2044 131 002 = HT “ESIGN - MAGATINE 37 lll nism 7 core NEO AnLd Serle Eat Sas Ce one) rari Living the Security City: Cee td neg Secor Eun tg Sed Everyday Entanglements of Brite cone Renn ceed Joyce Klein Rosenthal Pre-and Post-Architecture rere Urban Theory Without an Outside rere erate) ten ecru pena ted ceed Ca) ‘Through Architecture pore Tce Matters ern oro err Dorlas eal aan! Century peraiery Pr) cry Cf Political and Epistemological ‘Scales in Chinese Urbanism Tera Seal eral ‘Sensing the interstices of ‘African Cities erties Pew Remnant ofthe Past or Red Diane. Davis ‘South America Project: en peter! Seg eres ‘Detroit Future City corer) ec! ‘Asif Alteration Sra ee) See ey Perr Sed ated eter Kees Christiaanse Geo-architecture: Coon Emerging Aesthetic pero Revisiting the Urban Grid: ‘Applied Research peers Re oo Pts Sauer Seat pes Pry Peery % EY} rrr Err} Err 124 130 FE 146 coy Education Superinfrastructure: Cr LG Cc Christopher Roach Network Design: Dream Your City Ecosistema Urbano ‘ACosmopolitan Urban Meadow forthe Northeast renee) eee Seen) Interbore Partners ‘The Haunting Presence of Se ester ttis a Fundamental Right to ero yng Fe Jeanne van HeeswijkPHILIP OSWALT PRE- AND POST- ARCHITECTURE The classical practice of architecture starts from the following premise: A client needs a new building fora new use. He has the money for itand commissions an ‘architect to plan it. That situation is rapidly changing, however. As an example, | would lke to refer toa project in which was involved: the temporary use ofthe Palast der Republik in Berlin, 2004-2005, where quite the reverse was true. There was a building and some ideas for ts use, but no client or funds. The challenge was to find and organize a client, curate the program, and raise the necessary funds. The building was the only given and initially non-modifiable Fixed point ‘The East German Parliament (Palast der Republik) was, builtin the 1970s on the site of the former Hohenzollern Palace or Stadtschloss (badly damaged during the war ané demolished in 1950), which is currently under reconstruction. n 1990 the Palast der Republik was found to be contaminated with asbestos and was closed. Removal of the asbestos along with much of the interior was completed in 2003. The architects group Urban Catalyst (besides myself, Klaus Overmeyer and Philipp Missemiitz) and several cultural players formed the association "Zwischenpalastnutzung” that fought for three years forts cultural use, and finally managed with ‘much public discussion to establish a cultural program with many diverse projects. For 100 days in 2004 the "Volkspalast," which | curated with Amelie Deuflhard 4nd Matthias Lilienthal, became an immensely popular event space in which exhibitions, concerts, sports, dance performances, and other events were held. Despite Considerable opposition, the German parliament decided in 2006 to demolish the building and rebuild (the shell of the Stadtschloss on its site That project is currently under way. The project 2wischenpalastnutzung is symptomatic of our age. Architects and urbanists are increasingly faced with projects that no longer eal for the construction ofa building, but instead seek answers to questions that follow or precede architecture: post: architecture and pre-architecture, Post-architecture covers the challenges that arise when the architecture—the building already exists. Here, the result ofthe traditional architectural practice forms the point of departure. in essence, this is a question of how. the given building is perceived, altered, or remaved. Historically, construction has been seen primarily a an act of territorial colonization: the opening up and evelopment of new domains. With Industrialization and the resulting potential to build much more and ‘more rapidly than ever before, this tendency has become increasingly radical. Since then, the number of buildings built year after year has far surpassed the Harvard Design Magarne 37hhumber demolished. But now th are almost completely urbanized and their populations stagnant or shrinking, the concept of colonization tthe industrial nations has lost its legitimacys its time to end the process of Continued accumulation. Today, we can assume that "most ofthe buildings that we will need inthe future have already been built. In this sense, its time to proclaim the ‘Postcolonial age” in architecture and turn our attention to the buildings that we have accumulated overtime. This by no means implies the onset of a phase of Stagnation or conservation. Instead, this is about developing a new understanding ofthe relation between Software and hardware—thats, between usage and the built