Operative Representations

Page 1

| P R E S E N T A T I O N S



O P E R A T I V E | R E P R E S E N T A T I O N St


w

a comparative manual guide to the publishing operations of architectural practices


Table of Contents 1

Guide Checklist |

1

About the Guide | Introduction

2

About the Method | Comparative Methodology

3

Guide Manual | Overview

5

Getting Started | Analysis

7

Rem Koolhaas | Office for Metropolitan Architecture

7

El Croquis N53+79 OMA Rem Koolhaas 1987-1998

11

Architecture + Urbanism 94:08

15

Small, Medium, Large, Extra Large

21

Comparison | Photography

29

Comparison | Drawings & Diagrams

37

45

Comparison | Text Steven Holl | Steven Holl Architects

45

El Croquis N58+93+108 Steven Holl 1986-2003

51

Architecture + Urbanism 98:08

55

Intertwining

57

Comparison | Photography

65

Comparison | Drawings & Diagrams

73

Comparison | Text

81

Confirming Contents

Kazuyo Sejima + Ryue Nishizawa | SANAA

81

El Croquis N77[I]+99+121/122 SANAA 1983-2004

89

Japan Architect JA 56

91

SANAA: Works 1995-2003

95

Comparison | Photography

105

Comparison | Drawings & Diagrams

115

Comparison | Text

125

To Learn More | Bibliography

126

Appendix | Postscript


w

1 1

Guide Checklist | Confirming Contents

About the Guide | Introduction

Dust Cover

Traditionally, architecture is experienced through real time and spatial contact with a physical built work. As architecture proceed into the twentieth century with extensive development and availability of various mass media, specifically the printed media, architectural experience becomes one that is frozen in time, eternalized within the space of the printed media. The way in which architecture is presented and therefore experienced on printed matter subsequently becomes an important operative representation. Not unlike the individualized style and method of different architectural practices, operative representation of any architectural idea or built work can also be seen as non-neutral, highly subjective and even manipulative and distorted. This study is established within the gap of factual presentation and operative representation and seeks to use a comparative matrix of published built works by three architectural practices for closer examination.

h

Guidebook


2 2

About the Method | Comparative Methodology A comparative matrix is set up, based on a preestablished criteria consisting of: • three architectural practices geographically located across the world [ Rem Koolhas, Office for Metropolitan Architecture, Rotterdam, The Netherlands; Steven Holl Architects, New York, USA; Kazuyo Sejima & Ryue Nishizawa, SANAA, Tokyo, Japan] • one museum project from each practice that is completed [ Kunsthal, 1992, Rotterdam, The Netherlands, Museum of Contemporary Art Kiasma, Helsinki, 1998, Finland; The 21st Century of Contemporary Art, 2004, Kanazawa, Japan] • the work is published in three different format of publication, namely a monthly issue periodical [Shinkenchiku-sha, Tokyo, Japan], a seasonal issue periodical [El Croquis, Madrid, Spain] and a selfpublished monograph.

Using this comparative matrix as a graphical analytical framework, each museum project by the three architects can be examined through its publication in the three different publishing formats. Through a deadpan serial layout, this study attempts to express the consistencies and ambiguities of the representation of each project across the three publications, in order to analyze and critique the publishing operation of each architectural practice. Eventually, this graphical analytical exercise can also be seen as an instigation of architectural publishing operations that serve to set up apparent dialogue across different architectural practices as well as architectural publication formats which may seem autonomous in nature.


|

El

Croquis

N53+79,

OMA

Rem

Koolhaas

7|8

9 | 10

O

M

P

El

Croquis

C

O

N78+93+108,

Steven

M

P

94:08

Croquis

95 | 96 | 105 | 106 | 115 | 116

Holl

+

99

+

I

S

P 97 | 98 | 107 | 108 | 117 | 118

O

61 | 62 | 69 | 70 | 77 | 78

122,

Sejima

Nishizawa

83 | 84

M

27 | 28 | 35 | 36

Architecture

49 | 50

R

121/

O

||

1986-2003

59 | 60 | 67 | 68 | 75 | 76

N.77[I]

