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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.
Newsletter

Experiences in Archival Secondments

Az W depot, Möllersdorf, Halle 9 © Architekturzentrum Wien, Sammlung, Photo: Mara Trübenbach
Anna Livia Vørsel Filippo Cattapan Mara Trübenbach
Newsletter

August 12, 2022

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Experiences in Archival Secondments

Anna Livia Vørsel Filippo Cattapan Mara Trübenbach
Az W depot, Möllersdorf, Halle 9 © Architekturzentrum Wien, Sammlung, Photo: Mara Trübenbach
Christian Kieckens, Annotated map of Rome, ca. 1989, Flanders Architecture Institute – collection Flemish Community, archive of Christian Kieckens
AzW library shelves, dust blower and magnifying glass. Collage by Anna Livia Vørsel
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.
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.
Drawing Exhibition TACK Exhibition Object

City as Forest

© Verena Brehm
We understand the city as a forest: a complex (eco)system in which various spatial elements are synergistically and dynamically networked. In this sense, with every design, the challenge and the opportunity arise to contribute to the system as a whole rather than creating a solitary object.
Verena Brehm CITYFÖRSTER
Drawing Exhibition TACK Exhibition Object

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City as Forest

Verena Brehm CITYFÖRSTER
© Verena Brehm
© TACK
We understand the city as a forest: a complex (eco)system in which various spatial elements are synergistically and dynamically networked. In this sense, with every design, the challenge and the opportunity arise to contribute to the system as a whole rather than creating a solitary object.
Book chapter Interview Open Access Publication

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

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

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

Peg Rawes
A Conversation on Architecture, Design and the Climate Emergency with Rania Ghosn, El Hadi Jazairy & Peg Rawes facilitated by Rodney Harrison (RH)
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.
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.
Conference Paper Paper Session ACTORS TACK Conference Proceedings

On Twists and Turns. Architecture: Design and Judgment

Herman Hertzberger, Sketch Ministerie van Sociale Zaken en Werkgelegenheid, The Hague, The Netherlands, August 1984
ABSTRACT
Architects design in different ways, but rarely in the form of waiting for a singular hunch. Most often, instead, designing is hard work, reassessing material again and again, until the moment the various facets come together convincingly. In this paper, I use Hannah Arendt’s discussion of judgment in order to understand the process of design. Arendt borrows her understanding from Immanuel Kant, but draws it out of his aesthetic perspective and reassesses it into a political context. She emphasizes how a community is a necessary prerequisite for every judgment made. It is not enough to simply hear what others say, but one need to be able to think from that particular situation, in order to judge the validity of that perspective. I see a parallel here with design, though architects operate in different communities. The main challenge of design then is to connect these communities through the design and to understand what kind of information and knowledge can be gained within the different communities. By drawing the parallel, I will discuss the different knowledge communities wherein architects operate, and how 'judgment' offers a model of activating various knowledge systems.
Hans Teerds
Conference Paper Paper Session ACTORS TACK Conference Proceedings

July 4, 2023

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On Twists and Turns. Architecture: Design and Judgment

Hans Teerds
Herman Hertzberger, Sketch Ministerie van Sociale Zaken en Werkgelegenheid, The Hague, The Netherlands, August 1984
Herman Hertzberger, Sketch Chassé Theatre, Breda, The Netherlands, March 14, 1992
© TACK
ABSTRACT
Architects design in different ways, but rarely in the form of waiting for a singular hunch. Most often, instead, designing is hard work, reassessing material again and again, until the moment the various facets come together convincingly. In this paper, I use Hannah Arendt’s discussion of judgment in order to understand the process of design. Arendt borrows her understanding from Immanuel Kant, but draws it out of his aesthetic perspective and reassesses it into a political context. She emphasizes how a community is a necessary prerequisite for every judgment made. It is not enough to simply hear what others say, but one need to be able to think from that particular situation, in order to judge the validity of that perspective. I see a parallel here with design, though architects operate in different communities. The main challenge of design then is to connect these communities through the design and to understand what kind of information and knowledge can be gained within the different communities. By drawing the parallel, I will discuss the different knowledge communities wherein architects operate, and how 'judgment' offers a model of activating various knowledge systems.
Essay Open Access Publication

2021

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

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

2021

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

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

Coarse epistemes: Skill, craftsmanship and tacit knowledge in the grit of the world

