Barcelona, 25 July - 29 July 2012 First and Only Edition Price: 5000 Brain Cells

THE ARCHITECTURAL VOICE

The Architectural Voice

Feature Marsella Bar Life Reflective Thinking

Culture Text / Subtext

Entertaiment El Raval Revealed

p 3 p 5 p 7 p 9

p 11

Opinions Letters to the Editors Paint The Town Green Changing Raval Games

Architectural Brain Games

A

TOOLKIT

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ARCHITECTS

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AFICIONADOS

Production Toolkit_

“...Architects and critics alike have seen bo-oks as strategic tools in the arsenal of the discipline, capable of producing effects in-dependent of the constraints from traditional forms of architectural production. The spe-cific combination of publishing and building has been exploited as a critical double form of architectural practice, as strands of work that are assumed to support each other, but which in reality often reveal a provocative (and in some cases deliberate) misalignment. Rather than simply seeing books as ‘guides’ for practice – still ultimately directed toward the production of buildings, with books either instructing, analyzing, or commenting – the most prominent architects and critics have well understood the strategic differences between publishing and building, exploiting both as parallel but distinct discursive modes of operation.”

“It is by definition polemical, seeming to out-line a theory to be projected onto practice, either to legitimize or to inform particular forms of architectural production. Its lineage begins with the prototypical example of the manifesto in twentieth-century architecture, Le Corbusier’s Vers une Architecture (1923), and includes a series of conscious inversions and revisions to the type throughout the last century, from the ‘gentle’ manifesto – Rob-ert Venturi’s Complexity and Contradiction in Architecture (1966) – to the ‘retroactive’ manifesto – Rem Koolhaas’s Delirious New York (1978).”

Michael Kubo

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Across the globe, great projects of demoli-tion and construction are taking place in the name of greening our cities. There are numerous government incentives and ini-tiatives which support and provide financial aid for projects which include green roofs, donate a portion of land as public space or preserve pre-existing natural landscapes. In larger, less dense cities, opening up 200m2 of urban space to be converted to parks or open areas wouldn’t seem so significant, however in Raval, the historic center of Barcelona - 200m2 is a significant blow. Consider also, that by opening space, there is no place to relocate the displaced homes or shops and services. The neigh-

bourhood just became a bit more exclusive as 60 homes or so are destroyed. Why can’t there be an alternative to total demolition? Creating green spaces, open and public areas at ground level and al-lowing the upper stories to remain intact? Consider the possibility of selective edit-ing, for permeability and connectivity of pre-existing open spaces like has been done in the Eixample area, opening the centres of city blocks and providing access through openings at ground level. While the space does not have the same aesthetics or ambi-ence, it serves many of the same purposes - accessibility, community connectivity, walkability, shelter from weather elements

(sun, wind, rain) and it offers the opportu-nity to look at buildings which structurally need significant improvements as is, using this as one of the tools of selection for placement of these green tunnels. This is just one idea in a sea of endless possibili-ties. For all the creativity and expertise that exists in Barcelona and especially the compact area of Raval, surely someone can deliver a better proposal to the City Architects and Planners who typically wipe the slate clean in favor of simply starting again. The city has a history of modeling new forms of change and city planning. Time to stop living on the coat tails of past success and go back to the drawing board.

It’s the classic conundrum of the chicken vs. the egg - which comes first? We can ask ourselves the same when it comes to our neighbourhoods and cities. Does the city influence the culture or does the culture influence the city? There is a longstanding tradition of attempting to modify cultural behavior through architectural mechanisms. Raval as of late is no exception, with sev-eral spaces of “urban acupuncture” since the public or institutional projects which are strategically planned and placed with hopes of transforming the local culture and identity of the area. The late adoption of a more open immigra-tion policy within Spain means that the country has a great opportunity to learn from the mistakes of nations who under-went similar demographic and cultural shifts several decades ago. With British Prime Minister, David Cameron, contro-versially stating that “multiculturalism has failed,” it is clear that the melting pot issue is not one which simply dissipates and fades in time, but it is an ongoing process and practice of inclusion, consideration, tolerance and acceptance of both our own traditions and recognition through celebra-tion of those which are different. Cam-eron’s concern was that the city space has become segregated and disjointed by the cultural walls being put up in resistance. Nearly every city in the Western world has a “China Town” but what is the problem in having an area of the city with a unique or different identity than would be con-sidered the norm? Being unique is not the issue, but with immigration comes a certain expectation to accept some of the cultures and customs of the new homeland, whether it be language, abiding by different laws, learning new skills appropriate to the job market or making different choices in the grocery store. The concern is that by creat-ing ethnically impermeable enclaves within the city, there is no cross cultural exchange

