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Praxis 14 - True Stories Table of Contents

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Praxis 14, “True Stories”, guest edited by Ana Miljacki, with Amanda Reeser Lawrence and Ashley Schafer, considers the ways in which architects tell stories. Films, fictions, sitcoms, comics, and fairytales are among the types of architectural narratives featured in the issue. These acts of architectural storytelling are considered for their capacity as both critical and projective disciplinary tools. With Barry Bergdoll, Reinhold Martin, Jimenez Lai, MOS, Julia and John McMorrough, Keith Krumwiede, Carlos Teixeira, Keith Mitnick, Christina Goberna and Urtzi Grau, Klaus Roons [sic], Kazys Varnelis and Robert Sumrell, and Wes Jones.

This one was so long in the works that I ultimately forgot to post it. the triple AAA, Ana, Amanda, and Ashley, contacted me looong ago, and asked if I could do an illustration for -then- forthcoming issue #14 of PRAXIS: Journal of Writing + BuildingPraxis is one of those academic publishing efforts I have fond memories of, and the issue was so packed with old friends of this blog (Jimenez, Kazys Varnelis, MOS, Wes Jones…) that I couldn’t say no. Then, Amanda, Ana and Ashley became even more busy when they became appointed part of the curatorial team of the US Pavilion at the 2014 Venice Biennale. I guess I’ll have to wait some time for issue 15. In the magazine, everyone was given a speech balloon (not bubble!) with their contribution title, authors name and page number written in it. Unfortunately, my copy is in a box somewhere, so you’ll have to get yourself one.

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

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.

So, before January is over, I’d like to post the first one in a series of posts that look back at some of the stuff that happened in 2013 but which, due to the hectic-ness of these last months, had to wait till now. So, as a starting point, I thought it would be nice to celebrate the imminent -and eminent- first anniversary of my ongoing collaboration with Uncube Magazine, a Berlin-based, online journal that has managed to make its own place in the netsphere through a steady flow of thematic, monthly issues, since August 2012.

Drifting a little from my usually elusive manners, I offered them to draw an egotistic strip, “Numerus Klausus”, commenting on current issues on and around architecture in my own section within the magazine, ‘Klaus’ Kube’. Of course, even though it started as a regular-looking comic strip, they soon talked me into doing something a little more complex -they didn’t have to try too hard. Some of the strips are still pretty elusive, but at least this time their backstory is easier to trace back. Also, the editors’ suggestions gave me the opportunity to feature a lot of guest stars, such as the inevitable Rem-the-Man, but also MVRDV, Rafael Viñoly, Renzo Piano, Kieran Long, Pink Floyd (seriously), Florian Heilmeyer, Sophie Lovell, Zaha Hadid, Gregg Lynn, sylvia Lavin, Jean Nouvel or Sigmund Freud.

Scroll down for the whole series (including two non-posted ones)

Klaus's Kube 01 Delusional EconomiesI. Delusional Economies, in Uncube’s blogklaus Kube 02 You're so Kool blogII. You’re so Kool in Uncube Magazine # 07 : Off-places.

NK 03 On Intellectuality blogIII. On Intellectuality in Uncube Magazine #9: Constructing Images

NK 04 Taylorist Designs 01 blogIV. Tayloredist Designs in Uncube Magazine #9: Constructing Images

MVRDV Cloud EncountersV. Cloud Encounters of the 911th Kind in Uncube issue #10: Wood, Paper Pulp

NK06 - DEF 03 smVI. Metropol Para-Poli in Uncube Magazine #11: Charles CorreaUncube Numerus Klausus 07  Architecture Mon AmourVII. Architecture, Mon Amour in Uncube Magazine #12: Into the Desert NK08 02 xsmVIII. One of my Turns in Uncube Magazine #13: BerlinNK09 Viñoly attacks uncube 03IX. Faulty Towers in Uncube Magazine #15: Small Towns, Big ArchitectureShardnadoX. Shardnado! in Uncube Magazine #14: Veins

