AUDC presented our first studio yesterday at school. The studio abstract follows, below.
Advanced Studio V
Fall 2007
Kazys Varnelis
Robert Sumrell
AUDC
Columbia University
Graduate School of Architecture, Planning, and Preservation
This Will Kill That
This studio begins with our observation that the process of building cannot keep pace with the conceptual ambitions of architecture. Buildings are dead before they are built.Take CCTV—endlessly hyped, it is the building of the year, complete with a MoMA exhibition on it even before it is finished. Who will want to see it now? Oversaturated in media, its Bilbao-Effect already spent in a junkspace of print, CCTV, like many buildings, is exhausted in advance of its occupation. Buildings today exist for the media, for journals, for books, for the Web. Even when constructed they serve chiefly as visual wonders to see during sporting events on television or as backdrops for photoshoots in fashion magazines. In this radical present—a condition in which the past and the future become impossible to conceive of—critical architecture is so slow and expensive as to be nonexistent. We set out to seek other strategies and to look within architecture to seek what intelligence it still has to offer.
If today the building is an after-effect of media, our method is to go against logic and turn back to it. This studio is conceptual, aimed at developing arguments and polemics, but it sets out to do so using the tools of the architect. Dispensing with the prospect of realizing buildings as constructions of matter, we instead maintain that buildings can be constructions of thought, conceptual machines that produce arguments and state positions.
Although we expressly abandon any interest in construction, we nevertheless aim at designing buildings, or rather conceptual structures that look and perform very much like buildings. Against the dominant forms of architectural education today, this is not a scripting studio, nor a place for unbuildable Hollywood fantasy, nor is it a last refuge of the real or its friend, tired from too many hours surfing the Internet, the hand. Against these outmoded positions, we propose architecture based on rigorous design, architecture as a system of thought that makes abstract knowledge experiential and conceptual thought objective, rigorous and understandable. In setting out to design buildings not diagrams, our goal is to see what the world is telling us, not what we are telling the world.
Rather than lamenting the servility of architecture to media, we engage media head on, not innocently, but rather as a praying mantis embraces her mate.
Long ago, Victor Hugo suggested that the book will kill the building. As a dominant producer of social meaning and order, it did. But now the book is dying. This studio examines the crisis of the library, one of the oldest and most important institutions in society.
The goal of architecture has long been to become incorporated into the library, to be absorbed into the flimsy papers that would be placed on the stacks. If this will kill that, that was a suicidal masochist who wanted to die. Libraries are repositories of dead information, where things go to expire. Architecture knew this, but still always desired the stillness of the book as its real goal. Nor were architects somehow more perverted than anyone else. On the contrary, as Freud suggested in Beyond the Pleasure Principle, the universal goal of life is stillness. The library gave us what we wanted, a tomb we could all dwell in, a place in which thought would quiet down once and for all, a place of silence in which noise and disruption was forbidden.
Under pressure from the pornographic thrill of the Internet, libraries, like architecture, are themselves dying. Year after year, circulation plummets and readership declines. Paradoxically, however, as both architecture and the library expire, they become pervasive. If buildings are obsolete (the current building boom being analogous to the manic expansion of Borders and Barnes and Noble in the last two decades), the strategies of architecture have become pervasive. Design is now everywhere. The tools of architecture are accessible to anyone.
The Internet and digital technology has made the library's promise of access to knowledge laughable. One hard drive is now capable of holding as much data as a medium-sized city library. In spite of this, libraries are special places. Not only is the Internet (like television) largely filled with garbage, more importantly, books are the first products of immaterial production, and thus they anticipate the dominant economic order of the information economy. But they are also their own worst enemies, heavy objects that lie inertly, gathering choking mold and dust. Still, libraries are ideal research sites for architects, their systems of organization clear, conceptual diagrams of knowledge. As these systems of classification are undone by a world in which "everything is miscellaneous," and Open Source software and peer-to-peer file sharing annihilate any concept of property, the uniqueness and even the physicality of the objects in libraries is threatened. For any book, even the most expensive would be much more valuable if you could perform a full text search on it, something Google understands full well. Soon, books may not be valuable except for the odd collector item. When they wear out, nobody will care.
But is that the fate of the library? Against the idea of the library as a base for knitting clubs and youth sex leagues or as an Internet café for the homeless, we propose to investigate the institution itself as a system of conceptual thought, and as a form of social organization. Thus, the library becomes an ideal place for architecture to re-discover its own methods of thought, its theoretical purposes.
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