which is negatively affecting both the pre-existing culture and the new arriving ones and perpetuating false stereotypes and attitudes of intolerance in even the young generations.The MACBA square, along with the ad-jacent CCCB (Centre de Cultura Contem-porània de Barcelona) represents one of the collision points within the city which pro-mote multi-culturalism, multi-use, multi-generational, multi-programmed activity and is also a point of urban acupuncture which was initially created to foster these ideas and social attitudes.More recently, in 2012, the Filmoteca de Catalunya has opened in the lower area of Raval which is located directly where the prostitution, drugs and other illicit activi-ties were taking place. The nature of the space has undoubtedly changed, with a new atmosphere and a new user group being introduced with a less threatening or unde-sirable agenda. This is a very typical move of the Ajuntament in attempts to rid certain areas of prostitution and illegal activities-- simply re-appropriate and assign the space to an institutional or cultural building of some higher authority and the unwanted action will relocate itself away from the public attention. But is it really altering the culture or just relocating it to somewhere else in the city? Raval is historically the location of im-migrant communities of the city, originally known as the Barrio Chino (Chinese Dis-trict), and therefore maybe it’s possible that it is the stepping stone, an entrance point into the city for emergent cultures as they make the transition and ready themselves to step outside of their comfort level and embrace a new life in a new place.

Editorial

Paint the Town Green

Re: Commercial Turnover Rates

Dear Editors,

I would like to say that while yes, the turnover rate in the area is high and you may never know when one of your favorite shops or restaurants will disappear, it’s also the beauty of the neighbourhood-- the fact that it has the ability to revitalize itself and transform itself so rapidly. While some may mourn “their place”, the comfort of consistency and reliability is of course understandable. The transient nature of the streets means a life full of new experiences, and brings new people to the neighbour-hood even if it is just to try a great cupcake, a gourmet hotdog or traditional Catalan meals. I welcome the change and love that every time I walk down the street, I feel this sense of endless possibilities.

Re: Best Kebabs in Town

Dear Editors,

I enjoyed your rankings of Kebabs restau-rants around the city, however I have to say that the the best places are by far on C/ Joaquim Costa. The popularity of them means that the meat is always hot, fresh and no soggy lettuce or tomatoes. The extra 3 minutes that it takes to walk from Rambla de Raval (your #1 location) is worth the fresh-ness and the ability to be able to sit at a real table and eat is a real bonus as well. Don’t sacrifice quality for proximity!

Editorial

Changing RavalLetters to the Editors

A good way to start to explore the Raval is by visiting one of the most famous bars - Bar Marsella. One of Barcelona’s most historic and atmospheric nightspots. Visi-tors entering the bar leave their footprint.

“Wifi!! Woo hoo. There’s free wifi here for all you travelers that are jonesing to play with your phones”

“Crowded but perfect! Best night EVER!!!!”

“I agree it’s best after midnight but if you want a table or a seat you should arrive be-fore because it gets very crowded indeed”

“It is the pleasure heart”

“Excelente concierto de chino and big bet”

“cheap beer !!”

“Amazing, people from all over the world!!!”

“We will leave it to history and the public eye to speak to our place among other museums”

“The cubism of Picasso, Braque, and Gris, various constructivist influences from Malevich and Rodchenko, the geometries of modern painters like Mondrian, Frank Stella, and Richard Diebenkorn, as well as Rothko’s simple proportions and subtle mastery of color have all influenced my intuitive thinking about how to make this elegant building”

“The Raval neighborhood had long been a dense underprivileged immigrant neigh-borhood in a very poor state, presumably with little sense of community among the residents. Our studies evolved in col-laboration with a number of local advis-ers intimately familiar with nature of this new museum as part of the city’s social

infrastructure as well as with the fabric and history of this neighborhood.”

