E XPLO R AT I ON S Table of Contents eXPLOrations iN Architecture

4 Colophon +4 research Environments* 6 ACKNOWLEDGMENTS 8 iNTRODUCTION Reto Geiser C A METHODOLOGY 12 PERFORMATIVE MODERNITIES: REM KOOLHAAS’S DIDACTICS B NETWORKS DELIRIOUS NEW YORK AS INDUCTIVE RESEARCH C DIDACTICS 122 NOTES ON THE ANALYSIS OF FORM: Deane Simpson D TECHNOLOGY 14 sTOP MAKING SENSE Angelus Eisinger CHRISTOPHER ALEXANDER AND THE LANGUAGE OF 26 ALTERNATIVE EDUCATIONAL PROGRAMS IN PATTERNS Andri Gerber ARCHITECTURE: THE INSTITUTE FOR 124 uNDERSTANDING BY DESIGN: THE SYNTHETIC ARCHITECTURE AND URBAN STUDIES Kim Förster APPROACH TO INTELLIGENCE Daniel Bisig, Rolf Pfeifer 134 THE CITY AS ARCHITECTURE: ALDO ROSSI’S +4 research Environments* DIDACTIC LEGACY Filip Geerts sTUDIO CASE STUDIES 136 eXPLORING UNCOMMON TERRITORIES: A A SYNTHETIC APPROACH TO TEACHING 54 LAPA Laboratoire de la production d’architecture [EPFL] Platzhalter METHODOLOGY ARCHITECTURE Dieter Dietz Platzhalter 141 ALICE 98 MAS UD Master of Advanced Studies in Urban Design [ETHZ] 34 A DISCOURS ON METHOD (For the Proper Atelier de la conception de l’espace EPFL 141 ALICE Atelier de la conception de l’espace [EPFL] Conduct of Reason and the Search for 158 sTRUCTURE AND CONTENT FOR THE HUMAN 182 DFAB Architecture and Digital Fabrication [ETHZ] efficacity in Design) Sanford Kwinter eNVIRONMENT: HOCHSCHULE FÜR GESTALTUNG I N A R C HI T E CT 48 THE INVENTION OF THE URBAN RESEARCH STUDIO: uLM, 1953–1968 Tilo Richter rOBERT VENTURI, DENISE SCOTT BROWN, AND sTEVEN IZENOUR’S Learning from Las Vegas, 1972 Martino Stierli +4 research Environments* hisTORICAL CASE STUDIES 50 frOM CITY TO DETAIL: THE SPHERE OF THE D ARCHITECT Harry Gugger, Carolin Stapenhorst 12 reM KOOLHAAS Deane Simpson 54 LAPA TECHNOLOGY Laboratoire de la production d’architecture EPFL 26 iNSTITUTE FOR ARCHITECTURE AND URBAN STUDIES Kim Förster 166 ARCHITECTURE AS MEMBRANE, Georges Teyssot 48 VENTURI, SCOTT BROWN, AND IZENOUR Martino Stierli 176 WORLD GAME NEW YORK 1969: BUCKMINSTER 78 LUCIUS BURCKHARDT Martin Josephy +4 research Environments* fuLLER’S GLOBAL SWITCHBOARD, Mark Wasiuta 178 DIGITAL MATERIALITY IN ARCHITECTURE: 90 CONSTANTINOS DOXIADIS Jeannie Kim B BRIDGING THE REALMS OF THE VIRTUAL AND 114 TEAM 10 Tom Avermaete NETWORKS THE PHYSICAL, Fabio Gramazio, Matthias Kohler 122 CHRISTOPHER ALEXANDER Andri Gerber 182 DFAB 134 ALDO ROSSI Filip Geerts Architecture and Digital Fabrication ETHZ 78 CRITICAL PRACTICE BETWEEN SCIENE AND ART: 158 hOCHSCHULE FÜR GESTALTUNG ULM Tilo Richter LUCIUS BURCKHARDT AND THE EMERGENCE OF 200 r AND D: THE EAMES OFFICE AT WORK, PLANNING THEORY Martin Josephy John Harwood 176 BUCKMINSTER FULLER Mark Wasiuta 80 “GIVE ME A GUN AND I WILL MAKE ALL 200 eAMES OFFICE John Harwood BUILDINGS MOVE”: AN ANT’S VIEW OF URE 208 heNRY VAN DE VELDE Ole W. Fischer ARCHITECTURE Bruno Latour, Albena Yaneva 202 Credits 90 THE ORACLE OF ATHENS: CONSTANTINOS 204 iNDex of Contributors DOXIADIS AND THE STUDY OF HUMAN 206 iMAGe Credits seTTLEMENTS Jeannie Kim 207 Patrons and Sponsors 92 urBAN TRANSFORMATION IN DEVELOPING 208 eXPERIMENTAL WORKSHOP OF MODERNITY: keY ARTICLES TERRITORIES Marc Angélil refORMIST DESIGN EDUCATION FROM 94 ADDIS THROUGH THE LOOKING-GLASS VAN DE VELDE TO BAUHAUS Ole W. Fischer Marc Angélil, Cary Siress 210 sTRUCTURAL OSCILLATIONS, Installation