Studio-TA.Territory of architecture

Архитектурное бюро Studio-TA основано в 2007 году. В бюро работают архитекторы, инженеры и конструкторы с многолетним стажем, всех их объединяет ответственное отношение к работе, кропотливость и творческие амбиции. Бюро занимается проектированием жилых комплексов, общественных зданий, офисов продаж, коттеджей, мастер-планов градостроительных образований, арт-объектов. Большинство проектов реализовано. Основой проектного подхода являются забота о безопасности и эстетическом удовольствии людей, комфортная среда обитания, экономика проектного и строительного процессов. Архитектурное бюро Studio-TA предлагает индивидуальные архитектурные и конструктивные решения для любого жилого и коммерческого пространства. В книге представлены проекты бюро из всех областей деятельности, как реализованные, так и находящиеся на стадии проектирования.

Transgression suggests operating beyond accepted norms and radically reinterpreting practice by pushing at the boundaries of both what architecture is, and what it could or even should be. The current economic crisis and accompanying political/social unrest has exacerbated the difficulty into which architecture has long been sliding: challenged by other professions and a culture of conservatism, architecture is in danger of losing its prized status as one of the pre-eminent visual arts. Transgression opens up new possibilities for practice. It highlights the positive impact that working on the architectural periphery can make on the mainstream, as transgressive practices have the potential to reinvent and reposition the architectural profession: whether they are subverting notions of progress; questioning roles and mechanisms of production; aligning with political activism; pioneering urban interventions; advocating informal or incomplete development; actively destabilising environments or breaking barriers of taste. In this new dispersed and expanded field of operation, the balance of architectural endeavour is shifted from object to process, from service to speculation, and from formal to informal in a way that provides both critical and political impetus to proactively affect change. Contributors: Can Altay, Edward Denison and Guangyu Ren, Kim Dovey, Chris Jenks, David Littlefield, Silvia Loeffler, Alistair Parvin, Louis Rice, Patrik Schumacher and Robin Wilson Featured architects: atelier d’architecture autog?r?e, Lina Bo Bardi, Construire/La Machine, EXYZT, Didier Faustino/Bureau des M?sarchitectures, Lacaton & Vassal, N55, Catie Newell/*Alibi Studio, Wang Shu, Superflex and Bernard Tschumi

Despite the exaggerated news of the untimely 'death of the detail' by Greg Lynn, the architectural detail is now more lifelike and active than ever before. In this era of digital design and production technologies, new materials, parametrics, building information modeling (BIM), augmented realities and the nano-bio-information-computation consilience, the detail is now an increasingly vital force in architecture. Though such digitally designed and produced details are diminishing in size to the molecular and nano levels, they are increasingly becoming more complex, multi-functional, high performance and self-replicating. Far from being a non-essential and final finish, this new type of highly evolved high-tech detail is rapidly becoming the indispensable and critical core, the (sometimes iconic) DNA of an innovative new species of built environmental form that is spawning in scale and prominence, across product, interior, urban and landscape design. This issue of AD re-examines the history, theories and design of the world’s most significant spatial details, and explores their innovative potentials and possibilities for the future of architecture. Contributors include: Rachel Armstrong, Nic Clear, Edward Ford, Dennis Shelden, Skylar Tibbits. Featured architects: Ben van Berkel, Hernan Diaz Alonso, Peter Macapia, Carlo Ratti, Philippe Rahm, Patrik Schumacher, Neil Spiller.

Take a theoretical approach to architecture with The Autopoiesis of Architecture, which presents the topic as a discipline with its own unique logic. Architecture's conception of itself is addressed as well as its development within wider contemporary society. Author Patrik Schumacher offers innovative treatment that enriches architectural theory with a coordinated arsenal of concepts facilitating both detailed analysis and insightful comparisons with other domains, such as art, science and politics. He explores how the various modes of communication comprising architecture depend upon each other, combine, and form a unique subsystem of society that co-evolves with other important autopoietic subsystems like art, science, politics and the economy. The first of two volumes that together present a comprehensive account of architecture's autopoiesis, this book elaborates the theory of architecture?s autopoeisis in 8 parts, 50 sections and 200 chapters. Each of the 50 sections poses a thesis drawing a central message from the insights articulated within the respective section. The 200 chapters are gathering and sorting the accumulated intelligence of the discipline according to the new conceptual framework adopted, in order to catalyze and elaborate the new formulations and insights that are then encapsulated in the theses. However, while the theoretical work in the text of the chapters relies on the rigorous build up of a new theoretical language, the theses are written in ordinary language ? with the theoretical concepts placed in brackets. The full list of the 50 theses affords a convenient summary printed as appendix at the end of the book. The second volume completes the analysis of the discourse and further proposes a new agenda for contemporary architecture in response to the challenges and opportunities that confront architectural design within the context of current societal and technological developments.