“It seems to me that the best approach would be to provide different kinds of ex-hibition or gallery spaces for the museum, rather than a repetitive system of spaces, since the artworks to be shown would have different scales at different times- some-times large, sometimes small, sometimes needing light, sometimes needing no light. So we developed a series of spaces that could accommodate all kinds of activities and exhibitions”

“The shape and light at MACBA were inspired by the urban richness, and character of the Gothic Quarter”

Richard Meier on MACBA

Bar Marsellacomposition

invention

production

output

generation

origin

source

provenance

derivation

genesis

background

AUTHORSHIP

authorship Toolkit _

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1987

1987-1995

1995

1988-1994

1995-1998

1998-2007

2008-now

Special Feature

Reflective Thinking

MACBA and the Plaça dels Angels have become the heart of the Raval neighborhood with a life and energy beyond anything we could have imagined. MACBA’s form and configuration were imagined primarily as a flexible response to the scale and light requirements of contemporary art.

The museum’s collection covers three periods in the history of modern art: the first covers the fifties to the sixties; the second spans the sixties and seventies; the third period is contemporary.

The MACBA is an exploration of new ways of interaction between the art and the architecture of the museum

Bar Marsella is said to be Barcelona’s very first bar. The space feels like being trans-ported into turn-of-the-century Paris, com-plete with Absynthe, the fairy elixir. Patrons include a mix of local bohemians and brave tourists that drink after drink become part of the Marsella’s 200 year-old history.The Bar Marsella has been the choice for writers such as Hemingway and Wilde, as well as many artists, including Van Gogh and Toulouse-Lautrec. The bar comes to life after midnight, and only gets better as the hours pass. It is no wonder Woody Allen chose to shoot a scene from Vicky Cristina Barcelona here.

—Museum-making is Richard Meier’s midnight boxing ring[...] He keeps

the hand and the eye trained

John Hejduk—

1820

1840

1860

1880

1900

1920

1940

1960

1980

2000

Opening of the bar

Vincent van Gogh

Henri de Toulouse-Lautrec

Pablo Picasso

Ernest Hemingway

Hagar Wilde

Woody Allen

Creation of the MACBA foundation

Design by Richard Meier

Opening of the museum

Director Daniel Giralt-Miracle

Director Miguel Molins

Director J. Borja-Villel

Director Bartomeu Mari

To make a dadaïst poem—Tristan Tzara, 1920

Take a newspaper.

Take some scissors.

Choose from this paper an article of the length you want to make your poem. Cut out the article.

Next carefully cut out each of the words that makes up this article and put them all in a bag.

Criticism Toolkit “cut up” - homage to the dada movement and William Burroughs.__

Any text can be transformed into a critique by the simple acts of cutting, erasing and replacing certain words. We applied the tool kit using William Boroughs’ cut up technique which was originally invented by the Dadaists. We find the technique useful for writing but also as a tool in architecture.

Shake gently.

Next take out each cutting one after the other.

Copy conscientiously in the order in which they lef the bag.

The poem will resemble you.

And there you are- an infinitely original author of charming sensibility, even though unappreci-ated by the vulgar herd.

(Maruja Torres - Un calor tan cercano ) (Sergio Villa Sanjuan & Sergi Doria - Walks through literary barcelona) (eyewitness travel. top 10 barcelona) (Ayuntamiento de Barcelona - Arquitectura Contem-poranea 1979-2012)(Quaderns #261 2011)

Sources :

Culture

Text / Subtext

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Broadcasting Toolkit _

The voice-- communicating and announcing, publishing and releasing information to an audience. The mode of outward expres-sion and methods of communication and dissemination of an idea or concept.

EL RAVAL REVEALED

THREE PART SERIES

STARRING OTOOO, HERNANDO AND TAL

CHANNEL 1

50th International Architecture Safety in Design AwardArchitect: Studio (^~*) Project: Art Basel 2012 (Locked fire exit door)

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Channel 5: TV Schedule Friday 29th June

18:00Time Program

18:30

19:00

19:30

20:00

20:30

21:30

22:00

23:0023:30

00:00

Who Wants to Be an Architect?

Speed Architecture

Barcelona Maki

ANIMAISON

Santa Maricela

International Architecture Safety in Design Awards

Nanotechnology and Architectural Law Awards20 Under 20: Architectural Prodigy AwardsArchitectural Hair-Style AwardEl Raval Revealed

Pimp My Dog House!

