THIS IS NOT A MANIFESTO
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The Unmanifesto Unraveling Architecture
Brittany Weidemann Tutorial 17
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The Unmanifesto Unraveling Architecture
CONTENTS Glossary of Terms (7) Credits (7) References (9)
Introduction (11) 1. We’re not in Kansas anymore (21) 2. Magic verse Mundane (31) 3. Architect as Chameleon (41) 4. Unraveling Architecture (47)
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GLOSSARY OF TERMS
i. Unmanifesto;
The unraveling of ideas through examination of history, research and accessing imaginative space.
ii. Rainbow Vomit;
A visual amalgamation of miss-mashed elements, (colour, geometry, form, etc). Overkill; Over the top; to overwhelm visually.
iii. Imaginative Space; Space beyond reality; Space within ones mind without limitations.
iv. Otherworldliness;
Taken from Rem Koolhaas in Delirious New York.27 Speculative architecture. Architecture prior to formation in reality
CREDITS Images; All images are created artificially by the author through method of line drawing and collage.
Acknowledgments;
I would like to thank my tutor, Joshua Haddad for his time and dedication providing insightful feedback throughout the semester and for his support in creating The Unmanifesto, my subject lecturer Dr. AnnMarie Brennan for encouragement throughout the semester. I would also like to thank my family for their continued patients and support. Finally, I am also thankful for the opportunity to write a ‘manifesto,’ which provides students with rare opportunity to express opinion and voice within their degree.
Author;
Brittany Weidemann
Student ID; 607579
Assignment Title;
The Unmanifesto: Unraveling Architecture
Subject Title;
ABPL 90117 Twenty-First Century Architecture
Lecturer;
Dr. AnnMarie Brennan
Tutor;
Joshua Haddad
Tutorial Time;
Friday 2.15 (Tutorial 17)
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SECNEREFER
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Notes;
REFERENCES
1. OMA, Rem Koolhaus and Bruce Mau. S,M,L,XL, (Italy: The Monacelli Press, 1995). 2. Bjarke Ingels Group, Yes is More. An Archicomic on Architectural Evolution, (China: Taschen, 2010), 15. 3. Mark Raggatt, et al., Mongrel rapture : the architecture of Ashton Raggatt McDougall, (Melbourne: Uro Publications, 2015), 808. 4. Cruz Garcia and Natalie Frankowski, Pure Hardcore Icons, A Manifesto on Pure Form in Architecture, (London: Artifice, 2013), 23. 5. Peter Zumthor, Thinking Architecture, (Basel: Birkhӓuser, third, expanded addition, 2015), 34. 6. Zumthor, Thinking Architecture, 34. 7. Bjarke Ingels Group, Yes is More, 1. 8. Bjarke Ingels Group, Yes is More, 3. 9. Blank Space Publishing, Fairy Tales: When Architecture Tells a Story, (USA: Black Space, 2014), 3. 10. Lebbeus Woods, Anarchitecture: Architecture as a Political Act, (New York: St Martin’s Press, 1992), 8. 11. “Jessica Lang Dance Performing Tesseracts of Time,” Vimeo video, posted by “Steven Holl Architects,” January 12, 2016, https://vimeo. com/151532082.
Bibliography;
16. “Daniel Libeskind on Immigration, New York City, and the State of the World” James Taylor-Foster. The Big Interview. Podcast Audio. November 30, 2015, http://www.archdaily. com/778000/daniel-libeskind-on-immigration-new-york-city-and-thestate-of-the-world. 17. Taylor-Foster, “Daniel Libeskind,” 17:00 minutes. 18. “Jewish Museum Berlin,” Studio Libeskind, accessed 4 October, 2016, http://libeskind.com/work/jewish-museum-berlin/ 19. “The Wohl Centre,” Studio Libeskind, accessed 4 October, 2016, http:// libeskind.com/work/the-wohl-centre/ 20. “Royal Ontario Museum,” Studio Libeskind, accessed 4 October, 2016, http://libeskind.com/work/royal-ontario-museum/ 21. Kenneth Frampton, Richard Meier, (New York: Pall Mall, 2012). 22. Superstudio, The Continuous Movement. An Architectural Model for Total Urbanization, 1969. 23. “Jeanne Gang,” Studio Gang, accessed 4 October, 2016, http://studiogang.com/people/jeanne-gang 24. “Aqua Tower,” Studio Gang, accessed 4 October, 2016, http://studiogang.com/project/aqua-tower.
