Three narrative architectures by WAI Architecture Think Tank

THREE NARRATIVE ARCHITECTURES

1 Richard Quittenton August Lietz Trina Lindal

Useless Architecture Bridge City Conquest of the Irrational

WAI Architecture Think Tank Narrative Architecture Studio The Frank Lloyd Wright School of Architecture August-October 2016

WAI Architecture Think Tank Studio

THREE NARRATIVE ARCHITECTURES

The Frank Lloyd Wright School of Architecture

Narrative Architecture Studio This studio uses Narrative Architecture as its theoretical framework. Narrative Architecture is a form of architecture that through a mixture of narrative texts and a vast repertoire of images (collages, photomontages, drawings, storyboards, comic strips, anima-tions), creates allegorical stories to explore the potential of architecture, urbanism and their effect in the environment. The studio focuses on the research, development and presentation of Narrative Architecture not only as representation but as a tool for critical thinking for the theorization and practice of architecture while addressing critical issues affecting the world today. The Studio recognizes that there is no architecture without the stories that originate and occupy it. An architecture without narrative is an architecture without self-awareness and criticism. Narrative Architecture invites to raise critical questions challenging our way of understanding the potential and limitations of architecture.

In order to address narrative architecture, the studio proposes to rethink the history of American architectural modernism from an alternative point of view Three Narrative Architectures The first iteration of Narrative Architectures at the Frank Lloyd Wright School of Architecture consists on a twofold project: identify latent critiques on seminal projects of narrative architecture, and propose a contemporary narrative anchored on the critiques initially observed. During the late 1960’s early 70’s three projects opened what can be called the birth of Narrative Architecture. Archizoom’s No-Stop City and Superstudio’s Il Monumento Continuo (The Continuous Monument) presented a story of modernim’s obsessions, and shortcomings. In No-Stop City ‘The grid’, modernism’s ultimate form of abstract reductionism was transformed in a hyperfunctional plan of office/supermarket/parking garage potentially extending ad-infinitum through the surface of earth. The gridded plan, ironic weapon of mass repetition was turned against the cannon of modernism in order to generate a subversive critique

capable of rethinking the doctrines of the hegemonic ideology of architecture in the 20th century. Like No-Stop City, Superstudio’s proposal consisted of inert monuments that with mirroring gridded facades appeared in post-card form in some of the most iconic sites around the globe. The Continous Monument was radical in its indifference, and like NoStop City, recurred to the vocabulary of modernism in order to target its criticism. The third of the projects, Exodus or the Voluntary Prisoners of Architecture by Rem Koolhaas, Elia Zhenghelis, Madelon Vriesendorp, and Zoe Zenghelis was a critique of critiques. Retaking not only the grammar developed by messianic forms of modernism but by its intellectual detractors as well, Exodus narrated a story about a form of hedonistic architecture capable of seducing people into escaping the city (London) and inhabit a strip of architectural events. Confronted with these tree stories, Three Narrative Architectures considers their latent potential and presents stories that take their critiques to the challenges of architecture and urbanism in the 21st century.

Useless Architecture Richard Quittenton

Bridge City August Lietz

The Conquest of the Irrational Trinal Lindal

Location: Pruitt-Igoe and anywhere where Modernism resides.

Location: Phoenix

Location: Anywhere

The grid, modernism’s ultimate abstracting tool has been accused of carrying the genetic code of failure. Useless Architecture is both, narrative and manifesto for the possibility of living with the failure of the grid. The story depicts a grid takeover, as failure becomes visible, manifested in useless monuments that invade every domain of life as they mutate from background images to the forefront of architectural imagination.

Suburban Sprawl is overturned by architecture as infrastructure. Bridge City takes over Phoenix in a simultaneous process of Hyperurbanisation(the bridge is the city) and de-urbanization, as the urban footprint is reduced to public and farming spaces. Bridge City reclaims the potential of Megastructures (colossal buildings integrating diverse programmatic requirements) to push the limits of contemporary urban phenomena.

Uncontrolled architectural expansion reached a critical point. A mirrored tower stands indifferent to its immediate context, creating conditions radically opposed to its surroundings. The Conquest of the Irrational presents an architecture of extremes, questioning the physical and psychological conditions of human inhabitation, societal living, and the problematic relationship of architecture and the environment.

