1.61803398875 Design Hoax?

1.61803398875 Design Hoax?
Is the Golden Ratio Fact or Fiction? 

I've already posted a video lecture by Stanford Mathematics Professor, Keith Devlin titled Mathematical Thinking, it discussed where the Golden Ration has proved valid and where it was a complete fiction... 

There have been several articles also posted on the subject entailing that the famous Golden Ratio is a complete historical design hoax! that was passed on by many architects, builders and made an ideal of by many throughout history!? With no scientific background what so ever...
Following will embed article share by Co.Design & Arch Daily 
Enjoy...

The Golden Ratio: Design’s Biggest Myth

The golden ratio is total nonsense in design. Here’s why.

BY JOHN BROWNLEE8 MINUTE READ

In the world of art, architecture, and design, the golden ratio has earned a tremendous reputation. Greats like Le Corbusier and Salvador Dalí have used the number in their work. The Parthenon, the Pyramids at Giza, the paintings of Michelangelo, the Mona Lisa, even the Apple logo are all said to incorporate it.

It’s bullshit. The golden ratio’s aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don’t use it, and if they do, they vastly discount its importance. There’s also no science to really back it up. Those who believe the golden ratio is the hidden math behind beauty are falling for a 150-year-old scam.

WHAT IS THE GOLDEN RATIO?

First described in Euclid’s Elements 2,300 years ago, the established definition is this: two objects are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The value this works out to is usually written as 1.6180. The most famous application of the golden ratio is the so-called golden rectangle, which can be split into a perfect square, and a smaller rectangle that has the same aspect ratio as the rectangle it was cut away from. You can apply this theory to a larger number of objects by similarly splitting them down.

In plain English: if you have two objects (or a single object that can be split into two objects, like the golden rectangle), and if, after you do the math above, you get the number 1.6180, it’s usually accepted that those two objects fall within the golden ratio. Except there’s a problem. When you do the math, the golden ratio doesn’t come out to 1.6180. It comes out to 1.6180339887… And the decimal points go on forever.

“Strictly speaking, it’s impossible for anything in the real-world to fall into the golden ratio, because it’s an irrational number,” says Keith Devlin, a professor of mathematics at Stanford University. You can get close with more standard aspect ratios. The iPad’s 3:2 display, or the 16:9 display on your HDTV all “float around it,” Devlin says. But the golden ratio is like pi. Just as it’s impossible to find a perfect circle in the real world, the golden ratio cannot strictly be applied to any real world object. It’s always going to be a little off.

THE GOLDEN RATIO AS MOZART EFFECT

It’s pedantic, sure. Isn’t 1.6180 close enough? Yes, it probably would be, if there were anything to scientifically support the notion that the golden ratio had any bearing on why we find certain objects like the Parthenon or the Mona Lisa aesthetically pleasing.

But there isn’t. Devlin says the idea that the golden ratio has any relationship to aesthetics at all comes primarily from two people, one of whom was misquoted, and the other of whom was just making shit up.

The first guy was Luca Pacioli, a Franciscan friar who wrote a book called De Divina Proportione back in 1509, which was named after the golden ratio. Weirdly, in his book, Pacioli didn’t argue for a golden ratio-based theory of aesthetics as it should be applied to art, architecture, and design: he instead espoused the Vitruvian system of rational proportions, after the first-century Roman architect, Vitruvius. The golden ratio view was misattributed to Pacioli in 1799, according to Mario Livio, the guy who literally wrote the book on the golden ratio. But Pacioli was close friends with Leonardo da Vinci, whose works enjoyed a huge resurgence in popularity in the 19th century. Since Da Vinci illustrated De Divina Proportione, it was soon being said that Da Vinci himself used the golden ratio as the secret math behind his exquisitely beautiful paintings.

One guy who believed this was Adolf Zeising. “He’s the guy you really want to burn at the stake for the reputation of the golden ratio,” Devlin laughs. Zeising was a German psychologist who argued that the golden ratio was a universal law that described “beauty and completeness in the realms of both nature and art… which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical.”

He was a long-winded guy. The only problem with Zeising was he saw patterns where none exist. For example, Zeising argued that the golden ratio could be applied to the human body by taking the height from a person’s navel to his toes, then dividing it by the person’s total height. These are just arbitrary body parts, crammed into a formula, Devlin says: “When measuring anything as complex as the human body, it’s easy to come up with examples of ratios that are very near to 1.6.”

But it didn’t matter if it was made up or not. Zeising’s theories became extremely popular, “the 19th-century equivalent of the Mozart Effect,” according to Devlin, referring to the belief that listening to classical music improves your intelligence. And it never really went away. In the 20th century, the famous Swiss-French architect Le Corbusier based his Modulor system of anthropometric proportions on the golden ratio. Dalí painted his masterpiece The Sacrament of the Last Supper on a canvas shaped like a golden rectangle. Meanwhile, art historians started combing back through the great designs of history, trying to retroactively apply the golden ratio to Stonehenge, Rembrandt, the Chatres Cathedral, and Seurat. The link between the golden ratio and beauty has been a canard of the world of art, architecture, and design ever since.

