Category Archives: Interviews

# FOUCAULT /// Episode 1: Michel Foucault’s Architectural Underestimation

Today, I would like to start a series that will attempt to do for Michel Foucault what I managed to do with Gilles Deleuze in June 2011: an entire week dedicated to the philosopher with one article a day. For this occasion, I would like to open a new category in the blog’s archives, listing the articles dedicated to Foucault. In fact, this kind of series is as much an opportunity to think about such a rich work like Foucault’s, as to construct an archive of a thinker who strongly influences the way the problems questioned on this blog are being interrogated and though about.

In order to remain awake and critical of a work, which itself was advocating for a continuous criticality towards mechanisms of power whichever they were, I would like to start this week with a piece of text in which I believe that Foucault underestimated the (oppressive) power of architecture.
This text (see below) is extracted from an interview he did with Paul Rabinow in 1982 and that is often used by architects as an alternative to the recurrent and often misunderstood interpretation of the panopticon (that we will probably not discuss about this week). Architecture is specifically named and addressed in it and therefore constitutes an easy entrance door to Foucault’s work for architects. In this regard, in addition of being published in The Foucault Reader edited by Paul Rabinow himself (Penguin, 1991), one can also find it in the very useful Architecture Theory since 1968 edited by K. Michael Hays and published by the MIT Press (2000).

Continue reading

# FINE ARTS /// The Materialist Creation of Perry Hall as discussed with Carla Leitão

Perry Hall: Tidal Empire (Coral Painting), 2011. Oil, acrylic and custom paints filmed live using a RED Epic digital cinema camera.

Carla Leitão dedicated her monthly contribution to the Huffington Post to a short conversation with American artist Perry Hall who brought to painting as well as other mediums, a whole new materialist approach that confuse mean and content in a fascinating expression of paint for its physical property and behavior. By doing so, he makes visible the invisible forces that animate the physical world and the cosmos in a literal application of Paul Klee’s definition of art. Perry and I are in contact to perhaps do something on this blog soon and this interview is a perfect mean to enter his work before this happens.

I copy here the article for the blog’s archive but it can (and probably should as it also includes a digital gallery of Perry Hall’s work) be read on the Huffington Post’s website itself.

Perry Hall: Sonified, Synesthesia and Livepaintings
By Carla Leitão

Contemporary discourse in architecture and design reflects upon the increasing ability to engage the lively part of matter and train this sensibility as not only a broader search for tools as much as an agenda of exploration — that expands realms of thought on the concepts of information exchange, nature and construction, environment and interaction or collaboration. My own interest in it has been temporarily focused on the flickering merging of the concepts of matter and media through the lens of seeing information as currency in the natural world.

Continue reading

# PALESTINE /// An Epistolary Conversation with Arena of Speculation followed by another with We Make Money Not Art

The conversation I have been having with Ahmad Barclay and Dena Qaddumi is now published in their Arena of Speculation. This epistolary discussion was about Weaponized Architecture and more specifically applied to the Palestinian spatial struggle. In one week or two it will be followed by another one I had with Regine Debatty from We Make Money Not Art. Both of these conversations have been oriented in such a way that they can dialogue with each other and address various scales of specificity.

# INTERVIEWS /// Architectures of Joy: A Conversation Between Two Puzzle Creatures [Part B]

Arakawa + Gins, Bioscleave House (Lifespan Extending Villa),2004, photo: Léopold Lambert

Today, I release the second part of the conversation I have been recently having with Madeline Gins about the Reversible Destiny Foundation co founded with Arakawa. While the first part was more an epistolary assignment, this second part is a face to face conversation at the end of a day spent a the Bioscleave House (Lifespan Extending Villa) built three years ago in the Hamptons (Long Island). I, indeed, was lucky enough to experience the constant reconfiguration of the body in order to compose an harmonious relation with architecture. We can write dozens of pages about that, but nothing really expresses it as the feeling of experiencing it with your own body. What we usually wrongly dissociate as mind and body are here fully reconciled in both an awareness of each part of our body as much as the parts of architecture itself. This experience is truly what Arakawa and Madeline Gins  conceptualized as the Architectural Body.

Once again I would like to thanks Madeline herself, Esther Cheung, Hiroko Nakatani and Maurizio Bianchi Mattioli.

