Gaming as Potential Space-framing Dr. Cristian Suau1 1 The Welsh School of Architecture, Cardiff University http://www.cardiff.ac.uk/archi/suau.php suauc@cardiff.ac.uk Abstract. Spatial experimentations require ludic strategies. Games provide new situations to subvert rules and turn conventions upside down, and the unpredictable convergences between concrete and intangible, even virtual and volatile, spaces. This work is an attempt to understand the potential and latent playability of any type of spatial configuration to create and fabricate new interfaces and frameworks. What games should we play instead? To do so we need to transform the classical sense of workshop into a game-lab, a space for non-stopping brainstorming. These reflections follow an analysis of filmic games of B. Keaton and its applicability in new design process. The power of playing with less reveals a new sense in design by using three design factors: Compactness; Lightness and Speed. Finally this theoretical body is reinforced by a sequential analysis of workshop experiences and experimental research led and carried out by myself from 2006 in different Schools of Architecture both Europe and South America. Keywords: Spatial experimentation; games, rules and scalability; potential architecture; reusing waste.
Reflections on Games and Architecture The planet Earth seems a vulnerable game board. Its tools and components are not limitless. The current financial crisis is good example of bad ruling. It demands a profound analysis on the collapse of speculative maneuvers; with dramatic short-term consequences in our environment. What is evident, mainly in industrialised zones, is that we are undergoing the excess of a culture of superabundance and the pseudo-environmental notion of ‘Greenism’. Figure 1 Cityscape. Project made by my workshop students from UIC, 2008. It is a board game based on matching similar categories of cities with different urban patterns. It consists of 36 cubes and one dice. Players can play horizontally or vertically. You need a minimum of two opponents. It is great fun! Source: Suau collection
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Games are generally necessary systems that govern our daily life. Whereas games are often characterized by their tools, they are often defined by their rules. While rules are subject to variations and changes, enough change in the rules usually results in a new game. Rules generally determine turn order, the rights and responsibilities of the players, and each player’s goals. For instance, how can be possible to continue the model of car-suburbia in emergent economies? What type of variations in design might we conceive instead? Can we play new architectural games with less? The Savvy Game of Keaton: Fabrication Out of Control Games govern our daily life. Games are rules. The ability to play, move, change or adapt are prerequisites for life. In the case of architecture in motion, there are some features that can play a significant role in its development: A. the expanding functions; B. variable divisions of interior space; and C. flexible and automated furniture and appliances. Buster Keaton’s masterpieces: One Week (1920) and The Electric House (1922) show the montage of early 20th-century US housing units both as frame and sum of accessories, emphasizing the sense of repetition of parts; generic layouts and an absurd faith towards technology. The films illustrate the power of do-it-your-self applied in housing and its execution simply as playful accident, a random building process rather than sequential. For instance, One Week is the funny story of the seven days construction process of any prefab timber house. It is a parody of Sears mail-order Modern Home, a standard US catalogue house, with pre-cut, fitted pieces and appliances. Particularly this film illustrates a non-standardized architecture, by playing unexpected trails of spatial production. The Electric House focuses on mechanical appliances. They announce a new architecture where walls might fold over; floors shift; an escalator replaces the staircase; the foundation rests on wheels; the programme metamorphoses and the appliances organise the domestic life. Parts could leave the site and return, or the entire building could collapse or become mechanised, fold up or simply be transported to a different location. In The Electrical House, all new appliances fail. Nevertheless, in Keaton’s comedy, the accident is the generator of inventions and each thoroughly envisions new needs in the Modern domestic life. Technology is also a comedy. Keaton as organiser was obsessed with the idea of capturing the Modernity of domestic life mainly by the house as kinetic playground. He envisioned the game of architecture in motion by dealing adaptable, light and compact spaces, with dwellers in transit.
