914 1996–2019 INDICI NUOVA EDIZIONE SOMMARIO INDICES 632–906 NEW EDITION IN CONSULTAZIONE ESCLUSIVA SU: AVAILABLE FOR REFERENCE ONLY AT: 914 — OTTOBRE 2020 CASABELLAWEB.EU

3—35 36—51 74—89 TRANSIZIONE DIGITALE E PROFILO TURNING POINT CONTINUITÀ ANALOGICA ANDREW BERMAN KENZŌ TANGE a cura di Nicola Braghieri 37 CASA A SEIJŌ UN ARCHITETTO NEWYORKESE 4 75 MACCHINE POETANTI O STRUMENTI Stan Allen IL DILEMMA DELLA CREAZIONE: ESECUTIVI? 42 LA CASA DI KENZŌ TANGE A SEIJŌ Nicola Braghieri MCC THEATER J.K. Mauro Pierconti 13 MANHATTAN, NEW YORK, STATI FOTOMONTAGGI ITALIANI UNITI Nicola Braghieri 46 90—97 28 STORIA BREVISSIMA, MA SI SPERA SCULPTURE STUDIO BIBLIOTECA VERIDICA, DELLA SVOLTA NUMERICA BROOKLYN, NEW YORK, STATI UNITI 90 IN ARCHITETTURA 48 RECENSIONI Mario Carpo VAN CORTL ANDT 92 PER UNA ARCHEOLOGIA DELLA BRANCH LIBRARY GLOBALIZZAZIONE BRONX, NEW YORK, STATI UNITI Alessandro De Magistris 50 ANDREW BERMAN LIBRARIES 98—103 52—65 ENGLISH TEXTS 98 GROUPWORK + AMIN ENGLISH TEXTS TAHA 15 CLERKENWELL CLOSE, LONDRA, REGNO UNITO 53 COME CONTR ASTARE L A DERMATOPOROSI IN ARCHITETTURA William Mann

66—73 MARCO ORTALLI CASA UNIFAMILIARE, COMO 67 VILLULE 68 IL RISCATTO DELLA BRIANZA Federico Tranfa

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Un architetto newyorkese strettamente legato al movimento dada e al * Per una presentazione delle Stan Allen surrealismo, mostra nelle sue opere un gusto opere di Andrew Berman si veda squisitamente americano: un’immediatezza, il numero 869, gennaio 2017, di «Casabella». «Il pragmatismo priva di rigidità tutte le nostre un amore per la sperimentazione e l’invenzione, Per una presentazione delle 3 4 teorie, le rende flessibili e le mette all’opera». una sintesi paradossale di ruvidezza e opere di Andrew Berman si veda il numero 869, gennaio William James, 1907 raffinatezza. L’opera di Man Ray è segnata in 2017, di «Casabella». maniera indelebile dalla dinamica cultura 1, 2 New York, 1917 è una scultura creata da Man Ray metropolitana della New York di inizio MoMA PS1, Long Island City, in quella città, in quell’anno. È composta da due Novecento. Poco prima di lasciare la città scrive New York, 2011. Vedute esterna e interna del volume d’ingresso materiali: una serie di barrette di acciaio a Tristan Tzara: «Il dada non può vivere a New MoMA PS1, Long Island City, inossidabile e un normale morsetto a C1. York. Tutta New York è dada e non tollererà un New York, 2011. Exterior and interior views of the entrance Assemblata a partire da oggetti trovati nello rivale». volume 5 6 studio, mette in atto un sottile “spostamento” Andrew Berman è un architetto newyorkese. 3, 4 Writing Studio, 2008. Uno di questi oggetti funzionali di uso quotidiano: In un’era globale, in cui i suoi colleghi scorcio dall’area a verde che gli strumenti di lavoro dell’artista vengono trascorrono la vita negli aeroporti, esercitando circonda la casa e il volume in trasformati in un’opera d’arte. Il titolo allude la professione lontano da casa, costruendo per aggetto che ospita il soggiorno Writing Studio, 2008. View of sia alla caratteristica forma a gradini dei primi culture che non conoscono o non capiscono, the surrounding green area grattacieli di New York sia all’ottimismo di una e operando attraverso un’elaborata catena di and the overhanging volume with the living room moderna metropoli in ascesa. All’epoca Man studi associati, Berman lavora da solo, quasi 5, 6 Ray viveva vicino alla Grand Central Station esclusivamente nell’area di New York, dove Watermill Residence, Watermill, New York, 2013. Fasi della (ancora in fase costruzione) e il rumore costante risiede. Questo significa avere a che fare da un costruzione e veduta d’insieme dei lavori edili intorno a lui era a suo avviso il lato con la cultura edilizia della città, con il suo dell’edificio residenziale Watermill Residence, simbolo della modernità. Si tratta dell’esempio pesante apparato normativo e la complicata Watermill, New York, 2013. * paradigmatico di un’operazione di bricolage: logistica delle costruzioni, dall’altro con lo Construction phases and overall view of the residential la rielaborazione diretta e pratica di materiali spirito di una città dinamica e cosmopolita, di building Andrew Berman a disposizione. Il procedimento di realizzazione una metropoli spavalda e spietata, pilotata dalla 7, 8 Sculpure Center, New York, è immediatamente evidente: i materiali non finanza e spinta inesorabilmente alla crescita, 2014. Il fronte principale su 7 8 sono “eroici” né sono stati spinti a forza ad spesso a spese del suo passato. Tuttavia New Purves Street e l’ingresso assumere configurazioni sconosciute. Anzi, York è ancora al tempo stesso una capitale Sculpure Center, New York, 2014. The main facade on Man Ray lavora con i principi della creativa in cui sopravvivono piccoli gruppi Purves St. and the entrance compressione e dell’equilibrio della materia di artisti e, nonostante le difficoltà, rimane 9, 10 Islesboro Residence, Islesboro, per creare con mezzi minimi un effetto un luogo di innovazione dal basso, di inventiva Maine, 2014. Vedute di insieme suggestivo. L’opera è spontanea e immediata: e improvvisazione; un luogo in cui i clienti della Boathouse Islesboro Residence, un momento di intuizione visiva, che collega facoltosi sostengono una solida comunità di Islesboro, Maine, 2014. il mondo esterno agli strumenti dell’artista piccoli costruttori, imprenditori edili e artigiani. Boathouse overall views 9 10 11, 12 e alle logiche dell’assemblage. Lavorare vicino casa significa che Berman può Vatican Chapel, Venezia, 2018. Man Ray proviene da una famiglia di essere presente in cantiere, rimanere in contatto Vedute di insieme Vatican Chapel, Venezia, immigrati russi di origine ebraica che lavorano diretto con il processo di costruzione. 2018. Overall views come sarti a Brooklyn. La sua pratica artistica È un atteggiamento più spesso diffuso nella si svolge durante i brevi e fecondi anni del New generazione precedente, quella che manteneva York Dada, durante i quali si avvicina a Marcel l’impegno a lavorare a livello locale. Significa Duchamp, e abbandona la pittura per che, come architetto, vive accanto a ciò che ha concentrarsi esclusivamente sulla fotografia costruito, che forma il tessuto della città in cui 11 12 e l’assemblaggio. Nel 1921 si trasferisce a Parigi abita e lavora2. e da allora trascorre la maggior parte del suo Tuttavia definire Andrew Berman un tempo in Europa. Instancabile innovatore, architetto “locale” non significa assimilarlo

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a una cultura provinciale, né al concetto riunisce in un unico sito tutti gli aspetti del processo lavorativo e dalla natura dell’opera 13 Man Ray, New York, 1917, di regionalismo critico. È un professionista processo di creazione artistica. Oggi i realizzata in loco. originale 1917; ricostruzione 1966 sofisticato, con una profonda conoscenza della tradizionali quartieri degli artisti, come Soho e Lo Sculpture Studio sottolinea l’idea della Man Ray, New York, 1917, original 1917; reconstruction storia e una visione cosmopolita. Ha deciso Tribeca, si sono completamente imborghesiti, città come luogo di produzione, respingendo 1966 consapevolmente di lavorare vicino a casa, quindi questa operazione è possibile solo fuori l’egemonia della finanza e dei settori dei servizi. 14 Francis Picabia, Ici, c’est ici con ciò che conosce e comprende. La sua scelta da Manhattan. Inoltre si è verificato anche un Nelle metropoli contemporanee è all’opera Stieglitz, foi et amour, copertina è motivata da un’etica di restituzione alla cambiamento nella scala della pratica artistica; un’altra realtà: quella delle comunità di di “291”, n. 1, 1915 Francis Picabia, Ici, c’est ici comunità e al tempo stesso da una visione persino un enorme lof non riuscirebbe ad lavoratori, composte da insegnanti di scuola, Stieglitz, foi et amour, cover filosofica, basata sul pragmatismo americano accogliere tutte le funzioni qui combinate. Lo impiegati e vigili del fuoco, così come da un of 291, no. 1, 1915 di John Dewey e William James, secondo la Studio è contemporaneamente atelier e fabbrica, gran numero di famiglie di immigrati. Berman quale il modo migliore per dare un contributo parte integrante del tessuto lavorativo di questo ha progettato e costruito una serie di biblioteche di valore alla cultura in senso più ampio è settore industriale della città. “distaccate” che servono queste comunità. abbracciare ciò che è specifico, concreto e Una rete di maglia d’acciaio fa da schermo La tecnologia digitale ha modificato il ruolo immediato. Berman lavora al centro di una e separa la strada dal grande piazzale dove della biblioteca, rendendo paradossalmente metropoli globale, sensibile a tutte le forze viene depositata e conservata la pietra grezza, ancora più importanti queste piccole realtà della tecnologia moderna e del capitalismo che può essere spostata direttamente nel grande locali. Oltre a essere depositi di libri, sono spazi

14 internazionale e al tempo stesso con capannone passando attraverso una parete sociali e per alcuni residenti possono costituire un’attenzione molto sottile alla specificità delle a soffietto che, una volta aperta, consente la l’unico accesso a internet. Oggi la gente va in condizioni locali di un ambiente che conosce visibilità fino al fondo della struttura. Lo spazio biblioteca per cercare un lavoro, per presentare intimamente. E come Man Ray assembla gli dedicato alla fabbricazione è fiancheggiato da documenti amministrativi o per mettersi in objets trouvés, anche Berman lavora con ciò ambienti di lavoro specializzati che definiscono contatto con le proprie famiglie all’estero. che ha a portata di mano, prestando attenzione una chiara gerarchia d’uso. Grandi gru a ponte Van Cortlandt Village è una piccola enclave alle logiche intrinseche dei materiali e creando servono entrambi gli spazi, e quella esterna nel Bronx, una dolce collina stretta tra la Major effetti architettonici convincenti con mezzi funge da indicatore iconico della natura del Deegan Expressway, il Jerome Park Reservoir minimi. Anche lui fa una sintesi tra l’aspetto lavoro che si svolge all’interno – ricorda il e il Van Cortlandt Park. Un tempo in prevalenza “ruvido” e locale e quello cosmopolita. funzionalismo radicale di Hannes Meyer, dove ebrea, oggi la popolazione è in maggioranza Una delle conseguenze dell’attenzione le attrezzature assumono un ruolo di ispanica e latina e vive in un mix di case di Berman per New York è che richiama significante primario. Si tratta di un luogo di unifamiliari e modesti condomini, in un l’attenzione sull’eterogeneità della città in cui lavoro estremamente specializzato, in cui la quartiere a bassa densità abitativa con molto lavora. Certo le immagini patinate delle nuove delicata lavorazione della pietra può avvenire verde. La Van Cortlandt Branch Library che torri di Manhattan circolano molto più accanto alla movimentazione tramite gru di Berman ha completato nel 2019 è la diffusamente sulla stampa, ma Berman, oggi blocchi di diverse tonnellate. Un luogo che ristrutturazione di un edificio basso destinato per necessità, lavora spesso nei quartieri riflette la nuova realtà dello studio d’artista oggi, a residenza per gruppi, fabbricato di recente periferici, in aree meno conosciute dove artisti sede di collaborazioni più che ritiro solitario. con materiali banali e assolutamente privo di e gallerie sono ancora ben presenti. Oppure –nel Un semplice edificio di forma cubica caratteristiche distintive. La ristrutturazione caso delle biblioteche distaccate– in quartieri rivestito di mattoni neri offre un contrappunto mirata e strategica di Berman rispetta la scala ancora popolati da famiglie operaie della classe parzialmente chiuso allo spazio di lavoro aperto, e il contesto del sito in pendenza e la curva media, disperatamente bisognose dei servizi che e completa la composizione delle facciate su della strada, al tempo stesso aumentando queste istituzioni pubbliche possono fornire. strada. I dettagli e i materiali sono stati scelti delicatamente la qualità e la presenza della Il committente dello Sculpture Studio in modo chiaro e ponderato: piuttosto che struttura. La facciata “rainscreen” in scandole di Greenpoint a Brooklyn, per esempio, è un richiamare l’attenzione su se stessi, rimandano di terracotta è un colpo da maestro in questo noto artista che rielabora la figura umana alla dura qualità industriale del contesto e del senso: porta colore verso l’esterno, ma il colore impiegando sia materiali tradizionali che lavoro che si svolge al suo interno. Le geometrie è parte integrante del materiale stesso. La tecniche moderne e per il suo complesso lavoro sono rigorose e precise; assente qualsiasi mossa costruzione è esplicita e intelligibile, il materiale usa metodi artigianali ma anche la tecnologia arbitraria al servizio dell’espressione. Il di rivestimento viene posto in opera pezzo per digitale. Questo ampio spazio funzionale dinamismo dello spazio deriva dallo stesso pezzo; si tratta di un materiale resistente,