Reversible Destiny: Architectures of Joy: A Conversation Between Two Puzzle Creatures [Part B] (read Part A)

3. Léopold Lambert:  Let’s consider the place we are in: Bioscleave House–Lifespan Extending Villa. I don’t think that we should hold back from using the word playground when speaking of it.  We should just attribute a particular meaning to this word, the same meaning I was getting at in my previous question (see the second question of part A).

Madeline Gins:  The term life-invention playground comes to mind.

Continue reading

# INTERVIEWS /// Architectures of Joy: A Conversation Between Two Puzzle Creatures [Part A]

Arakawa + Gins, Yoro Park – Site of Reversible Destiny, Gifu,1995, Photo Trane DeVore

It has been several months now that I started an oral and written conversation with Madeline Gins, co-founder with Arakawa of the Reversible Destiny Foundation that I have been evoking many times this last year (see the list of articles at the end of this post). In this matter I shamefully recommend the essay I wrote about a Spinozist interpretation of their work as an introduction to this interview for whoever is not familiar with it.
Summarizing Arakawa/Gins’ thesis in one or two sentences is a dangerous assignment as their work is infinitely more complex and as a shallow reading usually leads to a misunderstanding of this same thesis. If I nevertheless decide to try, I would say that their work explores theoretically and practically the possibility of composing an Architectural Body, which lays in the relationship created between the human body and architecture. The former being stimulated by the latter, a deep understanding of this relation informs design in order to allow the body -body here needs to be understood as a person in an absolute refusal of the Cartesian dichotomy between the mind and the “body”- to acquire an awareness of its environment and thus strengthen its internal composition. For whoever who is not satisfied with this thesis simplification -and you should not be !- I invite you to read the following interview and the various books that Arakawa and Madeline Gins wrote since the end of the 1960′s.

This interview is divided in two parts. The first one is an epistolary exchange between Madeline and myself informed by two face to face conversations. The second, that I will publish tomorrow is a discussion we luckily had in the Bioscleave House designed by Arakawa + Gins and achieved in 2008 in the Hamptons.

Continue reading

# INTERVIEWS /// Conversation with Wes Jones about the notion of Machine

Corbu/Perriand reinvented: Chaise Lounge (1992) by jones, partners: architecture

This week, exceptionally there won’t be any guest writers essays on the funambulist. Instead I propose an interesting conversation I had, two weeks ago, during a short trip in Los Angeles, with Wes Jones, who was kind enough to answer my questions about the way he intermingles the notions of machine and design in his work. Since the early 90′s when he started his own office Wes Jones has indeed been proposing a design that engages a dialog between humans and   “medium-tech”  architectural assemblages that affirm and celebrate their mechanical  legibility as a contractual agreement between the user and the architect.

Interview on August 22nd 2011 at Sci-Arc (all images have been chosen by Wes Jones himself to illustrate our conversation):

Leopold Lambert: As a form of introduction, could you please give us your definition of the notion of machine ?

Wes Jones: I see the machine as specific manifestation, not necessarily physical (deleuze abstract machine seems to me perfectly reasonable), of a more generalized technology. I see technology as an ontological category, on a par with man and nature, as that third possible form of existence that humans create and place between themselves and nature in order to mediate nature—to enhance or mitigate it.

Continue reading

# HETEROTOPIC ARCHITECTURES /// Ecological Borders. Think Space’s new Competition as proposed by Francois Roche

It now became an habit on the Funambulist to follow one of the (too) rare fair and interesting idea competition organized by the Zagreb Society of Architects and curated by Eva Franch: Think Space.
The first competition was entitled Urban Border with a topic proposed by Shohei Shigematsu and I got to publish the winners’ project Demotown designed beautifully by Jesse Honsa & Gregory Mahoney.
The second competition, Geopolitical Borders (see previous article) was proposed by Teddy Cruz and the winners are now visible by following this link.

