumatic passage – A Scientific Approach. Tome III. Etterbeek: Erdna Éditions ; 267-74

- So, what’s the problem? …If a building has to work like a machine, it should look like a machine, right?

- Oh, shut up, Charles-Edouard… [*]

[*] If you don’t think it’s a joke, then you’re part of the problem.

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The original cartoon can be found as originally published in the “Klaus Kube” section of Uncube Magazine #21: Acoustics, edited by Sophie Lovell, Florian Heilmeyer, Jessica Bridger, Elvia Wilk et al., and even features a rare recording of Pink Floyd’s Intro to “Obscured by Clouds”, played to an article. The Pneumatic Passage is a project located somewhere between Les Cités Obscures, The Airtight Garage, and Le réveil du Z, which has been in the pipeline for a long time -and will be till I find some funding. More on that later.

Violeau - Rem, Le Bon, la Brute

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Les Éditions B2 is an indie publisher based in Paris, specialized in the publication of short -and not that short- texts that engage architecture from a variety of peripheral viewpoints. In their own words:

“Les collections B2 se proposent d’édifier un « cabinet de curiosités » architectural arpentant, dans le temps et dans l’espace, de Los Angeles à Vladivostok et de l’an mil à nos jours, une infinité d’espèces d’espaces et d’hétérotopies baroques… Embryonnaire, cette « Galaxie Gutenberg » s’organise principalement autour de plusieurs constellations – dont certaines n’existent pas encore…”

McLuhanisms aside, the different collections put together by Éditions B2: Actualités, Contre-Cultures, Design, Fac-Simile, Flashback, Patrimoine, Societé, Territoires… are -and I can testify this because I have 2 Kg. worth of their books sitting on my desk- a true culinary delicacy. Printed in small formats, those mini-books (hi, Tom Kaczynski), are a sort of delicatessen where the impatient reader can find a variety of texts by Paul Andreu et Nathalie Roseau, Beatriz Colomina, Claude Parent, Antoine Picon, Felicity Scott, Kim Jong-Il (no, I’m not kidding), Richard Buckminster Fuller, Louis XIV, Raymond Hood, my beloved Carol Willis, Louis Sullivan, and a neverending list of other authors.

Some months ago, Nikola Jankovic, chief editor of B2, informed me that a book by Jean-Louis Violeau dealing with Koolhaas was in the works, and asked me if I would be ok if they produced a booklet with all the “Hope” cartoons inside… adding to some other provocation. My curiosity piqued, I couldn’t but say “go with it”, and this was the outcome.

 Violeau - Rem, Le Bon, la Brute 02

I’m so slow updating the blog that Alejandro Hernández (@), editor in Mexican über-magazine Arquine, tweeted this pic of the book before I started writing this. There are 12 more pages like those, which can be found in their original context here and here. That’s Ethel Baraona on the far right, in a precognitive vision of her own presence at the Biennale. 

Russ Meyer would have been proud, Remment.

Violeau, Jean-Louis: REM. Le Bon, la Brute… Paris: Éditions B2. Collection CONTRE-CULTURES, 2014.

A10 Piano Player Number Two - Joost Moolhuijzen

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Something a little bit different this time. A couple months ago, Indira van ‘t Klooster, editor-in-chief of A10 magazine contacted me asking if I would be interested in making some cartoons for a series of interviews with different architects they were featuring this year. Yes, A10 is that magazine founded a decade ago by Arjan Groot and Hans Ibelings, the man who not only wrote Supermodernism, but also a series of articles on comics and architecture back in the 90s), so, how could I say no?. It was a little thight for me to get to the first one, with Jürgen Mayer H (been there already, in any case), so we skipped ahead directly to Joost Moolhuijzen, the partner at Renzo Oiano’s workshop who was in charge of the Shard (yes, Piano and the Shard have also been guest stars here , thanks to Uncube . For those of you who want to check on the real thing, here’s a video of Joost himself speaking about the Shard at the BBC. Below, you have a taste of the interview itself. For the rest, you’ll have to buy the magazine (what are you waiting for?).

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It’s rare that an architect gets to explain his own project on CNN, but just that happened to Joost Moolhuijzen in 2012. You may not remember his name, but the name of his latest project is certainly familiar: The Shard. As senior partner at Renzo Piano Building Workshop (RPBW), Moolhuijzen was responsible for this remarkable London skyscraper. Despite not having his own practice, it seems his being willing to pay the price of never becoming well known publicly has its benefits.

While many young architects dream of creating famous buildings the world over following graduation, some of them actually do it. Joost Moolhuijzen joined RPBW at the age of 30 and became partner at the age of 37, after he had successfully headed the Debis Building, part of the Daimler-Benz project at Berlin’s Potsdamer Platz. We meet in a café on a rainy day in Amsterdam. He and his wife, who also works at RPBW, are in town for a short family visit. Moolhuijzen begins explaining how the ideas of Piano have gradually become his own. Also, we’re talking different scales than are usually seen in A10. ‘Once we were 150 people, but our natural size is 100, like we are now,’ says Moolhuijzen. ‘That means we’re still small enough to be picky in the projects we accept, and big enough to deal with the larger projects.’

So RPBW is critical in which projects to take on, or not?

‘Definitely,’ assures Moolhuijzen, ‘we do not simply follow the money in Dubai, China or Korea. We seek jobs that contribute to urban sustainability. We once had a job just outside Paris, but gradually it became clear that the project had too little in terms of urban capacity. New buildings should improve the existing situation with regard to public transport, housing and public space.’The Shard, sometimes criticized as an autistic high-rise funded by sheikhs from Qatar, he actually finds to be an improvement for the district. ‘The underlying station was rebuilt, while more and varied functions appeared on the ground floor. People have benefited from it. We preferably build on brownfields rather than greenfields. That is ultimately more sustainable.’ [...]

Joost Moolhuijzen :  ‘The Piano Player’,  A10 magazine #57. May-June 2014.

NK13 01 blog

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“More than 100,000 people have applied to be a part of the Mars One project, which aims to colonize the red planet starting in 2022. Out of the thousands, 40 people will be selected. Of the 40, just four will participate in the first passage to Mars, which is scheduled to leave in September 2022 and land seven months later in April 2023. None of the four will ever return to Earth.

More than 30,000 Americans have applied for the chance to be the very first settlers on Mars, paying a $38 application fee. The audacious project is the brainchild of a Dutch company run by CEO and creator Bas Lansdorp. Lansdrop told CNN that the price based is on the gross domestic product per capita of different nations. For example, Mexicans pay a $15 application fee. ‘We wanted it to be high enough for people to have to really think about it and low enough for anyone to be able to afford it,’ Lansdorp said. The very first mission to Mars will cost $6 billion, according to Lansdorp.”

Alex Greig: “More than 100,000 people want to fly to Mars in 2022 – and never come back.” The Daily Mail Online, August 10 2013

Trying to catch up with stuff published in March-April. This one was commissioned for Uncube Magazine’s 19th issue, focused on Deep (architectural?) Space, which, knowing my penchant for sci-fi, came as a gift (thanks, guys). Not the last time, as you’ll see in Issue #21, Acoustics, which is due one of these days. More on that later.

The original cartoon can be found as originally published in the “Klaus Kube” section of Uncube Magazine #19: Space, edited by Sophie Lovell, Florian Heilmeyer, Jessica Bridger, Elvia Wilk et al. Anyone caring to name all the referents (sci-fi related or else) in the drawing, please help yourself and drop a comment for an invaluable no-prize.

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