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15 minerale, che ricorda le tradizionali scandole sono sempre impegnativi dal punto di vista della scena. All’interno della sala più grande Alfred Stieglitz, New York from the Shelton, 1935 di legno senza diventare pastiche, inoltre la scala tecnico, ma in questo caso la problematicità del appare una tavolozza di materiali più morbidi, Alfred Stieglitz, New York sovradimensionata delle scandole ha l’effetto sito ha amplificato le difficoltà. Tutti questi adatti alla presenza del pubblico. In particolare, from the Shelton, 1935 16 di far sembrare l’edificio più piccolo e più aspetti sono stati gestiti in modo impeccabile, sono stati inseriti grandi pannelli in quercia Andrew Berman Architect, accessibile. Berman introduce sottili differenze anzi è pienamente coerente con l’approccio tinti di scuro, come fossero di metallo oliato, per Center for Architecture, New York, 2003 di texture che sottolineano la tattilità del progettuale di Berman il fatto che queste sfide smorzare l’acustica del calcestruzzo. Tuttavia Andrew Berman materiale e cambiano con variazioni di luce siano state trasformate in altrettante questi schermi porosi, modulati in densità man Architect, Center for Architecture, New York, 2003 e ombra. È al tempo stesso familiare e opportunità. La soluzione è diretta e lineare, mano che ci si avvicina al palcoscenico, creano 17 sorprendente, e identifica chiaramente accetta i vincoli esistenti, e permette agli aspetti anche una sottile trasparenza visiva, suggerendo Hannes Meyer, Petersschule, Basilea, 1926 la struttura così rinnovata come un edificio materiali e tecnici del progetto di diventare la presenza di un ambiente più ampio e servono Hannes Meyer, Petersschule, civico in questo modesto quartiere. parte del suo linguaggio unico. Addirittura la a far sembrare più generoso lo spazio teatrale Basel, 1926 18 Gli interni riflettono la cura con cui linea del tunnel ferroviario regionale sottostante così limitato. Gordon Matta-Clark, Bronx l’architetto si è dedicato a questo programma è rispecchiata nella diagonale dell’atrio. «Gli americani», ha scritto Gertrude Stein, Floor: Boston Road, 1973 Gordon Matta-Clark, Bronx pur modesto, progettando appositi spazi per le La maggior parte dello spazio disponibile «sono astratti e crudeli... Il loro materialismo Floor: Boston Road, 1973 diverse esigenze di cui una biblioteca distaccata è stata adibita a due luoghi destinati alla non è il materialismo dell’esistenza, del

si occupa in questo quartiere così vario. performance: un palcoscenico e un teatro possesso, è il materialismo dell’azione e 16 Mantenendosi all’interno del ristretto budget a black-box. Questa scelta ha lasciato uno spazio dell’astrazione». Stein, va notato, era un’allieva disposizione per i progetti finanziati con fondi limitato per i foyer, quindi Berman ha lavorato di William James; il suo contraddittorio pubblici, ha creato spazi razionali, puliti, ben strategicamente per creare l’impressione di una accostamento di materialismo e astrazione illuminati, aperti e accoglienti; i posti a sedere maggiore ampiezza mediante la rielaborazione coglie il paradosso della Grande Mela. Dagli ricavati nelle profonde cornici delle finestre in dei livelli, lo snodarsi del percorso e assemblaggi di Man Ray agli interventi di legno, per esempio, offrono un contatto l’interconnessione. Un’attenta analisi della Gordon Matta-Clark, l’improvvisazione materiale diretto con l’architettura. suddivisione in zone ha portato alla luce materiale sul campo e l’improbabile, astratta Il progetto per l’MCC Theater rappresenta ulteriori metri quadrati edificabili, che hanno invenzione qui sono sempre esistite fianco a un’altra sfaccettatura del lavoro di Berman per permesso l’inserimento di un nuovo livello fianco. L’eredità di Peter Eisenman e dei New Note la comunità artistica di New York: un lotto soppalcato per il reparto guardaroba, i bagni York Five ha spesso fatto sì che l’architettura 1 Collezione del Whitney tutt’altro che lineare al centro di un isolato, con e i camerini, collegato alla cabina di controllo newyorkese sia stata associata all’astrazione 17 Museum of American Art. L’originale (che utilizzava doghe i rigidi vincoli spaziali e strutturali dell’edificio del teatro. e all’intellettualismo; Berman rappresenta di legno al posto dell’acciaio) esistente, e un budget limitato per soddisfare le All’MCC, l’architetto è stato incaricato un percorso alternativo che guarda alla storia è stato distrutto; l’opera è stata rifatta nel 1966 in un’edizione di complesse esigenze di una compagnia teatrale di creare un nuovo spazio e una nuova identità passata della città e alle correnti filosofiche del sei esemplari. La stessa facilità

off-Broadway. Gli alti costi degli immobili hanno per un gruppo teatrale off-Broadway, lavorando , Roma. pragmatismo americano. In ognuno di questi con cui è stata ricostruita ribadisce la natura seriale e spinto ai margini le industrie creative, ma a interamente all’interno di un involucro già progetti ha lavorato e rielaborato una struttura standardizzata dell’originale. volte (specie nel caso delle arti dello spettacolo) esistente. I manifesti per l’MCC esposti nel esistente: è sempre sottinteso il dialogo con la 2 Oltre ad altri luoghi pubblici, ciò significa non tanto una location remota, quartiere annunciavano “Grit Ahead”, dando Scriptum storia del luogo, nascosta nel tessuto urbano, Berman è l’architetto della sede del Center for Architecture di quanto una sistemazione non ideale che una descrizione esatta dello spazio: ruvido, reale per quanto imperfetto possa essere. Questi New York, che ospita la filiale permetta di rimanere vicini al pubblico. Situato e immediato. Il vocabolario dei materiali accetta progetti non rappresentano la totalità della locale dell’American Institute of Architects e il Center, in nel quartiere di Hell’s Kitchen a Manhattan, la costruzione esistente in cemento armato a pratica di Berman; l’architetto ha realizzato 18 cui si tengono lezioni, mostre il sito dell’MCC è il risultato di complesse vista, aggiungendo e sottraendo dove necessario. anche case eleganti fuori città e di recente ha e conferenze. In altre parole, quando la comunità degli trattative che hanno coinvolto urbanisti, clienti, Berman cita qui l’influenza dell’artista Gordon partecipato al progetto delle cappelle della Santa architetti di New York si sviluppatori, consulenti teatrali e il Department Matta-Clark, e il riferimento è appropriato. Nulla Sede per la Biennale di Venezia del 2018. riunisce, lo fa in uno spazio progettato da Berman. Questo of Cultural Affairs di New York. All’architetto viene occultato, e una serie di semplici ringhiere Tuttavia qui, nella città dove vive e lavora, è particolarmente vero oggi, è stato presentato un involucro già in acciaio inossidabile, i condotti meccanici a l’opzione di creare una forma idealizzata su un quando altre sedi (The Architectural League of New completamente edificato: uno spazio al piano vista e l’illuminazione industriale creano uno sito immacolato non esiste; Berman invece ha a York, il Van Alen Institute) terra dietro l’atrio di un condominio di nuova spazio che è al tempo stesso accogliente, che fare con una realtà imperfetta, che accetta hanno chiuso i battenti, in gran parte a causa dei costi costruzione, con appartamenti sopra e un funzionale e di immediata visibilità. Il teatro e come un fatto del presente, ri-formandola per un spropositati degli immobili. garage parcheggio sottostante. Gli spazi teatrali lo spettacolo, non l’architettura, sono al centro Traduzione dall’inglese di Alessandra Gallo per ottimistico futuro.

40 Andrew Berman CASABELLA 914 41 scheda del progetto progetto ABA team progettisti Andrew Berman, Dan Misri, Otis Berkin, Mi Jung Lim, Natalie Wong, Alexander McLean, Vinci So committente MCC Theater rappresentante del committente Sterling Project Development construction manager The LiRo Group progetto teatrale / audio e video Auerbach Pollock Friedlander ingegneria strutturale Gilsanz Murray Steficek MEP Altieri Sebor Wieber progetto illuminotecnico MCC Theater MCC Cline Bettridge Bernstein consulenza acustica Akustiks grafica Flyleaf Creative fornitori Duravit, Toto (impianti sanitari); Axis, Flos, Lighting Services Inc, Vibia (illuminazione); 14oraitaliana, Kaswell, Sutherland Felt, Tectum, Tretford (finiture interne); Artek, Emeco, Herman Miller, Howe, Knoll,

Manhattan, New York New Manhattan, Vitra (arredi); Jezet, Poltrona Frau (sedute teatro) cronologia 2009: inizio lavori 2019: completamento dati dimensionali 2.508 mq superficie complessiva localizzazione Manhattan, New York, Stati Uniti

fotografie scalaMichael Moran / OTTO 40%

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scala 50% 44 Andrew Berman CASABELLA 914 45 scheda del progetto progetto ABA team progettisti Andrew Berman, Dan Misri, Mariko Tsunooka, Natalie Wong, Otis Berkin, Landry Smith committente privato rappresentante del committente TADA construction manager Richter+Ratner ingegneria strutturale Gilsanz Murray Steficek ingegneria civile Pillori Associates MEP Plus Group fornitori Extech (rivestimenti di facciata); Bator (finestre, porte); American Standard, Duravit (impianti idrici); Bega, Legion, Selux (illuminazione) Sculpture Studio Sculpture cronologia 2012: inizio lavori 2018: completamento dati dimensionali 1.486 mq superficie Brooklyn, New York New Brooklyn, complessiva localizzazione Brooklyn, New York, Stati Uniti

fotografie Michael Moran / OTTO

scala 50%

46 Andrew Berman CASABELLA 914 47 scheda del progetto progetto ABA team progettisti Andrew Berman, Vinci So, Dan Misri, Graham Brindle, Cyrus Dochow, Alexander McLean committente New York Public Library rappresentante del committente VVA construction manager Pavarini North East ingegneria strutturale Silman MEP LNPC Consulting Engineers progetto illuminotecnico Richard J Shaver fornitori EIFS, Terreal (rivestimenti di facciata); Inscape, Kawneer (finestre, porte); American

Bronx, New York New Bronx, Standard, Duravit, Elkay, Grohe, Sloan (impianti idrici); Coronet, Eaton, LuminArt, Pinnacle, Tech, QTran, Zumtobel (illuminazione); Armstrong, Concrete Collaborative terrazzo tile, Forbo (finiture interne); Allermuir, Arper, Herman Miller, Leland, Keilhauer, Vitra (arredi) cronologia 2016: inizio lavori 2019: completamento dati dimensionali 604 mq superficie complessiva localizzazione Bronx, New York, Stati Uniti

fotografie Michael Moran / OTTO Van Cortlandt Branch Library Branch Cortlandt Van

scala 1/400 scala 1/400

48 Andrew Berman CASABELLA 914 49 19

«Una delle istituzioni più 19 A. Berman, Re-Envisioning the sovversive degli Stati Uniti Branch Libraries of New York City, 2015. Redatto per incarico della Architectural League di è la biblioteca pubblica» New York questo studio ha preso in esame le biblioteche dei tre sistemi bibliotecari attivi a New Bell Hooks York e contiene le linee guida per i loro aggiornamenti e le loro trasformazioni A. Berman, Re-Envisioning the Branch Libraries of New York Libraries Libraries City, 2015. Drafed by order of the Architectural League 20 21 of New York, this study examined the libraries of the three systems active in New York, and contains guidelines for their modernization and transformation 20, 21 Stapleton Branch Library, Staten Island, New York, 2013 Stapleton Branch Library,

