lutroductiou
Different aidiitecturalpositions, pwcess as a conmion givund by Susanne Komossa
Winy Maas: intemet' by Susanne Komossa
Profession aivhitect: insight into the spatial consequences of building and the capacity' to dream thefuture with a technical understanding. in r-:^ l.n 3
Introduction
The Faciill}' ofAivhitecUire, Delfi Universit)' of Technology' is renowned amund the world for its open and innovative approach to aivhitedum in general and aivhitectural design especially. Considerable numbers of Erasmus and International students join eveiyyear the master'spmgimime
Dm to student re\'olts ofthe early 1970s (and the faculty's en-gineering backgimmd) studio teachingfoaisesfoi-emost on lhe design pmcess within the so-called 'pmject education', which the student and lata- on, the practising aivhitect, subsequently and decisr\'elyfoUows. Within this pmcess the consistent aigiiment is considei-ed moiv impoilant than the actual aivhitectural form. Or in other M'onds, 'sl)'le'ofwhato'ei- master aivhitect is not the centi-al issue, but instead the question how the studenf ofaivhi-tectitiv is able to de\'elop a coherent position based on a working method of relentless enquiiy and investigation, elaborating this into at1racti\'e and challenging design pmposals and ultimately how tofind ways in which s/he is able to link this to de\'e/opments in society and the actual practice ofaivhitecfureThefoais on pmcess also enhances the idea of continuous change, innovation and ti-ansfoiwation. Stalling mih this assumption aivhitectural models and design are not fixed or static entities but subjected to an ongoing pmcess of questioning and change. In the M'ords of Jane Jacobs 'Tmth is made up ofmany bits and pieces ofivalitj'.
Tlieflux and change in itself is ofthe essence. Change is so major a tivth that we understand pmcess to be the essence ofthings. '¬
A process oriented approach as a common gimmd
This open, process-oriented approach covild be regarded as leadmg to a 'architecture without cpaalities'It carries a double-faced naürre. On one hand it made it veiy easy to relate teaching architectural research and design to practise heading for several aims. For example, during the 1980s, findings developed within the Architecture faculty were directiy implemented into the plan-ning and design practise of urban renewal in Ainsterdam and Rotterdam. Disüicts (or neighbourhoods) like the Oude Westen in Rotterdam were considered as 'laboratories', where a variety of methods and approaches could be tested in tenns of typo-mor-phological research in particular and based on die rediscovery oftiie historical city as the actual body of architectural knowl-edge and inshnments. Later on, during the 1990s municipalities working on the restracturing of former harirour and industrial areas, but also in die case of tiie development of suburban Vinex sites ', also canied out this ttadition of experiment and renewal, as represented by the work of Dick van Gameren for tiie Vinex site of Ypenburg for instance. Moreover, witiiin tiiis fiamework, otiier commissioners, hke school boards and professional real estate developers acted hkewise having an eye for experiment andinnovatioa
Additionally tiiis whole development during tiie 1980s and 1990s was accompanied by broad discussions in public and
architectural magazines, architectural and uAan design competi-tions organized for example by the Rotterdamse Kunststichting resulting in tiie Architecture hitemational Rotterdam, AIR com-petition for De Kop van Zuid and tiie Müller Pier in Rotterdam, and tlie Oostelijke Havengebieden in Amsterdaiu
The results of these discussions, competitions, experiments and voluptuous program of extending tiie existing housing stock rendered tiie Netiieriands, i.e. Dutch architecture and specificaUy its architects once again' important, if we thinlc oftiie architec-tural practises and designs of OMA/Rem Koolhaas, Neutelings Riedijlc, KCAR MVRDV, Mecanoo and theii- colleagues. On tiie otiier hand, being so practical, operative and applied, methods of ai'chitectural research and design were never exten-sively tiieoreticaUy underpinned and assessed in a comprehen-sive and critical way during tiie last two decennia.
