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On our 31st stop, we are travelling east, direction Brussels (BE)âŠor rather, to âouestâ to meet Stephan Damsin and Jans Harens, the duo behind âouest architecture.â
ouest architecture thrives in the spaces left unfinished and unsolved, " there is a room for unsolved things and for a bit of ambiguityâ. In their vision, not every problem has to be be fully solved. âWe are interested in ways to repair stuff without hiding that it has been repaired,â they explain, a philosophy that calls for embracing the imperfections rather than smoothing them away.
Their approach invites a rethinking of architectureâs role in urban life.
How far can one question the brief? Can we question it so much that the kitchen ends up to be left out of the program?
âWhat are the opening hours, what is the price of the coffee? All these things are so important for how the building works in the city.â
âHow to make a building as a swiss knife?â, they ask. I do too.
What does adobeâs strategy on âprogressive discloserâ has to do with architecture? Maybe nothing.
âColor pencils and excel tablesâ are all you need to do architecture.
Guest: Stephan Damsin, Jan Harens (Brussels, Belgium)
Host: Ana Catarina Silva (Porto, Portugal)
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Our 30th stop is in Berlin (Germany), somewhere between a reconverted building and the next building to be reconverted. In fact, that is were we find B+. In fiction, we might also find them beyond the building, in station.plus. Olaf Grawert will take us through that.
To warm up, Olaf identifies 2 big groups of architects: both aim for âvaluesâ and âspeculationâ but their understanding of these terms is fundamentally opposite.
Should our honoraries be measured out of a percentage of construction costs?
What if âthere is more then just building as an answerâ?
What if climate crisis are good news for the market? âIn our current economic system, a natural disaster is a fantastic thing because the moment you have a natural disaster and things get destroyed, the market grows.â
Is there a correct answer? Are we just giving better wrong answers over and over? âWe need to speculate. (âŠ) âEverything that is new, unknown or experimental is not interesting to those who have to sell itâ
Sometimes an observation can become a question, and then a movie, and then a publication, and the an exhibition and then a building, and then a law.
Or not.
If you are still thinking about the words âvaluesâ and âspeculationââŠyou should listen to our conversation.
âIts pure fiction.â
Guest: Olaf Grawert, b+ (Berlin, Germany)
Host: Ana Catarina Silva (Porto, Portugal)
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Our 29th stop is in Barcelona (Spain), Mexico City (Mexico) and Basel (Switzerland) alongside Pablo Garrido Arnaiz.
Parabase have a very keen eye for picking up things and putting them out of place. At least out of their initially proposed place...to be place in a new place though out by them. âDecontextualisation is something we can find: in almost all contemporary art piece, in most of he songs we listen to, in in writing but in architecture it is not that common.â
Decontextualisation adds layers of meaning to architecture.
Why canât a sculpture be understood as a column?
Why canât a roof rotate 90 degrees and play as a facade?
Maybe they can. âArchitecture can be read in many ways, and it has a lot of meanings.â
Sometimes, decontextualised ideas come out of absolute casualty âor maybe there is a certain hidden reason of why we have made these decisionsâ and post-rationalised.
âThe social economical system we live inâŠit is not circular, it is about generating and destroying, generating and destroying.â Meanwhile, they are designing a Housing project made out of, al least, 2 500 pieces dismantled out of a parking lot.
We observe the phenomenon of pavilions made under the aim of biennales/triennials/festivals. Is it the case that all these events are âcreating a typology of architectureâ as well as âcreating a typology of architectsâ? We wonder.
Pablo says the following quote at the beginning of our conversationâŠbut I feel like taking it of place and putting it as the final message of this episodeâs brief:
âTo do meaningful architecture and have fun (âŠ) basically this is the ultimate motivation of our work.â
Guest: Pablo Garrido Arnaiz (Barcelona, Spain + Zurich, Switzerland + Mexico City, Mexico)
Host: Ana Catarina Silva (Porto, Portugal)
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Our 28th stop is in Mexico (Mexico), without forgetting Normandy (France) alongside Ludwig Godefroy.