Andrew Berman Berman Andrew Staten Island, New York, 2013 22, 23 Princeton Public Library, Princeton, New York, 2017 Princeton Public Library, Princeton, New York, 2017 24, 25 Washington Heights, stanza di 22 23 lettura per i bambini, New York, 2014 Washington Heights, Children’s Reading Room, New York, 2014

24 25

NAHO KUBOTA

50 Andrew Berman CASABELLA 914 51 tionship with continuous forms, there are the discipline. In photography, light is the Digital simulation programs cannot free triggered the true success of the program, if over inductive thinking, of geometry over arbitrary disorder found in any attempt to grammable sequence, which was the truly netics, electronic brains...) simply vanished page 4 many similarities between the two. reason for being, the very nature of the themselves of the geometric constraints of we can call it an innovation, came in 1994 painting, and therefore of reason over per- organize items by elective affinities, the ma- new development. Computers (known in It- from architecture culture and from peda- technical process of impression, develop- optics and exempt themselves from repro- with the adoption of a layering system, ception, is a burden the culture still has to ny items in a grand diachronic panorama. A aly at the time as “electronic brains”) be- gogy in architecture schools, all over the Versifying machines or executing tools? Digital or 3D modeling is the process ap- ing and printing. duction of physical phenomena. The algo- where the layers can be separately modified bear today, and one that the digital world panorama the album does not attempt to came smaller, but not necessarily more world – a sudden oblivion, without re- Nicola Braghieri plied to define a form in the virtual space of The qualitative result of the image de- rithm is a rational, logical and inflexible pro- and overlaid in various degrees of transpar- seems to have absorbed and translated complete, but does intend to pursue. In this powerful, after the invention of transistors course. «All things created by God were ordered by the machine through mathematical calcula- pends on its size, hence the density of nu- cedure. It is the outcome of a technocratic ency or opacity. The image is broken down with impunity in a division between the una- regard, we have overlooked any historic ref- in the 1950s. Olivetti played a leading role in him by Number» tions. The graphic elements that constitute merical particles sent into the virtual space, will. Images emerge from the computer that into layers, i.e. different components that bashed frivolity of virtual simulation and the erences, however fundamental, opening the the development of the first computers for But while architects were looking else- Gioseffo Zarlino, Le istitutioni harmoniche, geometric forms are defined by primitives, and on the complexity of surfaces and light could be seen by the human eye, not those constitute the main image and can be sepa- mediocre prudence of the interfaces of vec- dance with several masterpieces of late Hu- commercial uses; these programs were in- where, another revolution was building – a Francesco dei Franceschi, Venezia 1558. their non-uniform complex aggregates or sources. The simulation of reflections and that would be imagined by an artist. Figura- rately managed in a mutual dynamic, mate- tor drawing programs, almost replicating manism, in which the combination of an- terrupted by the sudden death of Adriano revolution no one had foreseen. The tech- combinations. The first experimentations shadows on particularly complex surfaces, tive art does not feed only on technical per- rial, volumetric or interactive reaction. This the ancient difference between brush-stro- cient architectural fragments constitutes Olivetti (1960) and of the engineer Mario nologists of the 1960s envisioned a future Manual labor bases its way of representing with 3D visualization, conducted for the au- the characteristics of absorption and re- fection, but also on poetic narration, which represents a fundamental step that raises kers of shadows and tracers of lines, or be- the plausible backdrop of the dramatic set- Tchou (1961). The first mainframe computer made of bigger and more powerful comput- things on analogic, infinite and variable, fig- to industry at the end of the 1950s, were fraction through various transparent mate- to be effective must be based on the com- the program to the level of an autonomous tween painters and architects, where the ting of the Città Nuova. Tracing back to reach the public of small and medium ers. Instead, the future came from a new ured and silent, archaic and unconscious limited to the representation of only the vec- rials, and the simultaneous presence of position of different elements of reality, ar- method capable of influencing not so much former are granted the use of perspective through famous “whimsical compositions” companies was not the Olivetti Elea but the generation of smaller and relative less pow- thinking, while mechanical labor relies on tors, the “borders” of the figures. The DAC-1 multiple light sources can make the pro- ranged by the artist in keeping with an origi- the compositional practices of the image as with all its “deceptive” effects, and the latter and equally well-known “triumphs of the IBM 360, launched with great fanfare in erful machines –personal computers, or logical, precise and constant thought, capa- (Design Augmented by Computer) was a cesses of calculation very slow. This is the nal order of necessity and convenience, the rapid achievement of extremely precise can make representations on horizontal or fragment,” it is possible to reassemble a New York on 7 April 1964. Some years later PCs– that from the start of the 1980s put ble of constructing coherent and controlled modeling system developed in 1959 by IBM reason why the writing of algorithms capa- therefore of resemblance. The verisimilar is formal results. In conceptual terms, this vertical planes based on reasoning. rhetorical discourse that operates through (towards 1968) the most advanced IBM 360 very limited processing power within reach sequences. The first is a “continuous” flow for General Motors, which functioned ble of simplifying, and therefore speeding defined as a tacit agreement established procedure is the digital transposition of Drawing programs are operative tools, the same compositional expedient that will models reached an equivalent of RAM equal of a vast audience: machines that at the out- of shadings, confused with each other; the through the tracing in virtual space of math- the graphic rendering of the process of vis- between poet and his reader, therefore be- analog techniques of painting and photog- not automatic generators of forms. They are be adopted by the photomontage: plausibil- to 1/250 of what exists today in any cheap set could do almost nothing, but made that second is a universe of “discrete” intervals ematical curves by a light pen pointed at a ualization, has been the central focus of the tween the painter and his viewer. Digital raphy, from which the program emblemati- machines for writing images and not combi- ity and surprise. It is photography, with its smartphone (in other words, 250 IBM 360s almost nothing available to almost anyone. in which everything is definite. sensitive screen. At first the visualization research over the last 50 years. The first simulation, due to its “technical” nature, is cally borrows the names of its commands. natory composers of Surrealist poetry. The merciless realism, that leads the enigma of would theoretically be needed to have per- Thanks to progress in the microchip indus- The computer was invented to take on, was limited to straight lines that represent- experiment of graphic simulation of a three- not able to represent the “probable impos- The digital image progressively takes on a eternal dispute about “computational crea- poetics to its extreme Aristotelian conse- formance comparable to that of our cell try, in the meantime these machines gained transform and transmit the information of ed “transparent” solids capable of floating, dimensional model through mathematical sibilities” as conditions required to achieve physical and historical dimension, in which tivity,” even more in the case of the compo- quences: to be effective in narrative terms, phones). access to very simple Computer Aided De- analogic thinking in numerical, hence digital leaving a slight luminescent trail in the black calculation happened from 1968 to 1970 at a narrative dimension. To translate the the layers overlap and the new functions sition of an architectural design, can proba- stories have to be represented in an “credi- Even the most powerful military and in- sign (CAD) and computer graphics pro- values. Algorithms, at least those of interest space of the CRT screen (Green “P1” Phos- the University of Utah, a center at the avant- transformations and compositions imag- make it possible to erase and retrieve, but bly be resolved by paraphrasing a famous ble impossible” way, hence plausible, rather dustrial computers of the time had insuffi- grams: the IBM PC, with a DOS by Microsoft for architects and artists, are sequences of phor Screen). The later developments led to garde of research and development in this ined by the painter into digital values, pro- also to lose and forget the steps, which had aphorism of its champion himself: “only a than in a “incredible possible” manner, thus cient processing power for the numerical (MS-DOS), was launched in 1981; the first elementary instructions that permit con- the development of algorithms capable of sector. It was the visualization in colors on a grams of manipulation have been invented. never been possible before. From a tool cre- machine can appreciate a project designed unrealistic. This is what is asserted, with treatment of complex images, drawings or CAD by Autodesk followed in 1982, and struction of digital images, derived from hu- defining the surfaces “covering” the “hid- black background of a famous rosewood They act on the digital image by carrying out ated for pure photographic retouching, the by another machine.” The most advanced programmatic abstraction and a spirit of photographs; in 1964 the futuristic Sketch- Postscript, the first program for laser print- man thought or generated by the machine den” straight lines and graphically simulat- puzzle designed by the Danish mathemati- logical and coherent operations, in re- program gradually becomes a simulator of “generative programs” are capable of auto- conflict, by the architect-artists between pad of Ivan Sutherland, at MIT, only permit- ers by Adobe, came in 1984. At the end of itself. Digital graphics and drawing use al- ing the solid mass. The characteristic of the cian and architect Piet Hein. The simulation sponse to the expressive will of the artist. more or less graphic or pictorial visual ef- matically producing, in keeping with preset the two wars, and then pursued with ted laborious manipulation of elementary the 1980s many architecture schools in Eu- gorithms to send instructions to the ma- 3D modeling programs is great flexibility in was crude, without cast shadows, without a From a philosophical standpoint, digital ma- fects. Certain functions considered indis- parameters, infinite variations of forms ca- provocative realism by both the “radical” ar- geometric diagrams. rope, the United States and Canada offered chine, so it can synthesize images to simu- relation to elementary graphic perfor- light source, and the three-dimensional per- nipulation is the guarantee of coherent ex- pensable today, such as blending modes, pable of adapting to required needs. never- chitects and the renewed rationalist “ten- Apparently, computers of this kind introductory courses in Computer Aided late effects that would be produced on the mance, limited to straight lines and planar ception was simulated by different tones on pression. From a technical standpoint, it is were introduced only on the threshold of the theless, even today every program is a tool, dency.” would have been good for practically noth- Design, but unlike the bid (unfulfilled) outside world in keeping with specific quan- surfaces, in some casa also to curved lines the surfaces. It was nevertheless the first the alteration of an image using algorithms new millennium, and they too have the tone and the “human factor” always has the up- The captivating images presented here ing in an architecture studio. But instead, dreams of the 1960s, the CAD programs of titative conditions. The virtually depicted and surfaces (NURBS, an acronym for digital drawing depicting a virtual reality that numerically process the values capable of a retroactive innovation, i.e. a digital per hand in the definition of priorities, by «Casabella», made with painstaking pre- certain general ideas derived from the sci- the early 1990s were not intended to make object is a representation of the real object “Non-uniform rational B-spline”). To facili- with an intention of realism, not abstraction. of transforming the characteristics of the transposition of practices of analog manip- whims and preferences. Among them, there cision down to the smallest details and us- ence of the first computers had a singular major design choices, nor did they set out to through numerical writing, i.e. through the tate the calculation of the immediate depic- It took about ten years of experimenta- pixels involved. Algorithms generate calcu- ulation in photographic impression and is an innate conservative attitude regarding ing the repertoire of clichés of the real influence on architecture. Cedric Price was revolutionize the technical functioning of algorithm. tion on the screen, the visualization is ab- tion to depict an object of complex geome- lations that coherently modify selected are- printing. consolidated habits, and a certain difficulty world, attempt through the realistic tech- famously seduced by the cybernetic theo- buildings; they were drawing tools, used to ENGLISH stracted from the point rendering. The main try, with concave and convex curved sur- as of the digital grid in accordance with the when it comes to structuring the imaginary nique of photomontage to appear as if they ries of Norbert Wiener: at its origins, Wie- file and correct plans, elevations and cross- The analogic world is a slow world, but it can specific property of the solid vector mode- faces, a saddle point, a “hole” in the volume required parameters. The transformations It is said that every civilization expresses its around new ones. It really is true that “sci- were already part of a collective imaginary, ner’s cybernetics (1948) was a general the- sections in a new electronic format. As one TEXTS be infinitely enlarged down to every detail. ling is that to arrange the objects in three- and, above all, generating shadows and re- generate geometric or chromatic altera- worldview through the arts. The way ob- ence manipulates things and then refrains part of a national-popular dejà vu. On a par ory of feedback and interaction between of my colleagues at a school of architecture The digital world, on the other hand, is a fast dimensional space and to geometrically flections on itself: it was the famous digital tions and permit operations of interpolation jects are arranged in the work represents from living in them.” Man, nevertheless, had with advertising and postcards, they seduce people and machines; Price derived from it I will refrain from naming said, towards one, which can be transformed in a flash, transform them mathematical operations simulation of the Melitta teapot developed between different elements. the role, point and moment in which man no other possibility than to create the com- and bewitch