One might state tiiat fliis consistent and fi-ee and open-ended ap-proach to architectural design seems to be challenging. However, in order to keep up tiie Deht and Dutch ai-chitectuial design reputation in an intematioml, even global academic envii-on-ment, practising arcliitects, reseai-chers and educator at tiie DeUt Faculty or Architecture need to write theoiy '\ in order to under-pin and malce tiieir approach in a tiieoretical and metiiodological sense more explicit
Architectural Positions;
Cuirent Delft approaches
This short historical overaew forms flie background oftiie
cur-rent aivhitectural design positions to be distinguished at the Delft Faculty of Architecture, hi fact, tiie architectural approaches out-lined witiiin this introduction have highly influenced airhitectui-al tiieory, history and design at tiie faculty not only during die past, but also as we can register tiiem today I f we look at and study flie architectural positions presented in 'DeUl Lectiu-e Series on Architectural Design' it becomes evident fliat flie Faculty of Ar-chitecture has panoply of approaches wifli regard to its research and education in tiie design studios of flie Bachelor and Master program
Tlie Modemists
To begin witii, we can distinguish flie group of researchers and designei-s who intend to critically investigate tiie Pivject of Mo-demit)'. The Twentiefli century avant-gaide has gained a central role in flie faculty's histoiy of teaching architecture. Tliis tradition started wifli flie appointinent of Jo van den Broek, rqiresent-ingpre- and as well post-wai-Modernism, as a professor fi-om
1947 to 1964. Combining titis initially fimctionalist/modemist approach wifli flie Arclutecture faculty's engineering tradition matched weU. Subsequently Jacob Balcema in 1964 and m 1966, Aldo van Eyclc, Herman Hertzberger et-al. foUowed him. They were members of Forum and TEAM X who had entered irom tiie 50's onward into a critical evaluation of QAMpraiciples. Van Eyck and Hertzberger developed during tiiese years tiie Stivcfiiralist approachto architecture.
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As said, tiiis distinct line of tiiought in tiie Delft tradition of plan analysis represented by Max Risselada and Bernard Leupen
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mainly focuses on tiie constituent 'layers' in architectiiral designs, h i tiie 1970s and 1980s tiiis group devised a variety of techniques for unravelmg designs and maldng tiiem readable - not only drawing techniques,'' but also constmction of scale models, exhibition concepts and layout techniques, hi architecture prac-tise Erilc van Egeraat (EEA), Francine Houben (Meccano) and Dick van Gameren are off-springs of tiiis 'school', h i flie aca-demic setting Christoph Grafe, Tom Aveimaeteand Dirk Van den Heuvel subsequently continue Risselada's work witiim flie architecture research program 'Revisions: Changing Ideals and Shifting ReaUties, TlieEwvpean Welfare state Pmject' '\
Tlie (tieo)rationalists
Two otiier distinct lines of tiiought fueUed tiie second Delft position. On one hand, tiiere is tiie group tiiat estabhshes a
(neojrationalist position under influence of ItaUan tiiinking of Manfi-edo Tafiui, Aldo Rossi and Georgio Grassi focussing on tiie relative autonomy of architectiire by applying typological research of basic buUding and typo-morphological studies for urban analysis, histead of proto-typical designs and oeuvres it ad-dresses tiie paradigmatic architectural and uAan models. In Deht tiiis line centres in tiie research and teaching of Carel Weeber, Leen van Duin, Umberto Baibieri » and Henk E n g e l A t tiie end oftiie 1970's Leen van Duin, fonnerly related to tiie sector 'design niefliods and fiinctional analysis', introduced flie notion of'typology' and 'typological research' into studio teaching. This approachalso focuses on tiie various layers oftiie
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Context in tiie broad sense of tiie tenn was never part of classic plan analysis. However, in order to devise architectural tiieoiies and concepts, as weh as to develop 'operational criticism' the rationalist school talces also into account tiie socio-ecoiiomical and political context in wMch tiieory and design aiise and are put into practice. By doing so. Operational ciiticism lias given university research a new socio-poUtical and critical dimension and platfonn for acting.
