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Journal Article

Architectural Ethnography? Incipits, distances, horizons for research and teaching practices

Figura 1 – profili degli abitanti e nuove tipologie di stanze (ReCoDe 2019), © Gennaro Postiglione

Architectural ethnography has increasingly been a focus of attention thanks to recent studies carried out by Albena Yaneva or to practices and research carried out by Momoyo Kaijima with her Atelier Bow Wow. Starting from an interest in the specificities of ethnographical approaches if practiced by architects, or by professionals and researchers having particular attention to forms, materiality and uses of the space in the everyday, this article outlines a literature review on ethnography for designers. This review has been helpful in defining through convergences and distances a specific positioning that we are assuming in teaching and doing research for design. A path that led to further questions on the role of transcription (graphical, photographic, textual) in architectural ethnography, as well as to challenging the role of tradition and innovation in this recent stream of research.

Gennaro Postiglione Paola Briata

Journal Article

June 18, 2022

Architectural Ethnography? Incipits, distances, horizons for research and teaching practices

Gennaro Postiglione Paola Briata

Figura 1 – profili degli abitanti e nuove tipologie di stanze (ReCoDe 2019), © Gennaro Postiglione

Figura 3 – La mostra finale di Gratosoglio Ground Zero (2019) , © Gennaro Postiglione

Figura 4 – La vita attorno agli oggetti (QLHL 2020), © Gennaro Postiglione

Architectural ethnography has increasingly been a focus of attention thanks to recent studies carried out by Albena Yaneva or to practices and research carried out by Momoyo Kaijima with her Atelier Bow Wow. Starting from an interest in the specificities of ethnographical approaches if practiced by architects, or by professionals and researchers having particular attention to forms, materiality and uses of the space in the everyday, this article outlines a literature review on ethnography for designers. This review has been helpful in defining through convergences and distances a specific positioning that we are assuming in teaching and doing research for design. A path that led to further questions on the role of transcription (graphical, photographic, textual) in architectural ethnography, as well as to challenging the role of tradition and innovation in this recent stream of research.

Online Teaching Module

Understanding Situated Tacit Knowledge through Southern Urbanist architectural practice approaches

© Jhono Bennett

Jhono Bennett Peg Rawes University College London, Bartlett School of Architecture

Online Teaching Module

February 15, 2023

Understanding Situated Tacit Knowledge through Southern Urbanist architectural practice approaches

Jhono Bennett Peg Rawes University College London, Bartlett School of Architecture

© Jhono Bennett

© Jhono Bennett

© Jhono Bennett

© Jhono Bennett

© Jhono Bennett

© Jhono Bennett

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

Invisible Elastic Structure

Francesca Berni

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.

Drawing Exhibition TACK Exhibition Object

The Yield of the Land

This vector drawing is the outcome of an elective course led by Wan and Joris at Ghent University that explored a fragment of the fast-changing landscape of Nanhai District in the Pearl River Delta, Wan’s ancestral home.

Joris Kerremans Hong Wan Chan

Drawing Exhibition TACK Exhibition Object

The Yield of the Land

Joris Kerremans Hong Wan Chan

This vector drawing is the outcome of an elective course led by Wan and Joris at Ghent University that explored a fragment of the fast-changing landscape of Nanhai District in the Pearl River Delta, Wan’s ancestral home.

Book chapter TACK Book

Latent Continuities: Architectural knowledge and the heuristic tension of Indwelling

In his theory of Tacit Knowledge Michael Polanyi introduced the concept of Indwelling, to explain the role of habit and skill in practice-based knowledge, but also to describe a heuristic tension that underlies all forms of knowing. Such a tension, Polanyi tells us, unfolds from the ‘depths’ of our biological being to the ‘heights’ of ideas and cultural values. The premise of this essay is that the spatial (and temporal) metaphor of Indwelling is hardly an accident: human consciousness is opened to knowledge primarily through our physical engagement with the world, marked by both space and time. The hypothesis is thus formed of architecture as a discipline studying precisely such tacit processes of (In)dwelling, in search of correspondences between ‘thick’ levels of bodily disposition and ‘thinner’ levels of intellect and imagination. To pursue this hypothesis, I turn to the example of a two-month apprenticeship in traditional stonemasonry, that took place in 2019 in Greece, entailing the reconstruction of a particular type of dry-stone cobbled pathway, called kalderimi.

Ionas Sklavounos

Book chapter TACK Book

November 1, 2022

Latent Continuities: Architectural knowledge and the heuristic tension of Indwelling

Ionas Sklavounos

In his theory of Tacit Knowledge Michael Polanyi introduced the concept of Indwelling, to explain the role of habit and skill in practice-based knowledge, but also to describe a heuristic tension that underlies all forms of knowing. Such a tension, Polanyi tells us, unfolds from the ‘depths’ of our biological being to the ‘heights’ of ideas and cultural values. The premise of this essay is that the spatial (and temporal) metaphor of Indwelling is hardly an accident: human consciousness is opened to knowledge primarily through our physical engagement with the world, marked by both space and time. The hypothesis is thus formed of architecture as a discipline studying precisely such tacit processes of (In)dwelling, in search of correspondences between ‘thick’ levels of bodily disposition and ‘thinner’ levels of intellect and imagination. To pursue this hypothesis, I turn to the example of a two-month apprenticeship in traditional stonemasonry, that took place in 2019 in Greece, entailing the reconstruction of a particular type of dry-stone cobbled pathway, called kalderimi.

