Proud and grateful of lecturing this Summer I at American University in Dubai .... two courses: History and Theory of Architecture III and (under Special Topics: Dubai) designing 1 square Kilometer in Dubai itself. For more information, here's the link
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Orgulloso y agradecido de impartir dos cursos en el próximo trimestre de verano de la American University in Dubai: Teoría e Historia de la Arquitectura 3 y (bajo título: Special Topics: Dubai) proyectaremos 1 kilómetro cuadrado del Dubai presente/futuro. Para más información, este es el enlace
Emoticono smil
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domingo, 20 de marzo de 2016
viernes, 18 de julio de 2014
SUPERDUBAI
SUPERDUBAI
(English version below)
(English version below)
“Si quieres saberlo todo sobre Andy Warhol
no tienes más que mirar la superficie de mis cuadros, mis películas y a mi
mismo, y estoy ahí. No hay nada detrás”[1]
Sin caer en la fascinación que
me provoca Dubai plantearé la hipótesis de que ésta se desarrolla desde
preceptos similares a los nacidos en las segundas vanguardias históricas de
1960-1970; en resumen porque la innovación de las artes plásticas desde
entonces se encuentra en la dialéctica de la relación
estructura-superestructura del sistema social del capitalismo tardío (frente al
entendimiento de la innovación como fruto maduro de la libertad creadora desde
una perspectiva romántica anterior).
La obsolescencia, la nueva
figuración, el objeto designado, el icono, lo “pop”, la reproductibilidad
mecánica, el minimalismo, la indisciplina y el juego son conceptos trasvasados
a Dubai desde dichas vanguardias y permiten acercarnos al entendimiento de la
ciudad como un proceso cercano a las artes plásticas desde dos perspectivas
diferentes, la primera centrada en la arquitectura como objeto construido, la
segunda entendida como espacio.
1.
Arquitecturas-objeto
Las
islas Palm, el Jumeirah Hotel, el Burj Al Arab o el Burj Khalifa pertenecen a
esta primera categoría en la que lo plástico, frente al espacio (asumido como
secundario), cualifica el objeto. Esta tendencia protagoniza lo particular, el detalle,
lo parcial; el culto a lo constructivo, a la tecnología o a la forma. En definitiva
valora al objeto en todas sus manifestaciones como lo que inevitablemente pretende
ser, un icono. Se representa a sí misma por su carácter “popular” y serán
instantáneos sus deslizamientos en el mundo de la publicidad, la televisión, el
cine[2],
etc… es decir en el repertorio icónico de la cultura de masas. A partir de su
inclusión en esta categoría resulta inevitable la obsolescencia, se diría
incluso que está programada “de serie”. La conocida obra: Just what is it that
makes Today’s Homes so Different, so Appealing?[3]
serviría aún como ilustración (IMAGEN 01) de esta postura “pop” de Dubai.
2.
Arquitecturas-espacio
Dubai
Marina, el Dubai Mall, Mall of the Emirates y, sobre todo, el futuro Mall of
the World[4]
representan la visión opuesta, en donde el espacio debería manipular, controlar
la forma, se supedita aunando las partes y la unidad es su principal cualidad. La
teoría arquitectónica demanda habitualmente conceptos cualitativos más
inestables como la densidad, la luz o los vacíos ... claro está, utilizados
dentro de la disciplina arquitectónica.
En esta
categoría nos encontramos también con un proceso claramente vanguardista en su
sentido más lúdico, lo múltiple, la copia y los procesos industriales de la
imagen popular se despliegan sin problema bajo el imprescindible techo que
posibilita, como acuñó Banham[5],
el well tempered environment. Visiones anticipatorias de Superstudio o
Archizoom (explícitamente de las segundas vanguardias históricas, IMAGEN 02[6])
desplegadas ahora en Dubai sin el peso crítico de las distopías italianas.
Incluso la cúpula fulleriana sobre Manhattan cobra sentido en la imagen que del
futuro tienen los visionarios gobernantes de Dubai (IMAGEN 03[7]).
