Pub Date : 2023-12-24DOI: 10.47982/spool.2023.1.03
Ionas Sklavounos
This essay delves into the installation designed by Hans Hollein for the Künstlerhaus facade in Vienna in 1985. It serves as an illustrative case of material speculation in architecture, particularly regarding the incorporation of ‘historical’ elements in contemporary architectural practice. Through a close reading of this installation, realized in the context of the exhibition ‘Traum und Wirklichkeit, Wien 1870-1930’ (Dream and Reality, Vienna 1870-1930), I discuss how such speculation entails the physical replication of carefully chosen ‘historical’ forms and their reassembly in what would be best described as a ‘fragmentary whole.’ However, the reintegration of historical fragments into the present can manifest in diverse ways. I argue that in the installation that reshaped the facade of the Künstlerhaus, Hollein explored two contrasting modes while tracing the possibilities (and pitfalls) of their synthesis.
这篇文章深入探讨了汉斯-霍尔林 1985 年为维也纳 Künstlerhaus 建筑外墙设计的装置。它是建筑中材料猜测的一个说明性案例，尤其是在将 "历史 "元素融入当代建筑实践方面。通过对这个在 "Traum und Wirklichkeit, Wien 1870-1930"（《梦想与现实，维也纳 1870-1930》）展览中实现的装置的细读，我讨论了这种推测是如何将精心选择的 "历史 "形式进行物理复制，并将其重新组合为一个 "零散的整体 "的。然而，将历史碎片重新融入当下的方式多种多样。我认为，在重塑 Künstlerhaus 外墙的装置作品中，霍尔林探索了两种截然不同的模式，同时追溯了它们综合的可能性（和陷阱）。
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Pub Date : 2023-12-24DOI: 10.47982/spool.2023.1.07
Hong Wan Chan
This article focuses on two methods employed in the selection, interpretation, and representation of diverse source materials for developing alternative biographies for my ancestral landscape - Nanhai district in the Pearl River Delta in southern China. These biographies aim to approach Nanhai from a long view of continual transformation, as opposed to prevalent readings of the region that focus on the striking spatial contrasts and large-scale developments that have only come about in recent decades. The chronological reading explores a critical shift in the cosmological understanding of the landscape situated in the 19th century through a selection of historical gazetteer maps, while in the excavational reading the diffuse continuity of the lineage in the present-day landscape of Nanhai is traced. In both methods, the drawing functions as a crucial (research) tool to engage the range of source materials.
{"title":"Retrieving landscape","authors":"Hong Wan Chan","doi":"10.47982/spool.2023.1.07","DOIUrl":"https://doi.org/10.47982/spool.2023.1.07","url":null,"abstract":"This article focuses on two methods employed in the selection, interpretation, and representation of diverse source materials for developing alternative biographies for my ancestral landscape - Nanhai district in the Pearl River Delta in southern China. These biographies aim to approach Nanhai from a long view of continual transformation, as opposed to prevalent readings of the region that focus on the striking spatial contrasts and large-scale developments that have only come about in recent decades. The chronological reading explores a critical shift in the cosmological understanding of the landscape situated in the 19th century through a selection of historical gazetteer maps, while in the excavational reading the diffuse continuity of the lineage in the present-day landscape of Nanhai is traced. In both methods, the drawing functions as a crucial (research) tool to engage the range of source materials.","PeriodicalId":52253,"journal":{"name":"Spool","volume":"2010 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139160114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-24DOI: 10.47982/spool.2023.1.01
Valerie Hoberg
The potential of implicit architectural knowledge extends beyond the realm of sciences and technology. It is worthwhile to examine its role in art, artistic practices, and artistic knowledge. This article explores several practical examples from art and architecture, spanning the 20th and 21st centuries. These examples shed light on artistic practices that, apart from enhancing designerly qualities and fostering a reflexive approach, may have a significant research impact in architecture. The methods, processes, and topics of these examples are examined, and their potential for critical improvement is highlighted. Particularly, the concept of ‘not-knowing’ is emphasized as a valuable asset for addressing contemporary and future challenges, not limited to architecture.
