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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.
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Book chapter TACK Book

Mouldy Smells and Tacit Noses: knowledges coming into view

© TACK
ABSTRACT
In 2016 two ‘moisture experts’ visited a small public building in Stockholm. Moisture had started to seep in, and mould started to grow in the wooden park building, the spores making the staff working there ill. The experts recorded the levels of microorganisms in the interior air and the composite building materials with scientific equipment and expert noses, identifying certain elements through technological data and odorous qualities. The expert noses registered the same smells as the staff in the buildings, but evaluated, analysed and categorised them according to their expert knowledge field.   Rather than aiming to make tacit knowledges explicit, this paper puts forward a methodological approach to tacit knowledge which unpacks and makes visible what tacit knowledges does, how it operates, and what and who it affects within architecture. By engaging with material ‘events’ (Bennett, 2010) and ‘stutters’ (Graham and Thrift, 2007), like this mould and its smell, through archival documents, scientific reports and changing building materials, the testimony of the material (Material Witness, Schuppli, 2020) makes visible the socio-economic and political value systems and decision-making processes embedded into the fabric of the building. It unpacks how things, otherwise hidden, come into view when systems, infrastructures and buildings break and fall apart, and how the various knowledge productions and value systems tied and embedded into this specific building and its mouldy materials can be unfolded and detangled through a theoretical framework of stutters, ruptures and events. Through this building, its smelly materials, and the different noses inside it, expert and non-expert, the paper unpacks how tacit knowledges operates, who or what can carry it, and what and who it affects.
Anna Livia Vørsel
Book chapter TACK Book

November 1, 2022

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Mouldy Smells and Tacit Noses: knowledges coming into view

Anna Livia Vørsel
© TACK
ABSTRACT
In 2016 two ‘moisture experts’ visited a small public building in Stockholm. Moisture had started to seep in, and mould started to grow in the wooden park building, the spores making the staff working there ill. The experts recorded the levels of microorganisms in the interior air and the composite building materials with scientific equipment and expert noses, identifying certain elements through technological data and odorous qualities. The expert noses registered the same smells as the staff in the buildings, but evaluated, analysed and categorised them according to their expert knowledge field.   Rather than aiming to make tacit knowledges explicit, this paper puts forward a methodological approach to tacit knowledge which unpacks and makes visible what tacit knowledges does, how it operates, and what and who it affects within architecture. By engaging with material ‘events’ (Bennett, 2010) and ‘stutters’ (Graham and Thrift, 2007), like this mould and its smell, through archival documents, scientific reports and changing building materials, the testimony of the material (Material Witness, Schuppli, 2020) makes visible the socio-economic and political value systems and decision-making processes embedded into the fabric of the building. It unpacks how things, otherwise hidden, come into view when systems, infrastructures and buildings break and fall apart, and how the various knowledge productions and value systems tied and embedded into this specific building and its mouldy materials can be unfolded and detangled through a theoretical framework of stutters, ruptures and events. Through this building, its smelly materials, and the different noses inside it, expert and non-expert, the paper unpacks how tacit knowledges operates, who or what can carry it, and what and who it affects.
Exhibition Model TACK Exhibition Object

Maputo Land Rover

Between 1998 and 2005, we engaged in the design and construction of the Dutch Embassy in Mozambique. Offering an opportunity to tap into local tacit knowledge, this project revealed the importance of culturally specific knowledge and skills in design and building projects.
Kees Kaan
Exhibition Model TACK Exhibition Object

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Maputo Land Rover

Kees Kaan
© TACK
Between 1998 and 2005, we engaged in the design and construction of the Dutch Embassy in Mozambique. Offering an opportunity to tap into local tacit knowledge, this project revealed the importance of culturally specific knowledge and skills in design and building projects.
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
ABSTRACT
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

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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
ABSTRACT
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.
Conference Paper Paper Session ACTORS TACK Conference Proceedings

In Quest of Meaning – Revisiting the discourse around “non-pedigreed” architecture.