for 14 sTOP MAKING SENSE Angelus Eisinger Platzhalter 98 MAS UD The 11th Venice Architectural Biennale, 34 A DISCOURS ON METHOD Sanford Kwinter Platzhalter Master of Advanced Studies in Urban Design ETHZ sWiss Pavillon 2008 80 AN ANT’S VIEW OF ARCHITECTURE Bruno Latour, Albena Yaneva 114 A WEB OF RESEARCH ON SOCIO-PLASTICS: 124 uNDERSTANDING BY DESIGN Daniel Bisig, Rolf Pfeifer TEAM 10 AND THE CRITICAL FRAMING OF eVERYDAY URBAN ENVIRONMENTS Tom Avermaete 166 ARCHITECTURE AS MEMBRANE Georges Teyssot

A B C D

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Didactics Historical Case Study C Hochschule für Gestaltung Ulm Tilo Richter

1 max Bill with Ray and Charles 3 Photo studio at HfG, 1957 5 Tomás Maldonado teaching, Structure and Content for the Human use of science and theory. Tomás Maldonado, an Argen- Eames at Ulm, 1955 (Photo: Ernst Hahn) (Photo: Wolfgang Siol) 1966 (Photo: Roland Fürst) Environment: The Hochschule für Gestaltung tinian who had previously taught in Italy, became an 2 Inge Aicher-Scholl and Walter 4 HfG campus buildings by Max 6 Students room in the “Wohn- Ulm, 1953–1968 opponent of Bill, and Bill left the HfG in 1957 as a Gropius at the opening of the HfG cam- Bill, 1955 (Photo: Wolfgang Siol) turm” at HfG campus, 1958 (Photo: Wolf- pus, 1955 (Photo: Ike and Hannes Rosen- gang Siol) reaction to the impending change of course. At the berg) Tilo Richter International Exposition in Brussels in 1958, Maldonado gave an impassioned speech on the conceptual reorien- From its founding in 1953 until its closure in 1968, The tation of the HfG—the “Ulm model”—which he would Hochschule für Gestaltung (HfG) Ulm was considered one play a decisive role in shaping in the coming years. of the most important international centers for the design From that time on, under a council of directors, the of industrial products. Not only did graduates of the HfG institute at Ulm became more closely allied with the 1 become key players in contemporary product design, but production of industrial goods. The new symbiosis of the pedagogical concept developed at Ulm has had a design and industry was, for example, evident in the lasting influence on the education of designers. products of Max Braun AG, the renowned manufacturer In 1949 Inge Scholl, Otl Aicher and Hans Werner of electrical household appliances. Braun’s department 2 Richter began to configure an institute at Ulm that was of product design, developed by Fritz Eichler, cooper- equally oriented toward politics, science and the hu- ated closely with the HfG, as did Dieter Rams (“Mr. Braun”). manities. Education in politics and the comprehensive Several of the HfG faculty did design work for Braun design of the environment, both in structure and content, directly, such as Hans Gugelot (who designed the SK4, would establish and reinforce humanistic ideals and “Snow White’s Coffin,” with Dieter Rams), Inge Scholl democratic thought—nothing less than a “new culture.” and Otl Aicher (Corporate Design). As quickly and in- During its initial year, the faculty included former Bauhaus tensively as new design ideas flowed into production, instructors Josef Albers, Johannes Itten, Walter Peter- so the experience and knowledge gained there was fed hans and Helene Nonné-Schmidt. The first classes were back into teaching. held in the