OPTIMISTIC ARCHITECTURE
WILL PRIESTLEY
214501
OPTIMISTIC ARCHITECTURE
Optimistic Architecture - An Architectural Manifesto Will Priestley 214501 21st Century Architecture Tutor: Renee Miller-Yeoman
Cover Image: Bug Dome by WEAK! Architecture, sourced www.archello.com 19/11/14
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INTRODUCTION The advent of the Anthropocene era has resulted in a fundamental shift in the way we perceive architecture. Only recently have we started to view our urban environment as a human-engineered geology, one formed by a dizzying array of external forces beyond deliberate acts of ‘architecture’. We have passed the Urban Tipping Point. More than half the world’s population now live in urban areas. The Anthropocene era raises the possibility that the architect’s role may now no longer be the creation of new buildings so much as the creation of new spaces through the manipulation of the existing fabric. The traditional notion of the architect as the creator of buildings, of design occurring ‘from scratch’ is outdated and architects globally face a ‘crisis of relevance’.1
This heroism is not proposed in the same vein as the conventional Modernist trope, those sweeping city plans of Le Corbusier’s La Villa Radieuse or Tony Garnier’s Une Cite Industrielle where heroic vision of a better future for human life was ultimately aligned with a sterilised, purist reductionism severely disconnected from the human end user.2 Instead this is an architecture of human optimism and nuance rather than human ideal and homogeneity. It is an architecture formed through genuine community engagement, deeply bedded in the imperfect context of the urban fabric, thriving off a dialogue with issues of inequality across social, political, cultural and environmental concerns. This is an architecture of Optimism.
This is not something to be lamented but embraced. This crisis allows architecture to reconsider its aims and its relationship once more to society, to culture, to politics and the environment. This publication seeks the return of an architecture of heroism. An architecture infused with a humanist optimism.
1 Hyde, Rory., “Future Practice: Conversation from the Edge of Architecture”, 2012, pg.4 2 Venturi, R., “Complexity and Contradiction in Architecture”, 1966, pg. 43,
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I. OPTIMISTIC ARCHITECTURE This architecture of Optimism is emergent. It is a narrative that exists within the larger tableau of global forces that shape our built environment. Where some architects such as Kenneth Frampton and Stan Allen note with concern the diminishing influence of architects on an urban landscape formed by the inexorable forces of globalised economies, overseas investment patterns and socio-political inequalities3, the work of some architects display a critical comfort with their less-than-almighty influence on the built environment. Their projects are small, but often highly critical and interrogative of the nature of our built environment. Designed for a meaningful, thought-provoking and beneficial effect, they display a maturity about architecture’s contemporary position in society. Where Frampton and Allen discuss the influence of the architect on the urban environment in a quantitative manner, indicating an implicit assumption linking visual dominance of architectural form with positive architectural influence, optimistic architecture embraces a more qualitative stance, embracing heroic aspirations for social, cultural and political betterment without the need for a didactic sub-narrative of heroic form.
This publication sets out to articulate a distinct design strategy and guiding set of process principles for Optimistic Architecture. This is achieved through the identification of projects from across the world which display the qualities of Optimistic Architecture and a discussion of their significance to articulating what principles underlie the design process of Optimistic Architecture. These projects cover permanent and temporary structures, theoretical and physical interventions. They portray a growing and robust undercurrent to contemporary architecture that can be separated from the mileu by its restlessness and impatience with the existing condition. It is an architecture that is an instigator of change rather than a manifestation of existing power relationships. It is not Modernist notion of change as driven by the fruits of technology but an instigator driven by a primary concern for the lived experience of architecture. Ultimately, an architecture hopeful of a better world for those that inhabit it.
3 Frampton in Allen, S., “Landform Building”, 2010, pg.254
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II. ARCHITECTURE AND THE CRISIS OF RELEVANCE Optimistic architecture posits that the time of the architect as supreme designer is long extinct, however the prominence of human betterment and social improvement that pervaded much Modernist thought, despite other shortcomings, remain forever relevant to architecture. It is these fundamental notions that should underpin all architectural acts and posit an answer to the unresolved restlessness about the position of architecture in society despite the intense discourse that has followed the passing of Modernism. Josep Sert remarked in his 1960 book Antoni Gaudi, “A divertimento mood seems to be lacking in architecture today. The majority of buildings we see around us are a result of careful and factual analysis.”4 The skyscrapers, shopping malls, highways, slums and industrial business parks of our megacities are, and will continue to be, less symbols of architectural innovation and progress than the physical manifestation of global forces. The traditional identity of architect as ‘master builder’ is null when the palimpsest-like nature of the city defies authorship.
