Lacaton & Vassal

all right settle in find a seat there's tons of seats up in the front it's really a great pleasure to welcome and like at all and joyfully vessel for our first evening lecture the spa I still remember very distinctly the first time I encountered like at ambassadors work it was in a book which featured there now very famous house the Missoula tepee in flora it was around 1993 just as the formal explorations and architecture were finally leading to buildings such as Bilbao in 1997 here was this modest project in all its power already announcing something completely new and that I found so completely beautiful the combination of a simple yet brilliant idea to wrap a house with a greenhouse and create a thickened transition zone between inside and outside filled with light and the movement of air that one could imagine as their large light doors opened up and emitting a mysterious glow at night as the house closed up onto itself like a greenhouse the wrapper would also mitigate changes in temperature and in a cost-effective way enlarged a space of the house as added space but also as architecture through the contrasting of materials and textures the sense of compression and expansion and the modulation of light and air to define different zones of living and design a gradient of experiences from core to periphery and so here we are today with like a Thomas's growing body of work an incredible array of buildings that range in scale type program context but which have all succeeded in carrying and expanding the seeds of these very first ideas in with astounding consistency and quality from their celebrated conversion of the palais de tokyo to their social housing refurbishments there are non school of architecture or they're fat and dunkirk like a tome visage projects have mastered the art of strategic thinking skillful design architectural invention and an ethic of building which enables a certain economy of means to produce maximum effects but these effects are not in the service of the art of architecture alone they are first and foremost in the service of the life that architecture holds and unable x' designing around simple everyday practices which as they explained in the metropolis article published on the occasion of their 2016 game-changer award we've all revolve around what like a tone describes as quote a big amount of little questions how much would a glass door reveal can you open that door and put a chair outside can you have lunch on your balcony like filmmakers the architects create simple frames around everyday life and yet as like I don't noted once in fact doing simple things is often the most difficult and while we can admire the practices work for the life it enables it is also important that in a time when many of us are committed to finding new modes of practice and engagement we recognize how much like how much like a toe massage practice has already done for architecture and for architects demonstrating time after time what we can offer and why by finding new ways to engage with questions of social housing of preservation of building schools and public cultural buildings always thinking through the built fabric with pragmatism but also with great pleasure like I told ourselves commitment to building only when needed and only what matters is certainly both are inspiring and providing a roadmap for a new generation that has grown up with their work as reference and legato and joyfully Bissell established a firm in Paris in 1987 today they are one of the most awarded and coveted architects practicing around the world both have long-standing commitments to academia teaching across schools in Europe but also in the u.s. we are really thrilled to welcome you tonight please join me in welcoming the cat invested [Applause] thank you very much for your invitation and for your very nice presentation and we did already some lectures here and the last one was in 2013 if I remember correctly so maybe some project we will present have been already presented here but you know the time of project is quite long and it means that in five years six years we have not so many new projects - but maybe we have different way to explain them after the more experienced architecture is about freedom generosity pleasure our philosophy for the project is based on the principle of generosity of space and economy serving the life the uses and the appropriation with the objective of inventing beyond standards to make architecture Pleasant efficient affordable for everyone and sustainable in this present time we think strongly that we need to design an architecture that challenges conventional answers that is free from constraints that is based on constructional intelligence good sense and creativity generosity and economy the place that is open to freedom of use - appropriation and improvisation to achieve these goals our design approach is based on some major principles generosity of space extra space double space in order to facilitate uses an appropriation the use of efficient system of construction open structures prefabricated systems we generate efficient high capacity volumes and grounds the economy to spend less and better this is a que pond a blue climatic concept that means the maximum use of natural resources of the climate the importance and the value of the existing to reuse to transform to reinvent from the existing and other principle is never create constraints of use to give place for people and uses a process of designing from the inside out which means that we always start the design from the interior to sink the project at the position of the user moving from a space to another and dialogue and participation to allow discussions and adjustments and to involve users training and responsibilities we sink necessary to return to the simple to the fundamental to the essential we call strategies of the essential because we think it's it's nice to come back to very simple facts to build in fact is simple and eternal it is just to to plant some branches in the sand flowing a circle then to bend them in order to start to make the form of a roof and to start to cover them with some straw that will be open enough to leave the wind in the air crossing through with your neighbors and then to place another kind of straw much more seen in order to avoid the rain and the drops of water to go inside just a straw hat with its door we were fence around and then nine branches fix it in the sand covered by a straw roof sort of living room just to see the landscape around this was our first house at the limit of the desert in Neesha in this era it was a very simple house but just this place in the landscape creates for us a sort of incredible luxury so come back to very simple elements of landscape and building simply we follow that in the modern movement of architecture with Miss van der Hall because for nearly for each project that we have to do we always look at this reference when we have to to think about the tower or the organization of the plans the precision of the plans not only at our two towers because one tower is quite simple but two towers this is much more difficult and each time we have this kind of reference which is fundamental for us and perhaps even more the case to the house program in the 50s social housing program economic houses that finally have provided incredibly beautiful villa nearly nothing perhaps ten or twelve posts steel posts quite seen a roof which is a sort of corrugated aluminum on top and an envelope of sliding doors all around place it in beautiful landscape this was a very very affordable way of building and it provides incredible luxury of space so something that is based on the simplicity of building which in same time is modern and eternal we were talking just now of the villa cat SWA in Japan which is also incredibly traditional and modern so we really believe in the fact to come back to very simple facts very simple things the floors are important the floors like grounds each level is a floor each level is a ground for a house or it for a building of ten or fifteen or of twenty levels floors like grounds so it means to come back to the Mazon the window columns beams floors and stairs to link the different floors the plan liebe it's exactly the same construction that we can see in Albania last summer some poor people building outside the city this kind of very general space on three levels and they start to live on top and they have a shop on the ground floor and the meat between is free perhaps it will be built in two years or three years but in some other places that it is a top that is free and all there is some garden on top so it is sort of maximum flows like rounds of lonely giving the maximum of possibilities which is also the Pali católica in a tents and also in in in Berlin in India gotten this project of higher thought not so not so well-known which is to make two platforms at seven meters from each other of different size and stairs linking them in a place where they are very carefully take care of all the trees into a garden and where it was possible for the clients for the owners for the families to take to install their own house in on top of this platform so really flows like grounds and the situation this project that was done in 87 for the aibi in Berlin as provided today one of the most beautiful situations to live inside Berlin playing with climbers not fighting against working with climates making do with climates it means to use the air to use the wind to use the Sun the shadow the light of the existing situation we are inspired by the greenhouse technology for cultivating salads and tomatoes which is absolutely extremely