UNDISCIPLINED CMU: A DESIGN-BUILD MASONRY STUDIO is the book that document the project of the same name. The book was done during the Summer of 2015 in collaboration with Pier Paolo Pala, Chau Tran and Yuliya Veligurskaya, students who took part on the Spring semester making the project. The book is available for purchase here and to view online here.
Studio Instructor, Editor, 2015.
Methods and Media is an exhibition and a lecture at the BB Gallery of the Rhode Island School of Design after an invitation by faculty members Emanuel Admassu and Aaron Forrest.
Methods and Media, the exhibition, is the exploration of the unconstruction process of the A(n) Office/McEwen Studio House Opera, as I video-documented it during a single week in Detroit. The exhibition includes three 13:57 minutes films, Duration, Ascending and Rooms, and one 1:52 minutes video showing the transformed house. Each film shows a rather systematic approach to the measured capacities of the video-media, and dissects the five-days of footage, analyzing the time-extensions of each clip taken, the sound variations, and the ambiguous perception of space through the camera lens.
Exhibition Design, Curatorial Framework, Lecturer, 2015.
urbanNext* conducted three interviews on my “work with A(n) Office” in Detroit, a “Designer’s Approach” and my “Curatorial Approach” for the US Pavilion for the 2016 Venice Architecture Biennale.
They can be accessed here.
* urbanNext is an online platform aiming to generate a global network to produce content focused on rethinking architecture through the contemporary urban milieu.
Architecture of Industriousness is a short text part of House Housing: An Untimely History ofArchitecture and Real Estate in Nineteen Episodes, exhibition’s pamphlet, made for the traveling exhibition Venice’s Casa Muraro during the summer of 2014, and off-Venice Biennale site. Also available on the web at http://www.house-housing.com.
Research and Production Coordinator for the Venice part of the exhibition by the Buell Center of the Study of American Architecture, 2014.
Post-Speculation Act I was an exhibition at P! Gallery featuring HOWDOYOUSAYYAMINAFRICAN. A project with A(n) Office, we designed the exhibition and installation of multimedia images and videos, as well as objects. 28 screens where displaying news and artists’ work related to urgent racial issues, subverting the typical surveillance display into a revealing and exposure device. It engaged the public audience of the street outside as well as the gallery visitors from within.
Anonymous symposium presentation on the panel Commonisms, at the Princeton University School of Architecture with A(n) Office, 2013.
Video documentation of the event here.
PG-Arch, a project for the exhibition Locating Out-sourcing at Studio-X Mumbai, departs from the acronyms used in the industry as a provocation for its architecture, from the Perfectly Generic Architecture (equivalent to the Professional Golf Association) to a Politically Generated Architecture. Photo shows Pangea3 headquarters, one of the largest legal-outsourcing services provider based in New York and Mumbai (photo by author, 23″x23″).
Curator, Designer, Participant, 2013.
Promiscuous Encounters: Addressing/Assessing Adhocracy, a day-long event held at the Galata Greek School after an invitation form the curatorial team for the first Istanbul Design Biennial in November 2012, examined the exhibition ADHOCRACY curated by Joseph Grima through the lens of: invisibility, design, value and commons.
Participants: Ethel Baraona Pohl, Ute Meta Bauer, Francisco Díaz, Bogachan Dundarlp, Joseph Grima, Nikolaus Hirsch, Omer Kanipak, Nina Valerie Kolowratnik, Marcelo López-Dinardi, Marina Otero-Verzier, Erhan Oze, Felicity D. Scott, Pelin Tan, Mark Wasiuta.
Organizer, Moderator, 2012.
Interpretations: Promiscuous Encounters, a day-long event held at the Graduate School of Architecture, Planning and Preservation in March 2012, examined the interplay between the critical, curatorial, and conceptual capacities of architecture, and their promises exchanges. Neither audio nor video recordings were made.