One can take Martin Pawley’s grim 1990 view in Theory and Design in the Second Machine Age, depicting ‘architecture’ as being “stretched thinner and thinner over a skeleton of serviced floor space.” This observation would support Hans Ibeling’s 1998 essay ‘Supermodernism’ which articulates the growing prominence of an abstract neutralized architecture, a neo-International Style on the wings of globalization. The architecture described by both Pawley and Ibeling’s is distinctly passive in nature. It is more a product borne of the forces of globalization than of an active response to the contextual intricacies of its urban environment. Somewhere amidst the writing and theorizing a driving force behind architecture that retains the fundamental importance of human betterment has been lost. Out of the theoretical debris of Post-Modernism, Optimistic Architecture proposes an emphasis on social betterment and interrogation of our existing condition, free of a traditional formalistic yoke. 4 Sert, J., “Antoni Gaudi”, 1960, pg.173 5 Pawley, M., “Theory and Design in the Second Machine Age”, 1990, pg. 141
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III. A WAY OUT - UNSOLICITED ARCHITECTURE
Artgineering’s NH370 Highway Party sourced http://www.artgineering.nl
This dialogue has already begun in two particularly recent discourses. First is the emergence of ‘Unsolicited Architecture’, first mentioned in Ole Bouman’s design studio of the same name at MIT in 2007, posits a critique of the agency of the architect. Illegal architectural interventions, subversive marking of the landscape and the interposition of the virtual into the real demonstrate the ability of the architect to go beyond his contemporary relegation to a consultant. Unsolicited Architecture can turn architects into activists. Since then other individual and practices have continued the querying of conventional architectural practice. DUS and Studio for Unsolicited Architecture’s ‘Rotterdam Project’, Archineering’s NH370 Highway Party, the offical and Australian bootleg editions of Volume Magazine #14 all highlight a restlessness, an insubordination within the architectural discipline, to be break from its tired mold. Rory Hyde’s recent book ‘Future Practice’ is a consolidation of this discourse into propositions of the future of design.
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IV. A WAY OUT - URBAN ACUPUNCTURE Urban Acupuncture, coined by the architect Marco Casogrande has become the buzzword to emerge from the urban design success story of Medellin, Columbia and be exported to the cities of the world. Treating the urban environment like a human body, urban acupuncture seeks to instigate change through small-scale interventions, usually in conjunction with the community to maximize the effect and start reversing detrimental urban conditions. It is an urban design strategy that as well seeks to combat the indifference of global forces in urban environments through calculated and considered interventions.
Islands Brygge, JDS Architects and Bjarke Ingels Group, 2003 sourved www.dac.dk
One example of planned urban acupuncture is the harbour of Copenhagen. The harbour was a purely functional environment, polluted and unused by Copenhagen residents. With consultation with the community and the port authority the water was cleaned up, industry relocated and a number of projects completed along, and in, the water, most notably, Islands Brygge, offshore baths which effectively reversed the urban conditions of Copenhagen’s waterfront.
