Essays on Thermodynamics, Architecture and Beauty by Abalos+Sentkiewicz

Abalos+Sentkiewicz 速

Essays on Thermodynamics, Architecture and Beauty

NEW A+S SOMATISM ENGLISH.indd 1

04/01/15 19:47

The organization into four chapters or books corresponds to the issues that a projective definition of architecture must necessarily address. How we redescribe the SUBJECT of architecture in contemporary culture: Somatisms What is the PROTOTYPE catalyzed by social, technical and cultural changes, how it is defined and why: Verticalism What is the MATERIAL CULTURE that enables the construction of a new techne with a scientific and cultural basis: Thermodynamic Materialism Which DESIGN TECHNIQUES serve to design the future by expanding the current limits of experience: The Assemblage of Monsters

NEW A+S SOMATISM ENGLISH.indd 2

04/01/15 19:47

Thermodynamic Materialism

The Assemblage of Monsters

NEW A+S SOMATISM ENGLISH.indd 3

Somatisms Verticalism Thermodynamic Materialism

Verticalism

The Assemblage of Monsters

Somatisms

04/01/15 19:47

Throughout this book, four colors are used to organize the contents and facilitate navigation. The sum of these colors, combined with the four chapters, draws a map of ideas, relations and projects that is necessary to a reading of this book as an essay of future architecture scenarios. BLACK is the color of the lines and letters, of reviewed experience, the basis of our codes of expression. ORANGE is the color that describes the chapters and facilitates perception. The color BLUE shows the results of experimental proposals developed in the field of academia. SILVER is the color of initiation that amalgamates references, images and quotations of knowledge, of pure ideas, and also of our phantasms.

NEW A+S SOMATISM ENGLISH.indd 4

04/01/15 19:47

Somatisms

NEW A+S SOMATISM ENGLISH.indd 5

04/01/15 19:47

8 Somatisms_IA 14

Beyond Thermal Monotony_Salmaan Craig

Thermodynamic Beauty_IA

Zarathustra’s House_IA

32 Grotesque-Somatic_IA 44

In Praise of the Doodle_IA

Double Doodle Lamp. A Bedside Table Lamp

New Kroken Park

Cristina Enea

Biobio Theater

Taipei Performing Arts Center

Lolita Office Building

NEW A+S SOMATISM ENGLISH.indd 6

Tromsø, Norway

San Sebastián, Spain Concepción, Chile Taiwan, RPC

Madrid, Spain

04/01/15 19:47

Thermodynamic Materialism

The Assemblage of Monsters

NEW A+S SOMATISM ENGLISH.indd 7

Verticalism Thermodynamic Materialism

Verticalism

The Assemblage of Monsters

Somatisms

04/01/15 19:47

Pablo Picasso, Painter and Model Knitting (illustration for Balzac’s Le Chef d’oeuvre inconnu), 1927. Etching

“The painter may actually break down the perceptual networks used and, by dint of probing, loosen their strands and drop them, returning to chaos like in Picasso’s illustration for Balzac’s The Unknown Masterpiece, his etching Painter and Model Knitting, dated 1927. The drawing being worked on by the painter represented in the engraving gives an idea of formless chaos, due not to innocence lost in the forest of the unknown, but to excess, to the multiplication without end of interpretative viewpoints that superpose themselves and accumulate, clouding vision to make it unrecognisable and incalculable, returning it to its hazy beginnings. We might say, then, that vision is a moment in an oscillation that begins with or is born of chaos, and returns to it. What we perceive floats in the unrecognisable; what we see as a definite shape occupies just a small area won from the formless and surrounded by darkness.” El horizonte en la mano. Juan Navarro Baldeweg. Madrid, 2003