sophisticated and extremely economic and robust and efficient pragmatic and also by the reference of the Botanical Gardens of the 18th or 19th century playing with the climbers inside of fighting against and just seeing how it is possible to install some capacity of housing inside them so it means the building or flat is never the same it is different if it is the summer of the winter the autumn of spring if it is a night or if it is a day if it is cloudy or if it is sunny it means that the facade is a system that is always changing you have the floors you have the grounds but around this you have a system that is always dynamic that is always moving in function of the character and the situation of the inhabitants in function of the climate in order to use it and not to fight against so it means working with making do with the all what is existing where no more than a tabula rasa where most of the city are already done so we have to see or we can in the landscape so we can do with the existing it means all the trees all the landscapes all the people all the situations with everything that is already there to do more with less because we don't believe that because a project it is much more expensive it will be better or more beautiful we don't believe that if the technique is extremely complex incredibly sophisticated the confort and the pleasure will be higher in many situations it is worse because it's more expensive so we can really believe that we can do with the minimum in order to achieve the maximum no waste of ground minimum of materials of energy of money maximum of intelligence maximum of architecture for maximum of generosity of pleasure or freedom for all citizens for all the inhabitants that makes the city sometimes we think architecture is like a poem minimum of words for a maximum of sense leading to a certain beauty in architectural spaces other words minimum to give the maximum in a meeting each house each flat is a fragment of the city so it's each of this flat is supported by a floor that is like a ground so beyond the functional freedom comfort generosity of space pleasure and luxury for all this is a way that we think the city will grow flat by flat family after family a dwelling should have the same facilities as a villa so it means additional private spaces winter gardens terraces balconies as much extra space as programmed space inside the city or outside the city in the density or in the non-students suburbs we need to extend the mobility the freedom of use all the rooms need to create a mobility or systems of possibility of walking from one room to another room from inside to outside on this ground we need to have very flexible and economic system of construction beam and column constructive system few columns to install flexibility adaptability and capacity of evolution and also to deal and to play with the climate a sort of intermediate temperate space instead of insulation of certain centimeters of space an insulation in which you can live inside using geo climatic principles you are talking of villa la tepee but we it was our first client it was of first project at this time they don't knew what was really an architect and we have made this experiment experiments together or it was possible for this very modest family we were very very modest budget to try to have an ambition to have enough not something different on the standard for the same price from the same cost instead of 60 or 70 square meters to have the possibility of 180 square meters of space creating different spaces with these greenhouses on the on the east and this public possibility of appropriation space where finally the used by the family the tepee was 10 times more interesting than the one we had in mind when we had designed this house when we were thinking of a sort of tropical but all garden inside the greenhouse they have no problems to install all the furniture inside and to make of this room the most user usage room so you imagine a room which is not totally heated which is just heated by the Sun we were thinking that they would stay perhaps 30 or 40 percent of time in fact 90% of the time they spend it in this room so what is a beatable and what is not always changing the furniture always moving it transforming it with the furniture of the grandmother that takes place very easily so one flat one fragment of the city and then when we go to collective spaces just to add this fragment it is important never to consider 20 flats in the same round or of 50 no it is 20 times one flat 20 times the same attention to the occupants and the inhabitants of one flat and the same principle or it is possible to build grounds and to create climate at the moment where we have this possibility to build the ground to build the floors like ground and to create a climate on top of it we have don't mock the essential conditions of living like for this project in me lose for 14 flats why it was possible with the clients to say okay can we invent something different understand down when the standard is providing some flats of 70 or 80 square meters is it possible to in the same budget to make a flat which could be 180 square meters and then the main question was but if the flat is much bigger the rent will be much bigger because normally of course is defining function of the market the city but after a small discussion we just think it should be normal to think that the rent should be defined in function of the cost of the building not the function of the market in the city so the architect and the firm the building project this has a cost and in function of the cost you take a benefit and you read ads and they try and agree and then it was possible to work on this project and to create for social housing very low rent in a very large and luxurious space space of freedom space where you can mix your athletic equipment and your bedroom or your your garden on your space for Natalie for for space of offers possibilities and choice always in relation with outside with the climate this generosity of space is valid for housing but this idea of inner beating it is it covers all the different programs the question of innovating is also essential for a school of architecture you we spend a lot of time when we are students in the School of Architecture or annoy our professors so in a beating in school in note we were thinking that we had the chance to be totally in the middle of the city in the center of the city so what could be a school of architecture in a center of the city much more than the school of architecture should be a platform of information a platform of debate about space about urbanism about architecture about art about culture not only for students and professors for all the city for the inhabitants of the because in fact what is the school of architecture very often I just see that the most information that you have about the city the most of energy the mass of work the most of interesting things about city and his region very often it is inside the school of architecture much more than the biggest office of the city so oh it is possible to make these elements visible this informations as energy visible so then we just think that this project in not it should be exactly a platform for space and architecture for space and art for space and music so all what we can bring inside the building and when the program just define an area of 10,000 square meters for the School of Architecture we have tried to build a space of 30,000 square meters in which the school of architecture could take place for the same budget so a sort of Maison de Meno at a larger scale just employing the same systems minimum of frame structures minimum of columns beams and very large prefabricated floors elements to have a very quick construction 200 square meters by day of construction very efficient and very economic a system that is able to produce a very large amount of ground at a very interesting and very low cost very robust also so we create a sort of main structures in which the first level was at 9 meters from the ground floor the second one 77 meters higher and the third one which was also the roof seven meters higher and we had seven between each of them and nine metals here each of these floors had one ton by square meters of resistance so it was possible to build on these floors without having some foundations going to the ground floor and this system was linked from ground floor to first level by a ramp and then this ramp going to seven level and then this ramp goes to the floor to the roof always with this resistance of one tone base perimeter a sort of very high capacity probably it is a little more expensive but the advantage it is sort of facility for the future and on this system on this ground it was then possible to build a secondary to build the School of Architecture in red with new light floors dividing the main spaces with auditorium or different levels that was really the place of the School of Architecture and then it was possible to create two climates inside this one climate which is a normal climate which is well heated in winter and summer all the time in green and this sort of intermediate climate that was just a little heated in order not to have a very low temperature in in winter up to 10 degrees and to take the big advantage of the climate of the city of not which is not which is quite nice also so then the sort of intermediate climate between the standard climate and the outside one so a school that is very big that is open to the outside creating relations with a high capacity a sort of space where you can make models of 1,000 square meters and 10 meters high where it is possible to the spaces in school