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V. AN EMERGENT ANSWER - OPTIMISTIC ARCHITECTURE These approaches are promising, however Optimistic Architecture seeks to synthesise many of the themes of these two discourses into a stronger architectural narrative. There is a distinct environmentalist quality to urban acupuncture. There is the dichotomy of city and nature occurring in its portrayal. Escape from the city to nature. Its emphasis on close collaboration with local communities and contexts are “all used to surgically and selectively intervene on the nodes that have the biggest potential to regenerate.”6 Urban acupuncture is a methodology that accepts the existing condition seeking for betterment in “an era of constrained budgets and limited resources, could democratically and cheaply offer a respite to urban dwellers.”7 In this regard, uncritical support for urban acupuncture is an unwitting retreat from attention on inequalities. An acceptance, rather than a revealing of the woefully small budgets provided to address large, endemic urban issues in a city. Unsolicited Architecture draws its power from its insinuated illegality, unauthorized discourse and ability to reveal and expose the inadequacies or inequalities in the existing urban fabric. Its position is by its very nature, counter
to the prevailing architectural discourse of the time. As a result, it is problematic to construct a coherent discourse out of unsolicited architecture from which a design process to which more conventional architecture can align without inherently undermining the notion of unsolicited architecture. Optimistic Architecture takes the aggressively pro-active and interrogative qualities of unsolicited architecture and marries them to the humanist goals of urban acupuncture and its emphasis on community engagement. The following outlines the five key characteristics that define Optimistic Architecture.
6 Casagrande, M., ‘Third Generation City’, Marco Casagrande_TEXT - casagrandetext.blogspot.com.au 7 Ibid, et al
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I. OPTIMISTIC ARCHITECTURE APPEARS TO OCCUR IN TWO TYPOLOGIES. THE FIRST IS THROUGH AGGRESSIVE PRO-ACTIVITY, SOMETIMES ILLEGAL, OPERATING OUTSIDE TRADITIONAL AVENUES
WEAK! Architecture - COCOON, Taipei images sourced - www.weburbanist.com
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WEAK! Architecture is comprised of a loose affiliation of architects, including Marco Casogrande a principal proponent of urban acupuncture. ‘Illegal Cities’ is a series of interventions undertaken by the group across the cityscape of Taipei that ties into the myriad of informal/illegal activities that occur as an overlay to the ‘formal’ city. Installations are citizen-activated and occupied, resulting in illegal urban farms, night markets and immigrant worker break areas.
Illegal Cities challenges the seemingly inexorable homogeneity of the mega-city. Informal and temporary spaces were a legitimate part of Taipei’s urban landscape prior to its rapid modernization. Now they are viewed as illegal intrusions into the ‘legitimate’ landscape of skyscrapers. It defies the ‘legitimate’ and questions the narrow perspective of what is considered ‘official’ parts of the urban landcsape and demonstrates the ability for interventions of small-scale to reveal or speak to large socio-cultural narratives. They demonstrate the ability for Optimistic Architecture to act in a tangible and visible fashion whilst embedded within an urban environment being largely shaped by global forces.
WEAK! Architecture - Illegal Cities, Taipei images (inc. overleaf) - www.archello.com & www.architizer.com
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‘Skip Projects’ by Recetas Urbanas responds to immediately contextual community needs through the appropriation of mundane municipal resources. A direct transmutation of form and function to meet immediate needs. Through municipal by-laws waste skips can be hired to an address for a minimal fee. Upon arrival, the skips are converted by the firm to play equipment with design strictly conforming to the use regulations. When inevitably confronted by police for ‘misuse’, the proper papers were presented and referred to the muncipality. The planners having to admit that, upon inspection, the proper protocols had been followed by the firm in the conduct of their use of the skips.
