Pablo Emilio Aguilar Reyes | Harvard GSD M.Des - HPDM | 2020 Portfolio - Selected Texts and Images

Pablo Emilio Aguilar Dossier of selected texts and images

Harvard GSD Master in Design Studies program application Janurary 2020

Contents Contents

Introduction Introduction 3 3

What What is Minimalism? is Minimalism?

Archeology Archeology of anofApparatus an Apparatus

4 4

Bartleby; Bartleby; or,or, The The Nomad Nomad TheThe Limits Limits of Architecture of Architecture

14 14

Mockup Mockup series series 18 18

OnOn (in)exactitude (in)exactitude in in Representation Representation 25 25

The The section section

Selected Selected drawings drawings

29 29

introduction

Introduction Introduction I am Inot aminterested not interested in erecting in erecting a building, a building, but inbut in presenting presenting to myself to myself the foundations the foundations of allof possible all possible buildings. buildings.

— Ludwig — Ludwig Wittgenstein Wittgenstein

The drawings The drawings on the oncover the cover of this of document this document are are ŇĻĸ ձŅņŇ շłłŅ ŃĿĴŁ ĴŁķ Ĵ ņĸĶŇļłŁ łĹ ŇĻĸ Ļłňņĸ ĵňļĿŇ ŇĻĸ ձŅņŇ շłłŅ ŃĿĴŁ ĴŁķ Ĵ ņĸĶŇļłŁ łĹ ŇĻĸ Ļłňņĸ ĵňļĿŇ ĵŌ ŃĻļĿłņłŃĻĸŅ ňķŊļĺ ļŇŇĺĸŁņŇĸļŁ ļŁ ҲҺҳҹ ĹłŅ Ļļņ ĵŌ ŃĻļĿłņłŃĻĸŅ ňķŊļĺ ļŇŇĺĸŁņŇĸļŁ ļŁ ҲҺҳҹ ĹłŅ Ļļņ sister, sister, Margarethe, Margarethe, in Vienna. in Vienna.

Certain Certain ļŁŇĸŅŃŅĸŇĴŇļłŁņ łĹ ŇĻĸ Ļłňņĸ ĶłŁņļķĸŅ ļŇ Ĵņ ĵłŇĻ ĴŁ ļŁŇĸŅŃŅĸŇĴŇļłŁņ łĹ ŇĻĸ Ļłňņĸ ĶłŁņļķĸŅ ļŇ Ĵņ ĵłŇĻ ĴŁ ĴŅĶĻļŇĸĶŇňŅĴĿ łĵĽĸĶŇ ĴŁķ Ĵ ĶłŁĶĸŃŇňĴĿ ņŇŅňĶŇňŅĸр Ĵņ ĴŅĶĻļŇĸĶŇňŅĴĿ łĵĽĸĶŇ ĴŁķ Ĵ ĶłŁĶĸŃŇňĴĿ ņŇŅňĶŇňŅĸр Ĵņ Ĵ ĵňļĿŇ ĸŋŇĸŁņļłŁ łĹ Ļļņ ŃĻļĿłņłŃĻŌт ĿŇĻłňĺĻ ŇĻĸ Ĵ ĵňļĿŇ ĸŋŇĸŁņļłŁ łĹ Ļļņ ŃĻļĿłņłŃĻŌт ĿŇĻłňĺĻ ŇĻĸ ķŅĴŊļŁĺņ ĴŅĸ ŁłŇ ŀļŁĸп ŇĻĸŌ ձŇ ļķĸĴĿĿŌ łŁ ŇĻĸ ĶłʼnĸŅ ķŅĴŊļŁĺņ ĴŅĸ ŁłŇ ŀļŁĸп ŇĻĸŌ ձŇ ļķĸĴĿĿŌ łŁ ŇĻĸ ĶłʼnĸŅ łĹ ŇĻļņ ķłĶňŀĸŁŇ ļŁ Ĵ ŇŊł ĹłĿķ ŊĴŌт ļŅņŇĿŌп łĹ ŇĻļņ ķłĶňŀĸŁŇ ļŁ Ĵ ŇŊł ĹłĿķ ŊĴŌт ļŅņŇĿŌп ĵĸĶĴňņĸп ŇĻĸņĸ ŃĿĴŁņ ĴĿĿňķĸ ņłŀĸŇĻļŁĺ ŊĻļĶĻ ĵĸĶĴňņĸп ŇĻĸņĸ ŃĿĴŁņ ĴĿĿňķĸ ņłŀĸŇĻļŁĺ ŊĻļĶĻ ĶłŁņŇļŇňŇĸņ Ĵ ĶŅňĶļĴĿ ŃĴŅŇ łĹ ŇĻĸ ŇĸŋŇņ ĻĸŅĸ ļŁĶĿňķĸķс ĶłŁņŇļŇňŇĸņ Ĵ ĶŅňĶļĴĿ ŃĴŅŇ łĹ ŇĻĸ ŇĸŋŇņ ĻĸŅĸ ļŁĶĿňķĸķс ŇĻĸ ĶŅĸĴŇļʼnĸ łʼnĸŅĿĴŃ ŇĻĴŇ Ŀļĸņ ĴŇ ŇĻĸ ļŁŇĸŅņĸĶŇļłŁ łĹ ŇĻĸ ĶŅĸĴŇļʼnĸ łʼnĸŅĿĴŃ ŇĻĴŇ Ŀļĸņ ĴŇ ŇĻĸ ļŁŇĸŅņĸĶŇļłŁ łĹ ĴŅĶĻļŇĸĶŇňŅĸ ĴŁķ ŃĻļĿłņłŃĻŌр ĹĸŅŇļĿĸ ĺŅłňŁķ ŊĻĸŅĸ ĴŅĶĻļŇĸĶŇňŅĸ ĴŁķ ŃĻļĿłņłŃĻŌр ĹĸŅŇļĿĸ ĺŅłňŁķ ŊĻĸŅĸ ĵňļĿķļŁĺ ĴŁķ ķŊĸĿĿļŁĺ ļŁĹłŅŀ ŇĻĸ ĴŅŇ łĹ ŇĻļŁľļŁĺ ĵňļĿķļŁĺ ĴŁķ ķŊĸĿĿļŁĺ ļŁĹłŅŀ ŇĻĸ ĴŅŇ łĹ ŇĻļŁľļŁĺ ĴŁķ ĿļʼnļŁĺп ĴŁķ ʼnļĶĸ ʼnĸŅņĴт ĸĶłŁķĿŌп ĵĸĶĴňņĸ ŇĻĸŌ ĴŁķ ĿļʼnļŁĺп ĴŁķ ʼnļĶĸ ʼnĸŅņĴт ĸĶłŁķĿŌп ĵĸĶĴňņĸ ŇĻĸŌ ĴŅĸ łĹ ŃĴŅŇļĶňĿĴŅ ŅĸĿĸʼnĴŁĶĸ Ňł ŀĸт ĹłňŁķ ŇĻĸŀ ĴŅĸ łĹ ŃĴŅŇļĶňĿĴŅ ŅĸĿĸʼnĴŁĶĸ Ňł ŀĸт ĹłňŁķ ŇĻĸŀ ŊĻļĿĸ ļŁ ŇĻĸ ŃŅłĶĸņņ łĹ ŅĸņĸĴŅĶĻļŁĺ ĴĵłňŇ ŇĻĸ ŊĻļĿĸ ļŁ ŇĻĸ ŃŅłĶĸņņ łĹ ŅĸņĸĴŅĶĻļŁĺ ĴĵłňŇ ŇĻĸ Ļłňņĸп ŊĴņ ĿłłľļŁĺ Ňł ĶłŁņŇŅňĸ ŀŌ łŊŁ Ļłňņĸп ŊĴņ ĿłłľļŁĺ Ňł ĶłŁņŇŅňĸ ŀŌ łŊŁ ļŁŇĸŅŃŅĸŇĴŇļłŁ łĹ ļŇт Ļĸ ŃĻłŇłĺŅĴŃĻņ łĹ ŇĻĸ Ļłňņĸ ļŁŇĸŅŃŅĸŇĴŇļłŁ łĹ ļŇт Ļĸ ŃĻłŇłĺŅĴŃĻņ łĹ ŇĻĸ Ļłňņĸ ņŇĴŅŇĿĸķ ŀĸ ĹłŅ ņłŀĸ ŅĸĴņłŁт չĸŅ ŊĴņ ĴĵĿĸ Ňł ņŇĴŅŇĿĸķ ŀĸ ĹłŅ ņłŀĸ ŅĸĴņłŁт չĸŅ ŊĴņ ĴĵĿĸ Ňł ĶłŁʼnļŁĶļŁĺĿŌ ĴŅŇļĶňĿĴŇĸ ŀŌ łŊŁ ĴŁĴĿŌņļņ łĹ ŇĻĸ ĶłŁʼnļŁĶļŁĺĿŌ ĴŅŇļĶňĿĴŇĸ ŀŌ łŊŁ ĴŁĴĿŌņļņ łĹ ŇĻĸ Ļłňņĸп Ňłłľ ļŇ ňŃłŁ ŀŌņĸĿĹ Ňł ŃňŇ ļŇ ĹłŅŇĻ ļŁ Ĵ Ļłňņĸп Ňłłľ ļŇ ňŃłŁ ŀŌņĸĿĹ Ňł ŃňŇ ļŇ ĹłŅŇĻ ļŁ Ĵ ŅĸņĸĴŅĶĻ ŃĴŃĸŅп ĴŁķ ŀĴŁĴĺĸķ Ňł ļŇ ĺĸŇ ŃňĵĿļņĻĸķ ļŁ ŅĸņĸĴŅĶĻ ŃĴŃĸŅп ĴŁķ ŀĴŁĴĺĸķ Ňł ļŇ ĺĸŇ ŃňĵĿļņĻĸķ ļŁ ŀŌ ņĶĻłłĿяņ ĽłňŅŁĴĿт Ļļņ ĸŁķĸĴʼnłňŅ ŊĴņ ĹłŅ ŀĸ Ĵ ŀŌ ņĶĻłłĿяņ ĽłňŅŁĴĿт Ļļņ ĸŁķĸĴʼnłňŅ ŊĴņ ĹłŅ ŀĸ Ĵ sort of sort rite ofofrite passage. of passage.

Wittgenstein's Wittgenstein's house house moved moved ŀĸ Ňł ņŇĴŅŇ ŊŅļŇļŁĺ ĴĵłňŇ ĴŅĶĻļŇĸĶŇňŅĸ ĹŅłŀ Ĵ ŀĸ Ňł ņŇĴŅŇ ŊŅļŇļŁĺ ĴĵłňŇ ĴŅĶĻļŇĸĶŇňŅĸ ĹŅłŀ Ĵ ŃĻļĿłņłŃĻļĶĴĿ ŃĸŅņŃĸĶŇļʼnĸ ĴŁķ ĻĴʼnĸ ŁłŇ ņŇłŃŃĸķ ŃĻļĿłņłŃĻļĶĴĿ ŃĸŅņŃĸĶŇļʼnĸ ĴŁķ ĻĴʼnĸ ŁłŇ ņŇłŃŃĸķ since. since.

Ļĸ ŇĸŋŇņ ļŁ ŇĻĸ ĹłĿĿłŊļŁĺ ŃĴĺĸņ ĴŅĸ ŊŅļŇŇĸŁ ĹŅłŀ Ļĸ ŇĸŋŇņ ļŁ ŇĻĸ ĹłĿĿłŊļŁĺ ŃĴĺĸņ ĴŅĸ ŊŅļŇŇĸŁ ĹŅłŀ ŇĻļņ ʼnĴŁŇĴĺĸ ŃłļŁŇт ĻłŃĸ Ňł ĵĸ ĴĵĿĸ Ňł ĶłŁʼnĸŌ ŇĻļņ ʼnĴŁŇĴĺĸ ŃłļŁŇт ĻłŃĸ Ňł ĵĸ ĴĵĿĸ Ňł ĶłŁʼnĸŌ ŇĻŅłňĺĻ ŇĻĸŀ ŇĻĸ ĶłŁĶĸŃŇňĴĿп ŁňĴŁĶĸķп ĴŁķ ŇĻŅłňĺĻ ŇĻĸŀ ŇĻĸ ĶłŁĶĸŃŇňĴĿп ŁňĴŁĶĸķп ĴŁķ ĶŅĸĴŇļʼnĸ ŃłŇĸŁŇļĴĿ ŇĻĴŇ ņŇĸŀņ ĹŅłŀ ŇĻĸłŅĸŇļĶĴĿ ĴŁķ ĶŅĸĴŇļʼnĸ ŃłŇĸŁŇļĴĿ ŇĻĴŇ ņŇĸŀņ ĹŅłŀ ŇĻĸłŅĸŇļĶĴĿ ĴŁķ ŃĻļĿłņłŃĻļĶĴĿ ĶłŁņļķĸŅĴŇļłŁņ ŅĸĺĴŅķļŁĺ ŃĻļĿłņłŃĻļĶĴĿ ĶłŁņļķĸŅĴŇļłŁņ ŅĸĺĴŅķļŁĺ ĴŅĶĻļŇĸĶŇňŅĸт łņŇ łĹ ŇĻĸ ļķĸĴņ ĵĸĻļŁķ ŇĻĸņĸ ŇĸŋŇņ ĴŅĶĻļŇĸĶŇňŅĸт łņŇ łĹ ŇĻĸ ļķĸĴņ ĵĸĻļŁķ ŇĻĸņĸ ŇĸŋŇņ ŊĸŅĸ łŅļĺļŁĴĿĿŌ ŊŅļŇŇĸŁ ļŁ ŃĴŁļņĻп ĻłŊĸʼnĸŅп ŇĻĸļŅ ŊĸŅĸ łŅļĺļŁĴĿĿŌ ŊŅļŇŇĸŁ ļŁ ŃĴŁļņĻп ĻłŊĸʼnĸŅп ŇĻĸļŅ ŅĸŊŅļŇļŁĺ ļŁ ŁĺĿļņĻ ĻĴņ ĺŅĴŁŇĸķ ŇĻĸŀ ŁĸŊ ŇĸŋŇňŅĸņ ŅĸŊŅļŇļŁĺ ļŁ ŁĺĿļņĻ ĻĴņ ĺŅĴŁŇĸķ ŇĻĸŀ ŁĸŊ ŇĸŋŇňŅĸņ ĴŁķ ĶłŁĶĸŃŇňĴĿ ĺŅĴķļĸŁŇņ ŇĻĴŇ ĻĴķ ŁłŇ ŁłŇļĶĸķ ĴŁķ ĶłŁĶĸŃŇňĴĿ ĺŅĴķļĸŁŇņ ŇĻĴŇ ĻĴķ ŁłŇ ŁłŇļĶĸķ ĵĸĹłŅĸт Ļĸ ĸņņĴŌņ ʼnĴŅŌ Ňł ķļծĸŅĸŁŇ ķĸĺŅĸĸņ ļŁ ĵĸĹłŅĸт Ļĸ ĸņņĴŌņ ʼnĴŅŌ Ňł ķļծĸŅĸŁŇ ķĸĺŅĸĸņ ļŁ ŇĻĸŀĸп ĻļņŇłŅļĶĴĿ ŃĸŅņŃĸĶŇļʼnĸп ĴĶĴķĸŀļĶ ŅļĺłŅ ĴŁķ ŇĻĸŀĸп ĻļņŇłŅļĶĴĿ ŃĸŅņŃĸĶŇļʼnĸп ĴĶĴķĸŀļĶ ŅļĺłŅ ĴŁķ ņĶĻłĿĴŅņĻļŃп ĴŁķ ĶŅļŇļĶĴĿ łŅ ŃŅłʼnłĶĴŇļʼnĸ ĶĻĴŅĴĶŇĸŅт ņĶĻłĿĴŅņĻļŃп ĴŁķ ĶŅļŇļĶĴĿ łŅ ŃŅłʼnłĶĴŇļʼnĸ ĶĻĴŅĴĶŇĸŅт Ļĸ ŇĻŅĸĴķ ŇĻĴŇ Ňļĸņ ŇĻĸņĸ ŇĸŋŇņ ŇłĺĸŇĻĸŅ ļņ ŇĻĸ ĹĴĶŇ Ļĸ ŇĻŅĸĴķ ŇĻĴŇ Ňļĸņ ŇĻĸņĸ ŇĸŋŇņ ŇłĺĸŇĻĸŅ ļņ ŇĻĸ ĹĴĶŇ ŇĻĴŇ ŇĻĸŌ ĴĿĿ ķĸĴĿ ķļŅĸĶŇĿŌ łĹ ŇĴŁĺĸŁŇļĴĿĿŌ ŊļŇĻ ŇĻĴŇ ŇĻĸŌ ĴĿĿ ķĸĴĿ ķļŅĸĶŇĿŌ łĹ ŇĴŁĺĸŁŇļĴĿĿŌ ŊļŇĻ ĴŅĶĻļŇĸĶŇňŅĸ Ĵņ ĸŁʼnļŅłŁŀĸŁŇ łŅ Ĵņ ķļņĶļŃĿļŁĸт łŁĸ ĴŅĶĻļŇĸĶŇňŅĸ Ĵņ ĸŁʼnļŅłŁŀĸŁŇ łŅ Ĵņ ķļņĶļŃĿļŁĸт łŁĸ łĹ ŇĻĸ ĶłŁĶĸŃŇņ łŅ ļķĸĴņ ĻĸŅĸ ĶłŁʼnĸŌĸķ ĴŅĸ ŅĸŀłŇĸĿŌ łĹ ŇĻĸ ĶłŁĶĸŃŇņ łŅ ļķĸĴņ ĻĸŅĸ ĶłŁʼnĸŌĸķ ĴŅĸ ŅĸŀłŇĸĿŌ ĶĿłņĸ ŃĸŅĹĸĶŇļłŁ łŅ ĶłŀŃĿĸŇļłŁп ŁłŅ ĴŅĸ ŇĻĸŌ ĹŅĸĸ łĹ ĶĿłņĸ ŃĸŅĹĸĶŇļłŁ łŅ ĶłŀŃĿĸŇļłŁп ŁłŅ ĴŅĸ ŇĻĸŌ ĹŅĸĸ łĹ ĶłŁŇŅĴķļĶŇļłŁņп ŊļŇĻļŁ ŇĻĸŀ łŅ ļŁфĵĸŇŊĸĸŁ ŇĻĸŀр ĶłŁŇŅĴķļĶŇļłŁņп ŊļŇĻļŁ ŇĻĸŀ łŅ ļŁфĵĸŇŊĸĸŁ ŇĻĸŀр ŇĻĸļŅ Ĵļŀ ļņ Ňł ķļņŃĿĴŌ Ĵ ŅĸŃĸŅŇłļŅĸ łĹ ŅĸņłňŅĶĸņ ŇĻĸļŅ Ĵļŀ ļņ Ňł ķļņŃĿĴŌ Ĵ ŅĸŃĸŅŇłļŅĸ łĹ ŅĸņłňŅĶĸņ ŊļŇĻ ŊĻļĶĻ яʼnĸ ŇĻłňĺĻŇ łŅ ĶłŁŇļŁňĸ Ňł ŇĻļŁľ ĴĵłňŇ ŊļŇĻ ŊĻļĶĻ яʼnĸ ŇĻłňĺĻŇ łŅ ĶłŁŇļŁňĸ Ňł ŇĻļŁľ ĴĵłňŇ ĴŅĶĻļŇĸĶŇňŅĸт ĴŅĴĿĿĸĿ Ňł ŇĻĸ ŃŅłձĶļĸŁĶļĸņ яʼnĸ ĴŅĶĻļŇĸĶŇňŅĸт ĴŅĴĿĿĸĿ Ňł ŇĻĸ ŃŅłձĶļĸŁĶļĸņ яʼnĸ ĴĶńňļŅĸķ ŅĸĺĴŅķļŁĺ ŇĻĸ ŇĻĸłŅĸŇļĶĴĿ ĴņŃĸĶŇņ łĹ ŇĻĸ ĴĶńňļŅĸķ ŅĸĺĴŅķļŁĺ ŇĻĸ ŇĻĸłŅĸŇļĶĴĿ ĴņŃĸĶŇņ łĹ ŇĻĸ ķļņĶļŃĿļŁĸп ĻĴʼnĸ ĴĿņł ķĸʼnĸĿłŃĸķ ĴŁ ĴղŁļŇŌ Ňł ķļņĶļŃĿļŁĸп ĻĴʼnĸ ĴĿņł ķĸʼnĸĿłŃĸķ ĴŁ ĴղŁļŇŌ Ňł ķŅĴŊļŁĺ ŃĿĴŁņп ĴŁķ ņłп ļŁ ŇĻĸ ձŁĴĿ ņĸĶŇļłŁņ łĹ ŇĻļņ ķŅĴŊļŁĺ ŃĿĴŁņп ĴŁķ ņłп ļŁ ŇĻĸ ձŁĴĿ ņĸĶŇļłŁņ łĹ ŇĻļņ ĶłŀŃĸŁķļňŀ ŇĻĸŅĸяņ Ĵ ņĸŇ łĹ ŇĸĶĻŁļĶĴĿ ķŅĴŊļŁĺņт ĶłŀŃĸŁķļňŀ ŇĻĸŅĸяņ Ĵ ņĸŇ łĹ ŇĸĶĻŁļĶĴĿ ķŅĴŊļŁĺņт ĻłŃĸ ŇĻĸ ʼnļĸŊĸŅ ĸŁĽłŌņ ŃĸŅňņļŁĺ ŇĻĸ ŃĴĺĸņ łĹ ŇĻļņ ĻłŃĸ ŇĻĸ ʼnļĸŊĸŅ ĸŁĽłŌņ ŃĸŅňņļŁĺ ŇĻĸ ŃĴĺĸņ łĹ ŇĻļņ ķłņņļĸŅ ĻĴĿĹ Ĵņ ŀňĶĻ Ĵņ ĸŁĽłŌĸķ ŊŅļŇļŁĺп ķŅĴŊļŁĺп ķłņņļĸŅ ĻĴĿĹ Ĵņ ŀňĶĻ Ĵņ ĸŁĽłŌĸķ ŊŅļŇļŁĺп ķŅĴŊļŁĺп ĴŁķ ŃňŇŇļŁĺ ļŇ ĴĿĿ ŇłĺĸŇĻĸŅт ĴŁķ ŃňŇŇļŁĺ ļŇ ĴĿĿ ŇłĺĸŇĻĸŅт

Elevations Elevations of the of house the house built built

by Ludwig

by Ludwig Wittgenstein.

Wittgenstein.

|3

4| 4|

What is Minimalism?

The following text is a summary of my graduating project, a three-semester-long research thesis. The research took place within the Architectura táctica seminar led by PhD. William Brinkman-Clark. This inquiry is an expansion and continuation motivated by Pier Vittorio Aureli’s book Less is Enough. All the themes in this essay were further delved into throughout the research process.

1. This anecdote is told by Mies as part of an interview in the documentary film Mies, directed by Michael Blackwood (1986).

2. Detlef Mertins, Mies (Phaidon: 2014), 36.

3. This essay does not further elaborate on the minimalist artistic movement, otherwise called ABC Art, whose main representatives include Donald Judd, Agnes Martin, Dan Flavin, and Frank Stella. This art movement’s main premise was the artistic creation of sculptural objects without a designated use or purpose.

For more, see Hal Foster, The Crux of Minimalism, in The Return of the Real.

The Avant-Garde at the end of the Century (MIT Press: 1996), 35-70.

4. We understand praxis as Hannah Arendt puts it forth, as the highest and quintessential level of active life (vita activa), in lieu of the contemplative life (vita contemplativa) where theoretical thinkings tends to take place. Praxis in this sense refers directly to daily-life active practice.

Hannah Arendt, The Human Condition (University of Chicago Press:1958), 7-21.

Peter Behrens, AEG Turbine Factory, 1909.

Archeology of an Apparatus

th th th th AfterAfter After theAfter turn the the turn turn the of the turn of of19 the the ofcentury, 19 19 the century, 19 century, in century, 1906, in in 1906, 1906, 20 in year-old 1906, 20 20 year-old year-old 20 year-old Ludwig Ludwig Ludwig Mies Ludwig Mies Mies worked Mies worked worked in worked Peter in in Peter Peter in Peter Behrens’ Behrens’ Behrens’ Behrens’ Berlin Berlin Berlin studio.