Exhibition TACK Exhibition Object

A Studio for Orbanism – Luc Deleu & T.O.P. office

The house of Luc Deleu, the founder of T.O.P. office, in the city of Antwerp (Belgium), is not only a design studio and home for the architect but, above all, it is a space of accumulated knowledge: a kaleidoscope of collected references and an archive of drawings and models produced over more than fifty years.

Sofie de Caigny Tine Poot Vlaams Architectuurinstituut (VAi)

Exhibition TACK Exhibition Object

A Studio for Orbanism – Luc Deleu & T.O.P. office

Sofie de Caigny Tine Poot Vlaams Architectuurinstituut (VAi)

The house of Luc Deleu, the founder of T.O.P. office, in the city of Antwerp (Belgium), is not only a design studio and home for the architect but, above all, it is a space of accumulated knowledge: a kaleidoscope of collected references and an archive of drawings and models produced over more than fifty years.

Designing space through motion pictures

© Eva Sommeregger

Eva Sommeregger reflects on the winter semester 2013/14 at ABKW, where animation technology was used in the HTC design studio “Play Architecture” to design spatiality.

Eva Sommeregger

Designing space through motion pictures

Eva Sommeregger

© Eva Sommeregger

Eva Sommeregger reflects on the winter semester 2013/14 at ABKW, where animation technology was used in the HTC design studio “Play Architecture” to design spatiality.

Image Image Series Teaching Element

Re-enactment panels ILAUD @TACK Summer school 2021

Filippo Cattapan Ionas Sklavounos Lucia Pennati

Image Image Series Teaching Element

Re-enactment panels ILAUD @TACK Summer school 2021

Filippo Cattapan Ionas Sklavounos Lucia Pennati

Online Teaching Module

On Method: Tacit Knowledge in the Expanded Field of Architecture

© Anna Livia Vørsel

Anna Livia Vørsel Helena Mattsson Helena Mattsson Jennifer Mack KTH Royal Institute of Technology, KTH School of Architecture

Online Teaching Module

February 10, 2022

On Method: Tacit Knowledge in the Expanded Field of Architecture

Anna Livia Vørsel Helena Mattsson Helena Mattsson Jennifer Mack KTH Royal Institute of Technology, KTH School of Architecture

© Anna Livia Vørsel

© Anna Livia Vørsel

© Anna Livia Vørsel

© Anna Livia Vørsel

© Anna Livia Vørsel

© Anna Livia Vørsel

Book chapter TACK Book

No Body, Never Mind: The entanglement of how architects construct imagination

Figure 3.1: My Mother’s back, 1996, Elinor Carucci Source: Elinor Carucci’s private archive. US Credit: Elinor Carucci., © US Credit: Elinor Carucci

In architectural practice, one does not primarily write, one draws, models or explains with words, mostly through the visual communication of ideas. Just as architects use literacy to describe stories and connect with what touches them, material literacy is necessary to describe what architects literally touch. Material has the ability to respond to the design and even influence it at a very early stage of the process when it comes into contact with the body. As the scientist Barad rightly asked: “How did language come to be more trustworthy than matter?” (Barad, 2003). Material can create an experimental platform to trigger emotions, to go beyond norms and return to what has become schematic in the process of making architecture. This method of architectural dramaturgy, i.e., seeking a multifaceted narrative about house and home through engagement with material, could critically reveal unseen labour and unheard voices, and facilitate a connection to our surrounding. The paper argues feelings from the inside of the body that apparent on the outside of the body offer new ways of knowledge production in architecture. Adopting the interdisciplinary approach by Finish architect and critic Juhani Pallasmaa (in his The Thinking Hand, 2009) the paper considers theatre and performance studies as examples of phenomenological aspects of kinaesthetic and multi-sensory perception of “the internal space and one’s inner mental space” (Pallasmaa, 2009, p.19). By theoretically analysing related emotions embedded in the various hands-on processes mediated through visuals (image, video, drawings) and the applicability of the materiality of the human body (voice, gesture, etc.), empathy and trust in both architectural and theatrical production are an important trajectory to enrich collective knowledge. Starting from here, the chapter advocates not only looking at visual mediation of material, but going beyond that and prompting the capability to read and listen to sound, expression and movement that come from both sides equally – humans and non-humans – to build up material literacy and achieve a sensitivity towards tacit knowledge in architecture.

Mara Trübenbach

Book chapter TACK Book

November 1, 2022

No Body, Never Mind: The entanglement of how architects construct imagination

Mara Trübenbach

Figure 3.1: My Mother’s back, 1996, Elinor Carucci Source: Elinor Carucci’s private archive. US Credit: Elinor Carucci., © US Credit: Elinor Carucci

In architectural practice, one does not primarily write, one draws, models or explains with words, mostly through the visual communication of ideas. Just as architects use literacy to describe stories and connect with what touches them, material literacy is necessary to describe what architects literally touch. Material has the ability to respond to the design and even influence it at a very early stage of the process when it comes into contact with the body. As the scientist Barad rightly asked: “How did language come to be more trustworthy than matter?” (Barad, 2003). Material can create an experimental platform to trigger emotions, to go beyond norms and return to what has become schematic in the process of making architecture. This method of architectural dramaturgy, i.e., seeking a multifaceted narrative about house and home through engagement with material, could critically reveal unseen labour and unheard voices, and facilitate a connection to our surrounding. The paper argues feelings from the inside of the body that apparent on the outside of the body offer new ways of knowledge production in architecture. Adopting the interdisciplinary approach by Finish architect and critic Juhani Pallasmaa (in his The Thinking Hand, 2009) the paper considers theatre and performance studies as examples of phenomenological aspects of kinaesthetic and multi-sensory perception of “the internal space and one’s inner mental space” (Pallasmaa, 2009, p.19). By theoretically analysing related emotions embedded in the various hands-on processes mediated through visuals (image, video, drawings) and the applicability of the materiality of the human body (voice, gesture, etc.), empathy and trust in both architectural and theatrical production are an important trajectory to enrich collective knowledge. Starting from here, the chapter advocates not only looking at visual mediation of material, but going beyond that and prompting the capability to read and listen to sound, expression and movement that come from both sides equally – humans and non-humans – to build up material literacy and achieve a sensitivity towards tacit knowledge in architecture.