NEW A+S SOMATISM ENGLISH.indd 42

04/01/15 19:52

Construction process of Antoni Tàpies’ work Cloud and chair, c. 1990

NEW A+S SOMATISM ENGLISH.indd 43

04/01/15 19:52

98 Verticalism_IA 112

Two Images?_IA

132

A Delirious Circle_IA

138

Telef贸nica Gran Via Building

140

State Public Library

150

Yiwu Zhongfu Plaza

160

Residential Building in Calle Orfila

172

Osmose Station Grand Paris Project

180

Tour Porte de la Chapelle

188

Mixed Use

198

Solar Tower, Soci贸polis

212

A Few Secrets of the Post-Gravitational Archaic

Madrid, Spain

Barcelona, Spain Yiwu, China Madrid, Spain Paris, France

Paris, France

Nanjing, China Valencia, Spain

Ciro Najle

NEW A+S VERTICALISM ENGLISH.indd 96

04/01/15 20:02

Thermodynamic Materialism

The Assemblage of Monsters

NEW A+S VERTICALISM ENGLISH.indd 97

Verticalism Thermodynamic Materialism

Verticalism

The Assemblage of Monsters

Somatisms

04/01/15 20:02

Verticalism The aesthetic preoccupations of contemporary high-rise buildings, in the tectonic tradition of the twentieth century, often fail to acknowledge the true extent of their ecological and social potential. As an alternative to the resulting shortcomings, we are using thermodynamics as a framework to rethink the high-rise in an attempt to radically transform existing concepts, systems, methods and techniques. A thermodynamic conception of high-rise construction involves fundamentally different means and ends: biotech entities that expand, fold or collapse in thermodynamic figurations. They react to the urban climate and social context while adapting to their environment through what might be called thermodynamic somatisms. These somatisms respond to physical and chemical principles that are found individually and collectively in all organic species. To move toward this new approach it is necessary to abandon established tectonic traditions in favor of biological and thermodynamic approaches. The evolution of the high-rise requires academic institutions to reconstruct disciplinary knowledge according to the ecological scales of urban issues by means of experimentation with new design tools, ultimately aspiring to a fuller experience of urban life. IA

NEW A+S VERTICALISM ENGLISH.indd 98

04/01/15 20:02

Spina Tower, Turin, Italy, 2008

NEW A+S VERTICALISM ENGLISH.indd 99

04/01/15 20:02

220

Thermodynamic Materialism_IA

230

Interior Spanish Pavilion at the Venice Biennale 2014

Venice_Italy

236

Sources and Sinks, a Typological/Thermodynamic Outline_IA+RS 242

Thermodynamic Materialism. Project

Iñaki Ábalos, Renata Sentkiewicz

262

THP__Thermodynamic Prototype

274

Antoni Tàpies Foundation

286

Leisure Centre in Azuqueca de Henares

298

Atelier Albert Oehlen

308

Swiss Pavilion

314

Ábalos Thermodynamic and Performance Turn

318

Barcelona, Spain Guadalajara, Spain

Bülher, Switzerland

Gais, Switzerland

Charles Waldheim

Isasi House in Itziar

NEW A+S THERMODYNAMIC ENGLISH.indd 218

Guipuzkoa, Spain

04/01/15 20:14

Thermodynamic Materialism

The Assemblage of Monsters

NEW A+S THERMODYNAMIC ENGLISH.indd 219

Verticalism Thermodynamic Materialism

Verticalism

The Assemblage of Monsters

Somatisms

219

04/01/15 20:14

Thermodynamic Materialism Air in motion “Architecture is the air we breathe, an air laden precisely with that: architecture”. Alejandro de la Sota Air has been treated in architecture and its historiography as an element that is recognized, which can only be spoken about metaphorically, poetically or phenomenologically. Even Le Corbusier decided against publishing, except in the form of a short article, the repeatedly announced text significantly entitled “L’espace indicible”. Space is the big issue in the modern discourse (Giedion’s Space, Time and Architecture), yet it remains in the territory of the subjective and the elusive, rather like the duende of the gypsy flamenco singer or the muse of the Romantic artist. Science, meanwhile, throughout the nineteenth and twentieth centuries, set about deconstructing this void, this emptiness, the Cartesian res extensa, using disciplines that have populated what

NEW A+S THERMODYNAMIC ENGLISH.indd 220

04/01/15 20:14

221

used to be defined by vacancy with micro- and macroscopic activity. The new approach ushered in by thermodynamics since the nineteenth century is decisive when it comes to reviewing the architectural and landscape conception of this element, converted into a building material in itself. This was assisted by the advent of parametric digital means that serve not only to decipher a nature that is changing in time but also to design strategies to construct artificial ambiences by creating new territories at the scale of the building, public space and the landscape. Air in motion now demands to be studied in its different manifestations, revealing its different descriptions, and to become the object of meticulous analysis to experience its powers, name them and proceed to construct what we have termed a new idea of thermodynamic beauty, which, without renouncing tectonic tradition, completes it, offering new and unsuspected directions to the work of the architect. IA