{"title":"Artistic Practices as Architectural Research","authors":"Valerie Hoberg","doi":"10.47982/spool.2023.1.01","DOIUrl":"https://doi.org/10.47982/spool.2023.1.01","url":null,"abstract":"The potential of implicit architectural knowledge extends beyond the realm of sciences and technology. It is worthwhile to examine its role in art, artistic practices, and artistic knowledge. This article explores several practical examples from art and architecture, spanning the 20th and 21st centuries. These examples shed light on artistic practices that, apart from enhancing designerly qualities and fostering a reflexive approach, may have a significant research impact in architecture. The methods, processes, and topics of these examples are examined, and their potential for critical improvement is highlighted. Particularly, the concept of ‘not-knowing’ is emphasized as a valuable asset for addressing contemporary and future challenges, not limited to architecture.","PeriodicalId":52253,"journal":{"name":"Spool","volume":"526 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139160766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-24DOI: 10.47982/spool.2023.1.00
L. Schrijver, Frank Van der Hoeven
This issue of SPOOL introduces a new thread: ‘Method and Design’, titled “Design and Method in Architectural Research: From Objective Quantification to Material Speculation”. The issue explores the conventional understanding of method through both theoretical contributions and visual essays. The theoretical contributions discuss methodology, material practice, studio approaches, or design principles. The visual essays are more experimental, allowing for design proposals or artistic expressions that explore specific methods, depict scenarios, or articulate a material logic.
{"title":"Design and Method in Architectural Research","authors":"L. Schrijver, Frank Van der Hoeven","doi":"10.47982/spool.2023.1.00","DOIUrl":"https://doi.org/10.47982/spool.2023.1.00","url":null,"abstract":"This issue of SPOOL introduces a new thread: ‘Method and Design’, titled “Design and Method in Architectural Research: From Objective Quantification to Material Speculation”. The issue explores the conventional understanding of method through both theoretical contributions and visual essays. The theoretical contributions discuss methodology, material practice, studio approaches, or design principles. The visual essays are more experimental, allowing for design proposals or artistic expressions that explore specific methods, depict scenarios, or articulate a material logic.","PeriodicalId":52253,"journal":{"name":"Spool","volume":"2015 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139159898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The laboratory ALICE (Atelier de la Conception de l’Espace) at the École Polytechnique Fédérale de Lausanne (EPFL) advances a comprehensive approach to data-based drawing oriented towards architectural and urban co-design processes. This drawing methodology has been key in the contributive design process they have applied over the last seven years, covering a range of scales and contexts, both within the public and private spheres. Contribution has become a relational strategy that unites a diverse range of participants, each hailing from various backgrounds and carrying unique needs, which come together around the drawing. For this reason, the cultivation of a robust drawing culture, from their teaching to their research and design activities, has become a cornerstone of ALICE’s philosophy, where drawing is embraced not merely as a representational tool but as a constructive means for design work. Their methodology has now evolved to include data-based drawing techniques, skillfully merging precise surveying with qualitative data analysis, thereby bridging the gap between quantitative and qualitative facets of design. This article explains this data-based approach to drawing through a series of projects developed in the Greater Geneva region. Throughout them, they explain how ALICE’s situated data-based drawings facilitate intricate coordination among students, leading to real-scale interventions; explore the potential of transforming main roads into landscape infrastructures that promote sustainable mobility and urban development; or offer an innovative lens to comprehend the affective connections between citizens and their urban surroundings, transcending traditional cartographic representations. Finally, these efforts are summarised through the analysis of a single drawing showcased at the 2021 Venice Biennale, illustrating the potential of this methodology to harmonize the collective efforts of various stakeholders.