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Figure 2. Keaton versus Sears Modern Home. While Sears factory was manufacturing and shipping catalogue houses like Modern Home 102, Keaton was building his ‘customized version’ of a similar mail-order Modern Home in the film One Week. Sources: Movie at http://www.archive.org/details/ OneWeek and Sears Archives, http://www.searsarchives.com/homes
Beyond this synopsis, what are the Keaton’s filmic games? They are simple mistakes, ungovernable places. Keaton’s domestic spaces consist of three main features: Flexible plan, advances in construction technology and the role of the individual in the design process. They are mostly ruled by fortuitous circumstances. In terms of forms, they are funny dwellings, treated in on-theedge way. Through these houses, modular fabrication is not longer a result of mass production, repetition, and uniformity. In opposition to traditional aesthetic of the Modern Avant-garde, the Keaton’s houses are always machines for failure. In a classical sense, only the play generates the invention. Playing with Less “Man is small, and, therefore, small is beautiful” by E.F. Schumacher If we historically study the spatial evolution of architecture, we find out a gradual dematerialization of the space, from mass towards film. Contemporary space in formal cities is lacking of playability. Citizens do not engage enough in decision-making and, for instance, our streetscape becomes a territory of boredom and social agony. Nevertheless, space is a precious resource especially in informal cities and certainly communities in slums do engage more in the remapping and reshaping of their built environment. Users take an active role and the inventiveness of the logic of survive allows dynamic spatial frames Cristian Suau
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ruled by three main factors: Compactness; Lightness and Speed. Those factors are not just mere definitions but contain the new principles which rule the world of design nowadays. For instance, if we focus on the notion of compactness, it appears as a manifesto of Elementarism against oversized architecture. Smallness opens up unexpected trails of spatial production and provided new functional flexibility with spatial interoperability. Do more with less. The sculptor Richard Serra stated that “the biggest break in the history of sculpture in the twentieth century occurred when the pedestal was removed.” If we relate this statement in architectural practice, what happens when foundations become smaller, lighter or simply removed? The definition of minimum does not mean minuscule but removing all what design has as superfluous, redundant or useless properties. Consequently the search of elementary living is not a trend applicable in impoverished cities or cultures but an appropriate system, which deal with playable design factors. What level of playability do we take into consideration within design process? Compactness inevitable implies lightness and speed of fabrication. Hence ludic research and workshops on compact-light-fast design should experiment in praxis and above all play with potential and existing obstacles. Apart from this, design process should foster the sensorial exploration towards new space-frames by looking at potential appropriate technologies (AT) applied in our built environment. Thus, compact design follows the logic of minimum assemblage, a sort of base kit that does more combinations with less number of joins.
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Figure 3. PHS (Pallet Housing System) is a design patented by Dr. Suau. It provides new opportunities for modular and lightweight housing frames by reusing pallets shipping boards. It can be assembled or disassembled anywhere easily. It is a manifesto of Compactness. Its design provides alternatives for those who have disposable income but not enough capital to enter the standard housing market. It consists of expandable and contractible spaces within simple frameworks, and it is wellweatherproofed with passive techniques according to specific climatic contexts. Sources: Suau collection & http://www.flexiblehouse.org
Junk as Matter for Ludic Frameworks The logics of reusing and recycling of manufacturing waste appear as a visionary game of research, which acquire a strategic role in the design of the built environment, the reconversion of productive and economical models and reshaping of new living forms. Since 2004 I have investigated fast fabrication systems applied for emergency dwellings in urban or remote environments. The results are two prototypes: Tyrespace© and PHS© (Pallet Housing System). They mainly are affordable solutions, which give response to mankind or natural disasters and urban emergency (i.e.: solutions for migration or low-incomes dwellers) in slums or the like. The designs are based on the application of manufactured waste, such as disused timber boards and rubber. Depending on the specific properties of each material or component, quality of constructional systems and the weatherproofing applied in each chosen prototype; different parameters of transitoriness and lifespan can be achieved. Some materials are more ephemeral than others, nonetheless frameable to then be infilled. Each fabrication process reuses waste as structural frames with low-tech building methods: 1. Pallet Housing System© (PHS) 1 is an innovative housing frame. It constitutes an ecological response by reusing timber-shipping boards applied to compact dwellings. It can be easily assembled or disassembled. Neither cranes nor scaffolds are used to connect walls with floors or roofs because the bare pallet board operates like an adjustable ladder itself. There are two types: Cubic and Triangular (A-frame) solutions. The modules are assembled and embraced mainly by boards, tensile components or metal connectors. These components are available in the shipping and packaging manufacturing. The PHS© has been climatically tested with passive techniques such as orientation, building shape, and colours, available local materials, and shading devices. They have similar base modulation: 80cms x 120cm. In terms of spatial distribution, the PHS© provides a central kitchen/ bath core with sleeping room.