12. “Steven Holl: Architecture Needs to be Rekindled with the Other Arts,” Archdaily video, posted by “Archdaily,” January 13, 2016, http://www. archdaily.com/780337/steven-hollarchitecture-needs-to-be-rekindledwith-the-other-arts.
25. “Writers Theatre,” Studio Gang, accessed 4 October, 2016, http:// studiogang.com/project/writers-theatre_2.
13. Rem Koolhaus, Delirious New York, (Italy: The Monacelli Press, 1994), 246.
27. Rem Koolhaus, Delirious New York, 246.
14. Bjarke Ingels Group, Yes is More, 15. Peter Eisenman, “Strategies of the Void. Rem Koolhaas, Jussieu Libraries, 1992-1993,” in Ten Canonical Buildings: 1950-2000, (New York: Rizzoli, 2008), 208.
26. Peter Zumthor, Atmospheres, (Basel: Birkhӓuser, third, expanded addition, 2015), 21.
Blank Space Publishing. Fairy Tales: When Architecture Tells a Story. USA: Black Space, 2014. Bjarke Ingels Group. Yes is More. An Archicomic on Architectural Evolution. China: Taschen, 2010. “Daniel Libeskind on Immigration, New York City, and the State of the World” James Taylor-Foster. The Big Interview. Podcast Audio. November 30, 2015, http:// www.archdaily.com/778000/daniel-libeskind-on-immigration-new-york-city-andthe-state-of-the-world. Eisenman, Peter. “Strategies of the Void. Rem Koolhaas, Jussieu Libraries, 19921993.” in Ten Canonical Buildings: 19502000. New York: Rizzoli, 2008. 200-228. Frampton, Kenneth. Richard Meier. New York: Pall Mall, 2012. “Jessica Lang Dance Performing Tesseracts of Time.” Vimeo video, 2:53. Posted by “Steven Holl Architects,” January 12, 2016. https://vimeo.com/151532082. Koolhaus, Rem. Delirious New York. Italy: The Monacelli Press, 1994. OMA, Rem Koolhaus and Bruce Mau. S,M,L,XL. Italy: The Monacelli Press, 1995. Raggatt, Mark, et al. Mongrel rapture : the architecture of Ashton Raggatt McDougall. Melbourne: Uro Publications, 2015. “Steven Holl: Architecture Needs to be Rekindled with the Other Arts.” Archdaily video, 12:15. Posted by “Archdaily,” January 13, 2016. http://www.archdaily. com/780337/steven-holl-architectureneeds-to-be-rekindled-with-the-other-arts. Superstudio. The Continuous Movement. An Architectural Model for Total Urbanization. 1969. Woods, Lebbeus. Anarchitecture: Architecture as a Political Act. New York: St Martin’s Press, 1992. Zumthor, Peter. Birkhӓuser, 2015.
Atmospheres.
Basel:
Zumthor, Peter. Thinking Architecture. Basel: Birkhӓuser, (third, expanded addition), 2015.
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INTRODUCTION What is Unimanifestoi and why should you care? The unmanifesto is not a thing, but the result of an action. To unmanifest is to unravel ideas. The nature of the manifesto is to synthesize down to one idea, one aspiration or one aim for the future of architecture. This is then intended to persuade others to follow. The future of architecture should not rely on singular ideas founded via personal bias. Whether it is bias towards colour, ornament, minimalism, symbolism, light, material, tectonics, environment, and so on, this tradition of architectural manifesto leads to stylistic trend. This is outdated and unwarranted in architecture today, which should neither be devoid of style nor locked into one style. It is a stance that style and aesthetic are irrelevant in the foundations of architectural projects. What architecture looks like or becomes should fluently follow the process in which the architect(s) pursued from conception through to fruition. If manifesting is to collate ones arguments, to make sense of thousands of tiny, seemingly indecipherable puzzle pieces, bringing them together neatly, the unmanifesto is the inverse of this. It is to pull the pieces apart Rather than reaching a synthesized point, complexity is encouraged. Unmanifesting leads to open endedness while manifesting leads to a closed book.
The aim of an unmanifesto is to lead to infinite outcomes.