Berlin studio. studio.

One studio.

One One of the One of oftasks the the oftasks tasks the appointed tasks appointed appointed appointed to the to toapprentice the the toapprentice apprentice the apprentice was was to was design to was to design design toa design aa a façade façade façade for façade the for forAEG the the forAEG AEG the Turbine AEG Turbine Turbine Turbine factory factory factory building, factory building, building, building, a project aa project project aatproject the at atvanguard the the atvanguard vanguard the vanguard of the of ofemerging the the ofemerging emerging the emerging th 20th century 20 20thth century 20 century pre-war century pre-war pre-war industrial pre-war industrial industrial industrial wave. wave. wave.

The wave.

The young The The young young man young man man sketched man sketched sketched sketched somesome some designs some designs designs for designs the for for the the for the façade’s façade’s façade’s composition façade’s composition composition composition and and showed and showed and showed them showed them them to Behrens. them to to Behrens.

Behrens. to Behrens.

The The master The The master master replied master replied replied “less replied “less “less is more”, “less is is more”, more”, isand more”, and and a 1 chose chose chose thechose simplest the the simplest simplest the simplest of Mies’ of of Mies’ Mies’ proposals of Mies’ proposals proposals proposals . 11.. 1.

A vast A A vast amount vast A vast amount amount of amount conceptual of of conceptual conceptual of conceptual potential potential potential potential is contained is is contained contained is contained Within Within Within the Within Less the the Less is Less the more is Less is more more proposition. is more proposition. proposition. proposition ThisThis This maxim This maxim maxim synthesizes maxim synthesizes synthesizes synthesizes the attitude, the the attitude, attitude, the attitude, or rather, or or rather, rather, orthe rather, logic the the logic logic the used logic used used

by Mies used by

by Mies Mies van

by Mies der van vanRohe der van der Rohe Rohe der Rohe th th th th throughout throughout throughout throughout his oeuvre, his his oeuvre, oeuvre, hisand oeuvre, and thanks and thanks and thanks tothanks which to to which which to hewhich became he he became became he abecame canonical aa canonical canonical a canonical figure figure figure forfigure 20 for for century 20 20 for century 20 century centu architecture architecture architecture architecture discourse. discourse. discourse. discourse.

He claimed He He claimed claimed He to claimed understand to to understand understand to understand Less Less is Less more is Less is more more inisamore in different in aa different in different a different way way than way than way thanthan 2 22 2 Behrens Behrens Behrens Behrens . What .. What What Mies . What Mies Mies meant Mies meant meant bymeant the by byproposition, the the byproposition, proposition, the proposition, precisely, precisely, precisely, precisely, was was that was that was the thatstructural that the the structural structural the structural elements elements elements elements of a of building of aa building of building a building mustmust must be the must be besame the the besame same the ones same ones ones thatones that simultaneously thatthat simultaneously simultaneously simultaneously constitute constitute constitute constitute the entirety the the entirety entirety the entire of said of of said said building’s of said building’s building’s building’s architectural architectural architectural architectural expression, expression, expression, expression, integrated integrated integrated integrated by art by byand art art byand technique, and art technique, and technique, technique, by geometry by by geometry geometry by geometr and and matter. and matter. and matter. matter.

Less Less is Less more is Less is more more means is more means means that means that fewer thatthat fewer fewer decorative fewer decorative decorative decorative and and architectural and architectural and architectural architectural elements elements elements elements in a in building in aa building in building a building render render render a rende aa better better better end-result better end-result end-result end-result inasmuch inasmuch inasmuch inasmuch as itas as clearly ititas clearly clearly itconveys clearly conveys conveys its conveys tectonic its its tectonic tectonic its tectonic expression, expression, expression, expression, and and thus, and thus, and thus,thus, constitutes constitutes constitutes constitutes a building aa building building a building withwith with supposed with supposed supposed supposed higher higher higher aesthetic higher aesthetic aesthetic aesthetic value. value. value.

Hence, value.

Hence, Hence, the Hence, Less the the Less is Less the more is Less is more more is more maxim maxim maxim implies maxim implies implies aimplies sleight-of-hand, aa sleight-of-hand, sleight-of-hand, a sleight-of-hand, an interweaving an an interweaving interweaving an interweaving and and mixing and mixing and mixing ofmixing the of ofquantity the the ofquantity quantity the quantity and and quality and quality and quality qual categories. categories. categories. categories.

For this For For this reason, this For reason, this reason, Mies’ reason, Mies’ Mies’ quote Mies’ quote quote is not quote is ismerely not not ismerely merely nota merely rhetorical aa rhetorical rhetorical a rhetorical artifice, artifice, artifice, but artifice, rather, but but rather, rather, buta rather, aa a procedural procedural procedural procedural resource. resource. resource. resource.

By composing By By composing composing By composing moremore more quality more quality quality through quality through through less through quantity, less less quantity, quantity, less quantity, Mies’ Mies’ Mies’ Mies’ quintessential quintessential quintessential quintessential contribution contribution contribution contribution to modern to to modern modern to architecture modern architecture architecture architecture was was introducing was introducing was introducing introducing a sophisticated aa sophisticated sophisticated a sophisticated sense sense sense se of minimalism of of minimalism minimalism of minimalism into into into the discipline. into the the discipline. discipline. the discipline.

What What What is minimalism?

What is is minimalism? minimalism? is minimalism?

DueDue Due to the Due to toambiguity the the toambiguity ambiguity the ambiguity of this of of this concept, this of concept, this concept, concept, in this in in this inquiry this in inquiry this inquiry we inquiry have we we have have we have circumscribed circumscribed circumscribed circumscribed it within itit within within ittwo within two parallel-running two parallel-running two parallel-running parallel-running currents. currents. currents. currents.

The The first The The first first current first current current iscurrent constituted is is constituted constituted is constituted by by by 3 33 3 an architectural an an architectural architectural an architectural tendency, tendency, tendency, tendency, an artistic an an artistic artistic anmovement artistic movement movement movement , and, ,, and, and, generally , and, generally generally generally speaking, speaking, speaking, speaking, an aesthetic an an aesthetic aesthetic an aesthetic manifestation manifestation manifestation manifestation that that results thatthat results results from results from from design. from design. design.

For design. minimalism For For minimalism minimalism For minimalism to beto tosuch, be betosuch, such, be it requires such, itit requires requires it requires design, design, design, design, which which which implies which implies implies an implies intentionality an an intentionality intentionality an intentionality and and then, and then, and then, an then, interpretation. an an interpretation. interpretation. an interpretation.

The The second The The second second current second current current of current of of of minimalism minimalism minimalism minimalism goesgoes goes beyond goes beyond beyond the beyond realm the the realm realm the of realm design of of design design ofand design and into and into and into the practical, into the the practical, practical, the practical, or rather, or or rather, rather, orinto rather, into into praxis, into praxis, praxis, prax the political the the political political the political elevation elevation elevation elevation of practice of of practice practice of4practice . In 44other .. In In4other other . In words, other words, words, minimalism words, minimalism minimalism minimalism is not is isonly not not isonly only not an object only an an object object an ofobject of of of design, design, design, but design, also but but also of also butdisegno, also of of disegno, disegno, ofadisegno, concept aa concept concept a that concept that speaks thatthat speaks speaks tospeaks the to todeployment the the todeployment deployment the deployment of any of ofgiven any any of given any given praxis given praxis praxis praxis which which which structures, which structures, structures, structures, modulates, modulates, modulates, modulates, and and models and models and models different models different different different forms forms forms of forms life. of of life.

In life. ofthis In life.

In this sense, this In sense, this sense, minimalism sense, minimalism minimalism minimal as a as form as aa form as form ofalife, form of of life, as life, ofpraxis, as life, as praxis, praxis, as is praxis, called is is called called is asceticism. called asceticism. asceticism. asceticism.

BothBoth Both currents Both currents currents currents of minimalism, of of minimalism, minimalism, of minimalism, the aesthetic the the aesthetic aesthetic the aesthetic and and the andpractical, the and the practical, practical, the practical, converge converge converge converge in that in in that they’re that in that they’re they’re they’re constituted constituted constituted constituted exclusively exclusively exclusively exclusively by what by by what what is byconsidered what is is considered considered is considered necessary. necessary. necessary. necessary.

However, However, However, However, minimalism minimalism minimalism minimalism is not is isan not not isan an not a absolute absolute absolute absolute category; category; category; category; it’s relative it’s it’s relative relative it’sto relative the to tohistorical, the the tohistorical, historical, the historical, material material material material and and metaphysical and metaphysical and metaphysical metaphysical conditions conditions conditions conditions formform form which form which which it which emerges. itit emerges. emerges. it emerges.

ThisThis This implies This implies implies that implies that throughout thatthat throughout throughout throughout history, history, history, in history, every in in every every case in every case case and case and for andeach for and for each each for each instance, instance, instance, instance, minimalist minimalist minimalist minimalist designs designs designs and designs and minimalist and minimalist and minimalist minimalist forms forms forms of forms life of ofvary life life ofvary vary in lifetheir vary in in their their criteria in their criteria criteria of criteria what of of what what isof what is is necessary. necessary. necessary. necessary.

In this In In this regard, this In regard, this regard, we regard, have we we have have traced we have traced traced the traced first the the first first samples the first samples samples samples of minimalism of of minimalism minimalism of minimalism priorprior prior to Mies, prior to to Mies, Mies, to in Mies in in the origins the the origins origins theoforigins industrial of of industrial industrial of industrial architecture architecture architecture architecture set at set set the at at set dawn the the atdawn dawn the of Modernity, dawn of of Modernity, Modernity, of Modernity, in the in inage the the inof age age the of of age of Enlightenment.

Enlightenment.

Enlightenment.

Enlightenment.

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What is What Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus

The The Less Less is more is Less dictum is more dictum was dictum was first was expressed first expressed expressed

by Behrens by

by Behrens to Mies to within to Mies within the within context the theof context of The The Less is more more dictum was first first expressed

by Behrens Behrens to Mies Mies within the context context of of 5. “Each kind of factory requires an individual treatment that determines working working working on the on the ondesign thefor design afor factory. aafor factory. aAnd factory.

And so, it’s And so, it’s so, coincidence no it’scoincidence no coincidence that that industrial industrial industrial working ondesign the design for factory.

And so,no it’s no coincidence thatthat industrial its appearance, its siting, and the architecture architecture architecture represents represents represents an inkling an aninto inkling into the beginnings into the the beginnings of anof an anminimalist overtly minimalist minimalist architecture represents an inkling inkling into the beginnings beginnings ofovertly anofovertly overtly minimalist distribution of its different buildings. architecture, architecture, architecture, one one where one the where logic the the of the logic of the ofLess is the more is Less imperative is more imperative imperative is inis effect. in effect. in Typologies effect.

Typologies Typologies of of architecture, one where where the logic logic ofLess the Less is more more imperative is inis effect.

Typologies of of These buildings should comprise housing for the directors and the industrial industrial industrial architecture, architecture, architecture, particularly particularly particularly the factory the theasfactory a as building as a building where where products where products products are are industrial architecture, particularly the factory factory as aa building building where products are are inspectors charged with overseeing assembled, assembled, assembled, implies implies aimplies perpetual aa perpetual a perpetual effort effort towards effort towards ever-optimized towards ever-optimized ever-optimized efficiency. efficiency. efficiency.

For this For reason, For reason, this reason, the good order, economy, and assembled, implies perpetual effort towards ever-optimized efficiency.

For this this reason, therethere seems there seems toseems beto be particular no beparticular no particular needneed for need aesthetic for for aesthetic valuevalue in avalue in factory, in asince factory, since such since such a such aa a there seems tono beto no particular need for aesthetic aesthetic value in aa factory, factory, since such perfection of each object relative to its fabrication; according to the building’s building’s building’s design design prioritizes design prioritizes prioritizes the functional, the functional, the functional, the utilitarian the utilitarian the utilitarian and and the pragmatic the and pragmatic the pragmatic aspects aspects aspects building’s design prioritizes the functional, the utilitarian and the pragmatic aspects nature of said objects, the buildings 5 55 5 overover its sensible over its its sensible appearance appearance appearance or itsor its orsymbolic its symbolic qualities qualities qualities over its sensible sensible appearance orsymbolic its symbolic qualities . In a.. In factory, In aa. factory, In factory, aless factory, architectural less less architectural architectural less architectural should be furnished with large halls, details, details, details, less details, less ornament less ornament less ornament ornament and and less and less detractors and less detractors less detractors detractors constitute constitute constitute constitute moremore more utility, more utility, utility, more utility, more more efficiency more efficiency efficiency efficiency and and and and workshops, laboratories, storerooms, courts, and moremore more production. more production. production. production. outbuildings… The ordering of their architecture should be simple, without in any way presenting a martial character.” From Jacques-François Blondel, Cours d’architecture, vol. 2 (París, 1771), 398-399. Quote extracted from Anthony Vidler, The Writing of the Walls: Architectural Theory in the Late Enlightenment (Princeton Architectural Press: 1987), 23.

Before Before Before industrial Before industrial industrial industrial architecture architecture architecture architecture became became became widespread became widespread widespread widespread in Europe in in Europe Europe inwithin Europe within within the within context the the context context theof context the of of the the of the th firstfirst first Industrial first Industrial Industrial Industrial Revolution, Revolution, Revolution, Revolution, the precedents the the precedents precedents the precedents of factories of of factories factories of factories werewere were 18thwere century 18 18thth century 18 century craftsmen’s century craftsmen’s craftsmen’s craftsmen’s workshops: workshops: workshops: workshops: small small small manufacturing small manufacturing manufacturing manufacturing houses houses houses where houses where where rationality where rationality rationality rationality and and technique and technique and technique technique proved proved proved sharp proved sharp sharp sharp toolstools tools for tools existence. for for existence. existence. for existence.

Different Different Different Different artisans’ artisans’ artisans’ artisans’ ateliers ateliers ateliers varied ateliers varied varied tovaried some to to some some degree to some degree degree between degree between between between trades trades trades and trades and and and guilds; guilds; guilds; glass guilds; glass glass andglass and iron and iron and iron workers, iron workers, workers, workers, weapons weapons weapons weapons and and jewelry and jewelry and jewelry manufacturers, jewelry manufacturers, manufacturers, manufacturers, ébénistes, ébénistes, ébénistes, ébénistes, tannery, tannery, tannery, tannery, clothcloth cloth andcloth and silk and silk craftsmen, and silk craftsmen, silk craftsmen, craftsmen, etcetera, etcetera, etcetera, etcetera, all had all all had distinct had all distinct had distinct versions distinct versions versions versions of a of prototypical of aa prototypical of prototypical a prototypical workshop workshop workshop workshop studio: studio: studio: a studio: rectangular-plan aa rectangular-plan rectangular-plan a rectangular-plan room room room contained room contained contained contained within within within plain within plain plain walls, plain walls, walls, with walls, with with square with square square windows, square windows, windows, windows, 6 66 6 doors, doors, doors, and doors, and niches and niches and niches suitable niches suitable suitable for suitable different for for different different for different manufacturing manufacturing manufacturing manufacturing furniture furniture furniture furniture and and tools and tools and tools . If tools any .. If If any any . If any special special special equipment special equipment equipment equipment or machine or or machine machine or machine was was necessary, was necessary, was necessary, necessary, suchsuch such as asuch as furnace, as aa furnace, as furnace, a furnace, lathe, lathe, lathe, or lathe, crane, or or crane, crane, or it crane, would itit would would it would be placed be be placed placed beatplaced the at atcenter the the atcenter center the ofcenter the of ofspace the the ofspace space the in space order in in order order to in be order to toequidistant be betoequidistant equidistant be equidistant fromfrom from thefrom corners the the corners corners theof corners the of of the the of the workshop, workshop, workshop, workshop, eacheach each assigned each assigned assigned assigned a different aa different different a different partpart part of the part of ofmanufacturing the the ofmanufacturing manufacturing the manufacturing process. process. process. process.

In these In In these these In these manufacturing manufacturing manufacturing manufacturing houses, houses, houses, the houses, imperative the the imperative imperative the imperative was was efficiency, was efficiency, was efficiency, efficiency, and and so, andtheir so, and so, their their so, design their design design and design and aesthetic and aesthetic and aesthetic aesthetic reflected reflected reflected reflected it accordingly itit accordingly accordingly it accordingly as they as as they they did as they not did didhave not not didhave have not added have added added decorations added decorations decorations decorations or unnecessary or or unnecessary unnecessary or unnecessary elements. elements. elements. elements.6. Anthony Vidler, Spaces of Production, As can As Asbe can can Asseen be can be seen seen in bethe seen in inillustrations the the inillustrations illustrations the illustrations of these of of these these spaces of these spaces spaces drawn spaces drawn drawn for drawn the for forfirst the the forfirst first Encyclopedias, the first Encyclopedias, Encyclopedias, Encyclopedias, the the the the in The Writing of the Walls: Architectural Theory in the Late entirety entirety entirety of entirety their of of their their composition of their composition composition composition was was constituted was constituted was constituted constituted by simple by by simple simple bygeometries simple geometries geometries geometries and and minimalist and minimalist and minimalist minimalist Enlightenment (Princeton design, design, design, as design, well as as well well asasa well as programmatic as aa programmatic as programmatic a programmatic synchrony synchrony synchrony synchrony between between between between formform form andform and function. and function. and function. function.

Architectural Press: 1987), 23-51.

Drawings from Planche de l’Encyclopédie ou Dictionnaire raisonné des Sciences, des Arts et des métiers, 1751 – 1765. Needle manufacturer (left) and casting of printing type studio (right)

7. “Enlightenment is man's emergence from his self-incurred immaturity.

Immaturity is the inability to use one’s own understanding without the guidance of another. This immaturity th th th th The The minimalist design ofcentury 18of century century manufacturing century manufacturing manufacturing manufacturing houses houses houses and houses and their and their and their evolution their evolution evolution evolution into into intointo The The minimalist minimalist minimalist design design ofdesign 18of 18 18 is self-incurred if its cause is not lack factories factories factories factories arose arose arose alongside arose alongside alongside alongside Modernity.

Modernity.

Modernity.

Modernity.

In other In In other other In words, other words, words, the words, conditions the the conditions conditions the conditions that that made thatthat made made possible made possible possible possible of understanding, but lack of resolution and courage to use it the appearance the the appearance appearance the appearance of minimalist of of minimalist minimalist of minimalist architecture architecture architecture architecture emerged emerged emerged emerged fromfrom from thefrom modern the the modern modern the metaphysical modern metaphysical metaphysical metaphysical without the guidance of another. The framework. framework. framework. framework.

In modern In In modern modern In metaphysics, modern metaphysics, metaphysics, metaphysics, all possible all all possible possible all possible meaning meaning meaning meaning and and knowledge and knowledge and knowledge knowledge is acquired is is acquired acquired is acquired motto of enlightenment is therefore: through through through human through human human reason human reason reason and reason and understanding, and understanding, and understanding, understanding, in lieu in in lieu of lieu in through of lieu of through through of any through exterior any any exterior any exterior entity. exterior entity. entity.

This entity.

This ThisThis Sapere Aude! [Dare to be wise!] Have courage to use your own rational rational rational relationship rational relationship relationship relationship withwith with the with world the the world world the establishes world establishes establishes establishes the modern the the modern modern the individual's modern individual's individual's individual's autonomy autonomy autonomy autonomy by by by by virtue virtue virtue of virtue a of supposedly of aa supposedly of supposedly a supposedly direct direct direct reference direct reference reference reference between between between between an individual an an individual individual an individual and and their and their and their surroundings, their surroundings, surroundings, surroundings, as as as as understanding.” Immanuel Kant, An Answer to the Question: ‘What is opposed opposed opposed opposed to a to third to aa third to third theological a third theological theological theological figure figure figure asfigure intermediary as as intermediary intermediary as intermediary between between between between subject subject subject and subject and object. and object. and object. object.

Enlightenment?’ (1784).

6 | What Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus 6 |is What 8. Throughout our research process The The modern The The modern subject’s modern subject’s subject’s autonomy autonomy autonomy of reason of reason reason ofwas reason what was what was what thewhat philosophers the philosophers philosophers the philosophers fromfrom from thefrom the the modern subject’s autonomy of was the the we’ve pointed out the shortcomings 77 7 Enlightenment Enlightenment Enlightenment meant meant bymeant maturity by maturity maturity by7maturity Enlightenment meant by , and ,, and it and was , it and it was considered was it considered was considered considered not only not not only only not a epistemological only aa epistemological epistemological a epistemological virtue virtue virtue virtue of modern metaphysics in this regard. but also but but also aalso but political also aa political political a political one,one, one, as this one, as as this maturity this as maturity this maturity maturity would would would posibilitate would posibilitate posibilitate posibilitate the individual the the individual individual the individual to constitute to to constitute constitute to constitute Synthetically, they go as follows: following Walter Benjamin’s conceptthemselves themselves themselves themselves as a as citizen. as aa citizen. as citizen. aThis citizen.

This This epistemological This epistemological epistemological epistemological and and political and political and political political maturity maturity maturity maturity was was accordingly was accordingly was accordingly accordingly of allegory (Walter Benjamin, The corresponded corresponded corresponded corresponded withwith with an esthetic with an an esthetic esthetic an one: esthetic one: one: an autonomous one: an an autonomous autonomous an autonomous sensible sensible sensible sensible maturity maturity maturity maturity in which in in which which in aesthetic which aesthetic aesthetic aesthetic Origin of German Tragic Drama [Verso: pleasure pleasure pleasure pleasure depends depends depends depends solely solely solely on solely the on on observant the the on observant observant the observant individual’s individual’s individual’s individual’s rational rational rational qualities. rational qualities. qualities. qualities.

This This This is the This is is main the the is main main the main 2009]) we argue that there is no way reason reason reason why reason why why minimalism why minimalism minimalism minimalism excludes excludes excludes excludes additional additional additional additional ornament, ornament, ornament, ornament, as ornamentation as as ornamentation ornamentation as ornamentation understood understood understood understood in a in in aa in a to refer to the world without establishing a figurative relation with traditional traditional traditional traditional and and symbolic and symbolic and symbolic symbolic fashion, fashion, fashion, establishes fashion, establishes establishes establishes figurative figurative figurative figurative — non-direct — — non-direct non-direct — non-direct — signifying — — signifying signifying — signifying relations relations relations relations it, in other words, there is always an with with with what with what what it seeks what it it seeks seeks to it represent, seeks to to represent, represent, to represent, and and in and turn, in and in turn, turn, that in turn, that which that that which which ornament which ornament ornament ornament aims aims aims to depict aims to to depict depict to tends depict tends tends to be tends to to be beto be intermediary figure between subject 8 88 beyond beyond beyond reason beyond reason reason (theological, reason (theological, (theological, (theological, mythological, mythological, mythological, mythological, or allegorical or or allegorical allegorical or allegorical figures) figures) figures) .figures) Such .. Such Such is8.why Such is is why why Adolf is why Adolf Adolf Loos Adolf Loos LoosLoos and object. In Modernity, this 9 intermediary figure is language, and writes writes writes “the writes “the “the lack“the lack lack of ornament lack of of ornament ornament of ornament is a sign is is aa sign sign is of aintellectual sign of of intellectual intellectual of intellectual power” power” power” . power” By99.not . By By9having not .not Byhaving having notany having ornamental any any ornamental any ornamental ornamental it is necessarily allegorical, as or allegorical or or allegorical allegorical or allegorical motifs, motifs, motifs, minimalism motifs, minimalism minimalism minimalism represents represents represents represents an aesthetic an an aesthetic aesthetic an aesthetic elevation elevation elevation elevation of rationality. of of rationality. rationality. of rationality.