Recetas Urbanas demonstrates the power available through transmutation of the mundane. It opens up a vocabulary of improvisation to Optimistic Architecture not unlike Scalbert’s bricoleur. There is an ethos of working with the existing condition and twisting it to reveal something previously invisible. The play skips are both functional objects addressing a need as well as symbols of protest. The skip projects cannot hope to deal with the wider lack of adequate recreational facilities across Santiago more broadly, however there simplistic and limited function effectively allude to this larger problem. The subversion of regulations to create an unintended urban effect, that of play equipment rather than a rubbish bin, demonstrates the agency of architecture to pursue social agendas outside its conventional avenues ‘legitimised’ more by building codes and guidelines. Recetas Urbanas - Skip Projects, Santiago images - www.laboritorioq.com & www.kunstplatform.biz
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Recetas Urbanas - Skip Projects, Santiago images - www.recetasurbanas.net
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II. A SECOND TYPOLOGY OF OPTIMISTIC ARCHITECTURE IS ONE WHERE COLLABORATIVE ENGAGEMENT WITH LOCAL COMMUNITY USURPS THE TRADITIONAL NOTIONS OF ‘CLIENT’. “To be concerned about the way people live; about the environment they inhabit and the kind of community that is created by that environment should surely be one of the prime requirements of a really good architect.” HRH The Prince of Wales at the 150th anniversary of the Royal Institute of British Architects (RIBA), Royal Gala Evening, Hampton Court Palace, 30th May 1984 Candy Chang - I Wish this Was, New Orelans, Images (inc. overleaf) www.sustainableideas.it
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Candy Chang’s ‘I Wish this Was’ superimposes the desires, aspirations and musings of the community onto the derelict areas of New Orleans post-Hurricane Katrina. In an unusual but poignant fashion, Candy Chang’s stickers on hoardings collect a kaleidoscope of sentiments that speak to deeper levels of community engagement than the conventional ‘town-hall meeting’. Through this method she draws out themes of optimism immediately adjacent to those utter disenchantment and humour. Chang’s project is important because it acknowledges the impact of architecture on a far wider audience than simply the traditional ‘client’. It circumvents conventional mediated forms of communication with the ‘community’ in favour of direct, unfiltered feedback. It also rejects notions of a singular, objective, idea of ‘good’ architecture seeking to promote diversity and optimism through its invitation to ‘wish’. By doing so, Chang’s intervention draws out powerful responses in participants that reveal issues beyond the functional or formal qualities of architecture. Responses such as ‘I wish this was: Repaired’ and ‘I wish this was: owned by someone who cared’ reveal larger narratives of social disenfranchisement and community fragmentation. 15
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Camila Bustamante – Lima, Peru Lima 2427. Lima commenced construction on a comprehensive above-grade train network across the city in the late 1980’s, with seven stations constructed and 32 trains available, it remained unused and partially constructed above the city for more than 20 years due to corruption and poor demand forecasts. Camila Bustamante began a fictitous campaign for the completion of the line, placing ‘official’ stickers at the places of future stations with their expected completion dates at the present pace of ‘construction’. The main flyer derisively proposed the completion of the network by 2427. The campaign was successful in reigniting public debate and ultimately resulted in the project being recommenced in 2010 and Camila leaving Peru to avoid threats to her life.
Camila Bustamante - Lima 2427 Images - www.participape.wordpress
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Bustamante’s campaign demonstrates the ability for aspirational activism to result in physical results. It challenges the omnipotence of impersonal ‘global forces’ being the dominant shaping force on our contemporary cities and demonstrates the ability for a highly personal impact upon the city to be successful.
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ect, but the social and political atmosphere that has tacitly allowed its failure. Bustamante’s work asks ‘are you happy for this to fail?’ It demonstrates an ability for architects to engage in unsolicited activity within the urban environment, beyond the conventional notion of a discrete project.
This project raises the possibility for optimistic architecture to move beyond a focus on the construction of the new and expand to include interrogating and questioning the existing. The incomplete structure of the train line, despite being physicall immense, was ‘invisible’ in Lima’s urban environment prior to Bustamante’s interventions. They were monuments to an atmosphere of political lack of will and public resignationt to the shortcomings of the existing urban condition. Bustamante’s actions successfully made these urban ‘relics’ visible once more and questioned the public and political acceptance of its failure. The hyperbolic tone of the campaign, exaggerating the end dates for the project, throws the inadequacies of an urban system into stark light. It is a direct critique not only of the architectural projImage previous page - Camila Bustamante - Lima 2427, commons.wikipedia.org. 19
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III. OPTIMISTIC ARCHITECTURE RESPONDS TO INEQUALITY AND THE INVISIBLE
“Here, then, is what I wanted to tell you of my architecture. I created it with courage and idealism, but also with an awareness of the fact that what is important is life, friends and attempting to make this unjust world a better place in which to live.” The Curves of Time: The Memoirs of Oscar Niemeyer (2000), p. 176.