Here comes the third of those competitions and the high level of interest remains as the new juror happens to be Francois Roche (R&Sie(n)).
The borders here are Ecological. YUmen[eco]tec-pharming is in fact a competition about rethinking ecology (or ecosophy following a concept formulated by Felix Guattari) not anymore as a new form of transcendental moral but rather as a participation to the various processes of material deterioration and re-composition in stake in our environment.
As enunciated in the competition’s brief, those processes involve “screwed, chewed, shat, sweated, swallowed, vomited, pined, secreted, woven, knitted, extruded, staggered, scattered, coagulated, aggregated, welded, pinched, braided, spidernetted, bonsaied, crystallised, calcified, excreted, expanded, branched, pulped, smeared, coagulated, excavated, assembled and disassembled, bended, blended” materials that needs to be considered as the production of humans and another living species.
This competition balances this broad field of exploration by imposing a precise frame of action that can be read below:

ECOLOGICAL BORDERS:
PARTIAL-TOTAL ECOLOGY: “YUmen[eco]tec-pharming”

I remember…
– That the idea of a necessary mediation, a kind of social contract, was essentially
based on a juridical conception of the world, as elaborated by Hobbes, Rousseau and Hegel. For Spinoza, on the contrary, forces were inseparable from a spontaneity and a productivity that made their development possible without mediation, i.e., their composition. They were elements of socialization in and of themselves. Spinoza thought directly in terms of “the multitude” and not individuals, in a conception… of physical and dynamic composition in opposition to the juridical contract. – Bodies were conceptualized as forces. As such, they were defined not only by their random encounters and collisions (state of crisis); they were defined by relationships between an infinite number of parts making up each body, which already characterized that body as “a multitude”. Gilles Deleuze, introduction to Anomalie Sauvage, Toni Negri, PUF, 1983

Continue reading

# ARCHITECTURAL THEORIES /// Patrick Bouchain interviewed by Metropolitiques

I invite every French speaker to listen to the recent interview of French architect Patrick Bouchain by Philippe Simay on Metropolitiques.
Bouchain is not so internationally famous but he is one of the most interesting architect I know. He worked for two decades in the shadow of other artists such as Daniel Buren, Claes Oldenburg or Bartabas (a famous horse trainer in France),  worked with film directors and even the Minister of Culture, Jack Lang during Francois Mitterand’s second mandate as President. He has been designing and building architecture for more than twenty years now, without being registered to the Architects Order and claims for a status of architect/developer (which is forbidden in France).
His main thesis is to involve as many people in the process of building architecture. One could associate this ideal with the 60′s experiments of people choosing on a little model where the walls of their apartment would stand, but Bouchain’s creative process is much more interesting than that. With him, architects, clients, workers and citizens are all involved in the building process (His office’s name is Construire which is the French verb for Building). Two very simple applications of such a will is the visit of construction sites by primary schools and the set up of a restaurant on site for both workers and neighbors to exchange.
In the third video (see below), Bouchain questions in a quasi-philosophical (he is also a very good friend of the Philosopher Michel Onfray) way the Civil Code about how is defined property. Using a deep knowledge of the Law in order to create a more democratic architecture makes me instantly recall Santiago Cirugeda in Seville (see previous article).
I feel sorry that neither this interview nor the book Construire Autrement (Building Differently) has been translated in English as many readers would probably appreciate a lot Bouchain’s propositions for a more immanental and hedonist architecture.

Article by Michel Onfray in Construire Autrement that I translated in October 2008.

Articles about EXYZT, Bouchain’s young proteges that I’ve been publishing regularly on this blog: 01, 02 and 03

Article in English on Spatial Agency

Videos of the interview after the break.
Continue reading

# INTERVIEW /// Bryan Finoki for Weaponized Architecture

Within the frame of my post-professional thesis, Weaponized Architecture, Bryan Finoki was kind enough to answer my questions.

Bryan is the editor of Subtopia, one of the most important and crucial research platform about militarized spaces and their biopolitical implications.

Bryan Finoki’s work is an excavation of the politics of space that underwrite the nature of the contemporary city.  In response to a pervasive culture of fear, secrecy and constitutional sabotage, he confronts what he calls the “sub-architectural” dimensions of militarism and incarceration to further expose corruption’s refuge and the contesting forces that together shape the built environment.  Using architecture and geography as a prism through which to interrogate the design and political production of space, his writing is a definition of military urbanism that expands our understanding of the everyday violence of the global city’s creeping securitization.  If Empire is a hidden landscape then Bryan’s documentation not only helps to reveal it, but also shows an immense counter-landscape that is emerging in its fissures and shadow.

Continue reading

# INTERVIEWS /// Raja Shehadeh

Thanks to Romaric, my friend who works at French publisher Galaade, I had the chance to meet Raja Shehadeh for an interview he kindly accepted.