using scenes and landscapes the quirky idea that an intelligent building 1990–91: “CAD means: Cheaper And faster but which in enlargement or reduction loses are carried out that do not employ large by Martin Newell, again at the University of Unlike modeling and simulation pro- posits himself in the space of things, sym- puter in his image and likeness, and hence of everyday life as the basis on which to in- should be capable of reorganizing itself, Drawing.” definite quantities of details. The conver- quantities of graphic memory. Utah. The algorithm that bears his name has grams, which have had a long genesis inside bolizes the relationships between them, to construct each new habit, each mental sert specific elements that nevertheless dismantling and rebuilding itself ad libitum Others had less prosaic ideas. In the sion of analog forms into digital values is It was necessary to wait for the end of been fundamental for the progress of cal- industrial and academic research centers, manifests the conception of finite and infi- representation, over the traces of the one escape from any functional program or atque ad infinitum, based on use and the early 1990s Bernard Tschumi, the new di- emblematically called quantizing, and im- the 1960s for abstract three-dimensional culation of shadows and reflections on sur- manipulation programs have had a faster, nite space. Images have fostered habits of being abandoned. The numerical virtual is structural logic. It is this contrast between preferences of its inhabitants, through a rector of the school of architecture of Co- plies an irreversible loss of data. These data, objects to be granted the consistency of faces, introducing the function of “not more improvised development. The year mental representation of things and have built on our intelligence and devised to ac- the extreme plausibility of the figurative system of mechanical movements driven by lumbia University in New York, created the in the image, are precisely what is defined mass through graphic rendering of the sur- showing but considering” all the hidden sur- 1990 is considered a watershed: it saw the structured figurative conventions with commodate our sensibilities and imagina- technique and the absolute conceptual ab- an electronic brain. Various versions of this famous Paperless Studio, which soon be- as “quality,” improperly known as “defini- faces of volumes. The objective of the digi- faces of objects and all the non-visible ob- official distribution on the market of Adobe which to manipulate and simulate apparent tion, which no machine is yet able to re- straction of the staged subject that pro- idea cross all of Cedric Price’s work; his Fun came a laboratory of architectural ideas tion.” In the passage from a continuous pro- tal simulation is the graphic figuration, visu- jects. Then as now, the greatest obstacle for Photoshop 1.0©, the manipulation program reality. place. vides the surprise, and thus the efficacy of Palace (1963–67), with mobile walls and driven by numerical technologies of idea- gression to a discrete scale, the formal val- alized on a plane, of the combination of the “virtual reality” is available memory and that was to become, for better or worse, the Whenever a new drawing tool or paint- the message. ceilings and automatically reconfigurable tion and fabrication; in 1993 one of the ues are rounded and approximated environmental and optical variables virtually hence the time required for image process- standard in the sector. The reason behind ing technique has been invented, a long de- spaces, had an influence –as we know– on young assistants at the Paperless Studio, depending on the need for quality. It is the projected on the surfaces of a geometric ing. From 1970 to the present, graphic sim- its unstoppable rise is the fact that it is not bate has followed as to whether this has led page 13 the Centre Pompidou of Piano and Rogers, Greg Lynn, published the first manifesto of price the binary numerical world demands vector model to which material characteris- ulation has made enormous progress in the really an innovative program. In practice, it to the birth of a new expressive style, or where the only parts in motion, however, are the new digital avant-garde: an issue of Album of new Italian photomontages page 28 to transmit, to execute, to replicate and to tics have been associated. A combination of optimization of calculations and in the field brings together and sums up several years what role these techniques will play in the the elevators and the monumental external «AD» (Architectural Design) titled Folding in Nicola Braghieri A very short but hopefully true story of the conserve the message. specific algorithms has the task of process- of simplification of user interfaces, permit- of digital experimentation, a century and a evolution of figurative language. It is un- escalator. Architecture. Peter Eisenman was a partial numerical turn in architecture ing the result. The computer, thanks to its ting the spread of programs on a wide scale. half of photographic technique, and a thou- doubtedly true that the digital turn has had a On the following pages, «Casabella» pre- At MIT towards the end of the 1960s the mentor of the operation, and various recent Mario Carpo The analog image is made through three ex- peripherals, is capable of making us “see” The primary objective has nevertheless re- sand years of painting. Quite rapidly, the profound impact on architectural design in sents an album of collages produced by the very young Nicholas Negroponte, on the works of his were documented in the vol- ercises: composition, construction, figura- the image projected on the virtual plane mained the same since then: to reach the program is able to achieve the ambitious terms of process and operation. But though latest generations of Italian architects. A Numerical technique (also known as digital) other hand, was investigating the first theo- ume; the “fold” (le pli) in the title, in turn, re- tion. Composition takes care of arranging through “photographic” parameters, pro- sum, in a single procedure, of the imagina- goal of making anyone who owns a license architecture is in the midst of its “second fundamental parameter has guided the se- of electronic machines is replacing the ana- ries of artificial intelligence of John McCa- ferred to a book by Gilles Deleuze (Leibniz, the element in the scene and defining their cessing the digital signal in such a way as to tive power of painting and the realism of to use it and has average visual culture into digital turn” and computational thinking lection: they are graphic works that do not logic technique of many mechanical or rthy, Marvin Minsky and others (1956–61) to le pli et le baroque, 1988) which contained hierarchies. Construction supplies the rules visualize the data in a regular raster of pixels photography. a rather good manipulator of images, with- seems to be taking hold as the form of man- function for the representation of a specific electro-mechanical devices that formed the invent a computer program (URBAN5) that several pages of architectural theory attrib- to calculate the projection and to cut its arranged on the screen. Therefore the basis Nevertheless, digital imaging follows an out having to delve into complicated analog agement of design complexity, most archi- architectural project, but are works of archi- basis of the industrial revolution, and during would have simply replaced the architect. uted by Deleuze to his brilliant student, the frame. Figuration is the art of tracing lines, of the construction of the image is the light inverted path with respect to the handmade procedures of manipulation and retouching. tects still do not design by using the full po- tecture themselves, to the extent that they the course of the 20th century contributed Through an automatic system of questions architect and erudite polymath Bernard which is drawing, and filling them with projected onto the plane in keeping with a techniques of perspective painting. While The two inventors are the brothers John tential of computational tools. are a “discourse in images” around a specif- to forge many technical and social para- and answers, the program would interact Cache. The “fold” of Deleuze was, in effect, colors, which is painting. The three phases given perspective model. The principle of the hand attempts to imagine the real, the and Thomas, 25-year-old sons of Glen The new “automated condition” has de- ic idea of architecture. The compositions digms of the modern age. Certain superfi- with the client, drawing the diagram of a the flexing of a continuous function – the generally happen in a sequence, neverthe- the “window” seen as a flat surface on machine has to calculate it. While the hand Knoll, professor of nuclear engineering at termined formal choices only in an indirect are made with traditional techniques of col- cial aspects of the numerical revolution in single-family house on the screen, made to point of passage between convexity and less with continuing returns and accelera- which to reproduce the visualization of the can manipulate reality, the machine has to the University of Michigan. Stimulated by way, and they are only externally influenced lage and photographic retouching. In some architecture are immediately evident, but measure. Though the examples shown by concavity in a function of double curvature. tions. three-dimensional view has already been simulate it. The digital engineer has the task their father’s amateur passion for photogra- by the new tools, without establishing the cases, they are true analog operations also in a more strictly professional sphere Negroponte in his famous The Architecture Gilles Deleuze attributed vast and profound The digital image is elaborated through philosophically approached by the treatise of foreseeing effects, the analog artist of phy, they combined their different forms of paradigms for a “new digital aesthetics.” Ar- made through the most traditional overlay- the techniques of design, calculation and Machine (1970) were very simple, the sys- philosophical, ontological and aesthetic three processes: modeling, synthesis and writers of Humanism, who in their way and summing them up. For both, the idea is to expertise in graphic design and program- chitects have still not substantially changed ing of fragments of images and traces of ink worksite have been deeply impacted, with tem was never able to truly function, and the meanings to this mathematical point well- manipulation. Modeling quantifies solids with their tools “potentially” had the proce- produce the illusion of a real object for the ming to write the first code capable of work- their traditional figurative procedures, but on physical supports like advertisements, results that are already visible in the con- failure in itself is indicative regarding the known to all high school students. At the and places them in vectorial space. Synthe- dures of digital though and of “virtual reali- benefit of the eye alone, which though “it ing on colors and manipulating images us- have limited themselves to adapting their postcards, paintings and etchings. In others structed environment, and for some time technological ambitions of the time, which same time, new CAD programs (starting sis simulates light and depicts how it acts ty.” The virtual image will be the projection surpasses all the other senses in its sharp- ing elementary filters borrowed from usual methods to the new devices. they are sophisticated digital works, which have been the focus of initial critical and his- were boundless with respect to the availa- from Form Z, 1991) began to include graph- on the surfaces, making the quantity visible of a single point of view in a uniform envi- ness” does not represent the measure- photography, as well as functions of color The crucial question is therefore to un- with this publication have the honor, for the torical assessments. ble technical means. In the 1970s the failure ic interfaces for the intuitive manipulation, and conveying its quality. Manipulation fo- ronmental condition that reflects the de- ments and dimensions of reality. correction, balance, hue, saturation, image derstand the extent to which digital pro- first time, of getting out of the virtual world. of cybernetic dreams and the first projects directly on the screen, of an aerodynamic cuses on corrupting the depicted reality, in- fined parameters and the supplied informa- The numerical object is thus the simula- optimization, and a basic clone stamp tool. grams that operate on images have simply In any case, in this context we have decided The first computers, in the modern sense of of artificial intelligence became clear, not type of curves known in English as “splines” troducing variables and provoking acci- tion. Each point represents the result of crum of the real object, represented But the true strong point of the program is “massified” age-old practices of depiction not to indicate the techniques involved in the term (as imagined by Alan Turing in just in architecture; research funding dwin- or NURBS, and in France as Bézier curves, dents. The three phases are forced to be in bumps of a luminous particle in virtual through a process of fiction. The numerical the direct functioning of the interface that or, instead, had an influence on their sub- the making. 1936) were built during World War II. The dled and many initiatives were abandoned. from the name of the great French engineer sequence, though often, unhappy with the space, to the point of being deposited on object “poses as” matter entering into con- permits operation on the structure of the stance. The history of figurative art, after all, To introduce the album, an atlas has famous ENIAC began operation in 1946: it In technical history this period of disen- who invented them from 1958 to 1966, by results, we find we have to start all over the real surface of the screen. Art theory tact with virtual light generated by a mathe- image through brushes, and selection of has evolved not only through the introduc- been reproduced in the form of a panel, in weighed 26 tons and covered an area of chantment is known as the “AI winter.” In order of his employer, the automaker Re- again. and criticism identify “lighting” as the factor matical model of simulation of reality. The portions with blurred contours, copied and tion of new, more or less revolutionary tech- the manner of Aby Warburg, trying to link 127 square meters in the building of the those same years, with the rise of the archi- nault. Bézier was the first to discover the Although the digital image belongs to that guarantees the realism of a depiction root of “simulation” is not by chance the pasted. Just as the brothers had learned in niques, but also through the rediscovery of the threads of this discourse through the School of Electrical Engineering of the Uni- tectural culture of the postmodern the en- mathematical notation of the aerodynamic the abstract system of discrete values and and the efficacy of a scene, to the point of same as that of “simulacrum,” in Aristotelian the darkroom set up in the basement of older, not necessarily innovative methods. juxtaposition of imagery. It is a “Genealogy versity of Pennsylvania (Philadelphia). It tire high-tech panoply of the 1960s and the curves utilized to minimize friction with wa- the analog image maintains its direct rela- becoming the distinctive characteristic of antithesis with “analogon.” their home in Ann Arbor. The innovation that The presumed superiority of deductive of Italian collage” in which to gather, in the performed four operations, but in every pro- early 1970s (artificial intelligence, cyber- ter or air in the construction of transport