YOU DON’T REALLY PREFER THE GOLDEN RATIO

In the real world, people don’t necessarily prefer the golden ratio.

Devlin tells me that, as part of an ongoing, unpublished exercise at Stanford, he has worked with the university’s psychology department to ask hundreds of students over the years what their favorite rectangle is. He shows the students collections of rectangles, then asks them pick out their favorite one. If there were any truth behind the idea that the golden ratio is key to beautiful aesthetics, the students would pick out the rectangle closest to a golden rectangle. But they don’t. They pick seemingly at random. And if you ask them to repeat the exercise, they pick different rectangles. “It’s a very useful way to show new psychology students the complexity of human perception,” Devlin says. And it doesn’t show that the golden ratio is more aesthetically pleasing to people at all.

Devlin’s experiments aren’t the only ones to show people don’t prefer the golden ratio. A study from the Haas School of Business at Berkeley found that, on average, consumers prefer rectangles that are in the range of 1.414 and 1.732. The range contains the golden rectangle, but its exact dimensions are not the clear favorite.

MANY OF TODAY’S DESIGNERS DON’T THINK IT’S USEFUL

The designers we spoke to about the golden ratio don’t actually find it to be very useful, anyway.

Richard Meier, the legendary architect behind the Getty Center and the Barcelona Museum of Contemporary Art, admits that when he first started his career, he had an architect’s triangle made that matched the golden ratio, but he had never once designed his buildings keeping the golden ratio in mind. “There are so many other numbers and formulas that are more important when designing a building,” he tells me by phone, referring to formulas that can calculate the maximum size certain spaces can be, or ones that can determine structural load.

Alisa Andrasek, the designer behind Biothing, an online repository of computational designs, agrees. “In my own work, I can’t ever recall using the golden ratio,” Andrasek writes in an email. “I can imagine embedding the golden ratio into different systems as additional ‘spice,’ but I can hardly imagine it driving the whole design as it did historically… it is way too simplistic.”

Giorgia Lupi of Accurat, the Italian design and innovation firm, says that, at best, the golden ratio is as important to designers as any other compositional rule, such as the rule of thirds: maybe a fine rule-of-thumb, but one that good designers will feel free to reject. “I don’t really know, in practice, how many designers deliberately employ the golden ratio,” she writes. “I personally have never worked with it our used it in my projects.”

Of the designers we spoke to, industrial designer Yves Béhar of Fuseproject is perhaps kindest to the golden ratio. “I sometimes look at the golden ratio as I observe proportions of the products and graphics we create, but it’s more informational than dogmatic,” he tells me. Even then, he never sets out to design something with the golden ratio in mind. “It’s important as a tool, but not a rule.”

Even designers who are also mathematicians are skeptical of the golden ratio’s use in design. Edmund Harriss is a clinical assistant professor in the University of Arkansas’ mathematics department who uses many formulas to help generate new works of art. But Harriss says that the golden ratio is, at best, just one of many tools at a mathematically inclined designer’s fingertips. “It is a simple number in many ways, and as a result it does turn up in a wide variety of places…” Harriss tells me by email. “[But] it is certainly not the universal formula behind aesthetic beauty.”

WHY DOES THE MYTH PERSIST?

If the golden ratio’s aesthetic merit is so flimsy, then why does the myth persist?

Devlin says it’s simple. “We’re creatures who are genetically programmed to see patterns and to seek meaning,” he says. It’s not in our DNA to be comfortable with arbitrary things like aesthetics, so we try to back them up with our often limited grasp of math. But most people don’t really understand math, or how even a simple formula like the golden ratio applies to complex system, so we can’t error-check ourselves. “People think they see the golden ratio around them, in the natural world and the objects they love, but they can’t actually substantiate it,” Devlin tells me. “They are victims to their natural desire to find meaning in the pattern of the universe, without the math skills to tell them that the patterns they think they see are illusory.” If you see the golden ratio in your favorite designs, you’re probably seeing things.

https://www.fastcodesign.com/3044877/the-golden-ratio-designs-biggest-myth

Is the Golden Ratio Design's Greatest Hoax?

