Jacques vs. Winy (+ Ricky)

       
Jacques Herzog, Winy Maas, and Richard Burdett’s dialogue at the Swissbau fair in Basel last Saturday was both thought-provoking and entertaining. The event, titled “Small Cities, Big Buildings,” started with each of them giving a presentation, and then it got funnier and funnier in the roundtable discussion. Jacques and Winy really did what they were supposed to do – fight. Ricky tried to mediate but he eventually realized that there was not much he could do, and he was right.

Big thinking

If there were one common message from the three individual talks, it would be: good cities, big or small, and good buildings, big or small, all require big thinking. Ricky Burdett kicked off his presentation by saying “I don’t know much about small cities, so I am going to talk about London.” He used London Olympic Park as an example of how building a piece of the city through design could help rebalancing the city and stitching back neglected and fragmented neighborhoods.

The siting of London Olympic Park is to rebalance the east-west sides of the city.

KCAP’s London Olympic Legacy Master Plan Framework

Winy Maas showed several ways of tackling the problem of big vs. small: cutting (Berlin Cumberland Palace), splitting (Oslo DnB NOR), porosity, making small building bigger with big effects (Spijkenisse Library), making big city smaller through intensification (Grand Paris), etc. Didden Village, for example, is a small roof expansion. But its success made the city of Rotterdam rethink and change their urban regulations.

MVRDV, Cumberland Palace, Berlin

MVRDV, Didden Village, Rotterdam

Jacques Herzog was really playing the local card in his presentation. He began by the claim that “Basel is a small Swiss city, but it’s on its way towards a tri-national metropolitan.” HdM is currently involved in several big buildings in Basel – a scale that many Swiss are still not comfortable with. In these projects, there are always concerns about the city and ways of engagement in the smaller scale. The Novartis building, for instance, doubles the height limit to provide an iconic corner presence of the campus on the Rhine riverside. At the same time, it reactivates the waterfront promenade with a public restaurant and cafe. The addition to the Messe is another big one. I have to say, I was quite surprised to see the end of Clarastrasse completely blocked by the massive new construction. But the hole, which takes the shape of the round inner courtyard of Hall 2, really creates a new public locale within the vast plaza. I can totally see people talking on their phone, “I am right under the hole. Let’s meet here.”

HdM, Novartis building, Basel

HdM, Messe Basel, Basel

“European Paradigm”

Winy Maas claimed that “small city” is fundamentally a European paradigm. It’s all about small scale and “cuteness.” And the one country that has the most acute “small cities syndrome” is Switzerland, where there are many cute little villages. In his study of the “spatial future” of Switzerland, he proposed to densify around Lake Zurich to create a so-called “Super-Zurich” with a huge gridded array of towers. It looks like a big lipstick mark on the map. Winy said, “This is my biggest kiss to Switzerland.”

MVRDV, “Spatial Future of Switzerland” study

MVRDV, “Super-Zurich”

I thought this was really just a grandstand flubdub for a good laugh, even it could still be a compelling hypothetical statement. As Jacques said during the discussion, “This is the most stupid thing I saw today.” To my surprise, Winy tried to defend it as a real serious project. Jacques flipped, “It destroys everything that makes Switzerland Swiss!” “The conservative parties in Switzerland are still extremely anti-urban. We need to educate them by illustrating how things could work in cities. But it’s still not right to touch some ‘holy sites,’ like the lakes and the mountains.” He continued, “I believe in specificity. Places are different and it’s good like that and we should maintain it. Talking about difference is talking about the future.” Now Ricky jumped in, “Yes, I think how to calibrate the difference is key.”

Winy also presented “New Basel” in his talk – a master plan he won in Basel to turn a post-industrial site in the Klybeck area into an island with funny-looking towers. Local newspaper said it would be the Manhattan in Basel. Winy admitted that it’s nothing like Manhattan. “The cuteness of it just makes things look like a scale mistake.” In Jacques’s presentation, he showed an urban study of Basel that HdM did with Rémy Zaugg in the early 1990s. One image indicated towers on the exact same industrial site. He didn’t say it out loud, but it was clear that it meant “Hey dude, I had this idea 20 years ago!”

