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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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They’ve built schools like wedding cakes and are making a real-life gingerbread house with Grayson Perry. But the UK’s most playful practice is breaking up after 23 years. They have built a romanesque church out of sparkly blue sequins, a school that looks like a gothic wedding cake and turned the head of Hercules into a squishy seat. Now, in an unexpected twist, the mischievous London architecture practice FAT has announced it will be no more. Architects usually die, divorce, or go bust – so why the boyband-style break-up?
“We all feel we’ve completed what we set out to do,” says Sam Jacob, who has worked with fellow partners Sean Griffiths and Charles Holland for the last 23 years on everything from art installations to social housing, alongside a prolific volume of writing and teaching. “FAT was only ever intended to be a project, a way of taking a set of ideas out into the world,” he says. “We still can’t believe we’ve had so many opportunities to make buildings.” […]
The three partners have yet to announce their future plans, but will end their collaboration at the Venice Architecture Biennale next summer, where they are curating the British Pavilion with Dutch practice Crimson and writer Owen Hatherley.
“They remain open to offers for a lucrative reunion in 20 years’ time,” concludes the official press release. “We’ve got to go on a victory tour,” grins Jacob. “Bands used to take 30 years to reunite, but nowadays they’re back together in a couple of months, so who knows …”
— Oliver Wainwright: “The end of FAT: architecture’s biggest pranksters call it quits – boyband style.” The Guardian, Tuesday 17 December 2013
The original cartoon can be found as originally published in the “Klaus Kube” section of Uncube Magazine #18: Slovenia, edited by Sophie Lovell, Florian Heilmeyer, Jessica Bridger, Elvia Wilk et al. And yes, that is Foster’s “Cycling Utopia” (for God’s sake…) in the foreground.
A tip of the hat to Sam Jacob and the rest of FAT. I’m really sorry to see them disbanding, but I’m also looking forward to seeing what comes out of this in the future. Best of lucks!
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)
III. On Intellectuality in Uncube Magazine #9: Constructing Images
edist Designs in Uncube Magazine #9: Constructing Images
V. Cloud Encounters of the 911th Kind in Uncube issue #10: Wood, Paper Pulp
VI. Metropol Para-Poli in Uncube Magazine #11: Charles CorreaVII. Architecture, Mon Amour in Uncube Magazine #12: Into the Desert VIII. One of my Turns in Uncube Magazine #13: BerlinIX. Faulty Towers in Uncube Magazine #15: Small Towns, Big ArchitectureX. Shardnado! in Uncube Magazine #14: Veins
XI. 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.
“Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.”
J. G. Ballard: “Fictions of Every Kind” (Books and Bookmen -February 1971)
Koolhaas read The Cast of the Metabarons.
Or maybe not. Certainly, much as Rafael Moneo likes to trace the architectural lineage of the Casa da Musica back to Breuer’s Begrisch Hall in The Bronx (and, let’s be honest, they only look alike if seen from a certain angle), Koolhaas’s diamond-shaped starship bears more than a passing resemblance to the megastructural Metabunker -as does Mr. K to the Metabaron himself- designed by Jodorowsky and Moebius in the early 80s and refashioned a decade later by Juan Gimenez. The image of the music centre’s diamantine volume, landing on top of a stone tapestry that waves in Marilyn-ear fashion amidst Porto’s urban grid could difficultly be more accurate in its rendition of the megastructural ship, hanging motionless in the middle of the Möbiusian City-Well. The main entrance, with its porthole-like design, reinforces the spaceship connection, also present in other projects by OMA, such as the aptly christened Transformer and its lunar module resonances. And the same case could be made for the transvestite Death Stars designed by the Office for the UAE, or, in a sort of Escherian flattening, by Heerim architects in Azerbaijan -while, to the eyes of those who discovered cyberpunk in the manga from the 1980s, it is difficult not to feel a dejá vu of Masamune Shirow’s Appleseed Arcologies (go check them!) when seeing the renderings for the similarly lunar-themed Crescent Hotel in Baku.From left to right, clockwise: (1)The Metabunker as seen in Othon le trisaïeul, Les Humanoïdes Associés, November 1992. (2) Begrisch (Lecture) Hall. Marcel Breuer, 1964. (3) Casa da Musica in Porto. OMA, 1999-2005.
Did Koolhaas really read The Metabarons? In the end, it matters not.
