complex buildings generators, linkers, mixers & storytellers2 INdEPENdENt MAgAZINE OF ARcHItEctuRE+tEcHNOlOgY ISSuE 48 FREE OF AdvERtISINg EdItORS Aurora Fernández Per Javier Mozas gRAPHIc cONcEPt Aurora Fernández Per lAYOut ANd PROductION delia Argote MANAgINg Idoia Esteban cOMMuNIcAtION ANd PRESS Patricia garcía EdItOR, ENglISH-lANguAgE vERSION Ken Mortimer EdItOR, SPANISH-lANguAgE vERSION Aurora Fernández Per Javier Mozas SuBMISSIONS, SuBScRIPtIONS & ORdERS a+t architecture publishers tel. +34 945 134276 submission@aplust.net orders@aplust.net www.aplust.net PuBlISHER a+t architecture publishers ISSN 1132-6409 ISBN 978-84-697-3261-8 Frequency: Bianual PRINtINg gráficas Irudi s.l. vI 683/1994 2017 dIStRIButION (Europe, uSA, canada, Australia, Asia) Idea Books Nieue Herengracht 11. 1011RK Amsterdam. the Netherlands tel. +31 20 6226154 Fax +31 20 6209299 idea@ideabooks.nl www.ideabooks.nl (Spain, Portugal and latin America) a+t architecture publishers tel.+34 945 134276 orders@aplust.net www.aplust.net cOPYRIgHtS copyright of the edition: a+t architecture publishers. copyright of the projects, articles and photographs: their authors. No part of this publication, including the cover, may be reproduced or transmitted without the express authorization in writing of the publisher. cOvER Nlarchitects / Bel Sozietät für Architektur. development of the urban plan for Spielbudenplatz. St Pauli, Hamburg (germany). a+t architecture publishers general Álava, 15 2ºA. 01005 vitoria-gasteiz. Spain. www.aplust.net3 towards a Neo-cosmopolitan Architecture in the Age of v.u.c.A. dominic leong ........................................4 Generators: the complexity of Anticipation. Aurora Fernández Per ..........................................................8 Incubator of uses. Stéphanie Bru for Bruther Sport and cultural centre. Paris (France), 2014 ................................................................................................ 18 On complexity. Studio Muoto urban condenser. Paris-Saclay (France), 2016 ................................................................................................. 26 A Building Is not a Butterfly: culture and complexity ...................................................................................... 36 Alfredo Brillembourg, Hubert Klumpner, Alexis Kalagas, diego ceresuela Fábrica de cultura: BAQ. urban-think tank. Barranquilla (colombia), 2013-2017 .................................... 40 Fábrica de cultura: grotao. urban-think tank. São Paulo (Brazil), 2009-2017 ........................................... 42 challenging the One-function. JAJA Architects Park and Play. copenhagen (denmark), 2014-2016 ......................................................................................... 44 Linkers: the complexity of continuous Presence. Aurora Fernández Per ................................................ 50 Sala Beckett (Impossible not to Recall the Soane’s Museum). Ricardo Flores, Eva Prats Sala Beckett International drama centre. Barcelona (Spain), 2011-2016 ................................................... 53 dirty White cube. v+, Rotor MAd Brussels. Brussels (Belgium), 2010-2016................................................................................................. 62 the construction of the Neutral. MAIO Exhibition display System for Species of Spaces at MAcBA. Barcelona (Spain), 2015-2016 110 Rooms. collective Housing. Barcelona (Spain), 2013-2016..................................................................... 70 Mixers: the complexity of Everyday life. Javier Mozas ................................................................................ 82 A Mixed urban Form. de Smet vermeulen architecten linker Oever Intergenerational Project (IglO), Antwerp (Belgium), 2006-2014 ......................................... 90 A Whole connected. Javier Mozas Anita May Rosenstein campus - the los Angeles lgBt center. leong leong, Killefer Flammang, Pamela Burton. los Angeles, cA (uSA), 2016-2019 ............................ 96 storyteLLers: the complexity of context. Javier Mozas .......................................................................... 100 Spielbudenplatz urban Plan. Nlarchitects / Bel Sozietät für Architektur St Pauli, Hamburg (germany), 2015................................................................................................................... 108 Spielbudenplatz Plot 1. Nlarchitects / Bel Sozietät für Architektur St Pauli, Hamburg (germany), 2016................................................................................................................... 114 Spielbudenplatz Plots 2 and 5. feld72 architekten St Pauli, Hamburg (germany), 2016................................................................................................................... 