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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.

50 Objects

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.
Lecture / Talk

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

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

April 26, 2021

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

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

Busy body – Living and working in urban renewal neighbourhoods 

Littie Diederen and Yvonne van den Elsen, Zoiets Maak Je Toch Niet, Ik Zeg Altijd, Dat Doen Mannen... Ervaringen van Vrouwen in de Stadsvernieuwing (Amsterdam: NCDB, 1983).
ABSTRACT
Urban renewal reinforces the isolation of working-class women. This was concluded in the 1983 publication “Zoiets maak je toch niet, ik zeg altijd, dat doen mannen…”. This booklet criticizes 1980s participatory urban renewal of the Staatsliedenbuurt in Amsterdam and addresses the exclusion of women. Several inventive tools were developed in this neighbourhood to empower women to make their diverse, tacit, embodied knowledge heard and make design suggestions that better fitted their needs. As a result, new knowledge was brought into participatory urban renewal processes of which women were so often excluded; diversifying and expanding what was commonly perceived as the concerns of the resident. This paper brings forward various tools developed in the Staatsliedenbuurt that were used as vehicles to bring women’s voices into urban renewal processes, such as the fictiocritical character Els, a workshop on dwelling stories, and a manual. The paper contributes to histories on the collective efforts by various women’s groups in the 1980s that fought exclusion and sought to develop feminist approaches for urban design by making what is the tacitly known, explicit; making the invisible, visible.
Soscha Monteiro de Jesus
Paper Session NATURE(S) TACK Conference Proceedings

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Busy body – Living and working in urban renewal neighbourhoods 

Soscha Monteiro de Jesus
Littie Diederen and Yvonne van den Elsen, Zoiets Maak Je Toch Niet, Ik Zeg Altijd, Dat Doen Mannen... Ervaringen van Vrouwen in de Stadsvernieuwing (Amsterdam: NCDB, 1983).
ABSTRACT
Urban renewal reinforces the isolation of working-class women. This was concluded in the 1983 publication “Zoiets maak je toch niet, ik zeg altijd, dat doen mannen…”. This booklet criticizes 1980s participatory urban renewal of the Staatsliedenbuurt in Amsterdam and addresses the exclusion of women. Several inventive tools were developed in this neighbourhood to empower women to make their diverse, tacit, embodied knowledge heard and make design suggestions that better fitted their needs. As a result, new knowledge was brought into participatory urban renewal processes of which women were so often excluded; diversifying and expanding what was commonly perceived as the concerns of the resident. This paper brings forward various tools developed in the Staatsliedenbuurt that were used as vehicles to bring women’s voices into urban renewal processes, such as the fictiocritical character Els, a workshop on dwelling stories, and a manual. The paper contributes to histories on the collective efforts by various women’s groups in the 1980s that fought exclusion and sought to develop feminist approaches for urban design by making what is the tacitly known, explicit; making the invisible, visible.
Diagram Fanzine Interview

Interview with Kristina Schinegger and Stefan Rutzinger

On 7 April 2021, Kristina Schinegger (KS) and Stefan Rutzinger (SR) were interviewed on Zoom by Paula Strunden, PhD Candidate, Academy of Fine Arts Vienna.
Paula Strunden SOMA Architecture
Diagram Fanzine Interview

April 7, 2021

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Interview with Kristina Schinegger and Stefan Rutzinger

Paula Strunden SOMA Architecture
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
On 7 April 2021, Kristina Schinegger (KS) and Stefan Rutzinger (SR) were interviewed on Zoom by Paula Strunden, PhD Candidate, Academy of Fine Arts Vienna.
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."
Open Access Publication Paper

Knowledge in Architecture: draughtsmanship or craftsmanship?

Image 01: Mason worker drawing Date: 1425 Source: Hausbuch der Mendelschen Zwölfbrüderstiftung, Band 1. Nürnberg 1426–1549. Stadtbibliothek Nürnberg, Amb. 317.2°, © Public Domain
ABSTRACT
What are draughtsmanship and craftsmanship in architecture and what is their relation? This question represents, of course, what could be called two distinct fields of knowledge and communities of practice, architecture and craft, and can very generally describe how their specific knowledge take shape or, in other words, through what kind of practice it is manifested.
Eric Crevels
Open Access Publication Paper

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Knowledge in Architecture: draughtsmanship or craftsmanship?