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

HERMIA

Mara Trübenbach

© 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."

Book chapter TACK Book

Forêt DesCartes: Images, fragments, and repertoires in Kieckens’s tacit knowledge

Christian Kieckens' archive at the Flemish Architecture Institute in Antwerp holds a curious object: the Foret DesCartes. It is a prototype of Kaartenstander (postcards display table stand) designed by Kieckens in 1995. The object is extremely simple: an MDF board with maple veneer on which are inserted 16 postcard holders made of bent iron rods arranged in a regular 6x4 cm grid. More than just an odd display of postcards, this small object is an operational tool for producing and transmitting architectural knowledge through the collection of images and their recomposition in space. The same cognitive mode that is represented by the Foret DesCartes can be found reflected within Christian Kieckens' key practices: the architectural trip and its communication within a Belgian and European community of practice, the use of photography as a documentation tool but also as a visual reflection on architecture, the transmission of knowledge through the medium of the illustrated book and of the exhibition, the teaching of architecture by means of examples and references. Currently underway at the Bergische Universität Wuppertal within the framework of the TACK network, the research project, ‘The Pictures on the Wall. The Composite Culture of a Contemporary Flemish Architect’, investigates Kieckens’s role as mediator between the transatlantic architectural culture of the 1980s and the local context of Flanders. The key assumption is that this process of cultural migration happened first of all at the tacit level. Kieckens’s tacit knowledge is primarily found in its fragmentary nature – as a repertoire of themes and images – as well as in its crucial relationship with a number of visual practices and media. This attitude is considered from an interdisciplinary perspective that integrates external viewpoints such as those of cultural studies, anthropology, and iconology. On this basis, Kieckens’s practices have been operatively addressed by means of a hybrid methodology, which combines bibliographic and archival studies with a series of performative approaches such as interviews and immersive ethnographic investigation, pedagogical re-enactment and experimental display, images collection and visual comparison. Within a curatorial secondment at the Flanders Architecture Institute VAi in Antwerp and a collaboration with Hasselt University, these approaches finally resulted in the exhibition, ‘Forêt DesCartes – Christian Kieckens and the Composite Culture of Architecture in Flanders’, which opened at the De Singel Centre in November 2022.

Filippo Cattapan

Book chapter TACK Book

November 1, 2022

Forêt DesCartes: Images, fragments, and repertoires in Kieckens’s tacit knowledge

Filippo Cattapan

Christian Kieckens' archive at the Flemish Architecture Institute in Antwerp holds a curious object: the Foret DesCartes. It is a prototype of Kaartenstander (postcards display table stand) designed by Kieckens in 1995. The object is extremely simple: an MDF board with maple veneer on which are inserted 16 postcard holders made of bent iron rods arranged in a regular 6x4 cm grid. More than just an odd display of postcards, this small object is an operational tool for producing and transmitting architectural knowledge through the collection of images and their recomposition in space. The same cognitive mode that is represented by the Foret DesCartes can be found reflected within Christian Kieckens' key practices: the architectural trip and its communication within a Belgian and European community of practice, the use of photography as a documentation tool but also as a visual reflection on architecture, the transmission of knowledge through the medium of the illustrated book and of the exhibition, the teaching of architecture by means of examples and references. Currently underway at the Bergische Universität Wuppertal within the framework of the TACK network, the research project, ‘The Pictures on the Wall. The Composite Culture of a Contemporary Flemish Architect’, investigates Kieckens’s role as mediator between the transatlantic architectural culture of the 1980s and the local context of Flanders. The key assumption is that this process of cultural migration happened first of all at the tacit level. Kieckens’s tacit knowledge is primarily found in its fragmentary nature – as a repertoire of themes and images – as well as in its crucial relationship with a number of visual practices and media. This attitude is considered from an interdisciplinary perspective that integrates external viewpoints such as those of cultural studies, anthropology, and iconology. On this basis, Kieckens’s practices have been operatively addressed by means of a hybrid methodology, which combines bibliographic and archival studies with a series of performative approaches such as interviews and immersive ethnographic investigation, pedagogical re-enactment and experimental display, images collection and visual comparison. Within a curatorial secondment at the Flanders Architecture Institute VAi in Antwerp and a collaboration with Hasselt University, these approaches finally resulted in the exhibition, ‘Forêt DesCartes – Christian Kieckens and the Composite Culture of Architecture in Flanders’, which opened at the De Singel Centre in November 2022.

SECTION 3: SITUATIONS

SECTION 3: SITUATIONS

Book chapter TACK Book

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

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

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

Claudia Mainardi

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.

Stories of Houses: investigating ordinary practices in post-War Milan

In her talk Stories of Houses: investigating ordinary practices in post-War Milan (held in the framework of TACK training axis 2, module 1 “Probing Tacit Knowledge” on 26 April 2021), Gaia Caramellino questioned the practices of tacit knowledge embedded in the particular cultural network engaged in the design and construction of post-WWII Milan ordinary residential environment.