98 ENGLISH TEXTS CASABELLA 914 99 vehicles (ship hulls, fuselages, wings and which overturns all the tenets of the indus- 1960s, conceived for the automatic repeti- alludes at once to the characteristic informed knowledge of history and a A modest cubical building sheathed the spaces are logical, clean, well-lit, the audience. In particular, large oak houses, factories, philanthropic housing, through the street network and with the rudders of airplanes, automotive body- trial and modern world, is essentially intrin- tion of simple, identical gestures, are not stepped form of early New York skyscrap- cosmopolitan outlook. He has made a in black brick offers a partially closed open and welcoming; deep wood-framed screens stained dark, like oiled metal, and pastiche Georgian buildings. The abrasive rippling of the stone. work). The CAD programs of the early sic to all the techniques of digital design and capable of carrying out irregular, impro- ers, and to the optimistic ethos of a conscious decision to work close to counterpoint to the open workspace, window seats, for example, offer a direct were inserted to dampen the acoustics of new building is set on an outside corner The concrete stair tower orders the 1990s transformed this complicated math fabrication, and has no relationship with vised and at times unpredictable opera- modern metropolis on the rise. Man Ray home, with what he knows and under- completing the composition of parts on tactile encounter with the architecture. the concrete. But these porous screens, as the street cranks around the church- interior. There is no ground floor, just a into a sort of video game, which explains to forms or styles. tions, as often also happens on the most lived at that time near Grand Central stands. This is driven at once by an ethic the street. The details and material Berman’s project for the MCC which modulate in density as they yard and back. It is a strong volumetric moat-like void, crossed by plywood a great extent the spread in architecture of In effect, starting from the first decade advanced worksites. This is why in recent Station (which was itself under construc- of giving back to his community, and at choices are clear and deliberate; rather Theater represents another facet of approach the stage, also create a subtle presence, rectilinear and a little taller bridges for the apartments and for the smooth, continuous curves in those years, of the new century a new generation of ar- years various digital creators have devel- tion), and the constant noise of building the same time by a philosophical than call attention to themselves, they working for the arts community in New visual transparency, suggesting an than a cube, abutting one neighbour basement. The office at the base has a like those used for aerodynamic vehicles chitects interested in new technologies has oped a new generation of post-industrial in the city symbolized modernity for outlook, based in the American Pragma- defer to the tough industrial quality of York: intricate mid-block planning, expansive space beyond and serve to while pulling free of the other, in the collaged quality, but also an earthy calm. (streamlining). violently rejected the technical and there- robots, so to speak: intelligent robots that him. It is a paradigmatic instance of tism of John Dewey and William James, the context and the work that takes place operating within the strict spatial and make this limited mid-block theater process opening up a yard. A frame The generously-sized apartments are The first practical utilization in architec- fore formal premises, and also certain so- are able to emulate certain crafts opera- bricolage operations: a direct, hands-on which says that the best way to contrib- within. The geometries are rigorous and structural constraints of an existing space seem more generous. construction, six storeys high and five subdivided by full height shelving in ture of the CATIA software created by Das- cio-political implications, of the so-called tions. Pioneers in this field include Fabio reworking of available materials. The ute something of value to the larger precise; there are no arbitrary moves in structure, on a limited budget to «Americans,» Gertrude Stein once bays wide, it has poise and a certain oak-veneered ply, also used for the facade sault Aviation to optimize aerodynamics of aerodynamic digital style. Digital codes are Gramazio and Matthias Kohler at the ETH in process of its making is immediately culture is to embrace that which is service of expression. The dynamism of accommodate the complex needs of an wrote, «are abstract and cruel… Their grandeur. The piers and lintels are deep ventilation panels. The mineral charac- military airplane wings was for the con- discrete by definition, and as Philippe Morel Zurich, who starting in the early 2000s have evident. Its materials are not heroically specific, concrete and immediate. He is the space comes from process of work off-Broadway theater company. High materialism is not the materialism of monoliths of rough grey and smooth ter of the exterior is maintained by floor, struction of a big fish installed in a promi- was among the first to note, in many cases demonstrated that traditional industrial ro- formed or pushed into unfamiliar working at the center of a global metrop- itself, and the nature of the work made real-estate values have pushed creative existence, of possession, it is the white stone, giving this simple volume ceiling and fittings; but the rough stone nent position at the central beach of Barce- there is no reason to conceal or confuse the bots can be reprogrammed to carry out the configurations. Man Ray works instead olis, subject to all the forces of modern on site. industries to the margins, but some- materialism of action and abstraction.» an intensely raw physical presence. is kept at a distance, glimpsed only lona (1992). Frank Gehry observed that the discrete logic of the mathematical and tech- automatic laying of bricks in compositions with the material logics of compression technology and international capitalism, The Sculpture Studio underscores times (particularly for the performing Stein, it should be noted, was a student Behind the stone skeleton sits a sheer obliquely or at the edges. Instead it is the sinuous, smooth and continuous curves of a nical systems that are their basis (Bolivar of all kinds, including irregular ones. The and balance to create a compelling and at the same time, with a the idea of the city as a place of produc- arts), that means not a remote location of William James; her counterintuitive and unmodulated skin of glass. Atop the studiously vertical veneer that orders, fish are aerodynamic (actually hydrodynam- chair, 2004). In recent years many design- group of Achim Menges and Jan Knippers at visual effect with minimal means. The fine-grained, close attention to the tion, pushing back against the hegemony but less-than-ideal accommodations that pairing of materialism and abstraction building several squat pines sketch an colours and cocoons the interior. The ic) for the same reasons that the keel of a ers of the second digital avant-garde have the University of Stuttgart specializes in the work is fresh and immediate – a moment specificity of local conditions in a city he of finance and service sectors in contem- allow them to remain close to their captures the paradox of New York. From irregular crown of needles. influence of the stone remains, since this ship or the wings of a plane are aerodynam- preferred to leave visible the discrete volu- development of “adaptive” or versatile ro- of visual insight, connecting the world knows intimately. And like Man Ray’s porary cities. There is another reality at audiences. Located in the Hell’s Kitchen Man Ray’s assemblages to Gordon Matta- Although the composition of the deep frame screens out the sun, permit- ic – namely so they can move more easily, metric units used in structural calculation bots, capable of altering robotic operations outside the studio to the artist’s tools found-object assembly, he works with work in the city today: the reality of work- neighborhood of Manhattan, the site for Clark’s interventions, hand’s-on material building is highly schematic, the ting the extensive glazing. Atop the stone with less friction, respectively in the water for finite elements, or produced by a new in response to unexpected circumstances, and the logics of assembly. what is close at hand, paying careful ing class communities, where school the MCC is the outcome of complex improvisation and improbable, abstract irregularities of the stone give it a cliff, the thriving roof garden, with its or the air. Gehry discovered that Dassault generation of 3D printers. These uniform and thus to work with natural, non-stand- Man Ray came from a family of attention to the inherent logics of teachers, office workers and firefighters, negotiations involving city planners, invention have existed side-by-side. The restless quality. Some edges of the three stumpy pines in deep mounds, had software which with a bit of effort could picture elements known as “voxels,” as op- ardized materials (non-industrial wood, in Russian Jewish immigrants who worked materials, creating compelling architec- as well as large numbers of immigrant clients, developers, theater consultants legacy of Peter Eisenman and the New openings are straight, others are jagged; handles the roof water by holding it in be adapted for his project, the construction posed to the “pixels” used in digital images, particular) or new composite materials hav- as tailors in Brooklyn. His artistic tural effects with minimal means. He families, make their homes. Berman has and the New York City Department of York Five has ofen meant that New York rough edges hang down from some place. All elements are deployed with of a metal fish. Since then, Frank Gehry be- have given rise to a new style called “voxel- ing unpredictable structural performance practice was shaped during the brief and too synthesizes the gritty and the local designed and built a number of branch Cultural Affairs. The architect was architecture is ofen associated with lintels, as if pulled earthwards. The piers clarity and confidence born of experi- came the worldwide specialist of the aero- lated” which is the precise opposite of the (non-linear). The group of Gilles Retsin and fertile years of New York Dada, when he with the cosmopolitan. libraries that serve these communities. presented with a fully built-out shell: a abstraction and intellectualism; Berman are wide to the point of squatness in the ence, keeping distinct what must be dynamic architectural style (and the use of continuous style of the aerodynamic tradi- Manuel J. Garcia at the Bartlett in London became close to Marcel Duchamp, and One of the consequences of Berman’s Digital technology has changed the role ground floor space behind the lobby of a represents an alternative trajectory that central bays, but at the corners are separated while solving multiple CATIA software in architecture). In 1996, tion. concentrates on robotic assembly of modu- abandoned painting to concentrate New York focus is to call attention to the of the library, paradoxically making newly constructed apartment block, with looks to an earlier history of the city, and surprisingly slender; as they reduce, the problems with each choice. Greg Lynn introduced the term “blob” to in- lar macro-components – a trend that resur- exclusively on photography and assem- heterogeneity of the city where he works. these smaller, local libraries even more residences above and a parking garage to the philosophical currents of Ameri- voids stretch from almost square at the This integrated, elemental design is dicate the new digital aerodynamic style; Furthermore, the growth of processing faces in the experiments of José Sanchez at blage. Afer a 1921 move to Paris, he spent Images of glossy new towers in Manhat- important. They are social spaces as well below. Theater spaces are always can Pragmatism. In each of these centre to rectangular at the edges. While not the product of an individual hand or more recently, Patrik Schumacher has pre- power of new computers, at increasingly af- USC (Los Angeles), and elsewhere, produc- most of his career in Europe. A constant tan may circulate more widely in the as depositories of books, and for some demanding from a technical point of projects he is working with and re-pur- nominal dimensions repeat, each pier a sudden insight, but was rather gradual- ferred the term “parametric” (otherwise fa- fordable costs, has in more recent times led ing an aesthetic that sometimes curiously innovator closely associated with dada press, but Berman, of necessity today, local residents, they may be the only view, but in this case the awkwardness of posing an existing structure. There is an and each void is differently irregular, ly and collectively defined. It evolved miliar in Italian for its use by Luigi Moretti, to the introduction of a new conceptual suggests late-mechanical precedents (this and surrealism, there remained about ofen works in the outer boroughs, in access to the internet. People go to the the given site amplified the difficulties. implicit dialogue with the history of the unique in silhouette and proportion; as a afer early versions in plate steel and ahead of his time); in the current lexicon of framework, known as that of “big data” – a trend has also been called “digital neobru- his work something fundamentally lesser-known neighborhoods where library today to search for a job, to file All these aspects are handled flawlessly; place, embedded in the material fabric of result the building escapes easy visual load-bearing brick. The third design, in numerical architecture “parametricism” at new computational universe where the sim- talism”). American – that is to say, an immediacy, artists and galleries can still maintain a government papers or to connect with indeed it is fully consistent with Ber- the city, however flawed it might be. apprehension. The piers diminish in load-bearing white stone, is a response times means the specific digital aerody- ple quantity of information, and the power In effect, this is not the only sign of nos- a love of tinkering and invention, and a foothold. Or –in the case of the branch their families abroad. man’s design approach that these These projects do not represent the depth as they ascend; yet the rough faces to the stone of the church tower and the namic style, and at times the use of numeri- of the new tools of simulation, make it pos- talgia for the glory years of cybernetics and paradoxical synthesis of grittiness and libraries– in neighborhoods still populat- Van Courtland Village is a small challenges are turned into opportuni- totality of Barman’s practice; he has protrude precariously in front of the nunnery remains beneath. Architects, cal techniques in architecture in general. sible to solve complex problems in the ab- early artificial intelligence – nostalgia that is sophistication. Man Ray’s work is ed by middle-class working families, enclave in the Bronx, a gentle hill ties. The solution is direct and straight- done elegant houses outside the city, and smooth surfaces, as if works have been engineers and stonemasons were From the end of the 1990s, and to some sence of traditional mathematical methods. now widespread in architecture schools indelibly marked by the dynamic desperately in need of the services that sandwiched between the Major Deegan forward, accepting given constraints, recently participated in the Vatican interrupted and the raw stone still awaits working together on a helical stone stair extent until the present, the digital aerody- In architecture that most conspicuous man- and certain circles of the digital avant- metropolitan culture of New York City at these public institutions can provide. Expressway, Jerome Reservoir and Van which allows the material and technical Chapels project at the 2018 Venice the mason’s chisel. for another project, and they turned this namic style has often been seen as the ex- ifestation of the methods known as “big da- garde. Mistakenly, I believe, because that the beginning of the twentieth century. The client for the Sculpture Studio in Courtland Park. At one time predomi- aspects of the project to become part of Biennale. But here, in the city where he The building’s