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About TACK TACK Book How to Use What is Tacit Knowledge?
The different ‘places’ where one discusses or presents work, and the particular quality of the environment where these take place. These spatial metaphors range in character from being in-progress, pedagogical or informal to communicative, informational or archival.
The variety of media and formats in which research outputs can take shape, engaging different forms of communication, reaching particular audiences and accomplishing specific purposes.
The different ways in which one person ‘knows more than she can tell’ depending on the character and origin of the knowledge. These different forms of tacit knowing describe its specificity: pointing out whether something is implicit because it is unconscious, unrecognized, unsaid, uncodified etc.
The keywords, fields and concepts that situate the particular contributions of the network within broader literature and schools of thought.
The different phases and forms of dissemination that research and academic outputs can take, indicating the kind of publication, the progress of the work or the forum where they are presented.
The idioms that reflect the multinational character and vocalize the conversations of the TACK network and its outputs.
The members, contributors, facilitators, communities and organizations that build up, around and underneath the TACK Network and participate, in one way or another, in the endeavour of addressing the question of Tacit Knowledge in architecture.

50 Objects

Image Interview Reflection

Echoes from the Venice Biennale TACK Visit

Image 01 “First Image”, Serbian Pavilion, Caendia Wijnbelt, © Caendia Wijnbelt
Caendia Wijnbelt and Paula Strunden reflect upon two images of the Venice Biennale 2021.
Paula Strunden Caendia Wijnbelt
Image Interview Reflection

November 1, 2021

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Echoes from the Venice Biennale TACK Visit

Paula Strunden Caendia Wijnbelt
Image 01 “First Image”, Serbian Pavilion, Caendia Wijnbelt, © Caendia Wijnbelt
Image 02 “Another Image”, Brazilian Pavilion, Caendia Wijnbelt, © Caendia Wijnbelt
Caendia Wijnbelt and Paula Strunden reflect upon two images of the Venice Biennale 2021.
Exhibition Model TACK Exhibition Object

Glassplitter / Broken glass

Near the end of the previous century, waste recycling became more common in Switzerland – not only for paper, but also metal and glass. While developing the plans for the Kirchner Museum Davos in 1989, we had the idea to use waste glass as roof covering for the glazed building, instead of gravel or sheet metal. Glass has a similar weight to gravel and is therefore well suited for ballasting flat roofs. Without much effort, the cullet could be taken from the recycling process before remelting.
Annette Gigon Mike Guyer
Exhibition Model TACK Exhibition Object

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Glassplitter / Broken glass

Annette Gigon Mike Guyer
© TACK
Near the end of the previous century, waste recycling became more common in Switzerland – not only for paper, but also metal and glass. While developing the plans for the Kirchner Museum Davos in 1989, we had the idea to use waste glass as roof covering for the glazed building, instead of gravel or sheet metal. Glass has a similar weight to gravel and is therefore well suited for ballasting flat roofs. Without much effort, the cullet could be taken from the recycling process before remelting.
Review

Book Corner: “Speaking of Buildings: Oral History in Architectural Research” by Janina Gosseye, Naomi Stead, Deborah Van der Plaat (2019)

© Janina Gosseye
This book is a collection of twelve essays by an international group of scholars which deals with various research methods of oral history and the question of who has been unheard. The book critiques that architectural history contains mostly the main architect’s view as well as addresses only a particular group of intellectuals. Therefore the individual narratives within an on-going relational process should be decentralized by having an 'integrative dialogue with actors'
Mara Trübenbach Claudia Mainardi
Review

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Book Corner: “Speaking of Buildings: Oral History in Architectural Research” by Janina Gosseye, Naomi Stead, Deborah Van der Plaat (2019)

Mara Trübenbach Claudia Mainardi
© Janina Gosseye
This book is a collection of twelve essays by an international group of scholars which deals with various research methods of oral history and the question of who has been unheard. The book critiques that architectural history contains mostly the main architect’s view as well as addresses only a particular group of intellectuals. Therefore the individual narratives within an on-going relational process should be decentralized by having an 'integrative dialogue with actors'
Exhibition Model TACK Exhibition Object

Model Haarlemmerplein

This design for 67 apartments, commercial spaces and underground parking was for a location on the edge of the 17th-century western part of central Amsterdam. To anchor the project in its site and broader context, the design draws on historical patterns of parcellation, housing and courtyard typologies, and material expressions that can be found in Amsterdam’s historic core.
Dick van Gameren
Exhibition Model TACK Exhibition Object

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Model Haarlemmerplein

Dick van Gameren
© TACK
This design for 67 apartments, commercial spaces and underground parking was for a location on the edge of the 17th-century western part of central Amsterdam. To anchor the project in its site and broader context, the design draws on historical patterns of parcellation, housing and courtyard typologies, and material expressions that can be found in Amsterdam’s historic core.
Lecture / Talk Video

Tack Talks #1: Cityförster

Verena Brehm CITYFÖRSTER Lara Schrijver Caendia Wijnbelt
Lecture / Talk Video

July 16, 2020

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Tack Talks #1: Cityförster

Verena Brehm CITYFÖRSTER Lara Schrijver Caendia Wijnbelt
© TACK
Frame from the online talk with Verena Brehm, Lara Schrijver, Caendia Wijnbelt, © TACK
A slide from Verena Brehm’s presentation, © Verena Brehm, Cityförster
Circular City principle: a frame from the presentation by Cityförster, © Cityförster
A slide from Verena Brehm’s presentation, © Cityförster
Essay

Return from the Future: The Concept of Retroactivity

OMA (1975), triptych, Boompjes Tower Slab, 1982. Colour silkscreen print, 716 × 1216 mm. Silkscreener: Bernard Ruygrok. Source: Drawing Matter
Koolhaas called his 1978 book Delirious New York a ‘retroactive manifesto for Manhattan’. In her essay Angelika Schnell describes how the concept of retroactivity is used in the architecture of OMA. Especially the high-rise project for Boompjes in Rotterdam, made between 1979 and 1981, is a design that ‘has become effective at a time in the past’. A careful reading of the accompanying text, but also the features of the design itself, reveal the circular logic of the hermeneutical model used by Koolhaas: designs are the stories that provoked the causes in the past.
Angelika Schnell
Essay