• 12:00 - 15 April, 2015
 
• by Patricia Arcilla

For more than 150 years, the Golden Ratio has been one of the main tenets of design, informing generations of architects, designers, and artists. From Le Corbusier to Apple, Vitruvius to Da Vinci, the ratio purportedly dictates which forms will be found aesthetically pleasing.  Yet mathematicians and designers have grown skeptical of the practical applications of the Golden Ratio, with Edmund Harriss of the University of Arkansas' mathematics department putting it at its most simple: "It is certainly not the universal formula behind aesthetic beauty." Writing for Fast Co. Design, John Brownlee collates sources as diverse as the mathematics department at Stanford University to Richard Meier, laying out the case against what may just be design's greatest hoax. Read the full article here.

https://www.archdaily.com/619965/is-the-golden-ratio-design-s-greatest-hoax?ad_medium=widget&ad_name=most-visited-article-show

embracing it...

https://www.youtube.com/watch?v=VK90s8wMyyo&index=3&list=PLABE41A0C254CD1D5

BBC Universe Documentary The Great Math Mystery BBC Documentary

Fibonacci Melody: Greg Sheehan at TEDxSydney

Greg Sheehan is one of Australia's premier and most innovative percussionists widely regarded internationally as a leader in his field. As a performer, he is significantly represented in the last three decades of Australian contemporary music as both a live band member and studio musician on hundreds of recordings. Greg has created a melody from the first 8 numbers in the Fibonacci sequence and performs it in the Concert Hall of the Sydney Opera House for TEDxSydney 2013. In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)

The Secret Mathematicians - Professor Marcus du Sautoy

Professor du Sautoy examines the way that Mathematics has overtly and covertly inspired some of the greatest artists. He examines how they might be considered as secret mathematicians: http://www.gresham.ac.uk/lectures-and... From composers to painters, writers to choreographers, the mathematician's palette of shapes, patterns and numbers has proved a powerful inspiration. Artists can be subconsciously drawn to the same structures that fascinate mathematicians as they hunt for interesting new structures to frame their creative process.

Professor du Sautoy will explore the hidden mathematical ideas that underpin the creative output of well-known artists and reveal that the work of the mathematician is also driven by strong aesthetic values. The transcript and downloadable versions of the lecture are available from the Gresham College Website: http://www.gresham.ac.uk/lectures-and... Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 1,500 lectures free to access or download from the website. Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege

Requiem for Aleppo

Requiem for Aleppo

Kindly support http://requiemforaleppo.com/ raising funds for Syria through two organisations SyriaRelief & Techfugees 

http://www.sadlerswells.com/whats-on/2017/requiem-for-aleppo/

http://requiemforaleppo.com/for-charity/

https://www.justgiving.com/fundraising/requiemforaleppo

The Architecture of Refugees I

The Architecture of Refugees: The Question of Ethics

Uploaded on May 12, 2017

Hosted by the MIT Aga Khan Program for Islamic Architecture

Significant transformations in the world's political landscape are signaling the emergence of a new world order that undermines the
certitudes established at the end of World War II. At the core of such discussions, the concept of human rights is significantly challenged, calling for a discussion at the core of ethics for the revisions of the principles and mechanisms of intervention. In reaction to these new transformations some have called for a World Parliament representing the people and not governments to replace the UN General Assembly.

The workshop addresses the agency of architecture and design in a context where the disrespect of human rights is aggravated by
the incapacity of global institutions to react efficiently. What are the ethical questions regarding the architecture of refugees? What timescales, short or long terms, represent a priority for architecture and through which agenda – refugee relief, historical preservation, camp upgrades and daily life, or rebuilding and resettlement? What is the role of design in front of the degradation and destruction of cultural artifacts? How can design be channeled towards peace building objectives and possible resettlement projects? What are the material, technological, systemic responses to address emergency needs in the context of refugee camps?

Speakers:

Ethics of International Law as a Framework for Displacees and Refugees
Balakrishnan Rajagopal

Ethics and Politics of Post-Conflict Repair
Delia Wendel

Material Culture and Historical Conservation
Admir Masic

After Belonging
Carlos Minguez Carrasco

Architecture of Exile: The Permanent Temporariness of Refugee Camps
Alessandro Petti

Panel Discussion moderated by El Hadi Jazairy

The Art of Listening

The Art of Listening - Music Documentary (2017)

Published on Feb 21, 2017

The Art of Listening is a documentary film about the journey music takes to reach a listener’s ear, from the intent of an instrument maker and composer, to the producers and engineers who capture and preserve an artist’s voice. This journey is narrated by intimate conversations with artists, engineers and producers about the philosophy of their work and the intent behind each musical note they create.

This film is an invitation for music fans to rediscover the intricacies and details available in the sounds of their favorite recordings. The Art of Listening is the beginning of a conversation of how the quality of our listening experiences define the medium.

Find out more and listen to the soundtrack at www.theartoflisteningfilm.com
Directed by:
Michael Coleman
www.colemanfilm.com
Emmanuel Moran
www.emmanuelmoran.com
Produced by:
Sebastian Weinberg
www.sebastianweinberg.com
Music Composed by:
Christopher Willits
www.christopherwillits.com
For licensing and screening opportunities:
screening@theartoflisteningfilm.com

Silicon Valley Model I

Welcome to Silicon Valley

CyberFuture The Dreams Of Silicon Valley 2016 HD Documentary

Tech Trends: Learning From Silicon Valley Model

World's Best Technological Hub | Silicon Valley | Top Documentary Films

World's Best Technological Hub | Silicon Valley | Top Documentary Films. Welcome to TOP DOCUMENTARY FILMS - home of the best documentary films and...