Pero admitamos
ahora que la arquitectura no es lo uno ni lo otro, la arquitectura dialoga, se
desplaza inevitablemente entre estas dos categorías. Y no en equilibrio, porque
en su propia conceptualización la jerarquía espacial debería ordenar y dominar
(incluso en mayor medida con los condicionantes climáticos de la zona).
Fascinado,
ahora si, con el futuro Superdubai, propongo que lo experimental entre en
escena, porque supera la relación entre contenido y forma. Operando con
criterios experimentales (siempre y cuando los arquitectos[8]
no optemos por la autoexpulsión) y participar estratégicamente del diálogo
colectivo subterráneo sobre la nueva forma que, indudablemente, se está
produciendo. Aunque nos pesen las arquitecturas-objeto y arquitecturas-espacio mediatizadas
y transformadas en significantes mediante la reproducción.
Los objetos
con estatus de simulacro han muerto, viva el Sheiq!!
[1] Andy Warhol, En
Arte después de la modernidad (Brian
Wallis)
[2] Mission:
Impossible – Ghost Protocol, 2011
[3] Richard
Hamilton, 1956, This is Tomorrow exhibition
[4] The world's first temperature-controlled city, Mall of the World, located
along Sheikh Zayed Road in Dubai. Occupying a total area of 48 million sq. ft.,
the project will comprise the largest indoor theme park in the world, which
will be covered by a glass dome that will be open during the winter months. Folleto
turístico
[5] “El Edificio de
Administración Larkin era un sencillo acantilado de ladrillo herméticamente
sellado (uno de los primeros edificios con "aire acondicionado" en el
país) para mantener el espacio interior libre de los gases tóxicos del humo de
los trenes del centro de Nueva York que manaban al lado”. BANHAM, Reyner, The
architecture of the well tempered environment
[6] Monumento
Continuo (Superstudio), Non Stop City (Archizoom) y “Mall of the World”
[7] Cúpula sobre
Manhattan (Buckminster Fuller) y Planificación de Dubai del “Mall of the
World”, la primera “Ciudad de temperatura controlada”
[8] “El aprender de
la cultura popular no expulsará al arquitecto de su estatus en la alta cultura”.
VENTURI, Robert, Aprendiendo de las Vegas
___ENGLISH VERSION___
Super Dubai.
“If you want to know everything
about Andy Warhol, you don’t have to do anything more than to look closely at
my paintings, my films and at myself, where you will find me. There is nothing
else behind them.”
Without falling into the
fascination that causes me Dubai, I would say that the hypothesis which has
surrounded its development since similar precepts were born in the avant- garde
era of the 1960s. I say this because the innovation of plastic art forms since
this period is the reason why the relationship between structure and
superstructures of the capitalist social system took their time to develop (compared
to the understanding of innovation as a ripe fruit of creative freedom from a
previous romantic perspective).
Obsolescence, the new figuration,
the designated object, the icon, the "pop" mechanical reproduction,
minimalism, indiscipline and the game are concepts that have been used by Dubai
from avant- garde and allow us to get a better understanding of the city as a strict
process of visual arts from two different perspectives, the first focusing on
architecture as a constructed object and the second, understood as the space.
1. Architectures-object
The Palm, The Jumeirah Hotel, The Burj
Al Arab or The Burj Khalifa would come under the first category, in which the plastic
front space (presumed as the second), qualifies the object. This trend shows the
uniqueness, the detail, the partiality, the culture of the construction, the technology
and the form. Ultimately, it values the object in all its ways as it is
inevitably meant to be- an icon. It represents itself for its
"popular" character and it will be instant hit in the world of
advertising, television, film, etc ... ie the iconic repertoire of mass
culture. Since its inclusion in this obsolescence category is inevitable, people
might even say it is planned. "The well-known work: Just what is it that
makes today's homes so different, so appealing? It still would serve as an
illustration of this position "pop" of Dubai.
2. Architectures-space
The Dubai Marina, The Dubai Mall,
The Mall of the Emirates and, above all, the future Mall of the World represent
the opposite view, where the space should manipulate and control the shape, and
be dependent on the combining parts and the unity is its main quality. The architectural
theory usually demands more unstable qualitative concepts such as density,
light or empty space ... of course they are used in the architectural field.
