Studio Positions’ course series Radical Architecture aims towards a radical understanding of architecture through a critical and conceptual approach to the creation of architecture. To be radical requires the critical thinking or rethinking of what something is, what made it what it is, and its potential for development with regards to architecture. With this aim the studio engages with architectural cases and places to build a holistic understanding of architecture’s role in society. Furthermore, the studio engages with language, philosophy, and ethics in order to take care of and renew architecture.
Our times are changing rapidly, as do the contexts in which architects operate. We believe there is a need for a radical or speculative architecture that evolves from the past and the present to give way to new architectural possibilities.
We are aiming for the edges of what architecture can do and seek to develop our capacity to imagine a future architecture that builds on but nevertheless,and alters established orders – and thus, deconstruct architectural and social norms.
The task: A HOUSE
The spring semester of 2022 will be the second in a series of courses that focus on critically thinking (rethinking) and questioning contemporary architectural practice and the built environment.
The culture, particularly the architecture, of Japan will be the background for the discussion on the radical in architecture. The building tradition in Japan can be perceived as a process of continuous and unique development, up to and including our time. Why and in what way?
One reason is that Japan is an island nation, naturally separated from continental influences. Japan was also politically isolated for several centuries (Sakoku, 1603-1868), a period in which the government imposed severe limitations on relations and trade with other countries.
Throughout history, the developing culture of Japan has been firmly integrated into its architecture, and thus daily life - and still is. The architectural qualities of the Machiya (townhouse) and Minka/Noka (artisans’ and farmhouses) are a continuous source of inspiration for contemporary architectural practice. The architecture of Kazuo Shinohara (1925-2006), Kazunari Sakamoto (1943-), Toyo Ito (1941-), Kazuyo Sejima (1956-), Ryue Nishizawa (1966-) Momoyo Kaijima (1969-), Junya Ishigami (1974-), and Go Hasegawa (1977-), among others, are considered to be anchored in Japan’s tradition without being considered traditionalist.
In what way are architectural qualities passed on – both the measurable qualities and non-measurable qualities belonging to the common architectural heritage, while at the same time challenging and renewing established values? What is recurrent in new architectural interpretations of the tradition, and what is left behind?
We will, through case studies of selected buildings, question the act of translation and interpretation in architecture. Furthermore, by discussions and practical workshops, we will examine the relationship between works and words, and question what radical architecture is or can be, asking – what does radical architecture mean today and why do we need to discuss it?
The semester task is to reflect on architectural qualities found in a given case study, and to develop and alter these qualities into a new architecture.
Parallel with the development of a spatial structure, the students are asked to write an ongoing process text taking various positions when describing the work; the Subjective, the Poetic, and the Tactile.
The overall outcome of the studio will be a collection of work-based individual and common architectural reflections towards future architectural projects.