© TACK
ABSTRACT
In the words of Dutch archaeologist Maikel Kuijpers, craft is “a way of exploring and understanding the material world”. This definition suggests that craftsmanship can be understood as a touchstone for a theory of knowledge in material productions. By exploring the role of skill in the processes of making and its epistemic correspondence, I develop the hypothesis that craftsmanship is as a perceptive-cognitive enactment within the making process, a form of attunement with production. The argument is that the material, productive side of work deploys and operates a particular epistemological regime, based on types of practical engagement deeply related to the possibilities and contingencies of objective, concrete reality. Making means implicating oneself with the material world, embedding the body in the processes of transforming matter and partaking in the flows of forces that form things. Thus, the knowledge in the making – skill – can be understood as the invention or establishment of a new mode of perception through action that is enacted by tools, movements, techniques etc. This practical perception acts as the foundational basis on which craftsmanship is performed, representing its conditions of possibility. Given the perceptual, embodied nature of craftsmanship, its transmission is rendered impossible outside the actual engagement with production. As such, this interpretation refers back to the original distinctions made by Gilbert Ryle of “knowing that” and “knowing how” that influenced Michael Polanyi in his definition of tacit knowledge. The particular epistemic rationality of crafts provides insights for understanding knowledge inside disciplines involved with creative practice, such as architecture. The epistemic coupling with production helps to understand how architects design, but it also reveals a general epistemic schism in the discipline, founded in the inconsistency between abstract designerly knowledge and the craftsmanship of construction.
Eric Crevels
Book chapter TACK Book

November 1, 2022

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Coarse epistemes: Skill, craftsmanship and tacit knowledge in the grit of the world

Eric Crevels
© TACK
ABSTRACT
In the words of Dutch archaeologist Maikel Kuijpers, craft is “a way of exploring and understanding the material world”. This definition suggests that craftsmanship can be understood as a touchstone for a theory of knowledge in material productions. By exploring the role of skill in the processes of making and its epistemic correspondence, I develop the hypothesis that craftsmanship is as a perceptive-cognitive enactment within the making process, a form of attunement with production. The argument is that the material, productive side of work deploys and operates a particular epistemological regime, based on types of practical engagement deeply related to the possibilities and contingencies of objective, concrete reality. Making means implicating oneself with the material world, embedding the body in the processes of transforming matter and partaking in the flows of forces that form things. Thus, the knowledge in the making – skill – can be understood as the invention or establishment of a new mode of perception through action that is enacted by tools, movements, techniques etc. This practical perception acts as the foundational basis on which craftsmanship is performed, representing its conditions of possibility. Given the perceptual, embodied nature of craftsmanship, its transmission is rendered impossible outside the actual engagement with production. As such, this interpretation refers back to the original distinctions made by Gilbert Ryle of “knowing that” and “knowing how” that influenced Michael Polanyi in his definition of tacit knowledge. The particular epistemic rationality of crafts provides insights for understanding knowledge inside disciplines involved with creative practice, such as architecture. The epistemic coupling with production helps to understand how architects design, but it also reveals a general epistemic schism in the discipline, founded in the inconsistency between abstract designerly knowledge and the craftsmanship of construction.
Newsletter Review

Book Corner: “The Invention of Culture” by Wagner Roy (1976)

The Invention of Culture, Wagner, Roy. (1976), © University of Chicago Press
Eric Crevels reviews the chapter "The assumption of Culture" from Roy Wagners Book "The Invention of Culture" (1976), The University of Chicago Press, London, Page 12 - 21
Eric Crevels
Newsletter Review

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Book Corner: “The Invention of Culture” by Wagner Roy (1976)

Eric Crevels
The Invention of Culture, Wagner, Roy. (1976), © University of Chicago Press
Eric Crevels reviews the chapter "The assumption of Culture" from Roy Wagners Book "The Invention of Culture" (1976), The University of Chicago Press, London, Page 12 - 21
Paper Session VECTORS Site writing TACK Conference Proceedings

Revealing the tacit: a critical spatial practice based on walking and re/presenting