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WHAT? (Evolve & Adapt) To unmanifest is to let go of expectation, it is liberation from the preconceived and therefore set outcomes. The unmanifesto is reacting against repetitive architecture and aims for evolution of architectural process over time in order to avoid total reproduction. As an architect evolves over time, so should architecture as a result. As there is now need for architects to adapt from project to project, writing a manifesto works in opposition to this pursuit, while unmanifesto works in line. Allowing for multiple outcomes, paths and avenues in which to approach a project is essential to the crucial adaptive nature required by architects in present times. OMA’s S,M,L,XL1 is an example of this. Rather than writing a cohesive manifesto, arguing what architecture should be from their point of view, it is an intentionally overwhelming object which documents the firm’s projects, only sorting according to scale and not style or chronology. It is about projects in and of themselves, in opposition to creating a doctrine of architectural thought. Bjark Ingles of BIG advocates evolution rather than revolution, the idea of the unmanifesto is aligned with this; ‘An architecture unburdened by the conceptual monogamy of commitment to a single interest or idea.’2 ARM also concede the problem of aesthetic or stylistic driven design, ‘Perhaps this is the limitation of aesthetic, of a way of thinking that cannot contain the new, but only what is already well established.’3 In Pure Hardcore Icons, through irony it is explained ‘Hardcorism means not needing to think.’4 This is a manifesto of Hardcorism (pure shapes and form) as the ultimate architecture, critiquing purely aesthetic approaches to design. It is not about the shape at the end, but how you get to the end. 13
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HOW? (Unravel & Untie) The process of reading this physical unmanifesto speaks to the process itself. First one must untie, undo. Secondly unravel and reveal. As one proceeds to read, the book continues to unravel, as its imagery evolves from page to page. Instead of coming to conclusion, it is left open-ended. It is meant to encourage discovery, intrigue, curiosity, imagination, and infinite possibility. It is necessary to do so, as encouraging inquisitive nature in terms of design approach allows for evolution, rather than reproduction, repetition and thus stagnant architecture. The physical unmanifesto is analogous of the proposed approach to architecture. Peter Zumthor explains that he designs buildings ‘from which [he] can withdraw at the end of the forming process, leaving behind a building that is itself … that can manage perfectly well without [his] personal rhetoric.’5 For Zumthor it is about ‘a building that is being itself, being a building, not representing anything, just being.’6 This objective approach does not mean following Meis Van der Rohe and advocate ‘Less is More,’7 is does not advocate Venturi in as far as ‘Less is a Bore,’8 it simply advocates removing personal preference or taste from the conception and design process of architecture. If context is important to project X, so be it. If colour is important to project X, so be it. If minimalism or rainbow vomitii is important to project X, so be it. The important aspects to the concept of each project should be decided through research tailored to each project. The architect(s) should not approach with an idea in mind, experiment, and continue to post rationalize.
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Be minimal when needed.
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Induce when needed. 19
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It is not about one thing against the other. 21
It is about fulfilling the require and walking a 22
ements of a particular project, away at the end of the process. 23
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1. WE’RE NOT IN KANSAS ANYMORE. Abandoning the traditional manifesto means we are leaving familiar territory. Architecture should unravel over time, becoming a continual process of discovery. As we progress into the 21st Century, it appears growing, adapting and multidisciplinary approaches are not only favoured, but necessary for progression. One must have knowledge in not only their specified field, but allow themselves a taste of other parallel or perpendicular fields. It has been recognized that architects only talk to each other and this creates a ‘split between architecture and the rest of the world.’9 Relating better to those around us can do nothing but improve architecture. Lebbeus Woods speaks about inhabitants as being ‘on the lowest level of the game. They receive what has been given to them, yet bear all wait of the superstructure above.’10 This highlighting disconnect between architecture and its context in time and space. The collaboration between Steven Holl and Jessica Lang (choreographer and dancer) on the project ‘Tesseracts of Time’11 illustrates the merging of different arts. Holl touches on the need for about architecture are the arts to be rekindled; ‘These merging of the different arts is central to certain moments in culture that are very productive and inventive.’12 It is critical for architects to looks outside of their own realm, in order to evolve within their own discipline.