yeah so but to make big models but also some concepts or some dinners the auditorium that can be opened to the outside and to the river in order to have some different kind of sonography and the space has always this capacity to provide sort of extra space a space where in permanence you can invent new activities for example here this professor is making is lesson with a very small group of students you know in kind of this intermediate space but also the students use the space as they intend to play piano or to play some nets inside between the columns to stay just at the limit of the Sun and the shadow normal system of classes and all who is this transparency these views that connect a different space between themselves so the mezzanine looking to the intermediate space and then the city the farm and the ramp the system of mobility that you can use by a lorry or a car but you can most of the time use to walk and climb from one level to the next one that brings you to some outside spaces in the Sun or on the top to this big roof this empty space that can be filled with different programs different functions dance art exhibitions cinema so a sort of possibility for the School of Architecture to invite many other schools to invite some art exhibitions to be possible to have set representation - of possibility to make some films inside a school that is living space and in which probably the courses can be inside normal classes and also outside so this idea is important - to work and to work with the existing with the people with the climate resource with or everything already there with economy to do more with less so it can be in very beautiful landscapes to do with to do with a sand dune with the trees that are already there when normally when you you build a house you erase the sand dune you cut the trees and you build the house and to see how it is possible to take the existing to bring the existing inside the project and to say the Sun Joon will stay exactly the same and the trees will be kept inside the system so then to mix to add to a situation to see oh it is possible to find a way not to cut the branches to be very delicate with the roots and the trees and the bushes and to mix these steel structures with the existing structure of the forest do you see of the reflection of the light on the water can be taken from down to up and be reflected by the corrugated aluminum in order to as this light under the house but to keep the idea that you can walk on the sand you know as if the house was not existing to leave the trees crossing them and to have this capacity for the house to have the trees inside it's still moving with the wind and to take maximum of advantage of the landscape it is this precision and this delicacy decided that in a situation working with a situation it means that probably 80% of the house is already there and what we have to add as architect it is this 20% of materials more that will create a situation what will possible to in a bit so it can be in beautiful spaces it can be also in the suburbs around the cities and we really work for more than 10 years on this idea that all we can propose an alternative to a very huge demolition of the blocks that something starts in France for more than 10 years now we're in the same times we have a lot of demands for for for social housing flats more than 2 million people asking for at the same times the decision political decision it is to demolish these slabs built in the 60s so we don't really understand this idea to demolish them and even if we can agree on the fact that the aesthetic can be discussed so we want really to think about this situation with the plus oh it can we can add to a situation and either take away things that already exist so from this situation or it is possible to with this reference to the case study to push it to this situation and even better to push it to this one to give more ground to give more space and more possibilities transform open extend to create more space and more light with a lower economy so for example in Paris this tower that was called Alcatraz and that normally should be demolished that has been transformed with new innovating bedrooms winter gardens and balconies and new elevators that has been transformed with the people inside with the 100 families inside and that of this possibility of extension of the flats so the space that was like that becomes like that and the tower change of appearance in Bordeaux in this very large situation of blocks of the 60s where we see that the only transformation that was done it was to try to repaint the facade with this yellow and brown colors but this doesn't change really the life of the inhabitants and in face of the possibility of demolition of these blocks we have proposed this alternative of transformation we should never look at the block like that from outside from far away we should look at them from inside each apartment each flat each room 30 years of time of energy of passion of the inhabitants towards the world towards the decoration the richness is there the richness we should see that and not the building from outside so with difficult situations sometimes but all the time this idea of life of diversity of difference so then this podcast this possibility to extend to place four meters deep more in order to transform the windows in indoors and to give the possibility to go from the bedroom from the living rooms to an extra space the sort of huge balcony so 530 families were living there and we have transformed the buildings with all the families inside they wanted for all of them it was very important to have the possibility to sleep in the bedroom each night so it was important not to disturb this way of living and then you see the transformation so it happens like that with this modular elements that were four meters deep and six meters from point five long already they had an rail for protection there were totally autonomous so it means that they had their own foundation and they were just stabilized and fixed against the whole facade so we see here the position of the first levels and then the the holes to stabilization that were prepared the next level with all facade then the opening of the old facade placing the new sliding doors at the place of the old windows the winter garden and then the occupation by the inhabitants so more closely the facade as it was before with a very small balcony and the thermal very small windows then the opening it was necessary to protect the family inside and also the workers because we had some azbest and some polluted elements of dust to take care of the old lady inside during two or three hours and then opening the system and placing the new windows to create new situations from this to this and immediately because the people were still living during the works immediately they feel Jesus wind Ogaden this extra space with plants with furniture with the life takes place there with the light that was also there so they need change from that to that from that that situation on that to this situation for 530 families so it was nearly three times less expensive than the former project that was to demolition to rebuild the same amount of flats but instead to have a flat a new flat that was nearly the same dimension as the existing one here we have 50% of extension that will provide the flat much bigger under standard ones with less money to build more and by the way as project is less expensive than the transit the fact to to make new ones the rent was able to stay at the same amount the addition of the rent plus the charges for hitting etc is staged exactly the same as before and because it's always possible to to see how we can had there was also the possibility between - - on top on the last level in reference to the case it is to install 8k studies on top through - - crossing the the new Villa and to create a fantastic situation from the fifteenth level looking to the city of Bordeaux or in this project in st. Nazaire in the west of France very quickly very typical suburb of French cities where from this little Tower of 1440 flats ten levels we see all from inside we consider the bathroom that was totally dark and a small living room or it was possible to take this bathroom to place it at the place of this bedroom with then a big window and of 9 square meters quite a big bathroom and then to see this bedroom that we lost with build it outside we extend the living room by a large winter garden plus a balcony that will create this kind of new flat from inside but in same times because we had some place around it was possible to extend the winter gardens like you see here and create the new bedrooms but also to say there is a densification which is possible instead of 40 flats we can also think to have 80 flats with two new buildings - to work outside wings that will have their own entrance and own all and that will be able to create densification so extend the dimension of the flat and extend the number of the flat so it means that in a situation where you don't excrete new roots or new systems of electrics or networks we can really extend the situation so no waste of ground we really work in a very small area around the existing building and we give this capacity to have new flats and extended extended existing ones as it was and during the works and after the works and always with this interest to link the inside with the outside music climate so it's a step by step it's a work about situations precise situations of the city and to see on which of them by listening by observing very carefully we can see all these situations can be improved perhaps with new flat perhaps with transformed flats and