ABSTRACT
In their practice, architects never refer to something as “pedigreed” to describe their work. However, during the 1960s, Bernard Rudofsky introduced the term "non-pedigreed" architecture, which he attributed to edifices not designed by formally trained architects, but for various reasons, their status exceeds that of the "mere building". As a fact, since explicit knowledge around “non-pedigreed” architecture is scarce, architects rely mostly on interpretations. This contribution revisits several of these interpretations through the perspective of its "actors," referring to the scholarly work of selected architects, and it is structured into three parts. The first section introduces the motivations behind the study of "non-pedigreed" architecture, delving into questions of aesthetics and authorship. The second part explores the fruitful contradictions arising from the first section and focuses on the relationship between vernacular architecture and the concept of Time, as well as the development of craft skills. Finally, the third part examines specific case studies where the value of vernacular architecture shifts from being merely a reference point to becoming an integral part of the architectural production process.
Vasileios Chanis
Conference Paper Paper Session ACTORS TACK Conference Proceedings

June 21, 2023

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In Quest of Meaning – Revisiting the discourse around “non-pedigreed” architecture.

Vasileios Chanis
Figure 1 and Figure 2: Jacques Tati, Mon Oncle, 1958 (Directed and produced by Jacques Tati)
ABSTRACT
In their practice, architects never refer to something as “pedigreed” to describe their work. However, during the 1960s, Bernard Rudofsky introduced the term "non-pedigreed" architecture, which he attributed to edifices not designed by formally trained architects, but for various reasons, their status exceeds that of the "mere building". As a fact, since explicit knowledge around “non-pedigreed” architecture is scarce, architects rely mostly on interpretations. This contribution revisits several of these interpretations through the perspective of its "actors," referring to the scholarly work of selected architects, and it is structured into three parts. The first section introduces the motivations behind the study of "non-pedigreed" architecture, delving into questions of aesthetics and authorship. The second part explores the fruitful contradictions arising from the first section and focuses on the relationship between vernacular architecture and the concept of Time, as well as the development of craft skills. Finally, the third part examines specific case studies where the value of vernacular architecture shifts from being merely a reference point to becoming an integral part of the architectural production process.
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.
Paper Session ACTORS TACK Conference Proceedings

Paperwork and Wordcraft: Institutionality at IAUS

ABSTRACT
This paper examines the bureaucratic management of the Institute of Architecture and Urban Studies (IAUS) through the lens of tacit knowledge as manifest in an analysis of paperwork and wordcraft. Specifically an examination of the “little tools of knowledge”–  the self-evident and mundane administrative tools–reveals the epistemological foundations and specific character of the institute as distinct from and similar to others in the same milieu, and positions it within a larger phenomenon of similar agencies, activities, and groups. Archival documents attest to a self-aware bureaucratic and representational medium in a state of flux as IAUS attempted to accommodate multiple and often conflicting modes of work, funding, and directions in order to stake out a productive territory in a landscape of similar institutes, all of which were competing for prestige, legitimation, attention, student participants, and dollars. An examination of these documents through multiple parallel trajectories that are not strictly chronological mirrors the manner in which the institute functioned, not as a cohesive entity, but as a contradictory one, as overlapping concerns struggled to find priority during the course of its brief history. This archival analysis forms the basis of a counterhistory in which the institution itself is considered as an abstract author in the larger context of New York City and beyond, determined by anddetermining of a variety of forces beyond the individual’s control.
Alex Maymind
Paper Session ACTORS TACK Conference Proceedings

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Paperwork and Wordcraft: Institutionality at IAUS

Alex Maymind
ABSTRACT
This paper examines the bureaucratic management of the Institute of Architecture and Urban Studies (IAUS) through the lens of tacit knowledge as manifest in an analysis of paperwork and wordcraft. Specifically an examination of the “little tools of knowledge”–  the self-evident and mundane administrative tools–reveals the epistemological foundations and specific character of the institute as distinct from and similar to others in the same milieu, and positions it within a larger phenomenon of similar agencies, activities, and groups. Archival documents attest to a self-aware bureaucratic and representational medium in a state of flux as IAUS attempted to accommodate multiple and often conflicting modes of work, funding, and directions in order to stake out a productive territory in a landscape of similar institutes, all of which were competing for prestige, legitimation, attention, student participants, and dollars. An examination of these documents through multiple parallel trajectories that are not strictly chronological mirrors the manner in which the institute functioned, not as a cohesive entity, but as a contradictory one, as overlapping concerns struggled to find priority during the course of its brief history. This archival analysis forms the basis of a counterhistory in which the institution itself is considered as an abstract author in the larger context of New York City and beyond, determined by anddetermining of a variety of forces beyond the individual’s control.
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.
Paper Session VECTORS TACK Conference Proceedings