118 Credits ..................................................................................................................................................................... 126 References Generators: 11 ............................................................... Fun Palace 1963-1977. 14 ................................................. InterAction Centre 1963-1977. 17 ...Generator Project White Oak Park, Florida. 1976-1979. Cedric Price 13 ......... Leningradskaia Pravda Building Competition, 1924. Constantin Melnikov 13 ............................................. Zuyev Workers’ Club 1927-1929. Ilya Golosov 15 ................................................... Centre Pompidou 1971-1977. Piano Rogers Linkers: 52 ..................................... Soane Museum, London, 1794-1824. Sir John Soane. 81 ..................................... Species of Spaces and Other Pieces. Georges Perec Mixers: 85 ........................................ Lafayette Park Detroit, 1956-1959. Ludwig Hilberseimer, L. Mies van der Rohe, and Alfred Caldwell 87 .....................Europapark Linkeroever, Antwerp (Belgium), 1968-1973. Aelbrecht, Bruynswijck, Moureau and Wathelet storyteLLers: 103 .....................................Rue de Paris, Temps de Pluie 1877 Gustave Caillebotte 103 ................................................................... Summertime 1943. Edward Hopper 103 ...........................................................People in the Sun 1963. Edward Hopper 106 .......................................... Capriccio Palladiano 1756-1759. Canaletto 106 ............................................................. La Città Analoga 1973. Arduino Cantàfora 107 ......................................The City of the Captive Globe 1972. Rem Koolhaas, Madelon Vriesendorp with Zoe Zenghelis Contents CoMpLex buiLdinGs Generators Linkers Mixers storyteLLers8 Si alguna vez la arquitectura tuvo una ambición extrema por acoger la vida, esa fue la del Fun Palace. Aunque, en realidad, nunca tuvo realmente la vocación de ser una arquitectura, al menos no en el sentido de permanencia, solidez o monumentalidad. Fun Palace debía ser un móvil gigante, con equipamientos dinámicos dedicados al ocio y al entretenimiento. Joan Littlewood, la creadora de la idea, que luego Cedric Price intentó convertir en algo capaz de ser construido, fue una actriz londinense que usaba el teatro como medio de agitación social, seguidora de Bertold Brecht, quería romper con la separación entre público y actor y hacer del teatro una herramienta de cambio social. Cuando conoció a Cedric Price en 1963, había abandonado su propia carrera como empresaria y autora teatral. Su impulso vital la llevó entonces a crear algo que activara la vida de la gente y les permitiera seguir viviendo, “una plataforma de lanzamiento para encontrarse a sí mismos”1. Fun Palace es aquel contenedor de actividades que debería estar presente en todas las ciudades, en todos los barrios. La inspiradora idea de Joan Littlewood y de Cedric Price, para una sociedad cada vez más ociosa, no pudo ser más atractiva. Es el espacio que desea encontrar la mayoría de la gente cuando deambula sin rumbo por el espacio público. The complexity of anticipation AurorA Fernández per Generators 1. Cedric price interviewed by Stanley Mathews in 1999. From Agit-Prop to Free Space: The Architecture of Cedric Price. Black dog publishing. 2007. p. 66 If architecture was ever to show a burning ambition to embrace life, this was the case of the Fun palace, and this in spite of its vocation to eschew being identified as architecture, at least not in any sense of permanence, solidity or monumentality. The Fun palace was designed to be a gigantic mobile, with dynamic facilities for leisure and entertainment. Joan Littlewood, the creator of the brainchild which Cedric price would subsequently transform into something that could actually be constructed, was an actress from London who envisaged theatre as a medium for social agit-prop and was a great admirer of the work of Bertolt Brecht. Her aim was to break down any division between public and actors and to convert theatre into a tool for social change. When she first met Cedric price in 1963 she had already abandoned her career as a businesswoman and dramatist and she was driven by an impulse to create something to activate people's lives and enable them to go on living, “it was a launching pad for finding yourself"1. The Fun palace is that container for activities which should be present in all cities, in all neighbourhoods. To a society in which the role of leisure was regarded as being of increasing importance, the inspiring idea of Joan Littlewood and Cedric price –this space most people seek as they wander aimlessly around public spaces– could not have appealed more. generators, linkers, mixers & storytellers. complex buildings series9 generators, linkers, mixers & storytellers. complex