Erik Jensen, What is the Relationship of Law to Economic Development?

JN ::: Reflections

Jean Nouvel: Reflections from Altimeter Films on Vimeo.

What is the Moral Duty of the Architect? 2015? 2016?

Damned if You Do, Damned if You Don't: What is the Moral Duty of the Architect?

Article Copied of the Journal ARCHITECTURAL REVIEW, Kindly see following Link http://www.architectural-review.com/rethink/viewpoints/damned-if-you-do-damned-if-you-dont-what-is-the-moral-duty-of-the-architect/8669956.fullarticle

22 SEPTEMBER, 2014BY CHARLOTTE SKENE CATLING >>

Architects are ridiculed if they take a moral position, and attacked if they don’t. What, then, in the 21st century, is ‘the duty of the architect’?

In ‘The Insolence of Architecture’, a piece on Rowan Moore’s book Why We Build, Power and Desire in Architecture in the New York Review of Books,1 Martin Filler wrote that Zaha Hadid ‘has unashamedly disavowed any responsibility, let alone concern, for the estimated one thousand laborers who have perished while constructing her project so far. “I have nothing to do with it,” Hadid has stated. “It’s not my duty as an architect to look at it.”’

This was quite a claim, particularly given that Zaha’s Al Wakrah Stadium is not due to start on site until 2015. No one, in fact, has died while constructing her project. Zaha − uncomfortable with the blood of 1,000 labourers apparently on her hands − filed a libel suit in the New York State Supreme Court. Martin Filler sent a correction to the NYRB’s editors, saying, ‘I regret the error’. Zaha has never been loquacious, and her comments were edited to make her appear callous. Asked in the original Guardian piece if she was concerned, she replied, ‘Yes, but I’m … concerned about the deaths in Iraq as well, so what do I do about that? I’m not taking it lightly but I think it’s for the government to look to take care of.’2

Zaha remains under attack. ‘Zaha is Still Wrong About Construction Worker Conditions’3 is the title of a Vanity Fair piece by critic Paul Goldberger published after Filler’s retraction. There is a sense of a witch hunt, and it is notable that so many of the articles and the public reactions to them end in gender. It is ironic that the project itself has its own anthropomorphic ‘gender issues’; the stadium building with its sleek, pink, double-petalled roof surrounding an opening has been compared to a vulva: a similarity Zaha denies. That Zaha is a powerful woman makes her the perfect Lady Macbeth of architecture. But her real crime, according to the press and countless blogs, is that she is not taking a moral stand or using her celebrity status to publicise and address the ethical − and very serious − problem of migrant worker conditions.

At the other extreme, the journalist and author Dan Hancox in his piece for this publication,‘Enough Slum Porn, The Global North’s Fetishisation of Poverty Architecture Must End’ (AR September), launched an attack on Urban-Think Tank (U-TT), an interdisciplinary design and research practice now based at the Swiss Institute of Technology (ETH), Zurich, for their work that addresses slum conditions in the global south. Hancox criticised them for focusing attention on the Torre David − a 45-storey squatted tower in Caracas, now under eviction − by putting it at the heart of the Venice Biennale 2012, for which they won the Golden Lion (which they then gave to the residents of the tower). He compares their explorative work to a form of imperial exploitation, unaware perhaps of the Venezuelan origins of U-TT. He calls their engagement ‘parasitical’, is indignant that they are ‘white’ and ‘male’, and omits their 20 years of research, teaching and built interventions in order to justify a sensational headline. Hancox offers no alternative to drawing the public to focus on the slums as an urgent urban problem that suffers, like the Qatari migrant workers, from invisibility. After a Marxist rhapsody on the horrors of modern slum life, his proposition − in the absence of one − seems simply laissez-faire.

Architects, it appears, can’t win. They are attacked if they don’t take a moral position, and ridiculed if they do. So what, then, is ‘the duty of the architect’? What is the architect able to do? Fundamentally, what are architects for in the 21st century?

There is no question that the architect is marginalised. The privatisation of building, economies of development and bigger liabilities have meant that architects are appointed late, once strategies and scope are set, and exit early. As one member of large consultant teams, their role is reduced to form-making or decoration. Alejandro Zaera-Polo, both as a practitioner and Dean of Princeton SoA, sees architecture now as residing in the building envelope, and has focused his attention there as a potential site for reintroducing political ideology. He observes, ‘our generation of architects has not been politically active … we have been consumed in the means of production and in simply making buildings’.4 The architect then has been trapped within the thin skin of the facade, like a pressed flower, and with about as much command.