Rooms: Architectural Model-Making as Ethnographic Research

Fig. 1
ABSTRACT
Within design and architecture, scale models can create worlds of proposition, speculation and fiction. This paper situates the model as a tool for observation, documentation and engagement; a slow, durational method that manifests a deep participation in the lives of place and people marginalised by wider society. Rooms was an artistic and research project undertaken as part of the Urban Nation artistic residency in Berlin which looked at the Romanian immigrant community inhabiting the city, the spaces they occupy and appropriate, and the objects that they surround themselves with. These instances were drawn, surveyed, documented and then recreated through 1:20 paper models. Built to an extreme level of detail the models of everyday space visualise, offer new insight, and give a sense of value and recognition to the lived realities of individuals. A situated mode of research, this form of representation transforms the seemingly mundane into an object of beauty and atmosphere, encouraging access and participation from the participant, maker and the viewer. The inherently collaborative aspect of this process reveals the tacit, implicit knowledge present in everyday actions.
Ecaterina Stefanescu
Paper Session VECTORS TACK Conference Proceedings

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Rooms: Architectural Model-Making as Ethnographic Research

Ecaterina Stefanescu
Fig. 1
Fig. 2
ABSTRACT
Within design and architecture, scale models can create worlds of proposition, speculation and fiction. This paper situates the model as a tool for observation, documentation and engagement; a slow, durational method that manifests a deep participation in the lives of place and people marginalised by wider society. Rooms was an artistic and research project undertaken as part of the Urban Nation artistic residency in Berlin which looked at the Romanian immigrant community inhabiting the city, the spaces they occupy and appropriate, and the objects that they surround themselves with. These instances were drawn, surveyed, documented and then recreated through 1:20 paper models. Built to an extreme level of detail the models of everyday space visualise, offer new insight, and give a sense of value and recognition to the lived realities of individuals. A situated mode of research, this form of representation transforms the seemingly mundane into an object of beauty and atmosphere, encouraging access and participation from the participant, maker and the viewer. The inherently collaborative aspect of this process reveals the tacit, implicit knowledge present in everyday actions.
Book

Book Corner: “The Greek-Orthodox Church Allerheiligen in Munich”

The Greek-Orthodox Church "Allerheiligen", built between 1993 and 1995, in the Ungererstrasse in Munich is of particular importance for its community, the city and an outstanding example of ecumenism.
Korinna Zinovia Weber
Book

October 20, 2023

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Book Corner: “The Greek-Orthodox Church Allerheiligen in Munich”

Korinna Zinovia Weber
The Greek-Orthodox Church "Allerheiligen", built between 1993 and 1995, in the Ungererstrasse in Munich is of particular importance for its community, the city and an outstanding example of ecumenism.
Video

A video report from the “Symposium Under the Landscape”

In June 2022, the “Symposium Under the Landscape” was held on the islands of Santorini and Therasia (Cyclades, Greece), proposing a critical rethinking of the increasingly topical notion of landscape.
Ionas Sklavounos
Video

August 1, 2023

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A video report from the “Symposium Under the Landscape”

Ionas Sklavounos
In June 2022, the “Symposium Under the Landscape” was held on the islands of Santorini and Therasia (Cyclades, Greece), proposing a critical rethinking of the increasingly topical notion of landscape.
Drawing Exhibition TACK Exhibition Object

Ink Blot Drawings

Drawings, tracings, automatic drawings, ink blots like Rorschach have no logical connection to architecture.   Yet they offer a base from which research into the possibility of architecture can start. Could they be used as a plan for the building? If so, which parts? What might be the size of this work in relationship to the building? Etc.
Anne Holtrop
Drawing Exhibition TACK Exhibition Object

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Ink Blot Drawings

Anne Holtrop
© TACK
Drawings, tracings, automatic drawings, ink blots like Rorschach have no logical connection to architecture.   Yet they offer a base from which research into the possibility of architecture can start. Could they be used as a plan for the building? If so, which parts? What might be the size of this work in relationship to the building? Etc.
Lecture / Talk Video