to see how we can be very precisely change and transform the situations the city is made of hundreds and thousands of situations like that and this new kind of urbanism step by step action by action situation by situation seems for us extremely relevant considering the existing city it means to do or not to do for this commission from the mayor of Bordeaux about this Plaza the question was the embellishment of this Plaza and we have worked listen precisely about the situation and finally after three or four months of discussions we came to the presentation of our project that was to say our project is to do nothing we consider that this Plaza is charming and that there is no reason to change anything after some observation listening the people around finally the project has been done exactly like that of nearly to do nothing rubs on us pain Palais de Tokyo so working with making do with in a former Museum in in in Paris which has been abandoned during many years that place the palette Tokyo was an important museum built in 1937 and this was a National Contemporary Art Museum until the 70-75 when the new museum has been built Centre Pompidou and this building has become a museum for cinema and then abandoned after an important competition for big refurbishment and one year and a half of construction and suddenly the government decided to stop the project and the the building state like a ruin during many many months so we applied to a competition to for a very special project which was not a product of refurbishment but the product of installation of Center for Contemporary creation which mean different arts first contemporary art graphic design music but any other arts and this term of installation was very important because it's it meant that it was not supposed to stay a long time but something like five years it was just an opportunity to reopen this place waiting much better situation why the government should again have an important budget to make refurbishment so this place in in the middle of Paris was it's very important it's something like 26,000 square meters and we found that was the situation that the construction in 37 with two wings on the on the left its national wing on the right it's the city of Paris wing which is still Museum of Contemporary heart and we found the situation the interior building like that with a lot of works of demolition which has been done inside many holes in the in the floor the stability which was damaged no stairs quite no stairs anymore no elevators no electricity no heating but an a totally amazing space so the brief was not very precise we have just a very small budget of three millions of euros for this new space to do something and we have one week to to come back with some ideas for this competition that means that it was very very special but also very exciting place so we had a visit and that was really fascinating to to see that place with different levels this bill is very special because it's made of it made of four levels but for ground floors it means that all the levels because it's built on here it's at the level of our streets so that's a very amazing because you can come in inside at every level from from the street of square but the situation was dramatic with all this sink destroyed but we came back with not with a project but just with the short text of to way for just to explain what what was first our feeling about the space but also our intentions how to make this project possible and we say that first for us the architecture was already extremely amazing it was a place for exhibiting because it has been done for exhibiting with a lot of natural light coming from different ways from big windows for from the roof for different high high windows and that was really an amazing space and we didn't feel any desire to change anything in this quality of architecture we didn't feel any desire to add any other architecture but just create the conditions do the minimum so that it could open again for the public and for the artists and finally the and and we gave a kind of method that we will we will start by the most important and necessary works like reinforcement of structures reintroduce all the networks for electricity or systems security systems true to welcome the public elevators and also we knew that for this small amount we could not complete all the building but in the first phase we really wanted to prepare the build for further renovation it means that we didn't want just a very small space extremely well finished and completed but we prefer to make an important work of renovate the most important elements of the building even if it was not seen oh it was not used by the public but to to restart the life order of the building and finally we what we have done is not feasible but it's allowed to open again to the public and finally the chance of this project was this very small budget because we don't have any money so we were free to make any proposal and it was everything was accepted because 3 million is quite nothing for such force of such impact and that was our chance and the chance of the building because we really took care for any intervention that is was extremely the good one and the best one and not more and finally we we succeeded to open it after one year of construction and the success was very great and the government decided 10 years later to continue in that way because they they were not in a situation to start an important project of renovation so they decided to give a second budget to continue the installation in this building and in the second phase in 2012 we could renovate all the roofs which we couldn't do in the first phase but again that was not very visible project but totally essential intervention so that it could open again to exhibitions and after the second phase after we left all the 26,000 square meters have been opened quite a 90 person for exhibition and for the public because it's not a museum so they didn't need any storage or technical rooms so we could dedicate all the existing spaces to the exhibition in using the qualities of all of them sometimes very dark like in in the ground floor which is not open but it was interesting to to use it for installation that needs a dog that was a former auditorium without any the seats have been lost but anyway it can be used for concert or artist interventions or the dark rooms which were supposed to be storage but finally which are very interesting for video or installations in the dark conditions so we have just created in terms of strong installations this big stair which links different levels because they were not all linked by stair and the last level totally under transparent roofs more recently that was a competition in in London that we did last year for the installation not installation but for for project of the Museum of the City of London in two former markets that was fish markets which is what Smith species markets a huge place but an amazing space with this is steel construction on the ground floor so there was two two buildings but also an important basement where there was the the fridge for the for the fish cross by an important train line which crosses them in the middle of the of this basement and the basement is very is quite not connected with the upper floors that was quite in difficult to to make a continuity to make a museum inside but here again our our idea was to do the minimum because we found the space already so amazing that it were just necessary to do what was strictly necessary to to make the exhibitions so we propose to use only the basement to have the collection of the museum but to keep the markets of the ground floor as a public space without a program of Museum that could be temporary exhibitions but that was not part of the temporary of the museum so it could be opened all along the day including when the museum was closed and in yellowed we use the the upper parts to make the administration and we could use the wonderful transparent roof of the markets to create a very nice free public public space so here in the in the contrary of the palette Tokyo the bad luck was mazing budget which was given for this project it was something like 120 millions and we didn't need one 120 millions to make this project but it's something that it's quite impossible to explain finally it seemed that they have hesitated a lot because we got a second second price but they finally selected the project which really shows that the budget is so amazing and finally the the same idea of working waist making do with its reuse of an industry or all in the north of France we applied for a competition to design inside this this big hole Contemporary Art Center which was divided in two parts it's a it's a public collection of contemporary heart has we have something like 20 something in France in all the regions as a public contemporary collection which means that the public collects artworks every year to build public collection so the the program was as two-part a part which was a storage for the contemporary art works with very special condition of conservation and the second part was the exhibition rooms to present the collection but also to to make exhibition then in coordination or in partnership with some other places in in Europe so the here we when we visited the place that was this single building in the middle of nowhere quite high 37 meters high 75 meters long and 25 meters large it was a place where they it was a former industrial shipyard that was totally demolished in in the 80s when this industry has has started to not to work anymore and this the city decided to keep on this building as a memory of the place because it was