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

50 Objects

Exhibition Model TACK Exhibition Object

Anthropomorphe Form

Anthropomorphe Form, an installation produced by an interdisciplinary team led by Edelaar Mosayebi Inderbitzin Architekten and Fabian Bircher explores the potentials of an architectural space that moves and interacts with people.
Elli Mosayebi
Exhibition Model TACK Exhibition Object

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Anthropomorphe Form

Elli Mosayebi
© TACK
Anthropomorphe Form, an installation produced by an interdisciplinary team led by Edelaar Mosayebi Inderbitzin Architekten and Fabian Bircher explores the potentials of an architectural space that moves and interacts with people.
Exhibition Model TACK Exhibition Object

Forêt DesCartes

Christian Kieckens, Forêt DesCartes, postcards stand prototype, 1995
This curious object evokes Kieckens’ habits and practices: the collection of images and their arrangement in space, travel as a form of disciplinary exchange with a community of practice, and the teaching of architecture by means of references. Forêt DesCartes is an experimental spatial device for handling, transmitting, and producing tacit visual knowledge.
Filippo Cattapan
Exhibition Model TACK Exhibition Object

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Forêt DesCartes

Filippo Cattapan
Christian Kieckens, Forêt DesCartes, postcards stand prototype, 1995
© TACK
This curious object evokes Kieckens’ habits and practices: the collection of images and their arrangement in space, travel as a form of disciplinary exchange with a community of practice, and the teaching of architecture by means of references. Forêt DesCartes is an experimental spatial device for handling, transmitting, and producing tacit visual knowledge.
Newsletter

Report on the Intermediate Meeting at LUH, Hanover/Germany

Workshop Thursday #2
This is a report on the TACK 6th Intermediate meeting @LUH, written by Margitta Buchert and Sarah Wehmeyer.
Margitta Buchert Sarah Wehmeyer
Newsletter

October 13, 2022

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Report on the Intermediate Meeting at LUH, Hanover/Germany

Margitta Buchert Sarah Wehmeyer
Workshop Thursday #2
Workshop Friday #5
Workshop Thursday #3
This is a report on the TACK 6th Intermediate meeting @LUH, written by Margitta Buchert and Sarah Wehmeyer.
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.
Case Study Note Presentation Site writing

Two objects and a visit

Photo of the book cover 'Lo studio di Wimbleton', © Filippo Cattapan
The object of this visit is a short novel, which has been later “translated” into a movie. The book is Lo stadio di Wimbledon by Daniele Del Giudice, while the movie is entitled Le stade de Wimbledon and it has been directed by Mathieu Amalric. Perhaps we could say that the visit has two objects, a book and a movie, or even, more precisely, that the real object of the inquiry at a certain point turned to be the intermediate operation of translation from the book to the movie. It is in fact in this gap or relation between the two, that it seemed possible to retrace a meaningful series of tacit reasons and of cultural connections, which were hiding behind the static singularity of the two considered in their autonomy.
Filippo Cattapan
Case Study Note Presentation Site writing

June 17, 2020

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Two objects and a visit

Filippo Cattapan
Photo of the book cover 'Lo studio di Wimbleton', © Filippo Cattapan
The object of this visit is a short novel, which has been later “translated” into a movie. The book is Lo stadio di Wimbledon by Daniele Del Giudice, while the movie is entitled Le stade de Wimbledon and it has been directed by Mathieu Amalric. Perhaps we could say that the visit has two objects, a book and a movie, or even, more precisely, that the real object of the inquiry at a certain point turned to be the intermediate operation of translation from the book to the movie. It is in fact in this gap or relation between the two, that it seemed possible to retrace a meaningful series of tacit reasons and of cultural connections, which were hiding behind the static singularity of the two considered in their autonomy.

