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

50 Objects

Exhibition TACK Exhibition Object

25 Objects of Belonging

‘Objects of belonging’ are found or ready-made objects that users adapt to redefine the conventional boundaries of a home. These objects’ tacit presence dissolves where the house begins and ends, blurring boundaries between urban and domestic spheres.
Samantha Ong Ariel Bintang
Exhibition TACK Exhibition Object

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25 Objects of Belonging

Samantha Ong Ariel Bintang
© TACK
‘Objects of belonging’ are found or ready-made objects that users adapt to redefine the conventional boundaries of a home. These objects’ tacit presence dissolves where the house begins and ends, blurring boundaries between urban and domestic spheres.
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.
Exhibition Model TACK Exhibition Object

20-11-2021

HERMIA

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

20-11-2021

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HERMIA

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

TACK Talks #3: Architecture and its Tacit Dimensions

© TACK
Held at the Institut für Kunst und Architektur, Akademie der Bildenden Kunst Wien, this is the initiating event in the 3rd round of TACK talks: Communities of Tacit Knowledge: Architecture and its Ways of Knowing 
Lara Schrijver Tom Avermaete Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
Lecture / Talk Video

October 11, 2021

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TACK Talks #3: Architecture and its Tacit Dimensions

Lara Schrijver Tom Avermaete Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
© TACK
Held at the Institut für Kunst und Architektur, Akademie der Bildenden Kunst Wien, this is the initiating event in the 3rd round of TACK talks: Communities of Tacit Knowledge: Architecture and its Ways of Knowing 
Exhibition Model TACK Exhibition Object

Clay 3D Print of Urmein

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

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Clay 3D Print of Urmein

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

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

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

July 19, 2023

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

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

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

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

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

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

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

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

July 13, 2023

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

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

Texture Kortrijk – Jewel Box

Wooden model (1/400), representing an existing warehouse and its extension. The orthogonal cast-iron column structure of the existing building is continued in the lightweight steel building on top. The new beams connect the column grid diagonally and at two different heights. The result of logic structural thinking is an unexpected golden crown. The museum Texture celebrates the prosperous past of the flax industry in the region, that used to give the river Schelde a golden shine.
An Fonteyne
Exhibition Model TACK Exhibition Object

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Texture Kortrijk – Jewel Box

An Fonteyne
© TACK
Wooden model (1/400), representing an existing warehouse and its extension. The orthogonal cast-iron column structure of the existing building is continued in the lightweight steel building on top. The new beams connect the column grid diagonally and at two different heights. The result of logic structural thinking is an unexpected golden crown. The museum Texture celebrates the prosperous past of the flax industry in the region, that used to give the river Schelde a golden shine.
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.
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.
Book chapter TACK Book

Hunting Tacit Knowledge: Encounters in architectural education at ILAUD and ETH

ABSTRACT
Tacit knowledge in architectural education is slippery. It encompasses a broad range of unconscious, embodied, social and otherwise hidden forms of knowing. On one hand, this means that it manifests in different ways depending on the pedagogical format or context. On the other, it resists explanation through the traditional, and largely explicit, tools of academic writing. Therefore, rather than seeking to define it, this paper proposes three approaches for locating and describing it. First, forms of tacit knowing—which we rely on, often without thinking, in our studio, school, or regional culture—become more visible in “moments of encounter” between communities. Second, discussions and negotiations of tacit knowledge often occur through architectural materials: drawings, models, texts, buildings. Third, “moments of tacit encounter” require more evocative and speculative methods of writing and representation, with different evidentiary standards. To test these approaches, this paper narrates two “moments of encounter” as case studies, encompassing different pedagogical formats, actors, writing methods, and revealing different forms of tacit knowledge.   In 2020, I arrived at ETH Zurich, where I began an autoethnographic study of tacit knowledge in discussions between critics across design studios. I was drawn to the realistic models of Studio Caruso, which I first encountered in my architectural studies in Australia. There, they represented a hitherto unimaginable departure from model abstraction. In Zurich, though, some critics were less dazzled, questioning the labor they required. Elsewhere, realistic models had been at the center of right-wing outrage over a kiosk designed by Caruso’s office in Escher-Wyss Platz in 2007. Around these models, the tacit architectural expectations of various groups seemed to reveal itself.   In 2021, I organized a summer school in Rotterdam on summer schools. Over five days, we re-enacted a charette exercise originally set for the 1986 edition of the International Laboratory of Architecture and Urban Design (ILAUD): the summer workshops founded by Giancarlo de Carlo in Urbino. Summer schools are ephemeral in nature—intense, productive, social, life-changing, but only for a few weeks—leaving little evidence of their tacit dimension for us to study today. Re-enacting it ourselves, coming from different educational backgrounds, we started to understand something of what it must have felt like in 1986. We experienced the clashes and arguments, and overcome them through drawings or by discussing images, by talking in those informal moments on the staircase or over lunch.
Hamish Lonergan
Book chapter TACK Book