In this In In this this In this figurative relations are inescapable. sense, sense, sense, minimalism sense, minimalism minimalism minimalism is characteristically is is characteristically characteristically is characteristically modern, modern, modern, modern, as it as as appeals it it as appeals appeals it to appeals the to to sensibility the the to sensibility sensibility the sensibility of a of modern of a a modern of modern a modern The modern subject’s relationship with the world constitutes a historical historical historical historical subject, subject, subject, that subject, that is, that an that is, is,individual an an is,individual individual an individual withwith with claims with claims claims toclaims autonomy, to to autonomy, autonomy, to autonomy, universality, universality, universality, universality, and and progress. and progress. and progress. progress. metaphorical continuity, as literalityMiesMies Mies wasMies was compellingly was compellingly was compellingly compellingly aware aware aware that aware that the thatminimalism that the the minimalism minimalism the minimalism in his in inarchitecture his his inarchitecture architecture his architecture was was set waswithin set was set within within setthe within the the the is elusive. “Allegory is the armature of context context of context modern of of modern modern of metaphysics; modern metaphysics; metaphysics; metaphysics; in 1924 in in 1924 1924 he inwrote: 1924 he he wrote: wrote: he wrote: the modern” Writes Benjamin in his context essay Central Park. This implies that minimalist architecture is, in fact, The entire The The entire The entire striving entire striving striving ofstriving our of ofepoch our our ofepoch epoch our is directed epoch is is directed directed istoward directed toward toward the toward secular. the the secular. secular. theThe secular. efforts The The efforts The efforts of efforts the of of the the of the ornamental in a way in which the mystics mystics mystics will mystics remain will willremain remain will episodes. remain episodes. episodes. episodes.

Although Although Although Although our understanding our ourunderstanding understanding our understanding of lifeof ofhas life life of become has has lifebecome become hasmore become more moremore allegorical ornament is transfigured profound, profound, profound, profound, we will we wenot will will webuild not not willbuild build not cathedrals. build cathedrals. cathedrals. cathedrals.

EvenEven Even the grand Even the the grand grand the gesture grand gesture gesture ofgesture the of ofromantics the the ofromantics romantics the romantics is is is is onto the totality of the building’s meaningless meaningless meaningless meaningless for us, for forfor us, us, forwe for for us,sense we we forsense sense we behind sense behind behind it behind theitit formal the the it formal formal theemptiness. formal emptiness. emptiness. emptiness.

Our Our time Our Our time time is time is is is composition. This was further 10 10 10 10 unpathetic, unpathetic, unpathetic, unpathetic, we do we we not do do we value not not dovalue value not the great value the thegreat great gesture the great gesture gesture but gesture rationality but butrationality rationality but rationality and reality. and andreality. reality. and reality. elaborated on the paper On Minimalism: Mies as Prototype published in Spanish in VAD (Veredes,The The first The The first first demonstrations first demonstrations demonstrations demonstrations of minimalist of of minimalist minimalist of minimalist design design design were design were were undertaken were undertaken undertaken undertaken by efficiency-oriented by by efficiency-oriented efficiency-oriented by efficiency-oriented Arquitectura y Divulgación) 02: Los industrial industrial industrial industrial architecture, architecture, architecture, architecture, however, however, however, however, minimalism minimalism minimalism minimalism is not is isnecessarily not not isnecessarily necessarily not necessarily a reactive aa reactive reactive a aesthetic. reactive aesthetic. aesthetic. aesthetic.

In In In In prototipos (2019), 70-81.

other other other words, other words, words, it’s words, not it’s it’smerely not not it’smerely merely nota merely circumstantial aa circumstantial circumstantial a circumstantial byproduct byproduct byproduct byproduct that that results thatthat results results from results from from thefrom search the the search search thefor search for for for

maximum maximum maximum efficiency, efficiency, efficiency, efficiency, nor is nor nor it is ais nor collateral itit ais a collateral collateral it a collateral outcome outcome outcome outcome that that arises thatthat arises arises from arises from from thefrom processes the the processes processes the processes of of of of 9. Adolf Loos, Ornament and Crime, in maximum Ornament and Crime: Selected Essays resource resource resource resource optimization. optimization. optimization. optimization.

Through Through Through Through the autonomy the the autonomy autonomy the autonomy of reason of of reason reason ofestablished reason established established established in Modernity, in in Modernity, Modernity, in Modernity, (Ariadne Press: 1997)

minimalism minimalism minimalism minimalism can be can canconsidered be can be considered considered be considered a creative aa creative creative a force creative force force by its force by byown its its byown own right, its own right, right, as right, can as asbe can can asseen be can be seen seen in bethe seen in inwork the the inwork work the work

of Loos of of Loos Loos and of Loos and Mies, and Mies, and Mies, butMies, prior, but but prior, prior, but in prior, that in in that of that inClaude-Nicolas that of of Claude-Nicolas Claude-Nicolas of Claude-Nicolas Ledoux Ledoux Ledoux and Ledoux and Étienne-Louis and Étienne-Louis and Étienne-Louis Étienne-Louis Boullée.

Boullée.

Boullée.

Boullée.

10. Quote from Fritz Neumeyer, The Artless Word. Mies van der Rohe on theAlongside Alongside Alongside Alongside industrial industrial industrial industrial architecture, architecture, architecture, architecture, these these these latter these latter latter twolatter two figures two figures two figures serve figures serve serve as inklings serve as as inklings inklings as inklings into into into the into the the the Building Art (Cambridge: MIT Press, autonomy autonomy autonomy autonomy of reason of of reason reason ofdeployed reason deployed deployed deployed ontoonto onto architectural onto architectural architectural architectural design. design. design.

In design. the In Inworks the the Inworks works the ofworks these of of these these architects, of these architects, architects, architects, 1991), appendix I, 6. 246.

11. Emil Kaufmann, De Ledoux a Le Corbusier (Barcelona: Gustavo Gili, 1982) [Spanish translation]

Claude-Nicolas Ledoux Country house, 1804

autonomy autonomy autonomy autonomy of reason of of reason reason ofwas reason was correspondingly was correspondingly was correspondingly correspondingly complemented complemented complemented complemented by autonomy by by autonomy autonomy by autonomy of architectural of of architectural architectural of architectural 11 11 11 11 form, form, form, determined form, determined determined determined according according according according to itsto toown its itstoown own laws its own laws laws of function laws of of function function of function and and materiality and materiality and materiality materiality ; “the ;; “the “the form ; “the form form is form is is is pure”, pure”, pure”, expressed pure”, expressed expressed expressed Ledoux.

Ledoux.

Ledoux.

Ledoux Ledoux.

Ledoux Ledoux and Ledoux and Boullée’s and Boullée’s and Boullée’s Boullée’s drawn drawn drawn projects drawn projects projects projects depict depict depict a willingness depict aa willingness willingness a willingness to take to to take take to take distance distance distance distance fromfrom from thefrom ornamental the the ornamental ornamental the ornamental tradition tradition tradition tradition in general in in general general inand general and the andneoclassical the and the neoclassical neoclassical the neoclassical stylestyle style in particular; style in in particular; particular; in particular; theythey they concieved they concieved concieved concieved formform form as superior form as as superior superior as superior to style. to to style. style.

Ledoux to style.

Ledoux Ledoux wrote Ledoux wrote wrote in wrote his in in1804 his his in1804 1804 his publication 1804 publication publication publication L’Architecture: L’Architecture: L’Architecture: L’Architecture: “Everything “Everything “Everything “Everything that that is that not that is isindispensable not not isindispensable indispensable not indispensable tirestires tires the tires eyes, the the eyes, eyes, the blurs eyes, blurs blurs theblurs mind the the mind mind the andmind and adds and adds and adds nothing adds nothing nothing to nothing the to to the the to the whole”. whole”. whole”.

In whole”. their In In their their illustrations, In their illustrations, illustrations, illustrations, these these these Enlightenment-age these Enlightenment-age Enlightenment-age Enlightenment-age architects architects architects architects convey convey convey buildings convey buildings buildings buildings composed composed composed composed of the of ofsimplest the the ofsimplest simplest the simplest geometrical geometrical geometrical geometrical bodies bodies bodies and bodies and usually and usually and usually plain, usually plain, plain, clean plain, clean clean surfaces. clean surfaces. surfaces. surfaces.

Additionally, Additionally, Additionally, Additionally, Ledoux Ledoux Ledoux and Ledoux and Boullée’s and Boullée’s and Boullée’s Boullée’s considerations considerations considerations considerations regarding regarding regarding regarding autonomy autonomy autonomy autonomy of reason of of reason reason ofand reason and of and of and of of formform form resulted form resulted resulted resulted in a in newfound in aa newfound in newfound a newfound attitude attitude attitude towards attitude towards towards architectural towards architectural architectural architectural scale. scale. scale. scale.

Étienne-Louis Boullée Temple to Nature and Reason, 1793

|7 |7

What is What Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus

Adolf Loos, Looshaus building, Michaelerplatz, Vienna, 1911.

Main Façade. © Manfred Werner

m From From theFrom turn the the turn turn of the of ofcentury the the century Enlightenment of of Enlightenment Enlightenment onwards, onwards, onwards, the history the the history history architecture of of architecture architecture was was was was the turn ofcentury theof century of Enlightenment onwards, theofhistory of architecture ness witness witness of a of process, of aa process, process, a displacement aa displacement displacement in which in in which which minimalism minimalism minimalism evolved evolved evolved from from from being being being a being aa a witness of a process, a displacement in which minimalism evolved from nsequence consequence consequence and and byproduct and byproduct byproduct of rational of of rational rational creation, creation, to representing to to representing representing the values the the values values ofvalues the of ofmodern the the modern consequence and byproduct of creation, rational creation, to representing the ofmodern the modern th th th th th ms forms forms of forms material of of material material and and intellectual and intellectual intellectual production production production altogether. altogether. altogether.

Throughout Throughout Throughout the 18 the the 18 18 of material and intellectual production altogether.

Throughout and the and 19 18 and 19 and 19thth 19th turies, centuries, centuries, centuries, minimalism minimalism minimalism minimalism progressed progressed progressed progressed in a in sinuous in aa sinuous in sinuous a trajectory; sinuous trajectory; trajectory; trajectory; ornamentalism ornamentalism ornamentalism ornamentalism pushed pushed pushed back pushed back backback d and revival and revival and revival styles revival styles styles came styles came came andcame and went. and went. and went.

The went.

The decorative The The decorative decorative decorative tendencies tendencies tendencies tendencies of the of ofArts the the ofArts & Arts the Crafts, & Arts & Crafts, Crafts, & Art Crafts, Art Art Art th th th th uveau Nouveau Nouveau Nouveau and and Judenstill and Judenstill and Judenstill Judenstill movements movements movements movements gained gained gained momentum gained momentum momentum momentum priorprior prior to the prior to to20 the the to century, 20 20 the century, 20 century, but century, were but but were were but were uscated obfuscated obfuscated obfuscated by the by byinertia the the byinertia inertia theofinertia the of ofornament-free the the ofornament-free ornament-free the ornament-free manifestations manifestations manifestations manifestations of modern of of modern modern of design. modern design. design. design. garding Regarding Regarding Regarding the ornamentalist the the ornamentalist ornamentalist the ornamentalist tendencies, tendencies, tendencies, tendencies, MiesMies Mies writes: Mies writes: writes: writes:

12. Quote from Fritz Neumeyer, The Artless Word, appendix IV, 16. 335.

13. Quote from Adolf Loos extracted from Walter Benjamin’s Experience and Poverty, published in Die Welt im Wort (Prague), December 1933.

Gesammelte Schriften, II, 213-219.

My conscious My Myconscious conscious My conscious professional professional professional professional career career career began career began began around began around around 1910. around 1910.

1910.

The1910.

Jugendstil The TheJugendstil The Jugendstil Jugendstil and Art and andArt Art and Art Nouveau Nouveau Nouveau Nouveau had come had had come had come andcome gone. and and gone. and gone.

Representative gone.

Representative Representative Representative buildings buildings buildings buildings stoodstood stood more stood more more or less more or or less less or less under under under theunder influence the the influence influence the influence of Palladio of of Palladio Palladio ofor Palladio Schinkel. or or Schinkel.

Schinkel. or Schinkel.

The The great The great The great achievements great achievements achievements achievements of that of of that that of that period, period, period, however, period, however, however, however, werewere were to be were to tofound be betofound found be among found among among industrial among industrial industrial industrial buildings buildings buildings buildings and and purely and purely and purely purely technological technological technological technological structures. structures. structures. structures.

It was It Itactually was was Itactually actually wasa actually confused aaconfused confused a time confused time and timenobody time and andnobody nobody andcould nobody could could or could or or or would would would answer would answer answer the answer question the the question question the as question toas as the to tonature as the the tonature nature the of nature the of ofbuilding the the ofbuilding building the art. building Perhaps art. art. Perhaps Perhaps art.the Perhaps the the the timetime was timenot time was wasyet not not was ripe yet yet notfor ripe ripe yet an for ripe for answer. an an for answer. answer. anAtanswer. any At Atrate, any any Atrate, Irate, any posed rate, IIposed posed this I posed question this thisquestion question thisand question was and andwas was and was 12 12 determined determined determined determined to find to tofind an find to answer an find ananswer answer an toanswer it.to toit. it.12 to it.12

1910, In In 1910, 1910, Adolf In 1910, Adolf Adolf Loos’ Adolf Loos’ Loos’ seminal Loos’ seminal seminal lecture seminal lecture lecture Ornament lecture Ornament Ornament Ornament and Crime, and and Crime, and Crime, later Crime, later later published, later published, published, published, was was awas steadfast awas a steadfast steadfast a steadfast ique critique critique of critique ornamentalism of of ornamentalism ornamentalism of ornamentalism and and aand manifesto aand a manifesto manifesto a manifesto in favor in in favor favor of in minimalism favor of of minimalism minimalism of minimalism for material for for material material for material and and and and ritual spiritual spiritual spiritual economy’s economy’s economy’s economy’s sake.sake. sake.

Wesake. wish We We wish wish We to signal wish to to signal signal to out signal the out outfact the the outfact that fact the that fact Loos’ thatthat Loos’ Loos’ analytical Loos’ analytical analytical analytical minimalist minimalist minimalist minimalist proach approach approach approach should should should beshould understood be be understood understood be understood within within within a within broader aa broader broader a context broader context context of context the of ofcontinuation the the ofcontinuation continuation the continuation of modern of of modern modern of modern taphysics, metaphysics, metaphysics, metaphysics, and and whose and whose and whose historical whose historical historical historical siting siting siting within siting within within the within decline the the decline decline theof decline the of ofAustrian the the ofAustrian Austrian the Austrian DualDual DualDual narchy Monarchy Monarchy Monarchy gavegave gave birth gave birth birth to abirth to confused to aa confused to confused a confused bourgeoisie bourgeoisie bourgeoisie bourgeoisie that that adored thatthat adored adored ornamentation. adored ornamentation. ornamentation. ornamentation.

LikeLike Like Mies, Like Mies, Mies, Mies, osLoos Loos made Loos made made a case made aa case case fora the case for forfact the the forfact that fact the that fact design’s thatthat design’s design’s purpose, design’s purpose, purpose, purpose, like like all likecultural all like all cultural cultural all endeavours, cultural endeavours, endeavours, endeavours, was was not was not was not not rely merely merely tomerely amuse. to to amuse. amuse. toHe amuse. directed He He directed directed He directed a skeptical aa skeptical skeptical a skeptical attitude attitude attitude towards attitude towards towards turn-of-the-century towards turn-of-the-century turn-of-the-century turn-of-the-century designers designers designers designers owho who placed who placed placed value placed value value on value the on onsensual the the onsensual sensual thepleasure sensual pleasure pleasure pleasure that that resulted thatthat resulted resulted resulted fromfrom from decoration from decoration decoration decoration and and the and the and the the ployment deployment deployment deployment of art of ofonto art art ofonto onto everyday-life art onto everyday-life everyday-life everyday-life objects. objects. objects.

For objects.

Loos For For Loos Loos For andLoos and Mies, and Mies, and Mies, being Mies, being being modern being modern modern implies modern implies implies implies perly properly properly properly adhering adhering adhering adhering to autonomy to to autonomy autonomy to autonomy of reason, of of reason, reason, ofwhich reason, which which means which means means subscribing means subscribing subscribing subscribing to the to torespective the the torespective respective the respective onomy autonomy autonomy autonomy of form, of of form, form, and of form, and in and turn, in and in turn, turn, ainresignation turn, aa resignation resignation a resignation fromfrom from aesthetic from aesthetic aesthetic aesthetic hedonism. hedonism. hedonism. hedonism.

“I write “I “I write write only “I write only only for only for for for ople people people who people who who possess who possess possess apossess modern aa modern modern a sensibility… modern sensibility… sensibility… sensibility…

I do Inot I do dowrite Inot not dowrite write not forwrite the for forpeople the the forpeople people theconsumed people consumed consumed consumed by by by by 13 13 13 wrote wrote wrote Loos. wrote Loos.

Loos.

Loos. stalgia nostalgia nostalgia nostalgia for the for forRenaissance the the forRenaissance Renaissance the Renaissance or the or orRococo” the the orRococo” Rococo” the 13 Rococo”

Poster advertisement for Adolf Loos’ lecture Ornament and Crime, held at the Akademischer Verband für Literatur und Musik in Vienna, in 1910.

8 | What 8 | isWhat Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus 14. Detlef Mertins, Mies (Phaidon: 2014), 138.

The highest point of minimalism was achieved in the German Pavilion designed by Mies and Lilly Reich for the 1929 Barcelona International Exposition. For this event, the Weimar Republic requested a design for a pavilion that would representatively lend a “voice to the spirit of a new era”, as put forth by a German official who emitted the commission. At the inauguration ceremony of the International Exposition held at the Pavillion, a German official mentioned, "we wished here to show what we can do, what we are and how we feel today. We do not want anything but clarity, simplicity, honesty"14. The Pavilion is an exemplary specimen of minimalism inasmuch as it is constituted exclusively by necessary elements: slender columns, marble walls and horizontal planes. It represents a climax in architectural minimalism because it serves as evidence of the completion of its discursive trajectory; an evolution that begins with the advent of Modernity, at craftsmen workshops and industrial factories, turned exclusively towards production, optimization and functionality, and ends at the Pavilion of Barcelona, which beyond its symbolic potential representative of a supposedly progressive and democratic Germany, lacks programmatic functionality or productive purpose. In this way, minimalism’s trajectory comes full circle: from being detached from figurative symbolism and being dependant on material

Illustrations of Mies van der Rohe and Lily Reich’s Barcelona Pavillion, 1929. © Todos los fuegos

Dieter Rams , World Receiver T1000, 1963. Design for Braun.

15. Quote from Fritz Neumeyer, The Artless Word, appendix I, 4. 242.

production, to being independent from production and essentially turning symbolic.

After the Pavilion‘s brief existence, throughout the remainder of the 20th century, minimalism was deployed instrumentally to advance the logic of capitalism, first fordist, then financial. This is evident in the collection of buildings that are samples of the label coined as “International Style”, and whose main shared commonality is that they tend to be devoid of additional ornamentation. From the construction of Mies’ Seagram Building onward, minimalism became the default corporate aesthetic. In the lofty vestibules of corporate office towers, minimalist interiors were (and still are) not unusual. Topped-off with marble finishes and furnished with Barcelona Chairs and reflecting pools, these lobbies welcomed corporate executives to their work quarters. Besides architecture, in other design disciplines, the shadow cast by the figure of Dieter Rams was prevalent in the design of minimalist everyday consumer objects and graphics. This is evidence of minimalism degrowth, of the loss of its creative potential, its reinstatement and subsumption under material production. Additionally, corporate capitalism’s adoption of minimalism implied its formalist use, in lieu of a creative one, something Mies rejected. In 1923 he wrote: We know no forms, only building problems. Form is not the goal but the result of our work. There is no form in and for itself. The truly formal is conditional, fused with the task, yes, the most elementary expression of its solution. Form as goal is formalism; and that we reject. Nor do we strive for a style. Even the will to style is formalism. We have other worries.15

|9 |9

What isWhat Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus

Mies van der Rohe Seagram Building, 1958.

ThisThis essay’s objective is not nostalgic revaluation of Mies’s minimalism; we are essay’s objective is anot a nostalgic revaluation of Mies’s minimalism; wenot are not making a case for how a return to him could reinsert a new depth to architecture.

We We making a case for how a return to him could reinsert a new depth to architecture. merely locate in Mies a paramount moment in minimalism’s trajectory as a as resource withwith merely locate in Mies a paramount moment in minimalism’s trajectory a resource st which to diagnose the condition of 21of century minimalism, which is the in in which to diagnose the condition 21st century minimalism, which is following: the following: current-day culture, minimalism is a way of aestheticizing contemporary life. life. current-day culture, minimalism is a way of aestheticizing contemporary Pier Pier Vittorio Aureli recounts the anecdote of a of Czech monk who,who, on aon stroll through the the Vittorio Aureli recounts the anecdote a Czech monk a stroll through streets of New York, runsruns into into a Calvin Klein store, of which the monk says:says: “It was so so streets of New York, a Calvin Klein store, of which the monk “It was pure,pure, nothing distracted fromfrom the product, it was shopping taken to a to religious level.level. nothing distracted the product, it was shopping taken a religious Wouldn’t it make a wonderful monastery, we thought, if weifreplaced Fashion withwith Wouldn’t it make a wonderful monastery, we thought, we replaced Fashion 16 16 so, the monk decided that he would commission John Pawson, designer of God?” . And God?” . And so, the monk decided that he would commission John Pawson, designer of the boutique, to also design the Cistercian Monastery of Novy Dvur, in the the boutique, to also design the Cistercian Monastery of Novy Dvur, in Czech the Czech Republic, where the monk professed.

Aside fromfrom the anecdotal, this this turnturn of events is is Republic, where the monk professed.

Aside the anecdotal, of events representative of how minimalism seems to be an influential motif in contemporary representative of how minimalism seems to be an influential motif in contemporary architecture discourse.

JohnJohn Pawson, alongside otherother architects suchsuch as David architecture discourse.

Pawson, alongside architects as David Chipperfield Architects, Alvaro Siza,Siza, Tadao Ando, Alberto Campo Baeza, to name a few, Chipperfield Architects, Alvaro Tadao Ando, Alberto Campo Baeza, to name a few, are aare thea forefront of a of long list of practices of different sizessizes and and the forefront a long listarchitectural of architectural practices of different nationalities, all ofallwhich seemseem to derive theirtheir workwork fromfrom a narrative informed

by Less is is nationalities, of which to derive a narrative informed

by Less moremore dictum.

ThisThis narrative put on might reveal an aesthetized regression into into dictum. narrative puttrial, on trial, might reveal an aesthetized regression architectural formalism, alongside a reiteration of lifestyles revolving around the the architectural formalism, alongside a reiteration of lifestyles revolving around production and and consumption patterns of today’s global financial economy. production consumption patterns of today’s global financial economy.

John Pawson, Calvin Klein Collections Store (left), 1995, and Chapel of the Cistercian Monastery of Novy Dvur (right), 2004.

16. Pier Vittorio Aureli, Less is Enough: On Architecture and Asceticism.

(Strelka Press: 2013). [Spanish translation consulted. Menos es suficiente (Barcelona: Gustavo Gili, 2016), 59]

10 | 10 What |is Minimalism?

What is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus Mies van der Rohe and Lily Reich Barcelona Pavillion (top), 1929, and David Chipperfield Architects, SSENSE Flagship Store (bottom), 2018.

Contemporary Contemporary Contemporary Contemporary minimalism minimalism minimalism minimalism is the isiscreditor the the iscreditor the creditor creditor concept concept concept of concept a of vast ofaavast of quantity vast a vast quantity quantity quantity of products of ofproducts products of products and and andand th thth th services. services. services. services.