Ten architects and young professionals compete in all-black for a chance to win one of three coveted positions- an unpaid internship for five years, an unpaid job for life, or the grand prize of a life in prison! Elimination happens if contestants smile, or speak in easily understandable sentences. Extra points for incomprehensible sentences and highly esoteric word choices.Architects are given 24 hours and a $500 budget to build a suburban American home from scratch. The catch- they must do it BLINDFOLDED!This program looks at Barcelona from the inside out. From different apartments we see a new view of the city, starting from the interior and working outward. Subverting the commonly shown façade view of the city, we start to see Barcelona in a new way.

While there is already an abundance of reality TV available relating to architecture, pimping homes, and garden improve-ments, it is now time to rediscover architecture that happens without human intervention! ANIMAISON is a new series about animal homes. Other creatures make their own shelter - unless they are living in a domestic space or the zoo! Let’s discover how other creatures within our planet exist!

Maricela, a very elderly woman living in a small, traditional flat in the barrio of Barceloneta, has lost the legal ownership of her flat when a “building manager” registered the property under his own name. Due to a very obscure legal code, the only way she can remain in her home is if she establishes it as a homeless shelter. Maricela sets out on a journey to find and establish a fully functioning, 10-bed shelter in her 25 m2 flat.

Zzzzzzzzzz.....

Zzzzzzzzzz.....

Zzzzzzzzzz.....

Zzzzzzzzzz.....Three part series revolves around three individuals- Tal, Oto, and Hernando- who all live and work in and around el Raval. Though their lives are very different, and their views of the city varies, a series of events brings them together in a surprising

The time of the dull dog house is gone! Prepare for the extravagant, neon-flashing, duplex/triplex/quadruplex luxury dog pa-laces. Unemployed, highly-skilled architects are turning their attention to a new, exploding market in upper-class pet homes. Coming soon- Pimp My Bird’s Cage!

Otooo with Bjarke Ferrari is BIGGER Postcard of Martin Parr

sonar party baby !El Raval community garden

Entertainment

El Raval Revealed

Editorial Toolkit _

Editing is a process of transformation.

You can edit with an eraser, with a compu-ter, with scissors or even a bulldozer.

Make conscious decisions with carefully considered outcomes.

Question everything and keep an open mind.

Don’t rush the process.

Ask yourself the following questions with each change

•1• What is the message I want to convey?

•2• How much is enough to achieve clarity?

•3• What is gained by adding, or lost by subtracting?

•4• What are the right tools for the job?

•5• How do individual changes, contribute to the overall?

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A R T W G I Z D A D R A M A T I Z E L Y W U C X E W O C N E O R E T R A C T I O F V T O C N V T U L X Z O E P S M A P I A T F E V B N R Z S Y B N P Q B O I N R L O T V F C A L V N U R T B N O D L Y V A R I P R O O F R E A D X J E H I O L Y F U T X E R I C N E O R E T R A F T I O E V I N T E R P O L A T E E P E I A P I L T O E V B N R Z S Y B C P Q X C I N R T O N V F C A L V N U R T B N C A L Y V A E A W G I Z D A Q P Z X X E I T O L Y W U L X E C I C N E O R E T R S I T V O E V I O C N V I U L X Z O E P E O A P I G T Z E V B N R O S Y B N P Q B N I N R T O E V F C U T V N U R T S T R I K E V

1 2 3

54 6

87

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Across 4. to convert a play or piece of writing to another format such as film or television 6. to remove certain words or sections for political, religious or other content related biases 8. additional information typically listed at the bottom of the page 9. white space on a printed page 10. unfinished version of a piece of workDown 1. to add a number to each page 2. making notes and comments throughout the work 3. font styles which stand on “feet” or have “tails” 5. an overriding idea which gives basis to entire body of work 7. legal protection of writing and intellectual ideas within

Spot the Difference

Wordfind Crosswords

Games

The Architect’s Brain Games

All rights reserved. Some parts of this project may be repro-duced, used, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the editorial team. For the production of this issue of The Architectural Voice, every effort was been made to ensure accuracy in the credits and to secure permission for all images from copyright holders. In cases where this proved impossi-ble, the images were assumed to be free use. The editors of Architectural Voice apologize for any oversight. In the event of identifying an image as your own, please contact the editors. The opinions expressed are those of the authors only and do not necessarily represent those of the editors, who neither represent nor guarantee the accuracy of the information, and no responsi-bility will be taken in the event of error or omission. The editors reserve the right to publish any original material solicited and cannot undertake to return material submitted unless its return is expressly requested.