Participants: Keller Easterling, Andrés Jaque, Reinhold Martin, Mitch McEwen, Markus Miessen, Felicity D. Scott, Pelin Tan, Rodrigo Tisi, and Mark Wasiuta.
Curated by: Francisco Díaz, Nina Valerie Kolowratnik, Marcelo López-Dinardi, Marina Otero-Verzier.
After researching the cities of Rio de Janeiro, Brasilia and São Paulo in Brazil we identified leisure, void, security, industry, body, tourism and monumentality as drivers of the forms of desire. With and ever expanding economy, Brazil has become the world’s eighth economy and the destination for countless local and international events. The research was organized through three analytical lenses -the Imagined City, the Ideological City and the Informal City- and worked with the hypothesis that in Brazil the imaginary of desire is employed to promulgate the worshipping of the body, the architectural object and the staging of both within the diverse urban and natural contexts of the country. This destination of great social and cultural contrasts like emptiness and monumentality in Brasilia, the geographical fragmentation of Rio de Janeiro as well as the self governance model that occurs in its favelas, or the congestion and cultural typological hybridity in São Paulo- proved to be a great challenge in order to investigate Brazil as container and producer of a Form of Desire.
Exhibition held at the Old Armory of the Spanish Navy of Puerto Rico’s National Gallery
Old San Juan, Puerto Rico, 2010.
Instructor, Researcher, Exhibition Curator-Designer, San Juan, 2010.
For more information you can download a complete pamphlet here: ciudadlab-pamphlet-web
Sense Recession: What Comes Next? was a lecture series inquiring and exploring architectural practices as they emerged or were formulated out of the financial crash (not crisis) of 2008.
Xavi Sempere – Culdesac, Spain; José Luis Vallejo & Belinda Tato, Ecosistema Urbano, Spain; Giancarlo Mazzanti – Colombia; Carmina Sánchez del Valle, Hampton University, USA; Sabine Müller – SMAQ, Germany; Mitch McEwen – SUPERFRONT, USA.
Lecture Series Director, School of Architecture, Polytechnic University of Puerto Rico, 2009-2010.
(Complete lecture series text below)
We are reaching the end of the 21st century’s first decade and it would seem that architecture has been trying to achieve what it could not in the last decade of the 20th: anything at all. The discipline, the practice, and its pedagogy struggle to breathe within a sea of uncertainties fed by an entropic past that threatens to drown them at the turn of the century. The resulting confusion could be embodied in a series of questions: What are architects doing today? What do they worry about? What are their commitments, and what is the sense of their architectural production? Has architecture as building been displaced by architecture as event?
Architects are still doing architecture – in capital or lowercase letters, whatever is preferred – but even the postmodern “everything goes” attitude that burst a bubble of projects unimaginable just fifteen or twenty years ago has lost today its capacity to surprise the public. The incessant repetition of architectural projects that seem to have been conceived in the same womb is just further proof of the inertia that guides many of today’s architectural practices, which simply replicate or emulate images born from an uncertain –although shared– imaginary, with little space for the acknowledgement of possible (and unavoidable) shifts.
Much like the invention of perspective dramatically changed architectural meaning and representation during the Renaissance, today’s mediatized infrastructure of visualization has replaced architectural work as an end in itself, promoting instead the autonomy of its ephemeral reading. Contemporary architecture has left us, then, with a repertory of virtual realities that are closer in nature to Hollywood’s cinematography of escapism than to the particularities of a cultural practice, which presupposes a universe of spectacle out of phase with the vicissitudes of its historical moment.
The hard realities derived from the financial crisis, the permanent state of environmental emergency, the insurmountable conflicts between nations, the insufficiencies of social justice, the breakdown of the neoliberal economic model, the overpopulation of cities, among others subjects, mark an epoch of media coverage that highlights, as it also questions, the relevance of the trafficking of fantastic images within the discipline. Without a doubt, the current imaginary of intentions, references and abjections that once nourished the practice is approaching a state of crisis due to its sudden lack of pertinence. In this context of uncertainty, it behooves us to discuss architecture’s future venues and agendas as the new century progresses.