NEW A+S THERMODYNAMIC ENGLISH.indd 221

04/01/15 20:14

NEW A+S THERMODYNAMIC ENGLISH.indd 308

04/01/15 20:28

309

Swiss Pavilion

Gais_Switzerland

The new pavilion is organized around two superimposed volumes. The lower space contains the house’s garage and entrance, living room, a kitchen, and the bedrooms and toilets. The upper volume, more private, contains the studio illuminated by three south-facing cuts in the roof. The pavilion façade departs from a deformed cubic shape that expands to the south and contracts to the north to maximize thermal gains. In this shape there are inserted three major elements of thermal control and lighting. _A large window that captures radiation and eastern light at the ground level. _A large window at the south corner (south-east and south-west façades) that is raised from the ground and is thought of as the main receiver of solar energy, distributed to the rest of the house by a radiant floor heating system and thermal conduction. _Two skylights that supplement lighting and thermal gains in winter and guarantee convective ventilation of the whole house in summer operating together with the window situated on the stair landing. The building will be built using ultra-light solid concrete (north and east façades) and conventional concrete. The combination of these aspects (form, openings, and exterior and interior materiality) regulates the house in a passive way by simple and conventional operations (windows, shutters, and doors which open and close depending on the weather conditions).

NEW A+S THERMODYNAMIC ENGLISH.indd 309

04/01/15 20:28

NEW A+S THERMODYNAMIC ENGLISH.indd 310

04/01/15 20:28

311

45°

1 st Ju l

1 05°

90°

75° 60°

1 st O c t

1 st S e p

1 20°

1 st N o v

1 st D e c

10 11

1 35°

1 st Au g

1 50°

12 1 65°

30°

1 80° 1 5°

1 95°

21 0° 345°

15 225° 330° 1 st Ja n

1 st Fe b

240°

31 5° 1 st Ju n

1 st M a r 255°

1 st M a y

1 st Ap r

300°

W 270°

285°

N 345°

1 5°

30°

45°

330°

1 st Ju l

31 5°

60° 1 st Au g

75° 1 st S e p

300°

90°

1 st Ju n

1 st O c t 1 st M a y

1 05°

285°

1 st N o v

1 st Ap r

1 20°

270°

1 st D e c 9

1 st M a r 255°

1 35°

11 12 1 st Fe b 13 240° 1 st Ja n

1 50°

225°

1 65°

S 1 80°

21 0° 1 95°

NEW A+S THERMODYNAMIC ENGLISH.indd 311

04/01/15 20:28

NEW A+S THERMODYNAMIC ENGLISH.indd 312

04/01/15 20:28

313

NEW A+S THERMODYNAMIC ENGLISH.indd 313

04/01/15 20:28

Charles Waldheim

Ábalos Thermodynamic and Performance Turn The thermodynamic project as proposed by Iñaki Ábalos in this publication offers a much needed third term in the architectural debates of the day, between the opposing poles of autonomy on the one hand and instrumentality on the other. This timely proposition, and the work included here in support of its claim, proposes to reconcile the critical potential of autonomous practice with the increasingly pressing demands for social, political, and environmental engagement. At least since Eisenman’s “Post-Functionalist” argument of the mid-70s [1], architecture has relied upon the putatively critical denial of utility as a basis for its cultural value. This suppression of commodity and use value has also expressed itself as a claim for the “autonomy” of architectural culture, articulated as a form of resistance to architecture’s engagements with the social, political, and economic. Over the past decade, as architecture’s implication in questions of environment and climate have returned to the fore, many have argued for the maintenance of the critical cultural project of autonomy as opposed to instrumentality. This has often been articulated as a project of ongoing resistance to architecture’s entanglement in the “externalities” of energy and environment, among others. From this point of view, questions of climate are viewed as a pure externality to architecture’s cultural value, as defined through its self-imposed alienation from instrumental impact. [2] Over the past decade the critical project has been confronted on another flank, with the proposition of a so-called “postcritical” position that espouses mood, cultural commodity, and