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Return from the Future: The Concept of Retroactivity

Angelika Schnell
OMA (1975), triptych, Boompjes Tower Slab, 1982. Colour silkscreen print, 716 × 1216 mm. Silkscreener: Bernard Ruygrok. Source: Drawing Matter
Koolhaas called his 1978 book Delirious New York a ‘retroactive manifesto for Manhattan’. In her essay Angelika Schnell describes how the concept of retroactivity is used in the architecture of OMA. Especially the high-rise project for Boompjes in Rotterdam, made between 1979 and 1981, is a design that ‘has become effective at a time in the past’. A careful reading of the accompanying text, but also the features of the design itself, reveal the circular logic of the hermeneutical model used by Koolhaas: designs are the stories that provoked the causes in the past.
Book chapter Interview Open Access Publication

Shot/Reverse Shot: A conversation on architecture, design and the climate emergency

A Conversation on Architecture, Design and the Climate Emergency with Rania Ghosn, El Hadi Jazairy & Peg Rawes facilitated by Rodney Harrison (RH)
Peg Rawes
Book chapter Interview Open Access Publication

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Shot/Reverse Shot: A conversation on architecture, design and the climate emergency

Peg Rawes
A Conversation on Architecture, Design and the Climate Emergency with Rania Ghosn, El Hadi Jazairy & Peg Rawes facilitated by Rodney Harrison (RH)
Exhibition TACK Exhibition Object

Post CIAM

At the last CIAM conference held in Otterlo in 1959, members of Team 10, including Alison and Peter Smithson, Aldo van Eyck, Daniel van Ginkel, Blanche Lemco, and John Voelcker, enacted an ironic funeral procession, presumably carrying CIAM to its grave. It was captured on film by Jaap Bakema. After the demise of CIAM, Bakema initiated a newsletter to keep the network updated. Between 1959 and 1981 he compiled 18 such newsletters, which comprised a summary of contributions he received from around the world.
Dirk van den Heuvel Nieuwe Instituut (HNI)
Exhibition TACK Exhibition Object

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Post CIAM

Dirk van den Heuvel Nieuwe Instituut (HNI)
© TACK
At the last CIAM conference held in Otterlo in 1959, members of Team 10, including Alison and Peter Smithson, Aldo van Eyck, Daniel van Ginkel, Blanche Lemco, and John Voelcker, enacted an ironic funeral procession, presumably carrying CIAM to its grave. It was captured on film by Jaap Bakema. After the demise of CIAM, Bakema initiated a newsletter to keep the network updated. Between 1959 and 1981 he compiled 18 such newsletters, which comprised a summary of contributions he received from around the world.
Online Teaching Module

Unveiling Embodied Tacit Knowledge through the Act of Drawing

© Paula Strunden
Paula Strunden Angelika Schnell Eva Sommeregger Academy of Fine Arts Vienna, Institute for Art and Architecture
Online Teaching Module

February 20, 2023

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Unveiling Embodied Tacit Knowledge through the Act of Drawing

Paula Strunden Angelika Schnell Eva Sommeregger Academy of Fine Arts Vienna, Institute for Art and Architecture
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
Exhibition Model TACK Exhibition Object

Carpenter Chair

© Sarah Vecchio
Carpenter Chair is an icon of construction and a eulogy to the exploration of the ordinary. It is a low, comfortable, and flexible lounge chair inspired by the aesthetics of the construction site.
Sarah Becchio Paolo Borghino
Exhibition Model TACK Exhibition Object

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Carpenter Chair

Sarah Becchio Paolo Borghino
© Sarah Vecchio
© TACK
Carpenter Chair is an icon of construction and a eulogy to the exploration of the ordinary. It is a low, comfortable, and flexible lounge chair inspired by the aesthetics of the construction site.
Reader

Konvolut

The Konvolut is a growing physical product, containing important material created by the TACK network, such as readers, programs, annotated bibliography, etc. Its concept was thought as a collection in an envelope that could grow with material over time. Its nature of being in-between and a work-in-progress fitted well with the idea of tacit knowledge. It’s playful design reflects its individual nature, as each envelope has grown differently for every owner.
Klaske Havik Tim Anstey Helena Mattsson
Reader

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Konvolut

Klaske Havik Tim Anstey Helena Mattsson
© Janina Gosseye
© Janina Gosseye
© Janina Gosseye
© Janina Gosseye
© Janina Gosseye
The Konvolut is a growing physical product, containing important material created by the TACK network, such as readers, programs, annotated bibliography, etc. Its concept was thought as a collection in an envelope that could grow with material over time. Its nature of being in-between and a work-in-progress fitted well with the idea of tacit knowledge. It’s playful design reflects its individual nature, as each envelope has grown differently for every owner.
Lecture / Talk Object Session SHAPERS Video

Concrete Column, Pirelli Learning Centre

This presentation by Angelo Lunati from Onsitestudio was given as part of the object session SHAPERS during the TACK conference on 21 June 2023.
Angelo Lunati Onsitestudio
Lecture / Talk Object Session SHAPERS Video

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Concrete Column, Pirelli Learning Centre

Angelo Lunati Onsitestudio
© TACK
This presentation by Angelo Lunati from Onsitestudio was given as part of the object session SHAPERS during the TACK conference on 21 June 2023.
Exhibition Model TACK Exhibition Object

Texture Kortrijk – Jewel Box

Wooden model (1/400), representing an existing warehouse and its extension. The orthogonal cast-iron column structure of the existing building is continued in the lightweight steel building on top. The new beams connect the column grid diagonally and at two different heights. The result of logic structural thinking is an unexpected golden crown. The museum Texture celebrates the prosperous past of the flax industry in the region, that used to give the river Schelde a golden shine.
An Fonteyne
Exhibition Model TACK Exhibition Object

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Texture Kortrijk – Jewel Box

An Fonteyne
© TACK
Wooden model (1/400), representing an existing warehouse and its extension. The orthogonal cast-iron column structure of the existing building is continued in the lightweight steel building on top. The new beams connect the column grid diagonally and at two different heights. The result of logic structural thinking is an unexpected golden crown. The museum Texture celebrates the prosperous past of the flax industry in the region, that used to give the river Schelde a golden shine.
Essay Lecture / Talk Reader Reflection Teaching Element