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,eloh tibbar eht nwod sllaf ecilA sa ro rolocinhceT ni smaerd yhtoroD sA .ecaps evitanigami otni gnivled no seiler gnitsefinamnu
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As Dorothy dreams in Technicolor or as Alice falls down the rabbit hole, unmanifesting relies on delving into imaginative space.iii 29
stnaw erutcetihcra nredom‘ ;saahlooK yb sessucsid si vissenildlrowrehto fo noiton ehT -on eht ot gnidulla sihT 31’.ecnamrofrep deludehcs eht ot gnignoleb tuohtiw mrofrep ot elyts fo kcal ro elyts fo tekcajtiarts eht morf flesti eerf ot stnaw erutcetihcra taht noit .os od ot deliaf tey sah dna 41,)sebircsed selgnI ekrajB sa( 30
The notion of otherworldlinessiv is discusses by Koolhaas; ‘modern architecture wants to perform without belonging to the scheduled performance.’13 This alluding to the notion that architecture wants to free itself from the straitjacket of style or lack of style (as Bjarke Ingles describes),14 and has yet failed to do so. 31
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2. MAGIC VERSE MUNDANE. Limiting oneself to one idea leads to one reality; a reality innately banal due to lack of contrast possible. Unleashing imagination leads to a sort of magic in design. Twenty first century architecture appears to be encapsulated by branding through design and iconography, this to blame for repetitious architecture. For example, Eisenman describes Koolhaas’ use of diagramming as ‘logo and branding.’15 This alluding to the fact that architecture has become less about objective design and more about selling ones own signature style. Daniel Libeskind discusses how all architecture speaks, whether it is interesting or banal,16 stating ‘unless it tells a story, it’s not architecture.’17 However when looking Libeskind’s notable works, The Jewish Museum, Berlin (1999),18 The Wohl Centre, Israel (2005),19 Royal Ontario Museum, Toronto (2007),20 all possess striking similarities. It appears he is telling the same story over and over.
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siht ,sgnidliub sih fo hcae nihtiw dniksebiL fo erutangis ro noitpircsni raelc a si erehT kool deen ylno uoY .odnecserc sih sa ngised ot hcaorppa siht detpecca sah eh gniwohs -um eht evol nac uoY .saedi sih dnatsrednu ot ,muesuM hsiweJ eht ,elpmaxe eno ta .no evom dna ti erimda tsum uoy tub ,ngised fo emotipe na sa ti weiv nac uoy ,mues 36
There is a clear inscription or signature of Libeskind within each of his buildings, this showing he has accepted this approach to design as his crescendo. You only need look at one example, the Jewish Museum, to understand his ideas. You can love the museum, you can view it as an epitome of design, but you must admire it and move on. 37
fo saedi eht fo tnempoleved a sa deviecrep eb yam ?selit etihw erutangis s’reieM drahciR -jorp morf saedi emas eht tnemelpmi ot gniunitnoc revewoh ?,tnemunoM suounitnoC s’oidutsrepuS a eb yam siht hguohtlA .sgnidliub sih fo hcae otni debircsni si elyts lanosrep sih snaem tcejorp ot tce .erutcetihcra ni noitulove segaruocsid ti ,stneilc sih fo tseuqer
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Richard Meier’s signature white tiles21 may be perceived as a development of the ideas of Superstudio’s Continuous Monument,22 however continuing to implement the same ideas from project to project means his personal style is inscribed into each of his buildings. Although this may be a request of his clients, it discourages evolution in architecture.
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-ed sehcaorppa ohw tcetihcra na fo elpmaxe nA ennaeJ si snoiton deviecnocerp tuohtiw ngis -pa oidutS eht sraeppa tI .gnaG oidutS fo gnaG on htiw ,pu dnuorg eht morf ksat hcae sehcaorp evlove stcejorp daetsnI .citehtsea deviecnocerp dna ytilibaniatsus ,noitcurtsnoc ,ygolonhcet sa .seod gnirutcafunam
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ton od stcejorp s’oidutS eht taht erutan yrev ehT -sea detalumrof ro ytiralimis gnikirts ssessop tuohtiw ngised ta gnikool fo emoctuo na si citeht gnaG ees ton od uoY .snoisulcnoc deviecnocerp eht ees ylpmis uoy ,mrof tliub eht ni debircsni rewoT auqA erapmoc elpmaxe roF .flesti gnidliub 52
.)6102( ertaehT sretirW htiw 42)0102(
fi ;lanigiro eht sa doog sa reven si leuqes ehT -er ,lanigiro eht morf stcarted leuqes eht gnihtyna si noissergorP .ytilauq euqinu fo ssol ni gnitlus tahw ot drawkcab gnikool ylno nehw elbissopmi -refer sa kcab kooL .dengised neeb ydaerla sah .evlove ot deecorp ,ecne 40
An example of an architect who approaches design without preconceived notions is Jeanne Gang of Studio Gang. It appears the Studio approaches each task from the ground up, with no preconceived aesthetic. Instead projects evolve as technology, construction, sustainability and manufacturing does.23 The very nature that the Studio’s projects do not possess striking similarity or formulated aesthetic is an outcome of looking at design without preconceived conclusions. You do not see Gang inscribed in the built form, you simply see the building itself. For example compare Aqua Tower (2010)24 with Writers Theatre (2016).25 The sequel is never as good as the original; if anything the sequel detracts from the original, resulting in loss of unique quality. Progression is impossible when only looking backward to what has already been designed. Look back as reference, proceed to evolve. 41
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3. ARCHITECT AS CHAMELEON As a chameleon changes its colours in response to its surroundings, an architect should change their own colours according to each project. Adjusting process and approach to each individual project allows for adaption and therefore evolution over the course of one’s career. Unlocking imagination allows design to unravel over time fluently. It allows for continual discovery and evolution of architecture. Imagination along with objectivity and personal withdrawal from projects allows one to adapt and evolve from project to project.