Beyond Virtual-Reality

This lecture explores VR’s potential beyond its visual territory and probes how it can be used to explore the multimodality of spatial experiences and atmospheres.
Paula Strunden
Lecture / Talk Video

October 12, 2020

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Beyond Virtual-Reality

Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
This lecture explores VR’s potential beyond its visual territory and probes how it can be used to explore the multimodality of spatial experiences and atmospheres.
Open Access Publication Paper

Scale in passing: Re-calibrating narrowness through spatial interventions

Fig. 1: Elevation of the project proposal., © Mara Trübenbach
ABSTRACT
Reflecting on the art installation Motion of Scales, which was temporarily installed in the city centre of Kolding, Denmark, as a part of the NORDES 2021 conference, this article explores the interrelation between body, material and its performative potential. Analysing the design process through description and observation of how it was experienced and interacted with by urban public, the design-led research aims to interrogate subjectivity, emotion and embodied knowledge in academic research and its methods. How could movement within scale open up new perspectives? Does material hold a potential to reveal new modes of thinking in design research? How and to what extent could emotion contribute to design practices?
Mara Trübenbach Marianna Czwojdrak
Open Access Publication Paper

January 23, 2023

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Scale in passing: Re-calibrating narrowness through spatial interventions

Mara Trübenbach Marianna Czwojdrak
Fig. 1: Elevation of the project proposal., © Mara Trübenbach
Fig. 2: Installation., © Mara Trübenbach
Fig. 8: Top view of the installation., © Mara Trübenbach
ABSTRACT
Reflecting on the art installation Motion of Scales, which was temporarily installed in the city centre of Kolding, Denmark, as a part of the NORDES 2021 conference, this article explores the interrelation between body, material and its performative potential. Analysing the design process through description and observation of how it was experienced and interacted with by urban public, the design-led research aims to interrogate subjectivity, emotion and embodied knowledge in academic research and its methods. How could movement within scale open up new perspectives? Does material hold a potential to reveal new modes of thinking in design research? How and to what extent could emotion contribute to design practices?
Online Teaching Module

Bridging architectural knowledge and lived experience through apprenticeship

© Ionas Sklavounos
Ionas Sklavounos Lara Schrijver University of Antwerp, Faculty of Design Sciences, Department of Architecture
Online Teaching Module

March 23, 2023

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Bridging architectural knowledge and lived experience through apprenticeship

Ionas Sklavounos Lara Schrijver University of Antwerp, Faculty of Design Sciences, Department of Architecture
© Ionas Sklavounos
© Ionas Sklavounos
© Ionas Sklavounos
© Ionas Sklavounos
© Ionas Sklavounos
Newsletter Resources

The TACK Conference and TACK Exhibition 19-21 June 2023 in Zürich

After three intensive years of research and exchanges, the TACK project reached its last big milestone: the TACK Conference welcomed 150 people at ETH Zürich to discuss tacit knowledge in architecture and its various forms.
TACK Network ETH Zürich, Department of Architecture
Newsletter Resources

July 13, 2023

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The TACK Conference and TACK Exhibition 19-21 June 2023 in Zürich

TACK Network ETH Zürich, Department of Architecture
© TACK
After three intensive years of research and exchanges, the TACK project reached its last big milestone: the TACK Conference welcomed 150 people at ETH Zürich to discuss tacit knowledge in architecture and its various forms.
Review

Book Corner: “Architecture: The History of Practice.” by Cana Cuff (1992)

© Dana Cuff
The book offers an in-depth analysis of the architectural practice culture –focusing specifically on the American one– as a “social construction”. It puts attention on the tacit knowledge seen as able to disentangle the substance of a professional ethos –affecting both espoused theory and theory-in-use, and it concludes that the design process is based on collective actions as the result of negotiations within a social process.
Claudia Mainardi
Review

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Book Corner: “Architecture: The History of Practice.” by Cana Cuff (1992)

Claudia Mainardi
© Dana Cuff
The book offers an in-depth analysis of the architectural practice culture –focusing specifically on the American one– as a “social construction”. It puts attention on the tacit knowledge seen as able to disentangle the substance of a professional ethos –affecting both espoused theory and theory-in-use, and it concludes that the design process is based on collective actions as the result of negotiations within a social process.
Drawing Exhibition TACK Exhibition Object