Eric Crevels
Image 01: Mason worker drawing Date: 1425 Source: Hausbuch der Mendelschen Zwölfbrüderstiftung, Band 1. Nürnberg 1426–1549. Stadtbibliothek Nürnberg, Amb. 317.2°, © Public Domain
Image 02: Sketch of a detail by John Ruskin Source: http://www.themorgan.org/collection/literary-and-historical-manuscripts/191761, © Public Domain
ABSTRACT
What are draughtsmanship and craftsmanship in architecture and what is their relation? This question represents, of course, what could be called two distinct fields of knowledge and communities of practice, architecture and craft, and can very generally describe how their specific knowledge take shape or, in other words, through what kind of practice it is manifested.
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.
Exhibition Model TACK Exhibition Object

Carpenter Chair

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

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Carpenter Chair

Sarah Becchio Paolo Borghino
© Sarah Vecchio
© TACK
Carpenter Chair is an icon of construction and a eulogy to the exploration of the ordinary. It is a low, comfortable, and flexible lounge chair inspired by the aesthetics of the construction site.
Paper Session NATURE(S) TACK Conference Proceedings

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

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

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

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

2021

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

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

2021

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

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

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

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

November 1, 2022

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

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

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

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

November 1, 2022

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

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

The American Pictures of the “Shrimps’ Vanguard”

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

View

The American Pictures of the “Shrimps’ Vanguard”

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

View

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.
Online Teaching Module

Understanding Architectural Design Studios as ‘Communities of Tacit Knowledge’

© Hamish Lonergan
Hamish Lonergan Tom Avermaete ETH Zürich, Department of Architecture
Online Teaching Module

October 10, 2022

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Understanding Architectural Design Studios as ‘Communities of Tacit Knowledge’

Hamish Lonergan Tom Avermaete ETH Zürich, Department of Architecture
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
Essay Lecture / Talk Reader Reflection Teaching Element

Conversation – Lara Schrijver, Peg Rawes and Margitta Buchert

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

April 28, 2022

View

Conversation – Lara Schrijver, Peg Rawes and Margitta Buchert

Lara Schrijver Peg Rawes Margitta Buchert
© TACK
Conversation on Contexts, Values and Reflexivity in Tacit Knowledge, between Lara Schrijver, Margitta Buchert and Peg Rawes.
Paper Site writing

REFLECTIVE ANIMATION. Navigating the What-What

© Jhono Bennett
ABSTRACT
Critically engaging with one’s positionality in contemporary architectural research in a post-Apartheid South African context requires an approach that blends concerns about identity, location, and voice in responsibly creative means, while not reinforcing the existing power dynamics inherent in such work. This essay employs Jane Rendell’s Site-Writing modality to develop a means of navigating these inter-demographic and inter-locational dilemmas - the What-What - that emerge when working from a »northerly« located institution and speaking from a »Southern« position through multiple audiences. A reflective-animation method has been developed that provides a proto-methodology for both documenting and speculating with the tacit nature of spatial design practice in post-Apartheid South African cities.
Jhono Bennett
Paper Site writing

November 1, 2022

View

REFLECTIVE ANIMATION. Navigating the What-What

Jhono Bennett
© Jhono Bennett
Figure 10: A Screen Grab from the Digital Exhibition of the Site-Writing Project Entitled: Spirit of the Order (Bennett 2021) that Blends Animation with Writing and Drawing., © Jhono Bennett
© Jhono Bennett
ABSTRACT
Critically engaging with one’s positionality in contemporary architectural research in a post-Apartheid South African context requires an approach that blends concerns about identity, location, and voice in responsibly creative means, while not reinforcing the existing power dynamics inherent in such work. This essay employs Jane Rendell’s Site-Writing modality to develop a means of navigating these inter-demographic and inter-locational dilemmas - the What-What - that emerge when working from a »northerly« located institution and speaking from a »Southern« position through multiple audiences. A reflective-animation method has been developed that provides a proto-methodology for both documenting and speculating with the tacit nature of spatial design practice in post-Apartheid South African cities.
Book chapter Conference Paper Open Access Publication

15 August 2021

The Tangible Presence of Human Labor in Architecture

Alberti’s De Re Aedificatoria, © Public Domain
ABSTRACT
This essay aims to show that in many of the theories that fundament material culture and architectural experience, labor is implied in the constitution of material and, although seldom directly addressed, it is a determining dimension of materiality. From the Vitruvian and Renaissance treatises and Gottfried Semper to John Ruskin and the Art and Crafts Movement, the underlying presence of labor can be seen intertwined with materials whenever they are called into architectural discussion as sensorial arguments. Just like the physical qualities of materials, labor, skills and techniques are imprinted in the built environment and contribute to the creation of particular atmospheres.
Eric Crevels
Book chapter Conference Paper Open Access Publication

