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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

Book chapter TACK Book

Exploring Spatial Perception through Performative 1:1 Extended Reality Models: Preliminary insights from Infra-thin Magick

© TACK
ABSTRACT
Building on scenography, performance theory and findings from neurosciences, tacit knowing in architecture is understood here as embodied, embedded and enacted perceptual dimension of our built environment. Through art- and design-based research, tacitly knowing is examined as a form of practice and a new extended reality (XR) design tool is probed to exercise it. Since the atmospheric turn in architecture (Böhme 2017, McCormack 2014, Bille et al. 2015), it is well known that spatial perception is multi-sensory and that the interplay of our senses goes beyond the cross-fertilization of sight, touch, taste, smell and hearing. Nevertheless, architectural designers may have only touched the surface of what we might be able to feel regarding our spatial environments. Apart from the sensation of our movement and whether our environment is too hot or cold, our abilities to feel space physically remain challenging to represent and communicate through conventional architectural tools. This includes i.e. our sense of balance, our ability to feel time passing, our knowledge of which of our body parts are where without having to look at them, and our sense of gravity, orientation, and illumination. Some of these “always-there-but-never-felt” sensations can be revealed and physically experienced when entering a fully immersive virtual environment for the first time. As our brain takes a split second to adjust to the novel surroundings, it is at this moment that we can suddenly sense our senses at work. The XR case study “Infra-thin Magick”, exhibited as part of Speculative Fiction at the Academy of Fine Arts Vienna in 2022, explains how such unanticipated insights can be purposefully evoked by displacing and reassembling the components constituting our multimodal and synaesthetic spatial perception. Leaning on the design theoretician Thea Brejzek and Lawrence Wallan’s understanding of the “autonomous model”, this performative real-time and -scale XR model that oscillates between physical installation and virtual reality (VR) experience is employed as an operative tool for designing and analyzing spatial experiences beyond the known sensations of our built environment. First user-testing results are presented, and the premise of the autonomous model to co-create reality and allow architects to research through active participation, first-hand experience, discovery, and play are brought to light.
Paula Strunden
Book chapter TACK Book

November 1, 2022

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Exploring Spatial Perception through Performative 1:1 Extended Reality Models: Preliminary insights from Infra-thin Magick

Paula Strunden
© TACK
ABSTRACT
Building on scenography, performance theory and findings from neurosciences, tacit knowing in architecture is understood here as embodied, embedded and enacted perceptual dimension of our built environment. Through art- and design-based research, tacitly knowing is examined as a form of practice and a new extended reality (XR) design tool is probed to exercise it. Since the atmospheric turn in architecture (Böhme 2017, McCormack 2014, Bille et al. 2015), it is well known that spatial perception is multi-sensory and that the interplay of our senses goes beyond the cross-fertilization of sight, touch, taste, smell and hearing. Nevertheless, architectural designers may have only touched the surface of what we might be able to feel regarding our spatial environments. Apart from the sensation of our movement and whether our environment is too hot or cold, our abilities to feel space physically remain challenging to represent and communicate through conventional architectural tools. This includes i.e. our sense of balance, our ability to feel time passing, our knowledge of which of our body parts are where without having to look at them, and our sense of gravity, orientation, and illumination. Some of these “always-there-but-never-felt” sensations can be revealed and physically experienced when entering a fully immersive virtual environment for the first time. As our brain takes a split second to adjust to the novel surroundings, it is at this moment that we can suddenly sense our senses at work. The XR case study “Infra-thin Magick”, exhibited as part of Speculative Fiction at the Academy of Fine Arts Vienna in 2022, explains how such unanticipated insights can be purposefully evoked by displacing and reassembling the components constituting our multimodal and synaesthetic spatial perception. Leaning on the design theoretician Thea Brejzek and Lawrence Wallan’s understanding of the “autonomous model”, this performative real-time and -scale XR model that oscillates between physical installation and virtual reality (VR) experience is employed as an operative tool for designing and analyzing spatial experiences beyond the known sensations of our built environment. First user-testing results are presented, and the premise of the autonomous model to co-create reality and allow architects to research through active participation, first-hand experience, discovery, and play are brought to light.
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

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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.
Drawing Exhibition TACK Exhibition Object

Public Drawings, Atelier Bow-Wow

For architects, hand drawing is not only an important tool to grasp the history, experience, and knowledge of a place but also a space of tacit negotiation with peers and others. After the 2011 Tōhoku earthquake struck Japan, Atelier Bow-Wow began to produce collective hand drawings on large paper sheets, on which several work simultaneously, to jointly find a better future. This approach was further developed with students in different public spaces.
Momoyo Kaijima
Drawing Exhibition TACK Exhibition Object

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Public Drawings, Atelier Bow-Wow