Writing in a XXI century that has been a synonym for “the future” for more than a hundred years, those overlaps -be it direct inspiration or sheer serendipity- simply underline the way in which science fiction’s architectural imaginary has become part of the general imaginary of architecture. Today, the conflation of the advances in representational and building techniques fosters a parallel conflation of the modus operandi of architects and sci-fi designers, as offices and publications such as Factory Fifteen and Beyond vividly illustrate. We live in a new paradigm where science fiction’s architectural imagery, so crucial in the shaping of the imaginary of several generations of architects brought up in visions of white, hi-tech landscapes and dark corridors covered with lockgates and leds, is as much a part of the architectural cultural heritage as the classical orders, the Pantheon, or the Unité d’Habitation. Nowadays, architecture has to fish in new (old) imagery pools, while postmodern citationality expands to encompass the products of popular culture. And, in the end, everything becomes science fiction architecture.
— Luis Miguel Lus Arana: “The Weapons of the Metabaron: Metabunkers, Music Halls, and the SciFi-cation of Architecture ” in Clog: SCI-FI, August 2013; 16-7
CLOG #7: SCI-FI, with contributions by 3.4 Methylenedioxymethamphetamine, After Architecture, Jared Banks, Katy Barkan, Sean Burkholder, Conner Callahan and Shana Opperman, Ryan Church, Matthew Clarke, Archie Lee Coates IV, Nathaniel Coleman, Eric De Broche Des Combes, Greg Cook, Mark Dermul, Kyle Dugdale, Jeffrey Franklin, Pedro Gadanho, Scott Geiger, Ricardo Gonçalves, Reinier de Graaf, Alpna Gupta, Patrick J. Gyger, Dalia Hamati, Sara Hayat, Brian Horrigan, Julia van den Hout, Kellen Qiaolun Huang, Justin Hui, Interiors, Andy C. Jenkins, Matthew Johnson, Damjan Jovanovic, Klaus, Joseph Kosinski, Simon Kristak, Jimenez Lai, Stephanie Lee, Sally L. Levine and Daniel I. Vieyra, Thomas Lozada, Alan Lucey, Luis Miguel (Koldo) Lus Arana, Casey Mack, John Marciante, Kyle May, Ian McAlpin, Craig William McCormack, Kimberly McGuire, Matthew Messner, Movingcities, Thomas Mical, Leo Mulvehill, Dan Newman, Matt Novak, Roberto Otero, Luke Pearson, Cyrus Penarroyo, Emmanuel Petit, Enrique Ramirez, Jacob Reidel, Doctor Laser, Fred Scharmen, Kyle Schumann, Neal Shasore, Dominik Sigg, SOFTlab, Rachel Meade Smith, Jason Vigneri-Beane, William Watson, Nathaniel Walker, Liam Young
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Dutch firm MVRDV has received harsh criticism since they revealed the proposal for two luxury residential towers in South Korea, named after its inspiration, The Cloud. The two towers are connected by a “pixilated cloud of additional program.” Critics are outraged, stating the design resembles the collapsing twin towers of the World Trade Center following the 9/11 terrorist attacks.
MVRDV spokesman Jan Kinkker stated, “We’ve had quite a lot of calls from angry Americans saying it’s a disgrace. 9/11 was not the inspiration behind the design, the inspiration was a real cloud.” He added, “It was not our intention to create an image resembling the attacks nor did we see the resemblance during the design process. We sincerely apologize to anyone whose feelings we have hurt.”
Project developer Dream Corporation selected The Cloud design proposal over a number of other options and will have the final say on whether or not they will consider another alternative.
“Controversy over The Cloud forces MVRDV to Apologize.” ArchDaily, Dec. 12, 2011
In an article titled “Do These Skyscrapers Remind You Of The 9/11 Attacks?” online magazine Fast Co. Design used Dezeen’s reader comments to explain the story, while gadget blog Gizmodo Australia led a piece with the question “What The Hell Were These Architects Thinking?”
In an official statement on their Facebook page, MVRDV apologise for any upset cause and explain that they did not see the resemblance during the design process. However, Dutch newspaper Algemeen Dagblad claims that MVRDV representative Jan Knikker admitted that they in fact did notice, fuelling the debate further.
Most recently, American magazine the New York Post have picked up the story, blasting the towers as “sick” and “a spectacular case of architectural tastelessness” and the BBC reported the story in their televised news program.
“Exploding” twin towers by MVRDV cause outrage.” Dezeen, Dec. 14, 2011
The original version of this cartoon can be found in uncube issue #10: Wood, Paper Pulp, with contributions by Florian Heilmeyer, Dan Handel, Jessica Bridger, Luise Rellensmann, Rob Wilson, Elvia Wilk and more…
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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 hope–kool–pope 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.