NEW A+S THERMODYNAMIC ENGLISH.indd 314

04/01/15 20:28

315

“design intelligence” [3] over distanced authorship. Ábalos’s thermodynamism affords a third term in these debates, avoiding pure opposition in favor of an opening toward a projective, if not precisely redemptive, project for contemporary architecture. The thermodynamic project promises to inflect recent debates over the “end of theory” by offering a paradoxically “performative” autonomy. Ábalos’s proposition here suggests the potential for an architecture of radically distanced authorship arrived at through highly measured performative dimensions. In lieu of the centrality of function, structure, urban coherence, humanist continuity, and capital accumulation, Ábalos’s thermal modus often offers deliriously unexpected and unrestrained architectural outcomes, through the most instrumental of means. This “alienation” or decentering of authorship, while not without its antecedents in contemporary architectural culture, is radically distinct in that it occludes simple visibility of effect, in favor of a more complex array of interior and subterranean thermal orders. Often, these internal orders are the resultant of highly choreographed, yet persistently non-linear thermal transactions over time. In this regard, Ábalos’s thermodynamic project may, in certain respects, be found analogous to the “performative” turn that has reenergized landscape architecture since the turn of the century. [4] In this regard, Ábalos’s interest in a kind of “landscape thinking” may be particularly timely. In landscape’s performative turn, landscape practice was energized with the potential for a paradoxical autonomy of form, derived from the highly scripted metrics of ecological logics and emergent forms. The performative turn in landscape aspired to a simultaneity of distanced authorship through highly choreographed, yet fundamentally alienating, metrics found in the relation between species and their environments.

NEW A+S THERMODYNAMIC ENGLISH.indd 315

04/01/15 20:28

More recently, many have explored the potential for a dual distancing, twinning performative models from the natural world with computational and fabricational logics. In the most interesting of this work, a putatively critical distance from instrumental engagement with questions of energy and climate might be found through the modeling of relations within and between the nonhuman and their environs. By deploying an analogous alternative to humanist expectations of function, form, and fit, Ábalos’s thermal turn holds the potential to transcend simple oppositions of the socially engaged and the culturally significant. [5] In so doing, it proposes to reanimate architecture with relevance for both its internal debates as well as its external demands. 1. Peter Eisenman, “Post-Functionalism,” Oppositions, vol. 6 (Fall 1976): 236-239. 2. Scott Cohen has been among the voices articulating such a position in recent years. See, for example, Cohen’s recent Return of Nature project: Scott Cohen and Erika Naginski, eds., The Return of Nature: Sustaining Architecture in the Face of Sustainability (Routledge, 2013). 3. The “Criticality” and the “post-critical” have been well documented. See Michael Speaks, “Design Intelligence Part 1: Introduction,” A+U Architecture and Urbanism (December 2002): 10-18; Robert Somol and Sarah Whiting, “Notes Around the Doppler Effect and Other Moods of Modernism,” Perspecta, no. 33 (2002): 72-77; George Baird, “Criticality and Its Discontents,” Harvard Design Magazine, no. 21 (Fall 2004): 16-21. 4. An early account of landscape’s shift “from appearance to performance” can be found in Julia Czerniak, “Challenging the Pictorial: Recent Landscape Practice,” Assemblage, no 34 (December 1997): 110-120. 5. In this regard, Ábalos’s thermal construct echoes something of Cohen’s own obsessions with symmetry, fenestration, and formal rules of order as a necessary conceit for the formulation of properly architectural problems. See Scott Cohen, Contested Symmetries and Other Predicaments in Architecture (Princeton Architectural Press, 2001).

NEW A+S THERMODYNAMIC ENGLISH.indd 316

04/01/15 20:28

317

NEW A+S THERMODYNAMIC ENGLISH.indd 317

04/01/15 20:28

336

The Assemblage of Monsters_IA

348

Protocols Applied to High-rise Mixed-use Prototypes.