Conversation – Lara Schrijver, Peg Rawes and Margitta Buchert

© TACK
Conversation on Contexts, Values and Reflexivity in Tacit Knowledge, between Lara Schrijver, Margitta Buchert and Peg Rawes.
Lara Schrijver Peg Rawes Margitta Buchert
Essay Lecture / Talk Reader Reflection Teaching Element

April 28, 2022

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Conversation – Lara Schrijver, Peg Rawes and Margitta Buchert

Lara Schrijver Peg Rawes Margitta Buchert
© TACK
Conversation on Contexts, Values and Reflexivity in Tacit Knowledge, between Lara Schrijver, Margitta Buchert and Peg Rawes.
Drawing Exhibition TACK Exhibition Object

Public Drawings, Atelier Bow-Wow

For architects, hand drawing is not only an important tool to grasp the history, experience, and knowledge of a place but also a space of tacit negotiation with peers and others. After the 2011 Tōhoku earthquake struck Japan, Atelier Bow-Wow began to produce collective hand drawings on large paper sheets, on which several work simultaneously, to jointly find a better future. This approach was further developed with students in different public spaces.
Momoyo Kaijima
Drawing Exhibition TACK Exhibition Object

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Public Drawings, Atelier Bow-Wow

Momoyo Kaijima
© TACK
For architects, hand drawing is not only an important tool to grasp the history, experience, and knowledge of a place but also a space of tacit negotiation with peers and others. After the 2011 Tōhoku earthquake struck Japan, Atelier Bow-Wow began to produce collective hand drawings on large paper sheets, on which several work simultaneously, to jointly find a better future. This approach was further developed with students in different public spaces.
Paper Session VECTORS TACK Conference Proceedings

(Un)Programming the Factory: Weaving Panopticon Stories

ABSTRACT
This paper departs from practice-based research developed in Coelima, a Portuguese textile factory under socio-spatial dismantlement, to investigate the relationships between its assembly line, stories, and weaving. I ask how sets of tacit knowledge developed through workers' stories and temporal hand-weaving practices can provide new directions for architectural design to reimagine alternative 'poethical' (Retallack, 2003) working modes in the assembly line. To do so, I build upon workers' stories, which refer to acts of surveillance experienced in the weaving department under capital efficiency (Giedion, 1948), to investigate the tacit process of patterning stories through weaving (Kruger, 2001; Albers, 1959). Words taken from the workers' stories are designed as weave draft notations, or 'panopticon patterns', through a collaborative event with a group of former workers of Coelima to generate a site-specific textile language and knowledge. Although this knowledge can only be transmitted via experience, repetition, and performative making (Nimkulrat, 2012), I suggest that it can evoke emancipatory possibilities for workers and architects to reimagine socially and spatially other configurations for the assembly line grounded in ideas of industrial commons (Rappaport, 2021). Finally, I argue that knowledge acquired from weaving, weave draft notations and stories can provide creative means for architectural design to (un)program work control and time in Coelima's assembly line while re-evaluating issues of (post)work, pleasure, and productivity within the contemporary workplace.
Fernando Ferreira
Paper Session VECTORS TACK Conference Proceedings

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(Un)Programming the Factory: Weaving Panopticon Stories

Fernando Ferreira
ABSTRACT
This paper departs from practice-based research developed in Coelima, a Portuguese textile factory under socio-spatial dismantlement, to investigate the relationships between its assembly line, stories, and weaving. I ask how sets of tacit knowledge developed through workers' stories and temporal hand-weaving practices can provide new directions for architectural design to reimagine alternative 'poethical' (Retallack, 2003) working modes in the assembly line. To do so, I build upon workers' stories, which refer to acts of surveillance experienced in the weaving department under capital efficiency (Giedion, 1948), to investigate the tacit process of patterning stories through weaving (Kruger, 2001; Albers, 1959). Words taken from the workers' stories are designed as weave draft notations, or 'panopticon patterns', through a collaborative event with a group of former workers of Coelima to generate a site-specific textile language and knowledge. Although this knowledge can only be transmitted via experience, repetition, and performative making (Nimkulrat, 2012), I suggest that it can evoke emancipatory possibilities for workers and architects to reimagine socially and spatially other configurations for the assembly line grounded in ideas of industrial commons (Rappaport, 2021). Finally, I argue that knowledge acquired from weaving, weave draft notations and stories can provide creative means for architectural design to (un)program work control and time in Coelima's assembly line while re-evaluating issues of (post)work, pleasure, and productivity within the contemporary workplace.
Book chapter TACK Book

Traveling Perspectives: Tracing ‘impressions’ of a project in Flanders

Fig. 6.2: Focus on the front façade of the BMCC. Photographed December 2022.
ABSTRACT
The collection of localities that play an active (and overlooked) or quiescent (yet potent) role in architectural practices are put in question here. The chapter investigates how a project and its site specific geographical setting can contain traces of broader architectural contexts. It asks how architectural collaborative approaches that stem from the encounter of different perspectives can be read in the lived environment through the lens of plurilocality. Distinct yet intermingling perspectives of a contemporary architectural realisation are drawn out through a dive into the meeting and convention centre in Bruges. This is a building designed by two offices based in different architectural environments — the Portuguese practice Souto de Moura Arquitectos alongside the Antwerp-based firm META architectuurbureau. Various perspectives of the same building are set in parallel, exploring place through similarities and differences. From different modes of apprehending the project, concepts of place and architectural intentions set in motion in this instance are unpacked, involving a transversal reading through a broader architectural community of practice. Active instances of getting to know a place through experience can thereby be tacit yet situated: they can be embodied, embedded and enacted. This further explores Maurice Merleau-Ponty’s hint of a depth found in the latent form of impressions, in their ‘caché-révélé’ or hidden-revealed. Expressions of such instances, through interpreting reflexive features of buildings that stem from plurilocal collaborations, become productive insights into the mechanisms of place relation, their transfers and interweaving, and their impact in architectural design practices. Most of all, these parcels of the tacit dimension of place interpretation are put forward as such: aggregates that interfere with- and feed a relation-full practice of living environments.
Caendia Wijnbelt
Book chapter TACK Book