Gaia Caramellino

April 26, 2021

Stories of Houses: investigating ordinary practices in post-War Milan

Gaia Caramellino

In her talk Stories of Houses: investigating ordinary practices in post-War Milan (held in the framework of TACK training axis 2, module 1 “Probing Tacit Knowledge” on 26 April 2021), Gaia Caramellino questioned the practices of tacit knowledge embedded in the particular cultural network engaged in the design and construction of post-WWII Milan ordinary residential environment.

Training in the TACK Network

Lara Schrijver describes the three different training axis of the TACK Network

Training in the TACK Network

Lara Schrijver describes the three different training axis of the TACK Network

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.

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

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

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.

Paper Session NATURE(S) TACK Conference Proceedings

UNCOMMONING: ARTISTIC KNOWLEDGE IN ARCHITECTURE

Fig. 1_Marcel Duchamp_Fontaine 1917 Title: Marcel Duchamp (R. Mutt), Fontaine, 1917 Credit: Alfred Stieglitz, artist: Man Ray and Marcel Duchamp, Creator: H. P. Roché, Public Domain CC0 1.0

While art and architecture share many characteristics, artistic knowledge offers some specific possibilities for contemporary architectural practice. Based on a theoretical framework around the artistic tacit knowing and with a focus on artistic reflexivity and its potential for knowledge production, the article explores artistic knowledge examples in the work of the Chilean architect Smiljan Radić. They mainly occur in accompanying practices like writing, collecting or photographing, but which are intertwined with and have an effect on the built. A light is shed on the imaginative, critical and transformative potentials of the artistic knowledge. These potentials especially come to play regarding the complexity of contemporary and future challenges for architecture. An outlook uses the example of the Spanish office Ensamble Studio to raise approaches to action and thought for potential future architectural practice. The specific potential of art and artistic knowledge to address complex problems through focused, reflexive, contextual thinking is highlighted as a way to overcome the known and inadequate – here: uncommoning.

Paper Session NATURE(S) TACK Conference Proceedings

UNCOMMONING: ARTISTIC KNOWLEDGE IN ARCHITECTURE

Fig. 1_Marcel Duchamp_Fontaine 1917 Title: Marcel Duchamp (R. Mutt), Fontaine, 1917 Credit: Alfred Stieglitz, artist: Man Ray and Marcel Duchamp, Creator: H. P. Roché, Public Domain CC0 1.0

Fig. 2_Smiljan Radić_Folly London 2014 Title: Marcel Duchamp (R. Mutt), Fontaine, 1917 Image Credit: © Images George Rex, „Serpentine Pavilion 2014 / I”, colours changed by the author, CC BY 2.0 https://creativecommons.org/licenses/by/2.0/legalcode, (https://www.flickr.com/photos/rogersg/14325677738/in/photolist-nPUQTL-8Nt32E-nQ4Nkn-oo16Pr-AaRKVU-o7ggJK-nQ5pnL-o7ros7-o7gfGV-o7g83X-nQ532m-o7yvVR-o7rnAN-nQ5k5C-nQsYXj-o7sNWJ-nQ5k6F-o9kEgv-d9KJ3k-2dvDbQm-nQ5bE1-nQ54j1-o7sLuE-d9KHyK-d9KHvA-nQ4RmU-d9KG5B-d9KGJC-8B6Ftp-d9KF3P-d9KER7-qnV5d7-2cuaupw-2cuauhh-2cuauwL-2aPygS9-2ccrV1M-2dvDfHm-2dvDfqN-zUshZy-2aPyh53-2dvDeKu-2aPygoy-2ccrUDV-2cuatXQ-2aPyg8o-2cuau6W-2ccrUuX-2ccrUR8-2aPyfRb)

Fig. 3_ Smiljan Radić_NAVE Santiago de Chile 2014 Title: Smiljan Radić, NAVE, Santiago de Chile 2014 Image Credit: architecture: Smiljan Radić, photo: Valerie Hoberg

While art and architecture share many characteristics, artistic knowledge offers some specific possibilities for contemporary architectural practice. Based on a theoretical framework around the artistic tacit knowing and with a focus on artistic reflexivity and its potential for knowledge production, the article explores artistic knowledge examples in the work of the Chilean architect Smiljan Radić. They mainly occur in accompanying practices like writing, collecting or photographing, but which are intertwined with and have an effect on the built. A light is shed on the imaginative, critical and transformative potentials of the artistic knowledge. These potentials especially come to play regarding the complexity of contemporary and future challenges for architecture. An outlook uses the example of the Spanish office Ensamble Studio to raise approaches to action and thought for potential future architectural practice. The specific potential of art and artistic knowledge to address complex problems through focused, reflexive, contextual thinking is highlighted as a way to overcome the known and inadequate – here: uncommoning.

Image Series TACK Exhibition Object

Tests and References, ZSC Arena, Zurich 2012–22

4 Façade detail, ZSC Arena, Zurich

We often include references in our competition submissions, images of places and buildings that hold something of the atmosphere that we intend for the completed project. For the ZSC Arena we wanted to underline our interest in giving this sports building civic qualities appropriate to its social programme and to its position as a gateway into the city from the north west.

Image Series TACK Exhibition Object

Tests and References, ZSC Arena, Zurich 2012–22

4 Façade detail, ZSC Arena, Zurich

We often include references in our competition submissions, images of places and buildings that hold something of the atmosphere that we intend for the completed project. For the ZSC Arena we wanted to underline our interest in giving this sports building civic qualities appropriate to its social programme and to its position as a gateway into the city from the north west.