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4. UNRAVELING ARCHITECTURE The idea of manifesto advocates finding ones niche. This limits possibility for adaption. The notion of the Unmanifesto does not pretend to be straightforward; it encourages complexity as this results in evolution from project to project. It is a difficult balancing act accomplished by continual research and discovery, multidisciplinary approach, imagination yet objectivity. Architecture deals with many issues at once, even when designing ones own home, this has an impact on others, not only at the time of construction but permanence of architecture means it will also impact those in the future. Architecture can never possibly be for one person; therefore the idea of a manifesto from a personal point of view being projected on to others makes little sense in the 21st Century. As Zumthor states, it comes down to ‘craft and graft.’26 This idea for unmanifesto is not about being negligent or inconsiderate to ones surrounding, nor is it about achieving perfection each and every time. It is about unlocking potential for each architect. Avoiding architectural approach from one mindset or from one’s niche not only reduces the likelihood of repetitive architecture, but allows for limitless possibility and continual discovery.
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If a Manifesto requires outlining a personal vision of architecture, there should be no clear answer. If it requires describing the way things should look, should be, should sound, should feel, there should be no clear answer. These notions should be tailored to each project. By establishing a position, you would be applying idea in retrospect whether it be appropriate or not. Architecture is as much about knowing when to tell as story, as knowing when to silence.
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ANIMATE FORM GREG LYNN ARCHITECTURE CONCEPTS: RED IS NOT A COLOR BERNARD TSCHUMI ATLAS OF NOVEL TECTONICS REISER + UMEMOTO ATMOSPHERES PETER ZUMTHOR BUILDING: INSIDE STUDIO GANG ARCHITECTS JEANNE GANG COMPLEXITY AND CONTRADICTION IN ARCHITECTURE ROBERT VENTURI DELIRIOUS NEW YORK REM KOOLHAAS FLESH: ARCHITECTURAL PROBES ELIZABETH DILLER + RICARDO SCOFIDIO HAVING WORDS DENISE SCOTT BROWN JAPAN-NESS IN ARCHITECTURE ARATA ISOSAKI LEARNING FROM LAS VEGAS ROBERT VENTURI MONGREL RAPTURE ARM PROJECTILES BERNARD CACHE REVEAL: STUDIO GANG ARCHITECTS JEANNE GANG RICHARD ROGERS AND ARCHITECTS: FROM THE HOUSE TO THE CITY RICHARD ROGERS S,M,L,XL OMA +REM KOOLHAAS + BRUCE MAU SILENCE AND LIGHT LOUIS KAHN SHOP: OUT OF PRACTICE SHOP ARCHITECTS TEN BOOKS ON ARCHITECTURE VIRTRUVIUS THE ALPHABET AND THE ALGORITHM MARIO CARPO THE ARCHITECTURE OF THE CITY ALDO ROSSI THE AUTOPOIESIS OF ARCHITECTURE: A NEW FRAMEWORK FOR ARCHITECTURE PATRIK SCHUMACHER THE FOUR ELEMENTS OF ARCHITECTURE GOTTFRIED SEMPER THE MODULAR LE CORBUSIER THE ORDINARY REM KOOLHAAS + DENISE SCOTT BROWN + YOSHIHARU TSUKAMOTO THINKING ARCHITECTURE PETER ZUMTHOR THOMAS HEATHERWICK: MAKING IDEAS THOMAS HEATHERWICK TOWARD AN ARCHITECTURE LE CORBUSIER YES IS MORE BJARKE INGELS GROUP ETC