Momoyo Kaijima
© TACK
For architects, hand drawing is not only an important tool to grasp the history, experience, and knowledge of a place but also a space of tacit negotiation with peers and others. After the 2011 Tōhoku earthquake struck Japan, Atelier Bow-Wow began to produce collective hand drawings on large paper sheets, on which several work simultaneously, to jointly find a better future. This approach was further developed with students in different public spaces.
Note Review Site writing

Book Corner: ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism by Jane Rendell (2010)

Rendell, J. (2010) ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism
The introduction to the author’s positional body of work, sets the theoretical and intellectual context for the ideas underpinning Site-Writing as a practice and their aims in giving voice to this form of practice. The author uses seminal writers on phycology, art-practice and philosophy as figures to guide their later theories and discusses the relationship between architecture and art-critique as reflective and positional practices.
Jhono Bennett Anna Livia Vørsel
Note Review Site writing

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Book Corner: ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism by Jane Rendell (2010)

Jhono Bennett Anna Livia Vørsel
Rendell, J. (2010) ‘Pre-Positions’, in Site-Writing: The Architecture of Art Criticism
The introduction to the author’s positional body of work, sets the theoretical and intellectual context for the ideas underpinning Site-Writing as a practice and their aims in giving voice to this form of practice. The author uses seminal writers on phycology, art-practice and philosophy as figures to guide their later theories and discusses the relationship between architecture and art-critique as reflective and positional practices.
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.
Book Open Access Publication Site writing

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

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

June 1, 2018

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

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

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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.
Paper Session VECTORS TACK Conference Proceedings

(Un)Programming the Factory: Weaving Panopticon Stories

ABSTRACT
This paper departs from practice-based research developed in Coelima, a Portuguese textile factory under socio-spatial dismantlement, to investigate the relationships between its assembly line, stories, and weaving. I ask how sets of tacit knowledge developed through workers' stories and temporal hand-weaving practices can provide new directions for architectural design to reimagine alternative 'poethical' (Retallack, 2003) working modes in the assembly line. To do so, I build upon workers' stories, which refer to acts of surveillance experienced in the weaving department under capital efficiency (Giedion, 1948), to investigate the tacit process of patterning stories through weaving (Kruger, 2001; Albers, 1959). Words taken from the workers' stories are designed as weave draft notations, or 'panopticon patterns', through a collaborative event with a group of former workers of Coelima to generate a site-specific textile language and knowledge. Although this knowledge can only be transmitted via experience, repetition, and performative making (Nimkulrat, 2012), I suggest that it can evoke emancipatory possibilities for workers and architects to reimagine socially and spatially other configurations for the assembly line grounded in ideas of industrial commons (Rappaport, 2021). Finally, I argue that knowledge acquired from weaving, weave draft notations and stories can provide creative means for architectural design to (un)program work control and time in Coelima's assembly line while re-evaluating issues of (post)work, pleasure, and productivity within the contemporary workplace.
Fernando Ferreira
Paper Session VECTORS TACK Conference Proceedings

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(Un)Programming the Factory: Weaving Panopticon Stories

Fernando Ferreira
ABSTRACT
This paper departs from practice-based research developed in Coelima, a Portuguese textile factory under socio-spatial dismantlement, to investigate the relationships between its assembly line, stories, and weaving. I ask how sets of tacit knowledge developed through workers' stories and temporal hand-weaving practices can provide new directions for architectural design to reimagine alternative 'poethical' (Retallack, 2003) working modes in the assembly line. To do so, I build upon workers' stories, which refer to acts of surveillance experienced in the weaving department under capital efficiency (Giedion, 1948), to investigate the tacit process of patterning stories through weaving (Kruger, 2001; Albers, 1959). Words taken from the workers' stories are designed as weave draft notations, or 'panopticon patterns', through a collaborative event with a group of former workers of Coelima to generate a site-specific textile language and knowledge. Although this knowledge can only be transmitted via experience, repetition, and performative making (Nimkulrat, 2012), I suggest that it can evoke emancipatory possibilities for workers and architects to reimagine socially and spatially other configurations for the assembly line grounded in ideas of industrial commons (Rappaport, 2021). Finally, I argue that knowledge acquired from weaving, weave draft notations and stories can provide creative means for architectural design to (un)program work control and time in Coelima's assembly line while re-evaluating issues of (post)work, pleasure, and productivity within the contemporary workplace.
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.
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.
Review

Book Corner: Canteiros da Utopia

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

December 16, 2021

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Book Corner: Canteiros da Utopia

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

Chozos, Houses of Nomadic Shepherds

Chozos in Cabeza del Buey. On the left the traditional chozo, on the right the demountable chozo that has toured to Germany and now Switzerland. Photo: Marie Kuch
The chozos are traditional huts that up until about 50 years ago were built by shepherds in rural Spain as they moved around the fields with their sheep. This chozo was constructed in September 2022 by sixteen students from the University of Stuttgart during an intense exchange with experts in southern Spain.
Alba Balmaseda Dominguez Kyra Bullert Špela Setzen Markus Vogl
Exhibition Model TACK Exhibition Object