This is the second part of a major theoretical work by Patrik Schumacher, which outlines how the discipline of architecture should be understood as its own distinct system of communication. Autopoeisis comes from the Greek and means literally self-production; it was first adopted in biology in the 1970s to describe the essential characteristics of life as a circular self-organizing system and has since been transposed into a theory of social systems. This new approach offers architecture an arsenal of general comparative concepts. It allows architecture to be understood as a distinct discipline, which can be analyzed in elaborate detail while at the same time offering insightful comparisons with other subject areas, such as art, science and political discourse. On the basis of such comparisons the book insists on the necessity of disciplinary autonomy and argues for a sharp demarcation of design from both art and engineering. Schumacher accordingly argues controversially that design as a discipline has its own sui generis intelligence – with its own internal logic, reach and limitations. Whereas the first volume provides the theoretical groundwork for Schumacher’s ideas – focusing on architecture as an autopoeitic system, with its own theory, history, medium and its unique societal function – the second volume addresses the specific, contemporary challenges and tasks that architecture faces. It formulates these tasks, looking specifically at how architecture is seeking to organize and articulate the complexity of post-fordist network society. The volume explicitly addresses how current architecture can upgrade its design methodology in the face of an increasingly demanding task environment, characterized by both complexity and novelty. Architecture’s specific role within contemporary society is explained and its relationship to politics is clarified. Finally, the new, global style of Parametricism is introduced and theoretically grounded.

Once condemned by Modernism and compared to a ‘crime’ by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology. Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the ‘subjective’ – the human interaction that ornament requires in both its production and its reception – and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today’s ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?

In recent years, questions of space have gained renewed momentum in architecture and urban design, as adaptation, densification and sustainable regeneration have become an increasing priority. While most computing-based design tends to emphasise the formal aspects of architecture, overlooking space and its users, the ‘original’ computational design approaches first spearheaded in the UK in the 1960s and 1970s tended to be focused on behavioural and occupational patterns. Over the last decade, a new generation of design research has emerged that has started to implement and validate previous investigations into spatial computation, aiming to understand how to design spatial configurations based on user experiences. This revives an interest in the experiential that was first explored in the early 20th century by German and Nordic organic architects, who invented design methods that correlated cognitive responses of buildings' occupants to spatial structure. The current revival of human-centric design, however, represents the first design approach that synthesises spatial design and algorithmic techniques with organic design thinking, which could also be regarded as a return to the ‘first principles' of architectural design. Contributors include: Paul Coates, Christian Derix, Olafur Eliasson, Lucy Helme, Bill Hillier, ?smund Izaki, Prarthana Jagannath, Dan Montello, Juhani Pallasmaa, Philip Steadman and Guy Theraulaz. Featured Architects/Designers: Jussi ?ngeslev? (Art+Com), Stan Allen, Aedas|R&D, Markus Braach (Kaisersrot), Hermann Hertzberger, Kazuhiro Kojima (Cat), Pablo Miranda and Rafi Segal.

Organised into 9 parts that highlight a wide range of architectural motives, such as ‘Architecture as Theatre’, ‘Stretching the Vocabulary’ and ‘The City of Large and Small’, the workbook provides inspiring key themes for readers to take their cue from when initiating a design. Motives cover a wide-range of work that epitomise the theme. These include historical and Modernist examples, things observed in the street, work by current innovative architects and from Cook’s own rich archive, weaving together a rich and vibrant visual scrapbook of the everyday and the architectural, and past and present.

First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing. For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself.

We are in the second decade of the 21st century and, as with most things, the distinction between digital and analogue has become tired and inappropriate. This is also true in the world of architectural drawing, which paradoxically is enjoying a renaissance supported by the graphic dexterity of the computer. This new fecundity has produced a contemporary glut of stunning architectural drawings and representations that could rival the most recent outpouring of architectural vision in the 1960s, 1970s and 1980s. Indeed, there is much to learn by comparing the then and the now. The contemporary drawing is often about its ability to describe the change, fluctuations and mutability of architecture in relation to the virtual/real 21st-century continuum of architectural space. Times have changed, and the status of the architectural drawing must change with them. This reassessment is well overdue, and this edition of AD will be the catalyst for such re-examination. Features the work of: Pascal Bronner, Bryan Cantley, Peter Cook, Perry Kulper, CJ Lim, Tom Noonan, Dan Slavinsky, Neil Spiller, Peter Wilson, Nancy Wolf, Lebbeus Woods and Mas Yendo. Contributors include: Nic Clear, Mark Garcia, Simon Herron and Mark Morris.