Iñaki Ábalos, Renata Sentkiewicz

372

Dualisms_

Iñaki Ábalos, Renata Sentkiewicz

376

Hotel and Leisure Centre on the M-40

390

High-Speed Train Station, Park and Urban Design

Logroño, Spain

428

New Natures: Abalos+Sentkiewicz’s Intermodal station in Logroño

Madrid, Spain

Stan Allen

444

Zhuhai Huafa Contemporary Art Museum

462

Building Monsters_Philip Ursprung

NEW A+S MONSTERS ENGLISH.indd 334

Zhuhai_China

04/01/15 20:33

Thermodynamic Materialism

The Assemblage of Monsters

NEW A+S MONSTERS ENGLISH.indd 335

Verticalism Thermodynamic Materialism

Verticalism

The Assemblage of Monsters

Somatisms

335

04/01/15 20:33

The Assemblage of Monsters The monster is not an end in itself; it is a moment of negotiation in the process between what we need to know and what we need to know how to forget in architecture. The monster is a point of inflection between the technical construction of the logics of the project and the aspiration of using it to gain access to a new idea of beauty that bears no relation to these logics. It is the state of the process in which it becomes necessary to create coherence out of the simple accumulation of disparate objective data, knowing that rejecting is as important as choosing and that, therefore, the core of the task is to manage â&#x20AC;&#x153;imperfectionâ&#x20AC;? productively. The assembly of the monster may be physical (figurative) or mathematic (parametric); beware of trying in advance to smooth out the contradictory logics that inform and give consistency to the system; to construct the monster properly, it is vital not to erase the incoherence of the different conflicting material and spatial organizations, but to leave the marks of the battlefield.

NEW A+S MONSTERS ENGLISH.indd 336

04/01/15 20:33

337

The scars of the resulting monster are there to subsequently trigger processes in different directions and, sometimes, simultaneously, once the utmost degree of deformity has been achieved. If the deformity is such that it leads to rejection, work can be directed at partially lessening the contradictions between logics, stepping in subjectively to determine that which is predominant. In other cases, the process centers on maintaining the tension or field created by the features of the assembly which, so to speak, contains in its deformity a curiosity that would disappear in the attempt to smooth over these features. In the latter case, the monster proves to be worthy of affection; time works in its favor, whereas in the former case it goes too far and is odd rather than productive. The entire process is, then, based on an idea with an unquestionably colorful origin: to achieve a new idea of beauty, you have to go through a few doses of ugliness. IA

NEW A+S MONSTERS ENGLISH.indd 337

04/01/15 20:33

1997

2006

2014

NEW A+S MONSTERS ENGLISH.indd 372

04/01/15 20:34

373

Dualisms Much historic architecture takes its compositive tension from two theoretically incompatible morphological organizations that correspond to different universes or languages. This technique leads to a certain kind of monster or hybrid characterized by dualism. One of the basic monster assembly techniques involves the union of two organizations with a degree of compatibility and another obvious degree of incompatibility; in the organic world, the hybrid is a literal case of this type of assembly. Unions between different forms and materials can be carried out physically—and in this case the assembly will probably display seams and scars—or by processes of chemical fusion, giving the monster the appearance of a unique organism whose greatest visual effect will then consist in the surprise caused by its new “naturalness”. Dualisms may refer to limited scopes (for example the geometry used in each part) or can expand and infect almost all the scenarios affected by architecture, starting with its disciplinary definition, which is challenged by the view that the struggle between two disciplines (for example architecture and landscape) is intrinsic to the project. Or to the typological

outline when the brief is duplicated (for example making it both infrastructural and public facility). Or by incorporating a material, formal and geometric contradiction (for example, necessarily using two materials whose logics and compatibilities do not fit together simply). Likewise, space can be conceived by introducing tension between the lower and the upper parts, or between interior and exterior, or by means of intrusions of varying depths and differing configurations. From a thermodynamic viewpoint, these tensions can be regarded as characteristic of the flow of heat gain between heat sources and sinks, or between a degree of energy passivity and activity, simultaneously combining lightness and mass, order and disorder, natural passive processes and thermal devices. The processes of construction or fabrication can also be addressed by introducing duality (for example, handcrafting some areas and using robotized production in others). Modern-day attention to the machine has not ventured as far as the physics or the spatial structure of thermal devices. A close look at different machines—such as the exchanger,