environment—and a new understanding of the renewal and modernization that no longer posits the set” ofa tabula rasa and therefore a carte blanche, but an update of that which already exists, Reinventing is replaced by further development~or, as Hidetoshi Ohno writes, “the role of ¢ ty planing has shifted feom creating a city to editing acty a broad spectrum of courses of action: Access, spatial ‘nd this editing encompasses structure, and appearance can be changed through reduction, addition, and modification; usage can be preprogrammed, as can ownership and all other social constructs and rules. Pre-architecture on the other hand deals withthe factors that precede architectural practice—that i, those that make it possible inthe fist place. To begin with, these include the production of desire, the conceptualization of possible new buildings, and raising interes in their realization. In paradigmatic terms, pre architecture covers the generation of usages, clients, and funding as well as the framework conditions that affect the production of architecture. In recent decades, the number of architectonic designs have increased, while realizations are dwindling. The greater part ofthese designs is thus increasingly lnrelevant. Tis process is accelerated by the rising number of trained architects and the increasing auto- mation of design development and design depiction that ‘make it possible to present “matured” designs with ever decreasing amounts of labor tn, Gemmany, August 2004, © Balzer 2st edn re and Post architectureAt the same time, the professional field of architecture has been faefully curtailed by an act of se With the ra amputation, advent of Postmodernism, the conclusion was from the 1960s and 1970s critique of technocracy, fationalism, and utopianism that architecture should beled back toits 'oing beyond it should be screened out because t undermine the field iscipline and that questions fan important line of ‘modernist tradition; the "Neues Baven” of the 1920s Would have been unthinkable without the development of a whole arsenal of new tools for there tion of turban planning and architecture, The formation of cooperatives as new clients, the invention of ne es, and the development of innow ‘models for taxation and fr ing were as essential fo the emergence of modernist architecture as were the invention of new building mate Is and construction ‘methods. The increasing reduction of architectural Aiscourse to questions of form has b {question of how architecture can be created inthe fst place. Butt ican be created he narrower field of archi only if it answers the question of how To this end, it must leave tecture and tur to pre-architectural themes, leading to 4 repoiticization ofthe debate: Who builds with which /esources and to what end? This attention to pre-architectonc issues is essential not only t faci architecture, but aso to understand and demystify the ate the realization of new forms of driving forces behind today's building industry. As such, he reports of the global financial crisis gave the public Insight into the preceding hyper-suburbanization and suchas the US, Spain, and, And when Rem Koolhaas, in his studies of the last two years, speaks with enthusiasm ofthe “vital construction boom in count urbanism” of cities such as Dubai, Singapore, Hong Kong, and Shenzhen, he suppress Cities have in common: They are tax havens where the uction booms owe less to particularly intelligent policies, the hot climate, or other ries and more to thelr parasitica taxation laws.WHEN A BUILDING 1S USED FOR JUST A FEW DECADES, IT IS “WRITTEN OFF” FINANCIALLY AND FREQUENTLY ALSO SEEN AS PHYSICALLY OR CULTURALLY DEPLETED. Nevertheless, aver the past decade m a change inthe profession, and addressing pre-and post-architectonic questions has become an increasingly important factor, The focus is shitting mare and more toward actors and processes; the interest in participation Is growing. Keywords such as sel-made, hands-on, DIY, or even reuse and recycling have become central to the discourse, whether in architecture museums, biennials, publications, or universities. By now, this is about more than charting these frequently informal processes and practices. The concepts have also become established in professional practice, which the following two examples aim to show: Berlin In Berlin since the Wall came down, innovative urban development has essentially been rooted in the fields of pre- and post-architectue, but was initially disregarded by architectural discourse. In the 1990s these were mainly temporary use projects that profited from the surplus of available and therefore economically devalued land and that established new uses in vacant buildings and on disused plots.” While these temporary projects initially built on a post-arcitectonic potential, in recent years countless projects informed by innovative investor ‘models—and therefore rooted in the pre-architectanic field-—have come into being: new cooperatives and “client collectives” (Bougruppen).