Eilfried Huth’s Bauhütte

The Austrian architect Eilfried Huth, a pioneer of participatory housing, used this notion to express his reliance on the embodied knowledge of future inhabitants who gathered as an advocacy group to design a new housing estate called Eschensiedlung,1972-1990 in Deutschlandsberg, Styria.
Monika Platzer Architekturzentrum Wien (AzW)
Drawing Exhibition TACK Exhibition Object

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Eilfried Huth’s Bauhütte

Monika Platzer Architekturzentrum Wien (AzW)
© TACK
The Austrian architect Eilfried Huth, a pioneer of participatory housing, used this notion to express his reliance on the embodied knowledge of future inhabitants who gathered as an advocacy group to design a new housing estate called Eschensiedlung,1972-1990 in Deutschlandsberg, Styria.
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.
Essay Journal Article Open Access Publication

Labor, Prescription and Alienation in Architecture: Critical Notes On The Architect’s Practice

Image 01: Tower of Babel under Construction Date: 1590 Artist: unknown Source: https://www.wga.hu/html/m/master/zunk_ge/zunk_ge4/ztower_b.html, © Public Domain
ABSTRACT
The present essay seeks to point out contemporary phenomena of decreasing autonomy by the alienation of everyday skills that, together with architectural drawing, promote the architect and urbanist’s figure to that of an expert, thus immobilizing its practice in a heteronomous form. It aims the exposition, with the critiques of Ivan Illich and Sérgio Ferro, how the architect’s practice contributes to the alienation and exploitation of the construction worker’s labour in detriment of the body-skill dialectics, which would allow for a closer relation between individual and society. Opposing this alienation processes, both in consuming as in the production of architecture, with studies about technology and anthropology, it argues in favor of a politics of transformation of architectures technology based on the relation between body, skills, learning and technique.
Eric Crevels
Essay Journal Article Open Access Publication

October 16, 2022

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Labor, Prescription and Alienation in Architecture: Critical Notes On The Architect’s Practice

Eric Crevels
Image 01: Tower of Babel under Construction Date: 1590 Artist: unknown Source: https://www.wga.hu/html/m/master/zunk_ge/zunk_ge4/ztower_b.html, © Public Domain
Image 02: Building of Babel Date: 1882 Artist: Edmund Ollier Source: https://archive.org/details/dli.granth.77290/mode/2up , © Public Domain
Image 03: Weltchronik in Versen, Szene: Der Turmbau zu Babel Date: circa 1370 Artist: Meister der Weltenchronik Source: The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202., © Public Domain
ABSTRACT
The present essay seeks to point out contemporary phenomena of decreasing autonomy by the alienation of everyday skills that, together with architectural drawing, promote the architect and urbanist’s figure to that of an expert, thus immobilizing its practice in a heteronomous form. It aims the exposition, with the critiques of Ivan Illich and Sérgio Ferro, how the architect’s practice contributes to the alienation and exploitation of the construction worker’s labour in detriment of the body-skill dialectics, which would allow for a closer relation between individual and society. Opposing this alienation processes, both in consuming as in the production of architecture, with studies about technology and anthropology, it argues in favor of a politics of transformation of architectures technology based on the relation between body, skills, learning and technique.
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
ABSTRACT
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

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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
ABSTRACT
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. 
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.
Book Open Access Publication Site writing

Poetic Water Boundaries: towards a possible borderless sea, (2018)

© Anna Livia Vørsel
“For there is no peril greater than the sea. Everything is constantly moving and remains eternally in flux.” Luce Irigaray, Marine Lover of Friedrich Nietzsche, (New York: Columbia University Press, 1991).
Anna Livia Vørsel
Book Open Access Publication Site writing

June 1, 2018

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Poetic Water Boundaries: towards a possible borderless sea, (2018)

Anna Livia Vørsel
© Anna Livia Vørsel
Poetic Water Boundaries, © Anna Livia Vørsel
© Anna Livia Vørsel
“For there is no peril greater than the sea. Everything is constantly moving and remains eternally in flux.” Luce Irigaray, Marine Lover of Friedrich Nietzsche, (New York: Columbia University Press, 1991).
Lecture / Talk Video

TACK Talks #3: “In-tray – tracing lost voices in architectural archives” x “Election! Architecture and the Tacit Politics of Design”