As Paul As AsPaul Paul Valery As Paul Valery Valery prophetically Valery prophetically prophetically prophetically announced announced announced announced that that in that the that in infuture the the infuture the future offuture his of of19 his his ofcentury, 19 19 his century, 19 century, century, images images images would images would would get would to get get usto get to inus us the toin in us same the the insame the same waysame way that wayway that water, thatthat water, water, gas, water, gas, and gas,gas, and electricity andelectricity and electricity electricity reach reach reach ourreach our our our households, households, households, households, today today today wetoday seem we weseem seem we to be seem to to electrocuted, be be toelectrocuted, electrocuted, be electrocuted, intoxicated, intoxicated, intoxicated, intoxicated, and and drowning anddrowning and drowning drowning in a in myriad inaamyriad in myriad aofmyriad of of of minimalist minimalist minimalist minimalist images: images: images: the images: smooth the thesmooth the smooth matte-finish smooth matte-finish matte-finish matte-finish surfaces surfaces surfaces surfaces of Apple of ofApple Apple of products, Apple products, products, products, the seductive the theseductive the seductive seductive simplicity simplicity simplicity simplicity of digital of ofdigital digital ofuser digital user interfaces, useruser interfaces, interfaces, interfaces, the soft the thesoft vertices the softvertices soft vertices of vertices the of oflatest the the oflatest the latest model latest model model electric model electric electric cars, electric cars, cars, the cars, the the the blinding blinding blinding blinding transparency transparency transparency transparency of fast-fashion of offast-fashion fast-fashion of fast-fashion retail retail retail storefronts, retail storefronts, storefronts, storefronts, the reflecting the thereflecting the reflecting reflecting floors floors floors of floors of of of contemporary contemporary contemporary contemporary art museums, art artmuseums, museums, art museums, and and aand broad aand abroad broad exetera. a broad exetera. exetera.

Consequently, exetera.

Consequently, Consequently, Consequently, this this design thisdesign this design aesthetic design aesthetic aesthetic aesthetic is isis is endorsed endorsed endorsed endorsed by affluent by byaffluent affluent by figures affluent figures figures offigures the of ofcultural the the ofcultural the cultural industry cultural industry industry industry suchsuch such as Kanye such as asKanye Kanye as West, Kanye West, West, Steve West, Steve Steve Jobs, Steve Jobs, Jobs, Rick Jobs, Rick RickRick Owens, Owens, Owens, and Owens, and many andmany and many others. many others. others.

Ironically, others.

Ironically, Ironically, Ironically, minimalism minimalism minimalism minimalism is a luxury: isisaaluxury: is luxury: ait’s luxury: much it’s it’smuch much it’s sought much sought sought after sought after after by those after by bythose those by tho whowho have whowho have have abundant have abundant abundant abundant material material material material and and cultural andcultural and cultural resources; cultural resources; resources; resources; howhow is how ithow is that isititthat is those that it that those those who those who have whowho have have the have most the themost the most mo valuevalue value less? value less? less?

This less?

This This current-day This current-day current-day current-day reiteration reiteration reiteration reiteration of minimalism of ofminimalism minimalism of minimalism seems seems seems toseems appeal to toappeal appeal todirectly appeal directly directly to directly the to tothe the to the contemporary contemporary contemporary contemporary individual, individual, individual, individual, however, however, however, however, unlike unlike unlike minimalism unlike minimalism minimalism minimalism in the in inage the the inof age the age Enlightenment, of age ofEnlightenment, Enlightenment, of Enlightenment, it does ititdoes does it do not call not notto call not call a to subject’s call toaasubject’s to subject’s a subject’s rational rational rational maturity rational maturity maturity maturity any more any anymore any more than more than than it seems than ititseems seems it toseems captivate to tocaptivate captivate to captivate desire, desire, desire, desire, yearnings yearnings yearnings yearnings of status of ofstatus status of and status and aspirations andaspirations and aspirations aspirations of perpetual of ofperpetual perpetual of perpetual confort. confort. confort.

Due confort.

Due to Due all Due to to ofall all the toof of all aforementioned the the ofaforementioned the aforementioned aforementioned and and other andother and other implications, other implications, implications, implications, contemporary contemporary contemporary contemporary minimalism minimalism minimalism minimalism not only not notonly not only constitutes only constitutes constitutes constitutes an aesthetic an anaesthetic aesthetic an aesthetic manifestation, manifestation, manifestation, manifestation, an architectural an anarchitectural architectural an architectural tendency, tendency, tendency, tendency, or a or product oraaproduct or product a of product design, of ofdesign, design, ofbut design, ultimately, but butultimately, but ultimately, ultimately, a aa a biopolitics biopolitics biopolitics biopolitics of sensibility. of ofsensibility. sensibility. of sensibility.

Furthermore, Furthermore, Furthermore, Furthermore, as minimalism as asminimalism minimalism as minimalism today today today implies today implies implies informing implies informing informing informing habits habits habits and habits and andan behaviors behaviors behaviors behaviors surrounding surrounding surrounding surrounding consumption, consumption, consumption, consumption, it not ititonly not not it only not only concerns only concerns concerns concerns the disciplines the thedisciplines the disciplines disciplines of design, of ofdesign, design, ofbut design, also but butalso but alsoa involves involves involves involves disegno, disegno, disegno, the disegno, design the thedesign the design and design and structuring andstructuring and structuring structuring of forms of offorms forms of of forms life of ofthrough life life ofthrough life through through praxis. praxis. praxis. praxis.

Examples Examples Examples Examples of the of ofexplicit the the ofexplicit the explicit designs explicit designs designs of designs praxis of ofpraxis praxis of could praxis could could becould observed be beobserved observed be observed in Chilean in inChilean Chilean in architect Chilean architect architect architect Alejandro Alejandro Alejandro Alejand Aravena’s Aravena’s Aravena’s Aravena’s work, work, work, particularly, work, particularly, particularly, particularly, social social social housing social housing housing housing projects projects projects projects where where where only where only only oneonly one half onehalf one of half every half of ofevery every house of every house house is house isis i built, built, built, in order built, in inorder order in fororder the for forhabitants the the forhabitants the habitants habitants to progressively to toprogressively progressively to progressively buildbuild build thebuild second the thesecond the second half second half according halfhalf according according according to their to totheir their to their ownown necessities ownown necessities necessities necessities and and resources. andresources. and resources. resources.

The The design TheThe design design strategy design strategy strategy strategy for these for forthese these for residential these residential residential residential projects projects projects projects is one isisone that one is that one thatt aimsaims aims to lower aims to tolower lower to construction lower construction construction construction costscosts costs as much costs as asmuch much as as much possible, as aspossible, possible, as possible, to a to degree toaadegree to degree aindegree which in inwhich which in twice which twice twice as twice many as asmany many as many houses houses houses are houses built, are arebuilt, are built, butbuilt, only but butonly but only halfonly half of half each half of ofeach each one. of each one.

Less one.one.

Less of Less every Less of ofevery every house of every house house equals house equals equals more equals more more amount more amount amount of amount total of oftotal total of tota houses. houses. houses.

In houses. this In Inthis example, this In example, this example, example, minimalism minimalism minimalism minimalism is introduced isisintroduced introduced is introduced economically, economically, economically, economically, not aesthetically, not notaesthetically, not aesthetically, aesthetically, but but but but practically; practically; practically; practically; not through not notthrough not through through the architectural the thearchitectural the architectural architectural design, design, design, but design, rather but butrather but rather through rather through through through budget. budget. budget.

This budget.

This This design This design design design strategy strategy strategy strategy constitutes constitutes constitutes constitutes a praxis, aapraxis, praxis, as a praxis, itas sets asititas sets the sets it practical sets the thepractical the practical practical conditions conditions conditions conditions fromfrom from which from which which the which actual the theactual the actual actual architectural architectural architectural architectural design design design arises. design arises. arises.

Furthermore, arises.

Furthermore, Furthermore, Furthermore, the architecture the thearchitecture the architecture architecture of the of ofhouses the the ofhouses the houses implies houses implies implies aimplies script aascript script of a script of of o howhow the howhow residents the theresidents the residents residents will will live. willlive. will Both live.live.

Both Both theBoth life the theof life the life the of life ofinhabitants the the ofinhabitants the inhabitants inhabitants as well as aswell as well asthe well as asarchitectural the the asarchitectural the architectural architectural design design design that design that hosts thatthat hosts hosts it, hosts are it, it,derived are are it,derived are derived from derived from from a praxis from aapraxis praxis that a praxis that champions thatthat champions champions champions a self-imposed aaself-imposed self-imposed a self-imposed economy economy economy economy of of of of means. means. means.

The means.

The act Theof The act act taking of of act taking taking ofupon taking upon upon oneself upon oneself oneself aoneself limitation aalimitation limitation a limitation of resources of ofresources resources of resources is called isiscalled called is asceticism. called asceticism. asceticism. asceticism.

Left: Interior of Rick Owens’ Paris apartment, a building previously occupied as the French Socialist Party’s headquerters.

Right: Kanye West’s bedroom in his California residence. The rapper describes the style of his house as Minimal monastery.

| 11 | 11

What is Minimalism?

What is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus

Asceticism inthis this sense predates theemergence emergence ofaesthetic aesthetic minimalism, brought about Asceticism Asceticism Asceticism in this in sense in sense this predates sense predates predates the emergence the the emergence of aesthetic of of aesthetic minimalism, minimalism, minimalism, brought brought brought about about about ELEMENTAL - Alejandro Aravena, Villa Verde Housing, 2010. Façade byonset the onset ofEnlightenment, the Enlightenment, byapproximately approximately fivecenturies. centuries.

TheThe currents of of by the by the byonset the of onset the of the ofEnlightenment, the Enlightenment, by approximately by by approximately five five centuries. five centuries.

The The currents currents currents of of and plan. asceticism runthrough through historically-established topography, whose sediment wasset set set asceticism asceticism asceticism run through run run through a historically-established aahistorically-established a historically-established topography, topography, topography, whose whose sediment whose sediment sediment was was set was through thespiritual spiritual practices ofHigh the High Medieval period inEurope.

Europe.

Between theyears years through through through the spiritual the the spiritual practices practices practices of the of the ofHigh the Medieval High Medieval Medieval period period inperiod Europe. in in Between Europe.

Between Between the years the the years 17. Georges Duby, L’an Mil (Julliard: ofapproximately approximately 1080 to1220, 1220, throughout thecourse course ofwhat what theFrench French historian of approximately of of approximately 10801080 to 1220, 1080 to throughout to 1220, throughout throughout the course the the ofcourse what of the of what French the the historian French historian historian Paris, 1967).

17 17 17 17 , also , ,also known also , also known known asknown the as asRenaissance the the asRenaissance the Renaissance Renaissance of of of of Georges Duby called the“century “century ofgreat great progress” Georges Georges Georges Duby Duby called Duby called the called “century the the “century of great of progress” of great progress” progress” th th the 12 the the century, 12 the 12ththcentury, 12 century, century, an increment an anincrement increment an increment in population in inpopulation population in population and and in and material in and inmaterial material in material resources resources resources resources resulted resulted resulted resulted in anin inan an in an 18. André Vauchez, The Spirituality of the 18 18 18 18 unforeseen unforeseen unforeseen unforeseen economic economic economic economic and and cultural andcultural and cultural abundance cultural abundance abundance abundance . Due . .Due to Due this . Due to tothis abundance, this to abundance, this abundance, abundance, fromfrom from a schism from aaschism schism ainschism in in in Medieval West: From the Eighth to the Twelfth Century (Gorgias Press: the fixed the thefixed the fixed feudal fixed feudal feudal system feudal system system ofsystem societal of ofsocietal societal of organization societal organization organization organization emerged emerged emerged emerged a proto-bourgeois aaproto-bourgeois proto-bourgeois a proto-bourgeois class: class: class: class: 2010), 35-69. merchants, merchants, merchants, merchants, farmers, farmers, farmers, farmers, law men, law lawmen, law men, shipowners, men, shipowners, shipowners, shipowners, and and even andeven and even clergy even clergy clergy members clergy members members members began began began tobegan structure to tostructure structure to structure 19. Lester K. Little, Religious Poverty and theirtheir their practices their practices practices practices around around around the around production the theproduction the production production and and accumulation andaccumulation and accumulation accumulation of material of ofmaterial material of material and and cultural andcultural and cultural cultural the Profit Economy in Medieval Europe resources. resources. resources. resources.

Among Among Among the Among institutions the theinstitutions the institutions institutions that that saw thatthat saw the sawmost the saw themost the most economic most economic economic economic benefit benefit benefit were benefit were were religious were religious religious religious (Cornell University Press, 1983). ones;ones; ones; abbeys ones; abbeys abbeys and abbeys and groups andgroups and groups ofgroups clerics, of ofclerics, clerics, ofmonks, clerics, monks, monks, and monks, and friars andfriars and friars belonging friars belonging belonging belonging to the to toregular the the toregular the regular and regular and secular andsecular and secular secular canon canon canon increased canon increased increased increased theirtheir their cultural their cultural cultural and cultural and economic andeconomic and economic economic affluence affluence affluence affluence and and influence. andinfluence. and influence. influence.

From From From this From this thisthis 20. Giorgio Agamben, The Highest phenomenon phenomenon phenomenon phenomenon arose arose arose a disruption arose aadisruption disruption a disruption in religious in inreligious religious in religious spiritual spiritual spiritual spiritual life, life, alife, contradiction life, aacontradiction contradiction a contradiction between, between, between, between, first,first, first,first, Poverty: Monastic Rules and the fostering the thefostering the fostering fostering profit-oriented profit-oriented profit-oriented profit-oriented mentality mentality mentality mentality which which which favoured which favoured favoured favoured the accumulation the theaccumulation the accumulation accumulation of capital of ofcapital capital ofand, capital and, and,and, Form-of-Life (Stanford University second, second, second, asecond, long-standing aalong-standing long-standing a long-standing devotional devotional devotional devotional tradition tradition tradition tradition that that condemned thatthat condemned condemned condemned the vices the thevices the vices brought vices brought brought brought about about about byabout by by by Press: 2013). material material material material wealth. wealth. wealth.

The wealth.

The adoption TheThe adoption adoption adoption of anof of shrewd an an ofshrewd shrewd anasceticism shrewd asceticism asceticism asceticism — meaning — —meaning meaning — meaning the voluntary the thevoluntary the voluntary voluntary resignation resignation resignation resignation fromfrom from sensual from sensual sensual pleasures sensual pleasures pleasures pleasures in favor in infavor favor of in inner favor of ofinner inner enrichment of inner enrichment enrichment enrichment — into — —into spiritual into — into spiritual spiritual spiritual practice practice practice practice and and officium andofficium and officium was officium was thus wasthus was thus a praxis, thus aapraxis, praxis, aa political praxis, aapolitical political a political stand stand stand against stand against against the against increasing the theincreasing the increasing increasing tendency tendency tendency tendency of of of of material material material material accumulation, accumulation, accumulation, accumulation, which which which was which was seen wasseen was seen as aseen as deviation asaadeviation as deviation a deviation fromfrom from vitafrom apostolica, vita vitaapostolica, vita apostolica, apostolica, fromfrom from thefrom the the the 19 . 1919. . 19. supposedly supposedly supposedly supposedly original original original form original form form of life form of ofof life life of Early of life ofEarly Early Christianity of Early Christianity Christianity Christianity As aAs As reaction aaAs reaction reaction a reaction to the to tovice-inducing the the tovice-inducing the vice-inducing vice-inducing rise rise of rise material of rise ofmaterial material of material abundance, abundance, abundance, abundance, various various various monastic various monastic monastic monastic and and andand ecclesiastical ecclesiastical ecclesiastical ecclesiastical institutions institutions institutions institutions exercised exercised exercised exercised ascetic ascetic ascetic forms ascetic forms forms of forms life of ofthrough life life ofthrough life through through disegno: disegno: disegno: through disegno: through through through the the the the design design design ofdesign a of praxis ofaapraxis of praxis informed a praxis informed informed informed by habits, by byhabits, habits, byattitudes habits, attitudes attitudes attitudes and and routines androutines and routines routines that that spurred thatthat spurred spurred voluntary spurred voluntary voluntary voluntary precarity precarity precarity precarity (the (the most (themost (the most extreme most extreme extreme extreme example example example example of this of ofthis was this of was this heremitism). washeremitism). was heremitism). heremitism).

Among Among Among the Among most the themost the most successful most successful successful successful mendicant mendicant mendicant mendicant orders orders orders such orders such such as Franciscans, such as asFranciscans, Franciscans, as Franciscans, Cistercians, Cistercians, Cistercians, Cistercians, and and others, andothers, and others, was others, was prevalent wasprevalent was prevalent prevalent a definitive aadefinitive definitive a definitive practice practice practice practice withwith with which with which which they which they they attempted they attempted attempted attempted to subvert to tosubvert subvert tothe subvert economic the theeconomic the economic economic abundance abundance abundance abundance and and andand profit-oriented profit-oriented profit-oriented profit-oriented mentality mentality mentality mentality that that accompanied thatthat accompanied accompanied accompanied it: the it: it:rejection the the it:rejection the rejection rejection of private of ofprivate private ofproperty, private property, property, property, and and in andin and in in some some some cases, some cases, cases, a renounce cases, aarenounce renounce a renounce of the of ofconcept the the ofconcept the concept of concept property of ofproperty property of property in general, in ingeneral, general, in general, communal communal communal communal property property property property included. included. included. included.

Alongside Alongside Alongside Alongside the formation the theformation the formation formation of a of societal ofaasocietal of societal a structure societal structure structure structure organized organized organized organized around around around material around material material material accumulation accumulation accumulation accumulation as a as product asaaproduct as product a of product private of ofprivate private ofproperty, private property, property, property, a subversive aasubversive subversive a subversive officium officium officium that officium that questioned thatthat questioned questioned questioned the the the the 20 20 20 20 veryvery concept veryvery concept concept of concept ownership of ofownership ownership of ownership all together, all alltogether, together, all together, was was set wasin set was set motion in in set motion motion inthrough motion through through through ascesis ascesis ascesis . ascesis From . .From From the . From the the the th thth th perspective perspective perspective perspective of 12of ofcentury 12 12 of century 12 century ascetic century ascetic ascetic monks, ascetic monks, monks, wealth monks, wealth wealth iswealth not isisthe not not isownership the not theownership the ownership ownership of many of ofmany many of things, many things, things, things, the real the thereal luxury the realluxury real luxury isluxury not isisowning not not is owning not owning anything owning anything anything anything at all: at atLess all: all: atLess isLess all: more.

Less isismore. more. is more.

Cistercian abbey of Fontenay 12th century, France. Exterior and façade

12 | 12 What|isWhat Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus

Cistercian abbey of Sénanque 12th century, France. Section and details, exterior and interior (below), plan (right).

Throughout Throughout Throughout the distinct thedistinct the distinct uses distinct uses of ascesis, uses ofascesis, ascesis, ofthe ascesis, monks themonks the monks who monks deployed whowho deployed deployed this this praxis thispraxis this praxis had praxis similar hadsimilar had similar similar Throughout the uses of the who deployed had characteristics: characteristics: characteristics: dressing dressing dressing in plain inplain plain untainted in plain untainted untainted robes; robes; having robes; having ahaving simple simple adiet simple of diet only diet ofonly only bread of only bread and bread andand characteristics: dressing in untainted robes; having aasimple diet of bread and vegetables, vegetables, vegetables, no meat nomeat meat no or wine meat orwine wine and or wine with andwith and with longwith long periods long periods of periods fasting, offasting, fasting, ofand fasting, most andmost and most importantly; most importantly; importantly; living living living vegetables, no or and long periods of and importantly; living in monasteries inmonasteries monasteries in monasteries or abbeys orabbeys abbeys orwhose abbeys whose architecture whose architecture architecture one one could onecould one could — could for —very for —very different very for very different different reasons reasons than reasons thanthan in or whose architecture — for different reasons than industrial industrial industrial architecture architecture architecture fromfrom from thefrom Enlightenment theEnlightenment the Enlightenment Enlightenment — label —label label as — minimalist, label asminimalist, minimalist, as minimalist, that that is, that with that is,with with no is, with no no industrial architecture the — as is, no ornament, ornament, ornament, no unnecessary nounnecessary unnecessary no unnecessary refinements, refinements, refinements, for example, forexample, example, for example, stained stained glass, stained glass, and glass, no and liturgic and noliturgic liturgic nofurniture liturgic furniture furniture ornament, no refinements, for stained glass, and no furniture of excessive ofexcessive excessive of excessive valuevalue value such value such as pipe such aspipe pipe organs. as pipe organs.

The organs. designo TheThe designo ofdesigno these ofthese these monks’ of these monks’ interiority, monks’ interiority, interiority, spirituality spirituality spirituality of such as organs.

The designo of monks’ interiority, spirituality and and habits, andhabits, and habits, was habits, accordingly wasaccordingly was accordingly accordingly corresponded corresponded corresponded withwith with an exteriority: with anexteriority: exteriority: an exteriority: the design thedesign the design ofdesign their oftheir their of their was corresponded an the of architecture. architecture. architecture.

Their Their architecture Their architecture architecture was was minimalist wasminimalist was minimalist minimalist as was aswas their was as their was their form their form of life; form oflife; minimalist life; of life; minimalist minimalist in the inthe the in the architecture.

Their architecture as form of minimalist in sense sense that sense the thatLess that theLess is the Less more Less more logic is more logic waslogic in was effect: was ineffect: effect: in Less effect: distractions, LessLess distractions, distractions, less less deviations lessdeviations less deviations deviations and and andand sense that the isismore logic was in Less distractions, indulgences indulgences indulgences supposedly supposedly supposedly resulted resulted resulted in more inmore more vitality, in more vitality, more vitality, more spirituality more spirituality spirituality and and devotion. anddevotion. and devotion. devotion. indulgences supposedly resulted in vitality, more spirituality th thth ThisThis This essay This essay does essay does notdoes aim notaim to not aim put aim toforth put to forth put forth how forth ahow reconsideration how reconsideration a reconsideration of the ofascetic the ofascetic the ascetic practices ascetic practices practices of 12of of 12 of 12th essay does not to put how aareconsideration of the practices 12 century century century Europe century Europe Europe could Europe could could inject could inject inject a new inject aanew depth new a new depth depth into depth into contemporary intointo contemporary contemporary contemporary minimalism. minimalism. minimalism. minimalism.

Rather, Rather, Rather, aRather, case aacase case a case st could could could becould made be bemade made be formade how for forhow these how for how these these forms these forms forms of forms ascetic of ofascetic ascetic ofpraxis ascetic praxis praxis have praxis have have informed have informed informed informed 21st century 21 21ststcentury 21 century cultural century cultural cultural life. cultural life. life.life.

In anIn In inquiry an an Ininquiry inquiry aninto inquiry into the intocontemporary into the thecontemporary the contemporary contemporary moral moral moral concept moral concept concept of concept duty, of ofduty, duty, in of his duty, in inbook his his inbook book his Opus book Opus Opus Dei:Opus Dei: An Dei:Dei: An An An Archaeology Archaeology Archaeology Archaeology of Duty, ofofDuty, Duty, Giorgio of Duty, Giorgio Giorgio Agamben Giorgio Agamben Agamben Agamben understands understands understands understands the ascetic the theascetic the ascetic officium ascetic officium officium as officium anas as ontological an an asontological ontological an ontological progression progression progression progression fromfrom from being from being being to duty-to-be, being to toduty-to-be, duty-to-be, to duty-to-be, and and the andconsequent the and theconsequent the consequent consequent conception conception conception conception of duty of ofduty duty as ofaduty as asaaas a 21 21 fundamental fundamental fundamental fundamental concept concept concept in concept contemporary in incontemporary contemporary in contemporary ethics ethics ethics . ethics In2121the . .In In spiritual the .the Inspiritual the spiritual spiritual entreprise entreprise entreprise entreprise of ascetic of ofascetic ascetic ofmonks, ascetic monks, monks, monks, Peter Peter Peter Sloterdijk Peter Sloterdijk Sloterdijk Sloterdijk seessees the seessees beginnings the thebeginnings the beginnings beginnings of the of ofevolution the the ofevolution the evolution evolution that that led thatto that led led today’s to to led today’s today’s toform today’s form form of life form of ofenclosed life life ofenclosed life enclosed enclosed within within within a within self-sufficient aaself-sufficient self-sufficient a self-sufficient room; room; room; anroom; interior an aninterior interior an that interior that constitutes thatthat constitutes constitutes constitutes a totality, aatotality, totality, a which totality, which which implies which implies implies the implies the the the displacement displacement displacement displacement fromfrom from thefrom architecture the thearchitecture the architecture architecture of a of monk’s ofaamonk’s of monk’s acell, monk’s cell, to cell, the cell, to toapartment the the toapartment the apartment apartment building building building building typology, typology, typology, typology, st th st 22 22 22 22 ubiquitous ubiquitous ubiquitous ubiquitous throughout throughout throughout throughout 20th and 20 20ththand 21 20 and century 21 and 21ststcentury 21 century urbanization century urbanization urbanization urbanization . On . .aOn On similar .aOn asimilar similar anote, similar note, note, we’ve note, we’ve we’ve we’ve observed observed observed observed howhow ahow series how aaseries series of a series current-day of ofcurrent-day current-day of current-day industries industries industries industries and and cultural andcultural and cultural products cultural products products products are based are arebased are based onbased aon faux onaaon faux faux a faux asceticism: asceticism: asceticism: asceticism: the industries the theindustries the industries industries of mindfulness, of ofmindfulness, mindfulness, of mindfulness, of fitness, of offitness, fitness, ofof fitness, veganism of ofveganism veganism of veganism and and vegetarianism, andvegetarianism, and vegetarianism, vegetarianism, retirement retirement retirement retirement financial financial financial financial services, services, services, services, and and others, andothers, and others, are others, all are are informed all are allinformed informed all informed by a by distorted byaaby distorted distorted a distorted ascesis, ascesis, ascesis, by ascesis, the by bythe the by the suppression suppression suppression suppression of a of certain ofaacertain of certain aset certain of set set pleasures of of set pleasures pleasures of pleasures that that is that encouraged that isisencouraged encouraged is encouraged in favor in infavor favor of in future favor of offuture future of benefits, future benefits, benefits, benefits, however, however, however, however, directed directed directed directed towards towards towards towards future future future pleasure future pleasure pleasure pleasure and and consumption andconsumption and consumption consumption nonetheless. nonetheless. nonetheless. nonetheless.