* The Fist includes projects that practice new forms of int ownership and partly involve forms of crowd funding, such as Holzmarkt® or ExRotaprint. By contrast, client collectives are groups. of private owners who, asin the case of cohousing projects ae intensively involved atthe planning stage, build up communal ite inthe building, and are usually ‘engaged in the wider community. What all these projects have in common is that they—unlike conventional investors, developers, or government bodies—yield new he round Nor ofthe elsplast soca ith water for Fs actors as producers ofthe city and with them also new forms of application utilization, community, and public lite, Since the financial market crisis of 2007, these approaches have become increasingly relevant because they open up urban development perspectives beyond financial market investors, investment funds and so ‘on. And although this happens on afar smaller scale today, there are nonetheless conceptual affinities with classical modernism, an age in which municipalities, residents’ associations, and cooperatives superseded the speculative investors ofthe 19th century as building Contractors and thereby established the foundations for a new architecture and a new urban development, Then as now, speculative investments are ruled out, and less financially powerful groups are enabled, playing ‘an active part in the shaping ofthe city by pooling resources and drawing on nonmonetary resources. What is new, however, is that the ators paticipate intensively, in the actual planning and design processes. Pre and Post-rchitectreDue tothe shortage of resources andthe lager, tunmet demand for space, pre-and post-archtecture issues carry more weight in Bazil than in the northem hemisphere—although the models pursued here are ery different from those that have evolved over the last fope and the United States. Interestingly, uth have been noted since aril and many o sin the global the early 1990s, which have increasingly dominated architectural discourse in recent years. Moreover, with the summer 2013 protests, the production of typicalh heroic architecture entered a legitimacy crsis—not least. because ofthe criticism ofthe large-scale development forthe 2014 FIFA World Cup and the 2016 Summer Olympics. By contrast, over the past two ions have emerged inthe feld ach to favelas, decades important inn 1d post-architecture inthe ap 16 approval. n the early which have won widespr 1990s the search began for alternatives to the prevalling approach of simply demolishing existing slums. n 1994, the Favele-Bairo program was initiated in Rio de Janeiro, whereby the existing building substance inthe favelas was no longer demolished but improved, and the neighborhood linked up to infrastructural amenities. Essentially, the idea was to accept and furthe rather than replace, the sef-built architecture of the informal and a prior legal settlements. A step from such post-architectonic innovations to pre-achitectonic concepts was taken just afew years later in So Paulo tive models known as with the foundation of new cal ‘mutiroes (Portuguese for cooperatives) * Here, micro houses are being collectively built during weekends, and can subsequently be further developed in favela-like style. Even the concrete building blocks are self-produced n building yards. The favela'ssel-buld approach is qualified by know-how and technology, thereby [improving the building standard. The approach takes up the tradition of the ideas formulated by John Turner in his 1976 book, Housing by People: Towards Autonomy in Building Environments.» From Consumer to Prosumer The changes observed in the lasttwenty years in the production of urban space in Berlin, Brazil, and countless other cities worldwide signify a fundamental shif. Fordism’s idee of spatially separating the functional areas ofa city was already in deep crisis by the 1970s; by now, this has long been superseded as a general principle and replaced by the idea ofa mixed-use citya Nonetheless, the division of production and consumption inspited by Fordism’s idea of a consumer society has lasted until today—although this era is coming to an nd. Fora number of years now and in many walks of Ue, we have seen how this division is dissipating and ‘how consumers are increasingly becoming coproducers.. ‘As early as 1980 the futurist Alvin Tofler came up with the term prosumer in his book The Third Wave,%® Subsequently adopted and developed by Don Tapscott imhis books The Digital Economy and Wikinomics (with ‘Anthony Williams).