As has occurred in many other disciplines that are subject to the ups and downs of markets and capital, the worldwide economic recession or depression has altered the way we think about the architectural project, in what could become a radical change of direction that may be significant enough to be included in the annals of architectural history. Architecture has never been –nor does it appear to be– marginalized from the ideologies that feed the world’s financial engines, yet these ideologies have now desisted from promoting architecture without certain fear. It is worth to approach, consequently, the new macroeconomic shifts from a more critical and less opportunistic perspective, taking advantage from this sudden lack of interest.
The end of history was announced decades ago, and some have already put an end to capitalism as we know it. In Chilean writer Jorge Edward’s own words: “Casino capitalism, venturous and full of frantic speculation, has failed, and now we’re faced with the no less important important task of re-founding a more reasonable and human capitalism. No serious person, as far as I know, has ever thought that the answer may lie in going back to the past century’s real socialisms.” Therefore, if contemporary societies are looking for new paradigms that range from a non-self-regulating neoliberal economy to a post-socialist model of social justice, architecture cannot afford to prolong its alienating stance of defending technological nirvana as the panacea for the evils faced during the (20th) 21st century.
Finding the multiple relevancies of our discipline goes far beyond innovating its mechanisms of production or merely nourishing a dazzling visual and formal spectrum. It is through the conscious and sensible problematization of the commission and the implementation of mechanisms of management and execution, adequate to the specificities of a given place, that architecture has achieved –in recent times– better results. Conceiving and recognizing public space as dynamic and inclusive, reconsidering existing structures instead of promoting brand new projects, exploring materials in a conscious, intelligent way, reconciling our social and natural environments, inserting critical discourse instead of merely showing off formal bravura in publications (in spite of the non-critical trend of forgoing criticism), giving opportunities to emerging thinkers, diversifying the discipline, and reconsidering housing prototypes as key components of the city, are some of the issues that appear to claim relevance in the reformulation of the architectural product for a contemporary practice. Today, the opportunities for inclusion and open experimentation offered by the multiple realities that condition the architectural project transcend the opposition between local and global as an illness inherited from the last century, pointing instead to hybridized models and risk-taking experiments.
Debates on practice and education should focus on the tumbling relevance of architectural work, both as articulated on paper, with letters and drawings, and as built with more or less permanent materials. While not meant to be used as redemptive devices, the anxieties and impulses that bind architecture to art and speculative thinking should otherwise remain outside of our objections. They assure the development of the discipline hand in hand with the vestiges of a humanist tradition that will continue to be instrumental for the pedagogy and the production of what will be called architecture during the following years of the century that has just begun.
The Roundtable Discussion Series began as a complement to the first CIUDADLAB course offered at ArqPoli in 2005. The conversations were conducted with the idea of bringing to the school multi-disciplinary issues pertinent to our discipline. The invited panelists came from a wide spectrum and fields, provoking more than mere conversations, but vivid debates that nurtured the students’ concerns and understanding of the career’s scope.
– Suburban City: Mutation and Variation of the Dispersed Model
– Method, Concept, Matter: the Re-education of Architecture
– Leisure and Business: the New Geographies of Public Space
– The Neoliberal Landscape: the Territory Economics
– Body and Domesticity: the New Culture of Makeover
– Radical Inertia: Professionalism, Guild and Academy
– The State of Architecture Today (with Kenneth Frampton)
Director, Moderator, School of Architecture, Polytechnic University of Puerto Rico, 2005-2010.
For the initial part of the course, first year undergraduate students where confronted to notions of place and context. An analytical city study was developed through the layering of cartographic drawings including a vast variety of the city’s visible and invisible infrastructure. Mixed media, hand drawn.
Studio Instructor, 2007.