Book Corner: Canteiros da Utopia

The book Canteiros da Utopia, whose title can be translated as Construction Sites of Utopia, is the result of Silke Kapp's Post-doc research in Urban Sociology from the Bauhaus Universiteit Weimar, conducted between 2014 and 2015. Being Kapp’s supervisee during my Master’s studies in Architecture and Urbanism at the same university, which I had the pleasure to read still in its pre-printed version. Kapp’s ability to converge imaginative and critical thought is fully represented in this oeuvre, turning the experience of reading it one of both great literary joy and intellectual stimulus.

December 16, 2021

Book Corner: Canteiros da Utopia

The book Canteiros da Utopia, whose title can be translated as Construction Sites of Utopia, is the result of Silke Kapp's Post-doc research in Urban Sociology from the Bauhaus Universiteit Weimar, conducted between 2014 and 2015. Being Kapp’s supervisee during my Master’s studies in Architecture and Urbanism at the same university, which I had the pleasure to read still in its pre-printed version. Kapp’s ability to converge imaginative and critical thought is fully represented in this oeuvre, turning the experience of reading it one of both great literary joy and intellectual stimulus.

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

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.

Conference Paper Open Access Publication Paper

Urban Predation: The symbolic economy of the Pixo

Image 02: Denilson Baniwa Yawareté Mural Artist: Denilson Baniwa Photo: Rafaela Campos Alves , © Creative Commons

This essay proposes an analysis using the “symbolic economy of predation” to provide new perspectives on the question of pixo. For this, pixo will be considered as any act on walls, building facades, asphalt or monuments rejecting the hierarchical separations between writing, scribbling, painting or graffiti imposed by the art system and other institutions. In Amerindian ontology, as Viveiros de Castro describes, the feeding regime is the predominant model upon which relations are perceived. The predator and prey duality stands as the archetypical role ruling interactions between different subjectivities and perspectives. This “symbolic economy” permeates social relations and translates them into a particular epistemology shared by many indigenous peoples throughout the Amazon region. We aim to consider the relationships between those who practice pixo and the city through an analogy with the predator and prey dialectic. We argue that, on the one hand, these taggers get symbolical dominion over the city’s territory by marking places with their signatures, thus gaining recognition from their peers; on the other, the city - represented by formal governmental and economic institutions - preys upon taggers by criminalizing their practice as vandalism and by socioeconomically excluding peripheral populations, thus denying their access and right to the city itself. Pixo is a reaction to the passive role imposed on society that gains critical and artistic qualities as a practice of protest, endorsing its predatory performance. This analogy intents provide a new perspective to describe the city and its complex relations with the aesthetical and social realities of its inhabitants. A distinct description of the urban relations that might enable planners and policymakers to evaluate socio-political phenomena within the city through a new set of lenses, allowing the development of innovative approaches to tackle and decriminalize conflictual practices as the pixo.

Eric Crevels Alice Queiroz

Conference Paper Open Access Publication Paper

March 25, 2021

Urban Predation: The symbolic economy of the Pixo

Eric Crevels Alice Queiroz

Image 02: Denilson Baniwa Yawareté Mural Artist: Denilson Baniwa Photo: Rafaela Campos Alves , © Creative Commons

Image 03: Topo Museu de Artes e Ofícios e Artes nos Edifícios no Centro de Belo Horizonte Photo: Magno Dias, © Creative Commons

Viveiros de Castro, Eduardo. “Metafísicas Canibais: Elementos para uma antropologia pós-estrutural”. São Paulo, Cosac Naify, 2015

This essay proposes an analysis using the “symbolic economy of predation” to provide new perspectives on the question of pixo. For this, pixo will be considered as any act on walls, building facades, asphalt or monuments rejecting the hierarchical separations between writing, scribbling, painting or graffiti imposed by the art system and other institutions. In Amerindian ontology, as Viveiros de Castro describes, the feeding regime is the predominant model upon which relations are perceived. The predator and prey duality stands as the archetypical role ruling interactions between different subjectivities and perspectives. This “symbolic economy” permeates social relations and translates them into a particular epistemology shared by many indigenous peoples throughout the Amazon region. We aim to consider the relationships between those who practice pixo and the city through an analogy with the predator and prey dialectic. We argue that, on the one hand, these taggers get symbolical dominion over the city’s territory by marking places with their signatures, thus gaining recognition from their peers; on the other, the city - represented by formal governmental and economic institutions - preys upon taggers by criminalizing their practice as vandalism and by socioeconomically excluding peripheral populations, thus denying their access and right to the city itself. Pixo is a reaction to the passive role imposed on society that gains critical and artistic qualities as a practice of protest, endorsing its predatory performance. This analogy intents provide a new perspective to describe the city and its complex relations with the aesthetical and social realities of its inhabitants. A distinct description of the urban relations that might enable planners and policymakers to evaluate socio-political phenomena within the city through a new set of lenses, allowing the development of innovative approaches to tackle and decriminalize conflictual practices as the pixo.

