Replica Dossier

Page 1

Cristina Goberna & Urtzi Grau of

Fake Industries Architectural Agonism

are proud to present the final collection ever to be reproduced, renovated or redesigned of the projects assembled during the second installment of the

Replica Studio

part of the Master of Science in Advanced Architectural Design during the Summer Semester of 2012 in the premises of the GSAPP of Columbia University in the form of this non-exhaustive but crafted survey of agonistic copies entitled

Replica Dossier that

displays

work

by

an

engaged

group

of

plagiarists

including

Eirini Anthouli, Ernesto Cruz, Jaewon Heo, Paula Orta, Lev Stravchinsky, Shu Yang, Sun Yifu and Han Zhang who none the less, despite their youth, really tried hard to create something of modest value and genuine emotion, and ever since have tried to stay interested enough to assemble, again, once and for all this muscular compilation of design efforts which, in fact, was developed, produced and compiled with the inestimable support of

Bryce Suite in the role of Digital Assistant



Urban Cabinet of Curiosities - Eirini Anthouli, Paula Orta





Conative Museum - Jaewon Heo


jh3306 0807.2012 Final summer AAD gsApp christina & urtzi replica studio

AnAlysis > eAch spAces in the museum

in order to make more accessble each space in the museum to public, explode them.

A conAtive MUSeUM

storAge 1

storAge 2

storAge 2

third

re-ArrAngment > open to pubic

extract path which allows each spaces to connect from sAnAA’s museum. they are strictly arranged by 2.6m depth corridors.

second

ground


storAge 1

storAge 3

ground level

second level

third level



Art Compactor - Ernesto Cruz, Han Zhang


Gallery

Auditorium

Office

Restroom

Project Room

Staff

Elevator

Gallery

Court Yard

Long-term project

Art


Cafe Restaurant

Gallery

Bench & Rail

Gallery

Gallery

Gallery

Long-term project

t Library Art Library

Heterotopia_Replica Studio Ernesto Cruz & Han Zhang

MSAAD 2012



OPENed 21st Century Museum - Lev Stravchinsky


38 23

38

38

36

11 10

37 36

36

12

35

3

14

19

23

7

7

20

28

24

34

8 21

24

34

34

34

34

25

34

32

34


1

2

31 33

4

26

6

22 6

27

16 17

13

30

14

29 9

18



Smoke - Shu Yang, Sun Yifu


Fog-fall Museum

Replica Studio Yang Shu & Sun Yifu


Replica Studio

12000

6000

3000

3000

3000

3000

3000

1500 1500 1500 1500 1500 1500 1500 1500

3000

3000

3000

Final Review


Cristina Goberna & Urtzi Grau’s Replica Studio

PRESENTS the first Instalment of

the Replica

Lecture Series CURATORIAL

REANIMATIONS Atlas of New York Architecture Exhibitions

(1975-1987) by Carlos Minguez Carrasco

GSAPP Monday June 11

2012 Avery Room 408

Cristina Goberna & Urtzi Grau’s Replica Studio

PRESENTS

PRESENTS

the Replica

Lecture Series

Cristina Goberna & Urtzi Grau’s Replica Studio

the second installment of

Lecture Series SAMPLE SPACE In cities, it is the always already time of digital anthropophagy and temporary spatial redesign

by

DANIEL PERLIN

GSAPP Monday June 18th 2012, 300 Buell South

the third installment of

the Replica THE THREE

REPLICAS of the Mies van der Rohe German Pavillion by Urtzi Grau

GSAPP Monday June 25

2012 Avery Room 408 from 2.00 to 3.00 pm

Cristina Goberna & Urtzi Grau’s Replica Studio

PRESENTS the fourth installment of

the Replica

Cristina Goberna & Urtzi Grau’s Replica Studio

PRESENTS

the

fth

installment

of

Lecture Series

the Replica

AGONISM

AFAGOTTINO

PRO + The Art of Opposition by Marisa Jahn

GSAPP Monday July 9th

2012 Avery Room 504 from 2.00 to 3.00 pm

Lecture Series

a Renaissance sculpture and Turk walk into a bar.. by

SERKAN OZKAYA

GSAPP Monday July 23th 2012, 200 Buell at 14h

Lectures Carlos Minguez Carrasco, June 11th, 2012 - Curatorial Reanimations: Atlas of New York Architecture Exhibitions (1975-1987) Daniel Perlin, June 18th, 2012 - Sample Space - In cities, it is the always already time of digital anthropophagy and temporary spatial redesign Urtzi Grau, June 25th, 2012 - The Three Replicas of the Mies van der Rohe German Pavillion Marisa Janh, July 9th, 2012 - Pro+agonist: The Art of Opposition Serkan Ozkaya, July 23rd, 2012 - Afagottino: a Renaissance sculpture and Turk walk into a bar


Jurors Rami Abou-Khalil, Pep Aviles, Adam Bobbette, Eva Franch Gilabert, Kersten Geers, Matteo Ghidoni, Marisa Jahn, Johanna Meyer-Grohbr端gge, Carlos Minguez Carrasco, Brendan Moran, Joaquim Moreno, Emly Nguyen, Serkan Ozkaya, Daniel Perlin, Max Sanjulian, Alan Smart, Bryce Suite, Daniel Talesnik, Irina Verona, Enrique Walker, Michael Young.


The studio explores the potential of Replicas to opening unexpected paths for the identification, confrontation and dissemination of current polemics in architecture, understanding Replicas both as literal reproductions of works architecture and, in a sense denoted in Romance languages, as responses to previous statements, or, as defined below, Agonistic Copies. How Copies expand disciplinary knowledge? As any other creative discipline, architecture is subjected to a regime of originality. Yet, operations having in common the recourse of already produced forms such as re-appropriation, détournement, objet-trouvé, mash-up, parafiction, etc—well-known critical tools in a wide range of artistic production—still remain unabsorbed and even taboo. In fact, while imitation and reproduction are the obvious roots of the last twenty—if not the last six hundred—years’ excess of architectural shapes, the field has resisted to openly embrace copies and in so doing, it has hindered its potential. To intentionally copy entails a radical reformulation of architectural imagination: it allows for a radical renunciation to form-making—since form is defined a priory—to focus on architectural knowledge yet to be discovered. Which are the tools for assessing Agonistic performance of architectural production? The current high-speed consumption of architectural imaginary entails the naturalization of issues that could otherwise be publicly contested. This domestication of architectural polemics, a general disinterest in discussion, and the automatic consensus it entails, hinders the debates that generate advancement in the field. It is necessary to approach architecture design in an Agonistic mode, that is, assuring that the final product is not only controversial, but is also able to maintain a certain level conflict over time by taking dissensus and positive friction as constructive tools of operation.

www.fakeindustries.org


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