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.
Exhibition Model TACK Exhibition Object

Model Haarlemmerplein

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

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Model Haarlemmerplein

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

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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.
Conference Paper Open Access Publication Paper

Urban Predation: The symbolic economy of the Pixo

Image 02: Denilson Baniwa Yawareté Mural Artist: Denilson Baniwa Photo: Rafaela Campos Alves , © Creative Commons
ABSTRACT
This essay proposes an analysis using the “symbolic economy of predation” to provide new perspectives on the question of pixo. For this, pixo will be considered as any act on walls, building facades, asphalt or monuments rejecting the hierarchical separations between writing, scribbling, painting or graffiti imposed by the art system and other institutions. In Amerindian ontology, as Viveiros de Castro describes, the feeding regime is the predominant model upon which relations are perceived. The predator and prey duality stands as the archetypical role ruling interactions between different subjectivities and perspectives. This “symbolic economy” permeates social relations and translates them into a particular epistemology shared by many indigenous peoples throughout the Amazon region. We aim to consider the relationships between those who practice pixo and the city through an analogy with the predator and prey dialectic. We argue that, on the one hand, these taggers get symbolical dominion over the city’s territory by marking places with their signatures, thus gaining recognition from their peers; on the other, the city - represented by formal governmental and economic institutions - preys upon taggers by criminalizing their practice as vandalism and by socioeconomically excluding peripheral populations, thus denying their access and right to the city itself. Pixo is a reaction to the passive role imposed on society that gains critical and artistic qualities as a practice of protest, endorsing its predatory performance. This analogy intents provide a new perspective to describe the city and its complex relations with the aesthetical and social realities of its inhabitants. A distinct description of the urban relations that might enable planners and policymakers to evaluate socio-political phenomena within the city through a new set of lenses, allowing the development of innovative approaches to tackle and decriminalize conflictual practices as the pixo.
Eric Crevels Alice Queiroz
Conference Paper Open Access Publication Paper

March 25, 2021

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Urban Predation: The symbolic economy of the Pixo

Eric Crevels Alice Queiroz
Image 02: Denilson Baniwa Yawareté Mural Artist: Denilson Baniwa Photo: Rafaela Campos Alves , © Creative Commons
Image 03: Topo Museu de Artes e Ofícios e Artes nos Edifícios no Centro de Belo Horizonte Photo: Magno Dias, © Creative Commons
Viveiros de Castro, Eduardo. “Metafísicas Canibais: Elementos para uma antropologia pós-estrutural”. São Paulo, Cosac Naify, 2015
ABSTRACT
This essay proposes an analysis using the “symbolic economy of predation” to provide new perspectives on the question of pixo. For this, pixo will be considered as any act on walls, building facades, asphalt or monuments rejecting the hierarchical separations between writing, scribbling, painting or graffiti imposed by the art system and other institutions. In Amerindian ontology, as Viveiros de Castro describes, the feeding regime is the predominant model upon which relations are perceived. The predator and prey duality stands as the archetypical role ruling interactions between different subjectivities and perspectives. This “symbolic economy” permeates social relations and translates them into a particular epistemology shared by many indigenous peoples throughout the Amazon region. We aim to consider the relationships between those who practice pixo and the city through an analogy with the predator and prey dialectic. We argue that, on the one hand, these taggers get symbolical dominion over the city’s territory by marking places with their signatures, thus gaining recognition from their peers; on the other, the city - represented by formal governmental and economic institutions - preys upon taggers by criminalizing their practice as vandalism and by socioeconomically excluding peripheral populations, thus denying their access and right to the city itself. Pixo is a reaction to the passive role imposed on society that gains critical and artistic qualities as a practice of protest, endorsing its predatory performance. This analogy intents provide a new perspective to describe the city and its complex relations with the aesthetical and social realities of its inhabitants. A distinct description of the urban relations that might enable planners and policymakers to evaluate socio-political phenomena within the city through a new set of lenses, allowing the development of innovative approaches to tackle and decriminalize conflictual practices as the pixo.
Drawing Exhibition TACK Exhibition Object

The Yield of the Land

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

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The Yield of the Land

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

Glassplitter / Broken glass

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

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Glassplitter / Broken glass

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

Re-enacting Le Corbusier’s way of sketching

Paula Strunden and Desilava Petkova (as students) are re-enacting the Le Corbusier's style to sketch.
Paula Strunden Desislava Petkova Angelika Schnell Eva Sommeregger Academy of Fine Arts Vienna, Institute for Art and Architecture
Diagram Drawing Presentation Video

November 13, 2012

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Re-enacting Le Corbusier’s way of sketching