Useless Architecture reinterprets the critiques initiated by Archizoom’s No Stop City (1969) and their attempts to expose the impasse of modernism as universal planning.

Based on Superstudio’s Il Monumento Continuo (1972), the project rethinks the potential of monumental architectural gestures and their repercussions on the urban imaginaries.

The Wall in Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp and Zoe Zenghelis’ Exodus or the Voluntary Prisoners of Architecture (1972) is removed from the center of London and transformed into the history of a tower of voluntary architectural imprisonment.

WAI Architecture Think Tank

1 The concept of ideology critique applied here is borrowed from Peter Sloterdijk Critique of Cynical Reason (1983). According to Sloterdijk Kynicism, as opposed to modern cynicism (enlightened false consciousness), could be used as a strategy to destabilize the hegemomic powers of the establishment. Kynicism consists often of humor (through satire or irony) that attempts to highlight the impasse of absurd intellectual postures in order to carry out an ideology critique. For more see Peter Sloterdijk, Critique of Cynical Reason, trans. Michael Eldred (Minneapolis: University of Minnesota Press, 1987). 2 “Enlightenment is reminded how easily speaking openly can lead to camps and prisoners. Hegemonic powers cannot be addressed so easily; they do not come voluntarily to the negotiating table with their opponents, whom they would prefer to have behind bars.” (…) “Ideology critique means the polemical continuation of the miscarried dialogue through other means. It declares a war on consciousness, even when it pretends to be so serious and ‘nonpolemical’”. Ibid 3 Thus, we come to our first definition: “Cynicism is enlightened false consciousness.” Ibid.

Narrative Architecture A Manifesto Manifesto There is a form of architecture that aims at not getting built. An architecture on paper that should not be confused with paper architecture. An architecture based on pure statements in which real brick, mortar, and poured concrete are substituted by cut-and- pasted paper and narrative prose. An architecture about the failed and accomplished ambitions of buildings and master plans. An architecture that although focused on the critique of this ambition, is not concerned with just any form of critique. An architecture not preoccupied with the expert’s view in newspapers, nor the common man’s comments on populist design blogs, nor the propaganda centrefolds of glossy magazines. An architecture that talks directly to architecture about architecture. An architecture of disciplinary struggle. This form of architecture focuses on the critique of ideology, after recognizing that ideology – in its multiple incarnations – has infiltrated all spheres of architectural production, including the sphere of criticism itself. An architecture that through narrative texts and a vast repertoire of images (collages, photomontages, drawings, storyboards, comic strips, animations) – creates allegorical stories that aim to expose the impasse and misfires of architecture in theory

and practice. This form of architecture is simultaneously both theory and practice. It is theory as practice; critique as architectural project. This form of architecture is called Narrative Architecture and this is its manifesto. Coup In order to be an effective tool against the seriousness of architectural discourse, Narrative Architecture relies on the subversive power of humor. It paints cheeky portraits that parody through irony and sarcasm the shortcomings of ideology. Narrative Architecture turns disillusion into mockery, disappointment into subversive critique, pessimism into kynical reason.(1) It drills the sharpness of critique into the ossified shell of hegemonic architectural discourse. Narrative Architecture is made out of blown-up impostures. Its components are exaggerated characteristics innate to architecture. Architectural ambition freed from the pragmatic distortions of selective inhibition. Although ostensibly heroic, Narrative Architecture is not utopian. Its colossal monuments, impossible landscapes, and allegoric texts are real depictions mirroring the absurd scenarios imagined by architectural discourse. Narrative Architecture implies the sublime autonomy of

theory. Narrative Architecture is pure theory under a magnifying glass. It is architecture as ‘ endless supermarket’,’ continuous monument’ and ‘voluntary imprisonment’. Narrative Architecture is the product of failed struggles and lost wars. It recognizes its inability to ‘win’ the fight. It feeds from past, present, and future failures. Because it learned that Team 10, Yona Friedman, and even artist-turned-urbanist Constant failed to break from the modernist discourse and the tools of its ideology, Narrative Architecture turns the tools of ideology against themselves. If Modernism used every medium available – publications, architecture, urban plans, even CIAM as a platform to project its ideology – to shoot down the opposition, Narrative Architecture points the ideological guns back at Modernism. When an architectural position tries to consolidate itself as a hegemonic discourse and avoids “coming voluntarily to the table of negotiation” with its opponents, Narrative Architecture provokes “the polemical continuation of the miscarried dialogue through other means”. (2) Narrative Architecture summons the dialectic properties of narrative in order to reestablish the conversation and expose the lies. If architecture promises