Online Teaching Module

Probing Tacit Knowledge. Codes of Tacit Knowledge

© Claudia Mainardi

Claudia Mainardi Gennaro Postiglione Gaia Caramellino Politecnico di Milano, Department of Architecture and Urban Studies

Online Teaching Module

March 10, 2023

Probing Tacit Knowledge. Codes of Tacit Knowledge

Claudia Mainardi Gennaro Postiglione Gaia Caramellino Politecnico di Milano, Department of Architecture and Urban Studies

© Claudia Mainardi

© Claudia Mainardi

© Claudia Mainardi

© Claudia Mainardi

© Claudia Mainardi

© Claudia Mainardi

Exhibition TACK Exhibition Object

Concrete Column, Pirelli Learning Centre

This precast concrete column fragment from the Pirelli Learning Centre built in Milan (Italy) in 2022 is a case in point. The physicality of the column has created a strong reference to the between-war Italian architecture culture. Its material form speaks to the innovation in construction techniques that characterised the period, while its ornamentation echoes that of the neighbouring Bicocca degli Arcimboldi villa; illuminates the company’s history as well as the common culture through a series of abstract tire thread advertising graphics imprinted on the columns and façade elements.

Exhibition TACK Exhibition Object

Concrete Column, Pirelli Learning Centre

This precast concrete column fragment from the Pirelli Learning Centre built in Milan (Italy) in 2022 is a case in point. The physicality of the column has created a strong reference to the between-war Italian architecture culture. Its material form speaks to the innovation in construction techniques that characterised the period, while its ornamentation echoes that of the neighbouring Bicocca degli Arcimboldi villa; illuminates the company’s history as well as the common culture through a series of abstract tire thread advertising graphics imprinted on the columns and façade elements.

Lecture / Talk Video

TACK Talks #1: Korteknie Stuhlmacher

Korteknie Stuhlmacher Architecten Tom Avermaete Eric Crevels

Lecture / Talk Video

July 9, 2020

TACK Talks #1: Korteknie Stuhlmacher

Korteknie Stuhlmacher Architecten Tom Avermaete Eric Crevels

Performing Space Through Photography

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Photography used as a tool within the architectural design process has been little studied so far. Yet, since photography implies a discourse in itself, it may turn out as being far more than a tool. By comparing two major examples the essay wants to show how the use of photography allows architects to rather perform their design ideas than merely represent them, and how the traditional architectural discourse –in particular modernism vs. postmodernism– becomes challenged. On the one hand there is Ludwig Mies van der Rohe, who pasted various photographs from newspapers and magazines in his design drawings furnishing them with an extraordinary modern atmosphere. But, as a consequence, the inherent dislocation of space and time shifts slightly the whole collage into what almost might be called a postmodern simulacrum. On the other hand there is Paolo Portoghesi who always wanted to overcome modernism’s ignorance towards architecture’s past. Despite the fact that photography has been considered as the modernist way of seeing the world, he exemplified this position by publishing a series of books on baroque architecture in Italy, equipped with compelling photographs taken by himself. They carry the reader off into the rich and tempting world of Roman baroque applying all available means of modernist photographic techniques and tricks. It will be shown that the modernist Mies and the postmodernist Portoghesi use similar visual material and techniques, but the way their photographic techniques are embedded in the broader visual discourse shifts their meaning from “seeing photographically” to the “photographic gaze”.

Angelika Schnell

Performing Space Through Photography

Angelika Schnell

AA394585 cucina 314 420 300 3703 4961 RGB

Photography used as a tool within the architectural design process has been little studied so far. Yet, since photography implies a discourse in itself, it may turn out as being far more than a tool. By comparing two major examples the essay wants to show how the use of photography allows architects to rather perform their design ideas than merely represent them, and how the traditional architectural discourse –in particular modernism vs. postmodernism– becomes challenged. On the one hand there is Ludwig Mies van der Rohe, who pasted various photographs from newspapers and magazines in his design drawings furnishing them with an extraordinary modern atmosphere. But, as a consequence, the inherent dislocation of space and time shifts slightly the whole collage into what almost might be called a postmodern simulacrum. On the other hand there is Paolo Portoghesi who always wanted to overcome modernism’s ignorance towards architecture’s past. Despite the fact that photography has been considered as the modernist way of seeing the world, he exemplified this position by publishing a series of books on baroque architecture in Italy, equipped with compelling photographs taken by himself. They carry the reader off into the rich and tempting world of Roman baroque applying all available means of modernist photographic techniques and tricks. It will be shown that the modernist Mies and the postmodernist Portoghesi use similar visual material and techniques, but the way their photographic techniques are embedded in the broader visual discourse shifts their meaning from “seeing photographically” to the “photographic gaze”.

From Critical Spatial Practice to Site-Writing

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

June 14, 2022

From Critical Spatial Practice to Site-Writing

University College London, Bartlett School of Architecture Jane Rendell

© 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.

SECTION 2: COMMUNITIES

SECTION 2: COMMUNITIES

Essay Journal Article Open Access Publication

Pools, Carparks and Ball-Pits: Or why the Notre Dame restoration competition is a meme

By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147, © By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147

The first restoration proposals to emerge after fire destroyed Notre Dame Cathedral’s roof and spire were jokes. The more serious schemes that followed Prime Minister Edouard Philippe’s announcement of a competition – many markedly similar, recreating what was lost in glass– were collected on mainstream design media websites like Dezeen where they attracted an unusually high volume of angry comments, accusing the architects of insensitivity. Soon after, Ulf Mejergren Architects’ proposal to replace Notre Dame’s roof with a meditative pool was edited into a carpark. It sparked a series of increasingly outlandish edits – first a multi-story carpark, then a ball pit – before the French Senate declared that there would be no competition after all. This at times absurd online interest might be new for architectural competitions, but it is easily explained through meme theory, as conceived of by scholars like Limor Shifman and Ryan Milner: systems of interconnected units of cultural exchange operating on both wider cultural and specific sub-cultural levels. In this essay I contend that meme theory can be used, in reverse, to analyse reactions to, and similarities between, even the most serious Notre Dame proposals. In applying this framework, we can begin to understand how competitions operate more broadly as part of a complex network online and how they relate to traditional competition conditions.