洛桑联邦理工学院（EPFL）的 ALICE 实验室（空间构想工作室）针对建筑和城市协同设计过程，提出了一种基于数据的综合绘图方法。这种绘图方法是他们在过去七年中应用的贡献式设计过程的关键，涵盖了公共和私人领域的各种规模和环境。 贡献已成为一种关系策略，它将来自不同背景、怀揣独特需求的各类参与者团结在一起，围绕着图纸展开工作。因此，从教学到研究和设计活动，培养浓厚的绘画文化已成为 ALICE 理念的基石。现在，他们的方法论已发展到包括基于数据的绘图技术，巧妙地将精确测量与定性数据分析结合起来，从而弥合了设计的定量和定性方面的差距。本文通过在大日内瓦地区开展的一系列项目，解释了这种基于数据的绘图方法。在这些项目中，他们解释了 ALICE 基于数据的情景绘图如何促进学生之间的复杂协调，从而实现实际规模的干预措施；如何探索将主干道改造成景观基础设施的潜力，以促进可持续的流动性和城市发展；或者如何提供一个创新的视角，以理解市民与其城市环境之间的情感联系，从而超越传统的制图表述。最后，通过对 2021 年威尼斯双年展上展出的一幅图纸的分析，对这些努力进行了总结，说明了这种方法在协调各利益相关方的集体努力方面所具有的潜力。
{"title":"Collective data-based drawings","authors":"Rubén Valdez, Lucía Jalón Oyarzun, Dieter Dietz, Malcolm Onifade, Aurèle Pulfer","doi":"10.47982/spool.2023.1.06","DOIUrl":"https://doi.org/10.47982/spool.2023.1.06","url":null,"abstract":"The laboratory ALICE (Atelier de la Conception de l’Espace) at the École Polytechnique Fédérale de Lausanne (EPFL) advances a comprehensive approach to data-based drawing oriented towards architectural and urban co-design processes. This drawing methodology has been key in the contributive design process they have applied over the last seven years, covering a range of scales and contexts, both within the public and private spheres. Contribution has become a relational strategy that unites a diverse range of participants, each hailing from various backgrounds and carrying unique needs, which come together around the drawing. For this reason, the cultivation of a robust drawing culture, from their teaching to their research and design activities, has become a cornerstone of ALICE’s philosophy, where drawing is embraced not merely as a representational tool but as a constructive means for design work. Their methodology has now evolved to include data-based drawing techniques, skillfully merging precise surveying with qualitative data analysis, thereby bridging the gap between quantitative and qualitative facets of design. This article explains this data-based approach to drawing through a series of projects developed in the Greater Geneva region. Throughout them, they explain how ALICE’s situated data-based drawings facilitate intricate coordination among students, leading to real-scale interventions; explore the potential of transforming main roads into landscape infrastructures that promote sustainable mobility and urban development; or offer an innovative lens to comprehend the affective connections between citizens and their urban surroundings, transcending traditional cartographic representations. Finally, these efforts are summarised through the analysis of a single drawing showcased at the 2021 Venice Biennale, illustrating the potential of this methodology to harmonize the collective efforts of various stakeholders.","PeriodicalId":52253,"journal":{"name":"Spool","volume":"590 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139160407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-24DOI: 10.47982/spool.2023.1.04
Manuela Triggianese
This article explores the pivotal role of design as a decision-making tool within multi-stakeholder collaborations, focusing on the early phases of the Rotterdam Central Railway Station and its surroundings project. Spanning from 1996, when it gained National Key Project status, to 2007, when construction commenced, this period precedes the preliminary design, during which the design process becomes the primary method of collaboration among multiple stakeholders, including designers and clients involved in the station area’s development. After introducing the post-war reconstruction of the station area and the ‘Platform Zero’ experiment, this article defines three key stages of design in the initial phase, each of which left a distinct mark on the station project. These stages are: - From 1996 to 2001: Design for political communication. - From 2002 to 2004: Parallel design. - From 2004 to 2007: Design co-creation and integration. To provide a comprehensive view of the design’s development, this article includes insights from conversations with architects and planners engaged in the process. In a dynamic exchange between various stakeholders and designers, the evolution of Rotterdam Central Station’s design reveals how political decisions have been informed by thorough design studies, offering a platform for robust discourse on critical issues.
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Pub Date : 2022-09-01DOI: 10.47982/spool.2022.3.01
V. Schmitzer, Tim Gerdin, Ria Ilersic, Anja Zaucer, Mateja Kregar Tršar
Landscape architecture students at the University of Ljubljana were encouraged to prepare temporal series of landscape and plant drawings to sharpen their sensitivity to changes in the perception of a land motive and vegetation morphology. Students chose a particular motive, defined the frame of the drawing, and identified characteristic plants on site. The motives were sketched several times during the year to portray seasonal changes. Specific environmental conditions (fog, rain, sunny day) were captured in drawings, and in the case of plants, drawings revealed the transitions of selected physiological events (budding, flowering, fruiting). These transformations were discussed in connection with landscape perception and as a tool in the design process.