NK 11 01 smXI. Form Follows Friction in Uncube #17: Construct Africa

This last one came after a suggestion (as another one preceding it and yet one more to come) by Sophie Lovell, who thought it would be better not to have me making humor of anything Africa-related, and asked me to tackle on Zaha Hadid’s vagina-like stadium instead. I have to say that, were I an editor, the prospect of myself being given free reign to draw vaginas in the magazine wouldn’t make me any less worried, anyhoo… so, consequently, I took the opportunity to throw in some of all this phallic proliferation that’s been happening lately in architecture, ranging from Jean Nouvel’s dildo to Foster’s recently-flaccid Gherkin, China’s People’s Daily Newspaper circumcised HQ, or that infamous church that looks like a penis in aerial view (if you’re interested in this highly intellectual topic, check Cabinet Magazine’s 2003 Competition for the Most Phallic Building in the World). It also gave me the chance to feature Gregg Lynn and Sylvia Lavin (not her first time in the blog), who’s the subject of a cartoon I never get to sit and draw. Over there, writing on his blog in Providence, David Brussat identified this as an ITD (Internet transmitted Disease): “Klaustoon on Koolhaas and Penises” at Architecture Here and There.

Next issue, it  will be FAT time.

NK08 01 sm blogClick to enlarge

“He flew Tina Turner over her audience on a huge mechanical arm, drove U2 through their arena inside a mirror-studded lemon, and thrust the Rolling Stones between stages on a 45m-long telescopic bridge, complete with helicopter searchlights. The architect and set designer Mark Fisher, who has died aged 66 after a long illness, defined the rock’n’roll spectacular over the last 30 years, dreaming up ever more elaborate contraptions to match the wildest visions of his bands.

Vast inflatable characters were a regular feature of his shows, reaching a surreal climax when a 30m pig burst through a wall of 2,500 polystyrene blocks, for the ex-Pink Floyd member Roger Waters’s 1990 performance of The Wall in Berlin. Designed with Fisher’s then-partner, Jonathan Park, it was one of the most ambitious sets ever conceived outside an arena, with the wall marching 170m across the former no-man’s-land of Potsdamer Platz, before tumbling down in front of an audience of half a million people. A stage version of the show, which features flying puppets based on drawings by Gerald Scarfe – including a caricature of Fisher as a schoolteacher – remains one of the most complex rock shows on tour, costing almost £40m to stage.

Fisher’s designs always broke new ground in the sheer scale of their spectacle. For U2’s PopMart tour in 1997, he developed the world’s largest LED screen, stretching 50m across the back of the stage. In front of this glowing cliff of pixels rose a giant golden arch, in the style of the McDonald’s logo, from which a bank of speakers was suspended like a great basket of fries. Topping off this supersized satire of consumer culture, an illuminated olive shone at the end of a 30m cocktail stick.

“A rock show is a sort of tribal event in our culture,” said Fisher. “It’s preparing everyone for the arrival of the high priest.” In this case, the priestly vehicle took the form of a 12m-high lemon-shaped mirrorball, which flipped open to reveal the band inside. “The grail,” the designer would say, “is to give the audience something spectacular it really didn’t expect.”

Born in Kenilworth, Warwickshire, Fisher began his studies at the Architectural Association in London in 1965, where he was surrounded by the dreamy visions of floating cities and plug-in megastructures of the experimental Archigram group. Working on set designs for musicals after graduating, he was given the chance to test out his pneumatic ideas on Pink Floyd’s Animals tour in 1977, producing a striking inflatable menagerie that caught the imagination of bands and audiences alike.

Fisher designed the band’s lavish stage sets for the next two decades, culminating in a 40m-high tilting steel arch for the Division Bell tour in 1994. It was the biggest portable stage set of its kind; it took three days to erect the 700-tonne steel structure, three versions of which were fabricated, in order to leapfrog between venues on 53 articulated trucks. […] One of his most elaborate bespoke designs was “the Claw” for U2’s 360 tour, a 180-tonne steel arachnid that loomed over the stage, enclosing the band along with several thousand members of the audience.