November 1, 2022

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Hunting Tacit Knowledge: Encounters in architectural education at ILAUD and ETH

Hamish Lonergan
ABSTRACT
Tacit knowledge in architectural education is slippery. It encompasses a broad range of unconscious, embodied, social and otherwise hidden forms of knowing. On one hand, this means that it manifests in different ways depending on the pedagogical format or context. On the other, it resists explanation through the traditional, and largely explicit, tools of academic writing. Therefore, rather than seeking to define it, this paper proposes three approaches for locating and describing it. First, forms of tacit knowing—which we rely on, often without thinking, in our studio, school, or regional culture—become more visible in “moments of encounter” between communities. Second, discussions and negotiations of tacit knowledge often occur through architectural materials: drawings, models, texts, buildings. Third, “moments of tacit encounter” require more evocative and speculative methods of writing and representation, with different evidentiary standards. To test these approaches, this paper narrates two “moments of encounter” as case studies, encompassing different pedagogical formats, actors, writing methods, and revealing different forms of tacit knowledge.   In 2020, I arrived at ETH Zurich, where I began an autoethnographic study of tacit knowledge in discussions between critics across design studios. I was drawn to the realistic models of Studio Caruso, which I first encountered in my architectural studies in Australia. There, they represented a hitherto unimaginable departure from model abstraction. In Zurich, though, some critics were less dazzled, questioning the labor they required. Elsewhere, realistic models had been at the center of right-wing outrage over a kiosk designed by Caruso’s office in Escher-Wyss Platz in 2007. Around these models, the tacit architectural expectations of various groups seemed to reveal itself.   In 2021, I organized a summer school in Rotterdam on summer schools. Over five days, we re-enacted a charette exercise originally set for the 1986 edition of the International Laboratory of Architecture and Urban Design (ILAUD): the summer workshops founded by Giancarlo de Carlo in Urbino. Summer schools are ephemeral in nature—intense, productive, social, life-changing, but only for a few weeks—leaving little evidence of their tacit dimension for us to study today. Re-enacting it ourselves, coming from different educational backgrounds, we started to understand something of what it must have felt like in 1986. We experienced the clashes and arguments, and overcome them through drawings or by discussing images, by talking in those informal moments on the staircase or over lunch.
Reflection Video

TACK Summer School Report: Re-enacting Tacit Knowledge

During the 20th century, summer schools emerged as influential moments of encounter and collaboration between students and teachers from diverse cultural contexts. Yet despite their persistence and prominence, there has been relatively little exploration of their role in architectural culture and education. Re-enacting Tacit Knowledge, a summer school about the tacit dimension of summer schools held at Het Nieuwe Instituut in September 2021, set out to fill this gap. The event formed part of the ongoing collaboration between the institute and the Horizons 2020 Innovative Training Network: TACK / Communities of Tacit Knowledge: Architecture and its Ways of Knowing.
Hamish Lonergan Nieuwe Instituut (HNI)
Reflection Video

September 1, 2021

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TACK Summer School Report: Re-enacting Tacit Knowledge