What do pyramids from the pre-hispanic period and bunkers by the northern french sea have to do with each other? How can both of these come under the same architectural practice? âI have started to understand that pyramids and bunkers are kind of similar, to me.â
âHumanity has been doing pyramids for 4-5 thousand years and no pyramid is looking the same as the other one. If humanity was able to do pyramids for such a long time, I can spend the rest of my life doing pyramidsâŠthis is like an endless inspiration.â
âThis is interesting to me because when you look at something you cannot even copy anymore, you have to reinterpret it. And then it becomes something very personal.â
We talk about modernist and about how NOT (only) modernism some modernist architects were. âIts is also about what part of those architects we are using. I am not using Le Corbusier in the same way that I am using Louis Kahn.â
Ludwig looks up to âthe monumentality âout of Louis Kahn, âthe detailingâ out of Carlo Scarpa, and the âvery strange magicâ out of Le Corbusier âlike he was inventing a new kind of spaceâŠbeyond wordsâ.
He also looks up to the way of doing out of those who actually build architecture. âThis is why my architecture looks a little bit rough. Because part of it is the accident.â
What des an Hotel in Puerto Escondido, a Water Reservoir in Istambul and Ălvaro Sizaâs Fundação Nadir Afonso have in common?
âIn Mexico we donât have rules, everything is possible. Which means the worstâŠbut also the best.â
Guest: Ludwig Godefroy (Mexico, Mexico + Normandy, France )
Host: Ana Catarina Silva (Porto, Portugal)
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Our 27th stop is at Boltshauser Architekten (Munich, Germany) alongside Roger Boltshauser.
For Boltshauser, to have an order is a must have.
âI always look for order.â
But is order enough?
âIf I have an order, I am happy but I am not happy enough, so I try to find ways out of this order.â
He even puts the words in the right order when he concludes: âOrder maybe needs disorderâ.
Maybe.
Maybe itâs not the case they are looking for a balance, but rather looking for a strong character âand strong characters are often not that balancedâŠbut they are interestingâ.
Every project is part of a bigger process. Which means that some issues from a particular project might find itâs answer in an project yet to come. Sometimes âwe have already built the answer but we still canât explain it in a racional way. The brain is not ready o understand but you still think it should be the way to goâ.
The strange thing comes when you have to build itâŠyou did somethingâŠand now you have to build it even tho you are aware that some questions remain unanswered.
âSometimes the brain is not there yetâ.
I think this is a nice way to put it.
Guest: Roger Boltshauser (Munich, Germany)
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: Duo-Thermo
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Our 26th stop is at Enric Mirrales Benedetta Tagliabue - EMBT (Barcelona, SP) alongside Benedetta Tagliabue.
Sometimes, EMBT are attracted by something very simple. Therefore, they allow themselves to be a little bit like a child just to permite these ideas to emerge. âMaintaining the lightness of the first idea is a very very tough workâ. And that is exactly what they work for âProjects, specially if they have a very long time or have many people involved, they have a tendency of getting diluted.â
âEnrique used to consider projects as alive beings, as a child. (âŠ) So, in a way, projects need this attention as if they are people, they need to be looked after, they need to be helped in the difficult moments of their growing.â
Did you know that some projects are selfish, a good kind of selfish?
Did you know that some big roofs were supped to be even bigger then ended up being?
Did you know that some projects are ânearly finishedâ and âhave been nearly finished for 5 yearsâ?
âYou need a lot of strength to maintain things into its pureness and beauty.â
Guest: Benedetta Tagliabue - EMBT (Barcelona, Spain)
Host: Ana Catarina Silva (Porto, Portugal)
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On episode 25 we think architecture alongside SO-IL, in the voice of Summer Liu.
SO-IL are constantly pushing the boundaries...literally the physical boundaries...with them we learn boundaries are not just made by walls or windows. Just when you think they've reached the limit, their next project pushes it even further. They have the right amount of madness to pursue things outside of architecture until that one moment they surrender and become into architecture form.
