Archinect - News

Project 1984: What About the Possibility of a Kynical Architecture?

2012-08-24T12:11:00-04:00

For an architect, in the instant that he has undivided attention of a patron with the power to realize his designs, literally nothing else matters; not a fire alarm, not even an earthquake; there is nothing else to talk about but architecture.

-Dejan Sudjic, The Edifice Complex

The fully developed ability to say No is also the only valid background for Yes, and only through both does real freedom [begin] to take form.

-Peter Sloterdijk, Critique of Cynical Reason

City
Four towers rise above the city like muscular trunks in a grass field. Their scale obliterates any possible question about the intentionality of their disproportionate size. The exaggerated disparity between them and the urban fabric could not have been accidental. The towers were unquestionably built to be the main focus, the sole object of attention. They are by lengths the most important buildings in the city. The towers deliver an explicit message of datum and order. Visible from any point in the ci...

Drawing Architecture - Conversation with Perry Kulper

2012-08-05T11:50:00-04:00

If “action painting” is produced by the dynamics of dripping, smearing, and sweeping brushstrokes of paint to reveal the complex character of abstract art, then “action drawing” would be something like juxtaposing lines, planes, volumes, typographical elements, photographs, and paper cutouts on a drawing that aims to uncover the intricate universe of architectural ideas.

Each of Perry Kulper’s architectural drawings is a cosmos of information and possibilities that resist the banal and simplistic reductionism so typical of contemporary architectural representation. Series after series, his drawings display objects as background, and background as object in a constant visual journey of an architecture that doesn't settle and always evolves: an architecture of ideas.

WAI Architecture Think Tank discussed with Perry Kulper the concept, intention, and potential of drawing architecture.

WAI: There was a moment in our academic experience in which we became very interested in th...

Discovering Khidekel

2012-07-18T09:46:00-04:00

What About the Last Suprematist?

When one speaks of revolutionary art, two kinds of artistic phenomena are meant: the works whose themes reflect the Revolution, and the works which are not connected with the Revolution in theme, but are thoroughly imbued with it, and are Colored by the new consciousness arising out of the Revolution. -Leon Trotsky

October 1917 opened an architectural Pandora’s Box.
During the Russian revolution, the avant-garde exercises of the Cubo-Futurists, Rayonnists, Suprematists, and Constructivists, paralleled to the unmovable inflexibility of the Stalinist “establishment” to reveal the difference between architecture of the revolution and revolutionary architecture.

While architecture of the revolution responds to the iconoclastic demands of the moment and creates a profusion of icons that portray a specific historical period, revolutionary architecture strives to break with the current paradigms, establishing a new architectural language that detac...

Pure Hardcorism

2012-07-11T19:15:00-04:00

Hard-Core: characterized by or being the purest or most basic form of something. [1]

Manifesto
In the kingdom of architecture the shapes reign supreme. Centuries of the continuous search for a transcendental architecture serve as evidence that a pure shape is the ultimate aesthetic utopia. Hardcorism is the theory of architecture as pure geometric shapes. The first endless architectural manifesto, it announces the advent of an architecture of already known looks. Hardcorism is form as ideology. Ideology as form.

Architects have been searching for the pure shapes ever since they started registering icons on a monumental scale. The pure shapes have become an endless obsession. A Platonic fetish. A recurrent topic. The pure shapes represent the ultimate aspiration of mankind. A direct connection to the gods. Form as temple. Religion as geometry.

Hardcorism is pure form unconcealed. It is blunt, straightforward, explicit, up front. It presents itself as it is, and represents ...

WAIzine 2 Coming Soon (Reserve your copy!)

2012-06-21T13:32:00-04:00

What About It? Part 2 to be released on July 7, 2012

The second issue of the graphic narrative in magazine format by WAI Architecture Think Tank includes essays, Manifestos, Projects, Collages and a series of Conversations with:
Simona Rota (Madrid)
Zhang Ke / standardarchitecture (Beijing)
Bernd Upmeyer / MONU (Rotterdam)
Perry Kulper (Michigan)

To order a printed copy (numbered limited edition of 100) of the WAIzine part 2 please email your order contact@wai-architecture.com (Subject: waizine) and you will receive a reply with the shipping details and an invoice through PayPal. If bank transfer is preferred please let us know.

WAIzine part 2 Information
What About It? Part 1
Soft cover, 100 pages , Black / White, Colour
Dimmensions: 205mm by 275mm
Publisher: WAI Architecture Think Tank Publishers
Language: English

For pricing and more information go to: www.wai-architecture.com

and www.waithinktank.com

Megastructures are the Shopping Malls of the Avant-Garde

2012-03-27T12:51:00-04:00

What About ideal cities, and counter revolutionary master plans?

Avant-Garde
The avant-garde is a paradoxical state. In order to exist, it relies on its incongruous condition of being both fundamentally contemporary and ahead of its time. A conceptual palimpsest, the avant-garde requires writing its history over its own past keeping a vulnerable balance between present problems, and possible future solutions. All about contextualizing the perfect timing, what happens when the avant-garde goes out of sync; when its solutions are overlooked for being too premature, or ridiculed for being delayed?

In the past century alone, the avant-garde was victim of two untimely appearances. In the first one, its proposals arrived too early; the world was taken aback by the boldness of its ambitions, by the audacity of its delirium. In the second coming, the avant-garde was too late. Here its stratagems were on a futile mission of inventing a program that already existed.

These consecutive...

The Shapes of Hardcore Architecture

2012-03-16T11:02:00-04:00

hard–core

adj \-ˈkȯr\

1: a : of, relating to, or being part of a hard core
2: of pornography : containing explicit descriptions of sex acts or scenes of actual sex acts
3: characterized by or being the purest or most basic form of something

Modernism

Modern Architecture was a fashion statement. Coated with an ideology of social impromptu and urban reconstruction, it seems undeniable and remarkable that the dominant gene of the Modern Movement’s DNA was its aesthetics.

Everything, from the “hygienic” appearance of its white villas, to its revolutionary materials—glass, steel and concrete, to its grid-restricted urban plans and its desolated tree-less plazas, was a trend; a stylistic straightjacket fiercely defended through an almost endless list of manifestoes and catalogues that prophesied how the modernist Zeitgeist should be portrayed.

Modernism’s plan was to become alchemistic through fashion; it was trying to transform positivism, rationalism, and Cartesianism i...

Alien, Immigrant, Refugee: The Architecture of Hospitality

2012-01-30T18:52:00-05:00

Passage across a border wrenches us from a space of citizenship — where our individual being is cloaked in layers of legal protection — to a space where we experience at once freedom and nothingness. As architects and planners, we lack the language for describing this shift in the perception and socio-political dimension of place; for distinguishing between the place of the citizen and the place of the stranger within the space of the state.

In an essay on Places titled "Hospitality Begins at Home," architect and Pratt Institute professor Deborah Gans explores the spatial and political dimensions of being a stranger, particularly an immigrant or refugee. She reviews Maya Zack's Living Room exhibition at the Jewish Museum in New York and the In-House Festival at the Jerusalem Season of Culture.