November 1, 2022

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Traveling Perspectives: Tracing ‘impressions’ of a project in Flanders

Caendia Wijnbelt
Fig. 6.2: Focus on the front façade of the BMCC. Photographed December 2022.
Fig. 6.X: Analogue double exposures. The BMCC overlayed with the Beursplein neighbourhood, photographed December 2022.
Fig. 6.X: Double exposure;;;;
Fig. 6.5: View of the historical center of Bruges from the Belvedere of the BMCC, photographed February 2022.
Fig. 6.X: Analogue double exposures
Figure 6.X: BMCC, photographed February 2022
Fig. 6.9:
ABSTRACT
The collection of localities that play an active (and overlooked) or quiescent (yet potent) role in architectural practices are put in question here. The chapter investigates how a project and its site specific geographical setting can contain traces of broader architectural contexts. It asks how architectural collaborative approaches that stem from the encounter of different perspectives can be read in the lived environment through the lens of plurilocality. Distinct yet intermingling perspectives of a contemporary architectural realisation are drawn out through a dive into the meeting and convention centre in Bruges. This is a building designed by two offices based in different architectural environments — the Portuguese practice Souto de Moura Arquitectos alongside the Antwerp-based firm META architectuurbureau. Various perspectives of the same building are set in parallel, exploring place through similarities and differences. From different modes of apprehending the project, concepts of place and architectural intentions set in motion in this instance are unpacked, involving a transversal reading through a broader architectural community of practice. Active instances of getting to know a place through experience can thereby be tacit yet situated: they can be embodied, embedded and enacted. This further explores Maurice Merleau-Ponty’s hint of a depth found in the latent form of impressions, in their ‘caché-révélé’ or hidden-revealed. Expressions of such instances, through interpreting reflexive features of buildings that stem from plurilocal collaborations, become productive insights into the mechanisms of place relation, their transfers and interweaving, and their impact in architectural design practices. Most of all, these parcels of the tacit dimension of place interpretation are put forward as such: aggregates that interfere with- and feed a relation-full practice of living environments.
TACK Exhibition Object

Tesseln/Bâton à marques

Bâtons à marques (also called ratement,s Tesseln) are  pieces of carved carved wood used as tally sticks in the Swiss Alps. They functioned as  as records of use rights, productstaxes, products, and labour duties in relation to common resources. Tesseln in Upper-Valais and and bâton à marques in LowerBas-Valais were employed in the governance of common property and resourcesvarious forms of common property, including alpine pastures, wine, and irrigation water.
Nicole de Lalouviere
TACK Exhibition Object

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Tesseln/Bâton à marques

Nicole de Lalouviere
© TACK
Bâtons à marques (also called ratement,s Tesseln) are  pieces of carved carved wood used as tally sticks in the Swiss Alps. They functioned as  as records of use rights, productstaxes, products, and labour duties in relation to common resources. Tesseln in Upper-Valais and and bâton à marques in LowerBas-Valais were employed in the governance of common property and resourcesvarious forms of common property, including alpine pastures, wine, and irrigation water.
Essay

Building worlds: architecture as speculation on society

As part of The Persistence of Questioning, critical reflections for the future: ‘What is architecture?’, Lara Schrijver argues that Science fiction in particular can help architecture to consider unforeseen consequences of design decisions. We thoroughly need to recognize how on the one hand the environment and society are connected, and how on the other hand the future remains difficult to predict.
Lara Schrijver
Essay

March 7, 2022

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Building worlds: architecture as speculation on society

Lara Schrijver
As part of The Persistence of Questioning, critical reflections for the future: ‘What is architecture?’, Lara Schrijver argues that Science fiction in particular can help architecture to consider unforeseen consequences of design decisions. We thoroughly need to recognize how on the one hand the environment and society are connected, and how on the other hand the future remains difficult to predict.
Exhibition TACK Exhibition Object

Material Chariots

Material references play a vital role in the collaborative work of architects. At the office of De Smet Vermeulen architects in Ghent, chariots are used to expose samples of materials and combine them into palettes.
Paul Vermeulen De Smet Vermeulen architecten
Exhibition TACK Exhibition Object

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Material Chariots

Paul Vermeulen De Smet Vermeulen architecten
© TACK
Material references play a vital role in the collaborative work of architects. At the office of De Smet Vermeulen architects in Ghent, chariots are used to expose samples of materials and combine them into palettes.
Book chapter Open Access Publication

2021

Teaching Design in a Post-Rainbow Nation A South African Reflection on the Limits and Opportunities of Design Praxis

Example co-developed code of engagement (Author 2017), © Jhono Bennett
ABSTRACT
There has been an intense discourse on the relationship between inter-stakeholder university engagements, or service learning, and the broader society that South African universities claim to serve over the past decade in both local and international academia. The inherent problem within these power structures, the challenges to achieving mutually beneficial project outcomes and the growing concern of vulnerable, unheard institutional and individual voices are critical factors. The recognition of these dynamics within the emerging field of design research and design-led teaching is less nuanced in these debates. Training institutions of architecture have a rich history of undertaking service-learning initiatives to create value and learning for both the students and the stakeholders of such projects. Still, in South Africa, they are only now seen through a post-rainbow nation lens. The FeesMustFall movement is primarily driving this change. Larger institutions are recognising previously marginalised voices that now find traction in learning and practice across South Africa. This chapter reflects the author’s experience with emergent views and concerns as a researcher, lecturer and spatial design practitioner in Johannesburg. This section centres on learning regarding city-making in Southern Africa, and it presents two case studies followed by a discussion of growth opportunities.
Orli Setton, Eric Wright, Claudia Morgado, Blanca Calvo, residents and leaders of Denver Informal Settlement and the UJ Professional Practice students from 2013 to 2017.
Book chapter Open Access Publication

2021

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Teaching Design in a Post-Rainbow Nation A South African Reflection on the Limits and Opportunities of Design Praxis