MVRDV, “New Basel,” Basel

MVRDV, “New Basel,” Basel

Image from “Eine Stadt im Werden?” urban study by HdM + Rémy Zaugg

Rigorous, careful, and modest

Jacques said, “We should be careful and modest to cities, although by nature I am not a modest person.” “The more I work on the urban scale, the more I feel it’s important to be rigorous. It’s not rigid in the Lampugnani way. But the city is not a battlefield for everybody to do their own freaky things.” Tate Modern is about enhancing the existing conditions and continuing the potentials. The Basel urban study and the Dreispitz area study are also about discovering possibilities of the city based on extensive research and design considerations.

Vittorio Magnago Lampugnani, Novartis Campus Master Plan 

HdM + Rémy Zaugg, “Eine Stadt im Werden?” urban study, Basel

HdM, Dreispitz area urban study: three distinct fields based on existing potentials.

City planning and democracy

Another interesting point brought up by Jacques was that most good cities, like Paris, London, Berlin, and even Amsterdam, were not made in a democratic regime. He called Paris the most beautiful city in the world. And its beauty lies both in the royal monuments and the “monotonous” Haussmannian urban fabric. Winy didn’t agree on the monotony part, but Ricky picked up the point, “London Olympics could only happen when planning power is taken from democracy.” It was not to say they ignore the general public. But city planning is by nature a “top-down” process. In the Swiss hyper-democratic system, nothing is easy in the cities. Jacques said, “In Switzerland, urbanism needs to seek an alternative form of ‘bottom-up’ monumentality.”

I guess ultimately, the judge of a good city form is still the general public. As Jacques said, “A city has to work. People have to love it.” No matter how ugly it is, Westfield Stratford City is still quite a successful project in the sense that it’s the first catalyst to attract people and revitalize the area.
       

Divergent Modernism

     
If you think modernity is all about white plaster boxes or big sheets of glass, Carlo Mollino would probably tell you no. Born in Turin in 1905, Mollino worked mostly locally in northwestern Italy and remained isolated from the design establishment. His eccentric personality left his work somehow enigmatic, deviating from the dominant Italian Rationalism of the time. The retrospective at Haus der Kunst in Munich successfully captured the idiosyncrasy of Mollino’s oeuvre, presenting his multi-faceted work as an alternative “Maniera Moderna.”

Hybrid style

Although trained as an architect in the 1920s, when “Gruppo 7” published their Rationalist manifesto, Mollino was more interested in the irrational. “There are no reasons,” he once wrote, “If there were, we would have a way to build a convenient machine for making art through logic and grammar.” Instead of high modern purity, he turned to Surrealist montage methods and got inspirations from Alvar Aalto’s regionalist thinking. The result was unexpected grafting of Alpine traditional wood cabins onto bold modern concrete structure. Projects like the ski-lift complex at Lago Nero and the apartment building in Cervinia successfully married the two different aesthetics: the abstract and the figural, the so-called “high” and “low.” Casa sull’altopiano (house on the plateau) transformed the traditional rascard typology by putting it on top of a concrete platform with two legs on the side. The most mundane house has become special because it looks like eerily half floating.

Slittovia del Lago Nero, Sauze d’Oulx, 1947

Casa del Sole, Cervinia, 1955

Casa del Sole, Cervinia, interior

Casa sull’altopiano, Agra, 1953

Choreography

Besides being an architect, Mollino was also an avid skier and instructor (he wrote a book on techniques of downhill skiing with many illustrations), a racing car driver (he also designed a racing car), and a stunt pilot. Of course, hobbies are about fun and gratification. In the case of Mollino, it’s also about the formal and stylistic aspects of those sports. He drew lines of ski tracks and photographed them. He also studied acrobatic movements with detailed drawings. All his passions were choreographed ballet after all.

“Rapid and closed” parallel moves, photographed by Carlo Mollino

The asymmetric racing car “Bisiluro DaMolNar”

Carlo Mollino on his Bisiluro car, 1955

Lutrario Dance Hall gave Mollino the perfect opportunity to translate his extreme choreography into architecture. The colorful and dynamic design makes the space seem to be dancing with its users.

Lutrario Dance Hall, Turin, 1961

Mollino’s choreography was brought to the highest level in his last built work Teatro Regio in Turin. In the lobby, spaces on different levels communicate with each other, activating the performance of the public. They move in a fluid way, and the building becomes a big choreographic machine. In the auditorium, 37 boxes wrap around the perimeter. The mixed sensibilities of Futurism and Surrealism, similar to his earlier RAI Auditorium, may well made the project into a set for a Kubrick movie.