October 5, 2022

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Chozos, Houses of Nomadic Shepherds

Alba Balmaseda Dominguez Kyra Bullert Špela Setzen Markus Vogl
Chozos in Cabeza del Buey. On the left the traditional chozo, on the right the demountable chozo that has toured to Germany and now Switzerland. Photo: Marie Kuch
© TACK
The chozos are traditional huts that up until about 50 years ago were built by shepherds in rural Spain as they moved around the fields with their sheep. This chozo was constructed in September 2022 by sixteen students from the University of Stuttgart during an intense exchange with experts in southern Spain.
Exhibition Model TACK Exhibition Object

Clay Landscape

This 1:1000 landscape model made from clay shows the site of a prominent 12th century church and graveyard located between two housing areas, Tensta and Rinkeby, built during the 1960´s as part of the Million Programme in Stockholm, where we are currently adding a wall of housing combined with an assembly hall, 100 metres long. In our practice we have used this kind of clay model for numerous projects over the years.
Ola Broms Wessel Klas Ruin Spridd
Exhibition Model TACK Exhibition Object

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Clay Landscape

Ola Broms Wessel Klas Ruin Spridd
© TACK
This 1:1000 landscape model made from clay shows the site of a prominent 12th century church and graveyard located between two housing areas, Tensta and Rinkeby, built during the 1960´s as part of the Million Programme in Stockholm, where we are currently adding a wall of housing combined with an assembly hall, 100 metres long. In our practice we have used this kind of clay model for numerous projects over the years.
Image Interview Reflection

Echoes from the Venice Biennale TACK Visit

Image 01 “First Image”, Serbian Pavilion, Caendia Wijnbelt, © Caendia Wijnbelt
Caendia Wijnbelt and Paula Strunden reflect upon two images of the Venice Biennale 2021.
Paula Strunden Caendia Wijnbelt
Image Interview Reflection

November 1, 2021

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Echoes from the Venice Biennale TACK Visit

Paula Strunden Caendia Wijnbelt
Image 01 “First Image”, Serbian Pavilion, Caendia Wijnbelt, © Caendia Wijnbelt
Image 02 “Another Image”, Brazilian Pavilion, Caendia Wijnbelt, © Caendia Wijnbelt
Caendia Wijnbelt and Paula Strunden reflect upon two images of the Venice Biennale 2021.
Paper Session VECTORS TACK Conference Proceedings

Rooms: Architectural Model-Making as Ethnographic Research

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

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Rooms: Architectural Model-Making as Ethnographic Research

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

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

By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147, © By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147
ABSTRACT
The first restoration proposals to emerge after fire destroyed Notre Dame Cathedral’s roof and spire were jokes. The more serious schemes that followed Prime Minister Edouard Philippe’s announcement of a competition – many markedly similar, recreating what was lost in glass– were collected on mainstream design media websites like Dezeen where they attracted an unusually high volume of angry comments, accusing the architects of insensitivity. Soon after, Ulf Mejergren Architects’ proposal to replace Notre Dame’s roof with a meditative pool was edited into a carpark. It sparked a series of increasingly outlandish edits – first a multi-story carpark, then a ball pit – before the French Senate declared that there would be no competition after all. This at times absurd online interest might be new for architectural competitions, but it is easily explained through meme theory, as conceived of by scholars like Limor Shifman and Ryan Milner: systems of interconnected units of cultural exchange operating on both wider cultural and specific sub-cultural levels. In this essay I contend that meme theory can be used, in reverse, to analyse reactions to, and similarities between, even the most serious Notre Dame proposals. In applying this framework, we can begin to understand how competitions operate more broadly as part of a complex network online and how they relate to traditional competition conditions.
Hamish Lonergan
Essay Journal Article Open Access Publication

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

Hamish Lonergan
By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147, © By GodefroyParis - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78090147
ABSTRACT
The first restoration proposals to emerge after fire destroyed Notre Dame Cathedral’s roof and spire were jokes. The more serious schemes that followed Prime Minister Edouard Philippe’s announcement of a competition – many markedly similar, recreating what was lost in glass– were collected on mainstream design media websites like Dezeen where they attracted an unusually high volume of angry comments, accusing the architects of insensitivity. Soon after, Ulf Mejergren Architects’ proposal to replace Notre Dame’s roof with a meditative pool was edited into a carpark. It sparked a series of increasingly outlandish edits – first a multi-story carpark, then a ball pit – before the French Senate declared that there would be no competition after all. This at times absurd online interest might be new for architectural competitions, but it is easily explained through meme theory, as conceived of by scholars like Limor Shifman and Ryan Milner: systems of interconnected units of cultural exchange operating on both wider cultural and specific sub-cultural levels. In this essay I contend that meme theory can be used, in reverse, to analyse reactions to, and similarities between, even the most serious Notre Dame proposals. In applying this framework, we can begin to understand how competitions operate more broadly as part of a complex network online and how they relate to traditional competition conditions.
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.
Book