Orli Setton, Eric Wright, Claudia Morgado, Blanca Calvo, residents and leaders of Denver Informal Settlement and the UJ Professional Practice students from 2013 to 2017.
Example co-developed code of engagement (Author 2017), © Jhono Bennett
© Jhono Bennett
Challenging practice students engaging in the workshop debate (The author’s photos), © Jhono Bennett
Students and staff of AT working with Denver residents on the Action Research Studio (Author’s photos), © Jhono Bennett
ABSTRACT
There has been an intense discourse on the relationship between inter-stakeholder university engagements, or service learning, and the broader society that South African universities claim to serve over the past decade in both local and international academia. The inherent problem within these power structures, the challenges to achieving mutually beneficial project outcomes and the growing concern of vulnerable, unheard institutional and individual voices are critical factors. The recognition of these dynamics within the emerging field of design research and design-led teaching is less nuanced in these debates. Training institutions of architecture have a rich history of undertaking service-learning initiatives to create value and learning for both the students and the stakeholders of such projects. Still, in South Africa, they are only now seen through a post-rainbow nation lens. The FeesMustFall movement is primarily driving this change. Larger institutions are recognising previously marginalised voices that now find traction in learning and practice across South Africa. This chapter reflects the author’s experience with emergent views and concerns as a researcher, lecturer and spatial design practitioner in Johannesburg. This section centres on learning regarding city-making in Southern Africa, and it presents two case studies followed by a discussion of growth opportunities.
Drawing TACK Exhibition Object

Kunsthaus Glarus II, Drawing as a Synthesis, 2019

Kunsthaus Glarus II, Drawing as a Synthesis, 2019 Conen Sigl Architekt:innen, Zürich
The drawing as a synthesis is made after the project is built or the competition is over. This kind of ‘drawing made afterwards’ is about bringing all the principal ideas and responses that now already exist into a drawing. It is a synthesis, and like a poem it reduces or condenses the new reality of the project and describes it all at once very precisely.
Conen Sigl Architekt:innen, Zürich
Drawing TACK Exhibition Object

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Kunsthaus Glarus II, Drawing as a Synthesis, 2019

Conen Sigl Architekt:innen, Zürich
Kunsthaus Glarus II, Drawing as a Synthesis, 2019 Conen Sigl Architekt:innen, Zürich
© TACK
The drawing as a synthesis is made after the project is built or the competition is over. This kind of ‘drawing made afterwards’ is about bringing all the principal ideas and responses that now already exist into a drawing. It is a synthesis, and like a poem it reduces or condenses the new reality of the project and describes it all at once very precisely.
Essay Open Access Publication

2021

Investigating the 21st Century Emerging Approaches to Practice: Codification of Architectural Epistemes, from Discourses to Practices

© Claudia Mainardi
ABSTRACT
Given the timeframe of the last 20 years, the research investigates the codification of diverse forms of tacit knowledge in architecture, its transfer, and translation from institutional narratives to principles and conventions that are crystallized in the everyday practice of selected design offices. Positioned into the lines of theories that see architecture as “a product” of a socio-political-economic condition, the aim is to understand how events that have occurred/are occurring in current times influence the professional practice and, consequently, its codes. The work is imagined to be developed through three phases. A first part –conceived as macro- analysis– is proposed as an attempt to reconstruct a historical framework of events not yet historicized; a second and intermediate one identifies the protagonists –or the practices that the research is interested at–; and a third one –as micro- analysis– made of in-depth investigations of case studies selected through the protagonists of the second phase.
Claudia Mainardi
Essay Open Access Publication

2021

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Investigating the 21st Century Emerging Approaches to Practice: Codification of Architectural Epistemes, from Discourses to Practices

Claudia Mainardi
© Claudia Mainardi
ABSTRACT
Given the timeframe of the last 20 years, the research investigates the codification of diverse forms of tacit knowledge in architecture, its transfer, and translation from institutional narratives to principles and conventions that are crystallized in the everyday practice of selected design offices. Positioned into the lines of theories that see architecture as “a product” of a socio-political-economic condition, the aim is to understand how events that have occurred/are occurring in current times influence the professional practice and, consequently, its codes. The work is imagined to be developed through three phases. A first part –conceived as macro- analysis– is proposed as an attempt to reconstruct a historical framework of events not yet historicized; a second and intermediate one identifies the protagonists –or the practices that the research is interested at–; and a third one –as micro- analysis– made of in-depth investigations of case studies selected through the protagonists of the second phase.
Book chapter TACK Book

Decoding a Practice’s DNA: Multiple registers of tacit knowledge

ABSTRACT
In the manifold spectrum of how tacit knowledge can be conceived in architecture, the contribution aims to investigate that embedded in the architects' design process by reflecting on the codes they employ.   If the vectors are tools or communicative materials –i.e., drawings, sketches, models, texts, etc.– used for transmission, the codes are here interpreted as those characters –whether in the form of recurring patterns or aesthetic choices, technical solutions, vocabulary, etc.– that define the specificity of a practice. As the DNA of an office, and not just of its principal, as Rem Koolhaas argues (Winston, 2016), they articulate across different levels depending on the context within which they are shared: spanning from the ones used within the practice itself –forming the basis for collaboration between different project team members;– to those adopted externally to communicate with both clients and an extended community of practice. Differences in terms of codes might parallel diverse methods for their investigation. Indeed, for the former, the use of an ethnographic approach capable of unpacking specificities from within seems to be the most adequate –i.e., revealing how the implicit values of a practice are transferred into form through a collective process mediated by multiple actors;– for the latter, instead, it would be more proper to employ public occasions as a pretext through which to decipher a shared “language.” (Eco, 1976).   In general, the paper argues that codification processes are necessarily conditioned by the context in which they take place, by the positioning within the disciplinary debate, and by the actors (Latour and Yaneva. 2008) participating in their development. These closely interrelated aspects constitute the tacit knowledge inherent to a practice. Hence, although capable of changing over time, such knowledge is a unique and characterized product for an office. At the same time, it is the contribution that each firm provides in shaping its community of practice, whose shared knowledge unfolds through exchanges and encounters.
Claudia Mainardi
Book chapter TACK Book

November 1, 2022

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Decoding a Practice’s DNA: Multiple registers of tacit knowledge