vigorous physicality conversation to loadbearing stone ternal and visible sign of a numerical turn in ta” is found in objects that display a formal glorious age ended badly, and there is no Shortly before leaving the city he wrote Greenpoint, Brooklyn, for example, is a nantly Jewish, today the population is the language of the project. The line of lives and works, the option of creating comes both from the rough surface of construction: all three are deeply architecture – the eloquent image of a new exuberance without precedents (or without reason to imagine that the same yarn spin- in a letter to Tristan Tzara: «Dada cannot well-known artist whose work reimagi- majority Hispanic and Latino, living in a the regional train tunnel below is even idealized form on a pristine site not an the monoliths and from the role that invested in this structure. Their search way of building that until a few years ago, non-artisan precedents). The grottos of Mi- ning could achieve better results today that live in New York. All New York is dada, nes the figure in traditional as well as mix of single-family houses and modest registered in the diagonal of the lobby. option; instead he works with an these stone colossi perform: from the for a white limestone with fossils took without digital techniques, would have been chael Hansmeyer and Benjamin Dillenburg- those produced half a century ago. It is clear and will not tolerate a rival.» modern materials. His work is labor apartment blocks. It is low-density The bulk of the available space is imperfect reality, accepting it as a fact of work of extraction and the work of them from the Isle of Portland on the practically impossible (if not at a high cost er, for example, made with industrial 3D that digital techniques make new tools Andrew Berman is a New York intensive, utilizing both craf methods neighborhood, with ample greenery. The given over to two performance venues: a the present, and re-forming it for an support. The stone columns carry the south coast of England to Chomerac, and with enormous effort). Digital tech- printers, are composed of an amazing num- available to today’s architects and design- architect. In a global age, when archi- and contemporary digital fabrication. Van Courtland Branch Library that proscenium stage and a black-box optimistic future. floors, sharing the loads with a concrete south of Lyons, tracing a seam 150 niques have made aerodynamics available ber of voxels, each of which can be seen as ers, who can and should find the best pos- tects spend their lives in airports, This large functional workspace Berman completed in 2019 is a renova- theater. This leaves limited space for core at the centre. Their varying width million years deep: this stone has a to everyone; it matters little that for most an individually designed, calculated, con- sible uses for them – because if they do not practicing far from home, building for consolidates all aspects of the artist’s tion of a recently constructed low-rise public lobbies, and Berman has worked Notes translates the differing load from the compressive strength three times that of ordinary architecture, aerodynamic design structed and positioned micro-brick. No do it, others will. But to imagine that a new cultures they don’t know or understand, working process into a single site. With building that had been intended to serve strategically to create the impression of 1 Collection of the Whitney Museum of floorslabs, weighing down the middle concrete, with 7% of the embodied is not required and has no real purpose. craftsman or worker or traditional engineer generation of computers will be able to en- and working through an elaborate chain traditional artist’s neighborhoods such as a group residence: a building of banal expansive space through the manipula- American Art. The original (which while barely troubling the corner carbon when installed. While the head The popularity of the parametric (digital could work in this way, because the calcula- tirely replace the creative work of architects of associated architects, Berman works as Soho and Tribeca completely gentri- materials and absolutely no distinguish- tion of levels, sequence of movement and utilized wood slats rather than steel) was supports. A deep steel bracket sits at mason undertook special training to aerodynamic) style has partially overshad- tions of the project and the worksite in- (as Negroponte and others thought at the on his own, almost exclusively in and fied, this is now only possible outside of ing features. Berman’s focused and interconnection. A careful zoning destroyed; the work was remade in 1966 each vertical junction of pier to pier, install these three tonne monoliths, the owed the scope of the technical, ideological structions would occupy thousands of vol- end of the 1960s, and many are again think- around New York City, where he is based. Manhattan. There has also been a strategic renovation respects the scale analysis uncovered additional buildable in an edition of 6. The ease of reconstruc- concealed, located and restrained by the engineers established a construction and cultural change pertaining to the use of umes. This disquieting or even hostile ing today) is neither useful nor intellectually This means engaging both the building change in the scale of art practices; even and context of the sloping site and square footage, which allowed the tion itself reiterates the serial and lintels, and is bolted through an sequence to separate concrete and stone. new tools of numerical design and fabrica- aesthetic of these creations thus reflects an interesting. Of course, today’s artificial in- culture of the city, with its burdensome a large lof space could not accommo- curving street, while subtly elevating the insertion of a new mezzanine level that standardized nature of the original. insulating nylon plate into the slab edge. Although unconventional, the process tion. As the first pioneers of the digital turn already post-human logic that no longer re- telligence has amazing capacities. But even regulatory apparatus and complicated date all of the functions combined here. quality and presence of the structure. accommodates the wardrobe depart- 2 Among other public places, Berman is The differences of stone finish derive was simplified by the absence of complex pointed out from the outset, the numerical sponds to our mental categories and –not if one of these new “electronic brains” were logistics of construction, as well as the The Studio is simultaneously atelier and The rainscreen façade of terracotta ment, bathrooms and dressing rooms, the architect of the headquarters of New from the extraction and subdivision of layered construction; also by the fact or parametric notation designates theoreti- surprisingly– has an appearance that tran- capable of developing automatic projects culture of a dynamic, cosmopolitan city. factory, an integral part of the working “shingles” is a masterstroke in this and connects to the control booth of the York’s “Center for Architecture,” which the “master blocks”, with simple that the architect took on the role of cally unlimited families (or series) of similar scends our ability to comprehend it. Traces (and that does not seem to be an imminent It is a brash and unforgiving city, driven fabric of this industrial sector of the city. regard. It brings color to the exterior, but black-box theater. houses the local chapter of the American rotations. The blocks are worked loose developer. To reach this stone exoskele- objects, which differ from one another with of this style, called “excessive resolution,” development), I cannot imagine what kind of by finance and impelled relentlessly to A large forecourt is screened from color that is integral to the material At the MCC, the architect was tasked Institute of Architects as well as the from the quarry face by a combination of ton, therefore, courage was necessary, the variation of each parameter. Given the are also found in recent works by Marjan client would prefer one of those machines growth, ofen at the expense of its past. the street by a scrim of steel mesh; raw itself. The construction is self-evident with creating a new space and identity Center, which hosts lectures, exhibitions splitting and drilling and cut with just as much as nimble intelligence. For fact that most of the digital fabrication tech- Colletti, Matias del Campo and Sandra Man- to one of us. If only because we continue to But it still functions as a creative capital, stone is deposited and stored here, and and intelligible – a sheathing material for a progressive off-Broadway theater and conferences. In other words, when diamond-tipped saws into piers and it takes a lot of nerve to extract a block of niques do not utilize mechanical matrices, ninger, Mark Foster Gage, Alisa Andrasek cost less – unfortunately. where pockets of artists survive, and can be moved directly into the large that is placed piece by piece. It’s a group, working entirely within an the community of New York architects lintels, each with two sawn and two split stone, map the qualities of its faces and this new generic object (which Gilles and –with different premises– also in the despite the odds, a place of bottom-up fabrication hall through a wall of folding durable, mineral material that recalls existing shell. The posters for the MCC gather together, they gather in a space faces. The raw outer face of the master then devise a cutting plan just weeks Deleuze and Bernard Cache called an “ob- “particlized” style of Kengo Kuma. Jenny invention and improvisational creativity. doors that, when open, provide transpar- traditional wood shingles without displayed in the neighborhood announce designed by Berman. This is particularly block is ofen wastefully discarded; here, before it is due on site – designing the jectile”) can be produced as one-offs, or in Sabin, Claudia Pasquero and Marco Poletto page 37 It is a place where wealthy clients ency all the way through to the depth of becoming pastiche. And the oversized “Grit Ahead,” and this is an accurate true today when other venues (The however, the working is proudly dis- facade as it rises, with the aid of strips of series of identical copies or always varied add forceful bio-mimetic inspirations. But A New York Architect support a robust community of small- the building. The fabrication space is scale of the shingles has the effect of description of the space – gritty, real and Architectural League of New York, the played, revealing in turn the crustacean torn paper. replicas (within preset parametric limits), at the “excessive resolution” aesthetic now Stan Allen scale builders, fabricators and crafs- ringed with specialized workrooms, making the building seem smaller and immediate. The material vocabulary Van Alen Institute) have closed their shells and ammonite whorls that In this age of thin skins and short the same unit cost. In serial production of seems to also be spreading outside the rari- men. Working close to home means that creating a clear hierarchy of use. Large more accessible. Berman introduces accepts the exposed reinforced concrete doors, in large part due to the pressures compose this limestone: instead of memories, this unusually substantial this type, also known as non-standard se- fied circles of the digital avant-garde, as- «Pragmatism unstiffens all our theories, Berman can be on the building site, in gantry cranes serve both spaces, with the subtle difference of texture that under- construction of the space as found, of real-estate costs in New York. ornament, the work of time. building draws strength and integrity ries production, the marginal cost is con- serting itself as one of the generic stylistic limbers them up and sets each one at close contact with the process of exterior crane functioning as an iconic score the tactility of the material, and adding to and subtracting where This schematic exoskeleton of from Gothic and Mannerist traditions. stant, hence there are no economies of currents of our time, without any direct ref- work» construction. It is an attitude more marker of the nature of the work that change with variations of light and necessary. Berman mentions the verticals and horizontals is made The know-how to make it comes from an scale. In other words, if the cost of a product erence to numerical techniques (see, for William James, 1907. common in an earlier generation that takes place within. It recalls the radical shadow. It is at once familiar and influence of artist Gordon Matta-Clark page 53 possible by the reinforced concrete unbroken generational chain of French is X, it will remain X even if the (numeric) fac- example, the recent works of Sou Fujimoto). maintained a commitment to working functionalism of Hannes Meyer, where surprising, clearly identifying the here, and the reference is apt. Nothing is How to combat dermatoporosis in construction of the core and slabs. Twist- stonemasons, and from the digital tory reproduces the same product an unlim- Of course the production of objects New York, 1917 is a sculpture by Man locally. It means that as an architect, he equipment takes on a primary signifying renovated structure as a civic building in covered up, and a spare array of stainless architecture ing and wracking forces are resolved in analysis of statics. A rusticated palazzo, ited number of times; reciprocally, the varia- composed of an enormous number of ir- Ray, made in that city, in that year. It lives with what he has made: it forms the role. This is a workplace of a very this modest neighborhood. steel railings, exposed mechanical ducts William Mann the rigid stair and lif core; progressive it appears both unstable and incomplete, tion of a parametric series does not imply regular micro-components, though entirely consists of two materials: an array of fabric of the city where he lives and specialized nature: a site where delicate The interiors reflect the care that the and industrial lighting create a space collapse is prevented with additional emergent from the chaos of matter – additional costs (digital mass-customiza- designed, brings the problem of their as- stainless steel slats, and a standard works.2 stone carving can take place alongside architect brings to this modest program, that is at once welcoming, functional The setting of 15 Clerkenwell Close is steel reinforcement in the slab edges. As themes joyously and unsettlingly tion). In the digital world, standardization, sembly to the fore. A problem that could not C-clamp.1 Assembled from things found To say that Andrew Berman is a multi-ton blocks of stone being shifed with spaces specifically designed for the and immediate in its presence. Theater characteristic of London: houses and a result the building has a presence that explored by the architects and artists of which in the mechanical world reduces pro- have been solved until recently, because the in the studio, it enacts a subtle reposi- “local” architect, however, is not to align into place by moving cranes. It reflects many needs that a branch library serves and performance take center stage, not blocks clustered around a church spire, a is not just demonstrative but is also quite the sixteenth century. Yet 15 Clerkenwell duction costs, instead reduces nothing – cost of traditional or artisanal assembly tioning of these everyday functional him with a provincial culture, or the the new reality of an artist’s studio today in this diverse neighborhood. Working the architecture. Inside the larger tapering open space – a village of sorts. theatrical. The regular skeleton sits in Close represents more than a marriage apart from the choices made available to would have been prohibitive in most cases, objects – the working tools of the artist concept of critical regionalism. Berman as a place of collaborative work rather within the tight budgets that come with theater, a palette of sofer materials Around the lush church gardens the tension with larger and smaller irregu- of architecture’s ancient tribes. These the designer. This revolutionary novelty, while the industrial robots in use since the refashioned into a work of art. The title is a sophisticated architect with an than solitary retreat. a publically funded project in the city, appears, which registers the presence of building stock is mongrel, a mix of larities, with the meandering movement traditions of making and thinking have