O

S

25 | 26 | 33 | 34 | 41 | 42

A

81 | 82

C

Urbanism

I

47 | 48

57 | 58 | 65 | 66 | 73 | 74

El

R

23 | 24 | 31 | 32 | 39 | 40

45 | 46

|

+

11 | 12

A

21 | 22 | 29 | 30 | 37 | 38

|

Architecture

w

C

3

||

1987-1998

63 | 64 | 71 | 72

SANAA

1983-2004

85 | 86

A

R 99 | 100 | 109 | 110 | 119 | 120

I

S 101 | 102 | 111 | 112 |


||

Small,

13 | 14

Medium,

Large,

15 | 16

Extra-Large

|

17 | 18

19 | 20

N

4

Guide Manual |

| 43 | 44

+

Urbanism

98:08

||

51 | 52

Intertwining

53 | 54

|

55 | 56

N | 79 | 80

||

Japan

Architect

87 | 88

S 121 | 122

JA

||

56

89 | 90

O

N 103 | 104 | 113 | 114 | 123 | 124

SANAA:

Works

91 | 92

1995-2003

Overview

This analysis is organized as three separate parts, each for one architectural practice. Within each part, the three different publishing layouts of the same project are arranged and organized in a deadpan order in terms of publishing formats. Each individual page is coupled as a double spread, highlighting any apparent relationships and contrast within each spread, as well as the flow, rythmn, connections and sequence of the presentation across the spreads of each project. These layouts are overlaid and analyzed together as an entity, as a serial cinematic format to seek out and understand the system of photographs, drawings and text used to explain each project. |

93 | 94


5

w


6

Getting Started | Analysis


El Croquis N53+79 OMA Rem Koolhaas 1987-1998 1998, El Croquis Editorial, Madrid

7

196 | 197

202 | 203

204 | 205


8

198 | 199

200 | 201

206 | 207

208 | 209


9

210 | 211

212 | 213

218 | 219

220 | 221


10

214 | 215

216 | 217

222 | 223

224 | 225


Architecture + Urbanism 94:08 1994, A+U Editorial, Shinkenchiku-sha, Tokyo, Japan

11

108 | 109

114 | 115

116 | 117


12

110 | 111

112 | 113

118 | 119

120 | 121


13

122 | 123

124 | 125

130 | 131

132 | 133


14

126 | 127

134 | 135

128 | 129


Small, Medium, Large, Extra-Large 1995, Rem Koolhaas, Bruce Mau Monacelli Press, New York

15

430 | 431

436 | 437

438 | 439


16

432 | 433

434 | 435

440 | 441

442 | 443


17

432 | 433

434 | 435

440 | 441

442 | 443


18

436 | 437

438 | 439

444 | 445

446 | 447


19

448 | 449

450 | 451

456 | 457

458 | 459


20

452 | 453

454 | 455


21

Hans Werleman | Photography

Hans Werleman | Photography

CĂŠsar San MillĂĄn | Photography

Hisao Suzuki | Photography

Christian Richters | Photography

Hans Werlemann | Photography

Hans Werlemann | Photography


22

Christian Richters | Photography

Christian Richters | Photography

Hans Werlemann | Photography


23

Hisao Suzuki | Photography

Hans Werleman | Photography


24h

Christian Richters | Photography

Christian Richters | Photography

Hans Werlemann | Photography


25

Hisao Suzuki | Photography

Christian Richters | Photography

Christian Richters | Photography

Hisao Suzuki | Photography

Christian Richters | Photography

Hans Werlemann | Photography


26

Hans Werlemann | Photography


27

Hans Werlemann | Photography


28


29

OMA | Circulation Diagrams

OMA | Circulation Diagrams

OMA | Diagram


30


31

OMA | Plan & Section

OMA | Unfolded Elevations

OMA | Plan & Section

OMA | Plans

OMA | Plan & Section

OMA | Plan


32

OMA | Section

& Section

OMA | Section

OMA | Plan & Section

OMA | Section

OMA | Plan & Section


33

OMA | Reflected Ceili


ing Plan

34


35

OMA | Plan

OMA | Plan

OMA | Plan

OM


MA | Plan

36

OMA | Section

OMA | Sections


37

OMA | Project Description

OMA | Project Description

Andrew McNair | Criticism

OMA | Project Introduction

Dialogue from Waiting for Gobot by Samuel Beckett | Circulation storyboard

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


.

38

OMA | Project Description

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


39

.

.

.

.

.

.

Dialogue from Waiting for Gobot by Samuel Beckett | Circulation storyboard

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


40

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


41

.

.

.

.

.

.

Dialogue from Waiting for Gobot by Samuel Beckett | Circulation storyboard

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


42

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


43

.

.

.

.

.

.

Dialogue from Waiting for Gobot by Samuel Beckett | Circulation storyboard

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


44

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.