a city made of glittering white concrete, Narrative Architecture casts the whole world in cement. If architecture renders buildings behind curtains of dense green foliages, Narrative Architecture depicts a universe contained in a forest of skyscraping trees. If architecture decides to surf the waves of economic and social indifference, Narrative Architecture projects a world washed away by a neoliberal tsunami. Narrative Architecture tackles every form of ‘enlightened false consciousness’ and reveals what lies behind the disguising masks of social impromptu and urban reconstruction; of the intoxicating greenery of certified sustainability and neoliberalist social philanthropy, of the aesthetic fantasies-turned urban oversimplifications of parametricism and other momentary aesthetic trends; of the perverse reductionism of cartoonish diagrams and immaculate renders.(3) Narrative Architecture doesn’t shoot down the banners and slogans of architectural discourse, it reads them aloud against the ideological wind so as to reveal their absurdity. Post Mortem Because ideology presents concepts as their opposite – lies as truth, opportunism as responsibility, self-consciousness as

social consciousness – it has condemned Narrative Architecture to the sterile indifference of the museum wall, to the anesthetizing beauty of the art book. However, Narrative Architecture belongs on the drawing board, on the computer screen, in the architectural discussion. Narrative Architecture belongs to the present, to the schools, to the practices. Narrative Architecture reveals the condition of the zeitgeist, now. If Ideology is doublethink, Narrative Architecture screams “down with Big Brother”. While ideology is watching you, Narrative Architecture watches it back. In a world driven by nonsensical statements, the most absurd of positions then becomes the clearest path. When everything seems to stagnate, Narrative Architecture keeps moving.

Richard Quittenton

Useless Architecture What follows is the story of the Grid. Pruitt-Igoe became useless Pruitt-Igoe was too specific The grid replaces Pruitt-Igoe The grid is generic

The grid becomes a monument to itself The grid betrayes itself

When Pruitt-Igoe became useless, we blew it up.

The grid becomes beautiful. The grid becomes sublime.

The grid is pregnant with possibilities

The grid becomes useless The grid is the only thing left...

We begin to realize how many architectures are useless. We watch the city. The city is being taken over The grid is taking over We put it inside architecture, on top of architecture. The Grid is accepted. The grid is absurd. We discover that underneath everything we use, the grid lies dormant. We acknowledge the morbid, sordid, beauty of the grid.

We admire the grid. We worship the grid.

Bridge City August Lietz

People spent countless hours commuting in cities all around the world. Thousands of precious hours were wasted in a person’s life because their jobs were too far away from where they lived. Most people couldn’t afford to live near their jobs and had to live far away from city centers and spent countless hours stuck in traffic. Accidents caused delays, injuries, and deaths nearly everyday. The people knew that architecture could solve this problem they knew that the time had come. They figured out that Architecture could link a city, like a bridge circulating people quickly around to wherever they needed to go. It was finally built, and was large enough to span an entire city. There was a solution all along, the people rejoiced and moved in. The solution was Bridge City. The Phoenix metro area was a sprawling example of a disconnected city. The city was predicted to grow to 6.3 million inhabitants by 2030. The existing highway infrastructure could not keep up with the population explosion. The cities surrounding Phoenix felt disconnected from each other due to urban sprawl and gridlock. They drove vast distances to cross the city. Instead of feeling stress, people

felt ease of movement. If they wanted to go somewhere, they could connect to a superhighway and be there quickly. Bridge City mobilized people and freed them from the daily grind, it enabled people to be able to do more of what they wanted, quickly and efficiently. Visiting family on the other side became natural and easy. Going downtown was now without problems. The social fabric of the city changed dramatically. Useless redundancies had been eliminated and closed off sections of the city become accessible. The city is not the same. Children now have access to better schools, because their immediate geographic area will not limit them. People are relying less on automobiles, therefore pollution will be decreased. The hospitals are more accessible, any hospital. Everything that is needed is in Bridge City. It’s about connecting people to where they need to go, quickly and efficiently. People spent on average 100 hours per year commuting, which is more than the two weeks of vacation that most companies provide. They woke up. This was no way to live, and such a waste of precious time that could be spent in such a better way!