ABSTRACT
Spatial practices that investigate architectural space with the ideal architect's eye and a commonplace representational perspective have been the subject of a lot of writing. The potential of critical spatial practices, which combine performative actions with incomplete representation possibilities, to investigate and reveal the tacit knowledge underlying space is yet unexplored. This paper finds its problem in these missing pieces in the literature and tries to decipher by deconstructing the conventional methods and tactics it criticizes, a way is sought to trigger the creative potentials of the relationship between body and space that cannot be stable. Critical spatial practices can be situated as alternative ways of understanding the architectural space and establishing a dialogue with it since they pave the way for new kinds of relationships to emerge between the subject and the space. This study focuses on the act of walking, which is claimed to be a critical spatial practice, and its re/presentation, which is argued to reveal tacit knowledge in the walked place. Based on the poststructuralist critical theories, the case study was carried out in the Historical Peninsula of Istanbul in the Khans District by walking and extracting the things which can reveal tacit knowledge. By finding top-down investigation and representation tools problematic in capturing and expressing the body and space interactions, experiences, and experimentation on the ground level, I believe walking by drifting through the invisible spaces and transitions of the Khans District when viewed from above is meaningful in expressing the experimental and creative flows on the ground level. Depending on the re/presentation, it can be suggested that performing a spatial practice with the participation of the body and interpreting the architectural space from a critical position carry the contingency of uncovering tacit knowledge.
Nilsu Altunok
Paper Session VECTORS Site writing TACK Conference Proceedings

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Revealing the tacit: a critical spatial practice based on walking and re/presenting

Nilsu Altunok
ABSTRACT
Spatial practices that investigate architectural space with the ideal architect's eye and a commonplace representational perspective have been the subject of a lot of writing. The potential of critical spatial practices, which combine performative actions with incomplete representation possibilities, to investigate and reveal the tacit knowledge underlying space is yet unexplored. This paper finds its problem in these missing pieces in the literature and tries to decipher by deconstructing the conventional methods and tactics it criticizes, a way is sought to trigger the creative potentials of the relationship between body and space that cannot be stable. Critical spatial practices can be situated as alternative ways of understanding the architectural space and establishing a dialogue with it since they pave the way for new kinds of relationships to emerge between the subject and the space. This study focuses on the act of walking, which is claimed to be a critical spatial practice, and its re/presentation, which is argued to reveal tacit knowledge in the walked place. Based on the poststructuralist critical theories, the case study was carried out in the Historical Peninsula of Istanbul in the Khans District by walking and extracting the things which can reveal tacit knowledge. By finding top-down investigation and representation tools problematic in capturing and expressing the body and space interactions, experiences, and experimentation on the ground level, I believe walking by drifting through the invisible spaces and transitions of the Khans District when viewed from above is meaningful in expressing the experimental and creative flows on the ground level. Depending on the re/presentation, it can be suggested that performing a spatial practice with the participation of the body and interpreting the architectural space from a critical position carry the contingency of uncovering tacit knowledge.

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

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

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

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

Crackpot’ and ‘Dangerous’: On the authenticity of Miesian reproductions

© Ron Frazier from Bloomington IL, United States
ABSTRACT
In 2016, the architectural press reported the planned reconstruction of Mies van der Rohe’s Wolf House, built in 1927 in Gubin, Poland, and destroyed during World War Two. Supporters claimed that, by consulting the architect’s presentation drawings, they could rebuild the house authentically. They cited a simplistic reading of philosopher Nelson Goodman’s distinction between autographic art—where an original is certified by the hand of the author—and the allographic, which is replicated through notation. Barry Bergdoll called the proposal ‘crackpot’, arguing that without the lost construction documentation it would become a ‘simulacrum’: an allusion to Jean Baudrillard’s notion of a copy without reference. Mies himself thought there was something ‘dangerous’ in building ‘a model of a real house’ after constructing his own full-scale façade mock-up for the unbuilt Kröller-Müller House (1913). Since then, an unprecedented number of reproductions have entered into their own ‘dangerous’ conversation with Mies’ work, trading to varying degrees on their authenticity. Some, like the Barcelona Pavilion reconstruction (1986) engage with heritage and archival practices in an attempt to accurately reconstruct a lost work. Others, often appearing in exhibitions such as OMA’s La Casa Palestra at the 1985 Milan Triennale, exploit the fame of Mies’ architecture to offer a rhetorical interpretation that reinforces their own authorial signature. Meanwhile self-professed 1:1 models, like Robbrecht en Daem’s Mies 1:1 Golf Club Project (2013), seem deliberately tied to Mies’ authority, stripping away materials to focus on a singular reading of the work in a model-making tradition stretching back to Alberti. By returning to Goodman’s autographic/allographic dichotomy and Baudrillard’s simulacrum, this paper seeks to make sense of these multiplying reproductions across art, architecture and conservation, and their conflicting claims to authenticity. Ultimately, this frames Miesian reproductions as one contested site in broader discussions of architecture’s relationship to authorship and authentic heritage.
Hamish Lonergan
Conference Paper Open Access Publication Paper

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Crackpot’ and ‘Dangerous’: On the authenticity of Miesian reproductions