Paula Strunden Desislava Petkova Angelika Schnell Eva Sommeregger Academy of Fine Arts Vienna, Institute for Art and Architecture
Paula Strunden and Desilava Petkova (as students) are re-enacting the Le Corbusier's style to sketch.
Review

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

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

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

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

Concrete Column, Pirelli Learning Centre

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

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Concrete Column, Pirelli Learning Centre

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

From Critical Spatial Practice to Site-Writing

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

June 14, 2022

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From Critical Spatial Practice to Site-Writing

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

Arteplagemodell Swiss National Expo 02

Arteplagemodell Biel, Mst. 1:1500. Forum und Expopark. 26 x 115 x 80 cm. Ist Teil von: Architekturmodell. Arteplagemodelle der Direction artistique (Leitung: Pipilotti Rist). Herstellung: Koeppel & Martinez (bis 2003) (Modellbauer: LM-108202.1: Gn�nger LM-108202.2: Krpan Knopfel LM-108202.3: Kamm). April 1998. 26 x 113 x 80 cm.
A good example is the Swiss national Expo 02 that aimed to explore Switzerland’s identity under the banner ‘Nature and Artificiality’. During the preparatory phase, which lasted ten years, countless concepts were tested. In this phase, models often had the role of negotiating between organisers and the public.
Maxime Zaugg
Exhibition Model TACK Exhibition Object

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Arteplagemodell Swiss National Expo 02

Maxime Zaugg
Arteplagemodell Biel, Mst. 1:1500. Forum und Expopark. 26 x 115 x 80 cm. Ist Teil von: Architekturmodell. Arteplagemodelle der Direction artistique (Leitung: Pipilotti Rist). Herstellung: Koeppel & Martinez (bis 2003) (Modellbauer: LM-108202.1: Gn�nger LM-108202.2: Krpan Knopfel LM-108202.3: Kamm). April 1998. 26 x 113 x 80 cm.
© TACK
A good example is the Swiss national Expo 02 that aimed to explore Switzerland’s identity under the banner ‘Nature and Artificiality’. During the preparatory phase, which lasted ten years, countless concepts were tested. In this phase, models often had the role of negotiating between organisers and the public.
Review

Konvolut – Annotated Bibliography on Tacit Knowledge

Book Collection on Tacit Knowledge by Filippo Cattapan, Photo: Filippo Cattapan, 2023, © Filippo Cattapan
Eric Crevels (EC), Mara Trübenbach (MT), Hamish Lonergan (HL), Anna Livia Vørsel (AV), Jhono Bennett (JB), Filippo Cattapan (FC), Caendia Wijnbelt (CW), Paula Strunden (PS), Ionas Sklavounos (IS), Claudia Mainardi (CM) compiled this bibliography with comments as part of the TACK Network training between 2019-2023.
Eric Crevels Anna Livia Vørsel Mara Trübenbach Filippo Cattapan Claudia Mainardi Paula Strunden Ionas Sklavounos Jhono Bennett Caendia Wijnbelt Hamish Lonergan
Review

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Konvolut – Annotated Bibliography on Tacit Knowledge

Eric Crevels Anna Livia Vørsel Mara Trübenbach Filippo Cattapan Claudia Mainardi Paula Strunden Ionas Sklavounos Jhono Bennett Caendia Wijnbelt Hamish Lonergan
Book Collection on Tacit Knowledge by Filippo Cattapan, Photo: Filippo Cattapan, 2023, © Filippo Cattapan
Book collection on Tacit Knowledge of Hamish Lonergan, Photo: Hamish Lonergan, 2023, © Hamish Lonergan
Book Collection on Tacit Knowledge of Jhono Bennett, Photo: Jhono Bennett, 2023
Book collection on Tacit Knowledge of Mara Trübenbach , Photo: Mara Trübenbach, 2023, © Mara Trübenbach
Book Collection on Tacit Knowledge of Ionas Sklavounos, Photo: Ionas Sklavounos, 2023, © Ionas Sklavounos
Eric Crevels (EC), Mara Trübenbach (MT), Hamish Lonergan (HL), Anna Livia Vørsel (AV), Jhono Bennett (JB), Filippo Cattapan (FC), Caendia Wijnbelt (CW), Paula Strunden (PS), Ionas Sklavounos (IS), Claudia Mainardi (CM) compiled this bibliography with comments as part of the TACK Network training between 2019-2023.
Essay Lecture / Talk Reader Reflection Teaching Element