Additionally, Additionally, Additionally, Additionally, recent recent recent years recent years years have years have have been have been been witness been witness witness to witness new to tonew business new to new business business business models models models derived models derived derived from derived from from certain from certain certain aspects certain aspects aspects of aspects of of of asceticism: asceticism: asceticism: asceticism: a repertoire aarepertoire repertoire a repertoire of digital of ofdigital digital ofplatforms digital platforms platforms platforms which which which offer which offer offer a number offer aanumber number a of number services, of ofservices, services, of services, free free from freefree from from thefrom the the the burdens burdens burdens burdens that that imply thatthat imply imply owning imply owning owning the owning products the theproducts the products products that that make thatthat make make them make them them possible. them possible. possible. possible.

These These These business These business business business models models models models are placed are areplaced are placed under placed under under the under label the thelabel the label of “sharing label of of“sharing “sharing of “sharing economy”, economy”, economy”, economy”, wherein wherein wherein wherein the infrastructure the theinfrastructure the infrastructure infrastructure that that thatthat posibilittates posibilittates posibilittates posibilittates any given any anygiven any given service given service service (ridesharing, service (ridesharing, (ridesharing, (ridesharing, streaming streaming streaming streaming services, services, services, services, mobility mobility mobility mobility services, services, services, services, real real realreal estate, estate, estate, etc.) estate, etc.) is etc.) not etc.) isisowned not not is owned not owned byowned the by byuser, the the byuser, the user, while user, while while thewhile institutional the theinstitutional the institutional institutional norms norms norms that norms that allow thatthat allow allow it are allow ititare are it are mounted mounted mounted mounted uponupon upon a rule upon aarule of rule alaw rule of ofbased law law of based law based onbased private on onprivate private onproperty. private property. property. property.

The The contradictions TheThe contradictions contradictions contradictions of these of ofthese these services’ of these services’ services’ services’

| 13 | 13

What isWhat Minimalism? is Minimalism?

Archeology Archeology of an Apparatus of an Apparatus

course discourse discourse restsrests rests in the in infact the the that factthat they thatthat they they encourage encourage encourage usersusers users to live to tolive in live a in pseudo-ascetic inaapseudo-ascetic pseudo-ascetic way,way, way, thatway, that thatthat discourse rests infact the fact they encourage users to live in a pseudo-ascetic ike is, is,like alike Franciscan alike aFranciscan Franciscan monk, monk, monk, without without without an object an anobject object ofobject private of ofprivate private property, property, while while while simultaneously simultaneously simultaneously is, a Franciscan monk, without an ofproperty, private property, while simultaneously tering fostering fostering insecurity insecurity insecurity due due to due lack to tolack of lack of ofprivate private ownership. ownership.

The The sharing TheThe sharing sharing economy economy economy and and andand fostering insecurity due toprivate lack ofownership. private ownership. sharing economy ntemporary contemporary contemporary minimalism minimalism minimalism share share share theshare fact the thefact that factthat they thatthat they they cater cater cater to an to to ideal an an ideal consumer, consumer, consumer, one one who onewho whowho contemporary minimalism the fact they cater toideal an ideal consumer, one untarily voluntarily voluntarily renounces renounces renounces theirtheir their maturity maturity maturity of reason of ofreason reason reducing by byreducing reducing theirtheir their political political political agency agency agency toagency their to totheir their voluntarily renounces their maturity ofbyreason by reducing their political to their 23 23 23 nomic economic economic one23one one economic . Subscription one . .Subscription Subscription . Subscription to the to tosharing the the tosharing the sharing economy’s sharing economy’s economy’s economy’s services services services services comes comes comes with comes with with promises with promises promises promises of of of of nimalism, minimalism, minimalism, minimalism, of owning of ofowning owning of less, owning less, and less,less, and of and the of and ofbreeziness the the ofbreeziness the breeziness breeziness and and flexibility andflexibility and flexibility flexibility that that derives thatthat derives derives from derives from from notfrom not not not ing having having tohaving maintain to tomaintain maintain to maintain or store or orstore store the or store objects the theobjects the objects that objects that make thatthat make make them make them them function. them function. function. function.

However, However, However, However, given given given current given current current current nditions, conditions, conditions, conditions, truetrue flexibility truetrue flexibility flexibility flexibility comes comes comes with comes with with the with stability the thestability the stability stability that that private thatthat private private ownership private ownership ownership ownership implies, implies, implies, implies, of of of of ng being being able being able to able take able to totake decisions take to take decisions decisions decisions overover over one’s over one’s one’s property: one’s property: property: property: flexibility flexibility flexibility flexibility without without without stability without stability stability stability is not isisnot not is not eticism asceticism asceticism asceticism nor minimalism, nor norminimalism, nor minimalism, minimalism, it’s precarity, it’s it’sprecarity, precarity, it’s precarity, a lessaathat less less athat does less thatthat does does notdoes result not notresult not result in result a in respective inaarespective in respective a respective more.more. more. more.

e The historical TheThe historical historical historical contingencies, contingencies, contingencies, contingencies, continuities continuities continuities continuities and and irruptions andirruptions and irruptions irruptions that that have thatthat have have set have the set setconditions the the setconditions the conditions conditions of of of of sibility possibility possibility possibility fromfrom from where from where where minimalism where minimalism minimalism minimalism came came came to be came to to inbe be its toin in be distinct its its indistinct distinct its contexts distinct contexts contexts contexts are witness are arewitness are witness to witness how to tohow how to how aesthetic its itsaesthetic aesthetic its aesthetic and and practical andpractical and practical practical forms forms forms of forms operation of ofoperation operation of operation inform inform inform and inform and substantiate andsubstantiate and substantiate substantiate eacheach each other. each other. other.

Inother. allIn Inall all In all th instances the theinstances the instances instances herehere here alluded here alluded alluded to, alluded from to, to,from from to, 12thfrom century 12 12ththcentury 12 century asceticism, century asceticism, asceticism, asceticism, fromfrom from architecture from architecture architecture architecture in the in inage the the inage the age age Enlightenment, of ofEnlightenment, Enlightenment, of Enlightenment, to the to toBarcelona the the toBarcelona the Barcelona Barcelona Pavilion Pavilion Pavilion Pavilion and and to and current to and tocurrent current today current culture, day dayculture, day culture, minimalism culture, minimalism minimalism minimalism ms stems stems from stems from from a spectrum from aaspectrum spectrum a spectrum that that lies thatthat between lies liesbetween lies between between forms forms forms of forms design of ofdesign design ofand design and of and praxis. of and ofpraxis. praxis. of The praxis.

The logic TheThe logic logic of the logic of ofthe the of the s Less isLess more Less isismore more imperative is more imperative imperative imperative can be can can deployed be can bedeployed deployed be deployed to serve to toserve serve atowide serve aawide wide range a wide range range of range ends: of ofends: ends: of production, ends: of ofproduction, production, of production, of of of of nsumption, consumption, consumption, consumption, of autonomy, of ofautonomy, autonomy, of autonomy, of spirituality, of ofspirituality, spirituality, of spirituality, of art, of ofetcetera. art, art, of etcetera. art, etcetera. etcetera.

For this For Forthis reason, For thisreason, this reason, we reason, understand we weunderstand understand we understand nimalism minimalism minimalism minimalism not only not notonly not only as aonly as biopolitics asaabiopolitics as biopolitics a biopolitics of sensibility, of ofsensibility, sensibility, of sensibility, as a as logic asaalogic as logic ora as logic or or a as praxis, asor aapraxis, as praxis, but a praxis, rather, but butrather, but rather, its rather, its its its de-encompassing wide-encompassing wide-encompassing wide-encompassing nature nature nature constitutes nature constitutes constitutes constitutes it asitaitas technology asit aatechnology as technology a technology of power, of ofpower, power, ofa power, process aaprocess process a of process of of of 24 24 24 24 jectification, subjectification, subjectification, subjectification, or, toor, or, put to to or, it put put to initput aitin single init aasingle in single term, a single term, term, an term, apparatus an anapparatus apparatus an apparatus . Minimalism . .Minimalism Minimalism . Minimalism is a built isisaabuilt is built —a built — — — thetic aesthetic aesthetic aesthetic — as— — well as as — well as well asawell as discursive asaadiscursive as discursive a discursive — ethic — —ethic ethic — apparatus: ethic — —apparatus: apparatus: — apparatus: a concept aaconcept concept a defined concept defined defined as defined a as milieu, asaamilieu, as milieu, a milieu, environment an anenvironment environment an environment and and network andnetwork and network network comprised comprised comprised comprised of anything of ofanything anything of anything that that has thatthat the has hascapacity the has thecapacity the capacity capacity to direct, to todirect, direct, to direct, 25 fine, define, define, control, define, control, control, model control, model model and model and modulate andmodulate and modulate modulate forms forms forms of forms life of of25life .life The of2525life . .The elements The . The elements elements elements of anof of apparatus an an ofapparatus apparatus an apparatus are are are are erent different different different discourses, discourses, discourses, discourses, institutions, institutions, institutions, institutions, architectural architectural architectural architectural forms, forms, forms, normative forms, normative normative normative maxims, maxims, maxims, maxims, scientific scientific scientific scientific tements, statements, statements, statements, philosophical philosophical philosophical philosophical propositions, propositions, propositions, propositions, etcetera; etcetera; etcetera; etcetera; the strategic the thestrategic the strategic strategic relationship relationship relationship relationship that that is thatthat isis is ablished established established established between between between between all ofall all these of of all these these elements of these elements elements elements is the isisapparatus the the isapparatus the apparatus apparatus itself. itself. itself.

Byitself. conceiving By Byconceiving conceiving By conceiving nimalism minimalism minimalism minimalism as anas as apparatus, an an asapparatus, apparatus, an apparatus, we hope we wehope hope we to have hope to tohave have unveiled to have unveiled unveiled unveiled howhow its how logics how its itslogics logics its arelogics deployed are aredeployed are deployed deployed not not not not yonly only on individuals, only on onindividuals, individuals, on individuals, but throughout but butthroughout but throughout throughout the built the thebuilt the built andbuilt and discursive anddiscursive and discursive discursive environments environments environments environments theythey they inhabit. they inhabit. inhabit. inhabit.

rough Through Through Through this this brief thisbrief this brief archeology brief archeology archeology archeology of the of ofminimalist the the ofminimalist the minimalist minimalist apparatus, apparatus, apparatus, apparatus, we hope we wehope hope we to have hope to tohave have made to have made made explicit made explicit explicit explicit forces the theforces the forces that forces that power thatthat power power the power Less the theLess is the Less more Less isismore more imperative. is more imperative. imperative. imperative.

ThisThis This research This research research research project’s project’s project’s project’s objective objective objective objective is not isisnot not is not bring to tobring bring to minimalism bring minimalism minimalism minimalism to a to hault, toaahault, to hault, but a hault, rather, but butrather, but rather, we rather, suggest we wesuggest suggest we asuggest prompt aaprompt prompt a reevaluation prompt reevaluation reevaluation reevaluation of itsof of means its its ofmeans means its means d and of and itsof and of ends, its its ofends, ends, its of the ends, of ofwillingness the the ofwillingness the willingness willingness behind behind behind it. behind Ifit. it. minimalism IfIfit. minimalism minimalism If minimalism is toisis continue to tois continue continue to continue to beto to deployed, be be todeployed, deployed, be deployed, we as aswish we we aswish wish we it does, wish ititdoes, does, we it does, hope we wehope hope we its hope currents its itscurrents currents its currents emerge emerge emerge from emerge from from different from different different different places places places and places and flow andflow and flow towards flow towards towards towards wnew topographies newnew topographies topographies topographies and and new andnew and sediments. newnew sediments. sediments. sediments.

AfterAfter After all,After as all, all, 12th as as all, 12th 12th century as 12th century century monks, century monks, monks, as monks, Ledoux as asLedoux Ledoux as and Ledoux and andand ullée, Boullée, Boullée, Boullée, and and as and Mies as and asMies Mies and as Mies and Loos andLoos and Loos wellLoos well knew: wellwell knew: knew: minimalism knew: minimalism minimalism minimalism is anisis active an anisactive active an force. active force. force. force.

21. Giorgio Agamben, Opus Dei. Arqueología del oficio (Pre-Textos, 2013), 137. (Consulted in Spanish) 22. Peter Sloterdijk, Sphere Theory: Talking to Myself about the Poetics of Space, in Harvard Design Magazine No. 47, Inside Scoop (2019), 146.

23. Bernard Stiegler, The Age of De-proletarianisation Art and teaching art in post-consumerist culture, in Kieran Corcoran and Carla Delfos, eds. ArtFutures. Current issues in higher arts education (ELIA: 2010), 10-19.

24. This concept of apparatus is elaboratd by Girogio Agamben, who expands on it after originally being mentioned by Michel Foucault in a 1977 interview. Foucault concieves an aparatus as “[...] a thoroughly heterogeneous set consisting of discourses, institutions, architectural forms, regulatory decisions, laws, administrative measures, scientific statements, philosophical, moral, and philanthropic propositions — in short, the said as much as the unsaid.

Such are the elements of the apparatus. The apparatus itself is the network that can be established between these elements… [...] The apparatus therefore has a dominant strategic function… [...] The apparatus is thus always inscribed into a play of power, but it is also always linked to certain limits of knowledge that arise from it and, to an equal degree, condition it. The apparatus is precisely this: a set of strategies of the relations of forces supporting, and supported by, certain types of knowledge.” Quote extracted from Giorgio Agamben, What is an Apparatus? and Other Essays (Stanford University Press: 2009),2.

25. Giorgio Agamben, What is an Apparatus? in What is an Apparatus? and Other Essays (Stanford University Press: 2009), 1-24.

14 |

Bartleby; or, The Nomad The Limits of Architecture These next pages are an exploration into one of Notrh American literature’s most regarded short stories: Herman Melville’s Bartleby, the Scrivner.

The inquiry was originally motivated by Bartleby’s and the Co-op Interieur’s theoretical hints of minimalism, a concept elaborated on in the previous essay of this dossier. Informed by Deleuze’s interpretation of the story, this essay ruminates on the implications that Bartleby represents for architecture.

1. Herman Melville, Bartleby, The Scrivener: A Story Of Wall-street, consulted in On Curating, Issue 40 / September 2018, 17-38.

2. Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life (Stanford University Press: 1998), 33.

3. Gilles Deleuze, Bartleby; or, The Formula, in Essays Critical and Clinical (Verso Books: 1998) 68-90.

“I would prefer not to.”

Bartleby is an innocent looking scrivener from Wall Street who one day, upon being ordered the task of examining a brief paper with his boss, most casually replies, ‘I would prefer not to’, and nonchalantly continues his typical task of scriving1. The tale is a story of how a most harmless looking character can, through the simple gesture of articulating his sentence, be both effortlessly unconcerned and scathingly defying. The scrivener undermines the concept and principle of sovereignty with his ‘I would prefer not to’, writes Giorgio Agamben2. Additionally, as Gilles Deleuze’s tour de force on Bartleby illustrates, Herman Melville’s tale dislocates the functioning possibility of language’s literality3. Parallel to these and other interpretations of Melville’s story, Bartleby’s implications for architecture and how it transgresses our preconceived concept of dwelling is another reason for the tale’s displacing potential.

The first thing worth noting is that Bartleby is a minimalist, he doesn't own many things, in fact, he doesn't even own a house. Bartleby lives in his office, though his work companions don’t know it. One sunday morning his boss rolls through unannounced, and upon seeing that Bartley had made a dwelling out of his workplace is aghast. He says: “[..] I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor’s hall all by himself.[...]”

Following these remarks, the boss proceeds to manifest his pathetic feelings of pity towards Bartleby. He feels as if the only thing greater than the scrivener's poverty is his loneliness. Little did the attorney know in fact how wrong he was; although Bartleby did not own much, and despite the fact that he didn’t seem to enjoy people's company in a conventional way, he was far from being either poor or friendless. Bartleby was a nomad, a nomad not only of space but also of identity, ‘I am not particular’, expressed the scrivener.

After the boss realizes that his employee had been living for an unknown amount of time at his workplace, Bartleby remained still, not moving out of the building. Despite being asked, ordered and begged to leave by different people in different occasions, he categorically decided not to; or rather, he would prefer not to. This is how we know that

Bartleby; or, The Nomad - The Limits of Architecture

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4. Pier Vittorio Aureli, A Room Without Bartleby all means, a nomad, he preferred to remain insame the same room.

Bartleby is, byis,allbymeans, a nomad, sincesince he preferred to remain in the room.

Ownership, in Raquel Franklin, Pier However, the that fact that Bartleby preferred to in stay inroom the room is circumstantial, However, the fact Bartleby preferred to stay the is circumstantial, he he Vittorio Aureli and Aristide Antonas, could’ve, in fact, he preferred to, decided to another room, another city or another Hannes Meyer. Co-op Interieur could’ve, in fact, if heifpreferred to, decided to gototogo another room, another city or another continent: as a nomad, he the hadtools the tools do this. a true nomad can remain still for (Spector Books: 2015), 33-39. continent: as a nomad, he had to dotothis.

OnlyOnly a true nomad can remain still for an indefinite amount of time.

Regular people do this: tied to places, an indefinite amount of time.

Regular people couldcould nevernever do this: we’rewe’re tied to places, as a home or a and job, bound and bound by concepts like identity, language, and property. suchsuch as a home or a job, by concepts like identity, language, statestate and property. experiences of time and space are circumscribed within categories, and as Our Our experiences of time and space are circumscribed within thesethese categories, and as opposed to Bartleby’s, limited by many things, one of which is architecture.

Bartleby opposed to Bartleby’s, they they limited by many things, one of which is architecture.

Bartleby embodies theofart of becoming and relating to architecture as a nomad.

For him, dwelling embodies the art becoming and relating to architecture as a nomad.

For him, dwelling in building any building the same as inhabiting a tent: any dwelling is temporary andcan he can in any is theissame as inhabiting a tent: any dwelling is temporary and he or there stay there as long he prefers to. How one design a dwelling a nomad? leaveleave or stay as long as heasprefers to. How couldcould one design a dwelling for afor nomad?

Is there an architecture not informed a fixed identity?

Is there suchsuch thingthing as anasarchitecture not informed by a by fixed identity?

In 1926, the swiss architect and second director ofBauhaus the Bauhaus Hannes Meyer designed a In 1926, the swiss architect and second director of the Hannes Meyer designed a dwelling fit a nomad he published alongside his article World” the image dwelling fit a nomad whenwhen he published alongside his article “The“The New New World” the image an architectural arrangement he called Co-op interieur.

The image is a photograph of anofarchitectural arrangement he called Co-op interieur.

The image is a photograph of a of a room, an almost scenic interior has been reduced tobare the bare minimum: a chair, a room, an almost scenic interior that that has been reduced to the minimum: a chair, a a bed, a shelf (all foldable), a gramophone.

An immediate displacement within stool,stool, a bed, a shelf (all foldable), and aand gramophone.

An immediate displacement within Meyer’s interior the that, fact that, unlike is usually regarded as architecture, Meyer’s interior is theisfact unlike whatwhat is usually regarded as architecture, this this inside hasaspirations no aspirations of permanence: the walls are made of some sort of fabric and the inside has no of permanence: the walls are made of some sort of fabric and the 4 4 furniture is made be folded and moved . whole The whole arrangement furniture is made to betofolded and moved easilyeasily . The arrangement couldcould be be disregarded an installation rather a work of architecture.

It’s clear this disregarded as anasinstallation rather thanthan a work of architecture.

It’s clear that that this is anis an impossible dwelling, no person would voluntarily inhabit this sterile interior; if anyone impossible dwelling, no person would voluntarily inhabit this sterile interior; if anyone inside this space, would transform it, rearrange the furniture as they livedlived inside this space, they they would transform it, rearrange the furniture as they saw saw fitting, up images, the in bed in coloured sheets, in short, it what fitting, hanghang up images, covercover the bed coloured sheets, in short, do todo it to what they they would to itcall it a home. would to call a home.

or, The -Nomad - TheofLimits of Architecture | Bartleby; 16 |16 Bartleby; or, The Nomad The Limits Architecture

5. George Lukács, Theory of the Novel (MIT Press, 1974), 41.

6. Gilles Deleuze, op.cit, 73.

7. Ibid.

Meyer’s Co-op interieur, despite a thought experiment, renders intelligible the fact Meyer’s Co-op interieur, despite beingbeing a thought experiment, renders intelligible the fact the acts of dwelling and inhabiting we understand them, are informed that that the acts of dwelling and inhabiting as weasunderstand them, are informed by by identity.

Architecture is constituted bytranslation the translation of identity the built identity.

Architecture is constituted by the of identity ontoonto the built environment.

Being as anonymous and neutral it would feelof out of place to label environment.

Being as anonymous and neutral as it as is, it it is, would feel out place to label the Co-op interieur as architecture, however, notBartleby. for Bartleby. he preferred so,would he would the Co-op interieur as architecture, however, not for If heIfpreferred so, he comfortably inhabit the Co-op interieur is, since he doesn’t letidentity his identity comfortably inhabit the Co-op interieur as is,as since he doesn’t let his limitlimit his his of dwelling.

Bartleby has what Georg Lukács meant by transcendental homelessness, formform of dwelling.

Bartleby has what Georg Lukács meant by transcendental homelessness, 5 andachieves he achieves thisbeing by being a nomad.

Becoming a an urge at home anywhere an urge to betoatbe home anywhere , and5, he this by a nomad.

Becoming a nomad, in sense, this sense, not synonymous anonymity; rather, I mean by nomad nomad, in this is notissynonymous withwith anonymity; rather, whatwhat I mean by nomad as Deleuze understands — a of way of being inmiddle the middle or between identities, is —is as— Deleuze understands it — it a way being in the or between identities, characterized by movement and variation, and unfettered by systems of organization, characterized by movement and variation, and unfettered by systems of organization, one of which is architecture.

By being a nomad, Bartleby inhabits the space at the one of which is architecture.

By being a nomad, Bartleby inhabits the space that’sthat’s at the outlands all institutions; the first institution — after lenguage —self: the self: outlands of allofinstitutions; the first institution is —is after lenguage — the the the artifice of fixed identity, which architecture is built on with claims to permanence. artifice of fixed identity, uponupon which architecture is built on with claims to permanence.

Through alleccentricities, his eccentricities, driftings and deviations, Bartleby unveils Through all his driftings and deviations, Bartleby unveils how how 6 6 architecture is mounted a logic of presuppositions — presuppositions of identity, architecture is mounted uponupon a logic of presuppositions — presuppositions of identity, of of references, of belonging, etc.while — while his fleeting of dwelling is informed a logic references, of belonging, etc. — his fleeting formform of dwelling is informed by a by logic 7 7 of preference —identifies, he identifies, references and belongs where and with he prefers. of preference — he references and belongs where and with whatwhat he prefers.

