complex buildingsgenerators, linkers, mixers & storytellers2INdEPENdENt MAgAZINE OF ARcHItEctuRE+tEcHNOlOgYISSuE 48 FREE OF AdvERtISINg EdItORSAurora Fernández Per Javier MozasgRAPHIc cONcEPtAurora Fernández PerlAYOut ANd PROductIONdelia ArgoteMANAgINgIdoia EstebancOMMuNIcAtION ANd PRESSPatricia garcíaEdItOR, ENglISH-lANguAgE vERSIONKen MortimerEdItOR, SPANISH-lANguAgE vERSIONAurora Fernández Per Javier MozasSuBMISSIONS, SuBScRIPtIONS & ORdERS a+t architecture publisherstel. +34 945 134276submission@aplust.netorders@aplust.netwww.aplust.netPuBlISHERa+t architecture publishersISSN 1132-6409ISBN 978-84-697-3261-8Frequency: BianualPRINtINggráficas Irudi s.l.vI 683/19942017 dIStRIButION(Europe, uSA, canada, Australia, Asia)Idea BooksNieue Herengracht 11. 1011RK Amsterdam. the Netherlandstel. +31 20 6226154Fax +31 20 6209299idea@ideabooks.nlwww.ideabooks.nl(Spain, Portugal and latin America) a+t architecture publisherstel.+34 945 134276orders@aplust.netwww.aplust.netcOPYRIgHtScopyright 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.net3towards a Neo-cosmopolitan Architecture in the Age of v.u.c.A. dominic leong ........................................4Generators: the complexity of Anticipation. Aurora Fernández Per ..........................................................8Incubator of uses. Stéphanie Bru for BrutherSport and cultural centre. Paris (France), 2014 ................................................................................................ 18On complexity. Studio Muotourban condenser. Paris-Saclay (France), 2016 ................................................................................................. 26 A Building Is not a Butterfly: culture and complexity ...................................................................................... 36Alfredo Brillembourg, Hubert Klumpner, Alexis Kalagas, diego ceresuela Fábrica de cultura: BAQ. urban-think tank. Barranquilla (colombia), 2013-2017 .................................... 40Fábrica de cultura: grotao. urban-think tank. São Paulo (Brazil), 2009-2017 ........................................... 42challenging the One-function. JAJA ArchitectsPark and Play. copenhagen (denmark), 2014-2016 ......................................................................................... 44Linkers: the complexity of continuous Presence. Aurora Fernández Per ................................................ 50Sala Beckett (Impossible not to Recall the Soane’s Museum). Ricardo Flores, Eva PratsSala Beckett International drama centre. Barcelona (Spain), 2011-2016 ................................................... 53dirty White cube. v+, RotorMAd Brussels. Brussels (Belgium), 2010-2016................................................................................................. 62the construction of the Neutral. MAIOExhibition display System for Species of Spaces at MAcBA. Barcelona (Spain), 2015-2016110 Rooms. collective Housing. Barcelona (Spain), 2013-2016..................................................................... 70 Mixers: the complexity of Everyday life. Javier Mozas ................................................................................ 82A Mixed urban Form. de Smet vermeulen architectenlinker Oever Intergenerational Project (IglO), Antwerp (Belgium), 2006-2014 ......................................... 90A Whole connected. Javier MozasAnita May Rosenstein campus - the los Angeles lgBt center. leong leong, Killefer Flammang, Pamela Burton. los Angeles, cA (uSA), 2016-2019 ............................ 96storyteLLers: the complexity of context. Javier Mozas .......................................................................... 100Spielbudenplatz urban Plan. Nlarchitects / Bel Sozietät für ArchitekturSt Pauli, Hamburg (germany), 2015................................................................................................................... 108Spielbudenplatz Plot 1. Nlarchitects / Bel Sozietät für ArchitekturSt Pauli, Hamburg (germany), 2016................................................................................................................... 114Spielbudenplatz Plots 2 and 5. feld72 architektenSt Pauli, Hamburg (germany), 2016................................................................................................................... 118Credits ..................................................................................................................................................................... 126 ReferencesGenerators:11 ............................................................... Fun Palace 1963-1977. 14 ................................................. InterAction Centre 1963-1977. 17 ...Generator Project White Oak Park, Florida. 1976-1979. Cedric Price13 ......... Leningradskaia Pravda Building Competition, 1924. Constantin Melnikov13 ............................................. Zuyev Workers’ Club 1927-1929. Ilya Golosov15 ................................................... 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 WatheletstoryteLLers: 103 .....................................Rue de Paris, Temps de Pluie 1877 Gustave Caillebotte103 ................................................................... Summertime 1943. Edward Hopper103 ...........................................................People in the Sun 1963. Edward Hopper106 .......................................... Capriccio Palladiano 1756-1759. Canaletto106 ............................................................. La Città Analoga 1973. Arduino Cantàfora107 ......................................The City of the Captive Globe 1972. Rem Koolhaas, Madelon Vriesendorp with Zoe ZenghelisContentsCoMpLex buiLdinGs Generators Linkers Mixers storyteLLers8Si 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 perGenerators1. Cedric price interviewed by Stanley Mathews in 1999. From Agit-Prop to Free Space: The Architecture of Cedric Price. Black dog publishing. 2007. p. 66If 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 series9generators, linkers, mixers & storytellers. complex buildings seriesGeneratorsFáBrICA de CuLTurA: BAQurban-Think Tank Barranquilla, Colombia2013-2017(project on pages 36-43)01. PérgoLA FotovoLtAiCA02. Atrio y ESCALErA PrinCiPAL03. AuLA04. tALLEr05. EStudio dE dAnzA06. rEtíCuLA EStruCturAL07. CuBiErtA AJArdinAdA08. SALA muLtiuSo09. núCLEo dE inStALACionES10. EStruCturA dE EdiFiCo “ABiErto”11. ConExión ELEvAdA12. ESPACio PúBLiCo y PArA EvEntoS: LA PLAzA dE LA FáBriCA 13. AntiguA FáBriCA dE tABACo ExiStEntE01. pHoTovoLTAIC pergoLA02. MAIn STAIrCASe/ATrIuM03. CLASSrooM04. WorkSHop05. dAnCe STudIo06. open STruCTure07. vAuLTed LAndSCApe08. MuLTIpurpoSe HALL09. InFrASTruCTure Core10. “open” BuILdIng STruCTure11. eLevATed ConneCTIon12. LA pLAzA de LA FáBrICA open puBLIC And evenT SpACe13. exISTIng BuILdIng oLd ToBACCo WAreHouSeThe 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.30generators: the complexity of anticipationgenerators, linkers, mixers & storytellers. complex buildings seriesSection ASection BSecond floor plan 1:25031generators, linkers, mixers & storytellers. complex buildings seriespuBLIC CondenSer. Studio Muoto paris-Saclay (France), 2016east elevationSection C 1:250mAximE dELvAux50generators, linkers, mixers & storytellers. complex buildings seriesLa 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 PerlinkersThe 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.51generators, linkers, mixers & storytellers. complex buildings serieslinkersNext >