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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.

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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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(…) Digging into the dirty laundry of the architectural star-system is, in any case, neither a recent phenomenon nor a curiosity exclusively circumscribed to today’s divas. The mouth-to-ear airing of our architectural heroes’ private sins has been an inevitable aside of their rise as idols. Small talk on the lower passions of the masters of the past has accompanied the writing of the big lines of the History of Modern Architecture, and along with our worshiping of their oeuvre comes the delight to learn about their quaintest interiorities: Mies van der Rohe´s infamous (non) affairs with Ms. Farnsworth, Alvar Aalto´s alcoholism -a recurring topic for Finnish cartoonists3, or Le Corbusier´s pathological Messianic obsessions are personal details that have transcended the boundaries of scientific biographies to become precious pieces of information we love adding to our common knowledge of them. We need both heroes and villains: The formers to inspire us, the latter to offer us some moral relief at the sight of a worse human being than ourselves. But even more, we’d rather having our heroes be our villains too. Some will argue that these minor flaws humanize our icons, making them flesh and blood human beings we can better relate to, and certainly this “fleshing out” helps build our interest on them. But this humanization is also an excuse that sugarcoats a very straight forward preservation mechanism, devised to protect our self-esteem at that point where admiration meets sheer envy. There’s nothing we love more than a rags to riches story -except for a riches to rags story, that is.

A most interesting reversion of this turns up, however, when these minutiae actually become an integral part of the mythos, to the point of being vital contributors to its very construction. Again, the careful devise of its own legend was an inherent feature of architecture’s entrance into modernity, often created as a fiction before it really happened. (…) The fascinating point here is how this emergence of gossiping contributes to the creation of the starchitect; how in the case of contemporary icons such as Rem Koolhaas it´s the unofficial flux of information surrounding the figure which ultimately elevates him into a legendary status.

Of course, in the case of Koolhaas the shaping of this aura is also engineered through conventional means; Koolhaas is a sharp thinker and an eloquent writer and spokesman who has shaken the architectural scene of the last decades with acute reflections of deliberate and controlled ambiguity. But even more than through his words, the Koolhaas mediatic persona has been constructed through a parallel dissemination of details about his behind-the-scenes: stories that tell us of a man who lives in airplanes, sending by mail corrections for a document he was given in a meeting a few hours before, of a Renaissance man who swims every time he lands, or wins a competition with a single, cunning speech5. All this mouth-to-ear stories, propagated through the netsphere, contribute to endow his figure with an halo of epic mystery that propells him into an almost superhuman category. Koolhaas is the über-example of the starchitect, where the personality comes first and the work second. And that’s the bottom line: Koolhaas can produce starchitecture because he is, first and foremost, a star. Le Corbusier´s delightully maudit portrait, painting nude in Saint Tropez has been replaced by a cover of L’Uomo Vogue.

But public notoriety is as easy to gather in the age of software as difficult to retain. The internet era is also the age of the twitterization of knowledge, a time where information both reigns and deflates, where news are as ubiquitous as thoroughly made-to-forget, immediately replaced by new installments. The same could be said about some of the architecture produced by this idiosyncrasy, made to glow for a moment and quickly disappear; architecture of futile monumentality and inevitable ephemerality designed within a discipline obsessed with creating the building of the century… of the week. In this new paradigm, the (st)architect has to become a public figure, an entertainer, a performer, or even, if needed, a celebrity of the Kardashian kind. The World Wide Web and the rapid production allowed by digital tools have multiplied the presence of architecture in everyday life, and have worked together to create a new type of architect sustained above all by his communication skills. The internet, blog culture, Twitter, have leveled the capability of everyone to achieve their share of Warholian fame, but in turn, their allotted fifteen minutes have been drastically reduced to -maybe- fifteen seconds. The attention of the audience, brought up in a solid diet of continuous novelty, is volatile, and the architecture of today has to keep nourishing its audience at a steady pace, or risk disappearing from the picture right away.