âOnce you have an intuition, its about working with the real world knowledge and then learn from the people that will eventually make the thing.â When you do so, you can find a way to make metal mesh rings relevant for architecture, against all odds (for itâs weight, for itâs scale, for itâs productionâŠ). âItâs like Avatars, they just touch each other and then see what happens there. You have to find a bridge that equalizes the two pieces of information.â
âThere is physicality to the abstract questions we ask.ââŠand it shows in every project.Guest: Summer Liu - SO-IL (New York, USA )
Host: Ana Catarina Silva (Porto, Portugal)
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On episode 24th weâll Learn from Denise, which means weâll be learning from Las VegasâŠand South AfricaâŠand ItalyâŠand EnglandâŠand PhiladelphiaâŠand every single street and person she has passed by. âDo you know the word âserendipityâ? It means something that happens unexpectedly and that could be a great thing.â
We talk about how the almost demolished âFisher Fine Arts Libraryâ has brought together the super duo of architecture: Venturi & Scott Brown. âI would say weâve have a big influence but Le Corbusier had an even bigger influenceâ
Did you know there are 2 ways to think the city? Denise says the first is made by donkeys, the second is made by grids. After all, both are molded by "form, forces, and functionsâ. She even adds âin the end, the donkey is the functionalist.â.
Actually, there is much more to function than to have the bathroom next to the bedroom. âItâs wonderful to make something beautiful. And you hope you can make it both.â.
Oh DeniseâŠwhat a mannerist <3.
âSometimes I want to be as beautiful as princess Margaret. You take this pretty princess, you take her a photo (âŠ) and she is wearing diamondsâŠonly when you get near her you get that the diamonds are celofane paper.â
âSometimes you have to break things.â
Oh DeniseâŠwhat a mannerist <3.
I took notes of a little something:
âRemember your memories as a baby, they are valuable to you in your architecture. Donât forget those, take them with you.â
I kept this advice in my pocket. I hope you do too. Learning from Denise.
Guest: Denise Scott Brown, Venturi+Scott Brown (Philadelphia, USA )
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: Vicaima
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Letâs travel to both Berlin (Germany) to meet the architect / drawer / collector of drawings / museum director Sergei Tchoban.
Sergei Tchoban has a sery simple trick to discover architecture, he asks one simple question: âWould I want to draw this project?â
In fact, he draws a lot and for a number of reasons, one of them being: to remember âto draw by hand is a way to later remember certain proportions when we are drawing our own projectsâ.
Unlike what we might thinkâŠit might be easier to draw historical buildings than contemporary ones. In the former, any mistaken line can be understood as a detail of the facade of that building. Meanwhile, in the later, in a contemporary building you either have the line right or wrong.
We talk about cats in Le Corbusierâs âSwiss Pavilionâ.
We talk about toilets in Nicolas Ledouxâs âLa Rotunde du Parc de Monceauâ.
We also talk about possible connections with Piranesiâs dystopias - but with a positive intake instead - and the very curious framings of Pietro di Gonzaga.
âIt is a mise-en-scĂšne, architecture is an important part of mise-en-scĂšneâ.
Guest: Sergei Tchoban (Berlin, Germany)
Host: Ana Catarina Silva (Porto, Portugal)
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#22 Harquitectes (SP), Arquitetura Entre Vistas ABROAD
Our 22nd stop is in Sabadell, Spain alongside Harquitectes, in the voice of Josep Ricart Ulldemolins.
Harquitectes have the ability to design precise things with an abstract approach and abstract things with a very precise approach. I would risk to say that, for them, it is the same to draw a brick as it is to draw temperature. Every project is a new hypothesis on constructed conditions combined with natural phenomenon. âWhen all of these come together, it is more then just a basic survival experience, it is something closer to the extraordinary.â
In the beginning of the office, maybe, their approach to the vernacular was one of aesthetics. But theyâve gradually started to discover the hidden reasons behind the vernacular look.
âWe donât produce nothing newâŠmaybe a new experiences, maybe a new typology butâŠâ
But isnât this producing something new?âŠI wonder.
âWhen you donât plaster the brick, you get the memory of someone placing one brick over the other. That is why our buildings never have the feeling of something new, you have, at least, the time of the construction.â
Maybe vernacular is not a thing of the past, maybe we are the vernacular of tomorrow.