© TACK
Jennifer Mack Tim Anstey Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
Lecture / Talk Video

June 27, 2022

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TACK Talks #3: “In-tray – tracing lost voices in architectural archives” x “Election! Architecture and the Tacit Politics of Design”

Jennifer Mack Tim Anstey Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
© TACK
© TACK
© TACK
© TACK
© TACK
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.
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.
Lecture / Talk

29th May 2000

Dove va la città dopo il coronavirus

© Domus
La pandemia di coronavirus ha messo a nudo questioni che erano già oggetto di riflessione con un’accelerazione senza precedenti. Per questo Domus propone di ragionare, ancora a caldo, su quale sia la città che vogliamo.
Claudia Mainardi
Lecture / Talk

29th May 2000

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Dove va la città dopo il coronavirus

Claudia Mainardi
© Domus
La pandemia di coronavirus ha messo a nudo questioni che erano già oggetto di riflessione con un’accelerazione senza precedenti. Per questo Domus propone di ragionare, ancora a caldo, su quale sia la città che vogliamo.
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.
Conference Paper Open Access Publication

Explicitly Tacit: Polanyi’s “Tacit Knowledge” in the Architectural Theory of Charney and Rowe

ABSTRACT
The scientist and philosopher Michael Polanyi coined the term “tacit knowledge” in 1958 to describe a type of unconscious, embodied and social knowledge that could not be explicitly taught through rules or rote-learning. He argued, instead, that some knowledge relied on practice, critique, socialisation and personal biography. In this sense, something like tacit knowledge has long played an important role in architectural education — where skill is acquired through (re)drawing, writing and model-making, reviewed by teachers and peers — even before Polanyi named it. Yet, for all the affinities between design education and tacit knowledge, Polanyi’s epistemology has rarely been directly addressed in architectural theory. This paper considers two exceptions in the writing and pedagogy of Melvin Charney and Colin Rowe in the 1970s. Both figures used Polanyi’s philosophy to propose alternatives to the “ultra” positions of Modernism. Charney argued that Quebecois vernacular architecture reflected a tacit, collective building culture that was inseparable from the embodied construction practices of craftspeople. This could not be made explicit in construction manuals or histories; students had to discover it through drawing and building themselves. Meanwhile, Rowe credited Polanyi’s Beyond Nihilism (1960) in the gestation of Collage City (1978, with Fred Koetter). Polanyi’s essay argued that individual freedom was important in making new discoveries, but that individuals still had a responsibility to go beyond themselves by conforming to collective norms and standards. This, too, found a parallel in Rowe and Koetter’s rejection of Modernist utopianism. At the same time, a close reading of these minor encounters reveals certain continuities and misalignments between Rowe and Charney’s interpretation and Polanyi’s own position as a prominent anti-Communist and contributor to early neoliberalism. Ultimately, this paper aims to clarify the role of tacit knowledge in the theory of these two architect/educators and, in doing so, simultaneously clarify the relationship between tacit knowledge and architectural pedagogy more broadly.
Hamish Lonergan
Conference Paper Open Access Publication

November 10, 2021

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Explicitly Tacit: Polanyi’s “Tacit Knowledge” in the Architectural Theory of Charney and Rowe

Hamish Lonergan
ABSTRACT
The scientist and philosopher Michael Polanyi coined the term “tacit knowledge” in 1958 to describe a type of unconscious, embodied and social knowledge that could not be explicitly taught through rules or rote-learning. He argued, instead, that some knowledge relied on practice, critique, socialisation and personal biography. In this sense, something like tacit knowledge has long played an important role in architectural education — where skill is acquired through (re)drawing, writing and model-making, reviewed by teachers and peers — even before Polanyi named it. Yet, for all the affinities between design education and tacit knowledge, Polanyi’s epistemology has rarely been directly addressed in architectural theory. This paper considers two exceptions in the writing and pedagogy of Melvin Charney and Colin Rowe in the 1970s. Both figures used Polanyi’s philosophy to propose alternatives to the “ultra” positions of Modernism. Charney argued that Quebecois vernacular architecture reflected a tacit, collective building culture that was inseparable from the embodied construction practices of craftspeople. This could not be made explicit in construction manuals or histories; students had to discover it through drawing and building themselves. Meanwhile, Rowe credited Polanyi’s Beyond Nihilism (1960) in the gestation of Collage City (1978, with Fred Koetter). Polanyi’s essay argued that individual freedom was important in making new discoveries, but that individuals still had a responsibility to go beyond themselves by conforming to collective norms and standards. This, too, found a parallel in Rowe and Koetter’s rejection of Modernist utopianism. At the same time, a close reading of these minor encounters reveals certain continuities and misalignments between Rowe and Charney’s interpretation and Polanyi’s own position as a prominent anti-Communist and contributor to early neoliberalism. Ultimately, this paper aims to clarify the role of tacit knowledge in the theory of these two architect/educators and, in doing so, simultaneously clarify the relationship between tacit knowledge and architectural pedagogy more broadly.
Essay