the last hole where the pieces of the big boat were assembled before they left to the sea so in the memory of the inhabitants that was a very iconic building that the people of the city called the Cathedral so the city decided to keep this building and to put inside the this contemporary art collection so while we were doing the visit for the competition we were really fascinated and touched by this amazing space totally empty with quality of light and a very strong structure especially the ground where it was possible to to have on every square meters more than five tones that's a very very solid space and after the visit we had immediately the intuition that this was a mistake to fill the building with floors with rooms with closed rooms with air conditioning and we decided to not to do to do that that was existing and we decided to keep it empty as an extra space and to build the new building juxtaposed to the existing with exactly the same shape and but built in a contemporary way with here a structure that could shelter all the collections and the storage and a second envelope with in terminal climate in between which would allow to minimize the needs in terms of air conditioning or or he or he think because we could provide it with intermediate space already intermediate temperature so we want the competition on this basis we did a project as we planned with this double construction in in the budget of the of the project because of course it would not be fair to propose to do more and to spend more that the rule is to do more but to spend at maximum the same and this is the final project the main hall has been kept we have just made some security installation some doors to receive very big events we can have concerned with for example three thousand people and this is connected under here on that side with new building which is the system of double envelope in the and in the in-between envelope we have the stairs which connects all the levels and the goal is to bring the visitors as soon as possible to the rooftop this is one of the exhibition room with double height which was requested by the program and the last level which is under the roof is an extra space because it's above the box of the program but it's an amazing space with space which allows to have this great panorama this great view on the harbor on the nose and on the other side to the to the to the seashore so this place is as not the conditions of the interior space it means that it's not heated but it's totally the climate is dependent of the resources of the light the Sun so it creates a very nice intermediate climate with this wonderful views around it's done with inflated the ETF material so it's can give this transparency towards the outside it can be used for exhibitions but also for the opening parties as well as the workshop I did recently a workshop with the University of Madrid and we came here for a week to make a workshop and they kindly let us stay here for one week - to make architectural workshop some platforms which are above the the main hall - to see what happens there but also they they allow to bring important artworks - the last levels through the the crane that we have reintroduce on moving cranes that we have reintroduce on on the top of this building so working with always offers an amazing amount of possibilities that we and also different ways of thinking that we would not find in creating from nothing so we definitely think that it's the best way to to deal with the existing and also it it forces to change the way of doing because first the method is to look carefully to observe to make inventories to check what is good what is the worse - and really to work with what we have in hands and just make the adjustment that's allowed to change the situation for a better one sometimes it's quite nursing's and some it can be a lot but it's important to to work with this attitude of observing with positive highs and never think that because it's all because it's existing it would be negative or it would have a lot of constraining elements but just look at it carefully and do what is necessary to to use it thank you very much [Applause] that's a Roma it was too long no it's okay so staying stay will be sure thank you for a fantastic lecture it's really inspiring to start the semester with you speaking and I was thinking you know this semester we have a big symposium called constructing practice where we've invited about 20 kind of practices that have are under 10 years and I was thinking about your trajectory and how you know as I mentioned a little bit in my introduction you know at the height of kind of formal explorations and you know right before the bow you know gets built you're you know you have this kind of a project that is you know completely at the opposite end of kind of just just expression and and for making you know close to SML Excel coming out you know at the height of this course which has a lot to do with representation but also with like the section you hold on to the plan right it's not this idea that the plan remains the kind of surface of freedom versus the kind of freedom of the section in a way you know as the kind of conversation about globalization global corporations impact on architecture global practice etc you know you remain pretty localized or the kind of very embedded form of practice and and you know at the height of kind of architects engagement with developers etc you know you you you still are committed public work working with the state etc and I see banner in the audience and once we talked about that and said you know as an architect what's important is not sort of what you're doing in relation to your peers about what you're doing in relation to your own work as a kind of trajectory and it's so fascinating to me that you do become a kind of reference which I mean today the work is so contemporary I mean in terms of opening up the kind of environmental conversation i opening up the EM the conversation around the envelope which it kind of really takes off starting to tackle and I see Jorge who directs our preservation program you know really engaging with the idea of fragments of preservation of reuse and and and also this sense of hybridizing you know I was thinking about Luca Vijay and his difficulty with balconies you know balconies are I come from Beirut and like you know it's like for him like you have to cut the back in you know you bring back the balcony is this kind of more southern and almost so it's just really fascinating to me this kind of very sustained trajectory which is I think really today resonates so much more in terms of what architects are looking at but at the same time obviously there was tremendous invention I mean it's not like you're just kind of sitting you know resistant to what's happening it's a real kind of sense of commitment and I wanted first to to talk about construction in terms of you know the investment in in the in the buildings and the built work and how because the projects are gorgeous I mean they're beautiful yes you talk about them as if you've liked you know bought polycarbonate from off-the-shelf but it's not you know it's not home depot I mean there's a real sense of technology of knowledge of construction and I wanted to know you know how that evolved in your work in terms of do you engage with a certain number of contractors do you like what is your engagement with the kind of the building process and how how have you developed these technologies which are both off the shelf and incredibly now you have such knowledge that you bring a sophistication so want you to expand on that a little bit I think we could resume it in two in two ways I think structural question can be concrete or still would we'd never really work with but depends of conditions we have not something that we we like but what we're really interested in in developing frames so it means columns beams floors so the idea of precision but also the idea of standardization of efficiency of robustness seems for us extremely important so the the structure is the first point is he's building the ground on which we want to be to have a maximum of facility after so we want it to be very efficient so in each situation we try to see what is the best material for that what is a mess the best standardized system for that so it depends of the dimension of the project for the school of architecture of not that was a big project or Sochi the concrete was better but inside the concrete there was a steel construction that was inside and the second point which is very important and we'd learn a lot with professional greenhouse technology remember when we were in Bordeaux going to little city in Southwest Asia where there was a sort of festival of during two years of all the materials and the techniques about salads vegetables plantation fruits etc and it was fantastic to learn all these technologies here so it's incredible to see that for growing flowers in Nakata or in Kenya your climate is very special or even in Sweden or in you you can really use the existing climate it can be cold or it can be warm and you have these systems doing with the climate and which is perfect for growing roses and the roses when you people have 1000 square meters of roses or 10,000 square meters of roses it's extremely valuable so it means that the TIF is 21 the grid is not 22 if it is it is extremely besides a number of licks going on the petals is extra precise the humidity extremely besides the wind the air inside everything is extremely detailed so you have some filters you have some and all of this is done by just changing a little the climate outside and so it was fascinating for us to