In 1970s Tokyo, the young architect and historian Terunobu Fujimori and his Architectural Detective Agency and ROJO Society colleagues even became the heroes of a manga. Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. In the same way, collective initiatives like Global Tools were able to exist and to produce the unexpected because they were kept separate from the individual practices of their various radical components—which in this case included Superstudio, Archizoom, Ugo La Pietra, Gaetano Pesce, Gianni Pettena, Ettore Sottsass, U.F.O., Gruppo 9999, Remo Buti, Riccardo Dalisi, and Zziggurat. IAUS attempted to integrate the intellectual architect-researcher with the architect-designer—just as it tried to integrate the practice of architecture with its urban and social context and its educational role (“to unite the theoretical realm of higher education with the pragmatic world of the planning agency”4).

Reprinted in The Other Architect, 21. The podcast from the London Festival of Architecture. This radical rethinking of what architecture is and where it can act is also profoundly reflected in the mandates that these experiments gave themselves. We will contact you shortly. Giovanna Borasi.

The specific and strategic names that different groups give themselves reveal something about their approaches; when they are borrowed from other professions, these terms tend to emphasize new ways of working inside the architectural field. ↩ Letter from Giancarlo De Carlo to Peter Smithson, 4 November 1977. Anyone Corporation was founded in 1990 and declared itself to be “a new form of institution.” The emphasis on the indeterminacy of the word “any” and of its subsequent iterations in the form of conference titles—Anyone, Anywhere, Anyway, Anyplace, Anywise, Anybody, Anyhow, Anytime, Anymore, and Anything—along with a cadenced and precise idea of duration, which was set at eleven years in total, became programmatic instruments for establishing a productive climate for dialogue. Excerpt reprinted in The Other Architect, 2–5. These investigative models represent a new approach to architecture relying equally on their proposed themes and on their sets of operating strategies, working methods, organizational structures, and financial models. Moved by a desire to contribute more substantially and more actively to the construction of a cultural agenda (“Trying to change the notion of architecture as business”;1 “I’m preparing tools”2), they shared a will for a closer connection to the spirit of their time: to understand it better and to offer it more appropriate suggestions, or even to anticipate future questions.

Giovanna Borasi is an architect and Chief Curator of the Canadian Centre for Architecture. It also illustrates how the crafting of a dedicated unit can respond more precisely to an objective, and in a more agile way. The Canadian Centre for Architecture (CCA) is an institution that thrives on research, whose international nature has always been at the forefront of their curatorial vision. In these experiments we observe an urgent desire to also plan the contexts in which these groups would operate, as though this first operation—asking the question of where to act—was essential to ensure the development of the project and its methods. In contrast to the typical condition of the architectural firm with the architect at the centre of every decision, the groups selected here opted for new models based on collaboration and dialogue. Reprinted in The Other Architect, 192. Please keep in mind that your consultation date will be based on the type of material you wish to study. Students and professors worked together on problems related to realizing built projects; UIG became a new way of “doing school” and “doing work,” in which study, work, and research happened at the same time. Giovanna Borasi, Albert Ferré, Francesco Garutti, Jayne Kelley, and Mirko Zardini 2019 The Museum Is Not Enough is the result of collective reflections on architecture, contemporary social concerns, institutions, and the public undertaken by the CCA in recent years. Operating with the architect’s mentality, AMO applies architectural methods to processes outside the normal practice of construction when familiar questions of organization, structure, and design can be identified (“By giving up these conventions”4). Although they are part of the same “thing,” OMA and AMO are two distinct units within an already-articulated constellation. And if urban policy questions are the subject of a discussion, where better to display them than in the city itself? [1][2] She first joined the CCA as Curator for Contemporary Architecture in 2005.

Borasi was educated in architecture, and has worked as a writer and editor in addition to her curatorial activities.[3]. 0 bulletin prepared by Global Tools, June 1974.

The Other Architect / Another Way of Building Architecture, Perspectives de vie à Londres et à Tokyo (French Edition), Top subscription boxes – right to your door, © 1996-2020, Amazon.com, Inc. or its affiliates. ILAUD was intentionally designed as an international and heterogeneous network (“Why ‘international’?”2); participants came from different universities and, therefore, from different schools of thought. Excerpt reprinted in The Other Architect, 66–67. Spanish architects Luis Moreno Mansilla, Emilio Tuñón, and Luis Rojo de Castro launched a publishing adventure in 1993, in parallel to their practice.

↩. The Other Architect.