Hamish Lonergan

Essay Journal Article Open Access Publication

Pools, Carparks and Ball-Pits: Or why the Notre Dame restoration competition is a meme

Hamish Lonergan

By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147, © By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147

The first restoration proposals to emerge after fire destroyed Notre Dame Cathedral’s roof and spire were jokes. The more serious schemes that followed Prime Minister Edouard Philippe’s announcement of a competition – many markedly similar, recreating what was lost in glass– were collected on mainstream design media websites like Dezeen where they attracted an unusually high volume of angry comments, accusing the architects of insensitivity. Soon after, Ulf Mejergren Architects’ proposal to replace Notre Dame’s roof with a meditative pool was edited into a carpark. It sparked a series of increasingly outlandish edits – first a multi-story carpark, then a ball pit – before the French Senate declared that there would be no competition after all. This at times absurd online interest might be new for architectural competitions, but it is easily explained through meme theory, as conceived of by scholars like Limor Shifman and Ryan Milner: systems of interconnected units of cultural exchange operating on both wider cultural and specific sub-cultural levels. In this essay I contend that meme theory can be used, in reverse, to analyse reactions to, and similarities between, even the most serious Notre Dame proposals. In applying this framework, we can begin to understand how competitions operate more broadly as part of a complex network online and how they relate to traditional competition conditions.

COMMON GROUND. Discursive Orders in Architecture

Is it possible to characterize the relation of architecture and science, if it is not derived from established scientific conventions? This essay highlights one field of the multifaceted spectrum, which pops up in the context of this question, a field, which can be observed when expanding the focus from science to knowledge and processes of its formation and transformation. Focal point will be the question where and in which ways knowledge appears and marks a `common ground´. The investigations are revolved around the most important field of thematisation and mediation of architectural reality at the beginning of the 21st century to be found globally, the International Architecture Biennale, which takes place in Venice in a two year cycle. Furthermore special attention will be riveted on the biennale of 2012, which was dedicated to the theme `Common Ground´. The following notions are enmeshed with the consideration, that with a presentation and uncovering of knowledge and communication on it, we have here a kind of discourse in architecture that might not only process attitudes and a stabilization of the discipline, but also provides triggers for generic processes of scientific contexts and basic understandings of research and design in architecture.

Margitta Buchert

COMMON GROUND. Discursive Orders in Architecture

Margitta Buchert

Is it possible to characterize the relation of architecture and science, if it is not derived from established scientific conventions? This essay highlights one field of the multifaceted spectrum, which pops up in the context of this question, a field, which can be observed when expanding the focus from science to knowledge and processes of its formation and transformation. Focal point will be the question where and in which ways knowledge appears and marks a `common ground´. The investigations are revolved around the most important field of thematisation and mediation of architectural reality at the beginning of the 21st century to be found globally, the International Architecture Biennale, which takes place in Venice in a two year cycle. Furthermore special attention will be riveted on the biennale of 2012, which was dedicated to the theme `Common Ground´. The following notions are enmeshed with the consideration, that with a presentation and uncovering of knowledge and communication on it, we have here a kind of discourse in architecture that might not only process attitudes and a stabilization of the discipline, but also provides triggers for generic processes of scientific contexts and basic understandings of research and design in architecture.

Diagram Drawing Presentation Video

Re-enacting Le Corbusier’s way of sketching

Paula Strunden and Desilava Petkova (as students) are re-enacting the Le Corbusier's style to sketch.

Paula Strunden Desislava Petkova Angelika Schnell Eva Sommeregger Academy of Fine Arts Vienna, Institute for Art and Architecture

Diagram Drawing Presentation Video

November 13, 2012

Re-enacting Le Corbusier’s way of sketching

Paula Strunden Desislava Petkova Angelika Schnell Eva Sommeregger Academy of Fine Arts Vienna, Institute for Art and Architecture

Paula Strunden and Desilava Petkova (as students) are re-enacting the Le Corbusier's style to sketch.

TACK Talk #3: Concepts of Authorship in Architecture

Christoph Grafe Peg Rawes

May 21, 2022

TACK Talk #3: Concepts of Authorship in Architecture

Christoph Grafe Peg Rawes

Unbinding the TACK Publication (a digital publishing platform)

Helen Thomas is sharing the script to her presentation on the TACK publishing platform held at the TACK Conference at ETH Zürich on 21st July 2023.

July 21, 2023

Unbinding the TACK Publication (a digital publishing platform)

Helen Thomas is sharing the script to her presentation on the TACK publishing platform held at the TACK Conference at ETH Zürich on 21st July 2023.

VADEMECUM

© Jonas Pfändler

A field guide with inspiring theoretical concepts for urban studies

VADEMECUM

© Jonas Pfändler

© Jonas Pfändler

© Jonas Pfändler

© Jonas Pfändler

A field guide with inspiring theoretical concepts for urban studies

Book chapter Conference Paper Open Access Publication

15 August 2021

The Tangible Presence of Human Labor in Architecture

Alberti’s De Re Aedificatoria, © Public Domain

This essay aims to show that in many of the theories that fundament material culture and architectural experience, labor is implied in the constitution of material and, although seldom directly addressed, it is a determining dimension of materiality. From the Vitruvian and Renaissance treatises and Gottfried Semper to John Ruskin and the Art and Crafts Movement, the underlying presence of labor can be seen intertwined with materials whenever they are called into architectural discussion as sensorial arguments. Just like the physical qualities of materials, labor, skills and techniques are imprinted in the built environment and contribute to the creation of particular atmospheres.