And it is in this context where gossip, criticism and satire, emerge as tools for the maintenance of public presence. The internet has also revived the long-loved tradition of the fast gag, the sketchy commentary, and the cartoon, which offer the necessary escape route for the asfixiating ubiquity and self-indulgence of architectural discourse. As any endogamic discipline, architecture has a record of taking itself too seriously, and of alternating victimism and self-deprecation with tremendous arrogance and a myopic lack of perspective (ironic as it is) on the relevance of its own obsessions. The reemergence of satire appears as a natural counterbalance for this, offering us a way to mock our loved-hated idols that’s apparently naive, inoffensive (but with the potential to become really offensive), and sublimate our frustration through ironic laughter, instead of bitter full-frontal (yes) criticism, while at the same time, reinforcing the (com)position of the starchitectural who’s who. As Oscar Wilde, via some of our infamous celebrities, would point out, the ultimate goal is to be talked about so as to be (there), even if just to be thrashed, and architects, with their fragile yet unrestrained egos, become the ideal victim/beneficiary of this revival. Today, gossip refashions itself as a form of viral advertising. The motto is “keep them talking”. (…)

Tell me more! – Gossiping, cartooning, and the nourishing of the  Starchitectural status quo

Conditions magazine #10: Gossip, July 2012

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The above are some excerpts from a (not really much longer) article published in the last issue of Conditions magazine, which I received last month, in the middle of the busiest July I can remember. Conditions is an independent Scandinavian magazine on Architecture and Urbanism edited by Joana da Rocha Sá Lima, Tor Inge Hjemdal, and  Anders Melsom whose next issue, “Possible Greenland”, will be part of the official catalogue of this year’s Danish/Greenlandic contribution to the Venice Biennale. Conditions #10 is dedicated to gossip, and features contributions by Robert Somol, Eduard Sancho, Christian Hjelle, Irene Hwang, Ed Ogosta, Espen Vatn, Freddy Massad&Alicia Guerrero Yeste, Roberto Naboni, Iben Falconer and yours truly. The essay above was written around the same time as Modern Talking, the article published in Mas Context #14: Communication that tackled on some overlapping issues, which explains the recurrent use of some examples and ramblings; either that or I’m entering a wino-in-a-bar dynamics where I just keep repeating the same the same stuff over and over. Please, be forgiving.

If you want to read the full article, click in the images below, or -much better- order a copy here. You can also read the text of Eduard Sancho’s And if most of the job offers are fake? here. Special thanks to Gislunn Halfdanardottir.

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Once upon a time, people compared with their neighbors. Your neighbor was your point of reference and thus the most desirable object of gossip and eavesdropping. Not so anymore. In the world of global networking, you are driven by ambition to compare yourself with the most clever or world-renowned exponents of your trade. Even a critique, satire or parody of the star-system of architecture is an affirmation of its hegemony. Who doesn’t want to be the object of architecture gossip? After all, it’s giving the “stars” more attention, no matter how critical the original intention was. For addicts of gossip, all news is good news, the worst thing is silence, and even a well mediated “scandal” can actually promote your career.
The current issue of CONDITIONS investigates the function of gossip in architecture. Gossip has always been around in architecture as one of the oldest ways of sharing, maneuvering and convincing. But how does it manifest itself today within the instant culture of internet and social media? What is the role of gossip in contemporary networking? Has the logic of gossip and instant gratification also penetrated what we used to call architectural critique?

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At some point at the beginning of the Summer, Darwin Marrero, Assistant Dean at the School of Architecture of the University of Puerto Rico contacted me in order to contribute something to the upcoming sixth issue of (in)forma, which he was editing. The topic for the issue, “Hiperturismo” (Hypertourism) sounded really engaging, but unfortunately I was swamped by work, so I agreed to send him the hopekoolpope trilogy, plus a modified version of  (the) man on the moon as illustrations for “En el Limbo del Ocio”, a conversation between Michel Houellebecq and Rem Koolhaas. However, I couldn´t resist much time, and as the release date moved forward, I decided to adapt an old illustration (which was itself a reworking of another one) to the square format of the magazine, thinking that it wouldn´t take much time. In the end, it turned out to be really time-consuming, and I gave up, sending the ilo without all the modifications I intended to make (a flying bus-city-tour was supposed to be crossing the center of the image – And yes, it´s the image that sits on the background of my twitter profile).I guess I´ll make them at some point.

You can read the article, cartoons, and editorial as originally published (in Spanish) below.

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Kunst-Haas in the streets of Portimão

Last night, at a conference-dialogue at ISMAT, we launched a Photographic Marathon to go along with the Exhibition Klaus.Toon: From NY to Portimão, organised in collaboration with the Delegação do algarve da Ordem dos Arquitectos. The call for submissions will be open till January 10, 2011. The terms are detailed in the announcement below. Thanks from here to Josué Elizario and Hugo Nazareth for their invitation, to Ricardo Camacho, Rui Vargas and Vítor Lourenço, and to the staggeringly crowded -and participative- audience that granted us with their attention for over two hours.

