Pavilions, Pop Ups and Parasols: The Impact of Real and Virtual Meeting on Physical Space

149 Pages·2015·35.873 MB·English

by  Leon van Schaik, Fleur Watson

PAVILIONS, POP-UPS
ARCHITECTURAL DESIGN
AND PARASOLS May/June 2015
Profile No 235
Guest-Edited by
LEON VAN SCHAIK AND
THE IMPACT OF REAL AND VIRTUAL
FLEUR WATSON
MEETING ON PHYSICAL SPACE
Pavilions, Pop-ups and Parasols 03/2015
The Impact of Real and Virtual Meeting on Physical Space
Editorial About the
Introduction
Guest-Editors
Helen Castle
Pavilions,
Leon van Schaik and
Fleur Watson Pop-Ups and
Parasols
05 06 In the Pursuit of
Are They Platforms
Pleasure
for Change?
The Not So Fleeting Life
Leon van Schaik of the Pavilion and its Ilk
08
Robert Bevan
A Sketchbook 16
for the City Castles and
Pavilions
to Come
Creating New Hybrid
10 Folly Places of Exchange
The Pop-Up as R&D
Variations
Tom Holbrook
Dan Hill The Time-Specifi c 26
Architecture of Mass
32 Studies
Minsuk Cho
40
Ring Dome,
Yokohama
Triennale,
Japan,
2008
100 Year City
(Maribor)
The Virtual Concourse
Reframed
Fleur Watson
48
Not To Be Taken
Seriously
Kiosks, Roadside Joys
and Other Things That
are Beneath Architectural
Contempt Barcelona Reset
Peter Cook Circuit of Ephemeral
56 Architecture
Benedetta Tagliabue
64
Yael Reisner with
Peter Cook and
Straddle 3, Take My
Hand, Plaça de la
Mercè, Barcelona, ISSN 0003-8504
June–September 2014 ISBN 978-1118-829011
2
Guest-Edited by Leon van Schaik and Fleur Watson
Building Global Village When a Tree
Community Media House No Longer
Coming Together in the Says ‘House’,
Andrea Kahn Early 1970s at Whiz Bang Are We Virtually
72 Quick City
There?
Felicity D Scott
78 Akira Suzuki
86
Agents for
Alisa
Andrasek Urban Food
and Jose
Sanchez/ Education and
Bloom Games,
Bloom, ‘The Security
Future
is Here’,
Design CJ Lim
Hub, RMIT
University, 92
Melbourne,
2014
Architecture of
the Occasion
Indeterminacy
and Contingency Pia Ednie-Brown
100
The Seroussi Pavilion and
Bloom by Alisa Andrasek Urban
Phenomenon
Alisa Andrasek
106 Guerilla Architecture
in Taipei
Matsys
(Andrew
The Affi rmative
Roan Ching-Yueh Kudless),
Qualities of a P_Wall, San
112 Francisco
Temporal Archi- Museum of
Modern Art
tecture (SFMOMA),
Lasting San
Francisco,
Impressions California,
Martyn Hook 2009
118
Pop-Up Culture by
Entrepreneur HWKN
Counterpoint
Makers
From the
Digitally Crafted, Matthias Hollwich
Subversive to
Crowdfunded Pavilions
124
the Serious
Arthur Mamou-Mani
and Toby Burgess Temporary Urbanism
130 as a Positive Force
Peter Bishop
136
Contributors
142
3
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4
Nothing works in isolation: the virtual world has an integral
connection and special rapport with the palpable, physical
world of people and places. Social media feeds off the
corporal world. It also demands more of us through perpetual
engagement: as individuals the pressure is on to experience
more and to attend and consume more of the right things
– whether food, culture or entertainment. For architecture,
it often requires being more novel and eye-catching; being
a mini-spectacle or event in itself, the more ephemeral or
transient the better. No kind of structure is better suited to
this phenomenon than pavilions, pop-ups and parasols. Built
with the intention of being fl eeting fl y-by-nights, contemporary
follies are here to demand our momentary attention. This
is not, however, to cast them aside as facile objects. For
architects, small-scale temporary structures offer essential
opportunities for research and experimentation – for testing
and prototyping – and to get their work built and known
by a wider public. Though impermanent, the majority of
structures are still realised with a function or purpose, whether
cultural, commercial or social. These can even go so far as to
be catalysts for positive change, as described by Dan Hill (‘A
Sketchbook for the City to Come: The Pop-Up as R&D’, pp
EDITORIAL 32–9) and Andrea Kahn (‘Building Community’, pp 72– 9) at
a local level, and Martyn Hook (‘The Affi rmative Qualities
HELEN CASTLE of a Temporal Architecture’, pp 118–23) at the international
scale. Interceding even with a provisional structure with social
purpose offers the opportunity to provide and to act where it
may not be possible or relevant to do so permanently.