We have built monumental architecture in the past, such as The Great Wall of China, the Pyramids of Egypt, Roman Coliseum, and Machu Picchu. They were more than capable of building a monumental transportation system again. This was the solution that was demanded from the people. Why has it not existed before? The only logical answer was Bridge City. Everyone moved into the structure, then Bridge City became home. Architecture is one of the few ways that we can realize order. The continuous superhighway is a “single design”, a design that can be transferred from one city to another. It is about an architecture that can transform people’s lives - it is the solution that we have been looking for. The urban fabric of cities will improve and unite. Automobiles do not need to be eliminated, but there is an easier more efficient way to get around. Bridge City was the only logical solution for a sprawling city and arose out of necessity. People were ready for this.

The Conquest of the Irrational Trina Lindal The geography of the city allowed no further expansion horizontally; any development must go up. Rising out of the chaos of the city, the Tower’s façade offered scenes of life within. The lofty rooftop was a park of unimaginable views of the surrounding countryside. All of this was a mirage. The building had been wrapped in mirrors, reflecting its surroundings in order to become seamlessly integrated with them. Looking out, the residents saw images of tranquility and clear skies beyond bountiful crops. Originally built to elevate the occupants above the polluted air of the sprawl below, the Tower could not fully escape the miasma. The rooftop Forest was a lie, wrapped in false imagery and bathed in artificial sunlight. The denizens of the surrounding city saw nothing up there but dirty air conditioning units and bristling antennae. The Tower was a Masterpiece. Nobody wanted to leave, and nobody wanted in, either. Thus, no guards were necessary, and no welcoming centers or training/indoctrinations. The exterior of the building, inside its mirrored façade, was covered in foodcrop gardens. The mirrors, while opaque enough to reflect images of the encircling city, allowed light to enter. The plants also provided a first line of defense against the

polluted air outside, reducing the load on the air purification units.

tops, and the (artificial) sunlight filtering down from above.

The first levels were devoted to life support systems, birth and death. Rather than the frantic ministrations of health officials, efforts were concentrated upon the experience for the patients. Whether the patient was expecting new life or anticipating death, their experience was joyful and triumphant. Those born in the tower would forever be above their origin. Those who died there could easily be disposed of with minimal transport necessary. The dark necessities: control of life, via water, sewer, garbage, and ventilation.

The central Atrium also allowed all of the levels to enjoy views of nature. There was no need to look “out” (those views were false, anyway), as the interior was filled with beauty.

Above that, Thinking. Being close to the source of life and death was believed to be good for deep thought and philosophical discussions that made life meaningful. Here it was cloistered, dark and quiet, a buffer zone between the reality of outside and real life within. Elevated above the Thinkers was the Recreation Area. The center of the building, an open Atrium, terminated here, with extreme adventures of rock climbing and base jumping, ostensibly allowing for soft landings in the Pool. Those that didn’t land softly were in close proximity to the Hospital level. The Atrium, extending to the park-like rooftop Forest, was almost Sylvan in its atmosphere; gentle paths wove around the edges, with tall trees reaching skyward, bridges swaying amongst the tree-

The residents of the building treated it as their home. Each occupant had a small private space to sleep, but all other activities occurred under the open scrutiny of their neighbors. This encouraged everybody to be contributing members of the community (those not feeling like being productive could go down to the Thinking level). As the city outside declined to ruined wastelands, the air eventually cleared. The crops on the Tower’s exterior enjoyed bountiful clean air and sunlight, producing more than the residents needed. The residents no longer remembered why they lived in the tower. Upon exiting their home for the first time in generations, they were exposed to a windswept, hostile environment, overgrown with invasive weeds and overrun by vicious predators. This was enough for them to once again turn their sights inwards, towards endless tranquility within their ivory confines. Nobody wanted to leave, and there was nobody outside TO come in.

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Appendix

1 Installation Picture 2 Richard Quittenton Schizophernic Genealogy of the Grid 3 Richard Quittenton Pruitt-Igoe Useless Grid Model 4 August Lietz Bridge City Model / Installation

5 6

7 5 Trina Lindal Installation 6 Trina Lindal The Conquest of the Irrational Book 7 Trina Lindal The Conquest of the Irrational Installation 8 August Lietz Bridge City, Book