âI hope that we are producing some new vernacular.â
Guest: Josep Ricart Ulldemolins - Harquitectes (Sabadell, Spain)
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: Duo-Thermo
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#21 TEN (CH+SRB), Arquitetura Entre Vistas ABROAD
Our 21st stop is both somewhere in-between Zurich (Switzerland), Belgrade (Serbia) and an online group chat.
TEN is many thingsâŠand during our conversation we try to uncover even more of what TEN can become.
How can the idea of a boat give the name TEN to an architecture practice?
How would it be like to have an architecture practice like a record label? What about a football team?
Is doing "what interests usâ a realistic thing to do?
In other wordsâŠhow can we develop a project to resist for 500-years when no such client or brief will ever request us such a timeframe? âNo-one is thinking about having building which is so resilient, and so much wanted, that it can last 500 years: itâs way over the generationsâ lifespans, over the organisationsâ timelines.â
âWe should be the ones that are on the edge, projecting a vision and thinking more than just a service. This is where architecture can thrive.â
We talk about structure, but not necessarily about that kind of structure buildings have.
We talk about an idea for a tower, images of a towerâŠbut was this tower ever constructed?
âWe are happy to contribute to the discourse in our profession. We donât have to take it as a kind of âdid we build it first? or last? Actually, we want to be taken over by others more often.â
âBy making it public someone can pick it up and do it again and again and again.â
Guest: Nemanja ZimonjiÄ, Scott Lloyd, Lukas Burkhart , Fabian Launer, Cyrill Wechsler, Tijana MaÄkiÄ , TEN (Zurich, CH + Belgrade, SRB)
Host: Ana Catarina Silva (Porto, Portugal)
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Our 20th stop is in Mexico and/or New York (UK), alongside Edgar Rodriguez, with whom we develop on the idea of media, transmedia and intermedia.
Letâs picture architecture as a system, not a perfect system but one that incorporated chance - it is always being fixed, improved, broken apart and put together. âIts all about focusing on the process and the different variations that could result from those processes.â
âEvery project has its own system, with its own set of rules and then the final result is only one instance of that combination of elements (âŠ) It is not a singular instance that is the right one, itâs wherever you decide were the process ends and you move on to the next stage of the project.â
Have you ever thought about building a fictional building for real?
What about building a fictional building?
What makes an idea relevant to architecture after all? Can a House without an interior be an architectural idea if no space is being defined?
Looking around, or onto social media, Edgar notices something I have never heard anyone say so directly âitâs almost like all the architects are the same architect and we are all producing the same type of work.â Are we all just producing many instances of the same project?
Guest: Edgar Rodriguez, operadora (Mexico, MX + New York, USA)
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: JJTeixeira
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#19 Tony Fretton (UK), Arquitetura Entre Vistas ABROAD
Our 19h stop is in London (UK), alongside the architect Tony Fretton, with whom we learn how to look, notice and absorb things. âI look at things and I can get a lot from just looking at things.â
âLike a paintier is interested in the history of painting, I am interested I the story of architecture. I am interested in the way buildings have evolved and the way it does things.â
Fretton opens up about the UK's demanding architectural scene. And he might tell us 1 or 2 things no-one talks about in the architecture school: âOne is: how to have people listen to you. The other is: how you get work? These are the two major aspects of being an architect.â
âThere is a problem with architects, you know, a feeling that everything we do is very important and that everything has to be maintained in the way that we wanted it.â But he admits that the âuse and misuseâ of things interests himâŠit might be the needed shift of perspective.
âPaintings are in galleries, you can go and see it. Buildings are in the streets, you can go and see it. Buildings are unavoidably generous.â
To look at buildings, noice buildings and absorb buildingsâŠis probably the best we can do.
Guest: Tony Fretton (London, UK)
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: Meireles
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Our 18th stop is in Feldbrunnen (Switzerland) alongside CĂ©line Bessire and Matthias Winter. If you ever feel like discussing difficult words like âparallaxâ, they are the perfect counterpoint. Things are not what they seem, âthings carry an ambivalence within themselvesâ and Parallex is all about shifting perspectives, âwhat we are trying to find is the parallactic qualities within the everyday spaces (âŠ) Itâs not about changing or shifting meaning but changing what they actually are.â
The first sep is to understand the potential of the Parallex, secondlyâŠyou unleash its potential. CĂ©line and Matthias have a bag full of ideas to argue on this topic.