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Figure 4. Climatic design of PHS – WALLET, Cardiff, UK. 1. Form. The dwelling is a cubic compact shape facing Equator. Its envelope is well insulated and its framing is based on Euro-pallet size. The main floor contains sanitary services facing north. The roof is slightly flat and is covered by a grass layer. The Direct Gain Systems is both the south glazed façade and a clerestory which perform as an efficient solar collector (thermal buffer). In wintertime, it admits extra-direct sunlight when there is a solar blockage of the south wall by nearby obstructions. This street facade performs as shading device during summertime. 2. Solar orientation. It is the main factor during winter. Large or medium-size plus double glazed openings facing south are the most suitable. During wintertime, mobile insulation is recommended to reduce nighttime heat losses. 3. Ventilation. Low rate of ventilation is required. 4. Materials. Due to the climatic chart, the dwelling mostly requires heating and internal gain. Thermal insulation and exterior dark colours (high absorptance and high emittance, over 80%) is essential. Source: Suau collection.
2. Tyrespace©2 is a minimum prototypes based on the reuse of tyres. Geometrically it consists of a compact polygonal layout where walls and roofing are structured mainly by combining and strapping car and motorbike tyres. Several climatic simulations, guided by requirements for efficient use of passive energy, has thoroughly been analysed and detailed based on structural and spatial configuration. Tyrespace©3 provides new play-frames made of whole disused tyres and byproducts. The outcomes are elastic frames -‘webs’ or semi-domes that lightly touch the ground- with applications in sheds, bridges and games.
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Figure 5. Tyrespace project is evolving into new structural games. Recently, I led a Master workshop at the School of Architecture PUC in Santiago de Chile, 2008. In two weeks, 6 small groups had to produce a 12m span footpath bridge only with tyres. They carried out several empirical tests using100% the components and properties of each car tyre. The preliminary structural tests with strapping connectors failed. Those frames required extra-stiffness. Nevertheless the use of strapping methods showed capability to build up random tissue. The sequence of four images is the final solution adopted by academic and student teams. Source: Suau collection
All these case tests are handmade fabrication systems. These geometries and modules are the result of the specific structuring potential. Summarizing, junk-frames formulate a rapid implementation of variable and interchangeable structures with interior adjustable buffers and panels capable to contain no matter the types of occupancy and climatic variation. Each fosters the notion of do-it-yourself ‘kits’ and demonstrates a strong spatial playability and adaptability, and can adequately response to the decarbonisation of our environment. Towards a New Ludology The wise reflections made by the French sociologist Roger Caillois (Les Jeux et Les Hommes, 1957) define the notion of game as an activity that must have the following characteristics: a. Enjoyment: the activity is chosen for its cheerful character b. Instant: It means circumscribed in momentary sense of time and place c. Uncertainty: The outcome of the activity is unforeseeable d. Non-productive: The aim is not prolific but adventurous e. Governed by rules: The activity has rules that are different from everyday life f. Abstract: It implies the awareness of a fictitious reality These points have a direct application in the teaching of architectural design. Certainly, a game is a form of play with goals and structure. A recent case took place at School of Architecture, Universitat Internacional de Catalunya (Barcelona, 2008). A group of architects and academics were invited to lead, reflect and produce games with beginners and advanced students. The Cristian Suau
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conventional studio was replaced by the notion of game-lab, a battlefield for non-stopping brainstorming. Students and tutors became play-makers. The central theme was Game and Place (further information is available at www.tallervertical.net). The outcomes were assessed by externals and where showed in a comprehensive catalogue of gaming implements and games. This experience was an interactive, goal-oriented activity, with active agents to play against, in which players (including staff ) could interfere/interplay with each other: Process sets the stage for the outcome4.