In this category we
also find a distinctly avant-garde process in its playfulness, it multiplies, it
copies and the industrial processes of this popular image unfolds seamlessly
under the roof that allows essence, like when Banham coined the well tempered
environment. Anticipated visions of Superstudio or Archizoom (the latter
explicitly historical avant- garde) are deployed now in Dubai without the
critical weight of Italian dystopias. Even The Fulleriana dome over Manhattan projects
an image of the future of what the Dubai visionaries have.
But now we admit that architecture
is neither one nor the other, architectural dialogue, inevitably moves between
these two categories and not in equilibrium, because their own space
conceptualization and hierarchy should order and dominate (even more so with
the climatic conditions of the area).
Fascinated, now yes, if the future
Superdubai proposes that experiments can be allowed to enter the scene, because
it exceeds the relationship between content and form. Operating with an
experimental criteria (if architects do not opt for the exit door first ourselves)
and participating strategically using a collective underground dialogue on the
new form is undoubtedly occurring. Although we find the Architectures-object and
Architectures-space too heavy and
transformed into something meaningful by reproduction.
The objects with a simulation
status are dead. Long live the Sheik!
Etiquetas:
arabia,
archizoom,
arquitectura radical,
articulo,
AUD,
ciclo,
docencia,
dubai,
miguel luengo,
monumento continuo,
no stop city,
Perspectivas Urbanas,
superstudio,
universidad europea de madrid
martes, 11 de marzo de 2014
Dubai School of Architecture competition:
Dubai Supersc(h)ool of architecture / The CLOUD
A school of architecture located anywhere should be
attractive, interesting and probably beautiful but a school of architecture in
DUBAI has to be INSPIRING, FUN AND SUPERCOOL.
Students must be inspired by this visionary city with a
contemporary/future artifact (aka performative device) that takes its context
into account and acknoledges it. Concepts like TALLNESS, GLOSSINESS, SIMBOLISM,
HYPERLINKS, PERFORMANCE, WEATHER, IDENTITY, ACTION and MIDDLE EAST should be
part of the ecuation… of even should be the ecuation itself.
Let’s make a CLOUD, an scarce and valuable feature that will
hide (and seek) the personal and CREATIVE world of architecture students into a
misterious and reflective material. SUPER ANISH KAPOOR.
The CLOUD has set its own rules regarding geometry and orientation
because even if the exterior ambiguously reflects reality and disguises itself
(like an alien device) the interior hides a MECCA pointer, we should’t forget
the importance of this cosmic locator, a global urban planner for the interior.
The exterior is, indeed, designed according to a radical
understanding of the sun cycle. Therefore the cloud will hide behind a double
skin of mirror-like aluminum and thermal insulation facing strict SOUTH and
will allow strange organisms to GROW on the other side of the cloud. Just like
MOSS growing on the north face of tree trunks. Besides NORTH orientation
overlooks the ARABIC GULF. SUPER COOL!.
EAST and WEST orientations are similar and just the main 2
auditoriums (cut out from the east facade, to enjoy Dubai’s unique SUNRISE)
ICONICALLY distinguish themselves from the bulk of the 5 ROWS (5 GRADES) of
emerging classrooms (or MUSSELS).
Everything directly related to the world of the students (where
our focus is) will happen INSIDE the cloud: Cafeteria, workshops, drawing
rooms, computers, labs, debate clubs, unions… The social+welfare THEATRE is
performed as a continuous LOOP that will poetically connect and commute all the
school activities (or, if you’re not in the loop, then you’re not.. period).
On ground floor (although looking UP…) the school will drop
the rest of the functions (Dorms, Service area and Professional Practice), common
Chicago-alike tall buildings tangled below the cloud’s LEGS. A mimetic version
of the modern and standard old-fashioned surrounding skyscrapers. Let’s keep up
with GROUND FLOOR IDENTITY!!.