âWe realised that we can change things also by not physically changing things.â
After all, âIt raises the question of where a project end and where a project startsâŠif it actually does end or if it actually does startâ. If we weren't already uncertain about everything, even the a priori data isn't sufficiently solid to remain unquestioned.
Question everything, be sure of nothing, a beautiful âstrategy of how we can unlearn something that we are used to do.â
We might also welcome Georges Perecâs âSpecies of spacesâ to this cloud of ideas. Was he actually putting things inside boxes? Or was he attempting to make us (paralleticly) think out of the box?
âItâs quite delirious to attempt to make categories, it can only be limiting.â
Guest: CĂ©line Bessire + Matthias Winter (Feldbrunnen, Switzerland )
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: JJTeixeira
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#17 HANGHAR (SP), Arquitetura Entre Vistas ABROAD
Our 17h stop is at HANGHAR (Madrid, Spain) to meet Eduardo Mediero, he shares with us the intriguing philosophy of a firm that thrives on the ticking clock of a ten-year deadline, all activity will be ceased on 31st December 2030.
Throughout our conversation, we dissect how HANGHAR is flipping the script on real estate norms by designing apartments free from the constraints of traditional room functions. âI am very interested in how very defined and very structured sets of rules or decisions opens up and frees itâs way of lIving.â. The superimposition of the grid might have a word on thatâŠlisten to find out the secret.
OkâŠokâŠI might reveal a little bit about that:
âOur work is always focused on a sort of architecture that could somehow fight agains te veracious speculation of our city. Thatâs when spacial grid apartments started to happen in which we were asked to renovated apartments but we didnât know what the final owner is going to be. Creating an apartment that had no rooms no, bedrooms, no master bedrooms, no dining rooms but just this sort of spaces that the market was unable to define.â
Geometry as an abstraction toolâŠonly for those who know how to use it.
Guest: Eduardo Mediero (Madrid, Spain)
Host: Ana Catarina Silva (Porto, Portugal)
Sponsor: JJTeixeira
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Our 16h stop is at aoa (Seoul, South Korea) to meet Jaewon Suh. To say “aoa” is the same as to say "architecture of anyone, anything and anywhere”.
For aoa, architecture is nothing. “When I say that architecture is nothing, it means that it is a very fundamental thing”, like air, for example.
As a reaction to Valerio Olgiaty ’s “non-referencial architecture”, a self-explanatory “hiper-referencial architecture”. “I want to be inspired by our reality not ideality”.
Feel free to see a cat / a minecraft game / a Sol LeWitt’s sculpture, where there is a house. “To the children, my building looks like an ice cream. It’s a way to connect people and architecture.”
“I think autonomy of architecture has to be destroyed by our culture” and as you listen to this conversation you’ll understand the meaning of these strong words. “Some banal things destroy order but I intentionally use these things as a satire of society.”
In the end “the most important thing is how to organize the elements with each other to make a system. (…) Architects make a building using a column, a slab, a stair…very fundamental elements. We only do that.”
Guest: Jaewon Suh, aoa (Seoul, South Korea)
Host: Ana Catarina Silva (Porto, Portugal)
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Today, we cross the globe. In this episode we talk with the architect Richard Stampton.
Whom consciously decided: not to go into competitions; not to extensively show his work (which is different from hiding it); as well as to resist the urge to think further then what he is actually drawing.
Did you know this also a possible approach?
âI was very conscious, when I started my practice, to be small in a meaningful way.â, he claims.
Do you know what it means to be âramen profitable? I didnât either.
Richard confesses his pursue for a deeper understanding on the haptics as well as the essencial counterpoint of letting go certain parts: âa building often gets to a scale where there needs to be a blanc wallâ.
Do add up to the equation: âThe building you do, if it it made out of cardboard or if it is made out of gold leaf, it should still work. The design should work almost regardless of the material.â
As simple and complex as that.