buildings series Generators FáBrICA de CuLTurA: BAQ urban-Think Tank Barranquilla, Colombia 2013-2017 (project on pages 36-43) 01. PérgoLA FotovoLtAiCA 02. Atrio y ESCALErA PrinCiPAL 03. AuLA 04. tALLEr 05. EStudio dE dAnzA 06. rEtíCuLA EStruCturAL 07. CuBiErtA AJArdinAdA 08. SALA muLtiuSo 09. núCLEo dE inStALACionES 10. EStruCturA dE EdiFiCo “ABiErto” 11. ConExión ELEvAdA 12. ESPACio PúBLiCo y PArA EvEntoS: LA PLAzA dE LA FáBriCA 13. AntiguA FáBriCA dE tABACo ExiStEntE 01. pHoTovoLTAIC pergoLA 02. MAIn STAIrCASe/ATrIuM 03. CLASSrooM 04. WorkSHop 05. dAnCe STudIo 06. open STruCTure 07. vAuLTed LAndSCApe 08. MuLTIpurpoSe HALL 09. InFrASTruCTure Core 10. “open” BuILdIng STruCTure 11. eLevATed ConneCTIon 12. LA pLAzA de LA FáBrICA open puBLIC And evenT SpACe 13. exISTIng BuILdIng oLd ToBACCo WAreHouSe The generators become complex buildings which, devoid of any contingency, evolve faster and are able to anticipate potential changes, to reconfigure themselves in order to adapt. Los generadores son edificios complejos que, despojados de todo lo contingente, evolucionan más rápidamente y son capaces de anticipar posibles cambios, de reconfigurarse para adaptarse.30 generators: the complexity of anticipation generators, linkers, mixers & storytellers. complex buildings series Section ASection B Second floor plan 1:25031 generators, linkers, mixers & storytellers. complex buildings series puBLIC CondenSer. Studio Muoto paris-Saclay (France), 2016 east elevationSection C 1:250 m A xim E d EL vA ux50 generators, linkers, mixers & storytellers. complex buildings series La complexidad de la presencia continua se manifiesta en aquellos interiores en los que el espacio fluye a través de la planta, o a través de la sección, de manera independiente al programa. Esta condición de continuidad, que conlleva una presencia permanente del otro, enfrenta dos o más usos que se desarrollan de manera simultánea. La voluntad de fluidez espacial predomina y fuerza la aceptación entre usos, lo que conlleva a una posible contradicción. El ejemplo más común de esta complejidad es la convivencia de circulaciones con espacios de estancia, aunque también se manifiesta a pequeña escala en los espacios domésticos que buscan una mayor relación entre las distintas habitaciones, o una organización circunstancial. Pero esta explicación no justifica la mirada hacia los interiores-eslabón. No son meras estancias conectadas, no son espacios que se atraviesan, son interiores que intentar subvertir la narración cronológica y establecer su propio tempo. Son posibilidades del plano y la sección que se desvelan y deciden mantenerse presentes, entrando en diálogo o provocando contradicciones. Para ilustrar este linaje de interiores, el ejemplo del Museo de Sir John Soane es ineludible, a la vez que esclarecedor para cualquiera que lo haya visitado. Si algún interior ha sido capaz de colapsar tiempo y espacio, ha sido la mansión de Lincoln’s Inn Fields, no sólo por el hecho The complexity of continuous presence is manifested in those interiors where space flows through the floor plan or through the section, independent of the programme. This continuity, which implies a permanent presence of the other, confronts two or more simultaneously present uses. The volition for spatial fluidity prevails and forces the uses to accept the other, which may give rise to a potential contradiction. The most common example of this complexity is the coexistence of circulations and living spaces. This can often be seen on a small scale in those domestic spaces which aim to create a better relationship between the different rooms or a circumstantial layout. Yet this explanation does not justify how linker-interiors are regarded. They are not merely connected rooms, nor are they spaces to be crossed. Indeed, they are really interiors which aim to subvert the chronological narrative and to establish their own tempo. They entail the options on offer, as a result of the floor plan and the section, which reveal their existence, and which decide to remain and to either start a dialogue or to provoke contradictions. To illustrate this type of interiors, it would be impossible not to mention Sir John Soane’s Museum, and any observations might serve as helpful insights to those having visited the house. If any one interior has been able to collapse time and space, it is this Lincoln’s Inn Fields The Complexity of Continuous Presence AurorA Fernández Per linkers The linker-interiors are not a continuous whole but rather a complex whole produced from a continuous presence, from liberated interiors with positive relationships. Los interiores- eslabón no son un todo continuo, son un todo complejo fabricado a partir de presencias continuas, de interiores liberados y felizmente relacionados.51 generators, linkers, mixers & storytellers. complex buildings series linkersNext >