15 August 2021

View

The Tangible Presence of Human Labor in Architecture

Eric Crevels
Alberti’s De Re Aedificatoria, © Public Domain
Ruskin’s The Nature of the Gothic, © Public Domain
Vitruviu’s De Architectura Libri Decem, © Public Domain
ABSTRACT
This essay aims to show that in many of the theories that fundament material culture and architectural experience, labor is implied in the constitution of material and, although seldom directly addressed, it is a determining dimension of materiality. From the Vitruvian and Renaissance treatises and Gottfried Semper to John Ruskin and the Art and Crafts Movement, the underlying presence of labor can be seen intertwined with materials whenever they are called into architectural discussion as sensorial arguments. Just like the physical qualities of materials, labor, skills and techniques are imprinted in the built environment and contribute to the creation of particular atmospheres.
Essay

Growing up as a Disney Girl: The Changing Spaces of the Feminine in Disney Films

Screenshot of Snow White from the 1958 Reissue trailer for the film Snow White and the Seven Dwarfs., © public domain
Invited to reflect on the contemporary cultural resonance of Disney in this essay, architecture historian Lara Schrijver explores how the emancipation of Disney’s female protagonists plays out in architectural scenographies. ‘I know my place! It is time you learned yours.’ Fa Zhou (father of Mulan)
Lara Schrijver
Essay

March 1, 2020

View

Growing up as a Disney Girl: The Changing Spaces of the Feminine in Disney Films

Lara Schrijver
Screenshot of Snow White from the 1958 Reissue trailer for the film Snow White and the Seven Dwarfs., © public domain
Invited to reflect on the contemporary cultural resonance of Disney in this essay, architecture historian Lara Schrijver explores how the emancipation of Disney’s female protagonists plays out in architectural scenographies. ‘I know my place! It is time you learned yours.’ Fa Zhou (father of Mulan)
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

View

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 Paper

COMMON GROUND. Discursive Orders in Architecture

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

View

COMMON GROUND. Discursive Orders in Architecture

Margitta Buchert
Fig. 6:
ABSTRACT
Is it possible to characterize the relation of architecture and science, if it is not derived from established scientific conventions? This essay highlights one field of the multifaceted spectrum, which pops up in the context of this question, a field, which can be observed when expanding the focus from science to knowledge and processes of its formation and transformation. Focal point will be the question where and in which ways knowledge appears and marks a `common ground´. The investigations are revolved around the most important field of thematisation and mediation of architectural reality at the beginning of the 21st century to be found globally, the International Architecture Biennale, which takes place in Venice in a two year cycle. Furthermore special attention will be riveted on the biennale of 2012, which was dedicated to the theme `Common Ground´. The following notions are enmeshed with the consideration, that with a presentation and uncovering of knowledge and communication on it, we have here a kind of discourse in architecture that might not only process attitudes and a stabilization of the discipline, but also provides triggers for generic processes of scientific contexts and basic understandings of research and design in architecture.
Lecture / Talk

From Critical Spatial Practice to Site-Writing

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

June 14, 2022

View

From Critical Spatial Practice to Site-Writing

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

Return from the Future: The Concept of Retroactivity

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

View

Return from the Future: The Concept of Retroactivity

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

Dissemination of Architectural Culture: A View on Turkish Architects’ Journeys in the Pre-Digital Age

Figure 1: Page showing the plans and drawings of Amsterdam and Berlin Stadiums. Source: Seyfettin Nasıh, ‘Stadyumlar: Almanya Stadyumları Hakkında Bir Tetkin Raporu [Stadiums: A Study Report on German Stadiums]’, Arkitekt, 33-34 (1933), 307.
ABSTRACT
An architect is an intellectual person who develops a professional architectural identity and approach through an accumulation of their personal experiences, education and knowledge. Perhaps the most pivotal part in an architect’s ‘formation journey’ is the initial years they start constructing their architectural selfhood. The initial years in which a person “becomes” an architect, are signified by the mobility of young architects, ideas and encounters, through which an architecture culture forms and disseminates. The dissemination of ideas is facilitated through institutions, visual, verbal and textual representations. Traveling, with its ability to embody all of these components appears to be a fruitful practice through which architecture culture can be analyzed. During the twentieth century, new encounters provided a ground from which Turkish-speaking architects established a firmer professional position and disseminated new implementations in the architecture field. The purpose of this research is to understand how Turkish-speaking architects’ journeys in the pre-digital age, contributed to the period’s architectural discourse in Turkey. Therefore, the ways in which architects traveled, translated and disseminated their travel experiences were studied and evaluated through content analysis.
Ceren Hamiloglu Ahsen Özsoy
Paper Session ACTORS TACK Conference Proceedings

View

Dissemination of Architectural Culture: A View on Turkish Architects’ Journeys in the Pre-Digital Age