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Pub Date : 2022-09-01DOI: 10.47982/spool.2022.3.06
Lisa Mackenzie Lisa Mackenzie
This paper revisits a built project to reveal a hidden and experimental ambition for a public space through drawing in time. Behind the project’s initial inception lay the designer’s motivation to challenge, open and expand the consideration of time in the way in which public landscapes are invented, configured and received. As such, the project sought to attend both to the way in which time manifests as a design consideration through drawing and to the way in which time could be conceptually and experientially sustained in the afterlife of the completed work. In the inevitable ebbs and flows of productivity and decision taking that ran through the project, the designer came to realize that the ambitions outlined above stretched beyond their client’s comprehension of what the project could and should be. Instead, an aspiration to design “in time” became subservient to the client and stakeholders’ focus on the material manifestation of the work as a visual object and to the project’s public reception when it was deemed “complete”. For the designer this meant that opportunities to expand design thinking into practices tied to the continuing and relational opportunities of the space remained disappointingly determinate and closed. By revisiting the existing representations and by making new drawings that were more explorative and unburdened by the conditions of project delivery, new liberty was found, revealing a unique bond between drawing in time and the relational opportunities of the work.
{"title":"The significance of time in the design of a public landscape","authors":"Lisa Mackenzie Lisa Mackenzie","doi":"10.47982/spool.2022.3.06","DOIUrl":"https://doi.org/10.47982/spool.2022.3.06","url":null,"abstract":"This paper revisits a built project to reveal a hidden and experimental ambition for a public space through drawing in time. \u0000Behind the project’s initial inception lay the designer’s motivation to challenge, open and expand the consideration of time in the way in which public landscapes are invented, configured and received. As such, the project sought to attend both to the way in which time manifests as a design consideration through drawing and to the way in which time could be conceptually and experientially sustained in the afterlife of the completed work. \u0000In the inevitable ebbs and flows of productivity and decision taking that ran through the project, the designer came to realize that the ambitions outlined above stretched beyond their client’s comprehension of what the project could and should be. Instead, an aspiration to design “in time” became subservient to the client and stakeholders’ focus on the material manifestation of the work as a visual object and to the project’s public reception when it was deemed “complete”. For the designer this meant that opportunities to expand design thinking into practices tied to the continuing and relational opportunities of the space remained disappointingly determinate and closed. \u0000By revisiting the existing representations and by making new drawings that were more explorative and unburdened by the conditions of project delivery, new liberty was found, revealing a unique bond between drawing in time and the relational opportunities of the work.","PeriodicalId":52253,"journal":{"name":"Spool","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45599406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-01DOI: 10.47982/spool.2022.3.04
Lotte Oppenhuis
This visual essay discusses drawing time in relation to the author’s graduation project, which is based on the paradigm of a multispecies world. Three design principles are derived from this paradigm: movement, hybrid and landscape as being. These relate to different notions of time and thus on drawing time. Movement means drawing the now. Hybrid is a material structure that shows non-human presence. This materiality implies that decay has to be drawn. The landscape as being is the ongoing landscape without end. In order to draw the three principles leading to the design intervention, fixed moments in time are chosen. In this visual essay 0 years, 20 years, and 30 years are shown. Time is drawn through a repetition of plans, sections and animation stills and through drawing specific human and non-human presence. In this way repetition, growth, decay and changing actors are shown. Drawing decay opened up new design possibilities. By comparing the repetitive animation stills, drawing time became a critical tool that showed idealization within the design. This visual essay shows both the repetition of drawings, as well as the discoveries it leads to.
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Pub Date : 2022-09-01DOI: 10.47982/spool.2022.3.05
Marijne Beenhakker, J. Hugtenburg, Jaap Van der Salm
This visual essay explores the use of time thinking and drawing in the design process of the Ooijen- Wanssum floodplain widening project. Through a series of project sketches, final drawings and photos of the constructed project, the authors reveal the way in which time drawing has (often implicitly) given direction to the design process. The water calendar is introduced as a design tool that integrates time- dependent river dynamics into the design process and thereby informs spatial design choices that are considered in several design sketches. These design choices include interactions with dynamic processes such as erosion, vegetation dynamics and recreational use of the river landscape.
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