Iñaki Ábalos, Renata Sentkiewicz

NEW A+S MONSTERS ENGLISH.indd 373

04/01/15 20:34

375 SOME DUALISMS Iñaki Ábalos, Renata Sentkiewicz, 2014

the Stirling engine, the cooling unit—allows us not only to understand the precision of the relation between form, material and energy, but also the essentially dual nature of any thermal machine at any scale, and a building is just that, at multiple scales. In short, though repellent and alien to the modern orthodox sensibility, these dualities are the motor of thermodynamic vitality at all scales of the project. Furthermore, dualisms act not only performatively, but also creatively or, if you like, compositively. They are both constraints and plastic opportunities. They can be induced by the objective conditions of the brief (mixed briefs, as in the works of James Stirling and Ludwig Leo), but they are often also an internal technique of the design act, used to create a catalyzing tension for territories or plots devoid of qualities or attributes. The movement embodied in Borromini’s architecture is a well known example (it was in the language employed throughout the classical arch that this technique was consolidated, being massively used afterwards by the Romantics and the picturesque painters). From a contemporary viewpoint, centered not only on energy but also social, economic

NEW A+S MONSTERS ENGLISH.indd 374-375

Material

Natural Artificial Tangible Intangible

Topology

Interior Exterior Above Below

Weight

Light Massive Ethereal Substantial

Performance

Passive Active Constant Intermittent

Discipline

Architecture Landscape Urban Design Neuroscience

Geometry Form Amorphous Defined Adaptable

and cultural performativity, it is curious to see how these dualisms—now directed at composing self-organizing and feedback systems—can introduce us into a territory of everyone and no-one, linked to the compositive resources of the classical and Romantic arch but in theory separate from its interests and, therefore, with a large capacity for generating agreement and conversation about issues of complex order, the solution of which tends to center more on paradoxes than on objectifiable rationality. This is not just in the field of architecture; from Mary Shelley’s Frankenstein, initially a competition among friends, to Raymond Roussel (How I wrote Certain Of My Books would be the essential reference), this technique is a self-imposed mechanism, indifferent to the purpose of the project and its local conditions. If we look at the list of dualisms identifiable over the years in some of our projects, the first thing that meets the eye is a recurrence in the crossing of disciplines, in the crossing of material and geometric resources, in the choice of a paradoxical combination of the massive and the intricate; the technical use of natural elements and the ornamental or landscape use of technical materials. It is now some years ago that we formulated a new “naturalness” in which the hybrid condition of a thermodynamic

approach to architecture acquired the value of an operating system, leading to the first of the projects presented here, the hotel and convention center on the M40 in Madrid. Hybrid Technique, Mestizo Aesthetic Sensitivity to nature-oriented policies has influenced technical paradigms, with interest shifting from high-tech experiments, a residue of the modern spirit, to hybrid models, where the accent is placed on the interaction between massive and energetically inert natural materials and highly sophisticated, lightweight and energetically active artificial materials, which respond sensitively to environmental variation, giving rise to composite systems in which the former are responsible for accumulating and reducing exchanges while the latter act as generators, harnessing energy resources. This new technological model implies a shift from aspects of material organization—mass production, simplified assembly, time and cost optimisation, etc.—to the rational organization of the energy consumed both during production and upkeep of the building. This shift now enables us to design systems in terms not of coherence and unity of materials, but of environmental coherence, thereby opening up the field to experiments in which the coherent mix of heterogeneous materials is a new and characteristic visual feature. This hybrid materiality involves a thoroughgoing transformation of aesthetic ideals in keeping with the intermixing of our human landscapes.

Only recently, on the publication of a monograph about Logroño Intermodal Station and its Urban Park 1, did we see, when bringing together the sections of the two projects, that the similarities pointed to a design technique that was corroborated by introducing a third element: the section of Huafa Art Museum in Zhuhai. The call of a dualistic systematic that expands not only over lexical and iconographic but also over tectonic and thermodynamic territories serves in all cases to multiply public and collective uses. The briefs of each example maintain a tension that is applied to the compositive and typological elements existing between the public and the private condition, between energy demand and the need for dissipation, between their position inside and their need to emerge to the exterior. The result is a conflict of compatibilities between lightness and mass, natural element and thermal device, between will to form and performance. We like to think that this dualistic combination not only serves to generate prototypes that contribute to a new notion of quality but that it can also provide some answers to the shortcomings facing the new metropolises and their inhabitants.