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1to1 Slovo Park Project – Hall 2010 & 2012 1to1 Agency of Engagement is a non-for-profit South African architectural firm who have made a conscious decision to address post-apartheid inequalities. Slovo, an informal settlement south of Soweto has been awaiting the implementation of services to formalise the area for the past twenty years. Combatting issues of stigma, the commnunity formed Slovo Park Community Development Forum engaged 1to1 and constructed a community centre in 2010 and an extension later in 2012. The hall has provided a symbol of the unity that Slovo Park represents, a symbol to government bodies that often regard informal settlement communities as ungovernable criminals.” Optimistic Architecture remembers the real reason for building. Human betterment. Aesthetic and formalistic concerns are secondary to a principle driver to provide for social, empowerment. To this extent, optimistic architecture displays a form of ‘functionalism’, one that encompasses more than a physical serviceability however. For a humans needs are emotional as well as practical. Self-esteem, sense of worth and identification to community are all important social functions of a human being. As a result, optimistic architecture is often pragmatic but innovatively delightful. Images - 1:1 Architects, Slovo Park Project, Soweto - www.archdaily. com & III - PRINCIPLES OF OPTIMIST ARCHITECTURE
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Images - 1:1 Architects, Slovo Park Project, Soweto - www.liveprojectsnetwork.org 21
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IV. OPTIMISTIC ARCHITECTURE HAS A TENDENCY TO INTERROGATE AND CRITIQUE THE UNDERLYING FORCES THAT SHAPE OUR CITIES.
Harmen de Hoop, ‘Basketball Courts, www.harmendehoop.com
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Harmen de Hoop’s ‘Basketball Courts’ targets often dysfunctional and dilapidated urban space and seeks to juxtapose these ‘failed’ spaces with the optimism of play. Lines for basketball courts are painted onto the ground, often intersecting awkwardly with their surrounding context. The instantly recognisable language of these lines raises the power of territory and suggestion in the city. This has been further reinforced by several examples where local councils have installed basketball hoops at these locations, despite the work being undertaken without any approval.
Harmen de Hoop, ‘Basketball Courts, www.harmendehoop.com
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Hoop’s fascination in constructed ‘dead’ spaces within the city is important to the principle of Optimistic Architecture. Hoop’s projects are important because they see these ignored spaces as failures of our present urban system and methods of ‘development’. They refuse the assumptions related to the way cities develop and the environments that are created. Hoop’s projects ask questions of our present urban enviroment. ‘Basketball Courts’ poses the question - ‘Why does the space beneath a highway on-ramp have to be moribund and desolate?’ These questions are an important part of Optimistic Architecture because they refuse to accept inequalities in the ‘legitimate’ urban environment as an unavoidable by-product of development. There is a driving impetus for improvement of the human constructed environment. Furthermore, it talks about the reappropriation of space by willful human activity. The urban environment is oft constructed for a scale beyond that of the human scale. Infrastructure is often for the benefit of urban freight networks, projected population growth and migrant patterns. These interventions bring the disparity between these scales into view. Harmen de Hoop, ‘Basketball Courts, www.harmendehoop.com
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V. OPTIMISITC ARCHITECTURE IS INTRINSICALLY PROPOSITIONAL. IT ENGAGES IN LARGER ISSUES PRESENT IN THE BROADER URBAN CONTEXT. IT RARELY SOLVES BUT OFTEN REVEALS AND MAKES VISIBLE.
Troll House, Author, 2012
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Troll House, 2012, Author The Troll House project interrogates the presence of ‘dead’ space amidst the urban fabric of Melbourne, one of Australia’s most propserous cities. Seeking to interrogate this juxtaposition of vacancy and prosperity it focusses on the presence of megastructures and their impact on the urban fabric. Looking at Melbourne’s Citylink Overpass near Kensington and the juxtaposition of it’s occupation of the space in plan but its vacation of the ground plane, leaving both a physical as well as social void in the urban fabric. A site that is neither in Kensington nor Flemington. Troll House looks at alternative methods of accommodation and posits whether our interaction with mega-infrastructure can go beyond their functional existence.