Claudia Mainardi
ABSTRACT
In the manifold spectrum of how tacit knowledge can be conceived in architecture, the contribution aims to investigate that embedded in the architects' design process by reflecting on the codes they employ.   If the vectors are tools or communicative materials –i.e., drawings, sketches, models, texts, etc.– used for transmission, the codes are here interpreted as those characters –whether in the form of recurring patterns or aesthetic choices, technical solutions, vocabulary, etc.– that define the specificity of a practice. As the DNA of an office, and not just of its principal, as Rem Koolhaas argues (Winston, 2016), they articulate across different levels depending on the context within which they are shared: spanning from the ones used within the practice itself –forming the basis for collaboration between different project team members;– to those adopted externally to communicate with both clients and an extended community of practice. Differences in terms of codes might parallel diverse methods for their investigation. Indeed, for the former, the use of an ethnographic approach capable of unpacking specificities from within seems to be the most adequate –i.e., revealing how the implicit values of a practice are transferred into form through a collective process mediated by multiple actors;– for the latter, instead, it would be more proper to employ public occasions as a pretext through which to decipher a shared “language.” (Eco, 1976).   In general, the paper argues that codification processes are necessarily conditioned by the context in which they take place, by the positioning within the disciplinary debate, and by the actors (Latour and Yaneva. 2008) participating in their development. These closely interrelated aspects constitute the tacit knowledge inherent to a practice. Hence, although capable of changing over time, such knowledge is a unique and characterized product for an office. At the same time, it is the contribution that each firm provides in shaping its community of practice, whose shared knowledge unfolds through exchanges and encounters.
Conference Paper Open Access Publication

Everyday Practice As Paradigm To Study Architectural Contemporary Codes

© Claudia Mainardi
Claudia Mainardi's contribution presented at the CA2RE Delft conference has been a significant opportunity to discuss her doctoral research that, dealing with the present history, proposes an empirical approach: without aiming to achieve a definitive response, yet disentangling processes while being formed.
Claudia Mainardi
Conference Paper Open Access Publication

March 2, 2023

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Everyday Practice As Paradigm To Study Architectural Contemporary Codes

Claudia Mainardi
© Claudia Mainardi
© Claudia Mainardi
Claudia Mainardi's contribution presented at the CA2RE Delft conference has been a significant opportunity to discuss her doctoral research that, dealing with the present history, proposes an empirical approach: without aiming to achieve a definitive response, yet disentangling processes while being formed.
Exhibition Model TACK Exhibition Object

20-11-2021

HERMIA

© Mara Trübenbach
"Through the material, I built a relationship with the (hi)story of the ship and acquired knowledge that is tacitly held between the humans and the non-humans."
Mara Trübenbach
Exhibition Model TACK Exhibition Object

20-11-2021

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HERMIA

Mara Trübenbach
© Mara Trübenbach
© TACK
"Through the material, I built a relationship with the (hi)story of the ship and acquired knowledge that is tacitly held between the humans and the non-humans."

Stoà n°6 Viaggi: Greetings from the Bruine Banaan. Christian Kieckens’ Journeys and the Construction of European Disciplinary Culture

Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Filippo Cattapan

Stoà n°6 Viaggi: Greetings from the Bruine Banaan. Christian Kieckens’ Journeys and the Construction of European Disciplinary Culture

Filippo Cattapan
Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Fig. 1-5. Marc Dubois, Postcards sent to Christian Kieckens, 1992-2013. © Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens.
Lecture / Talk

From Critical Spatial Practice to Site-Writing

© TACK
Prof. Dr. Jane Rendell, UCL gave a keynote talk 'From Critical Spatial Practice to Site-Writing: Approaches to Architectural Research and Pedagogy' at the 5th Intermediate Meeting of the TACK network.
University College London, Bartlett School of Architecture Jane Rendell
Lecture / Talk

June 14, 2022

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From Critical Spatial Practice to Site-Writing

University College London, Bartlett School of Architecture Jane Rendell
© TACK
© Jane Rendell
© Jane Rendell
© Jane Rendell
Prof. Dr. Jane Rendell, UCL gave a keynote talk 'From Critical Spatial Practice to Site-Writing: Approaches to Architectural Research and Pedagogy' at the 5th Intermediate Meeting of the TACK network.
Exhibition Model TACK Exhibition Object

Chozos, Houses of Nomadic Shepherds

Chozos in Cabeza del Buey. On the left the traditional chozo, on the right the demountable chozo that has toured to Germany and now Switzerland. Photo: Marie Kuch
The chozos are traditional huts that up until about 50 years ago were built by shepherds in rural Spain as they moved around the fields with their sheep. This chozo was constructed in September 2022 by sixteen students from the University of Stuttgart during an intense exchange with experts in southern Spain.
Alba Balmaseda Dominguez Kyra Bullert Špela Setzen Markus Vogl
Exhibition Model TACK Exhibition Object

October 5, 2022

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Chozos, Houses of Nomadic Shepherds

Alba Balmaseda Dominguez Kyra Bullert Špela Setzen Markus Vogl
Chozos in Cabeza del Buey. On the left the traditional chozo, on the right the demountable chozo that has toured to Germany and now Switzerland. Photo: Marie Kuch
© TACK
The chozos are traditional huts that up until about 50 years ago were built by shepherds in rural Spain as they moved around the fields with their sheep. This chozo was constructed in September 2022 by sixteen students from the University of Stuttgart during an intense exchange with experts in southern Spain.
Drawing Exhibition TACK Exhibition Object

Ulrich Mahler’s Exkursionszettel Wagbachniederung

Ulrich Mahler’s Exkursionszettel exemplifies the importance of embodied tacit knowledge in the management of constructed landscapes.
Johanna Just
Drawing Exhibition TACK Exhibition Object

May 29, 2022

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Ulrich Mahler’s Exkursionszettel Wagbachniederung

Johanna Just
© TACK
Ulrich Mahler’s Exkursionszettel exemplifies the importance of embodied tacit knowledge in the management of constructed landscapes.
Book chapter TACK Book

Exploring Spatial Perception through Performative 1:1 Extended Reality Models: Preliminary insights from Infra-thin Magick