Associated Editors:Joris MoonenTal de LangeHernando Gómez

Photo Editor:Evelyn TilneyChristie Petsinis

Special Agents:George Tvildiani

Printed by:The Newspaper Club

General Staff:Germá SebastiáGuillem Valls

Founded:2012

Headquarters:Barcelona, CCCB Sala Raval

Circulation:001 Weekday003 Fridays

Owner:Metropolis Master Program

Founder:Mario Ballesteros

Publishers:Otooo SulaberidzeMaricela Galán

Editors:Rebecca DavidsonAhmed Ibrahimpasic

Credits_

From the Producers:The objective of the 2012 Metropolis Master Class was to develop a basic communicational toolkit for architects, to create the architectural voice and transcend the relatively limited and closed sphere of professional, “expert” lan-guage, by using the more conventional means of communication thus linking them to wider audiences and concerns. Reaching a wider audience and looking into social, cultural, economic and public issues to stay relevant has long been a concern of contemporary architecture.

For the case study the students have chosen the block in the old part of Barce-lona, el Raval, including the Carrer de Joaquin Costa, Carrer de Valldenzella, Carrer de Montalegre and Placa dels Angels, looking at it from the internal point of view, interviewing the local people and researching the ordinary everyday-life experiences. The participants that trace a brief genealogy of this concern were divided into five groups: broadcasting, criticism, authorship, edi-ting and production. The teams had introductory lectures by the professors in different fields, had some practical exercises introducing to the critical review and editing, producing the publication from the ‘architectural thinking’ point of view, allowing the participants to improve the basic skills that will help them to develop their own work both as students and practitioners. The final goal was to research the topic and produce a kind of a communicational toolkit based on the research. The teams brought some interesting ideas concerning to the deve-loped area that are being used for the newspaper which were Opinion, Feature, Culture, Entertainment, Broadcasting and Games. And another important part of the task was to actually generate the architectural toolkit representing the ex-perience that was produced during the workshop, the considering and using the newspaper publishing as another mean of representing ‘architectural voice’.

Contributors_

Rebecca Davidson, Architect from Canada working currently on CEAC (Cochrane En-vironmental Action Committee), Let’s Talk Cochrane, Cochrane Sustainability, C3 bar and Chinese Box Courtyard Hostel Beijing. You can find her on http://facebook.com/Rebecca.Kath1een.

Ahmed Ibrahimpasic, Architect originally from Bosnia and Herzegovina. His favourite colour is ultra-violet. You can contact him at ahmed.ibrahimpasic@gmail.com

Maricela Galan, Ecuadorian Architect against the Zona Azul in Quito and fan of Liga de Quito. You can follow her on Twit-ter @MARICELALEJANDR.

Hernando Gomez, Civil Engineer living in Medellin, Colombia. He is an active Metro-polis Alum, focusing in Ciudades Amables. You can contact him at hgome@grupoargos.com

Joris Moonen, Belgian Architect. Politi-cal views very conservative. He likes John Talabot. Contact him on joris.moonen@gmail.com.

Tal de Lange, Israeli Architect, Educator, Artist, she is obsessed with books, artistic exhibitions and she loves to spend her time walking near the sea.

Christie Petsinis, Architect from Mel-bourne, Australia. Director at Utopian Folk Architects. She recently joined Pin-Up Ma-gazine. You can find her on utopianfolk@folk.com or www.utopianfolk.com

Oto Sulaberidze, Architect from Georgia. Studied at Tbilisis Saxelmwifo Samxatvro Akademia. You can find him at oto.sulaberi-dze.7@facebook.com

Evelyn Tilney, Creative Producer and Art Director, living in Manhattan, New York. She is a Capricorn. Her work is on www.ebtilney.com

Tvildiani George, Architect from Georgia. He enjoys Sarajishvili. You can contact him at georgetvildiani@yahoo.com

Photographer: Oto Sulaberidze, 27 Jun 2012

The Architectural Voice