100 ENGLISH TEXTS CASABELLA 914 101 supported a practical exploration of stopping short at the end of the walls on zone– the houses are not surrounded by lives, in a space that is almost entirely open, acted in history, giving rise to extraordinary ble sign of a problem to which he constantly because with geometry the center of cre- of his sensations, he has not noticed any- The distance we are able to perceive human-made nature: building and city three of the four sides, and extending page 75 enclosures, but remain exposed to view. both in its internal layout, with divisions pro- works like the Ise Shrine and the Katsura returns, that of knowledge of things through ation shifted from the eye to the mind, mark- thing striking. The views so widely praised between what was written in 1956 on the are served by the economy of natural with an ample overhang towards the The gardens extend precisely from the line vided by simple sliding panels (fusuma), and Villa. In particular, it is worth focusing on beauty. With the word “creation” Tange ing the start of a decadence that also con- by every visitor seemed like simple land- visit of Gropius and what was published four The dilemma of creation: the home of resources, the reduction of embodied west, to protect the large sliding glazing of interruption from the sidewalk or the towards the outside, thanks to shōji, also what Tange writes about the residence that seems to indicate a constellation of ques- tinued in the Roman era, which he defines scape glimpses having no appeal, while he years later in the book on Katsura –demon- Kenzō Tange at Seijō carbon, and the ecology of the made of the living room and the windows of street, without any obstacles or barriers. So with sliding opening, and a veranda running still stands today on the western bank of the tions inside architectural practice in Japan: as a “bazaar.” According to Tange, the cold was also disturbed by the proportions of the strating that the face-off with tradition is an J.K. Mauro Pierconti ground. This collaboration of architect, the bedrooms. From a constructive it was for the lot selected by Tange for his on the entire length of the facade towards Katsura River in Kyōto. the form, the figure of the architect and a rationalism induced by the geometric mind shōji of the Old Shoin. Finding the decora- intense one, and therefore likely to produce engineer and stonemason has opened up standpoint the building is composed of Kenzō Tange (1913–2005) was one of the house. Without fences, the small mountain the garden to the south. The house could He notes that «the residence in the old discipline called “kenchiku” (architecture), then reached a new apex in 15th-century tive motif of the internal panels unbearable, different results– can be reassessed in the rich new seams of ancient matter. a double insulated concrete wall that most prolific architects of the second half of earth placed in the garden as a simple thus be completely opened, also consider- capital Kyōto» was in the Shinden style, later borne on the wave of opening of the country Florence, with architects like Brunelleschi, he continued his criticism regarding the light of what Tange writes in one of the last becomes single in the “cold” portion of the 1900s, and he played a leading role “protection” from viewing –with the en- ing the fact that the services (kitchen and developed in the Shoin-zukuri, still visible starting from the Meiji Restoration (1868– Alberti and Leonardo. But later –the ac- constructions and the garden. This judg- paragraphs, at the conclusion of his long containing the workshop. The internal in the shaping of contemporary develop- trance walkway skirting around it– did not bathroom) were concentrated in a central today in many examples in the temples of 1912), therefore still in recent times, and the count continues– in the darkness into ment is not unexpected, especially for those essay on the villa, speaking of the poetic page 68 space, marked by the geometric form of ments in Japanese architecture and be- prevent local children from entering to play core. the city and the Nijō Castle (Ninomaru Pal- presence of those who traditionally con- which the human race had fallen, a cry rose who know the essay with which Yasufumi form known as haiku, «a poetic genre in 17 Brianza redeemed the visible roofing, is divided into three yond. His work has been admired all over on the lawn, exactly as they did on the lawns This is the second theme that decisively ace), rectangular pavilions with pitched structed buildings: carpenters and crafts- up like a beam of sunlight: «I must extract a Nakamori has reconstructed all the phases syllables, in which people poured out their Federico Tranfa communicating bands by the central the world and his research has attracted of all the other houses. inserts this house in the path of modern de- roofs and a dense composition of pilasters men who continued to operate. What, then, monumental figure from this stone!» The of the production of the book on the villa in feelings and hopes. The haiku is an intensely corridor. The social zone of the dwelling the attention of many scholars. In 1985 In this regard –and here we begin to velopment of Japanese residential architec- that made the walls useless, therefore al- are the foundations and objectives pertain- man who cries out is Michelangelo, «who 1960, drawing on well-known literature, the personal form, which does not aim at com- Brianza is a geographical area of is a fluid space facing in two directions Reyner Banham acknowledged his value, bring into play an initial “high” reference to ture after World War II: the core, a solution lowing them to be mobile, taking on differ- ing to “Architecture,” also in relation to that rejects any approach of a rational order to book we have already mentions with photo- ing to grips with reality, but instead be- foothills, extending from the provinces and containing the entrance, kitchen, when after stating that his project for the architecture– during a round table orga- that combined needs of a structural nature ent arrangements using simple panels. But tradition of construction? Furthermore, the embrace an image that has always stood graphs by Ishimoto. In particular, Nakamori comes an attempt to escape from the world of Como, Lecco and Monza to the dining and living areas. In this part of ”urbanization” of the Bay of Tōkyō in 1960 nized by the magazine Gejutsu shinchō to (better resistance to earthquakes and the Tange, after having reminded us that anoth- reflections had to be posed as questions before us.» Faced with his vision and our re- has explained that in the years required to (…). Its whole spirit is enraptured (…) and outskirts of the greater Milan metropo- the house the paradigm of fair-face represented a point of no return for archi- comment on the house published in its May possibility of lightening the rest of the struc- er important achievement of the time was regarding the social role of “Architecture” newed ability to see things, the palaces of prepare the publication, Tange was trans- loses any desire to undertake concrete ac- lis. With rolling and once densely forest- concrete emerges along the perimeter tectural culture, he said that with Tange’s 1954 issue, responding to a question of ture) and a complete reorganization of func- the standardization of the parts, quickly while considering the war damages in Japan ice collapse, becoming meaningless. Mi- formed from a simple contributor to the or- tion.» ed terrain, the landscape of Brianza has and on the floor, while the cladding of plan for the reconstruction of Skopje after Takamasa Yoshizaka (1917–80) Tange ac- tions, particularly the repositioning of the passes to the theme that interests him most and the need to reconstruct entire cities chelangelo is now alone, immersed in a chestrator of the entire operation, reaching Tange had sensed the danger of de- changed over time from agricultural to the ventilated roof is done with chestnut the earthquake of 1963, “the Japanese vi- knowledged that the ground level, free of kitchen traditionally placed to the north, and represents the fundamental compo- that had been destroyed. dream that is a sign of his tranquility, equal the point of cropping the shots by Ishimoto, tachment from reality. So if the operation on industrial, though many beautiful planks positioned lengthwise. The same sion was now the world’s vision.” In recent any function, should be understood as a now placed centrally with better orienta- nent of all his dialectic construction, exem- Tange himself had seen the city where only to the inevitability of his future action. as well as revising and correcting the layout the photographs of Ishimoto was a work of natural sights are still intact. Milanese planks are seen on the outside, lining years Tange’s figure has entered the public space, with the residential and there- tion, as part of the recognition of the new plified by the history from which the Katsura he lived at length as a child, Imabari, com- Heidegger, commenting on the work of prepared by Herbert Bayer. The book, selective interpretation aimed at “seeing” nobles once spent the summer months the intrados of the roof overhang. In the shadows of forgetfulness. Also for this fore private part limited to the upper level, role of women inside the family. Villa was produced: the Sukiya style and the pletely razed to the ground by bombing, in Hölderlin, speaks of this phase of passage: therefore, was the result of the extremely his Katsura, his text goes further, and be- in Brianza, and until the end of the 18th middle portion of the building, the reason, we have asked J.K. Mauro which was raised –as Yoshizaka pointed The core, however, is not a solution ap- houses of peasants, first absorbed and then which his mother lost her life. The value of the time in which the old gods fly away and rigorous approach of Ishimoto, who arriving yond, because it is no longer about making century they continued to build country bedroom zone differs from the other Pierconti to contribute the essay pub- out– on pilotis. plied by all architects, because while it is raised to a maximum level by the merchant things, of science, of action itself was wa- the new ones arrive, while the world is wait- from the New Bauhaus of Chicago had con- the object of the past “one’s own,” but about homes there. With the passage of time two because of its lower ceilings, for a lished here, on a work that represented an This idea of “freeing the ground,” seeing true that Mies van der Rohe developed the class, which had gradually and vigorously vering at the end of the war, and for archi- ing, because the awakening of the new god veyed a reality of the villa composed mainly not remaining its prisoner. And it is precisely and the spread of production activities greater sense of intimacy. At the important passage in Tange’s career, it as a portion to be offered to the public, as “service core” in the study of the Core risen as an economic force across the entire tects reality had become an incomprehensi- has to happen, first of all, “inside the self.” of head-on views and orthogonal fields, this passage on which is built the pragma- –staring with those connected with the opposite end from the living area, whose implications reveal little known as- the expression of an unusual social commit- House (1951–52) –after having introduced Kansai area, especially Sakai, and then Ōsa- ble mask, “no longer having colors,” as And this moment can come only by means framings cut in black and white where the tism that has set Tange’s work apart over raising of silkworms– this exclusive facing north, the workshop features a pects of his personality and his culture. ment, became central in the discussion re- it in the project for the Farnsworth House ka and Kyōto, for which he writes: «In the Isozaki recalled after having gazed on the of a “resolution” that advances, as day fol- composition of the lines prevails over the the course of his long career, which reaches profile began to gradually open to the large steel casement with an industrial ported by Gejutsu shinchō, against the (1945–51)– with the intent of making layout mountainous area of Hyōgo Prefecture desolation of Hiroshima. For Tange, “Cre- lows night. This is how creation comes into material. All this is joined by the subsequent maturity in the fervid period of the 1950s. high, middle and petit bourgeoisie, look. This is the only portion of the A reawakening accompanies the first pro- backdrop of the works of Le Corbusier, variations possible while keeping construc- there is a group of rural houses (…) known ation/sōzō” becomes an ideal to which to being, through a ripening of form utterly in- intervention of Tange, who set out to reduce arriving on weekends for a restful house where the roof is entirely on jects by Kenzō Tange (1913–2005) from the though they are never actually mentioned. tion costs low, we should not forget that one as ‘1000-year houses’ due to the sloping entrust his salvation and that of others. It is ternal to the Self, until its definitive manifes- the natural elements as fully as possible, panorama afer a hard week’s work. The display. The eastern façade has a few late 1940s to the next decade, with works This conversation focuses, surprisingly, on of the foundations of the Japanese architec- thatched roofs with gutters extending al- research he began in other times, with other tation. It is man, to say it with Schelling –ac- closing the angles of the shots and thus fur- “villule,” as Carlo Emilio Gadda called well-separated openings, underscoring like the Hiroshima Peace Center (1949–55) the concept of “artificial ground,” a theme tural tradition lay precisely in the flexibility most to the ground, resembling prehistoric ends, whose roots were in the Romantic cording to Tange’s narrative– that moves ther removing the villa from its objective re- them in a brilliant linguistic invention, the breadth of the concrete surfaces and and the city hall of Tōkyō (1952–57). In their Yoshizaka had expressed and developed of the layout, made possible first of all by the huts. They are large in size and though they school developed in the 1930s and 1940s, towards the light. And it is a desire that ality. with their bizarre forms, reflected the forming a contrast with the large midst, as a far from banal “departure,” there precisely in that period in the magazine wooden frame and then by the use of sliding have rough, naïve forms that barely qualify of which Yojūrō Yasuda (1910–81) was one moves man towards the eternal form. A de- The essay Tange wrote after Gropius’s eclectic and rather vulgar tastes of the openings at the entrance. Next to the is the house the architect built for himself at Kokusai kenchiku, in the month of January panels and wall wardrobes skillfully con- as such, these constructions are striking as of the most important exponents. The con- sire and a will, that blend in the moment of departure from Japan, after accompanying city folk, before the local population door, a fixed glazing allows the gaze to Seijō, a renowned suburb to the southwest that same year, with the significant title: cealed inside the structure, to free up inter- prototypes of something that is to come.» frontation with the past, the recognition of creation, which God fixed in the word when the latter in Kyōto together with a group of evolved into an entrepreneurial class. cross the building and to glimpse the of the capital, in 1952–53. “The question of the house, between private nal space from the encumbrance of furnish- «The Zen monks of this period –he contin- an unbridgeable distance and an unattain- he created all men, they too destined to be other architects, explains the reasoning be- The villas (actually houses) became the lawn on the opposite side. The effect is Tange himself points to the beginning of and public interests.” Taking his cue from ings. Without sacrificing these ues– recognized a new type of beauty in able original purity, were behind the ironic born in different epochs, as Tange wrote, hind these choices. They were not the result prevalent type of construction: isolated an impression that the internal space is a new phase in this period, in which he is the the elevation