© TACK
ABSTRACT
Building on scenography, performance theory and findings from neurosciences, tacit knowing in architecture is understood here as embodied, embedded and enacted perceptual dimension of our built environment. Through art- and design-based research, tacitly knowing is examined as a form of practice and a new extended reality (XR) design tool is probed to exercise it. Since the atmospheric turn in architecture (Böhme 2017, McCormack 2014, Bille et al. 2015), it is well known that spatial perception is multi-sensory and that the interplay of our senses goes beyond the cross-fertilization of sight, touch, taste, smell and hearing. Nevertheless, architectural designers may have only touched the surface of what we might be able to feel regarding our spatial environments. Apart from the sensation of our movement and whether our environment is too hot or cold, our abilities to feel space physically remain challenging to represent and communicate through conventional architectural tools. This includes i.e. our sense of balance, our ability to feel time passing, our knowledge of which of our body parts are where without having to look at them, and our sense of gravity, orientation, and illumination. Some of these “always-there-but-never-felt” sensations can be revealed and physically experienced when entering a fully immersive virtual environment for the first time. As our brain takes a split second to adjust to the novel surroundings, it is at this moment that we can suddenly sense our senses at work. The XR case study “Infra-thin Magick”, exhibited as part of Speculative Fiction at the Academy of Fine Arts Vienna in 2022, explains how such unanticipated insights can be purposefully evoked by displacing and reassembling the components constituting our multimodal and synaesthetic spatial perception. Leaning on the design theoretician Thea Brejzek and Lawrence Wallan’s understanding of the “autonomous model”, this performative real-time and -scale XR model that oscillates between physical installation and virtual reality (VR) experience is employed as an operative tool for designing and analyzing spatial experiences beyond the known sensations of our built environment. First user-testing results are presented, and the premise of the autonomous model to co-create reality and allow architects to research through active participation, first-hand experience, discovery, and play are brought to light.
Paula Strunden
Book chapter TACK Book

November 1, 2022

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Exploring Spatial Perception through Performative 1:1 Extended Reality Models: Preliminary insights from Infra-thin Magick

Paula Strunden
© TACK
ABSTRACT
Building on scenography, performance theory and findings from neurosciences, tacit knowing in architecture is understood here as embodied, embedded and enacted perceptual dimension of our built environment. Through art- and design-based research, tacitly knowing is examined as a form of practice and a new extended reality (XR) design tool is probed to exercise it. Since the atmospheric turn in architecture (Böhme 2017, McCormack 2014, Bille et al. 2015), it is well known that spatial perception is multi-sensory and that the interplay of our senses goes beyond the cross-fertilization of sight, touch, taste, smell and hearing. Nevertheless, architectural designers may have only touched the surface of what we might be able to feel regarding our spatial environments. Apart from the sensation of our movement and whether our environment is too hot or cold, our abilities to feel space physically remain challenging to represent and communicate through conventional architectural tools. This includes i.e. our sense of balance, our ability to feel time passing, our knowledge of which of our body parts are where without having to look at them, and our sense of gravity, orientation, and illumination. Some of these “always-there-but-never-felt” sensations can be revealed and physically experienced when entering a fully immersive virtual environment for the first time. As our brain takes a split second to adjust to the novel surroundings, it is at this moment that we can suddenly sense our senses at work. The XR case study “Infra-thin Magick”, exhibited as part of Speculative Fiction at the Academy of Fine Arts Vienna in 2022, explains how such unanticipated insights can be purposefully evoked by displacing and reassembling the components constituting our multimodal and synaesthetic spatial perception. Leaning on the design theoretician Thea Brejzek and Lawrence Wallan’s understanding of the “autonomous model”, this performative real-time and -scale XR model that oscillates between physical installation and virtual reality (VR) experience is employed as an operative tool for designing and analyzing spatial experiences beyond the known sensations of our built environment. First user-testing results are presented, and the premise of the autonomous model to co-create reality and allow architects to research through active participation, first-hand experience, discovery, and play are brought to light.
Note Review Site writing

Book Corner: ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism by Jane Rendell (2010)

Rendell, J. (2010) ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism
The introduction to the author’s positional body of work, sets the theoretical and intellectual context for the ideas underpinning Site-Writing as a practice and their aims in giving voice to this form of practice. The author uses seminal writers on phycology, art-practice and philosophy as figures to guide their later theories and discusses the relationship between architecture and art-critique as reflective and positional practices.
Jhono Bennett Anna Livia Vørsel
Note Review Site writing

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Book Corner: ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism by Jane Rendell (2010)

Jhono Bennett Anna Livia Vørsel
Rendell, J. (2010) ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism
The introduction to the author’s positional body of work, sets the theoretical and intellectual context for the ideas underpinning Site-Writing as a practice and their aims in giving voice to this form of practice. The author uses seminal writers on phycology, art-practice and philosophy as figures to guide their later theories and discusses the relationship between architecture and art-critique as reflective and positional practices.
Essay Open Access Publication

Domestic Italy After WWII: Collecting Stories from Middle-Class Houses

In their essay entitled, “Domestic Italy After WWII: Collecting Stories from Middle-Class Houses” published in Candide. Journal of Archtiectural Knowledge in 2015, Gaia Caramellino and Filippo De Pieri address a series of methodological challenges raised by the inquiry on ordinary residential environment and the diverse forms of communicating and transferring knowledge between the different cultures of the communities of practices engaged in its production.
Gaia Caramellino
Essay Open Access Publication

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Domestic Italy After WWII: Collecting Stories from Middle-Class Houses

Gaia Caramellino
In their essay entitled, “Domestic Italy After WWII: Collecting Stories from Middle-Class Houses” published in Candide. Journal of Archtiectural Knowledge in 2015, Gaia Caramellino and Filippo De Pieri address a series of methodological challenges raised by the inquiry on ordinary residential environment and the diverse forms of communicating and transferring knowledge between the different cultures of the communities of practices engaged in its production.
Essay

The American Pictures of the “Shrimps’ Vanguard”

ABSTRACT
The research addresses the idea of the “picturescape” as a form of episteme1, which tacitly and structurally influence the operative design modalities applied in both architectural theory and practice. The definition of “picturescape” is derived from the term “objectscape”, coined by the Leiden archaeologist Miguel John Versluys. Specularly to this notion, the term refers to the new configuration of visual culture that was caused by the emergence of the technical means of images reproduction from the beginning of the Seventeenth century onwards. During the course of the following centuries, pictures differently corresponded to the historical contexts in which they were acting, producing a substantial impact in the definition of the coeval cultures and of their related ideas of architecture. Final objective of the research is the thorough understanding of such an influence at the multiple levels at which it operated.
Filippo Cattapan
Essay