Figure 6. Puzzlab. Project made by my workshop students from UIC, 2008. It is a transparent 3D labyrinth constructed by laser cutting. The kit consists of 24 interchangeable layers with a glueless assemblage, and a metal ball. Every surface has random holes and pathways which are ruled by generic city traffic signs. To have to avoid any traffic offence and reach as quick as possible the way out. You have to play it individually. Hence the game-frame is a form of kinetic box in which player as puzzle-maker, made different routing in order to manage resources through game tokens in the pursuit of the final goal. Source: Suau collection
Acknowledgements I wish to thank to my friends Nicolas Markuerkiaga, Carmelo Zappulla and Stephanie Tunka for our intense brainstorming during several design competitions and the elaboration of playful ideograms and strategies to attack urban situations. Also the support of main educational institutions such as the Welsh School of Architecture (UK), ETSAB – Barcelona School of Architecture (Spain), NTNU (Norway), Universitat Internacional de Catalunya (Spain), and Catholic University of Chile – PUC (Chile). Especially I express gratitude to Dr. Marcia Codinachs, Arild Jacobsen, Borja Ferrater and Arturo Torres. During my work period as senior architect at OMA in Rotterdam, I 10
developed and carried out challenging design ideas, hence I wish to be grateful with Moira Lascelles. Finally, I express my thanks to Fernando Ayala and Katarina Mrkonjic and our non-profitable agency called RECICLARQ (www. reciclarq.org) in Barcelona: a dynamic platform for collaborative artwork based on the principles of creativity, experimentalism and social awareness. References Tafuri, M.: 1976, Architecture and Utopia: Design and Capitalist Development, MIT Press, Cambridge. Fuller, B.: 2008, Operating Manual for Spaceship Earth, Lars Muller Publishers, Baden. McDonough, T.: 2004, Guy Debord and the Situationist International, MIT Press, Cambridge. Iacovoni, A.: 2004, Game Zone, Birkhauser, Basel. Caillois, R.: 1992, Les Jeux et Les Hommes, Gallimard, Paris. Conrads, U.: 2001, Programs and Manifestoes on 20th-Century Architecture, MIT Press, Cambridge. Beukers, A. and Van Hinte, E.: 2005, Lightness, 010 Publishers, Rotterdam. Grau, C.: 1997, Borges y la Arquitectura, Ediciones Catedra, Madrid. Robb, B.: 2007, Silent Cinema, Kamera Books, London. Davies, C.: 2005, The Prefabricated Home, Reaktion Book Ltd., London. Bell, B. and Wakeford, K.: 2008, Expanding Architecture: Design as Activism, Bellerophon Publications, New York. Suau, C.: 2005, Potential Public Spaces in the Modern Suburbia: Urban Reflections for the Regeneration of Free Spaces, Nordic Journal of Architectural Research, Gothenburg, pp. 31-41. Suau, C. and Jacobsen, A.: 2006, Fabricating Eco-dwellings with Elemental Junk-Frames, Nordic Association for Architectural Research - Royal Danish Academy of Fine Arts, Copenhagen, pp. 176-184. Suau, C. and Ayala, F.: 2006, Tyrespace, PLEA, 2, pp 228-234. Suau, C. and Markuekiaga, N.: 2006, Fabricating New Spatial Systems, Revista 180 (17), Santiago de Chile, pp. 18-21. Suau, C. and Lascelles, M.: 2008, One Week by Buster Keaton: Envisioning Architecture in Motion, Cities in Film: Architecture, Urban Space and the Moving Image, Liverpool University, pp. 237-243. Suau, C.: 2008, Towards Minimum Dwellings: Manifesto against Oversized Architecture, MADE Magazine, Cardiff, pp 74-83. (Endnotes) 1 Suau, C. (ed.: 2004), Pallet Housing System, PLEA proceedings (V2), Eindhoven, pp. 11211127, www.plea2004.nl, 12/01/2009. 2 Suau, C. & Jacobsen, Arild (ed.: 2004), Fabricating Eco-Dwellings with Elemental JunkFrames. The Annual Symposium of the Nordic Association for Architectural Research, Royal Danish Academy of Fine Arts, Copenhagen, pp. 176-184, Accessed in 12/01/2009: http:// www.arkitekturforskning.net 3 Suau, C. & Ayala, F. (ed.: 2004), Tyrespace, PLEA 2006, Genève, (V2), pp 228-234. Accessed in 12/01/2009: http://www.unige.ch/formcont/plea2006 4 Kieran, S. & Timberlake, J. (ed.: 2004), Refabricating Architecture, New York, RR Donnelley, pp. 107. Cristian Suau
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