Image (previous page)TPROJECTion, Author, 2013
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PROJECTion engages with small vacant sites within Melbourne’s inner suburbs. Riffing from the street artist’s ability to use the urban environment as a canvas for the display, and more importantly, the development of artistic expression, PROJECTion looks to utilise the physical urban environment, not just as a site for the finished architectural product, but also for the formulation and developmental processes. Fictional, unsolicited architectural projects for the site are designed and either stencilled or projected onto the large brick party walls that often bound inner city suburban sites in Melbourne. The result is a propositional invitation to the owner of the land, an encouragement of the creative possibility inherent to a vacant site and a juxtaposition to the economic circumstances that have for some reason left the block vacant in the first place. III - PRINCIPLES OF OPTIMIST ARCHITECTURE
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CONCLUSION A number of narratives are drawn forth strongly from the case studies described and discussed in the previous pages. Practitioners of Optimistic Architecture often establish a dialogue about making visible previously invisible narratives at work within the urban environment. Often these invisible narratives are symptomatic of perceived ‘failures’ or shortcomings of the existing forces that shape the city. Optimistic architecture is utilised as a means of activism to instigate the discussion of these failures and attempt to start the process of solving them for the betterment of human society. These projects also indicate that where the architectural scale of Optimistic Architecture may often be small, their scope in terms of the architectural narratives they engage in are heroic. These projects have looked at disenfranchisement in New Orleans, resignation to corruption in Lima and the erasure of traditional informal space use in Taipei. They engage in a critical assessment of power structures that harks back to the agendas of social change of Modernism.
In engaging with these agendas, Optimistic Architecture retains a focus on the local context of architecture’s impact and reception to the local community. It eschews traditional avenues of ‘consultation’ as tokenistic and diluted in favour of direct engagement and a design process where the architect is an enabler of the community rather than prescribing a solution from a position of design ‘expertise’. Often Optimistic Architecture leaves the final steps of realization to the public themselves, as in the case of WEAK!’s ‘Illegal Cities’ and Bustamante’s ‘Lima 2427’ where the interventions are effectively ‘left’ to gradually gain traction in the urban environment and community conscience. Optimistic Architecture demonstrates an ability to engage with the perceived ‘failures’ of the existing urban system without demanding it’s erasure based on broad sweeping ideologies. In doing so, it provides a ground on which architecture can be used as an agent of change and social betterment without the need for large programmatic commissions. It reasserts an architect’s place in the mileu of forces that shape our cities, not as its grand deviser but as its critical activist, bringing inequalities and injustices to light and seeking their correction through the urban fabric. 29
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BIBLIOGRAPHY
Allen, Stan et al, “Landform Building”, Lars Muller Publishers, 2010 Archis Foundation, Volume Magazine (AIA Conference bootleg edition), 2010 Arjen Oosterman et al (eds.), Volume#14: Unsolicited Architecture, Jan 2008 Banham, R., “Theory and Design in the First Machine Age”, MIT Press, 1960 Casagrande, Marco, “Third Generation City” on Marco Casagrande_Text (blog) – casagrandetext.blogspot.com Greenhalgh, P., “The Modern Ideal: The Rise and Collapse of Idealism in the Visual Arts from the Enlightenment to Postmodernism”, London: V&A Publications, 2010 HRH The Prince of Wales, “A Speech” presented at the 150th anniversary of the Royal Institute of British Architects (RIBA), Royal Gala Evening, Hampton Court Palace, 30th May 1984 Hyde, Rory, “Future Practice: Conversation from the Edge of Architecture, Routledge, 2012 Ibelings, Hans., “Supermodernism: Architecture in the Age of Globalization”, NAi Publishers, 1998 Johnson, Paul-Alan (ed.), “The Theory of Architecture: Concepts Themes & Practices”, John Wiley & Sons, 1994/ Niemeyer, O., “The Curves of Time: The Memoirs of Oscar Niemeyer”, Phaidon (2000). Pawley, Michael, “Theory and Design in the Second Machine Age”, Oxford, 1990
Quirk, Vanessa, “Spotlight South Africa: Three Designs Instilling Dignity & Defeating Stigma”, posted June 6 2014 on www.archdaily.com, accessed 6 October 2014 Scalbert, Irénée, “Architect as Bricoleur.” In Candide. Journal for Architectural Knowledge No. 04 (07/2011), pp. 69-88. Sert, J., “Antoni Gaudi”, Praeger, 1960 Turpine, Ettiene (ed.), “Architecture in the Anthropocene”, University of Michigan Press, 2013 Venturi, Robert et al., “Complexity and Contradiction in Architecture, Museum of Modern Art, New York,1966 Image sources as cited in text.
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