1. Maluenda, Inma E.; Encabo, Enrique (edts). Ábalos+Sentkiewicz Arquitectos. New Natures. Intermodal Station in Logroño. Q! Estudio, Madrid, 2013.

12/01/15 17:54

375 SOME DUALISMS Iñaki Ábalos, Renata Sentkiewicz, 2014

NEW A+S MONSTERS ENGLISH.indd 374-375

Material

Natural Artificial Tangible Intangible

Topology

Interior Exterior Above Below

Weight

Light Massive Ethereal Substantial

Performance

Passive Active Constant Intermittent

Discipline

Architecture Landscape Urban Design Neuroscience

Geometry Form Amorphous Defined Adaptable

1. Maluenda, Inma E.; Encabo, Enrique (edts). Ábalos+Sentkiewicz Arquitectos. New Natures. Intermodal Station in Logroño. Q! Estudio, Madrid, 2013.

12/01/15 17:54

Essays on Themodynamic, Architecture and Beauty: Ábalos+Sentkiewicz Authors Iñaki Ábalos, Renata Sentkiewicz Editor Lluís Ortega Editorial coordination at Ábalos+Sentkiewicz Juan Enríquez, Jorge García de la Cámara Editorial coordination at Actar Publishers Ricardo Devesa Translations Elaine Fradley, except the text “Sources and Sinks, a Typological/Thermodynamic Outline” by Jamie Benyei Published by Actar Publishers New York, 2015 Graphic Designer Ramon Prat Distributed by Actar D Inc. New York 355 Lexington Avenue, 8th Floor New York, NY 10017 T +1 212 966 2207 F +1 212 966 2214 salesnewyork@actar-d.com Barcelona Roca i Batlle 2 08023 Barcelona T +34 933 282 183 salesbarcelona@actar-d.com eurosales@actar-d.com

Acknowledgements This publication was made possible by a Graham Foundation Grant Printed and bound in China ISBN English: 978-1-940291-19-2 A CIP catalogue record for this book is available from the Library of Congress, Washington D.C., USA. Copyright © 2015 Actar Publishers © Texts by the authors noted in each of them. © Images: Images of the Ábalos+Sentkiewicz buildings by José Hevia unless pages 18-19 by Bleda y Rosa; page 107 by Paolo Roselli; and pages 320-321, 332-333 by Ibon Aranberri. Plans, images, drawings and collages of the projects by Ábalos+Sentkiewicz unless noted. Images of the academic projects, by Iñaki Ábalos, Renata Sentkiewicz and the students show in each page. Rest of the images: Pepin van Roojen, p. 10. Kiel Moe, p. 11T Philippe Rahm, p. 11B. Jianxiang Huang, pp. 12, 13. Luis J. Soltmann - Fundación César Manrique, p. 14. Kimimasa Mayama, European Pressphoto Agency, pp. 16-17. Beth Yarnelle Edwards, pp. 20-21. Jack Fulton, p. 24T. Fundación Alejandro de la Sota, p. 24B. Artists Rights Society, New York and VG Bild-Kunst, Bonn, p. 26. Fundación César Manrique, p. 34. Fondation Le Corbusier, pp. 35, 113, 122, 125. Juan Guzman - Instituto de Investigaciones Estéticas/ UNAM, p. 37. Bleda y Rosa, pp. 38-41. Lee Friedlander - Fraenkel Gallery, San Francisco, p. 112. United States Department of Interior, National Park Service, Frederick Law Olmsted National Historic Site, pp. 123, 127. Fundación Arquitectura COAM, pp. 132, 136-137. Frank Scherschel - Time&Life Pictures/Getty images, p. 348.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written consent of the publishers, except in the context of reviews. The editors have made every effort to contact and acknowledge copyright owners. If there are instances where proper credit is not given, the publisher will make necessary changes in subsequent editions.

NEW A+S MONSTERS ENGLISH.indd 480

04/01/15 20:45