Hamish Lonergan
© Ron Frazier from Bloomington IL, United States
© Victor Grigas
ABSTRACT
In 2016, the architectural press reported the planned reconstruction of Mies van der Rohe’s Wolf House, built in 1927 in Gubin, Poland, and destroyed during World War Two. Supporters claimed that, by consulting the architect’s presentation drawings, they could rebuild the house authentically. They cited a simplistic reading of philosopher Nelson Goodman’s distinction between autographic art—where an original is certified by the hand of the author—and the allographic, which is replicated through notation. Barry Bergdoll called the proposal ‘crackpot’, arguing that without the lost construction documentation it would become a ‘simulacrum’: an allusion to Jean Baudrillard’s notion of a copy without reference. Mies himself thought there was something ‘dangerous’ in building ‘a model of a real house’ after constructing his own full-scale façade mock-up for the unbuilt Kröller-Müller House (1913). Since then, an unprecedented number of reproductions have entered into their own ‘dangerous’ conversation with Mies’ work, trading to varying degrees on their authenticity. Some, like the Barcelona Pavilion reconstruction (1986) engage with heritage and archival practices in an attempt to accurately reconstruct a lost work. Others, often appearing in exhibitions such as OMA’s La Casa Palestra at the 1985 Milan Triennale, exploit the fame of Mies’ architecture to offer a rhetorical interpretation that reinforces their own authorial signature. Meanwhile self-professed 1:1 models, like Robbrecht en Daem’s Mies 1:1 Golf Club Project (2013), seem deliberately tied to Mies’ authority, stripping away materials to focus on a singular reading of the work in a model-making tradition stretching back to Alberti. By returning to Goodman’s autographic/allographic dichotomy and Baudrillard’s simulacrum, this paper seeks to make sense of these multiplying reproductions across art, architecture and conservation, and their conflicting claims to authenticity. Ultimately, this frames Miesian reproductions as one contested site in broader discussions of architecture’s relationship to authorship and authentic heritage.
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
Exhibition TACK Exhibition Object

Invisible Elastic Structure

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

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Invisible Elastic Structure

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

History meets the Body. Re-enactment as a mode of architectural inquiry.

ABSTRACT
Although we normally think about ideas and discourses as disembodied entities, the truth is that tacit architectural concepts, specific ways of understanding history, time, and space, are inscribed into our built environments, and they can only be disentangled with the help of our own bodies, by performing actions within, in, and around buildings. This paper explores the use of re-enactments as a method for architectural historians, using Aldo and Hannie van Eyck’s own house as a case study. The researcher’s body informs the reflections and findings, from materiality to meaning, through the continuous and embedded experience of the space, a seventeenth century building were the Van Eycks lived from 1965, which was diligently remodelled by themselves into their treasured family home. Almost hidden from the street hustle, yet open to the outside, the place lights up as soon as the threshold is crossed. Both literally and metaphorically, the changes and additions to the building reveal their architectural thinking and ways of inhabiting. In the house, layers of temporality, materiality, everyday living and lived experience mingle with design solutions and worldviews affecting them. However, while re-enactments allow for an embodied understanding of how architectural ideas take material form, they also hold the potential to show the situatedness, partiality and contingency of the re-enacted practices, questioning the same values that they unearth. keywords.
Alejandro Campos-Uribe Delft University of Technology, Faculty of Architecture and the Built Environment
Paper Session VECTORS TACK Conference Proceedings

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History meets the Body. Re-enactment as a mode of architectural inquiry.

Alejandro Campos-Uribe Delft University of Technology, Faculty of Architecture and the Built Environment
© TACK
ABSTRACT
Although we normally think about ideas and discourses as disembodied entities, the truth is that tacit architectural concepts, specific ways of understanding history, time, and space, are inscribed into our built environments, and they can only be disentangled with the help of our own bodies, by performing actions within, in, and around buildings. This paper explores the use of re-enactments as a method for architectural historians, using Aldo and Hannie van Eyck’s own house as a case study. The researcher’s body informs the reflections and findings, from materiality to meaning, through the continuous and embedded experience of the space, a seventeenth century building were the Van Eycks lived from 1965, which was diligently remodelled by themselves into their treasured family home. Almost hidden from the street hustle, yet open to the outside, the place lights up as soon as the threshold is crossed. Both literally and metaphorically, the changes and additions to the building reveal their architectural thinking and ways of inhabiting. In the house, layers of temporality, materiality, everyday living and lived experience mingle with design solutions and worldviews affecting them. However, while re-enactments allow for an embodied understanding of how architectural ideas take material form, they also hold the potential to show the situatedness, partiality and contingency of the re-enacted practices, questioning the same values that they unearth. keywords.
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.
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
ABSTRACT
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