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KLAUS.TOON – PHOTOGRAPHIC MARATHON

The exhibition Klaus.Toon: From New York to Portimão, which will be displayed in Portimão from November 26 to December 26, 2010, has been conceived as a mixture between a traditional gallery-enclosed exhibition and a piece of guerrilla-art, where the cartoons make part of a performance where art and city interact.

Organised in a threefold structure, that starts at the Teatro TEMPO, with another vertex at the Praça da República and a third meeting point in Bar Porta Velha (Travessa Manuel Dias Barão) the aim of the exhibition is to turn the streets of Portimão’s old centre into a gallery space by displaying the rest of the works on the shop windows of different stores located in Rua Direita, Rua Diogo Tomé, Alameda da República and Rua Vasco da Gama.

Following this logics of interaction the Ordem dos Arquitectos – Delegação Algarve launches a photographic marathon where we invite everyone to record the different situations fostered by the presence of the exhibition in the street. We are looking for pictures that depict the funny, weird, surprising or just casual interactions between people and the exhibition, but also pictures of the cartoons themselves, either in isolation or in context, series of pictures, or whatever other ideas the photographers want to show.

The photos will be uploaded on a Klaustoon’s  Flickr account, and a selection of them will be shown in Klaustoon’s Blog. Also, the best photos will be awarded a cartoon of their choice once the exhibition is over.

We want your photos! Please, send them to klaustoons@gmail.com.

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KLAUS.TOON – MARATONA FOTOGRÁFICA

A exposição Klaus.Toon – “De Nova Iorque a Portimão”, que decorre em Portimão de 26 de Novembro a 26 de Dezembro de 2010, foi concebida como um cruzamento entre a tradicional galeria fechada e a peça de “guerrilla-art”, onde os cartoons fazem parte de uma performance de interacção entre a arte e a cidade.

A exposição é organizada em três partes, começa no “Tempo” ( Teatro Municipal de Portimão), tem um vértice na Praça da República e termina num terceiro ponto de encontro no Bar “Porta Velha” (Travessa Manuel Dias Barão). Tem o objectivo de transformar as ruas do centro histórico de Portimão numa galeria aberta ao envolver o resto do trabalho nas montras das várias lojas da Rua Direita, Rua Diogo Tomé, Alameda da República e Rua Vasco da Gama.

Seguindo esta lógica de interacção, a Ordem dos Arquitectos – Delegação do Algarve e a Casa Gran Turismo – Silves, promovem uma maratona de fotografia que convida todos os interessados a participarem e a recolherem fotográficamente várias interpretações ou situações, que a presença da exposição nas ruas possa proporcionar. Procuram-se imagens que possam suscitar o alegre, o esquisito, a surpresa ou simplesmente a interacção casual entre as pessoas e a exposição, imagens dos próprios cartoons isoladamente ou num determinado contexto, séries de imagens ou qualquer outro tipo de ideias que os fotógrafos queiram transmitir.

As fotografias serão publicadas na internet, na conta Klaustoon Flickr e as seleccionadas divulgadas no Klaustoon’s Blog. Será ainda atribuído às melhores fotografias um cartoon a cada, escolhido pelos premiados. Os trabalhos deverão ser enviados até dia 10 de Janeiro de 2011 em formato jpeg 800×600 (72dpi).

Precisamos das suas fotografias! Por favor, enviar para klaustoons@gmail.com.

Cartoon Location Plan (Design by Filipa Cabrita)

You can also download the flyer of the exhibition with the cartoon guide here.

Koolhaas receives the Golden Lion at Venice, possibly awarded to his groundbraking film “The Towering Inferno”.

The Golden Lion for Lifetime Achievement for the 12th International Architecture Exhibition (Venice, Giardini and Arsenale, 29th August – 21st November, 2010) has been awarded to the  Pope of Architecture, Rem Koolhaas. The decision was taken by the Board of the Biennale di Venezia, chaired by Paolo Baratta, upon the proposal of the Director of the 12th Exhibition, Kazuyo Sejima.

“Rem Koolhaas has expanded the possibilities of architecture. He has focused on the exchanges between people in space. He creates buildings that bring people together and in this way forms ambitious goals for architecture. His influence on the world has come well beyond architecture. People from very diverse fields feel a great freedom from his work.“

Original announcement at the Venezia Biennale Webpage, at Art Knowledge News, Artdaily,  and a selection of pics at designboom.

Don’t know what this is about? Check here, here and here.

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