Hamish Lonergan Nieuwe Instituut (HNI)
During the 20th century, summer schools emerged as influential moments of encounter and collaboration between students and teachers from diverse cultural contexts. Yet despite their persistence and prominence, there has been relatively little exploration of their role in architectural culture and education. Re-enacting Tacit Knowledge, a summer school about the tacit dimension of summer schools held at Het Nieuwe Instituut in September 2021, set out to fill this gap. The event formed part of the ongoing collaboration between the institute and the Horizons 2020 Innovative Training Network: TACK / Communities of Tacit Knowledge: Architecture and its Ways of Knowing.
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.
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.
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

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 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.
Online Teaching Module

Understanding Architectural Design Studios as ‘Communities of Tacit Knowledge’

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

October 10, 2022

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Understanding Architectural Design Studios as ‘Communities of Tacit Knowledge’

Hamish Lonergan Tom Avermaete ETH Zürich, Department of Architecture
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
© Hamish Lonergan
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.
Reader

Konvolut

The Konvolut is a growing physical product, containing important material created by the TACK network, such as readers, programs, annotated bibliography, etc. Its concept was thought as a collection in an envelope that could grow with material over time. Its nature of being in-between and a work-in-progress fitted well with the idea of tacit knowledge. It’s playful design reflects its individual nature, as each envelope has grown differently for every owner.
Klaske Havik Tim Anstey Helena Mattsson
Reader

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Konvolut

Klaske Havik Tim Anstey Helena Mattsson
© Janina Gosseye
© Janina Gosseye
© Janina Gosseye
© Janina Gosseye
© Janina Gosseye
The Konvolut is a growing physical product, containing important material created by the TACK network, such as readers, programs, annotated bibliography, etc. Its concept was thought as a collection in an envelope that could grow with material over time. Its nature of being in-between and a work-in-progress fitted well with the idea of tacit knowledge. It’s playful design reflects its individual nature, as each envelope has grown differently for every owner.
Book Book chapter

The Tacit Dimension [Excerpt]

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

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The Tacit Dimension [Excerpt]

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

POSTHUMANIST SANDBOX: THE POTENTIAL OF MULTIPLAYER – ENVIRONMENTS

ABSTRACT
This paper seeks to reveal a novel assessment of creative production in academic education, re-evaluating the conceptual and artistic potential of virtual real-time collaboration through digital media. Allowing for transcultural exchange as well as global participation, this could positively influence the development of novel artistic approaches and innovative measures for universities by contributing to a more contemporary, location-independent, and ultimately more equal form of art and knowledge production.
Eva Sommeregger Valerie Messini
Conference Paper Paper

November 4, 2021

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POSTHUMANIST SANDBOX: THE POTENTIAL OF MULTIPLAYER – ENVIRONMENTS

Eva Sommeregger Valerie Messini
© Eva Sommeregger
ABSTRACT
This paper seeks to reveal a novel assessment of creative production in academic education, re-evaluating the conceptual and artistic potential of virtual real-time collaboration through digital media. Allowing for transcultural exchange as well as global participation, this could positively influence the development of novel artistic approaches and innovative measures for universities by contributing to a more contemporary, location-independent, and ultimately more equal form of art and knowledge production.
Drawing Exhibition TACK Exhibition Object

Ink Blot Drawings

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

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Ink Blot Drawings

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

Architectural Ethnography? Incipits, distances, horizons for research and teaching practices

Figura 1 – profili degli abitanti e nuove tipologie di stanze (ReCoDe 2019), © Gennaro Postiglione
ABSTRACT
Architectural ethnography has increasingly been a focus of attention thanks to recent studies carried out by Albena Yaneva or to practices and research carried out by Momoyo Kaijima with her Atelier Bow Wow. Starting from an interest in the specificities of ethnographical approaches if practiced by architects, or by professionals and researchers having particular attention to forms, materiality and uses of the space in the everyday, this article outlines a literature review on ethnography for designers. This review has been helpful in defining through convergences and distances a specific positioning that we are assuming in teaching and doing research for design. A path that led to further questions on the role of transcription (graphical, photographic, textual) in architectural ethnography, as well as to challenging the role of tradition and innovation in this recent stream of research. 
Gennaro Postiglione Paola Briata
Journal Article

June 18, 2022

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Architectural Ethnography? Incipits, distances, horizons for research and teaching practices