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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
ABSTRACT
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.
Essay

Performing Space Through Photography

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”.
Angelika Schnell
Essay

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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”.
Exhibition Model TACK Exhibition Object

Model of Silodam Housing

© MVRDV
This diagrammatic model was developed to discuss the disposition of various elements of a new housing estate in Amsterdam with its clients; a private investor-developer and an affordable housing cooperation, embodies tacit knowledge in multiple ways.
Nathalie de Vries
Exhibition Model TACK Exhibition Object

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Model of Silodam Housing

Nathalie de Vries
© MVRDV
© TACK
This diagrammatic model was developed to discuss the disposition of various elements of a new housing estate in Amsterdam with its clients; a private investor-developer and an affordable housing cooperation, embodies tacit knowledge in multiple ways.
Paper

From Unconventional Households to Unconventional Affordable Housing

ABSTRACT
Over the past years, a multi-disciplinary group of scholars at Politecnico di Milano (UHUAH!) has been exploring how contemporary social and demographic dynamics challenge housing policies and projects. These issues have been at the core of teaching activities in design-based studios involving architecture students. Spurred on not only by the literature on the subject (Ronald/Elsinga, 2012), we are engaged in field research investigating the state of the art of dwelling practices, with the aim to develop alternative housing solutions (and typologies) able to overcome the distance that emerged between demand and supply. A gap mostly depending on the major changes that happened in the last twenty years in households composition, and in what is typically referred to as the family (Carlson/Meyer, 2014), with the consequent crisis of the ideal equivalence between “the family” and the “apartment typology” (Star strategies + architecture, 2016). The paper will therefore present relevant case studies from the Research by Design explorations conducted on existing building stock, a decision taken to empower Adaptive Reuse as a sustainable approach also in Housing. Our Design Manifesto considers the apartment as constituted by a system of independent rooms, in which the bed is not anymore the core device, while the connective space is interpreted as common shared areas (Connective = Collective).
Gennaro Postiglione Paola Briata Constanze Wolfgring
Paper

October 10, 2022

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From Unconventional Households to Unconventional Affordable Housing

Gennaro Postiglione Paola Briata Constanze Wolfgring
© Gennaro Postiglione
Drawing focusing on the life around furniture (@ReCoDe-DAStU)., © Gennaro Postiglione
Design strategy: a set of devices is set in place in dialogue with the existing structure (@ReCoDe-DAStU)., © Gennaro Postiglione
External view of one of the La Viridiana blocks (@ReCoDe-DAStU)., © Gennaro Postiglione
© Gennaro Postiglione
ABSTRACT
Over the past years, a multi-disciplinary group of scholars at Politecnico di Milano (UHUAH!) has been exploring how contemporary social and demographic dynamics challenge housing policies and projects. These issues have been at the core of teaching activities in design-based studios involving architecture students. Spurred on not only by the literature on the subject (Ronald/Elsinga, 2012), we are engaged in field research investigating the state of the art of dwelling practices, with the aim to develop alternative housing solutions (and typologies) able to overcome the distance that emerged between demand and supply. A gap mostly depending on the major changes that happened in the last twenty years in households composition, and in what is typically referred to as the family (Carlson/Meyer, 2014), with the consequent crisis of the ideal equivalence between “the family” and the “apartment typology” (Star strategies + architecture, 2016). The paper will therefore present relevant case studies from the Research by Design explorations conducted on existing building stock, a decision taken to empower Adaptive Reuse as a sustainable approach also in Housing. Our Design Manifesto considers the apartment as constituted by a system of independent rooms, in which the bed is not anymore the core device, while the connective space is interpreted as common shared areas (Connective = Collective).
Open Access Publication Paper

Presence, Presentation & Representation Between Model Making and Mediation of Material in Architectural Practice during Covid-19

© Mara Trübenbach
ABSTRACT
This paper presents one specific action, i.e. a remote empirical research within a PhD project embedded in the international research network “TACK: Communities of Tacit Knowledge: Architecture and its Ways if Knowing”. The aim of the digital ethnography was to understand processes and dynamics in an architectural office in relation to new conceptualizations of the material. In asking questions about the subject in the current pandemic context, the question of the media of such an enquiry was implicated in the thesis developed. On the one side, this study is both about finding a platform on which to discuss the idea of material, and is a speculation about the implication of that platform for the ideas developed using it. On the other, it deals with using an opportunity provided by Covid-19 to make that research, via a remote ethnography with the implication that this might be used to research lots of other things beyond materials. The study hopes to create a platform for discussion around researching, observing and mediating material ¬– revising understanding as well as increasing material literacy – beyond Covid-19.
Mara Trübenbach
Open Access Publication Paper