“He was an architect with an extraordinary imagination,” says U2’s manager Paul McGuinness. “He turned everyone’s wild ideas into steel and lumber and canvas reality.” It was a reputation that drew a stellar client list, with Fisher crafting extravaganzas for everyone from Elton John to Janet Jackson, Lady Gaga to Take That, Madonna to Metallica.

Outside the world of rock’n’roll, he was invited to work on the opening ceremony of the Beijing Olympics in 2008, constructing a glowing telescopic “dream sphere” around which swarms of acrobats performed. For the Commonwealth Games ceremony in Delhi in 2010, he developed an ingenious system of hanging everything off a 90m-long inflatable structure, as the suspended floor of the stadium could not take high loads. […]”

He is survived by his wife and fellow architect, Cristina Garcia. Mark Fisher, architect and stage designer, born 20 April 1947; died 25 June 2013.

Oliver Wainwright: Mark Fisher Obituary. The Guardian, Wednesday 3 July 2013

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The original cartoon can be found as originally published in the “Klaus Kube” section of Uncube Magazine #13: Berlin, edited by Florian Heilmeyer, Jessica Bridger, and Elvia Wilk.

MAS_Context_Analog_2012_Iker_Gil_04Photograph by Matthew Messner

The lapse from 2012 to 2013 and the months that followed have been a particularly busy period, both regarding my work as Klaus and my scholarly life, so almost a year has gone by without my posting a single word about the ARCHITECTURAL NARRATIVES Exhibition in the MAS Context: analog event in Chicago, last October.

Following an urge to give credit to all those people who insist in organizing those things for me (since none of this would happen if we had to wait for myself to take the initiative), I would like to thank Iker Gil, from MAS Studio, for insisting in putting this together. As in previous occasions, MAS Context: Analog was organized as a one-day event gathering emerging and established practitioners within the field of design who discussed their work. This time, the event included presentations by Sean Lally, David Brown, David Rueter, John Pobojewski, Sara C. Aye & George Aye, and many more. The event took place in Saturday, October 13 2012, and it was housed by NEW PROJECTS, an urban design studio, research center, and exhibition space in Chicago directed by Marshall Brown and Stephanie Smith located at 3621 South State Street in Chicago.

MAS_Context_Analog_2012_Iker_Gil_08Photograph by Iker Gil

This time the event also opened the exhibition “Architectural Narratives”, which was available for viewing for the whole next month, and featured a number of works by Jimenez Lai and yours truly. The original plan had been to entitle the exhibition “Building Stories”, after Chris Ware’s eponymous magna opus, but, as it happened, Mr Ware himself was having his own exhibition entitled that way in the Adam Baumgold Gallery and Carl Hammer Gallery (Chicago) in those very days (serendipity). Still, the exhibition looked really nice, and worked as the basis for a bigger (and exhausting) collaboration with MAS Context that will show its results before the end of the year.

Scroll down for some images of the event or go to the entry on the event at  MAS Context’s website.

MAS_Context_Analog_2012_Iker_Gil_03 MAS_Context_Analog_2012_Iker_Gil_05 MAS_Context_Analog_2012_Iker_Gil_06

Photographs by Iker Gil

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But today we collect Gags [and gigs, and schticks]

Gropius wrote a book on grain silos,

Le Corbusier one on aeroplanes,

and Charlotte Periand brought

a new object to the office every morning,

But today we collect ads.[i]

Today (today), Rem Koolhaas writes big fat books and reinvents OMA each ten years in a different exhibition, and Bjarke Ingels recounts the 8 House to us conjuring a virtual model in the air while speaking to the camera. Nic Clear evokes the spaces suggested by Ballard in videos created in the Bartlett workshops, and Factory Fifteen win the RIBA medal with a short film on androids of the Apartheid. Architecture and fiction, again.