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
Essay

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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.
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
ABSTRACT
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

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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
ABSTRACT
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.
Online Teaching Module

Engaging with Tacit Knowing: Reflexive dimensions as triggers for innovative design and research

© Caendia Wijnbelt
Caendia Wijnbelt Margitta Buchert Leibniz Universität Hannover, Faculty of Architecture and Landscape Sciences
Online Teaching Module

February 1, 2023

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Engaging with Tacit Knowing: Reflexive dimensions as triggers for innovative design and research

Caendia Wijnbelt Margitta Buchert Leibniz Universität Hannover, Faculty of Architecture and Landscape Sciences
© Caendia Wijnbelt
© Caendia Wijnbelt
© Caendia Wijnbelt
© Caendia Wijnbelt
© Caendia Wijnbelt
© Caendia Wijnbelt
TACK Conference Proceedings

ID – Integrated Processes of Reading and Creating Post Objects in Digital Design

ABSTRACT
This paper investigates a mechanism for generating a logic that describes an under-design object by its user in a digital design medium (AutoCAD by AutoDesk) through a deconstructive tracing of the design process. The mode of deduction and the research results aim to measure the by-design idiosyncratization, a subject-oriented process of understanding and reacting to a deeper structure. Creating multiple, independent, and autonomous correlations of the design language structure and its representation during the design process leads to new associations accessing the notion of Post-Object. This socially and culturally expected mode revokes a singularization process. At the same time, the User-Interface relationship provides correlations between a personal and unique selection of things and the necessary infrastructure to actualize and activate them. The process of collecting and crafting an expression is dispositive of singularization. Crafting a method of relating the design of objects to subjects and the use of language to form questions about how contemporary design is constituted and the multiple ways of conceptualizing contemporaneous subjectivities and implicitly post-industrial societies and economies.
Lina Mantikou Athanasios Farangas
TACK Conference Proceedings

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ID – Integrated Processes of Reading and Creating Post Objects in Digital Design

Lina Mantikou Athanasios Farangas
ABSTRACT
This paper investigates a mechanism for generating a logic that describes an under-design object by its user in a digital design medium (AutoCAD by AutoDesk) through a deconstructive tracing of the design process. The mode of deduction and the research results aim to measure the by-design idiosyncratization, a subject-oriented process of understanding and reacting to a deeper structure. Creating multiple, independent, and autonomous correlations of the design language structure and its representation during the design process leads to new associations accessing the notion of Post-Object. This socially and culturally expected mode revokes a singularization process. At the same time, the User-Interface relationship provides correlations between a personal and unique selection of things and the necessary infrastructure to actualize and activate them. The process of collecting and crafting an expression is dispositive of singularization. Crafting a method of relating the design of objects to subjects and the use of language to form questions about how contemporary design is constituted and the multiple ways of conceptualizing contemporaneous subjectivities and implicitly post-industrial societies and economies.
Essay

design-based.

© ABKW
The starting point for the following descriptions, analytical reflections and meta-theoretical questions is the course “Design Project in History, Theory, Criticism”, which Angelika Schnell taught over several consecutive semesters together with Eva Sommeregger at the Institute for Art and Architecture at the Academy of Fine Arts Vienna.
Elke Krasny Academy of Fine Arts Vienna, Institute for Art and Architecture
Essay

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design-based.