And on the top, right were the cloud ends you’ll find three
iconic DOMES, muslim inspired volumes that will connect and match the required,
and probably more real IDENTITY of the place.
A NEW CITY DEMANDS A NEW TYPOLOGY.
1-Random-like (standard) tall buildings. The ROCKS.
The fist layer embraces familiarity as this blocks develop a
dejà vù impression… just as if these 5 blocks were already there when the cloud
arrived…
Materiality is an issue. Today’s facades are tomorrow’s
reminders of fashion, therefore let’s take advantage of fashion and use the
south sides of our 5 buildings as billboards, perfored textile skins that will
cover and protect the content of the blocks also providing an always updated
image to the city (the Metro, highway).
Behind this fashionable layer traditional middle east
materials show up reinterpreted with contemporary means and techniques. Adobe
and mud will be specifically selected and used in ventilated facades. Middle
east precast concrete.
2-Glossy and reflecting THE CITY around it. The CLOUD acts
as a camouflage-identity device. It covers the “standard” blocks with its
misterious and natural aura. The CLOUD is specialized regarding orientation:
South sun is agressive in DUBAI, therefore the reflecting aluminum layer covers
and protects its precious content (knowledge and creativity). Because of the
SUN,no specific objects/functions emerge from this facade.
Also it faces an extraordinary DUBAI feature: SHEIKH ZAYED
road and metro that will be reflected in our cloud.
North side, though, is filled up with emerging elements such
as two main ASSEMBLY HALLS and 5 levels of classrooms (from 1st grade to 5th
grade). TALKATIVE ARCHITECTURE (Ledoux dixit).
3- The 3 DOME watchtowers/lighthouses perform a twofold
duty, they allocate the library, Phd and DUBAI urban research+investors
building and Top of the CLOUD (as extraordinary academic events space). TOP
functions that belong to our SUPERSkool. Besides they accomplish an important
architectural task such as defining IDENTITY. They refer to traditional muslim
domes embracing history with contemporary means.
M- the classrooms must be eloquent as they preserve and
share inspiration + knowledge, therefore they naturally grow like MOSS in the
north face of the CLOUD providing DUBAI with formal/iconic devotion (and
overlooking the ARAB GULF!!!).
A- Special events, academic conferences, final thesis design
presentations & scholar symposiums deserve special spaces. The two ASSEMBLY
HALLS boldly highlight in EAST facade like Melnikov’s disciples.
E- The SPIRAL. Here is were everything happens because a
school of architecture belongs to students. This is their TERRITORY. As natural
ascendant/descendant landscape that performs all the necessary activities &
events of this talkative and extrovert sKool.
The core of this stage (like a theatre) is a dramatic void,
the absence of matter as essential creator of space, of possibilities… where
there is architecture, nothing else might happen. Rem Koolhaas.
martes, 4 de febrero de 2014
Séptimo ciclo de PERSPECTIVAS URBANAS:
La Escuela de Arquitectura de la Universidad Europea de Madrid asume como Proyecto Cultural y Docente y como actividad académica estratégica y prioritaria el mantenimiento de las Jornadas de “Perspectivas Urbanas” que se han venido celebrando desde 2005 en colaboración con la Fundación COAM dando lugar a la colección del mismo nombre, y cuyo número 4 ‐“periferias interiores, centralidades periféricas”‐ ha sido editado recientemente a cargo de la Universidad Europea.
La colección nace en 2004 de la necesidad de afrontar la creciente complejidad que caracteriza el fenómeno urbano ‐hoy podemos hablar de situación crítica ‐, de analizar procesos, modos y proyectos de intervención a muy distintas escalas y desde observatorios muy diversos, y en suma de anticiparse al futuro: explorar perspectivas para clarificar objetivos y proyectar con menores cuotas de incertidumbre y mayores de integración.
En estas séptimas jornadas conectaremos con Dubai (Prof. Tala Vaziri) con una "corresponsalía" de Miguel Luengo este jueves 6 de Febrero a las 16:00h.
jueves, 9 de enero de 2014
WORKSHOP: Diagrammatic architecture. American University in Dubai (AUD):
Thank you all AUD family!!!