This is a triadic situation between: what the client wants, what the author thinks, what the world needs.
Truth being told, âthe level of control an architect has is usually highly exaggeratedâŠthroughout history. Architects donât make cities.â
âI love that there is a limitation over what we can control over a project.â
Guest: Richard Stampton (Phillip Island, AU)
Host: Ana Catarina Silva (Porto, Portugal)
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Our 14th stop is at GAFPA (Ghent, BE) alongside Floris de Bruyn.
GAFPA is recognisable for itâs pragmatic approach. But there is much more to it. Somehow, they always manage to uncover the specificity that hides behind generic approaches. Itâs about âtrying to make something specific with a generic toolâ.
For every project, a primary structure.
But what is this âprimary structureâ? âThe primary structure, when you dismantle it, it is a very pragmatic structure, but at the same time it already includes both the identity and the generosity of the gesture.â
Everyday is complex enough, so âitâs important not to invent complexityâ.
âYou just do exactly what is needed and , somehow, nothing more then that.â but this is not the same as to say that âheritageâ is the only possible path to follow.
âWe like to compare different things in series, because we like the evolutions, the steps, the mutations, the discussions of how from one idea you step to the next. Because when you understand this logic, you can apply it yourself. When it is an isolated reference the danger is that it becomes model.â
Guest: Floris de Bruyn - GAFPA (Ghent, Belgic)
Host: Ana Catarina Silva (Porto, Portugal)
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Our 13th stop is in Porto (PT), alongside Elói Gonçalves, and in Zurich (CH), where António Mesquita is currently at.
A fast and furious architecture, not just becauseâŠbut because the fast pace has excelled the competition, fast pace is eminent anywhere. Things are always very fast, as so, the faster you adaptâŠthe better you keep up. âChange and adaptability is part of our geneticsâ, they claim.
What we might expect from them is exactly what they expect from materials: AntĂłnio and ElĂłi are amused by materials that have unlimited possibilities - âmaterials that are always readyâ, as they call it - as so, unlimited possibilities is what they explore.
After all, âArchitecture is like this...It is about being always readyâ. âWe donât know what is going to happen in the the afternoon or the next day or in the construction site. So, being always ready is kind of the only possibility.â
Letâs picture, in our minds, the beginning of a project: the client has a plot and a program and maybe some ideias; the architects also have some ideias in their mind.
One thing is for sure: none of these is what the project is going to be.
âWe have no idea of what we are going to do, but we are sure that we are going to find a lot of things.â
âArchitecture is like chocolate for people that like chocolate, you could eat it forever.â
Guest: Elói Gonçalves + António Mesquita (Porto, Portugal + Zurich, Switzerland)
Host: Ana Catarina Silva (Porto, Portugal)
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Today we travel the longest way so far, today I am really honoured to welcome architect Takefumi Aida, born in Japan in 1937and, for 86 years, has never stopped playing.
I bring good and bad news.
Bad news first: age won't bring us certainties.
Now the good news: age won't bring us certainties.
After over 60 years thinking about architecture, Takefumi Aida confesses he is âcontinuously thinking about what architecture isâ. MaybeâŠthis âthinking about what architecture isâ is architecture itself.
Itâs polemicâŠbut the probability that "architecture is not 100% expressed in the realised architectureâ is a strong possibility. Fortunately, its guaranteed we find Takefumi Aidaâs full intent out of his models and drawings.
âThe importance of architecture is in the thinking. The building is one kind of result.â
He has approached architecture with a 3D kind of though, playing with Toy Blocks.
He has approached architecture with a 2D kind of though, playing with cards and parallel walls.
Currently, âI want to design architecture by a one dimensional thinking way. (âŠ) I have started to think about that but I havenât yet developed a design method for it.â
I bring more bad news: âThere is not a single project that I am satisfied with.â
I also bring more good news: âI still have the same motivation I had when I was a young child. That is why I donât stop.â
Beautiful.
Guest: Takefumi Aida (Tokyo, Japan)
Host: Ana Catarina Silva (Porto, Portugal)
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- Se mer