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Presence, Presentation & Representation Between Model Making and Mediation of Material in Architectural Practice during Covid-19

Mara Trübenbach
© Mara Trübenbach
ABSTRACT
This paper presents one specific action, i.e. a remote empirical research within a PhD project embedded in the international research network “TACK: Communities of Tacit Knowledge: Architecture and its Ways if Knowing”. The aim of the digital ethnography was to understand processes and dynamics in an architectural office in relation to new conceptualizations of the material. In asking questions about the subject in the current pandemic context, the question of the media of such an enquiry was implicated in the thesis developed. On the one side, this study is both about finding a platform on which to discuss the idea of material, and is a speculation about the implication of that platform for the ideas developed using it. On the other, it deals with using an opportunity provided by Covid-19 to make that research, via a remote ethnography with the implication that this might be used to research lots of other things beyond materials. The study hopes to create a platform for discussion around researching, observing and mediating material ¬– revising understanding as well as increasing material literacy – beyond Covid-19.
Exhibition TACK Exhibition Object

Tactiles

Tactiles are relational objects that foster interactive approaches of un-learning restrictive spatial codes, re-learning through encounters of intimacy, embodiment and connectedness, and co-learning through shared performative experiences.
Katharina Kasinger
Exhibition TACK Exhibition Object

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Tactiles

Katharina Kasinger
© TACK
Tactiles are relational objects that foster interactive approaches of un-learning restrictive spatial codes, re-learning through encounters of intimacy, embodiment and connectedness, and co-learning through shared performative experiences.
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
Book Book chapter

The Tacit Dimension [Excerpt]

The book “The Tacit Dimension” by Michael Polanyi was published firstly in 1966 at The University of Chicago Press. The following is an excerpt from the chapter “Tacit Knowing” (p. 4-13). I shall reconsider human knowledge by starting from the fact that we can know more than we can tell. This fact seems obvious enough; but it is not easy to say exactly what it means. Take an example. We know a person’s face, and can recognize it among a thousand, indeed among a million. Yet we usually cannot tell how we recognize a face we know. So most of this knowledge cannot be put into words. But the police have recently introduced a method by which we can communicate much of this knowledge. They have made a large collection of pictures showing a variety of noses, mouths, and other features. From these the witness selects the particulars of the face he knows, and the pieces can then be put together to form a reasonably good likeness of the face. This may suggest that we can communicate, after all, our knowledge of a physiognomy, provided we are given adequate means for expressing ourselves. But the application of the police method does not change the fact that previous to it we did know more than we could tell at the time. Moreover, we can use the police method only by knowing how to match the features we remember with those in the collection, and we cannot tell how we do this. This very act of communication displays a knowledge that we cannot tell.
Michael Polanyi
Book Book chapter

View

The Tacit Dimension [Excerpt]

Michael Polanyi
The book “The Tacit Dimension” by Michael Polanyi was published firstly in 1966 at The University of Chicago Press. The following is an excerpt from the chapter “Tacit Knowing” (p. 4-13). I shall reconsider human knowledge by starting from the fact that we can know more than we can tell. This fact seems obvious enough; but it is not easy to say exactly what it means. Take an example. We know a person’s face, and can recognize it among a thousand, indeed among a million. Yet we usually cannot tell how we recognize a face we know. So most of this knowledge cannot be put into words. But the police have recently introduced a method by which we can communicate much of this knowledge. They have made a large collection of pictures showing a variety of noses, mouths, and other features. From these the witness selects the particulars of the face he knows, and the pieces can then be put together to form a reasonably good likeness of the face. This may suggest that we can communicate, after all, our knowledge of a physiognomy, provided we are given adequate means for expressing ourselves. But the application of the police method does not change the fact that previous to it we did know more than we could tell at the time. Moreover, we can use the police method only by knowing how to match the features we remember with those in the collection, and we cannot tell how we do this. This very act of communication displays a knowledge that we cannot tell.
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.
Adam Caruso
Image Series TACK Exhibition Object

View

Tests and References, ZSC Arena, Zurich 2012–22

Adam Caruso
4 Façade detail, ZSC Arena, Zurich
© TACK
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.
Exhibition Model TACK Exhibition Object