The ideas behind this issue gelled organically over time
through correspondence and direct face-to-face discussions
with the guest-editors, Leon van Schaik and Fleur Watson.
For the fi nal line-up, Leon and Fleur pooled their distinct
knowledge bases and extensive international networks to
come up with a cast of contributors that is as far reaching
as it is exciting. It is apparent that there is almost no part of
the world where a temporary structure is not popping up:
from Scandinavia to Spain; and across to Korea and China,
Australia and North America. Leon somewhat modestly
describes the publication’s contents in his introduction as ‘a
fairground assemblage’, highlighting both the wonder and the
novelty of this constellation of ‘new forms’ emerging as part
of ‘an ancient lineage’. Like ancient fairs, these temporary
structures are no sooner drawing us in with their fl amboyant
originality as they are disbanding. It is perhaps this that keeps
us most enwrapped by them; you are never quite sure when
they will be gone. 1
Text © 2015 John Wiley & Sons Ltd.
Image © Helen Castle.
5
Cover of Leon van Schaik’s Cover of Leon van Schaik’s
Spatial Intelligence: Practical Poetics in
New Futures for Architecture Architecture
2008 2015
The book explores the role of spatial Practical Poetics reveals how architects,
intelligence – the capability that underpins drawing on the whole of their experience,
the spatial thinking that is architecture’s prepare the platforms from which they
unique knowledge base – in architecture launch their designing.
and design.
Studio Roland Snooks
Composite Wing
‘The Future is Here’ exhibition
Design Hub, RMIT University
Melbourne
2014
The Composite Wing was designed by Studio
Roland Snooks and commissioned for RMIT
Design Hub as part of the ‘The Future is Here’
exhibition (co-curated by Fleur Watson and
Kate Rhodes with Alex Newson from the
Design Museum, London). The design acts
as full-scale architectural ‘test’ for a research
project in development and also as a
‘parasol’ and ‘plinth’ within the gallery space
for the objects on display.
Searle X Waldron Architecture
‘Las Vegas Studio’
exhibition design
Design Hub, RMIT University
Melbourne
2014
Curated by Fleur Watson, the Melbourne
iteration of this touring exhibition included
a site-specifi c exhibition design by Searle X
Waldron Architecture. The design acted as a
‘prosthetic’ to the host exhibition to display
objects and ephemera collected from
signifi cant local architects that trace the
impact of Robert Venturi and Denise Scott
Brown’s infl uence on the development
of Melbourne’s architectural culture and
ideology.
Pin-up Roaming Installation
Pin-up Architecture and Design
Project Space
Collingwood, Melbourne
2014
The Pin-up Architecture and Design Project
Space is an independent warehouse in
Collingwood, Melbourne, curated by
Fleur Watson, and intended as a robust
space for curatorial experimentation. For
the launch of Pin-up Roaming, Searle X
Waldron Architecture was commissioned
to design an installation as a ‘refl ective
curatorial map’. Over one night, Pin-up
was suffused in a pink electro-luminescent
glow with retrospective images forming
a new horizon line and illuminated wire
suspended in mid-air.
6
Focused on the emergence of a new relationship between architecture and the way in
which people meet, connect and ‘share’ using extended networks through social media
and contact digital connectivity, this issue amplifi es and develops the Guest-Editors’
initial wonderment at the emergence of seemingly new physical forms extending out
of an ancient lineage of temporary structures. For Leon van Schaik and Fleur Watson,
it represents a convergence of their diverse research interests within architecture: van
Schaik as a highly esteemed educator and thought leader and Watson as a curator and
editor. This they have brought together in Pavilions, Pop-Ups and Parasols through their
ABOUT THE preliminary research on this apparent phenomenon, and with the collaboration of their
GUEST-EDITORS contributors a swarming of minds and creative practice around the idea of how the
virtual becomes physically manifest and how the temporal holds signifi cance within the
contemporary condition.