El
19,20 y 21 de Enero, Miguel Luengo estará en la American University in Dubai
(Departamento de Arquitectura. Escuela de Arquitectura, Arte y Diseño)como
profesor invitado junto a la (asombrosa) Tala Vaziri impartiendo un workshop de
Teoría y Diseño Arquitectónico que hemos llamado: "DIAGRAMMATIC
ARCHITECTURE".
Más
info en ISSUU
See you there, dear AUD professors and students!!!
PROGRAMME///
A
diagram is architecture. Without the need to transform it into something
“higher”. Le Corbusier, with regards to abstraction wrote in 1923 "It appeals to the highest
faculties by its very abstraction. Architectural
abstraction is both specific and magnificent in a way that, rooted in brute
fact, it spiritualizes it. The brute fact is subject to the idea only through
the order that is projected upon it”.
Contemporary
architects (such as OMA, SANAA, Ben Van Berkel, MVRDV...) reconsidered the
powerful idea of abstraction and transformed it into an architectural tool, a
device to visualize, put together and match complex connections or links.
The
goal of this workshop is twofold, first to analyze contemporary examples of
diagrammatic architecture in order to understand the inner (although
controversial) logic and power of this design tool.
A
theorethical background of diagrams will also be provided and discussed with
the students. From Durand treaty to OMA’s Library in Seattle through Peter
Eisenman’s works on the 70’s and 80’s as part of the concept’s big picture.
The
second goal ot the workshop will embrace the diagrammatic logic as a design
tool.
We’ll
use an ongoing international competition for an Architecture School Tower in
Dubai that would “offer an alternative environment for studying and traning to
become an Architect within this global city” (from the brief of the
competition).
For
the Architecture School Tower, each group of students
will
develop a DIAGRAMMATIC skyscraper that will adress
the
International Competition brief. A graphic translation
of
the original programme will be provided and each group
will
have to add an extra 20% of an original, unusual, even
strange
function as a catalyst of the whole proposal.
The
site will be located next to AUD facilities as showed
later.
STRATEGY///
Analyse
the programme for the building. Make it a vertical (or not exactly) arrangement
where the stacking is logical. Make a cutaway sectional model of solid
material, for instance wood, polystyrene foam or coloured slices of plasticine.
Study various stacking possibilities by
shifting storeys around, rotating them, creating voids, and so forth. Examine
any patterns emerging from the vertical routeing and logistics, from the
direction of lights and views, or from
the storey height. Keep going until a useful vertical concept emerges.
(Neutelings&Riedijk)
WORKSHOP
SUBMISSION REQUIREMENTS ///
A
single (1) board horizontal digital image. Image Format: A single zipped or compressed
JPG extension file. Dimensions: 3500 width x 2600 height (pixels) or 36.45 x
27.08 inches or 92.6 x 68.79 cm to 96dpi.
CALENDAR///
January 19 th:
9:00am / Workshop and International Competition
presentation. General concepts and documents delivery
10:00am-11:00 am / Lecture: Diagrammatic architecture
(or, is a diagram architecture?)_Prof. Miguel Luengo
11:00 am-2:00pm / Class work. First analysis of the program
and diagrammatic intuitions review. _Prof. Tala Vaziri /
Prof. Miguel Luengo
January 20th:
9:00am / Lecture: Translating diagrams. Contemporary
examples of diagrammatic projects_Prof. Miguel Luengo
10:00am-2:00pm /Presentation of Draft diagrams & discussion
_Prof. Tala Vaziri / Prof. Miguel Luengo
January 21st:
4:00pm / 4:30 Lecture: Strategy vs design. The diagram as design tool
4:30pm-5:00 pm / Class work. _Prof. Tala Vaziri / Prof. Miguel Luengo
5:00pm-6:00 pm / Diagrams presentations, conclusions and Jury
Etiquetas:
arabia,
AUD,
conferencias,
design studio,
diagramas,
diagrams,
diseño,
docencia,
dubai,
hussain alatya,
miguel luengo,
noticias,
taller,
workshops
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