see the high degree of performance of these systems of making climates inside and at the same time its efficiency and in same times its economy so we were thinking if we are doing that for the roses we should also try to do that for people but the combination of this two system making grounds as large as possible as efficient as pragmatic as possible plus working with these techniques of professional greenhouse situation already we could say the houses is done we have learnt a lot from every project and from the beginning we have we had the kind of feeling that it was absolutely necessary to to control not sure that control is the right word to master that the construction and the economy because without doing that it was quite impossible to convince about ideas and we also convinced that it was necessary to do to build and not just to make projects and so the first project house letter P was in that way extremely extremely important because we learned a lot we we had this extreme proposition that we did to the clients to build twice more for the same cost because it didn't have more and we were really committed in that question but we it was our first project and as young architects and of course we we didn't know how to how to make it so we had to work very hard to - and we had to understand for example - what makes the costs of the construction and we understood very early that very basic calculation with the basic cost per square meters it's a very big mistake you never go very far with that so that was very important to calculate to understand that every element as a cost which is in function of this complexity its complexity every square meter and not the same cost so and when we have understood that we have very fast we have gone very fast in I was controlled by ourselves all this will of this relationship between construction cost complexity and we have tried to develop so it means that the the rigor the exactness precision are extremely important and this something that we have really learned that more you you propose strong ideas more you want to go far in some ideas most you more you must be regardless and serious in the way of doing so we have learned from every project and and four we can say that for all the projects working with the engineers we have always brought the initial solutions of construction we have never learned from engineers which was a solution we have learnt how to make it afterwards but for example the construction with big slabs and columns which normally are not used for housing we have proposed it for housing and the engineer didn't didn't want to make it but not for the houses but for a bigger project but finally we we worked with manufacturers and we arrived to this this finally self-knowledge about the construction but it's really extremely important to to know about the construction the construction is not something which is a constructing system is not some something which is decided when the design of the project is done it goes perfectly simultaneously of the constant desire of the project if you tell if you talk about open space about the freedom of use you talk about open structures and an open structure is not a structure with walls with a lot of concrete with bearing walls and facade so it's very important to connect very early the process of construction and the process of design and the space it's it's really interesting because one of the again one of the conversations that have been happening here is how much the field is again being advanced through building and rather than I was I was wondering about the world of competitions in your in your practice do you do many competitions or or is it more kind of commissions you know and through building in terms of that growing practice very often it is competition because also in France all the public sector is with the system of competitions so we have the we are not so happy with that because it's stranger and you I think the architect is the only job way of making competitions all your life like that until 60 sometime it's it depends sometime it's interesting because it can give the client different options different alternatives but I think there is a big waste of energy of Architects sometimes it's well we don't have competitions here in the u.s. yeah the problem is most of the time in the framework of a competition you you cannot really expose ideas because you have to provide representation images of the reality more more realistic than the realest reality after two months of work and that's impossible and it's really frustrating because most of the time the decision is made and i'ma say especially in France because the jury are not lasting very long they say they decided by the after the the view of the images and if you don't have in the jury some very important strong personalities who can really understand what is interesting in the years and which is a potential of the project most of the time we will lose competitions because we wear IDs takes time to convince and when we have done project with dart commissions like houses or some of the project that was not easy to convince people because we had a little time and we could we could really expose all the aspects including the dots including the questions but that was a continuous process of discussion in competition it's like the blind you are blind you propose something and you cannot even make a presentation you cannot defend your ideas you are just to send an image most of the time we don't want to make realistic images when it's expected so very often we lose competitions but it's also interesting because competitions it used to be that competitions were not about realistic images they were about concepts and and ideas and now it's almost like a kind of commercial there's a transition right where now architects are basically producing entire schemes with cost and renderings and animation and so there's a kind of shift do you know I think this is a problem that architecture is and specially for it's not for housing but for public buildings or for public use it's it's too much connected with communication of of the cities of the politics so they of course they are really excited or interested by wills is building communicate something of my work of my of the vision of the city and so that's very very difficult to be to be placed in in such a situation single difficulty is that we try to to build some projects that create some relations with see or with that participate to the urban tissue of the urban fabric and more and more the system of competition a sort of system of the command brings to the production of objects that are disconnected to each other so because most of the time we have some plots and nominees that define masterplan with different plots and for each plot we asked a group of architects to make a competition so we have some setbacks to the limits so each one is producing is little cake on like a patisserie and this is a system today and we have the feeling that what is interesting it is to work with the existing city for example the school of architecture of not is more an urban project than an architectural project we tries to create relations we try to invite people we try to open the space from of the streets to the twins I inside of the school so these questions are not so defining the competition so we can bring them and hopefully sometimes we win but most of the time or not I wanted to ask them about this question of context right the city is the kind of context and your insertion of fragments within it do you find that it's you know you're obviously very comfortable working in the context that you know there's a kind of really deep knowledge and in France and have you expanded beyond or is there is there a desire to expand beyond or do you need that kind of rootedness in understanding the kind of context with that level of depth of knowing those cities it's not really linked to the precise knowledge that you have the the country around you because it's just a question of attitude towards a location a place and towards question so we have the feeling that we work in France or in some countries in Europe but we could work anywhere because we we would arrive on the situation with the same openness with the same without any pre-formatted ideas but just with the attitude of observation of inventory of trying to understand the site the questions and then to to sink to the to the response so it's not my opinion it's not something which is localized it would be so for now we we have not really the feeling that we would be more useful in in countries we which I we work around our countries but it's not this is not a decision we could work and I think anyway you both teach and on a regular basis how do you bring you know I think how do you bring that sort of sense of reality and and the real to pedagogy right because in the school were always even more so then in the practice we're always dealing with discursive questions questions of representation drawing there's always how do you bring this sense to students of the kind of tangible and the real we try first we we try to explain them that everything starts with listening observing looking at precisely the reality we are very positive regarding the places where we go and we try to share that with the students not just a very quick look just look how far your curiosity can go because we have the world is is totally has plenty of fantastic situations and we like the idea that if we know some of the situations it's plenty of fragments of space that we can reuse or we can reincorporate or add or superimpose to other situations we like this idea of using fragments of the reality