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Le Corbusier

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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.

The End of the Beginning

While classical origins were thought to have their source in a divine or natural order and modern origins were held to derive their value from deductive reason, `not-classical’ origins can be strictly arbitrary, simply starting points, without value. They can be artificial and relative, as opposed to natural, divine, or universal. Such artificially determined beginnings can be free of universal values because they are merely arbitrary points in time, when the architectural process commences. One example of an artificial origin is a graft, as in the genetic insertion of an alien body into a host to provide a new result …

A graft is not in itself genetically arbitrary. Its arbitrariness is in its freedom from a value system of non-arbitrariness (that is, the classical). It is arbitrary in its provision of a choice of reading which brings no external value to the process…
 

The End of the End

Along with the end of the origin, the second basic characteristic of a ‘not-classical’ architecture, therefore, is its freedom from a priori goals or ends – the end of the end …

With the end of the end, what was formerly the process of composition or transformation ceases to be a causal strategy, a process of addition or subtraction from an origin. Instead the process becomes one of modification – the invention of a non-dialectical, non-directional, non-goal oriented process …

This suggests the idea of architecture as ‘writing’ as opposed to architecture as image. What is being `written’ is not the object itself – its mass and volume – but the act of massing. This idea gives a metaphoric body to the act of architecture. It then signals its reading through another system of signs, called traces. Traces are not to be read literally, since they have no other value than to signal the idea that there is a reading event and that the reading should take place; trace signals the idea *_o read …

But further, knowing how to decode is no longer important; simply, language in this context is no longer a code to assign meanings (that this means that). The activity of reading is first and foremost in the recognition of something as a language (that it is). Reading, in this sense, makes available a level of indication rather than a level of meaning or expression.

Therefore, to propose the end of the beginning and the end of the end is to propose the end of beginnings and ends of value – to propose an other `timeless’ space of invention. It is a ‘timeless’ space in the present without a determining relation to an ideal future or to an idealized past. Architecture in the present is seen as a process of inventing an artificial past and a futureless present. It remembers a no-longer future.

Peter Eisenman: The End of the Classical: the End of the Beginning, the End of the End” (1984)

Founding Nietzsche in the Fin d’Ou T Hou S: http://corbu2.caed.kent.edu/architronic/v2n3/v2n3.05.html

The Uncanny and the Architecture of Deconstruction: http://www.imageandnarrative.be/uncanny/bartvanderstraeten.htm

 

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