On title otiier hand, tiie second tine of ai'chitectuial tiiinldng witiiin tills group is influenced by a veiy special approach to arcWtectui-e. Within tiiis line, especiaUy Vincent LigteUjn and Rein Saariste have to be mentioned. As fonner assistants of Jacob Bakema and Aldo van Eyck tiiey took tiie Re\mon of Modemism into a different direction tiian Max Risselada et al. by not re-evaluating tiie historical avant-garde of tiie 1920ties and its after-war heirs, but by turning back to tiie early modem oftiie nineteentii century and begin of tiie twentietii hi a way tiiey can
be depicted as tiie Dutch foUowers of Colin Rowe as a fonner student of Rudolph Witikower Witiun titis approach which dates back to tiie specula ft\>e'' fradition of tiie WaAurg histitute, tiie past is criticaUy questioned witii regard to its relevance today UnUlce Rowe's approach as presented in CoUage City , tectural composition, as such and tiie material qualities of archi-tecture were especiaUy stressed in pubUcations, excursions and weeldy studio lectures and tiie like. These activities, which cen-tred on tiie work of early modem aix;hitects lüce Gaudi, Jujol and Plecitilc, Greene & Greene, Goff addressed foremost tiie specMc, a-typical, sometimes idiosyncratic oftiie project. Looldng back one could say tiiat LigteUjn and Saaiiste used ihe phenomeno-logical approach of van Van Eyck to move out of structuraUsm m order to enter into a broader and more intemational approach. AdditionaUy tiiey paved a way to apostinodem position, which founds itself onregional material cultures and pohtical identities developed wititin tiie Arts and Craft Movement / Jugendstil at the begmning oftiie 20tii centuiy.
This unoithodoxpostinodem position of Saaiiste's and LigteU-jn's was for Delft 'avant-la-lettre'. h was tiieti: group of students tiiat invited Rem Koolhaas in tiie eai'ly 1980ties via flie histoiy department, Jan van Geest, to lecture on his book 'Detirious New York' and operate as tiieü: graduation tutor Witii his lec-tures, KooUiaas additionaUy hitroduced DaU's Paranoid-critical metiiod to tiie Architecture feculty. 'Created m tiie early 1930's by DaU Itiinselfi tiie "Paranoid-Critical" metiiod is a SuireaUst
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Usually students tiiat were subject to Saaiiste and Ligtehjn's design education would end tiieir Architecture Master's before actually giaduating in tiie studios of Leen van Duin and later Umberto Baibieri, which acquainted tiiem witii flie neo-ratioml-istposition. This amalgam of speailative and rationalistic is still informs part of die architectural design education in Delft. In a certain sense Michiel Riedijk and Winy Maas can be considered a followers of tins 'school'. In architectural practise titis amalgam uiformed tiie education of cunentiy weU known architects lilce Kees Chiistiaanse (KCAP), Frits van Dongen (Aix:hitectenCie.), Paul de Vroom/Heiman de Kovel (DKV), Joris Molenaar (Mo-lenaai- & Co), Lai's Spuybroek and otiiers.
I n botii positions wititin tiie faculty tiie development of plan analysis and the latter typo and typo-morphological research coincided with the period in which re-examination of tiie 'rela-tive autonomy of tiie discipline' of architecture was a key part ofthe fimdamental criticism of fimctionahsm. There was a wish to emphasise tiie independence of architecture as a profession with rules all of its own. Moreover, m tiie university setting the
development of architectural tiieories, concepts and plan analysis were botii very much in line w t h efibrts to treat architecture as an 'objective science'.
The stiidio and design teaching during fliat period was paralleled by architecture histoiy and tiieoiy courses of Kees Vollemans who introduced French critical thinking, for example Michel Foucault, GiUes Deleuze and Luce higaiay to the Faculty of Architecture in Deht In tact, this enhanced tiie approach flie ra-fionalistic and speailati\>e approach which could also be labelled ^deconstiiicth'e' and 'phenomenoIogicaF atthe same time.