20-11-2021

HERMIA

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

20-11-2021

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HERMIA

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

A Map of Movements

Gennaro Postiglione initiated the idea of a “TACK Map”, visualizing the research movements of the TACK PhD Students and shares with here his thoughts on the produced map.
Gennaro Postiglione
Image Newsletter Reflection

May 20, 2022

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A Map of Movements

Gennaro Postiglione
Gennaro Postiglione initiated the idea of a “TACK Map”, visualizing the research movements of the TACK PhD Students and shares with here his thoughts on the produced map.
Exhibition Model TACK Exhibition Object

Clay 3D Print of Urmein

The model displayed here, a Clay 3D Print of Urmein, a rural village in Switzerland, highlights the exploratory path that architects often take when new technologies become available. The model is based on information drawn from photogrammetry and drone footage, and has been produced by a clay printer intended for pottery – all tools that do not typically belong in the architect’s toolbox.
Martin Roesch Nicola Graf
Exhibition Model TACK Exhibition Object

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Clay 3D Print of Urmein

Martin Roesch Nicola Graf
© TACK
The model displayed here, a Clay 3D Print of Urmein, a rural village in Switzerland, highlights the exploratory path that architects often take when new technologies become available. The model is based on information drawn from photogrammetry and drone footage, and has been produced by a clay printer intended for pottery – all tools that do not typically belong in the architect’s toolbox.
Conference Paper Paper Session VECTORS TACK Conference Proceedings

Constructing Communities of Tacit Knowledge: Political Commitment and Urban Planning in Postwar Milan

Fig. 1 Cologno Monzese on a Saturday afternoon in the 1960s. From Casabella Continuità, n. 282, December 1963, p. 4
ABSTRACT
Exploring historical models of the construction of communities of tacit knowledge, this paper examines the contribution of leftist practitioners to Milanese postwar planning culture focusing on the communist architectural collective Collettivo di Architettura. During the reconstruction period, Milan underwent significant economic, social, and territorial transformations that intensified the divide between the city center and the periphery. The Milanese outskirts were left to speculation, rapid urbanization, and high migration rates without adequate planning tools and policies. In this context, leftist practitioners sought to address the problems affecting the Milanese periphery and wanted to contribute to their resolution. Among them, Collettivo di Architettura stood out for its explicit political stance and extensive contribution. Its members attributed social and political dimensions to architectural work and integrated collaborative ways of working and political militancy into their practice. During the 1950s, they provided free professional support in the Milanese periphery in addition to their architectural practice: as urbanista condotto, they assisted municipalities that lacked adequate planning tools and knowledge and initiated discussions with local authorities, institutions, and economic operators concerning urban development. As a result, procedures, strategies, and processes were collectively developed to establish effective planning methods and improve living conditions in the Milanese outskirts. By explicitly drawing from the Gramscian concept of the organic intellectual and the example of other committed practitioners of their time, the engagement of Collettivo’s members provided the basis for a shared planning culture. Thus, this case study highlights the significance of political commitment in generating collaborative communities of tacit knowledge.
Elettra Carnelli
Conference Paper Paper Session VECTORS TACK Conference Proceedings

July 19, 2023

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Constructing Communities of Tacit Knowledge: Political Commitment and Urban Planning in Postwar Milan

Elettra Carnelli
Fig. 1 Cologno Monzese on a Saturday afternoon in the 1960s. From Casabella Continuità, n. 282, December 1963, p. 4
Fig. 2 First scheme of the Intercommunal Plan of Milan’s territory, known as “modello a turbina”. Centro Studi PIM, 25 July 1963. From Urbanistica, n. 50-51, October 1967, p. 34
© TACK
ABSTRACT
Exploring historical models of the construction of communities of tacit knowledge, this paper examines the contribution of leftist practitioners to Milanese postwar planning culture focusing on the communist architectural collective Collettivo di Architettura. During the reconstruction period, Milan underwent significant economic, social, and territorial transformations that intensified the divide between the city center and the periphery. The Milanese outskirts were left to speculation, rapid urbanization, and high migration rates without adequate planning tools and policies. In this context, leftist practitioners sought to address the problems affecting the Milanese periphery and wanted to contribute to their resolution. Among them, Collettivo di Architettura stood out for its explicit political stance and extensive contribution. Its members attributed social and political dimensions to architectural work and integrated collaborative ways of working and political militancy into their practice. During the 1950s, they provided free professional support in the Milanese periphery in addition to their architectural practice: as urbanista condotto, they assisted municipalities that lacked adequate planning tools and knowledge and initiated discussions with local authorities, institutions, and economic operators concerning urban development. As a result, procedures, strategies, and processes were collectively developed to establish effective planning methods and improve living conditions in the Milanese outskirts. By explicitly drawing from the Gramscian concept of the organic intellectual and the example of other committed practitioners of their time, the engagement of Collettivo’s members provided the basis for a shared planning culture. Thus, this case study highlights the significance of political commitment in generating collaborative communities of tacit knowledge.
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
ABSTRACT
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.
Valerie Hoberg
Paper Session NATURE(S) TACK Conference Proceedings