Volkshochschule, while on Oberer Kuhberg According to some of the faculty, in the 1960s the the building for the new institute was being constructed teaching was becoming increasingly subject to scien- according to the designs of founding director and former tific premises. Maldonado and those who had supported Bauhaus pupil Max Bill. him in the dispute around Aicher and Gugelot now became when Bill’s school buildings were opened in 1955, the target of opposition. Lecturers such as mathematician Walter Gropius spoke of a “continued, organic develop- Horst Rittl, sociologist Hanno Kesting and industrial 3 4 ment” of the Bauhaus, and the new institute was even designer Bruce Archer advocated a strictly analytical sometimes referred to as “Bauhaus Ulm.” However, in methodology quite distinct from their colleagues’ orien- contrast to the legendary Bauhaus of Weimar, Dessau tation toward industrial practice. In the mid 60s, internal and Berlin, the teachers and students at Ulm thought conflicts around the pedagogical orientation of the HfG of themselves less as artists and individualists than as intensified, and were increasingly accompanied by industrial designers, the ones whose task it was to form public criticism. The institute’s closure in 1968 was the and to sustain what Aicher termed the “culture of civi- result of multiple factors: a lack of political support led lization.” Education at the HfG consisted of one year of to the elimination of necessary financial subsidies from basic study and three years of specialization, in product the government of Baden-Württemberg, which also had design, visual communication, construction, information not been able to offset the considerable debts of the (until 1964) or film (beginning in 1961). A main objective Scholl Foundation. Gui Bonsiepe, a designer who had common to all subjects was sensitizing students to received his diploma from Ulm in 1959, said of the insti- 5 6 cultural and social issues, and scientific and scholarly tute in the year of its closing, “Although the HfG did not approaches accompanied the design process. In the meet a heroic end, the hope at its beginning was indeed classrooms, workshops, studios and dormitories designed heroic. The HfG should not be measured by what it achieved, by Bill, the cooperative efforts of students and faculty but by what it was prevented from achieving.” from around the world reflected the pedagogical ap- proach of the HfG: design, scholarship, and society were BibliogrAPHY tightly interwoven, and life and work formed a unique • Curdes, Gerhard. HfG Ulm: 21 Rückblicke. Bauen – Gemein- symbiosis. schaft – Doktrinen. Ulm: Verlag Dorothea Rohn-Klewe, 2006. • Krampen, Martin, and Günther Hörmann. Die Hochschule für As its first director, Max Bill primarily influenced Gestaltung Ulm – Anfänge eines Projektes der unnachgiebigen the early years of the HfG. Already by the mid 50s, the Moderne = The Ulm School of Design – Beginnings of a Project of orientation towards the Bauhaus had become the subject Unyielding Modernity. Berlin: Verlag Ernst & Sohn, 2003. • Maldonado, Tomás: “Design Education.” In Education of of controversial discussions. The younger instructors ­Vision, edited by Gyorgy Kepes, 122–135. New York: George called for a modified curriculum that would make greater ­Braziller, 1965.