El Croquis N78+93+108, Steven Holl 1986-2003 2003, El Croquis Editorial, Madrid

45

242 | 243

248 | 249

250 | 251


46

242 | 245

246 | 247

252 | 253

254 | 255


47

256 | 257

258 | 259

264 | 265

266 | 267


48

260 | 261

262 | 263

268 | 269

270 | 271


49

272 | 273

274 | 275


50

276 | 277


Architecture + Urbanism 98:08 1998, A+U Editorial Shinkenchiku-sha, Tokyo, Japan

51

16 | 17

22 | 23

24 | 25


52

18 | 19

20 | 21

26 | 27

28 | 29


53

30 | 31

32 | 33


54

354 | 35


Intertwining 1996, Steven Holl Princeton Architectural Press, New York

55

88 | 89

94 | 95

96 | 97


5

90 | 91

92 | 93

98 | 99

100 | 101


57

Hisao Suzuki | Photography

Jussi Tiainen | Photography

Hisao Suzuki | Photography


58

| Photography

Jussi Tiainen | Photography

Steven Holl Architects | Model Photography

Steven Holl Architects | Model Photography


59

Hisao Suzuki | Photography

Hisao Suzuki | Photograph

Jussi Tiainen | Photography

Jussi Tiainen | Photography

Jussi Tiain

Steven Holl Architects | Model Photograph


hy

nen | Photography

hy

60

Hisao Suzuki | Photography


61


62

Hisao Suzuki | Photography

Hisao Suzuki | Photography


63


64


65

Steven Holl Architects | Site Plan

Steven Holl Architects | Site Diagram

Steven Holl Architects | Diagrams

Steven Holl Architects | Site Plan

Steven Holl | Watercolor Sketches

Steven Holl Architects | Diagrams

Steven Holl Architects | Plans

Steven H


Holl | Watercolor Sketch

66

Steven Holl | Watercolor Sketch

Steven Holl | Watercolor Sketches

Steven Holl Architects | Sections

Steven Holl Architects | Pl


67

cts | Plans

Steven Holl Architects | Elevation

Steven Holl Architects | Details

Steven Holl | Watercolor Sketch


68

Steven Holl Architects | Plans

Steven Holl Architects | Section


69

Steven Holl Architects | Section

Steven Holl Architects | Section

Steven Holl Architects | Details


70

Steven Holl Architects | Details

Steven Holl Architects | Details

Steven Holl Architects | Details


71


72


73

Steven Holl Architects | Project Description

Steven Holl Architects| Project Description

Steven Holl Architects| Compeition Entry Description

Steven Holl Architects| Project Description

Steven Holl Architects| Competition Entry Description


74

Steven Holl Architects | Project Description


75


76


77


78


79


80


El Croquis N.77[I]+99, Sejima Nishizawa SANAA 1983-2000 2000, El Croquis Editorial, Madrid

81

308 | 309

El Croquis N.121/122, Sejima Nishizawa SANAA 1983-2004 2004, El Croquis Editorial, Madrid