How did this happen? Where is the vision that once motivated architects to work to the limits of the discipline and beyond towards an overall ‘good’? Where is the discourse and collective goal? Is it impotence that has made architects so cynical today, or is this the inevitable trajectory of 20th-century architectural theory and late capitalism? Does architecture end in ultimate solipsism where the goal is simply to construct a colossal version of oneself, the ‘mega-architect’?

Where Modernism merged utility and art resulting in a sense of earnest conviction, Postmodernism liberated each from the other: architects were happy to frolic carefree in the realm of art and aesthetics; they shook off burdensome morality, leaving it for the politicians. Mistrust of earnestness was one of Postmodernism’s defining characteristics, with cynicism following close behind. Humanism put man at the core: and where Modernism promoted function, and Postmodernism, form; humanism favoured a balance between them. Post-humanist, Deconstructivist architecture then removed the human from the centre, banished form and function and focused purely on the creation of the object rather than on its effect on mankind. The End of Architecture?: Documents and Manifestos5 emerged from a period of recession to reassess the role of the architect when those such as Zaha, Coop Himmelb(l)au, Lebbeus Woods, Peter Eisenman and Bernard Tschumi were working out their positions on paper and didn’t necessarily expect to build. The critical stance was not only apolitical but almost anti-social. In The Pleasure of Architecture, Tschumi wrote, ‘[architecture’s] real significance lies outside utility or purpose and ultimately is not even necessarily aimed at giving pleasure’.6 This is probably just how they felt in Spain when construction was stopped on Eisenman’s mammoth, slouching City of Culture of Galicia after it nearly bankrupted the region.

‘Does architecture end in ultimate solipsism where the goal is simply to construct a colossal version of oneself, the “mega-architect”?’

Modernism promised rational, economic and ergonomic solutions transfigured by art, but tended to take more than it gave and so lost its moral command. People had to give up all that was most engrained; brave new forms cleansed of tradition replaced familiar ones that held deep meaning. To profess now to want to make the world a better place would have architects openly laughing in your face. And yet, at the same time there is a growing nostalgia for the clarity and conviction of the ideals of Modernism. While architecture was taken as a medium for revolution by the Marxist left in Russia, those such as Moisei Ginzburg and Alexei Gan, and by Le Corbusier as the means to avoid it, both saw in it the potential to improve the world.

Frederick Etchells, translator of Le Corbusier’s Vers Une Architecture, 1923, described the book as ‘the most valuable thing that has yet appeared, if only because it forces us, architects and laymen alike, to take stock, to try to discover in what direction we are going, and to realise in some dim way the strange paths we are likely to be forced to travel whether we will or no’. In it, under the heading, ‘Architecture or Revolution’, Le Corbusier writes, ‘the machinery of Society, profoundly out of gear, oscillates between an amelioration of historical importance, and a catastrophe. It is a question of building which is at the root of the social unrest today: architecture or revolution.’7 Architecture ou Révolution was the original intended title for Vers Une Architecture.

http://www.architectural-review.com/rethink/viewpoints/damned-if-you-do-damned-if-you-dont-what-is-the-moral-duty-of-the-architect/8669956.fullarticle

It is in this spirit that Urban-Think Tank operates. Alfredo Brillembourg, a Venezuelan-American, and Hubert Klumpner, from Austria, met at Columbia University where they studied architecture together. In 1986 Brillembourg returned to Venezuela, a country that would undergo actual political revolution, and founded U-TT. In 1998 Klumpner joined him in Caracas. They have been working together ever since. In 2005 they published Informal City, a study of Caracas, and in 2007 they formed Sustainable Living Urban Model Laboratory (SLUM Lab) at Columbia. Since 2010, they have held the chair for Architecture and Urban Design at ETH, Zurich, where they operate at a metropolitan, urban and architectural scale, studying ‘regional urbanisation and informal globalisation’ in parallel with an output of written work and built projects at various scales. Architecture or revolution here applies literally, and has created a new kind of practice and approach that already seems essential. Caracas was the context that inspired U-TT, and is just one of the many cities that will become the site of 80 per cent of future urban growth. Today at least a billion people exist in slums around the world − and this is where the next two billion will live. ‘Here’, as Klumpner puts it, ‘generations will grow up … this is a clear and present danger’.8 Every mega-city − Mumbai, Johannesburg, Lagos, Jakarta or Mexico City − has its own rapidly expanding version of slum that differs according to its context, geography, climate and politics. Mumbai’s Dharavi, at 500 acres with a population of around one million people, is the city’s largest, and one that generates $1 billion a year in revenue.