Teatro Regio, Turin, 1965-73

Teatro Regio, lobby

Chair for RAI Auditorium, Turin, 1952

The organic curves

One important part of Mollino’s oeuvre is his photography. For over three decades, Mollino produced thousands of erotic female portraits, starting with a Leica before switching to a Polaroid. The highly staged Polaroids, usually untitled, look like porn. But similar to his other hobbies, one can argue that the ultimate aim of these Polaroids is not about sex, but rather to capture the beautiful curves of the female body.

Carlo Mollino, Untitled Polaroids

Mollino’s interest in the organic curve can be seen in many of his designs. Among all the furniture he designed for Casa Minola, a green velvet armchair stood out as resembling many animal forms. Are those ears? Wings? Legs? Tails? The railing of the main stair in Lutrario, on the other hand, is a series of carefully composed plant-like shapes, paying homage to Horta and Gaudí.

Armchair for Casa Minola, 1945

Working sketch, iron balustrade for the main stair in Lutrario Dance Hall

Mollino loved curves, and he did so with parallel technical knowledge. In order to make the ideal curvatures in his furniture design, Mollino developed a process for bending plywood in 1950 and patented it. Unlike Aalto’s or the Eames’s process of steam-bent plywood, Mollino’s version was more low-tech, forming bent plywood with cool-molding. The elegant sculptural shapes were results of intense manual craftsmanship at the local Apelli & Varesio workshops, following precise unfolded plans and detail drawings.

Drawing for two small tables, 1950s

At an auction by Christie’s New York in June 2005, a unique oak and glass table designed by Mollino in 1949 for Casa Orengo was sold for $3,824,000. It set a world record price for a piece of 20th century furniture. Was it Mollino’s complex design sensibility and talent, or the rarity of the handcrafted piece? Probably both.
     

Hello, I’m a smartphone addict

       

Keep refreshing your email accounts on your phone more than you need to? Constantly checking what your friends are up to through the Facebook and Twitter apps? Feel like reloading news pages all the time even you know truly significant events don’t happen every 5 minutes? Welcome to the club of smartphone addicts!

A recent research in England found out that obsessive use of smartphones may link to higher stress. Richard Balding, a psychologist in the department of psychology at the University of Worcester, and his team recruited more than 100 participants for the study, including university students, retail workers, and public-sector employees. They were asked to complete a questionnaire and conduct psychometric stress tests. The results showed that the people who check their phone more frequently tend to be more stressed. The study also revealed that 37% of adults and 60% of teenagers described themselves as addicted to their devices. People can get very anxious and suffer from withdrawal symptoms when not receiving notifications or alerts on their phones. Some are so hooked that they even begin to experience “phantom” vibrations or bings where they mistakenly believe their phone gives an alert.

It sounds like an easy accusation. But on second thought, I’m not so convinced. There are so many possible reasons for stress. Work, relationships, organizing life, or even just conducting the test itself. The cause-effect link seems a bit hastily established. Also, could it be the other way around? Maybe an easily-stressed person checks his/her phone often because he/she tend to feel more obliged to keep on top of things? Maybe those who are already stressed out would like to have some light readings for a change or turn to their friends for some fun?

The study suggested that “people should have a break from their smartphones where possible.” But human beings are social animals. It’s only natural to have the desire to be connected. Sorry Balding, I am and I will still be a smartphone addict.
   

Measuring time

     
December 30, 2011 doesn't exist in the history of Samoa. The country chose to skip this day and went from Dec 29 straight to Dec 31. The reason is that they wanted to improve ties with major trade partners such as Australia and New Zealand by jumping over the International Date Line. Instead of 23 hours behind Auckland, Samoa is now one hour ahead.

The International Date Line is an imaginary line that designates the place where each calendar day begins. Crossing it eastbound or westbound would mean you lose or gain one day, respectively. It sounds familiar because people in many countries are used to losing one hour in spring and gaining it back in autumn.

All this skipping, leaping, and traveling back in time reminds me that the whole system of measuring time, or more precisely, marking time, is actually man-made. Time lapses. It does not bear absolute markers of the beginning or end of anything. But we found the natural cycles, and tried to organize time according to the cycles with a system called calendar. Most countries now use the Gregorian calendar, introduced by Pope Gregory XIII in 1582. It is based on the natural cycles but there are still discrepancies:
- A Lunar month is about 29.53 days;
- A sidereal year (Earth's orbit cycle) is 365.256363004 mean solar days;
- A tropical year (a complete cycle of the seasons) is 365.24219 days.