60 | 61


82

310 | 311

312 | 313

62 | 63

64 | 65


83

66 | 67

68 | 69

74 | 75

76 | 77


84

70 | 71

72 | 73

78 | 79

80 | 81


85

82 | 83

84 | 85

90 | 91

92 | 93


86

86 | 87

88 | 89

94 | 95

96 | 97


87

98 | 99

100 | 101

106 | 107

108 | 109


88

102 | 103

104 | 105


Japan Architect 56 2005, The Japan Architect Shinkenchiku-sha, Tokyo, Japan

89

16 | 17


90

18 | 19


SANAA: Works 1995-2003 2003, Kazuyo Sejima + Ryue Nishizawa TOTO, Tokyo, Japan

91

00 | 00

00 | 00

00 | 00


92

00 | 00

00 | 00

00 | 00

00 | 00


93

00 | 00

00 | 00


94

00 | 00

00 | 00


95

Shigeo Ogawa | Photography

Shigeo Ogawa | Photography


96

Hisao Suzuki | Photography


97

SANAA | Model Photography


98

Hisao Suzuki | Photography

Hisao Suzuki | Photography


99

Hisao Suzuki | Phot


tography

100

Hisao Suzuki | Photography

Hisao Suzuki | Photography


101

Hisao Suzuki | Photography


102


103


104


105

SANAA| Site Plan

SANAA| Plan

SANAA | Plan

SANAA | Plan

SANAA | Plan


106

SANAA | Detail Plan

SANAA | Detail Plan

SANAA | Detail Plan


107


108

SANAA| Plan & Elevation

SANAA| Plan & Elevation


109

SANAA| Details

SANAA| Details


110


111

SANAA| Detail Plan & Details

SANAA| Detail Plan


112

SANAA| Details

SANAA| Detail Plan

SANAA| Detail Plan


113

SANAA| Detail Plan

SANAA| Detail Plan & Section


114

SANAA| Detail Plan & Section


115

SANAA | Competition Entry Description

SANAA | Competition Entry Description

SANAA | Project Description

Japan Architect Editorial| Project Description

SANAA| Project Description

SANAA| Project Description


116


117


118

SANAA | Project Description


119


120


121


122


123


124


w

125

To Learn More

| Bibliography

1. El Croquis N53+79, OMA Rem Koolhaas 1987-1998, 1998, El Croquis Editorial, Madrid 2. El Croquis N78+93+108, Steven Holl 1986-2003, 2003, El Croquis Editorial, Madrid 3. El Croquis N.77[I]+99+121/122, Sejima Nishizawa SANAA 1983-2004, 2004, El Croquis Editorial, Madrid 4. Architecture + Urbanism Editorial, A+U 94:08, 1994, Shinkenchiku-sha, Tokyo 5. Architecture + Urbanism Editorial, A+U 98:08, 1998, Shinkenchiku-sha, Tokyo 6. The Japan Architect Editorial, The Japan Architect JA 56, 2005, Shinkenchiku-sha, Tokyo 7. OMA. Koolhaas, Rem and Mau, Bruce, Small, Medium, Large, Extra-Large, 1998, Monacelli Press, New York, NY 8. Holl, Steven, Intertwining, 1996, Princeton Architectural Press, New York, NY 9. Sejima, Kazuyo and Nishizawa, Ryue, Kazuyo Sejima + Ryue Nishizawa/ SANAA: Works 1995-2003, 2003, TOTO, Tokyo, Japan


126

Appendix | Postscript This comparative analysis of the three publications of three projects by three architects is set up as a matrix to allow a process of distillation. This distillation process breaks down the publication of the built works by these architectural practices, offering, on one hand, a method of understanding how a single project is being represented by neutral, objective journals as well as subjective monographs, on the other hand, a method of understanding the various styles and subjectivities of each type of publication. Through this organization, this study could serve to suggest a way of reading, comparing and perceiving the intentions and methods of architectural publications in its entirety.


Operative Representation is a research publication by Ernest Ng H. H, designed and produced for “Publishing as Practice,” a seminar class conducted at University at Buffalo by Michael Kubo in Spring 2009, as part of his Banham Fellowship at the School of Architecture & Planning. Michael Kubo is currently appointed as the 2008 Banham Fellow at the University at Buffalo, School of Architecture & PLanning. Michael studied at the University of Massachusetts, where he received his B.A. in Architecture magna cum laude in 2000, and at the Harvard University Graduate School of Design, where he received the M.Arch in 2006, completing his thesis with distinction. His current practice spans across the domains of writing, teaching, editing, and publishing. Kubo’s editorial work is based on an alternative understanding of publishing as a critical form of architectural practice, in which publications can give structure to architectural concepts and elaborate new methodologies where the production of the book-object and modes of architectural investigation are inseparable in form and content. Some of the most prominent architects of the last century have also been prolific publishers, editors, journalists, critics, and authors. In this history, publishing has been a strategic tool utilized by architects for its unique capacity both to frame the practice of the architect and to perform as a critical form of architecture itself. Kubo’s research at Buffalo focuses on the history of publications by architects—manifestoes, monographs, pamphlets, magazines, articles, and interviews—that have constituted this parallel form of architectural practice in the twentieth century. Ernest Ng is currently a M.Arch candidate at University at Buffalo, School of Architecture & Planning. Prior to his graduate studies in Buffalo, he was in professional practice at Steven Holl Architects in New York City. Ernest studied at the National University of Singapore where he received his B.A in Architecture and has also spent a year of study abroad at Carnegie Mellon University, Pittsburgh, as part of a M.Arch program from Singapore.



w

O P E R A T I V E | |

First published in the United States of America in April 2009 Lulu Inc. All rights reserved. No part of this book maybe reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage retrieval system, without the permission in writing from the author. Copyright

c

2009 Ernest Ng H.H.

Researcher, Editor, Designer : Ernest Ng H.H. Collaborator: Michael Kubo Printed and bound in USA


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.