He He questions the built environment's and continuity his eccentric establish a questions the built environment's orderorder and continuity as hisaseccentric waysways establish a nomadic, non-transitory, errant of inhabiting displaces architectural nomadic, non-transitory, errant formform of inhabiting that that displaces architectural spacespace as as we know it.Bartleby, For Bartleby, architecture is closer art than it is to simply building we know it. For architecture is closer to arttothan it is to simply building and and inhabiting, he doesn't feelslightest the slightest of commitment towards the places inhabiting, sincesince he doesn't feel the sensesense of commitment towards the places he he remains in. Unlike the Co-op interieur, non-permanent architecture projects, remains in. Unlike the Co-op interieur, manymany otherother non-permanent architecture projects, as Toyo Dwellings a Tokyo Nomad Woman, be designed suchsuch as Toyo Ito’s Ito’s Dwellings for a for Tokyo Nomad Woman, couldcould nevernever claimclaim to betodesigned a nomad as Bartleby, as they’re without renouncing or even for afor nomad suchsuch as Bartleby, as they’re builtbuilt without ever ever renouncing or even questioning the concepts of fixed individual identity and property. questioning the concepts of fixed individual identity and property.

Toyo Ito, Dwellings for a Tokyo Nomad Woman, Pao I ,1985, flexible furniture use (top left), conceptual drawing (bottom left), and Pao II ,1989, (right).

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Bartleby; or, The -Nomad - TheofLimits of Architecture Bartleby; or, The Nomad The Limits Architecture

Julieta Aranda, Hammock with Bricks, on exhibit at Tropical Hangover: An approximation, curated by Octavio Zaya, October 2011, ArtBo, Bogota.

The displacement Bartleby performs theofact of revealing architecture has its The displacement that that Bartleby performs is theisact revealing how how architecture has its limits in conventional of dwelling, which suppose rooted in given any given identity. limits in conventional waysways of dwelling, which suppose beingbeing rooted in any identity.

Bartleby’s displacement me wonder if identity sometimes conditions us more Bartleby’s displacement makemake me wonder if identity sometimes conditions us more thanthan it allows to experience our surroundings.

When one is trying to relax, for example, it allows us tous experience our surroundings.

When one is trying to relax, for example, identity is usually inway. the way. ofpredicaments the predicaments put us under stress identity is usually in the ManyMany of the that that put us under stress arisearise the perpetual expectations we impose on ourselves viaidentity. our identity.

The best way to fromfrom the perpetual expectations we impose on ourselves via our The best way to to become a nomad, to surrender identity a couple of minutes.

When relaxrelax is to is become a nomad, to surrender one’sone’s identity for afor couple of minutes.

When one one attempts at ease, like while laying atbeach, the beach, the best attempts to betoatbe ease, like while laying downdown at the the best thingthing to dotoisdo to is to personify Bartleby and dwell he would.

Julieta Aranda’s art installation, Hammock personify Bartleby and dwell as heaswould.

Julieta Aranda’s art installation, Hammock with with Bricks, seems a tropical reiteration of Meyer’s Co-op interieur; it’sthe gotsame the same Bricks, seems like alike tropical reiteration of Meyer’s Co-op interieur; it’s got key key elements, a hammock instead of a to bed lay down, a stereo instead of a gramophone elements, a hammock instead of a bed laytodown, and aand stereo instead of a gramophone to enjoy music.

If placed a beach, despite aninstallation, art installation, this arrangement to enjoy music.

If placed on a on beach, despite beingbeing an art this arrangement represents an architecture free from identity and permanence; anyone lay down represents an architecture free from identity and permanence; anyone couldcould lay down in in hammock and take pleasure intropical the tropical ocean landscape as long as they prefer. that that hammock and take pleasure in the ocean landscape for asfor long as they prefer.

Although alldistinct the distinct moments one relaxes are inevitably also culturally set and Although all the moments whenwhen one relaxes are inevitably also culturally set and of one’s identity, experiences at least one to surrender to their part part of one’s identity, thesethese experiences at least allowallow one to surrender to their preferences, as Bartleby preferences, as Bartleby does.does.

The innocent looking scrivener Street offers an inkling the limits The innocent looking scrivener fromfrom WallWall Street offers an inkling into into the limits of of architecture; limits areidentities, the identities, cultural or individual, which it’s built. architecture; thosethose limits are the cultural or individual, uponupon which it’s built.

If If a building constructed reference an identity, it’s disregarded a building isn’t isn’t constructed withwith reference to antoidentity, it’s disregarded as anas an installation, an arrangement as anything but architecture. the scrivener, becoming installation, an arrangement or asor anything but architecture.

Like Like the scrivener, becoming a nomad means inhabiting spaces and dwelling lightly, without the burden of the a nomad means inhabiting thesethese spaces and dwelling lightly, without the burden of the concepts of property, of belonging, of rootedness and permanence; surely becoming a concepts of property, of belonging, of rootedness and permanence; surely becoming a nomad sometimes be uncomfortable, however, one cannot remain a nomad nomad may may sometimes be uncomfortable, however, one cannot remain a nomad permanently.

Bartleby, one should a nomad as long as they permanently.

Like Like Bartleby, one should only only be a be nomad for asfor long as they preferprefer to. to.

18 | 18 Mockup series - series Part I - Part I | Mockup

Mockup series Part I:

Mockups This three part essay is simultaneously a ramble and one of my most theoretically ambitious and provoking projects. The first two parts have been digitally published in Spanish as monthly columns on Arquine. The series questions the metaphysical stature we architects attribute to architecture. I suggest the here elaborated concept of mockup as a tool with which to critically reflect on architecture.

Renzo Piano Building Workshop, Mockup for the facade of the Paris Courthouse

Architectural Architectural models models — at— any at scale any scale — are —useful are useful tangible tangible toolstools for when for when it comes it comes to designing to designing architecture. architecture.

However, However, the process the process of design of design is anisendeavour an endeavour that’s that’s played played out in out aninintangible an intangible realm. realm.

When When designing, designing, architects architects conceive conceive a building a building imaginatively; imaginatively; theythey conjure conjure up different up different spatial spatial compositions compositions and visualize and visualize withwith theirtheir mind’s mind’s eye possible eye possible scenarios scenarios that that could could occur occur in the in the building’s building’s interior. interior.

There There is anisideal an ideal abstract abstract building building within within the mind the mind of the ofarchitect the architect that that designs, designs, imagines imagines and idealizes and idealizes it. We it. could We could say that say that the actual the actual building building process process is aniseffort an effort to transcribe to transcribe the abstract-ideal the abstract-ideal building; building; to transfer to transfer it into it into reality reality and materialize and materialize it as ita as a Speaking Speaking of maps, of maps, in his inshort his short storystory On Exactitude On Exactitude in in 1 1 , Borges , Borges tells tells the tale the of tale anofempire an empire that that perfects perfects the the builtbuilt workwork of architecture. of architecture.

Science Science art ofart cartography of cartography withwith suchsuch precision precision that,that, afterafter its its passing, passing, leaves leaves behind behind a full-scale a full-scale mapmap of itself. of itself.

The The 1:1 1:1 Unfortunately, Unfortunately, between between the abstract-ideal the abstract-ideal building building and the and the scalescale mapmap had allowed had allowed the empire the empire to achieve to achieve cartographic cartographic respectively respectively builtbuilt actualization, actualization, there’s there’s a gap, a gap, too wide too wide to to perfection perfection and representational and representational verisimilitude. verisimilitude.

What What be overlooked. be overlooked.

The The construction construction process process of a building, of a building, or, or, would would happen happen if, asif,inas Borges’ in Borges’ story, story, one makes one makes a fulla scale full scale its presumed its presumed transcription transcription fromfrom the abstract the abstract realm realm into into architectural architectural model? model?

Would Would therethere still still be a be difference a difference the physical the physical one, one, is traversed is traversed by a by series a series of contingencies, of contingencies, between between a model a model and aand building? a building? flukes, flukes, and incidents and incidents not accounted not accounted for throughout for throughout the the design design process. process.

Regardless Regardless of how of how thorough thorough one tries one tries to beto be Full-scale Full-scale models models exist,exist, architects architects call them call them mockups. mockups. while while inspecting inspecting the construction the construction process, process, it’s impossible it’s impossible However, However, unlike unlike the empire’s the empire’s full-scale full-scale map,map, mockups mockups to account to account for perfection for perfection in every in every single single detail. detail.

Every Every aren’t aren’t mademade in order in order to represent to represent the depicted the depicted building building in in person person and object and object included included in the inconstruction the construction process process has has totality; totality; they’re they’re assembled assembled to analyze, to analyze, auditaudit and see andhow see how its own its own agency agency overover which which the architect the architect has no hascontrol: no control: the the modular modular segments segments of a building’s of a building’s facade facade or interiors or interiors will will air bubbles air bubbles in the inconcrete the concrete pourpour tendtend to fizzle to fizzle up up be put be together. put together.

A mockup’s A mockup’s function function is tois help to help resolve resolve unexpectedly, unexpectedly, the scars the scars on an onoverhasty an overhasty welding welding job tend job tend technical technical issues, issues, not to not achieve to achieve verisimilitude, verisimilitude, as inas the in the to betomore be more notorious notorious thanthan one would one would hopehope for, the for, the mapmap fromfrom Borges’ Borges’ story. story. brickwork brickwork of a wall of a wall tends tends not be notcoincide be coincide perfectly, perfectly, and aand a longlong excetra excetra of non-designed of non-designed peculiarities peculiarities tendtend to arise… to arise… and all andofall this of this onlyonly throughout throughout the course the course of transcribing of transcribing 1. This story can be read on page 24 of this dossier. the building the building fromfrom the abstract the abstract into into the concrete: the concrete: an an impossible impossible transcription. transcription.

I have I have before before me an mearchitectural an architectural model. model.

The The difference difference between between a model a model and the andbuilding the building that that it depicts it depicts is the is the scalescale of itsofconfection. its confection.

An architectural An architectural model model is anis an artifice artifice which, which, at a quick at a quick glance, glance, allows allows us tous appreciate to appreciate the totality the totality a building’s a building’s volumetric volumetric form.form.

The The assembly assembly of of an architecture an architecture model model addresses addresses the scale the scale of the ofhand; the hand; a a model model can be canmoved, be moved, rotated, rotated, modified, modified, and after, and after, preserved preserved and displayed and displayed or burnt or burnt and disposed and disposed of. Inof.short, In short, I’ll say I’llthat say that a model a model is tois architecture to architecture whatwhat the map the map is tois to the territory. the territory.

and inhabited, despite being ofsame the same OnceOnce builtbuilt and inhabited, despite being mademade of the materials and having theidentical an identical materials and having the an form,form, the the constructed building is still distant being the ideal constructed building is still distant fromfrom being the ideal which remains quiescent inside the architect’s one, one, which remains quiescent onlyonly inside the architect’s mind. constructed building is approached mind.

The The constructed building is approached — in— a in a literal and figurative by each person literal and figurative way way — by—each person fromfrom a a particular perspective: inhabitant a subtly particular perspective: eacheach inhabitant has ahas subtly different experience it varies the the one the different experience of it,ofasit,it as varies fromfrom the one architect imagined and designed.

In other words, architect imagined and designed.

In other words, eveneven its construction process, an architect’s building afterafter its construction process, an architect’s idealideal building is still butabstraction. an abstraction. is still but an

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MockupMockup series - series Part I - Part I

Similarly to how the empire Borges’ Similarly to how the empire formform Borges’ storystory drewdrew a a full-scale of itself, we build and inhabit full-scale full-scale mapmap of itself, we build and inhabit full-scale models of buildings. our buildings.

Unfortunately, unlike models of our Unfortunately, unlike that that empire, forverisimilitude us, verisimilitude is of out of reach.

Although empire, for us, is out reach.

Although people can simultaneously inhabit a single mockup, manymany people can simultaneously inhabit a single mockup, person builds a different building eacheach person builds a different idealideal building fromfrom theirtheir experience.

In other words, people inhabit experience.

In other words, manymany people don'tdon't inhabit one one building, but rather, buildings inhabit a single building, but rather, manymany buildings inhabit a single mockup. iscase the case I should correct mockup.

SuchSuch is the that that I should correct this this ramble’s initial sentence: I don’t before me an ramble’s initial sentence: I don’t havehave before me an architectural model, I’m inside architectural model, I’m inside it. it.

construction process all architecture an effort The The construction process of allofarchitecture is aniseffort to to replicate as closely as possible an ideal building replicate as closely as possible an ideal building withwith concrete, or with any other material.

However, concrete, withwith steel,steel, or with any other material.

However, throughout the construction process, the only things throughout the construction process, the only things that that cantranscribed be transcribed the ideal building — never and never can be fromfrom the ideal building — and precision —the arematerials the materials and the withwith totaltotal precision — are and the volumetric Despite being largely constituted volumetric form.form.

Despite being largely constituted by by two elements, architecture is irreducible to them; thesethese two elements, architecture is irreducible to them; is, architecture is more the sum its materials that that is, architecture is more thanthan the sum of itsofmaterials andform. its form.

Forthese all these reasons, any building and its For all reasons, any building is, is, actually, 1:1 scale model of itself: a mockup actually, a 1:1ascale model of itself: a mockup of itsof its respective building. respective idealideal building.

Model of Eero Saarinen’s TWA Flight Center

20 | 20 Mockup series - Part series II - Part II | Mockup

Mockup series Part II:

Covers There There is noissuch no such thingthing as architecture; as architecture; therethere are only are only architectural architectural scalescale models. models.

WhatWhat is anyisbuilding any building if notifanot a model? model?

At full-scale, At full-scale, but abut model a model nonetheless. nonetheless.

In the Infirst the first part of part this of series this series I’ve put I’veforth put forth the arguments the arguments for such for such a a claim. claim.

I'm listening I'm listening to a great to a great songsong as I elaborate as I elaborate on these on these ideas,ideas, and Iand think I think that in that order in order to convey to convey themthem with with clearclear fidelity, fidelity, an analogy an analogy couldcould be conjured be conjured up toup transfer to transfer the the samesame reasoning reasoning to thetoworld the world of music. of music.

through through theirtheir individuality individuality and experiences and experiences a different a different song.song.

For these For these reasons, reasons, all musicians all musicians exclusively exclusively play play covers; covers; all bands all bands are cover are cover bands. bands.

EvenEven if theifmusicians the musicians who who originally originally recorded recorded a song a song play it play again, it again, despite despite beingbeing of their of their own own authorship, authorship, it’s a it’s cover a cover of a composition of a composition fromfrom the past. the past.

“No musician “No musician ever plays ever plays in theinsame the same songsong twice, twice, for it’s fornot it’sthe notsame the same songsong and they’re and they’re not the notsame the same musician”, musician”, would would be anbe appropriate an appropriate reiteration reiteration of of Heraclitus’ Heraclitus’ preeminent preeminent dictum. dictum.

The best The musicians best musicians are are Any song Any song is a cover is a cover of itself, of itself, sincesince everyevery time time it’s it’s well aware well aware of this of and thisuse andituse to their it to their benefit benefit by deliberately by deliberately interpreted interpreted a different a different songsong is played. is played.

In every In every rehearsal rehearsal or or varying varying theirtheir songssongs in theinshows the shows they they play. play.

Where Where do they do they showshow that athat group a group of musicians of musicians play, play, different different slightslight play?play?

In halls, In halls, bars,bars, stadiums, stadiums, and other and other buildings buildings that that variations variations occur: occur: the vocalist’s the vocalist’s voicevoice couldcould be a little be a little aren’taren’t but full-size but full-size scalescale mockups. mockups.

Covers Covers are toare music to music hoarse; hoarse; any damaged any damaged device, device, a cable a cable or microphone, or microphone, couldcould whatwhat mockups mockups are toare architecture. to architecture.

One One cannot cannot listenlisten to to compromise compromise the sound the sound fidelity; fidelity; an instrument an instrument couldcould be out be out original original songs, songs, that aren’t that aren’t covers, covers, in theinsame the same way in way in of tune; of tune; or simply, or simply, a musician a musician makes makes a mistake. a mistake.

All these All these which which one cannot one cannot visit visit architecture architecture that isn't that isn't a mockup, a mockup, a a and other and other possible possible unfortunate unfortunate contingencies contingencies makemake the the 1:1 scale 1:1 scale model. model. musical musical interpretation interpretation vary form vary form the original the original song.song.

Which Which one isone theisoriginal the original song?song?

It doesn't It doesn't exist!exist!

One One couldcould thinkthink To say Tothat say all that architecture all architecture is a mockup is a mockup couldcould seemseem like like that the thatoriginal the original songsong is theisone thethat’s one that’s recorded recorded in anin an nonsense, nonsense, like alike discursive a discursive provocation. provocation.

However, However, this this album, album, however, however, recording recording sessions sessions are not arefree not of free similar of similar approach approach couldcould be better be better appreciated appreciated by thinking by thinking of it in of it in unforeseen unforeseen subtleties. subtleties.

The only The only placeplace where where an original an original concrete concrete and not andabstract not abstract terms. terms.

For argument’s For argument’s sake,sake, a a songsong might might exist,exist, that is, that with is, with perfect perfect fidelity fidelity and free and of free of concrete concrete example example couldcould be the beBarcelona the Barcelona Pavilion, Pavilion, a a mistakes, mistakes, is inside is inside the composer's the composer's head.head.

To transfer To transfer the the commonplace commonplace sample sample fromfrom the history the history of architecture. of architecture.

The The “original “original song”song” fromfrom the composer’s the composer’s mindmind to our toears our with ears with Weimar Weimar Republic Republic commissioned commissioned the Pavilion’s the Pavilion’s design design to to perfect perfect fidelity fidelity is an is impossible an impossible feat; feat; noisenoise is inevitable. is inevitable.

MiesMies van der vanRohe der Rohe and Lilly and Lilly Reich, Reich, and was and built was built in thein the context context of theof1929 the 1929 Barcelona Barcelona International International Exposition.

Exposition.

Germany’s Germany’s presence presence at theatinternational the international eventevent was the wasfirst the first Between Between different different covers covers of a musical of a musical piecepiece therethere is nois no time,time, sincesince the First the First World World War, War, that the thatcountry the country exhibited exhibited hierarchy; hierarchy; for example, for example, the unplugged the unplugged version version of a song of a song itselfitself outside outside its own its own borders. borders.

Through Through the Pavilion, the Pavilion, the the isn’t isn’t any better any better or worse or worse than than the recording-studio the recording-studio German statestate sought sought to project to project the image the image of a reborn, of a reborn, version, version, it’s different. it’s different.

Consequently, Consequently, whenwhen enjoying enjoying music music German liberal, liberal, democratic, democratic, and industrialized and industrialized country. country. at a live-show at a live-show or through or through playback, playback, each each person person listens listens

Section of Kanye West’s Saint Pablo Tour stage design

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Mockup Mockup series - Part series II - Part II

Mies van der Rohe and Lily Reich, Barcelona Pavillion, 1929 Barcelona International Exposition inaguration ceremony.

The Pavilion's function was to host the International The Pavilion's function was to host the International Exposition’s inaugural ceremony, to which Exposition’s inaugural ceremony, eventevent to which the the German authorities attended as as well as King Alfonso German authorities attended as well King Alfonso XIII.XIII. the international event, in 1930, the Pavilion AfterAfter the international event, in 1930, the Pavilion was was dismantled andsince has since considered asof one dismantled and has beenbeen considered as one theof the highest moments for modern architecture.

It’s relevance highest moments for modern architecture.

It’s relevance was such, that in 1986 was rebuilt and today can be was such, that in 1986 it wasit rebuilt and today it canitbe visited. visited.

While pavilions, thebuilt one built in 1929 andone the one While both both pavilions, the one in 1929 and the an identical design, fromfrom 1986 1986 werewere mademade with with an identical design, with with the the materials, and in exactly the same location, samesame materials, and in exactly the same location, they they are are notsame the same building.

Onone thehand, one hand, the former, not the building.

On the the former, conceived peculiar political circumstances, had an conceived underunder peculiar political circumstances, had an institutional, expository and diplomatic purpose.

On the institutional, expository and diplomatic purpose.

On the the latter seems to have rather otherother hand,hand, the latter seems to have beenbeen rather constructed an archivist and retrospective eagerness, constructed with with an archivist and retrospective eagerness, the objective of allowing people to experience with with the objective of allowing people to experience first first a supposed climax for modern architecture.

For this handhand a supposed climax for modern architecture.

For this reason, one might that1929 the 1929 Pavilion reason, one might thinkthink that the Pavilion is theis the original and the thatone thebuilt one built in 1986 is a facsimile. original one, one, and that in 1986 is a facsimile.

In other words, thatsecond the second is merely a model In other words, that the is merely a model of theof the at full-scale, a model nonetheless: a first,first, builtbuilt at full-scale, but abut model nonetheless: a mockup. mockup.

Tothe say1986 the 1986 Pavilion is a mockup thefrom one from To say Pavilion is a mockup of theofone 1929 1929 half truth.

The truth as follows: they’re is butisabut halfa truth.

The truth is as is follows: they’re both both mockups; no original Pavilion.

Or rather, they’re mockups; therethere is noisoriginal Pavilion.

Or rather, they’re covers, tothey’re say, they’re interpretations both both covers, as to as say, both both builtbuilt interpretations of of an idea, and there no hierarchy between an idea, and there is noishierarchy between them.them.

EvenEven if if the iteration first iteration the pavilion predates the second the first of theofpavilion predates the second one, one, of construction themselves enough theirtheir datesdates of construction themselves aren'taren't enough of a of a criteria to establish any of sort of originality, the same criteria to establish any sort originality, in theinsame thatversion any version of a song a more or less sensesense that any of a song isn’t isn’t a more or less authentic iteration by virtue of being played before or after authentic iteration by virtue of being played before or after another another one. one.

The Barcelona Pavilions two the most The Barcelona Pavilions have have beenbeen two of theofmost th century architecture architecture discourse. discourse. regarded mockups 20th century regarded mockups for 20for BothBoth Pavilions, Pavilions, or covers, or covers, have have beenbeen evoked evoked merely merely as anas an example, example, in other in other words, words, the fact the that fact they’re that they’re mockups mockups can can be generalized be generalized onto onto the totality the totality of architecture: of architecture: all all buildings buildings are mockups; are mockups; all built all built architecture, architecture, like all like all music, music, is an is interpretation. an interpretation.

Speaking Speaking of music, of music, maybe maybe I I should should correct correct whatwhat I saidI of said myofinitial my initial situation: situation: I’m not I’m not listening listening to a great to a great song,song, rather, rather, I’m enjoying I’m enjoying a great a great cover.cover.

22 | 22 Mockup series - Part series III- Part III | Mockup

Mockup series Part III:

Performances I’ve been I’ve been writing writing somesome ideasideas about about how how there’s there’s no way no to way to distinguish distinguish an architectural an architectural building building fromfrom an architectural an architectural model. model.

Real-life Real-life scalescale models models showshow us that us that scalescale isn’t isn’t enough enough to discern to discern between between whatwhat is a mockup is a mockup and what and what is a is a building, building, and so, andbuildings so, buildings are not arearchitecture, not architecture, rather, rather, they’re they’re 1:1 scale 1:1 scale mockups. mockups.

I’ve presented I’ve presented the arguments the arguments to to defend defend this seemingly this seemingly odd claim odd claim in the infirst the first part part of this of this series. series.

In the Insecond the second part,part, I attempted I attempted to convey to convey how how all all buildings buildings are not areonly not only mockups, mockups, but also, but also, like covers like covers in in music, music, interpretations interpretations of anofidea. an idea.

In this In regard, this regard, the assumption the assumption that that all architecture, all architecture, as allas all music, music, is theisinterpretation the interpretation of anofidea, an idea, deserves deserves a a reconsideration: reconsideration: therethere are many are many buildings buildings that that aren't aren't designed designed and many and many musical musical pieces pieces that that aren't aren't composed, composed, in the instrict the strict sensesense of the ofword. the word.