Conversation – Lara Schrijver, Peg Rawes and Margitta Buchert

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

April 28, 2022

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Conversation – Lara Schrijver, Peg Rawes and Margitta Buchert

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

RE-enactment

In 2015 we exhibited our work in this gallery and made some spatial interventions, including coloured columns, such as this one. These interventions represented our way of thinking, reflecting, acting, and communicating. We believe that a RE-enactment of a part of this exhibition fits well within the TACK framework. We thus proposed to RE-instal a column.
Architecten Jan De Vylder Inge Vinck
Exhibition TACK Exhibition Object

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RE-enactment

Architecten Jan De Vylder Inge Vinck
© TACK
In 2015 we exhibited our work in this gallery and made some spatial interventions, including coloured columns, such as this one. These interventions represented our way of thinking, reflecting, acting, and communicating. We believe that a RE-enactment of a part of this exhibition fits well within the TACK framework. We thus proposed to RE-instal a column.
Essay

Return from the Future: The Concept of Retroactivity

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

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Return from the Future: The Concept of Retroactivity

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

Beyond Virtual-Reality

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

October 12, 2020

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Beyond Virtual-Reality

Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
© Paula Strunden
This lecture explores VR’s potential beyond its visual territory and probes how it can be used to explore the multimodality of spatial experiences and atmospheres.
Paper Session ACTORS TACK Conference Proceedings

Paperwork and Wordcraft: Institutionality at IAUS

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

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Paperwork and Wordcraft: Institutionality at IAUS

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

Four Square Levels

Complete perspective of the empty object.Carabanchel, Madrid, 2021. Photo: Samuel H. Ramírez.
For the past three years, I have been researching assembly methods that can join together different post-consumer objects found in the street without the use of glue or screws.  
Samuel H. Ramirez
Model TACK Exhibition Object

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Four Square Levels

Samuel H. Ramirez
Complete perspective of the empty object.Carabanchel, Madrid, 2021. Photo: Samuel H. Ramírez.
© TACK
For the past three years, I have been researching assembly methods that can join together different post-consumer objects found in the street without the use of glue or screws.  
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.
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.
Exhibition TACK Exhibition Object

The B-Sides. Tupaia, Kybernetes & Lara Croft

This book exhibits the B-sides of my dissertation – ideas that were cut from the final version but that have nonetheless proven promising. Dealing with post-digital forms of navigation, it juxtaposes the stories of Polynesian navigator Tupaia, Ancient Greek Kybernetes and Lara Croft’s avatar.
Eva Sommeregger
Exhibition TACK Exhibition Object

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The B-Sides. Tupaia, Kybernetes & Lara Croft

Eva Sommeregger
© TACK
This book exhibits the B-sides of my dissertation – ideas that were cut from the final version but that have nonetheless proven promising. Dealing with post-digital forms of navigation, it juxtaposes the stories of Polynesian navigator Tupaia, Ancient Greek Kybernetes and Lara Croft’s avatar.
Exhibition Model TACK Exhibition Object

Concept model, ‘Innerer Garten’, Zürich Leutschenbach

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

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Concept model, ‘Innerer Garten’, Zürich Leutschenbach

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

Infra-thin Magick

The performative extended reality model "Infra-thin Magick" allows you to experience how such insights can be purposefully evoked by displacing and reassembling the components constituting your multimodal and synaesthetic spatial perception. It invites you to co-create embodied spatiality through active participation and play.
Paula Strunden
Presentation TACK Exhibition Object

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Infra-thin Magick

Paula Strunden
© TACK
The performative extended reality model "Infra-thin Magick" allows you to experience how such insights can be purposefully evoked by displacing and reassembling the components constituting your multimodal and synaesthetic spatial perception. It invites you to co-create embodied spatiality through active participation and play.
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 Case Study Conference Paper Paper