Book chapter Conference Paper Open Access Publication

15 August 2021

The Tangible Presence of Human Labor in Architecture

Alberti’s De Re Aedificatoria, © Public Domain

Ruskin’s The Nature of the Gothic, © Public Domain

Vitruviu’s De Architectura Libri Decem, © Public Domain

This essay aims to show that in many of the theories that fundament material culture and architectural experience, labor is implied in the constitution of material and, although seldom directly addressed, it is a determining dimension of materiality. From the Vitruvian and Renaissance treatises and Gottfried Semper to John Ruskin and the Art and Crafts Movement, the underlying presence of labor can be seen intertwined with materials whenever they are called into architectural discussion as sensorial arguments. Just like the physical qualities of materials, labor, skills and techniques are imprinted in the built environment and contribute to the creation of particular atmospheres.

TACK Conference Participants

Here appear all the biographies in the order of how they presented during the TACK conference.

TACK Conference Participants

Here appear all the biographies in the order of how they presented during the TACK conference.

Presentation Video

Presentation: (Un)Programming the Factory: Weaving Panopticon Stories

Fernando P. Ferreira presents his paper from the TACK Final Conference in this video.

Fernando Ferreira

Presentation Video

Presentation: (Un)Programming the Factory: Weaving Panopticon Stories

Fernando Ferreira

Fernando P. Ferreira presents his paper from the TACK Final Conference in this video.

Lecture / Talk Video

TACK Talks #2: How to choose the expert?

Monika Platzer Architekturzentrum Wien (AzW) Maureen Mooren Nieuwe Instituut (HNI) Anna Livia Vørsel Hamish Lonergan Claudia Mainardi

Lecture / Talk Video

TACK Talks #2: How to choose the expert?

Monika Platzer Architekturzentrum Wien (AzW) Maureen Mooren Nieuwe Instituut (HNI) Anna Livia Vørsel Hamish Lonergan Claudia Mainardi

Lecture / Talk Video

TACK Talk #1: SOMA

SOMA Architecture Lara Schrijver Paula Strunden

Lecture / Talk Video

June 25, 2020

TACK Talk #1: SOMA

SOMA Architecture Lara Schrijver Paula Strunden

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

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

Paper Paper Session ACTORS TACK Conference Proceedings

Understanding the roles of tacit knowledge in the historical collaboration between AEC: a case study approach

Author: Laurens Bulckaen (picture taken) Title: Testing report of Hennebique office on the reinforced concrete floors of the Postal office in Ghent (1906) source: KADOC

This paper tries to introduce three kinds of tacit knowledge that, according to the authors, are present in the process of designing and constructing a building. By looking through the lens of the concept of tacit knowledge, collaboration between the architect, engineer and contractor, thus the building professionals is evaluated. By closely examining a limited number of key archival documents in three case studies that were already developed before, it becomes visible that tacit knowledge is an indispensable part of the intangible process of collaboration in building. Since creating buildings requires to assemble large amounts of knowledge from a wide variety of disciplines, also interdisciplinary knowledge is necessary, which is often tacit in nature. As the complexity in building grew, throughout history it also became visible that roles of the building actors started to shift and new roles emerged. Using the concept of tacit knowledge this research tries to bridge the gap of looking at the building process as a collaborative effort also showing that the building process is governed by much more than the factual explicit knowledge of only one actor.

Laurens Bulckaen Rika Devos

Paper Paper Session ACTORS TACK Conference Proceedings

June 20, 2023

Understanding the roles of tacit knowledge in the historical collaboration between AEC: a case study approach

Laurens Bulckaen Rika Devos

Author: Laurens Bulckaen (picture taken) Title: Testing report of Hennebique office on the reinforced concrete floors of the Postal office in Ghent (1906) source: KADOC

Author: Laurens Bulckaen (picture taken) Title: Detail of testing report of Hennebique office on the reinforced concrete floors of the Postal office in Ghent (1906) source: KADOC

This paper tries to introduce three kinds of tacit knowledge that, according to the authors, are present in the process of designing and constructing a building. By looking through the lens of the concept of tacit knowledge, collaboration between the architect, engineer and contractor, thus the building professionals is evaluated. By closely examining a limited number of key archival documents in three case studies that were already developed before, it becomes visible that tacit knowledge is an indispensable part of the intangible process of collaboration in building. Since creating buildings requires to assemble large amounts of knowledge from a wide variety of disciplines, also interdisciplinary knowledge is necessary, which is often tacit in nature. As the complexity in building grew, throughout history it also became visible that roles of the building actors started to shift and new roles emerged. Using the concept of tacit knowledge this research tries to bridge the gap of looking at the building process as a collaborative effort also showing that the building process is governed by much more than the factual explicit knowledge of only one actor.

On-Site building with students: Hiedanranta sauna and performance stage, Tampere, Finland 2019

© Klaske Havik

On-Site building with students: Hiedanranta sauna and performance stage, Tampere, Finland 2019

© Klaske Havik

© Klaske Havik

Exhibition Model TACK Exhibition Object

Concept model, ‘Innerer Garten’, Zürich Leutschenbach

Model making can be a heuristic practice for architects. For us, this model was both a concept finding and communication instrument that we used in the Innerer Garten project in Zürich Leutschenbach.

Exhibition Model TACK Exhibition Object

Concept model, ‘Innerer Garten’, Zürich Leutschenbach

Model making can be a heuristic practice for architects. For us, this model was both a concept finding and communication instrument that we used in the Innerer Garten project in Zürich Leutschenbach.

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