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

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

October 20, 2023

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

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

6 December 2021

TACK Talks #3: Narratives of Tacit Knowledge

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

6 December 2021

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TACK Talks #3: Narratives of Tacit Knowledge

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

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
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.
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 TACK Exhibition Object

Post CIAM

At the last CIAM conference held in Otterlo in 1959, members of Team 10, including Alison and Peter Smithson, Aldo van Eyck, Daniel van Ginkel, Blanche Lemco, and John Voelcker, enacted an ironic funeral procession, presumably carrying CIAM to its grave. It was captured on film by Jaap Bakema. After the demise of CIAM, Bakema initiated a newsletter to keep the network updated. Between 1959 and 1981 he compiled 18 such newsletters, which comprised a summary of contributions he received from around the world.
Dirk van den Heuvel Nieuwe Instituut (HNI)
Exhibition TACK Exhibition Object

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Post CIAM

Dirk van den Heuvel Nieuwe Instituut (HNI)
© TACK
At the last CIAM conference held in Otterlo in 1959, members of Team 10, including Alison and Peter Smithson, Aldo van Eyck, Daniel van Ginkel, Blanche Lemco, and John Voelcker, enacted an ironic funeral procession, presumably carrying CIAM to its grave. It was captured on film by Jaap Bakema. After the demise of CIAM, Bakema initiated a newsletter to keep the network updated. Between 1959 and 1981 he compiled 18 such newsletters, which comprised a summary of contributions he received from around the world.
Book chapter Essay

Introduction to “Entwerfen Erforschen: Der performative turn in der Architekturlehre” (2016)

© Angelika Schnell
This is the introduction to the book "Angelika Schnell, Eva Sommeregger, Waltraud Indrist (Hrsg.), Entwerfen Erforschen: Der performative turn in der Architekturlehre, Birkhäuser Publishers, Basel/Berlin/Boston 2016".
Angelika Schnell
Book chapter Essay

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Introduction to “Entwerfen Erforschen: Der performative turn in der Architekturlehre” (2016)

Angelika Schnell
© Angelika Schnell
This is the introduction to the book "Angelika Schnell, Eva Sommeregger, Waltraud Indrist (Hrsg.), Entwerfen Erforschen: Der performative turn in der Architekturlehre, Birkhäuser Publishers, Basel/Berlin/Boston 2016".
Lecture / Talk Object Session LINEAGES

Re-enacting Tacit Knowledge in Colonial Mapping Practices

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

June 20, 2023

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Re-enacting Tacit Knowledge in Colonial Mapping Practices

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

Bridging architectural knowledge and lived experience through apprenticeship

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

March 23, 2023

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Bridging architectural knowledge and lived experience through apprenticeship

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

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.
Essay Open Access Publication

Domestic Italy After WWII: Collecting Stories from Middle-Class Houses

In their essay entitled, “Domestic Italy After WWII: Collecting Stories from Middle-Class Houses” published in Candide. Journal of Archtiectural Knowledge in 2015, Gaia Caramellino and Filippo De Pieri address a series of methodological challenges raised by the inquiry on ordinary residential environment and the diverse forms of communicating and transferring knowledge between the different cultures of the communities of practices engaged in its production.
Gaia Caramellino
Essay Open Access Publication

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Domestic Italy After WWII: Collecting Stories from Middle-Class Houses

Gaia Caramellino
In their essay entitled, “Domestic Italy After WWII: Collecting Stories from Middle-Class Houses” published in Candide. Journal of Archtiectural Knowledge in 2015, Gaia Caramellino and Filippo De Pieri address a series of methodological challenges raised by the inquiry on ordinary residential environment and the diverse forms of communicating and transferring knowledge between the different cultures of the communities of practices engaged in its production.
Interview Video

THE POWER OF SILENT ARCHITECTURAL DESIGN KNOWLEDGE

Tom Avermaete and Hamish Lonergan were interviewed by Gabrielle Attinger from the EU Grants Access in Zürich about their perspective on the TACK project.
Tom Avermaete Hamish Lonergan
Interview Video

March 1, 2022

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THE POWER OF SILENT ARCHITECTURAL DESIGN KNOWLEDGE

Tom Avermaete Hamish Lonergan
Tom Avermaete and Hamish Lonergan were interviewed by Gabrielle Attinger from the EU Grants Access in Zürich about their perspective on the TACK project.
TACK Conference Proceedings

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

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

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

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

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

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

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

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