2022

A Joint of Many Worlds: Entangled Stories in Battaile en Ibens’s 78+ Construction System in Timber

© Eric Crevels
ABSTRACT
This paper explores the distinct networks of technical and embodied knowledge present in the development of the 78+ construction system in timber, designed in the 1970-80s by Flemish design office Battaile Ibens. It develops the history of the knooppunt, a joint of a particular material and technical complexity that structures the system’s wooden beams and cross-shaped columns, and argues for the understanding of architecture and construction as complex constellations of different crafts and skills, including but not limited to architectural design and engineering. Design and technical decisions are traced in parallel to economic and marketing strategies, weaving together social and material phenomena that shaped the system’s history. From the initial designs and prototyping, through publicity decisions and appearances in international expositions, until its idealization in the office’s approach, the history of the knooppunt exemplifies the interplay between different stakeholders and knowledge orbiting the technological development of construction systems.
Eric Crevels
Book chapter Case Study Conference Paper Paper

2022

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A Joint of Many Worlds: Entangled Stories in Battaile en Ibens’s 78+ Construction System in Timber

Eric Crevels
© Eric Crevels
© Eric Crevels
© Eric Crevels
ABSTRACT
This paper explores the distinct networks of technical and embodied knowledge present in the development of the 78+ construction system in timber, designed in the 1970-80s by Flemish design office Battaile Ibens. It develops the history of the knooppunt, a joint of a particular material and technical complexity that structures the system’s wooden beams and cross-shaped columns, and argues for the understanding of architecture and construction as complex constellations of different crafts and skills, including but not limited to architectural design and engineering. Design and technical decisions are traced in parallel to economic and marketing strategies, weaving together social and material phenomena that shaped the system’s history. From the initial designs and prototyping, through publicity decisions and appearances in international expositions, until its idealization in the office’s approach, the history of the knooppunt exemplifies the interplay between different stakeholders and knowledge orbiting the technological development of construction systems.
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.
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.
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
Exhibition Model TACK Exhibition Object

Maputo Land Rover

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

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Maputo Land Rover

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

55°42’14.8”N 12°33’18.4”E

This film, 55°42’14.8”N 12°33’18.4”E, is produced in collaboration with Vandkunsten & Arkitema Architects as part of the EU-project CIRCuIT. It focuses on strategies for circular construction in regenerative cities, exploring a post-industrial area in Copenhagen before it undergoes urban renewal.
Sofie Stilling
Exhibition TACK Exhibition Object Video

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55°42’14.8”N 12°33’18.4”E

Sofie Stilling
© TACK
This film, 55°42’14.8”N 12°33’18.4”E, is produced in collaboration with Vandkunsten & Arkitema Architects as part of the EU-project CIRCuIT. It focuses on strategies for circular construction in regenerative cities, exploring a post-industrial area in Copenhagen before it undergoes urban renewal.
Exhibition Model TACK Exhibition Object

Playa Blanca, Bankers, and the Pivotal Point

I made this 1:200 working model entitled ‘Playa Blanca, Bankers and the Pivotal Point’ during my time at the Städelschule Frankfurt. The three-dimensional knot bent from copper wire combines investigations into rotational symmetries, the programmatic linking of living and working environments, and early aesthetic explorations into the consequences of parametric design models. This physical model formed the basis for a series of digital models whose gene codes continue to shape the work of our office in terms of methods and aesthetics to this day.
Holger Hoffmann One Fine Day architects
Exhibition Model TACK Exhibition Object

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Playa Blanca, Bankers, and the Pivotal Point

Holger Hoffmann One Fine Day architects
© TACK
I made this 1:200 working model entitled ‘Playa Blanca, Bankers and the Pivotal Point’ during my time at the Städelschule Frankfurt. The three-dimensional knot bent from copper wire combines investigations into rotational symmetries, the programmatic linking of living and working environments, and early aesthetic explorations into the consequences of parametric design models. This physical model formed the basis for a series of digital models whose gene codes continue to shape the work of our office in terms of methods and aesthetics to this day.
Drawing TACK Exhibition Object

Kunsthaus Glarus II, Drawing as a Synthesis, 2019

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

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Kunsthaus Glarus II, Drawing as a Synthesis, 2019

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