* That, which was initially perceived 5 shiftin the digital world, however, has a far broader remit and permeates all areas of ife—including the aforementioned forms of spatial production, as well as food production through urban farming or the energy ‘Sector, where the rise of renewable energies means that ‘every building has the potential to become its own power, station UNLIKE THE CONSUMER CULTURE, THE PROSUMER CULTURE PERMITS PARTICIPATION WITHOUT MONEY. In architectural thinking, however, a distinct divi between production and consumption still dominates, finding expression not least inthe idea of a heroic high point that a building reaches when itis finished and becomes operational. Everything runs toward this apex, like the vanishing point ina single-point perspective: ‘The planning process attempts to anticipate the situation with renderings, models, and simulations. Everything. that comes ater completion is perceived as decline and degradation—which is why the published images ‘of architecture almost exclusively capture the moment in which the building is transferred from producers to consumers. As in the case of anew car (or any other consumer product), every use ofthe object seemingly leads to its rapid devaluation although the architects? vain notion of the building asa finished work of art to whieh nothing may be added or subtracted still shimmers, through). Only the discipline of facility management, perceived with some justification as technocratic and lacking in culture, takes on the subsequent post- ‘occupancy period.'? Everything else is geared to securing or recreating the “original condition," or to the demolition of the building. The copyright law helps tohold the original state in hiatus, and the monument Pre and Post Architecture ‘conservation measures that may follow usually aim to return the property tits original condition. Recently, state-of-the-art reconstruction techniques with the aid of photogrammetry, laser scans, and 3-0 ploting allow even buildings that no longer exist to be reconstructed, at least superficialy in their ideal, unblemished state. But when a building is used for just afew decades, itis “writen off" financially and frequently also seen as physically or culturally depleted. Warranty and lability laws also foster the consumer society stance that awards litte value tothe used and, when in doubt, chooses disposal over further development. This pattern of thought is interrupted, however, by the ‘new production of space in pre-and post-architecture. When production and use are no longer separated but are connected and interpenetrating worlds, and architect and user are linked rather than divided, then there is ‘alot that must be rethought. In such a scenario the elf changes, as do the roles of archi ‘and user. With the user's input, things become more specific. Ready-made products are replaced by specific solutions. By becoming involved in production processes, users learn about production, which establishes a sense of responsibility and leads to other forms of use. The competence gained allows the user to develop spaces independently. The consumer logic of production-use- disposal then changes to acycle of production-use- renewal-further development, and the produc lifecycle extended. Last but not least, the creation ofvalue beyond ‘monetary value comes tothe fore, Unl culture, prosumer culture permits p without money—namely, through co the integration of alternative r and urban planners, the transition t brings a deep-seated shift in the roles: Design and the production ‘more toward peer production i. The heroic designer increasing! editor, and director of collect processes, And the production o toabsolute perfection, but unt equally influenced by the availa the evolution of use. ‘Translation by Rebecca Phi$ url contributors thordis arrhenius michael luegering iwan baan rahul mehrotra eve blau philip oswalt neil brenner federico parolotto joan busquets edgar pieterse ees christiaanse chris reed felipe correa camilo restrepo diane e. davis christopher roach peter del tredici miguel robles-duran alejandro echeverri peter rose ecosistema urbano Joyce klein rosenthal stephen graham peter. g. rowe toni griffin ashim sarkis jeanne van heeswijk mark shepard interboro partners eduardo souto de moura momoyo kaijima wouter vanstiphout sobia ahmad kaker camilo josé vergara jerold s. kayden jianfei zhu alex krieger