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UNCOMMONING: ARTISTIC KNOWLEDGE IN ARCHITECTURE

Valerie Hoberg
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
ABSTRACT
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.
Book chapter TACK Book

A Post-Post Positional Praxis: Locating ideas of repair in a Southern city

© TACK
ABSTRACT
Abstract The legally implemented South African Apartheid city model of the 20th Century very specifically separated urban inhabitants along strict racial spatial definitions as set out by city practitioners and mandated by the national government on top of the existing colonial state model of segregation. These societal logics and legal systems have had a wide-scale systemic phyco-spatial effect on the many generations of urban dwellers who have no reference to patterns of living and space-making outside of this city-model. More specifically, the laws and regulations that carried these ideologies have instilled largely prejudiced tacit forms of understanding of self and ‘other’ that remain deeply entrenched in the spatial practitioners who are trusted to design and make within this context. For this reason, a critically proactive engagement with these harmfully biased tacit knowledge systems is a crucial endeavour across the built-environment practice – especially so in the architectural and the related spatial design disciplines. Such a deeply interpersonal recognition of such dynamics within spatial-design practice call for approaches, methods, and techniques that operate through considered and inclusive forms of practice that are often difficult to frame within the current ‘northern’ framings of the architect or the designer. Instead, other conceptual frameworks such as Southern Urbanism offer a more situated armature to locate these questions and begin an other-wisely based inquiry through these challenges. By thinking about an architectural - or more appropriately: a spatial design practice - through values and actions that are true to the locus of the site from which they exist, on the situated terms of the context that produce them, and through the languages – spoken, gestured and visual – that they are actioned through; the research holds an the potential to reveal other forms of more connective tacit knowledge that exist in these ways of making and maintaining urban spaces. Such an inquiry holds the potential to guide these practices both within the disciplines of the architect and support those engaging with these dynamics to expand their understandings of practice and the ‘Imaginative Geographies’ of separation and difference that continue to shape the post-Apartheid and post-Colonial cities of South Africa.
Jhono Bennett
Book chapter TACK Book

November 1, 2022

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A Post-Post Positional Praxis: Locating ideas of repair in a Southern city

Jhono Bennett
© TACK
ABSTRACT
Abstract The legally implemented South African Apartheid city model of the 20th Century very specifically separated urban inhabitants along strict racial spatial definitions as set out by city practitioners and mandated by the national government on top of the existing colonial state model of segregation. These societal logics and legal systems have had a wide-scale systemic phyco-spatial effect on the many generations of urban dwellers who have no reference to patterns of living and space-making outside of this city-model. More specifically, the laws and regulations that carried these ideologies have instilled largely prejudiced tacit forms of understanding of self and ‘other’ that remain deeply entrenched in the spatial practitioners who are trusted to design and make within this context. For this reason, a critically proactive engagement with these harmfully biased tacit knowledge systems is a crucial endeavour across the built-environment practice – especially so in the architectural and the related spatial design disciplines. Such a deeply interpersonal recognition of such dynamics within spatial-design practice call for approaches, methods, and techniques that operate through considered and inclusive forms of practice that are often difficult to frame within the current ‘northern’ framings of the architect or the designer. Instead, other conceptual frameworks such as Southern Urbanism offer a more situated armature to locate these questions and begin an other-wisely based inquiry through these challenges. By thinking about an architectural - or more appropriately: a spatial design practice - through values and actions that are true to the locus of the site from which they exist, on the situated terms of the context that produce them, and through the languages – spoken, gestured and visual – that they are actioned through; the research holds an the potential to reveal other forms of more connective tacit knowledge that exist in these ways of making and maintaining urban spaces. Such an inquiry holds the potential to guide these practices both within the disciplines of the architect and support those engaging with these dynamics to expand their understandings of practice and the ‘Imaginative Geographies’ of separation and difference that continue to shape the post-Apartheid and post-Colonial cities of South Africa.