Ceren Hamiloglu Ahsen Özsoy
Figure 1: Page showing the plans and drawings of Amsterdam and Berlin Stadiums. Source: Seyfettin Nasıh, ‘Stadyumlar: Almanya Stadyumları Hakkında Bir Tetkin Raporu [Stadiums: A Study Report on German Stadiums]’, Arkitekt, 33-34 (1933), 307.
Figure 2 Pages from Hulusi Güngör’s How to Build Cities, Istanbul, 1969.
Figure 5 Doğan Kuban on a trip from Istanbul to Diyarbakır with his students
ABSTRACT
An architect is an intellectual person who develops a professional architectural identity and approach through an accumulation of their personal experiences, education and knowledge. Perhaps the most pivotal part in an architect’s ‘formation journey’ is the initial years they start constructing their architectural selfhood. The initial years in which a person “becomes” an architect, are signified by the mobility of young architects, ideas and encounters, through which an architecture culture forms and disseminates. The dissemination of ideas is facilitated through institutions, visual, verbal and textual representations. Traveling, with its ability to embody all of these components appears to be a fruitful practice through which architecture culture can be analyzed. During the twentieth century, new encounters provided a ground from which Turkish-speaking architects established a firmer professional position and disseminated new implementations in the architecture field. The purpose of this research is to understand how Turkish-speaking architects’ journeys in the pre-digital age, contributed to the period’s architectural discourse in Turkey. Therefore, the ways in which architects traveled, translated and disseminated their travel experiences were studied and evaluated through content analysis.
Exhibition Model TACK Exhibition Object

Glassplitter / Broken glass

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

View

Glassplitter / Broken glass

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

View

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.
Exhibition Model TACK Exhibition Object

Bed Chamber

Bed Chamber is a work from series Recreation Areas: 1:100 miniatures of islands that mimic or suggest a place. Recreation Areas are objects of power and models to believe. They are substitutes for places and non-places full of fantasy and memories. They can balance your life in turbulent times.
U5 Collective
Exhibition Model TACK Exhibition Object

View

Bed Chamber

U5 Collective
© TACK
Bed Chamber is a work from series Recreation Areas: 1:100 miniatures of islands that mimic or suggest a place. Recreation Areas are objects of power and models to believe. They are substitutes for places and non-places full of fantasy and memories. They can balance your life in turbulent times.
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

View

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
Essay Paper

Archives. On The Genesis of Architectural Design

ABSTRACT
This essay highlights the ‘archive’ as a productive and inspiring factor in architectural design. As one can observe in publications, interviews, and lectures of some contemporary architects as Sauerbruch Hutton, Brandlhuber I Kniess, Valerio Olgiati, John Pawson or EM2N for example, different kinds of archival operations might form triggers for the generic processes of basic conceptions as well as for project-oriented design actions and last but not least for the attitude and stabilization of the architects’ work and profile. With the lens of interpretations of the archive initiated by Michel Foucault and other French theorists of science and historians since the 1960s up to contemporary discourses, it is possible to show via analogies of acting and reflecting the powerful qualities of the ‘archive’ and of archival operations in the dynamic processes of architectural design.
Margitta Buchert
Essay Paper

View

Archives. On The Genesis of Architectural Design

Margitta Buchert
Fig. 4: John Pawson, Cover Visual Inventory, New York: Phaidon Press 2012, Photo: a_ku
Fig. 5: John Pawson, Inside Visual Inventory: 20-21, New York: Phaidon Press 2012, Photo: a_ku
Fig. 7: EM2N, Cover Sowohl als auch: 32-33, Zürich: gta Verlag 2009, Photo: a_ku
ABSTRACT
This essay highlights the ‘archive’ as a productive and inspiring factor in architectural design. As one can observe in publications, interviews, and lectures of some contemporary architects as Sauerbruch Hutton, Brandlhuber I Kniess, Valerio Olgiati, John Pawson or EM2N for example, different kinds of archival operations might form triggers for the generic processes of basic conceptions as well as for project-oriented design actions and last but not least for the attitude and stabilization of the architects’ work and profile. With the lens of interpretations of the archive initiated by Michel Foucault and other French theorists of science and historians since the 1960s up to contemporary discourses, it is possible to show via analogies of acting and reflecting the powerful qualities of the ‘archive’ and of archival operations in the dynamic processes of architectural design.
Note

What is Tacit Knowledge?

Book collection on Tacit Knowledge of Hamish Lonergan, Photo: Hamish Lonergan, 2023, © Hamish Lonergan
Broadly speaking, we can think about tacit knowledge in two ways.
Hamish Lonergan Eric Crevels Mara Trübenbach
Note

March 1, 2023

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What is Tacit Knowledge?

Hamish Lonergan Eric Crevels Mara Trübenbach
Book collection on Tacit Knowledge of Hamish Lonergan, Photo: Hamish Lonergan, 2023, © Hamish Lonergan
Broadly speaking, we can think about tacit knowledge in two ways.
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
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