Elke Krasny Academy of Fine Arts Vienna, Institute for Art and Architecture
© ABKW
The starting point for the following descriptions, analytical reflections and meta-theoretical questions is the course “Design Project in History, Theory, Criticism”, which Angelika Schnell taught over several consecutive semesters together with Eva Sommeregger at the Institute for Art and Architecture at the Academy of Fine Arts Vienna.
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

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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
Lecture / Talk Object Session LINEAGES

Re-enacting Tacit Knowledge in Colonial Mapping Practices

This text is an extended retrospective summary of Eva Sommeregger's talk entitled "Navigating, Performing and Book Making", given at the Tacit Knowledge Symposium at ETH Zurich during the Object Session Lineages on 20 June 2023.
Eva Sommeregger
Lecture / Talk Object Session LINEAGES

June 20, 2023

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Re-enacting Tacit Knowledge in Colonial Mapping Practices

Eva Sommeregger
Tupaia’s map, drawn by the author on Forster’s copy; the connecting lines between the islands and numbering logic were added by the author; the islands marked with an x were added by the Europeans to start the mapping process but Tupaia did not include them in his scheme. 1 Rurutu, 2 Ra‘ivavae; 3 Rarotonga, 4 Niue, 5a Vava‘u, 5b Uiha; 6 Manuae, 7a Maupiha‘a, 7b Motu One, 7c Miti‘aro, 8a Mangaia, 8b ?, 8c Atiu, 9 Rimatara, 10 Rurutu, 11 Tupua‘I, 12 Ra‘ivavae, 13 Rapa Iti; 14 Uea, 15 Rotuma, 16a Savai‘I, 16b Uvea, 17a Upolu, 17b Niuafo‘ou, 18 Niatoputapu and Tafai, 19 Tutuila, 20 Manua, 21 Motu a Manu; 22 Ra‘ivavae, 23 Mangareva, 24 Temoe, 25 Oeno, 26 Pitcairn Island, 27 Henderson, 28 Ducie, 29 Rapa Nui; 30 Nuku Hiva, 31a Hiva‘Oa, 31b Ua Pou; 32 Marquesas Group, 33 Oahu. Photograph of the map displayed in the limited edition leporello version of TUPAIA, KYBERNETES & LARA CROFT. Bodily Perspectives on Postdigital Spaces
© TACK
This text is an extended retrospective summary of Eva Sommeregger's talk entitled "Navigating, Performing and Book Making", given at the Tacit Knowledge Symposium at ETH Zurich during the Object Session Lineages on 20 June 2023.
Lecture / Talk Video

6 December 2021

TACK Talks #3: Narratives of Tacit Knowledge

Janina Gosseye Klaske Havik Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
Lecture / Talk Video

6 December 2021

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TACK Talks #3: Narratives of Tacit Knowledge

Janina Gosseye Klaske Havik Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
© TACK
A still from TACK TALKS #3 – an online lecture by Prof. Dr. Klaske Havik and Prof. Dr. Janina Gosseye, © TACK
A slide from Dr. Klaske Havik’s lecture "Investigating Practices through Narrative" , © Prof. Klaske Havik
A slide from Dr. Klaske Havik’s lecture "Investigating Practices through Narrative" , © Prof. Klaske Havik
A slide from Dr. Klaske Havik’s lecture "Investigating Practices through Narrative"
A slide from Dr. Janina Gosseye’s lecture "Narratives of Tacit Knowledge", © Dr. Janina Gosseye
A slide from Dr. Janina Gosseye’s lecture "Narratives of Tacit Knowledge", © Dr. Janina Gosseye
A slide from Dr. Janina Gosseye’s lecture "Narratives of Tacit Knowledge", © Dr. Janina Gosseye
Online Teaching Module

Retracing Visual and Formal Migrations of Tacit Knowledge within Communities of Practice

© Filippo Cattapan
Filippo Cattapan Christoph Grafe Bergische Universität Wuppertal, School of Architecture and Building Engineering
Online Teaching Module

April 8, 2023

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Retracing Visual and Formal Migrations of Tacit Knowledge within Communities of Practice

Filippo Cattapan Christoph Grafe Bergische Universität Wuppertal, School of Architecture and Building Engineering
© Filippo Cattapan
© Filippo Cattapan
© Filippo Cattapan
© Filippo Cattapan
© Filippo Cattapan
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 860413. This website reflects only the author’s view and the European Commission Research Executive Agency is not responsible for any use that may be made of the information it contains.
© 2022 TACK Communities of Tacit Knowledge
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