Architectiiral Precedents & Models, Design and History
The word 'precedent' is generaUy understood to mean a prior ('preceding') example of best practice. Architectural precedents are usually aivhitectiiral models, irom a recent or distant past. Castex et al define tiie architectural model as tiie actual archi-tectiuBl project, based on specific mles, concepts and techniques. Various projects may shai^ tiie same rules and techniques resitit-ing in distresitit-ingiushable ai"chitectural or urban plannresitit-ing models. One could say, in each plan and design, foims and operations are expressed tiiat stmcture tiieir composition, which refer to a set of concepts, references and specific techniques that serve as the basis for tiie desiga Subsequentiy witii regard to the relation between social and societal aims, tiie architectural model and history Castex et al. state: 'The term 'arcltitectural model' makes clear tiiat tiie development of form is not directiy related to tiie translation of a social aim, but that during flie development oftiie
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design fonn mediations ai'e used that axe specific to ai-chitectui-e and whose history has yet to be writtea h die distance between dlis specific histoiy of mediation and tiie more general histoiy of society lays the potential input of flie disciphne of ai'chitecture, but also its limits.' -• This imphcates tiiat stiidies of architectural or urban models ai'e not architectural histoty studies, for tiiey do not set out to constmct (or reconsttuct) histoiy in die sense of establishing causal hnks on flie basis of written sources and archive material. Nor are tiiey architectuial theoiy stiidies oftiie coherence and development of various design tiieories and ideas. BasicaUy tiiey foim the 'coUective memoiy' of tiie disciphne of architectm-e, which contains its body of knowledge and experi-ences. It forms 'tiie stufi" to work widi
However tiie reason to study architecttiral precedents and architecttiral models, let say tiiepmtotypes dsAparadigms, is tiie assumption tiiat we cannot look at tiie futtire witiiout looking bade, witiiout knowing about tiie architectural models and tiieir qualities oftiie past. Or to put in otiier words, ai-chitects cannot produce satisfactoiy designs for tiie futtire witiiout knowing tiieir precedents. This also implies tiiat architectural models, togetiier TOtii tiie various associated typologies, are understood as tiie vehicles and tiie core of architecttiral knowledge. AdditionaUy, by canying knowledge and tiie histoiy of mediation, tiiey are not value-fi-ee.
At tiie end of titis uittoduction to tiie reader oftiie Delft LeciiiK Series on Aivhitectural Design; Diftemnt aivhitectural positions, common appwach it does not come as a suiprise tiiat when ad-dressing tiie question how tiie histoiy oftiie precedent is hnked to tiiepresent, or even fiittire, once again different positions canbe distinguished.
Zeitgeist
Kees Kaan and Hemi van Bennekom are foUowuig Ludwig Mies van der Rohe's use tiie idea of Zeitgeist, which assumes tiiat every period in histoiy canies a specific idea(l) tiiat has to be incoiporated and expressed by worls of art and architecttire. Ac-cording to tiie Encyclopedia Brittannica tiiis notion derives fi'om Hegel's philosopltical reflections on aestiietics 'The stages of art were identified by Hegel witii various stages of historical devel-opment, hi each ait foim a paiticular Zeitgeist (i.e. 'Spirit oftiie time') finds expression, and tiie necessaiy ttansition fi'om one art foim to its successor is part of a larger historical ttransfonnation ...' -\ hi tiie work and position of Kaan and van Bennekom tiie notion of 'Zeitgeist' is hnlced to tiie notion of context According to tiiem, each epoch has own ways of producing architecttiral designs and building technologies of constmcting edifices, fi is tiie architect's role to 'express' tins context tiii-ough his/her work.