to create to create a new imaginary like we are fascinated by filmmakers because we have the feeling that the film make up of precisely is able to to create a story and making shootings in different places of the world and creating a film in another place of the world with all these shootings so we try to work with the students in that way okay we will start from the reality of spaces that you are already experimented where you know that it is very nice or what is were very warm or very you meet or that the Thai food is very good and that the rest restaurant is very small and very nice and cetera so all these images that we can like if we could try to make a sort of bookshelf of of all these memories in order to reuse it to retransform and to extend it to change to make and to make superimposition with all of them so sort of situations or we don't have to add brick on break but situation on situations and this is very interesting in the cinema and I don't know why it doesn't appear so much in architecture but so it is a way we with the students I think and me we try to to work with and also to to go to the at maximum of their intentions we try to help them in this way yes we try to say them that we don't want to learn to them what we are doing but just to let understand we arrived to do this process of design and construction and for us it seemed very important to learn to student that it's very it's important to have positions to add their own position to know why they want to do something to have position on the housing on the culture and and then to to to make their their project and their design with this position in mind because we have always in the project - we want always to to achieve intentions so that's very important to have intention than to and also to to be resistant to do because the process is long and many times we have to come back and to come back and sometimes doesn't work but we didn't want to give up and we come back and so but it's it's not very comfortable because we have also ourselves maybe more questions and thence attitudes so so we try to also to explain our experience but to make them also we try to make them stronger towards what we have to do as an architect with this first - we need to be strong to be an architect to defend our ideas and to go to the end so any questions from the audience yes Eric thank you very much mm my question is about appropriation which I guess as architects you you know you perform your appropriate greenhouses you appropriate structures but you're also interested in the appropriation by the users of course and I'm could you I mean help us situate your work relative to the work of inspired by embertec was the open work you know super studio you know Friedman this is Cedric price if we think of like the the 60s and the interest in the frame and appropriation but much of it never really built I mean maybe Pompidou was was one kind of you know example of something that was actually kind of inspired by that but do you I mean you're actually building these frames these frameworks that are appropriate do you do you feel a connection to this this other history and you know also how do you then document you know the work are represented given that it's not fixed no indeed we were interested very interested I present it this this moment of the modern movement which for us was really important in the 50s and then I think there was another period which was which was called about utopia which is absolutely interesting also with our capacity prize Yona Friedman and I think it is very interesting today to reconsider this utopia also because it is 30 or 40 years later and we have to really to see all the we can deal in the same times with the modernist movement of the 50s that was a bit working on the tabula rasa and also this work of the ETOP that was much more working on the superimposition to existing city so and we like the idea to work on this and yes you know Fred man we met him recently and I like this idea when he is talking even not of participation each doesn't believe so much it is talking improvisation so it means at one moment it suggests that the there is a something starting and the next step which can be perhaps different than the first step with the creativity of a team marked by the architect and the user etc so I think as architect we what is what seems very important for us it depends of the programs and sometimes what is the step that we have not to do what is the at what moment should we leave the project because precisely the next step will be done better by the user or by the artist than by us so it is at this point that I think is really interesting to to consider sometimes you can go further and some for example for artists of students of architecture or for inhabitants we are very happy to see that in the school of not in this new building there were before three associations of students in the old school and this is this new school we have actually 17 associations of students don't know what you are doing but sometimes culture sometimes theater sometimes action with recycling etc but we have 17 associations of students so it means that the space at one moment as a sort of capacity to push some possibilities and it's what we so we think it's very it's very important because today actually we talked a lot about participation and most of the projects they are starting with participation but I think it's important for an architect to open the possibilities before participation on a situation a containing situation is difficult so you can this is better if you can participate on a maximum situation and not on a minimum situations when you have a very minimum to share it's difficult to to have a sort of agreement between people but when the situation is more open and this is probably the point that the architect the architect and invent or propose then the participation can be even much more positive and effective thank you I always like to come and listen to you guys because I always learn a lot of things and a I have a question but at first before that what strikes me listening to you is that you know when you start an architecture project you can start with culture you can start with concept you can start with ideas and then you refine it and you go to perhaps to a maximum economy of means and you arrive at a very very selective intelligence of how you translate or transpose that culture or that concept into a absolutely right project but you can do it the other way around and I always have the feeling that you start with a maximum economy of means and then you refine it you refine it till you arrive at a concept and you arrive at culture and that's what I thought was quite fascinating at what you showed us is that these projects in a sense are extremely refined intellectually and I mean that as a compliment and not as an insult now the issue that I and that's where my question can you pointed out a minute ago about competition that the world is more and more interested in pure sort of hyperrealist representations and indeed this is absolutely correct so the question is how do you educate the public how do you educate the clients how do you care talking about France how do you educate the authorities to go back to that refinement of the intelligence of what you arrived at and not be seduced by very easy magazine images it's about education but not education of students it's education of clients yeah I think there is two different kind of situation there are situation where we are in direct discussion with with a client like for social housing or for private houses or or even sometimes for public building like Poli Tokyo you have a representative of the Ministry of Culture which can be interested in so in that case we can I'm not sure that we have we really educating because they are already educated persons and we just try to find the way to discuss together and to bring to bring them on board in our in our in our world but also by listening what they have to do because it's not one one-way work so those persons I think it's not so so difficult because we we are ourselves very convinced and we we bring a lot of we work a lot and we bring a lot of informations of documentation so we arrive to make it what is more difficult is for example will you mention the authorities or for example this work of transformation which is it seems very successful everywhere well because we are invited to talk about it we had a lot of words on but finally the took the three projects that we have made we know we know very well why we have made them two of them that was the director of the social housing company who was directing two different cities who is very involved in that question we commissioned these two projects one in San Jose of the user in Bordeaux and the first one in Paris the city of Paris which was not in the national plan of urban renovation wanted to make a special project but a part of this free project we have no other one so we didn't arrive to convince really anyone that is so interesting so it's in fact it's it's more difficult than than we can imagine but it's why we think that it's so important to do to build because something which has a reality is very powerful even small so it's it's very important we have always tried to make all the efforts to real to complete the project and to push them to the end without compromise because we had really the feeling that it's very important it's interesting when the challenge is clear I remember for example with the house in the trees the young clients this property for long and they never built their because they think that he started to build their they will destroy the landscape