There have been different proposals for reform of the calendar, such as the World Calendar, International Fixed Calendar and Holocene calendar. The UN considered briefly to adopt such a reform in the 1950s, but eventually all the proposals lost their popularity. Anyways... until any change happens, Happy New Year!
     

The power of image

     
Last week, MVRDV released their design for two luxury residential towers in the Yongsan Business District of Seoul. A "pixilated cloud" connects the two towers in the middle with public amenities and outdoor spaces. There's nothing new about pixilation - Herzog & de Meuron, OMA, and BIG all did that before. And it's certainly not the first project to bridge between towers - Steven Holl and Cesar Pelli had that built in other Asian cities already. Yet the design caused huge controversy, mainly because of the eerie renderings. They really look like WTC on 9/11!

People do judge design purely from images nowadays. A bad image alone would be powerful enough to kill the entire project. I can't decide if the renderings were accurate representations of the design. But it is surprising that people at MVRDV, Luxigon, and from the client side all underestimated the power of image and missed the uncanny resemblance.

In response to the angry comments and harsh criticism, MVRDV apologized on its website and released a new image with an actual cloud covering the middle of the towers. They are trying to re-illustrate their concept without really changing the design. I am not sure if this new image (not necessarily new design) is powerful enough to manage the crisis and convince people.

   

Architecture trilogy

     
I've been saying this for more than a year now. For me, an architect is basically doing three things: study the program closely, come up with an interesting shape, and then put on a nice skin. Along the way, cultural/historic/site context, structure, and material would come into play to either inform or strengthen the decisions on those three main elements. Innovation in any one of the three is enough to make the project shine. If you got all three? It's a classic!

Recently, Jim mentioned the three reminders to architects by Le Corbusier: mass, surface, and plan. I started to feel that the two trilogies were surprisingly analogous. Perhaps I was influenced by Corb unconsciously. But at least the three reminders gave me a chance to reconsider and set my thoughts in context.

Program

Corb said, "The plan is the generator." My understanding is that by plan he actually meant use. "Modern life demands, and is waiting for, a new kind of plan, both for the house and for the city." Even if we say modernity is history, the contemporary condition still demands, and is waiting for, a new kind of architecture and urbanism. "Collective necessities" create new program, and thus generate new types and new forms.

Shape

Corb advocated for simple forms - carefully calculated and engineered. Our time is full of weird forms. No matter how weird they are, the more successful ones are still the ones that make sense. Shape shouldn't be arbitrary. It is a tool of communication, a concrete expression of an abstract idea. Ultimately, "our eyes are constructed to enable us to see forms in light," and our brain wants to understand what we see.

Skin

"A mass is enveloped in its surface." Corb made simple forms, and at the same time he cared a lot about geometrical constituents on the facade, such as the directing and generating lines. He linked the surface to pragmatic aspects such as engineering and construction. Certainly, skin is not just about aesthetics. Our skin performs: it protects, senses, regulates heat and evaporation, and it breathes. The same should happen with the building envelope.
 

When people get old

       
(Based on true events...)

Rem: I'm done with cities. Let's talk about countryside. It takes up more surfaces of the earth, houses the other half of our population, consumes less energy, and generates less pollution.

Jacques: I used to like Hitchcock because it looks normal but there's always something special. Now I prefer Dali. It's right in your face!

Peter: I don't think architects have social responsibilities. We don't solve problems.

Frank: I like a lot of young people, such as Zaha. Starchitect? LEED? What the fuck are you talking about?

Zaha: Architecture is such a tough profession. Let's go shopping.

Norman: I only do interviews.

Philip: I am a whore.

Corb: Fuck it. Let's do Ronchamp!

(The other) Frank: The Guggenheim should be different from Fallingwater, right? Maybe pink?

Mies: Hmm... Let's do another box.
       

OMA @ Barbican

     
For someone who follows OMA's work and ideas, the new exhibition "OMA/Progress" at the Barbican in London doesn't really provide much new information. But I find myself enjoying it because of the way it's organized and the way OMA's architecture is presented. Curated by the Belgian collective Rotor (not OMA), the show peels off layers of PR-engineered information and gets to the heart of the practice. The young and observant members of Rotor stayed in OMA's Rotterdam office for months and gathered objects and intelligence from the archive, and even from the trash. The result is a distant yet engaged interpretation of the firm's 35 years of history, providing a fresh look different from the singular narrative told by OMA on their own work (like in "Content" 8 years ago). As Rem said, this time "it's their show on our work."