Worldng Histoiy
The typological and moiphological approaches, of Henlc Engel et al. use tiie idea of la storia operante - literaUy 'worldng
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toiy', which assumes Üiat the past reahses itself in the present To cite again Castex reflecting on the designs and moiphologi-cal research of Saverio Muratori 'The concept of/a stoiia operante was bonowed hom die ideas of Benedetto Croce, no longer proclaiming die strength of contrasts but the need to aUow distinctions, h i contrast to tiie excesses of abstraction, titis catied for a 'fransfigured intuition', a way of titinldng tiiat linlced up tiie distmct elements. Perhaps la storia opei^nte could be rendered as 'history at work in tiie present', tiie analysis ('reading') and tiie design beuig identical. Muratori was an absolute historicist; Mice Croce, he tiiought of histoiy 'as tiiought and as action.Though recognising tiie complex tiiought underlying titis aigument, it becomes clear wititin tiie typo-morphological approach tiiat tiie notion of historical continuity and constant transfomiation holds a central positioa BasicaUy it assumes, tiiere is only histoiy and tiierefore architectural models transfoim continuously diflPer and are distinct but are always canyuig elements fi-om flie past Con-sequentiy wifltin titis approach to histoiy and design die 'tabula lïisa', here caUed 'contrast' or flie completely new refened to as 'abstractions', is not an option
Phenomenology
Last but not least, witii reference to die phenomenological and more speculative approaches to architectural design Walter Benjamin's notion of past and present comes to mind. His notion especiaUy appeals to architect's fascuiations as gaflierere and hunters of ideas and inspirations, as collectionneurs and
biico-leiirs at work wifli tiie 'df^inatorygaze ofthe collector'. 'The "afterUfe of worfa".... is Benjamin's central terni... for tiie historical object of uiteipretation: tiiat which under tiie divinatoiy gaze oftiie collector, is taken up tiito tiie coUectors own particular time and place, tiiereby tiirowuig pouited hght on what has been Welcomed tiito a present moment tiiat seems to be waiting just for it - "actualized,"... tiie moment from tiie past comes ahve as never before, hi titis way tiie "now" is itsehexperienced and prefonned in tiie "tiien"... The historical object is reborn as such uito tiie piiesent day This is tiie famous "now of recongnizabtiity" (Jetzt derErkennbarheif), which has tiie character of a lighterang flash.... Here ... is tiie ur-historical, coUective redemption of lost time, oftiie times embedded in flie spaces of fltings. BasicaUy Benjantin uses mimesis not tiie notion of analogy Mice Aldo Rossi, Ul order to mirror past and present, and vice versa. Ben-jamin's notion potentiaUy describes flie way in which architects pick up titings and objects, ideas from aU kinds of fields includ-uig art, but also architectural precedents and models. By doinclud-uig so, tiiey select, document and uiteipret tiie objects oftiie past and shed new light upon tiiem In fliat sense, architectural design means tiiat at every time sometiting new is recognised, coUected, experienced and accorduigly to tiie coUector's fascuiation, re-worked and reshaped and tiierefore - 'rescued from die redemp-tory of lost time' - never disappearing from hisredemp-tory, but minoiing it again and again Today for titis approach tiie architectural position of Mark Pimlott and IClakse Havik serve as an example. AdditionaUy we can recognise tiie phenomenological tradition
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In conclusion
To end, die purpose of tiiis overview is as aheady noted, to acquaint tiie 'outside world', our guests and Masteis students of Architectute witii flie dhferent Architectural Positions held at Deht Faculty of Architectui-e and tiie Butit Envti-onment. Moreo-ver, it attempts to encourage stiidents as fiiture architects to be critical oftiie ideals imphcit in paiticular positions, approaches, precedents & models, prototypes and paradigms, hi essence, architectural models, precedents and history do not automaticaUy provide starting points for new designs. The ai-chitectural position must be refonnulated and researched afresh for each new design witiiin tiie context oftiie specific project and tiie associated ques-tions and fonnulation of new ideals, in order generate Imowledge and infonnation for the design process leading to 'adequate' designs.
