La Architectural Association de Londres invita a participar del Simposio “From Academia to Praxis ” que se llevará a cabo el próximo 11 de Octubre y que se organiza conjuntamente con el Departamento de Arquitectura de la Universidad Iberoamericana.
El Simposio consistirá en una serie de conferencias y una mesa redonda por parte de ex alumnos, profesores y el Director de la AA. Pretende ser una ventana al trabajo y a las metodologías de diseño que se desarrollan en la AA así como su aplicación en la práctica profesional y en la educación arquitectónica.
Ecosophical Apparatus and Skizoïd Machines
Machines are always pretending to do more than they were programmed to do. It’s their nature. The blur between what they are supposed to do, as perfect alienated and domesticated creatures, and the anthropomorphic psychology we intentionally project on to them, creates a spectrum of potentiality, both interpretative and productive.
Machines are a vector of narration, generators of rumour and directly operational, with an accurate efficiency of production. These multiple disorders could be considered a tool for reopening processes and subjectivities, for re’protocolising’ indeterminacy and uncertainties. In this way, they become agents of blur logic, of reactive and re-programmable logic.
R&Sie(n) was founded in 1989 by François Roche and Stéphanie Lavaux. Their architectural work is simultaneously organic, biological and critical. It seeks to articulate the real and/or fictional, geographic situations and narrative structures that can transform them.
Among the recent teaching positions held by R&Sie(n) and François Roche over the last decade are the Angewangde in Vienna in 2008, the USC-LA in 2009 and currently Columbia (research professor), since 2006.Their architectural designs have been shown internationally, and their work has been selected frequently for exhibition at both the French pavilion and the international section at the Venice Architecture Biennales since 1990, most recently in 2008.
The writer of this article had lunch with Hadid at the Mercer in New York’s SoHo. Hadid’s sandwich came with wavy waffle potato chips, and Hadid examined one before putting it in her mouth.
The twisty geometry of an ordinary potato chip, to say nothing of the curves in modern cars and phones, is a reminder of how few buildings look as if they belong to the digital world. Hadid is devoted to helping architecture catch up. Walls are never quite vertical, floors rarely remain flat for long and the twain meet not in ninety-degree angles but, rather, in the kind of curves one finds in skateboard parks. Hadid’s largest completed building to date, the National Museum of the XXI Century Arts, or MAXXI, in Rome, opened in November. For an architect so celebrated, Hadid’s output is relatively small.
She has completed thirteen structures: these include the Vitra Fire Station, in Weil am Rhein (1992); a train station in Strasbourg (2001); a ski jump in Innsbruck, with an attached restaurant (2002); the Lois and Richard Rosenthal Center for Contemporary Art, in Cincinnati (2003); the Phaeno Science Center, in Wolfsburg, Germany (2005); the BMW Plant Central Building, in Leipzig (2005); and MAXXI, in Rome (2009). There is no single Hadid style, although one can detect a watermark in her buildings’ futuristic smoothness. She has forty-five architectural projects under way. The global recession seems barely to have affected her office, which is in London.
Hadid was born into a wealthy family in Baghdad, in 1950, and she grew up at a time when Iraq’s capital was a secular, cosmopolitan, progressive city. Tells about her childhood there and her education in England and Switzerland. She attended the American University in Beirut and the Architectural Association School of Architecture in London. Discusses being taught by Rem Koolhaas during her student years and her interest in the Russian avant-garde, in particular the ideas of Kazimir Malevich. In her final year at the A.A., Hadid won the Diploma Prize for her portfolio, which included “Malevich’s Tektonik,” a fourteen-story hotel that stretches over London’s Hungerford Bridge.
Then the writer attends the Frieze Art Fair with Hadid. He describes Hadid’s first completed building, the Vitra Fire Station and tells about the controversy around her plan for the Cardiff Bay Opera House in Wales, which was ultimately scrapped. Discusses how developments in computer modeling have facilitated Hadid’s designs. He also tells about the Phaeno Science Center and the BMW plant building. Then he attends the official opening of the ‘MAXXI’. At a dinner in Hadid’s honor, the writer asks the contractor what it had been like to work on the MAXXI. “Very dee-fee-cult,” he answered.
Read the full article: http://www.newyorker.com/reporting/2009/12/21/091221fa_fact_seabrook#ixzz0aRT4CeRt