The show starts with projects by AMO. (A message on the importance of broad thinking?) Then you see a chronological index of all OMA projects on a track before you get into the real lobby with a research area on the left and a shop on the right. Only now I realize the west entrance is also open, a gesture that turns this part of the lower level into a public passage cutting through the Barbican Estate. The life-size cutout figures here and there are probably signs to say "This is free."

Entrance with cardboard cutouts

AMO projects

"Project Machine" - index of all OMA projects

Research center with blue foam stools from the Milan Prada catwalk show

Public Zone

The ticketed part of the show starts with an almost empty room. Two small strange-looking lumps are displayed at the corner, lit like artworks. The description says, "It is unclear to the archivist whether these are models or just clay leftovers." On the wall next to it is a letter from Rem. I think it's a fantastic and funny juxtaposition, and the tone of the letter sounds so familiar...

The next room is about current projects under construction. The idea is an evolving gallery where the contents get updated every time the architects pay a visit to the construction site. The buildings and the exhibits are both work in progress in this case.

In the "Current Preoccupations" room, ideas, sketches and images are pinned up on the walls as simple A4 printouts, like a normal meeting in the office. On the other side, there are A5 tear-off sheets that allow the visitors to pick and make their own books. Here, you can see ideas spanning from the market economy, politics, religion, megacities, countryside, desert, Europe, education, preservation, iconic vs. generic, etc.

"Current Preoccupations" room

In the atrium is a 48-hour video that flicks through every single image Rotor found on OMA's server. There are 3,454,204 images and each one only shows up for about 1/20 of a second (close to the rate at which each frame of a movie is shown). This relentless flashy display of raw materials gives you a sense of "more or less what's going on," but more importantly, an impression of the sheer quantity of stuff OMA have produced.

The exhibition setup has been linear so far, although one can argue that the opening of the west entrance makes the public zone sequence reversible. The upper level, however, is organized as a non-sequential loop that doesn't specify a start or an end. The arrangement takes advantage of the gallery space, turning each of the eight semi-independent rooms into its own small universe with loosely related themes. These themes are not meant to set up a scholarly framework of architectural practice nor trying to cover OMA's entire body of work. They are intersections Rotor extracted from the crisscrossing of the multi-layered OMA thinking, a sampler of the zillion things that OMA is interested in.

Lower Level

Upper Level

You see a seat from Cornell's Milstein Hall next to a rotating skirt from Prada's "Waist Down" show in the room call "yet it moves," together with projects like the Dubai Renaissance, Guggenheim Hermitage, Prada New York, the Bordeaux house, and the Wyly Theater. The next room "sight lines" shows how buildings such as Casa da Musica, the Dutch Embassy in Berlin, and Seattle Library become lenses to look at views, but not in a naïve BIG way. There is a room with only white or shiny models, and another showing the museum typology as ways of display. In the room about structure, a 1:1 CCTV truss mock-up is placed opposite to the correspondence with ARUP on the wall. In the "ornament" room, you see fabrics designed by Petra, Prada LA foam, Cornell ceiling, several Casa da Musica finishes (gold leaf wood grain, blue tiles, black and white tiles), and 2x4's Mies face at IIT.

My favorite room is "Adaptation, instead of quitting." It's a collection of projects that experienced "crisis" during the design process. Examples include the compromise and subsequent demise of 23 E 22nd St, the long wait and realization of De Rotterdam, the half remaining Cordoba Congress Center, and the cantilever decision of Cornell. It's admirable to see an active attitude towards reality in the tough business of architecture.

Yet it moves

Living inside the truss

Places, and what to do with them: site visit slideshows

Two white models showing two generations of object-making

Museum as ways of display

The "secret room"

Rem said at his Cornell lecture, "We don't believe in progress any more." The Barbican show is not about progress per se, but more like work in progress. No real architecture is shown in the exhibition - everything is fragmented to the extent that it even surprised Rem. Through the bits and pieces of behind-the-scene materials and anecdotes, you get a glimpse into the design process and everyday happenings in the office of OMA. In a secret room that is not even marked in the official guide, the walls and ceiling are all covered with waste paper Rotor collected from OMA's Rotterdam office. It is brave to show architecture as a messy and complex practice, a reality far from the fancy image in Justin Bieber's mind.