Please complete this form to make a request for consultation. $814.57 $ 814 57. Giovanna Borasi’s exhibitions and related books explore contemporary issues and reflect her interest in alternative ways of practicing architecture. Thank you for placing an order. Conducted in the same way as an architectural project, a counter-project visualizes the problematic aspects of the official design and illustrates a plausible alternative, creating a useful space for dialogue that goes beyond an act of protest. They are, in fact, forms and expressions of a collective way of speaking based on interdisciplinary exchange and reconfigurable networks in which it is normal to intentionally and productively confuse roles. By stimulating and gathering ideas, Anyone established a new platform for debate over the direction of contemporary architecture. If you’d like to resubscribe with this email, please contact us, Please complete the form below to buy:

This combination of specific backgrounds was fundamental for productive exchange and generating new topics for research.
In 1954 Phyllis Lambert, whilst still in her 20s was instrumental in persuading the company to change architects and commission Mies Van De Rohe to design the firms US headquarters – resulting in the iconic Seagram Building in Midtown Manhattan.

The Center for Urban Pedagogy (CUP) was founded in New York in 2001 by a multidisciplinary group including artists, lawyers, and architects, and the organization identified itself and carried out its program as a go-between for local institutions and citizens, assuming the role of civic educator raising awareness of the social implications of institutional policies and the institutional implications of daily habits. Read more at placesjournal.org. For more information, consult our. This email was permanently deleted from our database. Reprinted in The Other Architect, 24–27. A Loft, Aloft: John Hejduk at the Cooper Union, By signing up you agree to receive our newsletter and communications about CCA activities. ↩. Anybody could subscribe for free by sending them a postcard. The street became the three-dimensional background highlighting the contradictions of development in the context of the celebratory Olympic mood: a social housing crisis and the reckless demolition of historic buildings. This field is for validation purposes and should be left unchanged. Together, these experiments point beyond what architecture is toward what architecture could be—or what it already is, if we would recognize it.

Memo prepared by Moore Grover Harper explaining an exhibition at Cornell University on the Riverdesign Dayton Design-A-Thon, c. 1979.

In the case of the Architecture Machine Group, founded by Nicholas Negroponte and Leon Groisser at MIT in 1967, architecture became a concept that could organize interactions between people and machines, or illustrate the way a computer “thinks” using a system of relations and interdependence between elements that is similar to that of a constructed object: a house is made of rooms that are made of walls, and so on. Their systematic analysis contributed to another important topic of architectural investigation—modular, flexible construction—while considering its possible impact in social and economic terms in view of a wider and more democratic use of these structures. But above all, the rethinking of structures and procedures and the mixing of diverse environments—practice, school, and research—produces a new result for each one. Her exhibitions and publications have drawn particular attention to alternative ways of practicing and evaluating architecture, and the influence of social and political issues on urbanism and the built environment. Excerpt reprinted in The Other Architect, 145. Giovanna joined the CCA in 2005 as the Curator for Contemporary Architecture, going on to become Chief Curator in 2014 and then Director of the Centre at the beginning of this year. The targeted choice of instruments in response to the context and to the problems posed makes these experiences illustrative of another kind of architectural operation.
When the architect produces and codifies this research it becomes a useful tool for others, and once again the architect’s role shifts into something other than that of the traditional figure.

IAUS was an independent research institute located in midtown Manhattan, though since its founding it maintained a strong relationship with a museum, the Museum of Modern Art—with which it also had economic, intellectual, curatorial, and research ties, particularly linked to the exhibitions of the Department of Architecture and Design—and a university, Cornell, with which it launched its first internship program. So they searched for different operating models, introduced new concepts, and began to work with unusual tools.

Here architecture is no longer understood as a practice that inevitably brings about the construction of an artifact, but as a way of thinking, observing, and analyzing the present and the society in which we operate; of identifying and asking questions while marking a new territory on which to act; of looking for or inventing suitable tools; and, finally, of responding generously and concisely. It seems to be that it is exactly this experience in a new context, detached from regular practices, that enables individual appropriation of what could be developed only collectively. ↩, Art Net first annual report, March 1975. They developed an easy-to-use format of A4 sheets printed and folded in the office, distributing it just as simply and informally, through a circle of friends and acquaintances. For AMO, the distinction between architectural thinking and architectural practice is the basis for organizing other forms of architectural production.

Giovanna Borasi is Curator of Contemporary Architecture at the Canadian Centre for Architecture, and an architect and editor. With Mirko Zardini, she co-curated Sense of the City (2005), 1973: Sorry, Out of Gas (2007), Actions: What You Can Do With the City (2008 – 2009), Other Space Odysseys: Greg Lynn, Michael Maltzan, Alessandro Poli (2010) and Imperfect Health: The Medicalization of Architecture (2011).

In 2005 she was named Curator, Contemporary Architecture at the CCA. ARAU proposed the “counter-project” as an active way of illustrating an alternative scenario and simultaneously involving citizens in imagining the potential of their city.

Giovanna Borasi is an architect, curator and writer, and Chief Curator at the Canadian Centre for Architecture (CCA) since 2014. Please try again later.


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