Through these refl ections, it is clear that something new is emerging. New manifestations
of these (conventionally) un-programmed pieces of architecture are not the picturesque
instrument of the folly or the brave new world of the 1960s, which van Schaik
experienced fi rst hand as a student of the Archigram protagonists at the Architectural
Association (AA) in London. Looking back we can see that the past yearning for
the global village ideal of connected experiencing is now a reality using previously
unimagined technologies – now we share by pushing buttons or the swipe of a fi ngertip.
Something is stirring between the real and the virtual; a desire to make the virtual more
tangible, more spatial, more informative, in a way that is in tune with van Schaik’s
thinking around ‘spatial intelligence’ and ‘practical poetics’,1 while speaking to Watson’s
preoccupation with current shifts in contemporary design culture.
Leon van Schaik AO is Professor of Architecture with an Innovation Chair in Design
Practice Research at RMIT University in Melbourne. A writer and academic with
research interests focusing on spatial thinking, the poetics of architecture, and
procuring innovative architecture, he has been responsible for promoting a dynamic
culture of architectural innovation through practice-based research. His support of
local and international architectural culture and signifi cantly his leadership in the
procurement of exemplary architecture through his role at RMIT have resulted in some
of Melbourne’s most distinguished contemporary buildings that have had a profound
impact on architectural discourse and practice in the city over the past two decades. His
Architecture and Design Practice PhD programme at RMIT has become an important
template for institutions worldwide; it has recently been awarded a several million euros
grant by the EU Marie Curie Actions Fund to extend its activities internationally by
partnering with institutions in Europe. Van Schaik became a Life Fellow of the (then)
Royal Australian Institute of Architects (2009), was named Offi cer (AO) in the General
Division of the Order of Australia (2006) and was the recipient of the Neville Quarry
RAIA Education Prize (2005).
Fleur Watson is Curator at RMIT University’s Design Hub, a building designed by
Sean Godsell Architects in association with Peddle Thorp that is dedicated to cross-
disciplinary design research. Since its opening in early 2013, Watson has overseen the
delivery of the international exhibition ‘Walter van Beirendonck: Dream the World
Awake’ and co-curated ‘Las Vegas Studio’ and ‘The Future Is Here’ for the Design Hub
spaces, the latter in collaboration with the Design Museum in London. In late 2013, she
was the invited architecture curator for the installation ‘Sampling the City: Architecture
in Melbourne Now’ as part of the National Gallery of Victoria’s large-scale exhibition
‘Melbourne Now’. She is the co-founder of the Pin-up Architecture and Design Project
Space, an independent gallery in the vibrant precinct of Collingwood in Melbourne,
and writes regularly on design for The Saturday Paper, a quality weekly newspaper
Note dedicated to narrative journalism. She is the former editor of the Australian
1. See Leon van Schaik, architecture journal Monument magazine (2001–7), and editor of the Thames &
Spatial Intelligence: New
Futures for Architecture, Hudson publication Cities of Hope: Remembered/Rehearsed (2012), a monograph
John Wiley & Sons on the Melbourne-based practice Edmond & Corrigan. She is also co-author, with
(Chichester), 2008, and architect Yael Reisner, of Architecture and Beauty: Conversations with Architects about
Practical Poetics in
Architecture, John Wiley & a Troubled Relationship (John Wiley & Sons, 2010). 1
Sons (Chichester), 2015.
The Guest-Editors would like to thank Melisa McDonald and Katherine Riggs for
their editorial assistance.
Text © 2015 John Wiley & Sons Ltd. Images: p 6(t) © John Wiley & Sons Ltd; p 6(ct) © Studio Roland Snooks; p 6(cb)
© Tobias Titz; pp 6(b), 7(b) © Peter Bennetts; p 7(t) © Courtesy of Leon van Schaik, photo Fraser Marsden
7
Pavilions ,
INTRODUCTION
Pop-Ups
LEON VAN SCHAIK
and Parasols
Are They Platforms for Change?
8