For example, For example, everyevery timetime jazz jazz ensembles ensembles play play a show, a show, theirtheir standards standards are comprised are comprised of both of both a correct a correct musical musical accompaniment, accompaniment, which which is a is a composition, composition, and improvisation, and improvisation, which which is not. is However, not. However, whenwhen improvising, improvising, jazz jazz players players mustmust adhere adhere to the tonotes the notes on jazz on jazz scales, scales, they they mustmust play play withwith correct correct cadence cadence and and following following the musical the musical logiclogic established established by the bywhole the whole ensemble. ensemble.

For this For reason, this reason, although although a jazza jazz standard standard is is traversed traversed by the byspontaneity the spontaneity that that comes comes withwith improvisation, improvisation, it's still it's astill cover, a cover, it’s still it’s the stillinterpretation the interpretation of anofidea; an idea; that that idea idea is theisset theofset rules of rules that that govern govern the art the art of jazz. of jazz.

In the Incase the case of architecture, of architecture, manymany residential residential areasareas and and dwellings dwellings are self-built are self-built according according to the toinhabitants’ the inhabitants’ own own resources resources and necessities, and necessities, and without and without the services the services of anof an architect. architect.

An half-example An half-example of this of are thissome are some of Elemental’s of Elemental’s

social social housing housing projects, projects, where where only only half of half each of each house house is is designed, designed, and the andinhabitants the inhabitants are to are build to build the second the second half half on their on their own,own, without without the architects’ the architects’ involvement. involvement.

EvenEven if if architects architects aren’t aren’t involved involved in the indesign the design processes processes of these of these and all andself-built all self-built constructions, constructions, they they are still are mockups, still mockups, they they are — are like — jazz like jazz standards standards — a rendition — a rendition of anofidea; an idea; in in this case, this case, that that idea idea is theisseries the series of conditions of conditions that that define define the art theofart building, of building, suchsuch as, the as,materials the materials that that are on arethe on the market, market, the way the those way those materials materials are traditionally are traditionally employed, employed, etcetera. etcetera.

These These two things, two things, jazz jazz music music and and self-built self-built architecture, architecture, shareshare a commonality: a commonality: they they bothboth require require extemporisation, extemporisation, they they are both are both creative creative endeavours endeavours that that makemake up their up their object object as-they-go. as-they-go.

No jazz No jazz standard standard existsexists before before it’s played, it’s played, and no andself-built no self-built dwelling dwelling is intelligible is intelligible before before it’s constructed; it’s constructed; they they bothboth existexist as they as they happen. happen.

The act Theofact making of making something something as it as it happens happens is called is called a performance. a performance.

In the Instudy the study of language, of language, the concept the concept of performativity of performativity refers refers the how the how language language is notislimited not limited to only to only describing describing and alluding and alluding to things, to things, but rather, but rather, how how somesome utterances utterances create create the conditions the conditions they they appoint, appoint, suchsuch as when as when one one makes makes a promise a promise or a bet, or a when bet, when a judge a judge pronounces pronounces a a verdict, verdict, or when or when an architect an architect givesgives out an outorder an order to anto an employee. employee.

These These are performative are performative utterances utterances because because they they perform perform actions actions by means by means of being of being expressed. expressed.

Consequently, Consequently, as inquiries as inquiries into into the concepts the concepts of gender of gender havehave put forth, put forth, the reenactment the reenactment of performative of performative utterances utterances and actions and actions constitutes constitutes identity. identity.

In In contemporary contemporary art, aart, performance a performance is anisscenic an scenic event; event; however, however, it’s not it’sthe notidea the idea of the ofevent the event but the butevent the event itself,itself, only only whilewhile it's happening. it's happening.

In this In sense, this sense, a jazza jazz standard, standard,

Elemental, section of Quinta Monroy housing project

| 23 | 23

MockupMockup series - Part series III- Part III

Abraham Cruzvillegas and Bárbara Foulkes, performance taken place in Cruzvillegas’ Autorreconstrucción: To Insist, to Insist, to Insist… instalation, exhibited at Art Basel, December 2018, Miami.

andmusic, all music, is a performance, it’s heard and all is a performance, as it’sasheard only only whilewhile it’s it’s played.

These examples of performances, beingbeing played.

These examples of performances, in in language, in gender, art music, and music, are such because language, in gender, in artinand are such because in in all instances actions create reality instantaneously, all instances theirtheir actions create reality instantaneously, occur, because occur. implies whilewhile they they occur, because they they occur.

ThisThis implies that that self-built dwellings, as they’re inmoment the moment self-built dwellings, as they’re builtbuilt in the without limited a preconceived design, are aalso a without beingbeing limited by a by preconceived design, are also My suggestion all architecture is a mockup, a cover, that that all architecture is a mockup, a cover, performance.

However, this half truth; the truth performance.

However, this is butisabut halfa truth; the truth is is My suggestion and a performance, is not a needlessly cynical or and a performance, is not a needlessly cynical or all buildings a performance. that that all buildings are aare performance. provocative stance.

Oncontrary, the contrary, it’s survey provocative stance.

On the it’s survey into into the the possibility ofnew the new places architecture possibility of the places architecture couldcould go ifgo weif we Understanding buildings as mockups 1:1 scale Understanding buildings as mockups — as— 1:1asscale think of it as free form the myriad of platonic categories think of it as free form the myriad of platonic categories models of impossible designs — as and as covers models of impossible idealideal designs — and covers — as— as we impose it; categories as originality, on it;on categories suchsuch as originality, non-hierarchical interpretations an idea — allows non-hierarchical interpretations of anofidea — allows us tous to we impose authenticity, authorship, genius, beauty, technique, authenticity, authorship, genius, beauty, technique, etc. etc. reveal they’re also performances.

All buildings reveal how how they’re also performances.

All buildings are are Thinking we inhabit mockups a playful Thinking that that we inhabit mockups couldcould be a be playful way way performances in a two-fold Firstly, by virtue of how performances in a two-fold way. way.

Firstly, by virtue of how of questioning the metaphysical stature we attribute to of questioning the metaphysical stature we attribute to construction directly shapes reality theirtheir construction directly shapes builtbuilt reality whilewhile architecture; of how we sometimes conceive it as architecture; of how we sometimes conceive it as they’re put together and while they’re they’re beingbeing put together and while they’re beingbeing something precedes us, something an ideal something that that precedes us, something that’sthat’s in aninideal inhabited.

But second and more importantly, because inhabited.

But second and more importantly, because as as realm waiting for to reach it be anddesigned, be designed, waiting for us tous reach it and whenwhen no ideal design can ever be transferred an architect’s realm no ideal design can ever be transferred fromfrom an architect’s architecture in is fact is made ofall thethe allmaterials the materials architecture is in is fact made up ofup the reality, building the result of the mindmind into into builtbuilt reality, everyevery building is theisresult of the that we’ve had in front of us all along.

Taking those that we’ve had in front of us all along.

Taking those construction of a mockup, or rather, the result construction of a mockup, or rather, the result of a of a materials and making something inhabitable materials and making fromfrom themthem something inhabitable is is performance where a mockup was constructed. performance where a mockup was constructed. notact anofact of genius of originality anymore genius or ofor originality anymore thanthan it is ait is a Consequently, constructed, the experience oneof has of not an Consequently, onceonce constructed, the experience one has performance.

All creative endeavours a performance: All creative endeavours are aare performance: any given building occurs one is visiting it, not performance. any given building only only occurs whilewhile one is visiting it, not architecture, music, and even writing.

Speaking of writing, architecture, music, and even writing.

Speaking of writing, the architect is designing To experience a whilewhile the architect is designing it. Toit.experience a maybe I should correct my initial situation: I maybe I should correct whatwhat I saidI said of myofinitial situation: I building actaout a performance its presence. building is to is acttoout performance in itsinpresence.

To To not been writing ideas, rather, I’ve been havehave not been writing somesome ideas, rather, I’ve been inhabit a building as a dwelling to enact a recurring inhabit a building as a dwelling is to is enact a recurring performing them. performing them. performance inside 1:1 scale mockup. performance inside a 1:1ascale mockup.

24 |

…In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.

—Suarez Miranda, Gentleman's Travels, Book the 4th , Chapter. XLV, Lerida, 1658

On Exactitude in Science

by Jorge Luis Borges, translated by Andrew Hurley.

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On (in)exactitude in Representation This text was originally written in English and unsuccessfully submitted to the Avery Review’s 2018 Essay Prize. This year I came back to it, rewrote it and submitted again to OASE Journal’s Practices of Drawing call for papers; unfortunately, it didn’t make the cut. It’s an exploration into new tendencies and architectural practices that are beginning to transgress typical architectural representation’s bounds of set possibilities and limits.

Pavillon de Mme. du Barry à Louveciennes, elevation. By Claude-Nicolas Ledoux, 1771.

The The The way way architecture architecture is isisrepresented represented is represented is isisthrough through is through drawing, drawing, drawing, however however however the the act the of act of Theway wayarchitecture architecture represented through drawing, however theact actof of representation representation representation itself itself itself is is accompanied accompanied is accompanied by by a a certain by certain a certain degree degree degree of of elusiveness. elusiveness. of elusiveness.

The The The ticking ticking of of the of the representation itself is accompanied by a certain degree of elusiveness. Theticking ticking ofthe the hands hands hands on on wristwatch wristwatch a wristwatch represents represents represents time time but but is but not istime time not itself. itself. itself.

To To represent To represent something something something is isisto to hands onaaaon wristwatch represents timetime butis isnot not timetime itself.

Torepresent represent something tois to leave leave leave something something something else else else out, out, to discern to discern and and discriminate. and discriminate.

On On Exactitude On Exactitude in in Science, in Science, aaashort short a short leave something elseout, out,to todiscern discern anddiscriminate. discriminate.

OnExactitude Exactitude inScience, Science, short story story story by by Jorge

by Jorge Luis Luis Borges, Borges, Borges, explores explores explores the the limits the limits and and paradoxes and paradoxes of of any ofrepresentational representational any representational act act story byJorge Jorge LuisLuis Borges, explores thelimits limits andparadoxes paradoxes ofany any representational act act 111 1 through through through aaatale tale a about about tale about an an empire an empire that that that elaborates elaborates aaa1:1 1:1 scale 1:1 scale map map of of itself of itself ...The The . following The following following through tale about anempire empire thatelaborates elaborates 1:1ascale scale mapmap ofitself itself The following paragraphs paragraphs paragraphs are are an are inquiry inquiry an inquiry into into into the implications the implications of of architectural of architectural representation representation representation and and the and paragraphs arean an inquiry intothe theimplications implications ofarchitectural architectural representation andthe the the unfolding unfolding unfolding of of new of forms new forms forms of of depicting, of depicting, and and thus, and thus, conceiving conceiving conceiving architecture. architecture. architecture. unfolding ofnew new forms ofdepicting, depicting, andthus, thus, conceiving architecture.

The The The architectural architectural discipline discipline discipline has has been has progressively progressively progressively stablished stablished stablished through through through historic historic historic processes processes processes Thearchitectural architectural discipline hasbeen beenbeen progressively stablished through historic processes since since since Modernity Modernity Modernity to to what to what itititis isistoday. it today. is today.

The The The modern modern form form of of conceiving of conceiving architecture architecture architecture is isisas as an an as an since Modernity towhat what today.

Themodern modern formform ofconceiving conceiving architecture asis an epistemological epistemological epistemological corpus corpus corpus of of techne, of techne, of of technical of technical and and aesthetic and aesthetic knowledge knowledge knowledge surrounding surrounding surrounding the the epistemological corpus oftechne, techne, oftechnical technical andaesthetic aesthetic knowledge surrounding the the act act of act building, building, of building, which which which progresses progresses progresses overtime overtime overtime alongside alongside alongside the the subsequent the subsequent social, social, social, material material material and and actof of building, which progresses overtime alongside thesubsequent subsequent social, material andand technological technological technological conditions. conditions. conditions.

Consequently, Consequently, Consequently, from from the the modern the modern conception conception conception of of architecture of architecture technological conditions.

Consequently, fromfrom themodern modern conception ofarchitecture architecture derives derives derives aaacorresponding corresponding a corresponding system system system of of representation: of representation: the the modern the modern architectural architectural architectural drawing, drawing, drawing, such such derives corresponding system ofrepresentation: representation: themodern modern architectural drawing, suchsuch as as plans, as plans, sections, sections, sections, details, details, details, and and other and other types types types of of graphic of graphic representations representations representations that that that he or he she she orwho who she asplans, plans, sections, details, andother other types ofgraphic graphic representations thathe heor or she whowho has has been has trained trained trained in in architecture in architecture knows knows knows all all too allwell. well. too The The The epistemological epistemological basis basis basis on on which on which hasbeen beenbeen trained inarchitecture architecture knows alltoo too well.well.

Theepistemological epistemological basis onwhich which these these these forms forms forms of of representation representation of representation rest rest upon rest upon upon is is the the is modern modern the modern form form form of of understanding understanding of understanding these forms of representation rest upon is the modern form of understanding 222 2 architecture, architecture, architecture, and and vice and vice versa versa ...The The . modern The modern modern forms forms forms of of conceiving of conceiving and and of and representing of representing architecture, andvice viceversa versa The modern forms ofconceiving conceiving andof ofrepresenting representing architecture architecture architecture mutually mutually mutually validate validate validate each each other, other, other, thus thus bringing bringing bringing forth forth forth an an enclosed an enclosed system system system that that architecture mutually validate eacheach other, thusthus bringing forth anenclosed enclosed system thatthat presupposes presupposes presupposes architecture architecture architecture as as an as exteriority, exteriority, an exteriority, as as as technical a technical feat feat feat and as and the assum sum the of of its ofparts. parts. its parts. presupposes architecture asan an exteriority, asaaatechnical technical featand andas asthe the sumsum ofits its parts.

1. Jorge Luis Borges, On Exactitude in Science, in Dreamtigers (Austin: University of Texas Press, 1964) p.90.

This story can be read to the left, in the previous page.

2. Alberto Pérez-Gómez & Louise Pelletier, Architectural Representation and The Perspective Hinge (Cambridge: The MIT Press, 1997).

The The The dialectical dialectical relation relation relation between between between the the modern the modern forms forms forms of of architectural of architectural conception conception conception and and Thedialectical dialectical relation between themodern modern forms ofarchitectural architectural conception andand depiction depiction depiction proves proves proves an an example an example of of how of how no no medium no medium of of representation of representation is isisever ever is ever neutral. neutral. neutral.

For For depiction proves anexample example ofhow how nomedium medium ofrepresentation representation ever neutral.

For For instance, instance, instance, the the art the of art cartography cartography of cartography –––like like – in in like Borges’ in Borges’ short short short story story story –––renders renders – renders maps maps maps through through through instance, theart artof of cartography like inBorges’ Borges’ short story renders maps through which which which the the world the world is isisnot not isonly only not represented represented represented but but also but also conceived. conceived.

The The The geopolitical geopolitical world world world would would would which theworld world not onlyonly represented butalso alsoconceived. conceived.

Thegeopolitical geopolitical world would be be difficult be difficult to to conceptualize to conceptualize without without without direct direct direct reference reference reference to to the tomaps maps the maps that that that have been been bedifficult difficult toconceptualize conceptualize without direct reference tothe the maps thathave havehave beenbeen historically historically historically stablished stablished stablished and and which and which have have socially socially socially shaped shaped shaped the the globe. the globe.

Representation Representation Representation is isisthus thus is thus historically stablished andwhich which havehave socially shaped theglobe. globe.

Representation thus performative, performative, performative, itititdoesn’t doesn’t it doesn’t merely merely merely mirror mirror mirror subjectivity, subjectivity, subjectivity, itititcreates creates it creates it. it. performative, doesn’t merely mirror subjectivity, creates it. it.

To To represent To represent is isisto to reveal reveal to reveal an an attainable an attainable fraction fraction fraction of of any ofgiven given any given totality. totality. totality.

Therefore, Therefore, Therefore, to to repreto repreTorepresent represent tois reveal anattainable attainable fraction ofany any given totality.

Therefore, toreprerepresent sent is isisalso also is to also to obfuscate, to obfuscate, to to exclude to exclude other other other attributes attributes attributes of of said of totality. said totality. totality.

As As consequence, As consequence, any any sentsent also toobfuscate, obfuscate, toexclude exclude other attributes ofsaid said totality.

Asconsequence, consequence, any any representational representational representational act act necessarily act necessarily implies implies implies aaahierarchy, hierarchy, a hierarchy, aaastructure structure a structure of of value of value where where where that that that which which representational actnecessarily necessarily implies hierarchy, structure ofvalue value where thatwhich which is isisleft left is out out left is is out implicitly implicitly is implicitly disregarded disregarded disregarded as as inferior. inferior. as inferior.

And And And so so the the so question question the question must must must be be asked: asked: be asked: what what what left out is implicitly disregarded as inferior. And so the question must be asked: what are are the arehierarchical hierarchical the hierarchical gradients, gradients, gradients, the the prioritized the prioritized and and omitted and omitted aspects aspects aspects of of architecture of architecture in in the in the arethe the hierarchical gradients, theprioritized prioritized andomitted omitted aspects ofarchitecture architecture inthe the modern modern modern system system system of of architectural of architectural representation? representation? representation? modern system ofarchitectural architectural representation?

26 |

On (in)exactitude in Representation

The The The myriad myriad of of conventional of conventional architectural architectural architectural media, media, media, such such as as plans as plans and and other and other Themyriad myriad ofconventional conventional architectural media, suchsuch asplans plans andother other two-dimensional two-dimensional two-dimensional drawings, drawings, drawings, photo-realistic photo-realistic photo-realistic renderings, renderings, renderings, digital digital digital models, models, models, and and project and project two-dimensional drawings, photo-realistic renderings, digital models, andproject project construction construction construction details, details, details, reveal reveal reveal the the underlying the underlying abstract abstract abstract hierarchy hierarchy hierarchy implicit implicit implicit in in architectural in architectural construction details, reveal theunderlying underlying abstract hierarchy implicit inarchitectural architectural representation representation representation and and conception. and conception.

The The The epistemological epistemological basis basis basis for for these for these types types types of of illustrations of illustrations representation andconception. conception.

Theepistemological epistemological basis forthese these types ofillustrations illustrations is isisthe the ismodern modern the modern frame frame frame of of architectural of architectural conception, conception, conception, which which which is isisby by nature nature by nature cartesian, cartesian, cartesian, the modern frame ofarchitectural architectural conception, which byis nature cartesian, quantitative quantitative quantitative and and instrumental, and instrumental, and and values and values the the technical the technical over over the the sensible. the sensible.

By By contrast, By contrast, quantitative andinstrumental, instrumental, andvalues values thetechnical technical overover thesensible. sensible.

Bycontrast, contrast, this this representational this representational representational expression expression expression excludes excludes excludes most most most architectural architectural architectural aspects aspects aspects that that surpass that surpass surpass the this representational expression excludes most architectural aspects that surpassthe the the purely purely purely technical, technical, technical, or or rather, or rather, itititfails fails it fails to to portray to portray all all the allqualities qualities the qualities of of architecture of architecture that that that exceed exceed purely technical, orrather, rather, fails toportray portray allthe the qualities ofarchitecture architecture thatexceed exceed the the sum the of of their of their parts. parts. parts.

Some Some Some of of these of these abstract abstract abstract components components components of of architecture of architecture are are the are the thesum sumsum oftheir their parts.

Some ofthese these abstract components ofarchitecture architecture arethe the phenomenological phenomenological phenomenological experience experience experience of of corporeal of corporeal body-in-space, body-in-space, body-in-space, the the potential the potential for for phenomenological experience ofcorporeal corporeal body-in-space, thepotential potential for for appropriation appropriation appropriation and and social and social cohesion, cohesion, cohesion, collective collective collective semiotic semiotic semiotic or or hermeneutic or hermeneutic values, values, values, power power power appropriation andsocial social cohesion, collective semiotic orhermeneutic hermeneutic values, power dynamics dynamics dynamics and and social and social narratives, narratives, narratives, materiality materiality materiality and and texture, and texture, and and an and ample an ample etcetera. etcetera. etcetera.

These These These dynamics andsocial social narratives, materiality andtexture, texture, andan anample ample etcetera.

These and and other and other factors factors factors are are beyond are beyond the the representative the representative scope scope scope of of modern of modern system system system of of architectural of architectural andother other factors arebeyond beyond therepresentative representative scope ofmodern modern system ofarchitectural architectural representation. representation. representation.

Since Since Since these these these and and other and other categories categories categories cannot cannot cannot be be represented be represented by by it, by they they it, they tend tend representation.

Since these andother other categories cannot berepresented represented byit, it, they tendtend to to be be to regarded regarded be regarded as as inferior inferior as inferior in in relation relation in relation to to the the to attributes attributes the attributes than than than can can be be can depicted: depicted: be depicted: to be regarded as inferior in relation to the attributes than can be depicted: architecture’s architecture’s architecture’s physical physical physical and and technical and technical properties. properties. properties. architecture’s physical andtechnical technical properties.

From From From an an exclusively an exclusively pragmatic pragmatic pragmatic point point point of of view, of view, the the modern the modern system system system of of architectural of architectural From anexclusively exclusively pragmatic point ofview, view, themodern modern system ofarchitectural architectural conception conception conception and and representation and representation is isisbest: best: is best: it’s it’s practical, it’s practical, itititleaves leaves it leaves little little room room room for for folly, for folly, itititgets gets it gets conception andrepresentation representation best: it’spractical, practical, leaves littlelittle room forfolly, folly, gets the the job the done job done and and its and fundamental its fundamental maxim maxim maxim is isisefficiency. efficiency. is efficiency.

However, However, However, this this this system system has has also has thejob jobdone done andits itsfundamental fundamental maxim efficiency.

However, thissystem system hasalso alsoalso been been the the theoretical the theoretical ground ground ground on on which on which we we have we have built built the the architecture the architecture partly partly partly responsible responsible responsible beenbeen thetheoretical theoretical ground onwhich which wehave have builtbuilt thearchitecture architecture partly responsible for for the forcontingencies contingencies the contingencies of of contemporary of contemporary society, society, society, such such as as the aseffects effects the effects of of the ofAnthropocene, Anthropocene, the Anthropocene, forthe the contingencies ofcontemporary contemporary society, suchsuch asthe the effects ofthe the Anthropocene, migration migration migration and and housing and housing crises, crises, crises, and and economic and economic inequality. inequality. inequality.

If IfIfarchitecture architecture If architecture can can contribute can contribute to to migration andhousing housing crises, andeconomic economic inequality. architecture cancontribute contribute to to solve solve solve these these these problems, problems, problems, itititcan can itonly only can be be trough be trough new new new forms forms of of subjectivity of subjectivity and and of and solve these problems, can onlyonly betrough trough newforms forms ofsubjectivity subjectivity andof of of representation; representation; representation; as as Einstein as Einstein assertively assertively assertively said, said, aaaproblem problem a problem cannot cannot cannot be be solved be solved with with the the same the same representation; asEinstein Einstein assertively said,said, problem cannot besolved solved withwith thesame same level level of of thinking of thinking that that that generated generated it. it.

As it.Marshall Marshall As Marshall McLuhan McLuhan McLuhan stated, stated, stated, The The medium The medium isisisthe the is the levellevel ofthinking thinking thatgenerated generated it.As As Marshall McLuhan stated, Themedium medium the 333 3 message message message ,,,meaning meaning , meaning that that that the content the content portrayed portrayed portrayed through through through any any medium any medium of of representation of representation is isis is message meaning thatthe thecontent content portrayed through anymedium medium ofrepresentation representation 444 4 necessarily necessarily necessarily restricted restricted restricted to to the tobounds bounds the bounds and and possibilities and possibilities of of the ofmedium medium the medium itself itself itself ,,,hence, hence, , hence, any any necessarily restricted tothe the bounds andpossibilities possibilities ofthe the medium itself hence, any any 3. Marshall McLuhan, Understanding Media: The Extensions of Man. future future future architectural architectural architectural endeavor endeavor endeavor will will will be limited be limited by by the byway way the way in which in which itititis isisconceived it conceived is conceived and and future architectural endeavor willbe belimited limited bythe the wayin inwhich which conceived andand (Cambridge: The MIT Press, 1994), 4. represented. represented. represented.

And And so, so, new so, forms new forms forms of of representing, of representing, and and thus, and thus, of of conceiving of conceiving architecture architecture architecture represented.