And comics. A decade before, Koolhaas (and son) rediscovered one more time (for architecture) the underground appeal of drawn stories, and Neutelings appropriated the graphic patterns of a certain Swarte (or perhaps Eddy Vermeulen’s) due to their inherent conceptual transparency. Today, Jimenez Lai published a graphic novel under the  Princeton Architectural Press seal, and Yes is More or Metro Bassel signify the drift  of architecture -a discipline traditionally burdened by its obsession with distancing itself from anything that could question its intellectual pedigree- towards the uncertain terrains of ars poverae and cool, of marketing and circus-like mediatic massage.

(… but -I am told- Le Corbusier also did storyboards for buildings in the 1920s, and before that he had already adopted the graphic conventionalisms of American cartoons. And even earlier, he flirted with the idea of writing a doctoral dissertation on the comic strips of Rodolphe Töpffer, the Swiss father of the bande dessinée…)

Jeanneret was a fertile and feverish communicator, too; like Loos, an active polemist; like Mies, a skilled coiner of catchphrases and mottos. The journey is, some they say, in how you tell it, and if architecture has nowadays a passionate affair with communication, this is nothing new, anyways. Today (the day before yesterday, at the latest), Rem Koolhaas poses impeccably dressed as the cover image of Vogue, while he plays confusion with his audience, displaying a discourse in permanent -and studied- contradiction. But long before that, Corbusier (that early Koolhaas impersonator) already understood that his main role was that of the publicist who could as well photograph himself painting nude in Saint Tropez, or rebuild his own history over and over again in the consecutive editions of his Oeuvre Complete. Architecture, and starchitecture, is in how you tel it, yes, and its legend gets built through grand discourses, but also in small talk, gossip and small miseries, through a mouth-to-ear that current informational ubiquity has augmented exponentially. Today, information is bigger, and bigger are the chances for media presence; but a more ephemeral one. That’s why the flux has to keep coming; the flux of images, publications and conferences, of debates, but also of opinions and minutiae, of Facebook walls and tittle-tattle.

Because today, we collect gags.


[i] Alison&Peter Smithson: “But Today We Collect Ads”. Ark magazine No. 18, November 1956.

“But today we collect gags”, originally published in the e-book “The Importance of the Ways Stories are Being Told” (dpr-Barcelona, June-July 2012) after the debate of the same name, and cracked during a train trip to Barcelona. Anyone who has read the similarly-themed “Tell Me More!” or “Modern Talking” will notice the recurrences and overlaps. [Also, the above image doesn’t have much to do with the text itself, just with the title, but…]

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”The Importance of the Way Stories are Being Told”. Following the debate “Communication and Bottom-UP. The importance of the way stories are being told.” dpr-barcelona seek to expand the debates and conversations avoiding them to get lost after a few days of the event. This digital-pamphlet [kindle + ePub] is meant as a tool to keep exploring the thought and ideas of thinkers and doers; articulated by simple detonating questions posed through emails, tweets and conversations intending to comunicate effectively the very essence of the debate: “the importance of telling stories”.
This “fast generated” publication includes contributions by attending guest to the debate [that you can see here in the post], the so-called “Line 0” [Ana María León, Pedro Hernández and Clara Nubiola] and with the aim to expand the conversation beyond the dome of Eme3’s piazza, we also have invited a few friends who are involved in similar activities to share their thoughts about this topic with us. They are Iker Gil, Mario Ballesteros, Cristina Goberna and Urtzi Grau [Fake Industries], Mimi Zeiger, and Nick Axel.
This digital pamphlet is also a starting point for a open and written debate were everyone can also sum opinions: Those interested in responding will be able to add more contents using Booki (http://www.booki.cc/list-books/), which is an open platform that allows to write collaborative books and even generating a very personal version.
The book has been published bilingual, with some articles in Spanish and other ones in English, as each author was free to choose the language that makes easier to communicate his/her ideas. You are free to add a complete chapter, to add contents to the published ones and to add images… Did someone say participate? You can download the eBook version for kindle, ipad and tablets by paying with a tweet.
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