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.
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