AndAnd so,new new forms ofrepresenting, representing, andthus, thus, ofconceiving conceiving architecture are are increasingly are increasingly necessary. necessary. necessary.

New New paradigms paradigms paradigms of of representation of representation are are required are required to to shift to shift our our areincreasingly increasingly necessary.

NewNew paradigms ofrepresentation representation arerequired required toshift shift our our 4. Graham Harman, The Revenge of the Surface: Heidegger, McLuhan, subjectivity subjectivity subjectivity towards towards towards an an architecture an architecture that’s that’s that’s composed composed composed not not only not by by the bysum sum the of of its oftechnical technical its technicalGreenberg. In Paletten 291/292 subjectivity towards anarchitecture architecture that’s composed notonly onlyonly bythe the sumsum ofits its technical parts, parts, parts, but but mainly but mainly by by its byabstract, abstract, its abstract, political, political, political, social social social and and narrative and narrative implications. implications. implications. parts, butmainly mainly byits its abstract, political, social andnarrative narrative implications.

(2013), 66-73.

“A quien corresponda” (To whom it may concern), on exhibit at Harvard GSD’s Kirkland Gallery. April 2019.

Curated by Inés Benítez and Edgar Rodríguez

On (in)exactitude in Representation

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Various explorations into different forms of architectural representation, which expand Various explorations explorations into into different forms forms of of architectural representation, representation, which which expand expand Various explorations intodifferent different forms ofarchitectural architectural representation, which expand Above. Chain-stitched embroidery Various depictions of Louis I. Khan’s Exeter upon upon the limits ofmodern the modern paradigm are currently being undertaken in many places: upon the the limits of of the modern paradigm paradigm are are currently being being undertaken undertaken in in many places: places: in in upon thelimits limits ofthe the modern paradigm arecurrently currently being undertaken inmany many places: in in Library (left) and Hans Scharoun’s the review halls of academia, on the work-desks of young design firms, on museum walls, the the review review halls halls of of academia, academia, on on the the work-desks work-desks of of young young design design firms, firms, on on museum museum walls, walls, the review halls of academia, on the work-desks of young design firms, on museum walls, Berliner Philharmonie (right) by and on various online platforms.

The list of examples is vast, soannotate I’ll annotate merely and and on various online online platforms. platforms.

The The list of examples examples is isisvast, vast, so so I’ll annotate merely merely aaa a andon onvarious various online platforms.

Thelist listof of examples vast, soI’ll I’ll annotate merely Jimena Hogrebe.

Images courtesy of her. handful; for instance the aseriesofrooms.com, drawingmatter.org or koozarch.com handful; handful; take take for for instance the the aseriesofrooms.com, drawingmatter.org drawingmatter.org or or koozarch.com handful; taketake forinstance instance theaseriesofrooms.com, aseriesofrooms.com, drawingmatter.org orkoozarch.com koozarch.com

platforms, three online archives different perspectives place the utmost platforms, platforms, three three online online archives archives with with different different perspectives perspectives who who place place the the utmost platforms, three online archives withwith different perspectives whowho place theutmost utmost importance ondiversity the diversity of distinct architectural representation methods.

Additionally, importance importance on on the diversity of of distinct architectural architectural representation representation methods. methods.

Additionally, Additionally, importance onthe the diversity ofdistinct distinct architectural representation methods.

Additionally, Instagram has proven an effective medium through which to disperse the new wave Instagram Instagram has has proven an an effective medium medium through through which which to to disperse the the new wave of of Instagram hasproven proven aneffective effective medium through which todisperse disperse thenew newwave wave of of architectural representation and is used byaforementioned the aforementioned platforms and others alike, architectural architectural representation representation and and is used by by the aforementioned platforms platforms and and others alike, alike, architectural representation andis isused used bythe the aforementioned platforms andothers others alike, as as well as architecture university departments, and emerging design firms fresh as as well as architecture university university departments, departments, and and emerging design design firms firms with with fresh fresh aswell well asarchitecture architecture university departments, andemerging emerging design firms withwith fresh outlooks on representational techniques.

Additionally, the recent exhibition “A quien outlooks outlooks on on representational techniques. techniques.

Additionally, Additionally, the the recent exhibition exhibition “A “A quien outlooks onrepresentational representational techniques.

Additionally, therecent recent exhibition “Aquien quien corresponda” (To whom it concern) may concern) on display atHarvard the Harvard University Graduate corresponda” corresponda” (To (To whom itititmay may concern) on on display at at the Harvard University University Graduate Graduate corresponda” (Towhom whom may concern) ondisplay display atthe the Harvard University Graduate School of Design’s Kirkland Gallery, an exhibit which consist of an invitation extended School School of of Design’s Kirkland Kirkland Gallery, Gallery, is isisan an exhibit exhibit which which consist consist of of an invitation invitation extended extended to to School ofDesign’s Design’s Kirkland Gallery, anis exhibit which consist ofan an invitation extended to to Mexico-based design creatives to display a piece of their work in a nonhierarchical and Mexico-based Mexico-based design design creatives creatives to to display aaapiece piece of of their work work in in nonhierarchical and and free Mexico-based design creatives todisplay display piece oftheir their work inaaanonhierarchical nonhierarchical andfree freefree manner.

The exhibited result of is this is a landscape of objects that depict through manner. manner.

The The exhibited result result of of this isisaaalandscape landscape of of objects that that depict through through their their manner.

Theexhibited exhibited result ofthis this landscape ofobjects objects thatdepict depict through theirtheir diversity, convergence and divergence, the ample spectrum of distinct ways to represent diversity, diversity, convergence convergence and and divergence, the the ample spectrum spectrum of of distinct ways ways to to represent diversity, convergence anddivergence, divergence, theample ample spectrum ofdistinct distinct ways torepresent represent and conceive architecture.

For instance, one object in particular, an embroidery piece and and conceive architecture. architecture.

For For instance, one one object in in particular, an an embroidery piece piece of of andconceive conceive architecture.

Forinstance, instance, oneobject object inparticular, particular, anembroidery embroidery piece ofaaaof a Louis Khan building,

by Mexico City-based architect Jimena Hogrebe Rodríguez.

Hogrebe Louis Louis Khan Khan building, building, by by Mexico City-based City-based architect architect Jimena Jimena Hogrebe Hogrebe Rodríguez.

Rodríguez.

Hogrebe Hogrebe Louis Khan building, byMexico Mexico City-based architect Jimena Hogrebe Rodríguez.

Hogrebe says she has exploring the art of chain-stitching embroidery, it helps her says says she has been exploring exploring with with the the art of chain-stitching chain-stitching embroidery, embroidery, as as helps helps her her to saysshe shehas hasbeen beenbeen exploring withwith theart artof of chain-stitching embroidery, asitititas helps herto to to understand architecture through a different representational perspective and hopes understand understand architecture architecture through through aaadifferent different representational representational perspective perspective and and hopes to to understand architecture through different representational perspective andhopes hopes to to Forensic Architecture. Towards an employ the technique to represent her works infuture. the future.

Allaforementioned the aforementioned employ employ the the technique to to represent her her own works works in in the future.

All All the aforementioned employ thetechnique technique torepresent represent herown ownown works inthe the future.

Allthe the aforementioned investigative aesthetics on exhibit at efforts towards the representational emancipation of architecture are being undertaken efforts efforts towards towards the the representational representational emancipation emancipation of of architecture architecture are are being being undertaken undertaken on on efforts towards the representational emancipation of architecture are being undertaken on on Museo Universitario de Arte the fringes of the discipline, distant from mainstream architectural production, however, the the fringes fringes of of the the discipline, discipline, distant distant from from mainstream mainstream architectural architectural production, production, however, however, the fringes of the discipline, distant from mainstream architectural production, however, Contemporaneo (MUAC) in Mexico City. September-december 2017. their discursive stride is increasingly gaining momentum. their discursive discursive stride stride is isisincreasingly increasingly gaining gaining momentum. momentum. theirtheir discursive stride increasingly gaining momentum. ofvirtues the virtues of architecture’s breakaway the bounds and limits ofmodern the modern One One of of the virtues of of architecture’s breakaway breakaway from from the the bounds and and limits of of the modern OneOne ofthe the virtues ofarchitecture’s architecture’s breakaway fromfrom thebounds bounds andlimits limits ofthe the modern system of conception and representation is a newfound depth topolitical its political dimension. system system of of conception and and representation is isisaaanewfound newfound depth depth to to its political dimension. dimension.

A A system ofconception conception andrepresentation representation newfound depth toits its political dimension.

A A poignant example of is this iswork the work

by Forensic Architecture, a research agency based poignant poignant example example of of this isisthe the work by by Forensic Architecture, Architecture, aaaresearch research agency agency based based at at poignant example ofthis this the work byForensic Forensic Architecture, research agency based at at Goldsmith, University of London, led

by Eyal Weizman, which architectural media, Goldsmith, Goldsmith, University University of of London, led led by Eyal Eyal Weizman, Weizman, which which uses uses architectural architectural media, media, its its Goldsmith, University ofLondon, London, ledby by Eyal Weizman, which usesuses architectural media, its its conventional and breakthrough forms of representation a completely unconventional conventional conventional and and breakthrough forms forms of of representation for for completely completely unconventional unconventional conventional andbreakthrough breakthrough forms ofrepresentation representation foraaafor completely unconventional to investigate human rights violations around the world.

They for and/or produce end: end: to to investigate human human rights rights violations violations around around the the world.

They They look look for for and/or produce produce end:end: toinvestigate investigate human rights violations around theworld. world.

They looklook forand/or and/or produce photographs, 3D models, plans, video and audio to reconstruct and investigate violent photographs, photographs, 3D 3D models, plans, plans, video video and and audio files files to to reconstruct and and investigate violent violent photographs, 3Dmodels, models, plans, video andaudio audio filesfiles toreconstruct reconstruct andinvestigate investigate violent perpetrations, but most importantly, implicit conceptualization of architecture means perpetrations, perpetrations, but but most importantly, importantly, their their implicit implicit conceptualization conceptualization of of architecture means means perpetrations, butmost most importantly, theirtheir implicit conceptualization ofarchitecture architecture means conceive itonly not as a technical but as a narrative element, as a battleground, they they conceive conceive itititnot not only as as technical feat, feat, but but as narrative element, element, as as battleground, theythey conceive not onlyonly asaaatechnical technical feat,feat, butas asaaanarrative narrative element, asaaabattleground, battleground, an environment where human action takes place –this in case, this actions deriving an an environment where where human human action action takes takes place place –––in in case, actions actions deriving deriving from from anenvironment environment where human action takes place inthis this case,case, actions deriving fromfrom morally corrupt motivations.

The work undertaken

by Forensic Architecture may seem morally morally corrupt corrupt motivations. motivations.

The The work undertaken undertaken by by Forensic Architecture Architecture may may seem like like morally corrupt motivations.

Thework work undertaken byForensic Forensic Architecture mayseem seem likelike an extreme instance, but it could be taken as an effective exercise towards the revaluation an an extreme instance, instance, but but could be be taken as as an effective effective exercise exercise towards towards the the revaluation anextreme extreme instance, butitit itcould could betaken taken asan an effective exercise towards therevaluation revaluation ofconception our conception of architecture.

Forensic Architecture exhibits its research in museums of of our conception of of architecture.

Forensic Forensic Architecture Architecture exhibits exhibits its its research in in museums ofour our conception ofarchitecture. architecture.

Forensic Architecture exhibits itsresearch research inmuseums museums around the world.

Any effort to displace the collective subjectivity regarding architectural around around the the world.

Any Any effort to to displace the the collective subjectivity subjectivity regarding regarding architectural architectural around theworld. world.

Anyeffort effort todisplace displace thecollective collective subjectivity regarding architectural

28 |

On (in)exactitude in Representation

conception conception conception and and representation and representation is isisalways always is always politically politically politically charged charged charged to to some to some degree degree degree and, and, ifififdone done if done conception andrepresentation representation always politically charged tosome some degree and,and, done right, right, right, tends tends tends to to defy to defy the the status the status quo; quo; these these these efforts efforts efforts include include include the the aforementioned the aforementioned right, tends todefy defy thestatus status quo;quo; these efforts include theaforementioned aforementioned chain-stitched chain-stitched chain-stitched depictions depictions depictions by by Jimena

by Jimena Hogrebe, Hogrebe, Hogrebe, as as this as characteristically this characteristically characteristically artisanal artisanal artisanal chain-stitched depictions byJimena Jimena Hogrebe, asthis this characteristically artisanal embroidery embroidery embroidery technique technique technique is isisemployed employed is employed by by indigenous by indigenous Mexican Mexican Mexican women women women who who throughout throughout throughout embroidery technique employed byindigenous indigenous Mexican women whowho throughout Modernity Modernity Modernity have have been been politically politically politically and and historically and historically disregarded. disregarded. disregarded.

Modernity havehave beenbeen politically andhistorically historically disregarded.

The The The myriad myriad of of all of these these all these new new new forms forms of of drawing of drawing have have overlapping overlapping overlapping commonalities. commonalities. commonalities.

They They They Themyriad myriad ofall all these newforms forms ofdrawing drawing havehave overlapping commonalities.

They systematically systematically systematically question question question and and make make and make explicit explicit explicit the the limits limits the limits of of modern modern of modern architectural architectural architectural systematically question and make explicit the limits of modern architectural representation; representation; representation; questioning questioning questioning these these these limits limits limits means means means not not only not celebrating celebrating celebrating what what what they they reject, reject, reject, but but representation; questioning these limits means notonly onlyonly celebrating what theythey reject, but but encouraging encouraging encouraging it. it.

The it. modern The modern modern system system system prioritizes prioritizes prioritizes technicality technicality technicality above above above all all else, all else, while while while encouraging it.The The modern system prioritizes technicality above allelse, else, while contemporary contemporary contemporary drawings drawings drawings value value value interrelations interrelations interrelations and and narrative. and narrative.

This This consists consists consists in in contemporary drawings value interrelations andnarrative. narrative.

ThisThis consists in in communicating communicating communicating architecture architecture architecture in in ways in ways that that that evoke evoke aspects aspects aspects which which which cannot cannot cannot be be reduced be reduced to to communicating architecture inways ways thatevoke evoke aspects which cannot bereduced reduced to to purely purely purely rational rational rational and and numerical and numerical relations. relations. relations.

Everything Everything Everything that that that isisirreducible irreducible is irreducible to to the totechnical technical the technical purely rational andnumerical numerical relations.

Everything thatis irreducible tothe the technical and and quantitative and quantitative aspects aspects aspects of of its ofcomposition composition its composition –––much much – much like like art like or art poetry poetry or poetry –––tends tends – tends to to have to have aaa a andquantitative quantitative aspects ofits its composition much likeart artor or poetry tends tohave have surplus, surplus, surplus, in in the insense sense the sense that that that it’s comprised it’s comprised by by more by more than than only only the the sum the of of its ofparts. parts. its parts.

For For this For surplus, inthe the sense thatit’s it’scomprised comprised bymore more thanthan onlyonly thesum sumsum ofits its parts.

Forthis thisthis reason, reason, reason, the the new the new forms forms of of architectural of architectural drawing drawing drawing have have intrinsic intrinsic intrinsic artistic artistic artistic merit merit merit to to them. to them.

They They They reason, thenew newforms forms ofarchitectural architectural drawing havehave intrinsic artistic merit tothem. them.

They are are not areonly only not aaameans means a means of of representing of representing projects, projects, projects, but but rather but rather and and end and in end themselves, in themselves, aaa a arenot not onlyonly means ofrepresenting representing projects, butrather rather andend endin inthemselves, themselves, threshold, threshold, threshold, aaacrease crease a crease from from which which which aaachange change a change of of our ofconception conception our conception of of architecture of architecture can can unfold. can unfold. threshold, crease fromfrom which change ofour our conception ofarchitecture architecture canunfold. unfold.

The The The black black lines lines on on white white a white background background background characteristic characteristic characteristic of of the ofmodern modern the modern form form of of architectural of architectural Theblack black lineslines onaaaon white background characteristic ofthe the modern formform ofarchitectural architectural representation’s representation’s representation’s plans plans plans or or sections, or sections, could could could have have never never never derived derived derived the the abundance the abundance and and diversity and diversity representation’s plans orsections, sections, could havehave never derived theabundance abundance anddiversity diversity that that that new new forms forms of of drawing of drawing are are ushering are ushering in. in.

The in. modern The modern modern system system system of of architectural of architectural thatnew newforms forms ofdrawing drawing areushering ushering in.The The modern system ofarchitectural architectural representation representation representation will will will remain remain aaapragmatic pragmatic a pragmatic and and instrumental and instrumental tool, tool, and and will and will continue continue to to be to be representation willremain remain pragmatic andinstrumental instrumental tool,tool, andwill willcontinue continue tobe be Below. Detour Central – Reclaiming A employed employed employed as as long long as long as as we we as continue continue we continue to to build. build. to build.

However, However, However, it it shall shall it shall eventually eventually eventually stop stop stop being being being the the employed as long as we continue to build. However, it shall eventually stop being the the Moment Of Pause. Perspective by Lee, position position position from from which which which architecture architecture architecture is isisconceived conceived is conceived and and produced; and produced; hopefully hopefully hopefully to to point to a point in in position fromfrom which architecture conceived andproduced; produced; hopefully toaaapoint point in in Ka Anthony and Yip, Yi Kwan Jennifer which which which ifififone one ifsees sees one aaatypical typical a typical architectural architectural architectural plan, plan, plan, one one would one would have have to to ponder to ponder ifififsaid said if drawing said drawing drawing from University of Hong Kong. Image which one seessees typical architectural plan, onewould would havehave toponder ponder said drawing taken from Koozarch.com at could could could ever ever hope hope hope to to truly to truly represent represent represent architecture. architecture. architecture.

After After After all, all, as all, Borges Borges as Borges well well well knew, knew, there there there are are could everever hope totruly truly represent architecture.

After all,as as Borges wellknew, knew, there are are koozarch.com/interviews/detour-central-reclaimi ng-a-moment-of-pause/ many many many things things things that that that can never can never be be represented. be represented. many things thatcan cannever never berepresented. represented.

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Rather than plans, elevations, renderings, collages or any other sort of architectural images, the sectional view is the default artifice through which I’ve come to prefer to convey design. Not only is the section the medium that I think most accurately conveys spatial and architectural compositions and the ways in which buildings are inhabited, it’s also the type of image I enjoy drawing the most. The following pages feature sections of some of my best-accomplished projects, they’re displayed in an order that goes from smaller to larger scale, and so, to greater constructional, formal, urban and programmatic complexity.

Section of a telephone building, circa 1900. From Henry Chase Hill, The Wonder Book of Knowledge (1921).

30 | 30 The Section | The -Section Selected - Selected Drawings Drawings

Modular Temporary Dwelling With Isabel Palacios-Macedo.

This a modular temporary dwelling was our submission to the AIA SPP Small Project Design Competition. In September 2017, after the earthquake that struck Mexico City and the states of Oaxaca and Morelos, I came back to the design and tweaked it in order to make it public for anyone who might have needed it. One module measures 14’x12’, but several can be assembled to make a longer and flexible temporary dwelling.

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The Section The -Section Selected - Selected Drawings Drawings

Resilience Strategy for the Ocotal neighborhood With Arturo Ortiz

The September 2017 earthquake dealt major damage to many of the residential areas that are at the outskirts of Mexico City, the Ocotal neighborhood to the south of the city was particularly badly hit, around 16 homes were destroyed or badly damaged.

This school project had the objective to design a resilience strategy for this neighborhood. We designed a housing typology (shown above) that responded to the sites irregular topography and housing pattern, as well as a comunitary centre/storage warehouse (shown below), where the neighbors could store construction material in case of future predicaments. The strategy included a resilience and logistic plan to properly store and transport enough material for up to 8 houses of the proposed typology.

32 | 32 The Section | The -Section Selected - Selected Drawings Drawings

Community Hotel & Spa With Andrea Olavarrieta and Constanza Ponce de Leon

This school project is the design for a community driven, sustainable hotel and spa located in the town of Tepoztlan in the state of Morelos. All the materials, timber, bricks and masonry stones would be locally sourced.

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The Section The -Section Selected - Selected Drawings Drawings

A Library for the Future With Emmanuel Izaguirre, Abril Castrejón, Andrés Álvarez, and Luisa Rizo

This project was our submission for the A Library for the Future Competition, hosted by our school. It’s the design for a library for the UNAM FES Zaragoza Campus in the Iztapalapa District of Mexico City. This project posed the challenge of having to be designed to not only store the books of the existing library, but also, of having the correct architectural facilities to store and properly consult any form of digital media and resources. Our approach offers digital services on the top floor, and traditional library services on the bottom floor, alongside a spacious reading hall. We played it safe, not because we’re weary of digital media, but because we thought (and I still do) that printed books aren’t going away anytime soon.

34 | 34 The Section | The Section - Selected - Selected Drawings Drawings

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The Section The Section - Selected - Selected Drawings Drawings

36 | 36 The Section | The -Section Selected - Selected Drawings Drawings

Affordable Housing in Mexico City 1st Phase

This was my entry for the 2018 CoRe Design Competition: Affordable Housing in Mexico City. I called it Millennial Housing. The building sits on a plot that is directly above the Juárez subway station near the centremost part of the downtown area in Mexico City. The proposal was designed with an architectural strategy that sought to reduce construction costs as much as possible. The 93 2-floor apartments are arranged in such a way that there’s only general circulation hallways in 4 of the total 12 floors. Additionally, the apartments encourage communal living, as opposed to a traditional family dwelling. The next page includes samples of 3 apartment typologies. They were designed with a typical middle class Mexico City millennial in mind, as this demographic has grown increasingly vulnerable alongside the city’s unaffordable real-estate boom.

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The Section The -Section Selected - Selected Drawings Drawings

38 | 38 The Section | The Section - Selected - Selected Drawings Drawings

Affordable Housing in Mexico City 2nd Phase

As opposed to the design submitted in the previous phase, this second one was developed with the preservation of the existing on-site building in mind, it serves as offices for the city’s subway system. This second iteration was a lot more focused on urban mobility and designed to cater to the pedestrian. The actual housing design is a more conventional approach, as the second phase prioritized the street level. A challenge that was met with a direct and comfortable access to the Juárez subway station as well as free pedestrian access to the open-plan commercial use and transitory space. I think the first-phase proposal was a lot more innovative, although this one benefited from a more urban-focused approach.

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The Section The Section - Selected - Selected Drawings Drawings

40 | 40 The Section | The Section - Selected - Selected Drawings Drawings

Insurgentes 755 Mixed use development

This was my last and most developed school architecture project. The site is on Insurgentes Avenue, a main artery that runs down the middle of Mexico City. The site is in the Nápoles neighborhood, an up-and-coming secondary financial and office district. The mixed use complex features a 22-story 94-meter-tall office tower (planning codes don’t let you go higher).

The plot is relatively small, just under 3000 square meters, yet at street level, it acomódates retail (that extends to the second floor), a café, the tower’s lobby, underground parking access and most importantly, a 300-square-meter area destined for rainwater infiltration, that means, with only vegetation, as to address the city’s water problem and to contribute to the replenishing of the phreatic mantle. The tower benefits from an adaptive and flexible plan with no columns, as the building’s only structural elements are the core, and the load-bearing walls and steel trusses that make up façades. It comfortably acomodarse office space and the top 6 floors are residential.

Detailed section in the next page

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The Section The Section - Selected - Selected Drawings Drawings

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Printed publications and poster design

Printed publications and poster design Below are images of the printed versions of what I consider three of my most insightful publications. The texts did not fit in this dossier, but they have have been an important part of my trajectory. On the next page are some of the posters designed while I was an active member of the extracurricular activities committee at my school workshop, “Taller Max Cetto”. We organized monthly and sometimes weekly events, such as lectures, talks, movie screenings, site visits and parties.

Architecture as Event Essay published in Arquine magazine #77. 2016. p.23

Domus-Logico-Philosophicus. Wittgenstein’s house Research paper published in Bitácora Journal #32. 2016. p.14-25

On Minimalism: Mies as Prototype Paper published in VAD. Veredes, Arquitectura y Divulgación #2. 2019. p.70-81

Printed publications and poster design

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Pablo Emilio Aguilar Dossier of selected texts and images Janurary 2020