Caracas underwent intense change in the 20th century: Venezuela discovered oil in 1914, was a member of OPEC by 1960 and the Arab-Israeli war in ‘72 made it suddenly, massively rich. Huge infrastructural investment was followed by nationalisation. A desperate cycle of borrowing and debt led to Black Friday in 1983 when the bolívar crashed to devastating effect. Political unrest led to protest, then riots. Curfews were introduced; inflation soared and centralisation led a population surge to Caracas increasing numbers from 3.8 to nearly 6 million in 10 years, a third living in slums. Revolutionaries and reactionaries were polarised with the city divided into five ‘secure zones’. Private police patrolled gated communities encircled with razor wire: Caracas became one of the most violent cities in the world. In a last sigh of optimism, construction started in 1990 on the tower for the Centro Financiero Confinanzas, later known as the Torre David after its developer David Brillembourg.9 His sudden death, followed by a series of bank closures, led to the 90 per cent completed project being seized by a government insurance agency, who left the third tallest skyscraper in South America unfinished and abandoned.

In 1992 Hugo Chávez attempted a coup, was jailed, and released two years later. By ‘99, a year after being elected, he proposed a new constitution, and significantly for future squatters, declared that ‘every person has the right to adequate, safe, comfortable and hygienic housing’. In 2007, an evicted group of squatters turned to the Torre David for shelter. Four years later Chávez enabled the government to ‘seize idle urban lands, non-residential buildings and assets required for building housing developments’.10 The slums were expanding: aerial photographs of Caracas show the Modernist core at the centre standing rigid and inert while the barrios seep over and around the topography like a living, liquid culture.

In 1998, both Brillembourg and Klumpner had day jobs in architectural practices, producing designs for the Caraquenian bourgeoisie. In parallel, Brillembourg had set up a summer school and an NGO ‘think tank’ that operated at night. As the politics unfolded, it became clear that Chávez didn’t see the revolutionary potential of housing, envisioning only prototypical Modernist mega-blocks on the periphery of the city. The explosion of urbanism in the global south was real, visible and urgent, but lacking architectural research. Most of Brillembourg and Klumpner’s peers had no interest in the slums, they were focused instead on what lay beyond, in Europe, and Spain in particular, seduced by the potential of the ‘Bilbao effect’. Eventually support was found in Gerhard Schröder’s German Federal Culture Foundation, a global research institution with large resources. Armed with the material they had collected, in 2000, with the help of a Canadian NGO, Brillembourg and Klumpner smuggled themselves into a meeting of the UN Habitat and spoke out. The critical problem they had identified was simply that ‘top down’ and ‘bottom up’ never meet.

Brillembourg and Klumpner took an embedded approach to research, recognising that if they were to achieve anything meaningful, they would have to be the ‘go-between’, bridging two radically different worlds. From nights of flying bullets in the favelas to cocktails in black tie with German senators, this new role demanded a spectrum of very different skills. Social ecosystems, economics and politics had to be negotiated, while avoiding specific political alliances. A new kind of ‘activist’ architect was emerging, one who doesn’t wait for government commissions, but through direct engagement identifies what needs to be done and finds 
the means to make it happen.

In 2009, Justin McGuirk, writer and curator of the Torre David: Gran Horizonte Biennale installation with U-TT, began a search for alternative approaches to urbanism and the legacy of ‘the dream of modernist utopia [that] went to Latin America to die’.11 The result, Radical Cities,12 is an excellent portrait of the whole South American continent as testbed for experimental and original strategies. As early as the 1960s, British architect John Turner looked at the barriadas of Lima as an intrinsic part of the urban fabric, and proposed ways to adapt them to become a natural extension of the city as an alternative to slum clearance and the physical and cultural alienation of their inhabitants. In 1963, Charles Jencks published the barriadas next to Archigram and the Japanese Metabolists as a model with important lessons for housing and urbanism.13

‘A new kind of “activist” architect was emerging, one who doesn’t wait for government commissions, but through direct engagement identifies what needs to be done and finds the means to make it happen’

McGuirk revisited the Proyecto Experimental de Vivienda, or ‘PREVI’, in Lima, one of the great visionary housing projects of the 20th century, now largely forgotten. In 1966, Fernando Belaúnde Terry, then President of Peru and an architect by training, initiated a competition to rethink mass, high-density, low-rise housing, and drafted in architect Peter Land as UN Project Director. Land invited a stellar cast of international architects to ‘design and construct a neighbourhood of approximately 1500 new houses … [to] develop methods and techniques to rehabilitate and extend the life of existing older houses, and … for planning the rational establishment and growth of spontaneous housing settlements to meet proper standards’.14 The team included James Stirling, Christopher Alexander, Aldo Van Eyck, Charles Correa, Atelier 5, Kiyonuri Kikutake, Fumihiko Maki and Noriaki (Kisho) Kurokawa among others. The jury, unable to choose a single winner, built them all. A military junta overthrew the president and although the first stage was pushed through by the UN, the project came to an end and the experiment was abandoned. Four hundred and fifty original prototypes were designed for growth and adjustment over time as the needs of their inhabitants changed, and now remain embedded at the heart of later additions. U-TT’s film team is currently documenting the project.