that they like and they say we finally one day they say we will really like to build something but to keep exactly things like it is ok so we say we will not cut the trees and we will not change the dune and there perhaps it is little too much but finally we convinced them that we could go to the maximum of this challenge and this is when this happens it's very nice but very often some clients or some cities they have some slogans they talk about ecology to talk about sustainability they talk about affordability but if you really want to work with them in this question you see that at one moment they don't want to be so much ecology they don't want too much so much affordable they don't want too much so there is a sort of resistant most of the time it is very often it is slogan and it is very difficult to fight against that and this is is really difficult so with some private clients it is more easy but most of the time we have this difficulty to see ok what we really understand about your objectives okay we can go 100 percent on this but very often it's just a slogan and not a real objective it's very nice what with our first clients for the house we were it was our first client so we didn't really know how to discuss with people and they were also very timid and they didn't know what to ask to us they did not know what another an architect is doing so and finally we we had the first meeting and they they say to us you will recognize our they were living in a block you will recognize our block because we have a blue sky sky-blue camping car in front of the door because every time we have holidays we drive straight to the south of Spain to have a very nice weekend in front of the sea so we we arrive for this first meeting and we have the intuition that we had to move the discussion out of the very basic discussion about square meters the number of rooms and so we arrived with some books and especially this big book of the case study house and we proposed to them to turn the pages of the book and to discuss about the space and to to explain to them why we were we like this space and and the finally they step-by-step say they entered in the game and that they gave themselves their their own feelings about sometimes it was about a piece of furniture sometimes it was about the view but in fact that was a very intuitive meeting that we had together and but it was very successful because we started together on the very very good basis so they understood that they have to forget everything they had in mind and to let them Drive in the process and and on our side we were very happy because we have talked about something interesting interesting so it's also important to to follow our intuitions so it's from the education of an architect to the education of a client that's the next book that I was also thinking about the need for building you know at some point you mentioned you know instead of concept content and context its construction cost and complexity the goal of the project cannot be construction economy this is a tool not to make any compromise on your design thank you so my question is somehow related to the first one I was very interested by the fact that you presented me some dominoes a kind of finished architecture just ready to be appropriated and of course that allows a lot of freedom and flexibility but when I see the pictures of of these small gatherings and seminars at the School of Architecture in Nantz I can't help thinking of just the side effects of these of this kind of space and this probably depends on the culture is not different it's not the same everywhere but I'm thinking for example that some people might feel like a certain lack of intimacy or over exposition or disorientation maybe some sort of lack of human scale at some particular moments so I wonder if you reflect on these issues during the design project and the design and process sorry and you find strategies or design strategies to address these issues or you just leave it to the people to inhabitants to to find their own tactics and if this is the case have you ever like had complaints or problems with people feeling this this sort of this way in new buildings first we are interested in depths of buildings for example the building of Nantes is 70 meters large and one and 120 meters long 7 meters high for each level so the light is going from one side to another side so the the intimacy is given also by the depths so if you are in the middle you are far from the facade and then you have this idea of protection but you are you have the possibility of mobility so you can be in the middle and mobile and and walk and still have this possibility of intimacy so the idea of depths is very important in the project in Malou city manifest the flats are 20 meters deep so very often in the school we when I see some professor sometime it is ok 12 is good it's a you will have a good amount of light on one side and the other one in the other side when we make 20 it means that in between you have an extra space where which is a place of mobility so it means that in winter perhaps your bed will be very close to the facade and the Sun in the morning and in summer the bed can be more inside so all of this is this passivity of mobility which is also a possibility of finding some intimacy and after that way what we really think about capacity so large dimension of space it is that you can do more things when the space is large that when the space is small if you want to create partitions if you want to divide it's more easy to divide the large space on a small space so it is always in mind we have this question of what will offer the maximum of choice so then in this kind of space you have some people that they stay inside or some people that work with some filters some people that made their own furniture to protect so it is for us it is really a question of what offers the maximum of joy so most of the time it is large as possible and each time it is open to the outside it is transparent because we know also that transparency we filtered or pacified to close totally when the contrary is not possible when you have a window in a facade in in concrete you cannot demolition facade so it is what gives a maximum of possibility so after that we are confident in the fact that the client the inhabitant you sometimes he will leave everything open sometimes you will use curtains or some inside partitions that have to be always easy to to do or to install in order to find it to define his own character of its house and also this character as will change sometimes some days you want to see outside some days you prefer to be more closed so so it is something that has to be extremely dynamic and mobile so it's why we really like this system of filters so we have a curtain which is also that we use in the night to keep the calories inside after that we have the main sliding door which is transparent after that we have a winter garden and after that we have a balcony and so it means that we have a different multi-layer system that will for the user give him the possibility to to choose or to to to use this element of this element in order to define his own intimacy in function of the climate or in function of his mood which character one last question thank you for that I was coming I was talking to a friend about how much we love your work before the discussion gonna quickly reach it the pressing conclusion that at least in America you don't get paid to do nothing so in the in the spirit of reality can you can you share with us the the economics of your office like how how do you how does doing less how do you survive of doing less yeah but we have been paid to do nothing we have been paid we have we we have been paid because the the project of doing nothing is a project and so we had the time of the design of thinking of studies and we have been paying for that so it's important in architecture not to be paid because of the result but because of the process and how you respond to the question which is asked so it's it's very it's very important to to be clear with that at the beginning that if you are asked to sing something and it's it's it's why it's sometimes so ambiguous because if you are paid in function of the volume that the object that you have built there is no reason to be intelligent you have to build more and much and much bigger and much and much materials expensive materials so now it's a very important to defend a more intelligent way of doing architecture which is first giving our skills to the understanding of a complex situation and then to find alone or together with a number of consultants that you take in your team how you can propose some solution some propositions to respond to this complex question and it's it's extremely important as an architect that we can explain our work like this and not just providing mere forms it is also for me it's a bit like also if you feel a bit sick sometimes and then you go to see the doctor and he listened to or what you have to say and finally said oh no I think it's ok I think it's ok perhaps tomorrow you will be fine first you pay the doctor and also you are quite happy because you see you are thinking that you were sick and in fact you are not so it's a good reason to pay the architecture intelligence so it's normal that it should be paid thank you so much thank you [Applause]

Channel: Columbia GSAPP

Views: 16,113

Rating: 4.9261994 out of 5

Keywords: Lacaton&Vassal, Architecture, Social housing, Cheap architecture, Reuse building, Transformative architecture, Columbia University, Columbia GSAPP, GSAPP

Id: Twiz-dw9-e4

Length: 119min 59sec (7199 seconds)

Published: Thu Sep 14 2017