From an interview in the October 2010 issue of ICON conducted by William Wiles. Much of the discussion centered on the ways in which the firm embraces the idea of sampling as a way to resolve/identify the fundamentals of their project/briefs. Some quotes:
GS Sampling is kind of a dirty word within architecture, people don’t admit to their sources so much, or they do in a very closeted manner. It’s almost like it’s embarrassing to admit that you spend all your time looking at buildings and learning from what already exists, whereas obviously that’s all we should be doing.
TC Sampling is as much about a means of communication as it a working process.
TC People don’t expect that to be a useful design process … [they say] “well, why don’t you know all the answers” … but in a way it’s no different to Robert Adam going to Split and measuring up Diocletian’s palace, and then coming back and treating it almost as his own work – but I suppose we do it in quite a relaxed and immediate and democratic way.
VL So you’re not bringing a solution, you’re bringing a way of looking at a problem. Going back to our attitude or how we learn from London in the work that we do, it seems to have generated this attitude of sampling and collaging things, and obviously we wouldn’t necessarily want to sample those same parts in a completely different location
I have been looking forward to reading this issue and below are a few excerpts from the pieces I found most enlightening.
Aravena, Meindertsma, Hustwit & Nussbaum a Conversation
This conversation took place during Design Indaba, Cape Town in 26 February 2010, following a presentation by Martha Stewart on her global, commercial scale brand. This served as a starting point for the participants to discuss issues of commercialization/scaling design/architecture to meet the needs of the unserved global population, design as a social or political intervention, and design thinking. Martha’s presentation and success led Aravena to wonder “Take social housing, in my case. I would really like it to be millions of units and not just an interesting exception. And Martha Stewart has found a way to be mainstream. The dilemma – the price she’s paid – is that she’s reduced the complexity. The question is how to be massive without simplifying.” Later when examining new embrace (by business, politicians, the public) of design and design thinking, Meindertsma suggests“So design thinking is the new humanism?”
This article examines the work the Aga Khan Trust for Culture is doing to repair the Great Mosque at Djenné, in Mali. It notes that a key reason for the dilapidated condition is the annual ritual of repair which the surrounding community engages in. Essentially, the problem is that the community over repaired the mosque. We read, “Year upon year, the citizens have been putting back slightly more mud than was eroded by the rain. Almost imperceptibly, the building was morphing, like a child being overfed by a doting mother. Eventually, it was groaning under the weight of its multiple skins. The bones were buckling. It needed liposuction.”
Diébédo Francis Kéré, was born in a remote village in Burkina Faso , then went on to found a practice in Berlin and win an Aga Khan Award for Architecture for a primary school built using local materials and methods in Gando Village Burkina Faso. What is noteworthy about this and other projects by him is the fact that they seem to suggest a way to bridge the gap between solicited and unsolicited architecture. For ,”buildings in Gando were initiated by Kéré himself. Here he plays every role: community activist, fund raiser, architect and builder. Kéré treats the buildings as a form of social empowerment, using local labour and training people who can neither read nor write to translate his drawings into structures.”
More of ICON 84 (here)
From some recent readings in Icon. A few buildings as landscape or geologic strata a geo-logical architecture/
The Museum of the Atacama Desert, designed by architects Ramón Coz, Marco Polidura, Iñaki Volante and Eugenia Soto. Read (here)
Casa das Histórias (House of stories), designed by Portuguese architect Eduardo Souto de Moura. Read more (here).
Ofunato Civic Center, designed by Chiaki Arai. Read more (here).
“Church-ita” in the Chilean city of Talca, designed by Supersudaca. Read more (here)