Incremental design was economically systemised by Alejandro Aravena, of the Chilean practice Elemental. Like U-TT, he believes that only architects have the multiple skills to tackle current social, urban, political and economic issues, and his practice reflects the strategic alliances needed to cross these borders. His business partner was a former transport engineer, and the CEO of COPEC, the Chilean oil company, sits on the board of his company. He states, ‘professional quality not charity has shaped the entire operation of Elemental’, which he calls a ‘do tank’ that works within the existing conditions of the market. When Aravena was approached to build social housing, he concluded that if funds are available to make just ‘half a good house’ rather than a whole, bad one, then just build half, with a void for the inhabitants to expand into. The government would supply the ‘site, the structure … and technically difficult elements’.15 There is an austere elegance to both the thinking and the buildings themselves, which softens as the families colonise the gaps left for them. Elemental began working on an urban scale after Chile’s devastating 2010 earthquake and tsunami, and applied the same lateral logic to the city redesign for which they had just 100 days. They proposed a reordering of the urban layout, infrastructure and land ownership using a coastline forest to create a new social space that was also a buffer zone for dissipating future tsunamis.

Guatemalan architect Teddy Cruz has targeted the ‘Political Equator’ for study, looking at unprecedented migration across global borders, towards wealth, with cheap labour outsourced to the south. He focuses principally on the exchange across the Tijuana-San Diego frontier. Here, not only do people emigrate north, but as American suburbia becomes more bloated, discarded houses, ‘entire chunks of the city’, move south across the border. The slums of Tijuana have built themselves out of the waste of San Diego; prefab bungalows are mounted on steel stilts, freeing up space below to be filled with more housing or businesses, layering spaces and economies. This is plugging the ‘void’, like that created by Aravena, with more complex support systems. Cruz identifies, ‘the church, social rooms, collective kitchens and community gardens [as] the small infrastructure for housing. Dwellers are participants co-managing socio- economic programmes’.16

Cruz is special advisor on Urban and Public Initiatives for the City of San Diego, and is taking lessons from the Tijuana slums to apply in middle-class San Diego, in an ironic reverse migration. The premise is to redefine density as the number of social exchanges rather than objects per acre. ‘The best ideas for shaping the vast cities of the future will not come from enclaves of economic power and abundance but from areas of conflict and scarcity from where an urgent imagination can inspire us to rethink urban growth today.’17 

The overlapping programmatic complexities Cruz identifies as so valuable − housing, shops, kitchens, cafés, bars, workshops, a church − were all present in the 28 squatted floors of the Torre David. This community of 3,000 inhabitants colonised a skyscraper without lifts, motorbikes instead becoming the vertical transport. It is a unique typology that illustrates the creative intelligence of the ‘bottom up’: one that could hold clues for other dead inner-city speculative development. U-TT produced a meticulous study of the occupied building and the activities in it, through drawings, photographs, interviews and film, and working with environmental engineers, developed minimal interventions that would make the tower fully functional while keeping its ethos intact. They also speculate on how a network of models like this could interact with each other and the larger city as a whole. It is a utopian vision but, in the spirit of Yona Friedman whom they enlisted to advise, it is a realisable and convincing one. As the evictions continue, Brillembourg reflects, ‘the point was never to preserve what was destined to be a temporary and improvised reality. Rather … to learn from the site and community … alternative modes of urban development, which symbolise how cities are evolving in present times.’18 

U-TT uses the term ‘urban acupuncture’ to describe smaller, strategic interventions, and techniques for knitting together the formal and informal cities: removing stigma, for instance, by inserting little pieces of recognisable urban fabric to create public spaces in the barrios, so melting borders. This is design applied laterally to maximise the impact of minimal resources. They introduced cable cars for urban use, a surreal import from the ski slopes of Switzerland, that cut travel time between the slums and the city centre from one and a half hours to an average of 10 minutes, radically changing lives and making the work, social and cultural infrastructure of the city available to many for the first time. Their Vertical Gym in Santa Cruz (Venezuela) stacked multiple series of programmes on a small available footprint to create a safe recreation space used by thousands; the local crime rate fell by 30 per cent shortly after it was completed. Since then, a further two have opened and more are under way. Developing ‘prototypical’ designs and principles that can be reused is U-TT’s method of applying their core research.