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The American Pictures of the “Shrimps’ Vanguard”

Filippo Cattapan
ABSTRACT
The research addresses the idea of the “picturescape” as a form of episteme1, which tacitly and structurally influence the operative design modalities applied in both architectural theory and practice. The definition of “picturescape” is derived from the term “objectscape”, coined by the Leiden archaeologist Miguel John Versluys. Specularly to this notion, the term refers to the new configuration of visual culture that was caused by the emergence of the technical means of images reproduction from the beginning of the Seventeenth century onwards. During the course of the following centuries, pictures differently corresponded to the historical contexts in which they were acting, producing a substantial impact in the definition of the coeval cultures and of their related ideas of architecture. Final objective of the research is the thorough understanding of such an influence at the multiple levels at which it operated.
Lecture / Talk Video

TACK Talks #2: How to archive embodied knowledge?

Sofie de Caigny Vlaams Architectuurinstituut (VAi) Monika Platzer Architekturzentrum Wien (AzW) Ionas Sklavounos Paula Strunden Mara Trübenbach Eric Crevels
Lecture / Talk Video

March 11, 2021

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TACK Talks #2: How to archive embodied knowledge?

Sofie de Caigny Vlaams Architectuurinstituut (VAi) Monika Platzer Architekturzentrum Wien (AzW) Ionas Sklavounos Paula Strunden Mara Trübenbach Eric Crevels
© TACK
© TACK
© TACK
© TACK
© TACK
© TACK
© TACK
Paper Session NATURE(S) TACK Conference Proceedings

Improvised architectural responses to the changing climate – Making, sharing and communicating design processes in rural Bangladesh

ABSTRACT
Bangladesh is particularly vulnerable to global climate change because of the shifting riparian characteristics of its landscape and location, with weather-driven calamities disproportionately affecting low-income rural communities. Research findings highlight the unequal distribution of responsibilities and the greater burden on women in the community to respond to the threats of extreme climate. The research methodology for this PhD by Architectural Practice therefore seeks to empower those in Bangladeshi villages by enabling marginalised voices to be heard through an emphasis on collective engagement, especially incorporating the contributions by female residents. Carried out through community-oriented projects in the remote village of Rajapur, this ‘live’ practice-based thesis explores, tests, shares and disseminates some of the rich and varied forms of tacit knowledge which can provide valuable understandings both for those people in the locality and also for architects and designers on the international scale. Responding to social and ecological ‘entanglements’ in Rajapur, the specific problems addressed are erratic rainfall patterns which create both droughts and floods, rising sea levels caused by climate change, and naturally occurring extremely high levels of arsenic-contaminated groundwater supplies, poisoning the food chain and fish in nearby ponds and lakes. How to devise affordable, low-tech solutions that utilise the tacit knowledge and skills of those living in remote villages such as Rajapur? To reshape architectural practice as an active agent for decolonising design methods, so that issues of climate change and spatial justice can be better dealt with, the research draws upon applied anthropological methods – ‘ethnography in the field’ – which prioritise local community members as the indigenous producers of design research, analytical drawings, making and storytelling. The thesis thus addresses a gap in knowledge by contributing a unique approach to participatory architectural practice, showing how it can be expanded to include rural communities in the Global South.
Tumpa Husna Yasmin Fellows
Paper Session NATURE(S) TACK Conference Proceedings

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Improvised architectural responses to the changing climate – Making, sharing and communicating design processes in rural Bangladesh

Tumpa Husna Yasmin Fellows
ABSTRACT
Bangladesh is particularly vulnerable to global climate change because of the shifting riparian characteristics of its landscape and location, with weather-driven calamities disproportionately affecting low-income rural communities. Research findings highlight the unequal distribution of responsibilities and the greater burden on women in the community to respond to the threats of extreme climate. The research methodology for this PhD by Architectural Practice therefore seeks to empower those in Bangladeshi villages by enabling marginalised voices to be heard through an emphasis on collective engagement, especially incorporating the contributions by female residents. Carried out through community-oriented projects in the remote village of Rajapur, this ‘live’ practice-based thesis explores, tests, shares and disseminates some of the rich and varied forms of tacit knowledge which can provide valuable understandings both for those people in the locality and also for architects and designers on the international scale. Responding to social and ecological ‘entanglements’ in Rajapur, the specific problems addressed are erratic rainfall patterns which create both droughts and floods, rising sea levels caused by climate change, and naturally occurring extremely high levels of arsenic-contaminated groundwater supplies, poisoning the food chain and fish in nearby ponds and lakes. How to devise affordable, low-tech solutions that utilise the tacit knowledge and skills of those living in remote villages such as Rajapur? To reshape architectural practice as an active agent for decolonising design methods, so that issues of climate change and spatial justice can be better dealt with, the research draws upon applied anthropological methods – ‘ethnography in the field’ – which prioritise local community members as the indigenous producers of design research, analytical drawings, making and storytelling. The thesis thus addresses a gap in knowledge by contributing a unique approach to participatory architectural practice, showing how it can be expanded to include rural communities in the Global South.
Exhibition TACK Exhibition Object

Invisible Elastic Structure

Behaviour rather than form: nature as a worldview. Nature as technique, posture, and condition. A perpetual ongoing construction, nature is meant as an 'artifice' appearing in the encounter between thought and the world: both in the project and the leaf, a minimal resistant force, and a maximum space potential cohabit in a tensional condition. Architecture is a continuous experience of the world.
Francesca Berni
Exhibition TACK Exhibition Object

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Invisible Elastic Structure

Francesca Berni
© TACK
Behaviour rather than form: nature as a worldview. Nature as technique, posture, and condition. A perpetual ongoing construction, nature is meant as an 'artifice' appearing in the encounter between thought and the world: both in the project and the leaf, a minimal resistant force, and a maximum space potential cohabit in a tensional condition. Architecture is a continuous experience of the world.