of the houses of Le Corbusier, characteristics, some architects like Kiyoshi these houses, and this beauty was elevated attitude with respect to the present reality still with reference to Schelling. But to arrive of an attempt to match the tradition to the at the center of a lot, or more frequently empty, and even without furniture. protagonist of a true editorial marathon of from the Maison Citrohan of the early 1920s Seike (1918–2005) were able to make to an art form by the energy of the merchant embodied precisely by the Japanese Ro- at this point, Michelangelo had first of all to modes of expression of the present, but a adjacent to a shed containing the family Stopping at just five meters from the articles and publications, among which the onward –ideally arriving at the famous Villa houses that interpreted the new functional class (…). The monks recognized that there mantics. If past time has been lost, the vi- train himself according to the knowledge of way of reiterating that the tradition lives on business. Home and work, in the period northern and southern boundaries, the book on the Katsura Imperial Villa stands Savoye, in which the suspended garden needs of a modern family, but without re- could be greater vitality and beauty in sion we can have of the world –they his time, and only later, as if to take on the only in subjective experience, as he empha- of the economic boom. Resisting building perfectly protects the private out (1960, introduction by Walter Gropius, acts of the pivot of the house, thus raising sorting to the use of the core. It is certain, roughness rather than refinement, simplici- thought– is inevitably distorted: hence their entire weight of the world, could he demol- sized by writing: «However, there exists no economic cycles, the culture of the portion of the garden, which is mostly photographs by Yasuhiro Ishimoto), along the center of gravity of the residential however, that in the 1950s an engaging de- ty rather than ornament.» irony. And this sense of loss, which tinges ish the old one, extracting the new form of darkness or indecent exuberance at Katsu- single-family home has continued to grassy, emphasizing the presence of with the book on the Ise Grand Shrine space– Yoshizaka reaches the point of as- bate was developing in the main sector So two different “aesthetic ideals” are their writings with nostalgia, leads to a new the new world from the future with force ra and at Ryōan-ji that have continued to live hold sway in Brianza. The result of this trees on the horizon. Having crossed (1962, historical essay by Noboru Kawazoe, signing a name, jinkō tochi, artificial ground, magazines regarding this innovation, which defined: the refined, linear and airy ideal of instrument of description of reality, thus and effort. Citing Oskar Becker, Tange and to grow inside me. It is as if the tension factor is the semi-urban sprawl that has the house, what is surprising is the photographs by Yoshio Watanabe), both al- to what the design, through the raising of we can observe in a large series of houses, aristocratic residences (Shinden and Shoin seen as the premise for modern creation: writes: «Nothing can erase the urge and of their spaces and their proportions had covered age-old meadows and fields, breadth of the view, because the lot so published in English, respectively in the building, was to earmark for private use, even ones that are very different from one style) and the humble, rugged, material idea fiction. As Kevin Michael Doak has correctly tribulation of this birth from the spirit. The continued to exist in me as living beings,» breaking them up into fragments with borders on cultivated fields, which are 1960 and 1965. But the dates of publica- leaving the ground below open to the pub- another, also in the structural conception of the tea house, which took its inspiration observed, «for Yasuda the ‘awareness of tabula rasa of the future, in the vastness of after which he continues: «I refer to these the invasive presence of a dense bordered in turn by woods. To translate tion should not deceive us, because these lic. (see, for example, the experimental houses from rural dwellings (Sukiya style). The two fiction’ means a romantic attempt not to re- its emptiness, is the fundamental condition things that live and grow inside me as inter- network of roads that seamlessly the resources made available by the works were in progress many years earlier, Though in the midst of quips, in the with a steel structure by Kenji Hirose or Kiy- can remain separated, as happened for ma- place reason with emotions, but to assert for freedom of the spirit.» For Tange, the nal realities, and in this way I intend to con- connect one town to the next. A clients into architecture, Ortalli has at the time of his first achievements in the round table discussion Tange and the oth- oshi Ikebe). ny centuries, but in a work like the Katsura the fiction of rationality as an ironic condi- creative act of Michelangelo as spirit of the tinue to refer to them. Every contribution of continuous construction that has eliminated the typical trappings of the field of architecture. References to both, ers, with different nuances, go so far as to The case of the house of Kazuo Shino- Imperial Villa, Tange suggests and repeat- tion of Japanese modern culture.» Through new time seems to suggest the figure of Le the tradition is without meaning until it can transformed lower Brianza into a Italian single-family house: the facades starting with the raised structure, can be envision scenarios unheard-of in Japan at hara (1925–2006) at Kugayama (1952–54), edly emphasizes, we find elements of both, fiction, then, it is possible to transcend his- Corbusier in the same conditions and with be considered as a part of me.» diffused city, whose gathering places in gaudy brick, the porch and its seen in the forms of the house he built for the time, speaking of public ownership of which has points of contact with that of skillfully mixed. And what is obtained is a tory and to create a world that is real only in the same mission. All those who yearn for Hence the ongoing work of manipula- are no longer the town squares but columns, the syncopated geometric himself. We will begin the discussion by de- the land and an overall reform of the system Tange due to the presence of pilotis and a harmony capable of foreshadowing a new, relation to the subject, the Self; this is the such a fate, according to Tange, should look tion, made of breakage, dismembering and instead the multiplex cinemas, shop- lines of roofops, the semi-basement, scribing it, while remembering that the of taxation, based only on the use of the frontal veranda, helps us to understand how loftier ideal of beauty: «the conflict between sole path that can lead to creation. Ironically, to the “opening to the infinite” whose path- reassembly of history and tradition, also in ping malls and recreational facilities. the mansard and even the garage. A building has been gone for many years; like- land and not its possession, imagining the use (or lack of use) of the core had a principles […] returns everywhere, and it is only fiction, for the Japanese Romantics, is way the master was tracing. the description of the episodes of two sym- Precisely here, in the municipality of sacrilege performed with elegant wise, the place in which it stood is no longer houses that would only occupy the raised compositional value for Japanese archi- precisely this conflict that grants the com- capable of generating a new bond between Now it seems clear that the fiction bolic buildings, the Ise Shrine and the Impe- Carugo, Marco Ortalli was asked to aplomb, completed by the choice of a recognizable, due to subsequent transfor- levels of constructions. In all probability, tects, capable at best of representing a plex its creative tension.» It is “taste” (suki), word and being, name and object. called into play by Tange to describe the rial Villa of Katsura, which form the out- design a house for a young couple. A rational construction system. The mations. among those present at the encounter only positive technical solution rather than a ty- defined as «abandoning everything except Two writings by Tange, which appeared various passages of the venuta of Michelan- standing key to understand Tange’s work in type of commission that is so ordinary horizontal arrangement of the house The house, as we were saying, was lo- Yoshizaka would have been willing to go so pological scheme of reference. Shinohara, what is pleasing,» that guides the creation. at a distance of over 15 years from each gelo aims at confirmation of the narrative of these years, precisely because they accom- and frequent that is would apparently makes the concatenation of the spaces cated in an elegant suburb, Seijō, not far far, but the idea of designing and therefore in fact, chooses to keep firm control over Also for this reason, Tange repeatedly cites other, pick up the terms of the entire ques- a single Self, capable of filtering reality and pany him in his growth process. present no reasons for interest. But in fluid, in a pleasant environment for from the capital. Even today this place has a multiplying usable areas by detaching build- the layout of the various spaces, opting for a certain tea masters, such as Jukō Murata tion. One is his first article, published in defining it in a “true” image, in the sense of The house he built for himself at Seijō this case neither the architect nor the living. Furthermore, since the circula- different atmosphere, with respect to the ings from the ground continued to influence three-part division of the pan that keeps the (1423–1502), Jōō Takeno (1502–55) and 1939, when he was still fully immersed in one that is personally and intimately true, contains parts of the discourse we have client fits into the usual clichés of their tion areas take up only a very small part usual suburban areas, because unlike many and stimulate Japanese architects in the services separate and distant, to then pay above all Sen-no-Rikyū (1522–91), who de- the Romantic school; the other was pub- that is revealed to the outside world only in a tried to illustrate in this essay, and repre- roles, and at the same time the site is far of the area, the internal spaces of the others its houses are placed inside the small decades to follow. The proposals of the Me- greater attention to the design of the façade fined and shaped the Sukiya style which lished in 1956 as commentary on the first second moment. This approach emerges in sented an indispensable point of passage to from usual, on the margins of the house can be entirely utilized for the commercial portion that developed up tabolists –and those of other architects ac- and the extremely elegant interior solutions. would then interact with the traditional trip to Japan of Walter Gropius. Let’s start the otherwise incomprehensible essay writ- arrive at the theoretical writing on Katsura Brughiera Briantea Park. These were various functions. It is a well-known against the railway station. There are no tive during that same period– for a new city Thus we reach the moment to focus on style. He calls on these names because he with the first, presented in the magazine ten after Walter Gropius’s visit to Japan –as in 1960, as can be understood by reading good omens for the project, alongside a fact that our domestic architecture can “centers,” no modern towers or intrusive on the bay and on the city of Tōkyō, on the Tange’s house, after having examined two feels the need for them to be joined by other Gendai Kenchiku with the title “In Praise of many as 17 years later and in a completely this excerpt: «tradition in itself cannot con- limited budget that obliged the designer form a successful hybrid with models commercial apartment buildings, but in- sea and in the air, were simply interpreta- of its relevant characteristics: the principle names of designers capable of triggering Michelangelo: a preliminary study of Le Cor- altered historical context– titled: The Echo stitute a creative force (…). To channel it to- –expressly requested to work in fair-face from other cultures, but this is rarely a stead a low fabric of shops and, continuous tions of this same idea: to multiple available of “artificial ground” –interpreted in keep- that “creative tension” anew, of repeating busier.” It does not make easy reading, as Left by Gropius. On this occasion, after hav- wards creativity, fresh energy is needed that concrete– to engage in an invigorating matter of substance instead of appear- with it, the even lower density of single-fam- space. ing with the example of Le Corbusier while the same process through new and differ- Tange admitted, on the theme of the “mys- ing recalled how the founder of the Bauhaus repudiates dead forms and prevents living process of expressive reduction. This ances. The solid experience of Marco ily homes, served by wide neighborhood Therefore the raising of Tange’s house benefiting from the modular reference of ent principles, giving rise to the architecture tery” of artistic creation. It is a text literally was surprisingly impressed by traditional ones from fossilizing, becoming static. In a unusual situation has led to a formula- Ortalli, an architect who has never streets, some of which are lined with trees, takes on a new value, besides those sug- the tatami, larger than the norm– and the of modern man. Now, beyond the aware- stuffed with citations of German and French Japanese architecture, especially the Ise certain sense, in order for a tradition to be tion of extreme simplicity and efficacy: a stopped questioning and challenging similar to those of an English or American gested by the formal references to the Kat- technical-compositional device of the core, ness on Tange’s part of the epochal role he authors and philosophers, from Hölderlin to Shrine and the Katsura Imperial Villa, as well vital it has to be continuously destroyed. At flat oblong volume with just one level his own certainties, has produced a garden suburb. This description was more sura Villa and the Ise Shrine. Its structure is introduced by Mies. The house, further- felt he was himself to play, it is also fitting, Nietzsche, Valéry to Heidegger, in which as the many temples seen in Kyōto, and af- the same time, the destruction per se can- above ground, built parallel to the street small but significant example of accurate in the past than it is today. Walking very simple: in the plan, a grid composed of more, concretely implements what Tange on our part, to recognize a philosophical di- Tange traces a sort of history of creative ter praising the master’s ability to grasp ex- not create new cultural forms. There has to to separate the lot into two asymmetri- intelligence applied to the solution of a along these streets, lingering now and then pilasters, supplemented by wall portions was writing in those years, especially in the mension in his work. “energy,” which had a decisive moment tensive information about an architecture be some other force capable of restraining cal portions, larger to the rear of the recurring problem: to grant form to an to admire a house, is still a pleasant experi- that also function as simple vertical parti- two books mentioned above. It embodies, As readers will have understood, the key when the Greeks spread the madness of substantially unknown to him, Tange sur- the destructive energy (…). The dialectical house, smaller in front of it. The pitched individual dwelling with sensitivity and ence; this is because in keeping with an old tions; a staircase in a non-secluded position under a totally new form, the same mixture word to which he repeatedly returns is “cre- geometry «with the result that geometric prises the reader by saying that having re- synthesis of tradition and anti-tradition is roof is clad in corrugated sheet metal, measure. tradition –another particular feature of the rises to the upper level where the family of different ideals, of diverse origin, that had ation” (sōzō), which he reapplies as the visi- knowledge created palaces of ice in space,» turned to the Villa to once again take stock the structure of authentic creativity.»

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