Klumpner, a self-declared fan of the historian Eric Hobsbawm, believes in the pervasive history of cities, the absence of a ‘homogeneous past’ and how spaces are continually reinvented through reuse. In conversation, he pointed out how the urban strategies used in the global south are also relevant to 21st-century Zurich: Altstadt is an area of the city colonised by refugees, prostitutes, gypsies and artists with structural patterns and social behaviours not unlike those found in Latin America, and where design principles observed in the barrios could be imported to Europe to improve current conditions.19

But can this new approach be taught? Brillembourg outlined U-TT’s goal to produce a new ‘entrepreneurial architect’; a ‘hybrid of renaissance master and urban hustler’.20 The role has to bridge ‘ambassador, diplomat, spy, reporter and guerilla builder’, the academic challenge being, he says, ‘how to teach transgression’. Students are taught by economists and social scientists as well as architects, and navigate scenarios as quasi-developers, or are embedded in other institutions to start negotiating the territories that cross conventional architectural boundaries. U-TT has now collected a significant body of research in various forms: statistics, mappings and a vast film archive which is continually added to. The Latin American spirit with the resources of northern Europe Brillembourg personifies as a ‘Mexican wrestler in a Swiss flag’. Communication is critical, and film-making, new media, the internet and mobile phones are new architectural tools.

The practices mentioned here, observing and engaging with slums, neither romanticise nor fetishise poverty. They learn from it, ameliorate where possible, and reveal this knowledge through design with the aim of integration. The built projects have an integrity in common, and an aesthetic that emerges from stripping away the superfluous. Form arises from an economic and strategic as well as aesthetic logic, not unlike the tenets of early Modernism. The social agenda is back, with a new energy and sharpened by the brutality of late capitalism. There is no room for ‘insolence’ when the built outcome remains fluid, in a constant process of development and adaptation. The medium becomes a living thing rather than an inert object, so the means of engagement have to change. Speed becomes critical: the ability to move fast, to observe, process vast quantities of information, to identify, simplify and articulate problems and respond with both rationality and intuition − to rethink and re-form.

In this age of explosive urbanisation and little stability, it seems architects should be designing at the core of decision-making. That Zaha is under attack demonstrates that the public believes architects have more power than they actually do, and expects them to perform a larger social role: the role of the client is not under scrutiny, but should be. Ironically, in The End of Architecture, Zaha’s essay 21 is a thoughtful lament for responsibility in both teaching and practice, and the loss of architecture’s social conscience. In Brillembourg’s words, ‘if the 19th century gave birth to the horizontal city, and the 20th century … to the vertical city, then the 21st century must be for the diagonal city, one that cuts across social divisions’.22

‘Activism’ shouldn’t replace architecture, but can extend its influence. When the architect operates within the language of the discipline, not only through action, but through form, an outcome of cultural significance is possible. But the process of design may now need to start earlier with the ‘invention’ of the client. The power of architecture is the power of synthesis, and the ability to coordinate within cities that lack coordination. The extreme segregation of rich and poor, formal and informal, is dangerous and unsustainable. No one knows better how ideas should manifest through the built city than the engaged architect. This territory needs to be reclaimed, and must be where some of the ‘duty of the architect’ lies. The direction has never seemed clearer or more urgent: architecture as revolution.

References

1. Martin Filler, ‘The Insolence of Architecture’, New York Review of Books, 5 June issue, 2014.
2. James Riach, ‘Zaha Hadid Defends Qatar World Cup Role Following Migrant Worker Deaths’, The Guardian, Tuesday 25 February 2014.
3. Paul Goldberger, ‘Zaha is Still Wrong About Construction Worker Conditions’, Vanity Fair Online, 27 August 2014.
4. Alejandro Zaera-Polo, ‘The Politics of the Envelope’, Volume #17, Fall 2008.
5. Peter Noever (Editor), The End of Architecture?: Documents and Manifestos (Architecture & Design), Prestel, 1997.
6. Bernard Tschumi, ‘The Pleasure of Architecture’, Architectural Design 3, March 1977, p218.
7. Le Corbusier, Towards A New Architecture, Dover Edition, 1986, first pub J Rodker, 1931.
8. Hubert Klumpner and Alfredo Brillembourg in conversation, Zurich, August 2014.
9. The developer David Brillembourg was a second cousin of Alfredo Brillembourg’s: Alfredo was not involved in the the Tower development.
10. Alfredo Brillembourg, Hubert Klumpner and U-TT (editors), Torre David, Informal Vertical Communities, Lars Müller, 2013.
11. Justin McGuirk, speaking at the Serpentine Pavilion, 27 June 2014.
12. Justin McGuirk, Radical Cities: Across Latin America in Search of a New Architecture, Verso, 2014.
13. Architectural Design, August 1963, pp 375-6.
14. Architectural Design, April 1970, pp187-205.
15. Alejandro Aravena, lecture at the MIT, 9 April 2012.
16. Teddy Cruz, Estudio Teddy Cruz website.
17. Teddy Cruz, TED Talks, 5 February 2014. 18. Alfredo Brillembourg in conversation with the author, Zurich, August 2014.
19. Hubert Klumpner in conversation with the author, Zurich, August 2014.
20. Alfredo Brillembourg in conversation with the author, Zurich, August 2014.
21. Zaha Hadid, ‘Another Beginning’, The End of Architecture?, Prestel, 1997.
22. Justin McGuirk, Radical Cities: Across Latin America in Search of a New Architecture, Verso, 2014.