Gennaro Postiglione Paola Briata
Figura 1 – profili degli abitanti e nuove tipologie di stanze (ReCoDe 2019), © Gennaro Postiglione
Figura 3 – La mostra finale di Gratosoglio Ground Zero (2019) , © Gennaro Postiglione
Figura 4 – La vita attorno agli oggetti (QLHL 2020), © Gennaro Postiglione
ABSTRACT
Architectural ethnography has increasingly been a focus of attention thanks to recent studies carried out by Albena Yaneva or to practices and research carried out by Momoyo Kaijima with her Atelier Bow Wow. Starting from an interest in the specificities of ethnographical approaches if practiced by architects, or by professionals and researchers having particular attention to forms, materiality and uses of the space in the everyday, this article outlines a literature review on ethnography for designers. This review has been helpful in defining through convergences and distances a specific positioning that we are assuming in teaching and doing research for design. A path that led to further questions on the role of transcription (graphical, photographic, textual) in architectural ethnography, as well as to challenging the role of tradition and innovation in this recent stream of research. 
Essay

The American Pictures of the “Shrimps’ Vanguard”

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

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The American Pictures of the “Shrimps’ Vanguard”

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

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

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

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

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

Probing Tacit Knowledge. Codes of Tacit Knowledge

© Claudia Mainardi
Claudia Mainardi Gennaro Postiglione Gaia Caramellino Politecnico di Milano, Department of Architecture and Urban Studies
Online Teaching Module

March 10, 2023

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Probing Tacit Knowledge. Codes of Tacit Knowledge

Claudia Mainardi Gennaro Postiglione Gaia Caramellino Politecnico di Milano, Department of Architecture and Urban Studies
© Claudia Mainardi
© Claudia Mainardi
© Claudia Mainardi
© Claudia Mainardi
© Claudia Mainardi
© Claudia Mainardi
Lecture / Talk Video

Tack Talks #1: Cityförster

Verena Brehm CITYFÖRSTER Lara Schrijver Caendia Wijnbelt
Lecture / Talk Video

July 16, 2020

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Tack Talks #1: Cityförster

Verena Brehm CITYFÖRSTER Lara Schrijver Caendia Wijnbelt
© TACK
Frame from the online talk with Verena Brehm, Lara Schrijver, Caendia Wijnbelt, © TACK
A slide from Verena Brehm’s presentation, © Verena Brehm, Cityförster
Circular City principle: a frame from the presentation by Cityförster, © Cityförster
A slide from Verena Brehm’s presentation, © Cityförster
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.
Lecture / Talk Video

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

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

June 27, 2022

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

Jennifer Mack Tim Anstey Angelika Schnell Academy of Fine Arts Vienna, Institute for Art and Architecture
© TACK
© TACK
© TACK
© TACK
© TACK
Book

PORTRAITS

PORTRAITS is a significant publication that offers a unique perspective on fifteen major built works by the Dutch firm to date. These selected projects are portrayed as distinct characters with distinctive physiognomies, yet they belong to the same family and share similar features, hence the book's title.
Kees Kaan
Book

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PORTRAITS

Kees Kaan
PORTRAITS is a significant publication that offers a unique perspective on fifteen major built works by the Dutch firm to date. These selected projects are portrayed as distinct characters with distinctive physiognomies, yet they belong to the same family and share similar features, hence the book's title.
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.  
Paper Site writing

REFLECTIVE ANIMATION. Navigating the What-What

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

November 1, 2022

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REFLECTIVE ANIMATION. Navigating the What-What

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

On Method: Tacit Knowledge in the Expanded Field of Architecture

© Anna Livia Vørsel
Anna Livia Vørsel Helena Mattsson Helena Mattsson Jennifer Mack KTH Royal Institute of Technology, KTH School of Architecture
Online Teaching Module

February 10, 2022

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On Method: Tacit Knowledge in the Expanded Field of Architecture

Anna Livia Vørsel Helena Mattsson Helena Mattsson Jennifer Mack KTH Royal Institute of Technology, KTH School of Architecture
© Anna Livia Vørsel
© Anna Livia Vørsel
© Anna Livia Vørsel
© Anna Livia Vørsel
© Anna Livia Vørsel
© Anna Livia Vørsel