Raja is a lawyer in Ramallah since the end of the 70′s and has dedicated his carrier to cases of expropriation of Palestinian lands by the Israeli.
He wrote several books, including Occupier’s Law and Palestinian walks.
Ramallah. 21st July 2010

Leopold Lambert: The particularity of your actions is that you are a lawyer. Despite the fact that law is violated every day by the State of Israel, what may be some naivety from me makes me think that it is the one domain that can save Palestinians from oppression. Would your expertise agree with that?

Continue reading

# INTERVIEWS /// Relationship between engineering and architecture / interview by Francesco Cingolani

Francesco Cingolani is one of the associate of CTRLZ architectures we already published here; he also works for Hugh Dutton Associes in Paris and take part of the blog Complexitys related to this office. He recently asked me to answer to a short interview concerning the relationship between engineering and architecture. The original version in French follows the translated one.
(nb there are four other interviews on Complexitys with people coming from very various backgrounds)


Francesco Cingolani: In your vision, what is the relationship between architecture and engineering?

Léopold Lambert: In order to answer to this question, it is important to define what we understand by engineering. If I define here engineering as the discipline that tend to rationalize, diagrammatize, optimize space so then, in my vision, architecture has to try to evolve to the opposite side of this discipline.
Of course, architects would always have to do concessions to technocracy, however to resist to it -and probably resist it with its own language, its own symbols- seems to me as a important attitude.
Continue reading

# INTERVIEWS /// Teddy Cruz on Archinect

Power and powerlessness is the title of Archinect’s interview of Teddy Cruz I recommend you to read for its description of the Estudio Cruz’ s archi-political work on San Diego/Tijuana’s border zone. Teddy Cruz was participating to November conference of Oppositional Architecture and declared that he believe in a long term work to make institutions evolve rather than a resistance based on the non-respect of established rules.

# INTERVIEWS /// Roland Snooks (Swarm 3/3)

Third and last interview for this SWARM thematic. This one is of Roland Snooks from Kokkugia. Roland speaks about his research about multi-agent strategies in his studio and in the schools he is teaching (Columbia, Pratt, Sci-Arc, UPenn, RMIT…)

You are using swarm/network intelligence as a process of creation. Would you say that it is a form of loss of control from the architect ? If it is the case why would you think it is relevant in our era ?

Designing through complex systems, in particular through multi-agent design methodologies, does not represent a loss of control in the design process, however the nature of design and authorship changes. It is a shift from invention of form to the orchestration of processes. Within highly volatile algorithmic design processes topology and dimension are not directly controlled, however the formal and organisational characteristics, which are tied to the internal behavior of the algorithm are controlled through an iterative design process.

Continue reading

# INTERVIEWS /// Francois Roche (Swarm 2/3)

This is the second interview of the Swarm thematic about R&Sie(n)‘s work and research.

Interview Leopold Lambert / september 17th

 

 

Short stories from an acephala body / f. Roche


 

 

 

You are using swarm/network intelligence as a process of creation. Would you say that it is a form of loss of control from the architect ? If it is the case why would you think it is relevant in our era ?


This notion has to be used carefully, to avoid a direct and reductive analogy between bird, ants and humans. The swarm intelligences work in the nature at the condition to reduce and limit the inputs, but contradictorily, humans are known to de-multiply inputs and outputs, between their perception and the illusion of their perception and the paranoia of the both…

The first who introduce for me the politic hypothesis of Swarm intelligences was Ilya Prigogine in his book ”the end of certainty’, where his thermodynamic analyze showed the opposition between Newtonian and Entropic scientific approach.


Continue reading

# INTERVIEWS /// Valerie Chatelet (Swarm 1/3)

Valerie Chatelet is the publication director of Interactive Cities, published in 2007 by HYX. You can download her own article from HYX website.

You are using swarm/network intelligence as a process of creation. Would you say that it is a form of loss of control from the architect ? If it is the case why would you think it is relevant in our era ?

Valerie Chatelet: What is pretty fascinating in emergent processes in human situations without any centralized or voluntary organization, is not really their intelligence, but much more their absurdity. We keep calling intelligence patterns which emerges at a superior level from the one where were taken the decisions, even when those patterns are fatal. We are the heir of a fascination for emergent processes which take their roots in the origins of computer science and simulation possibilities. This fascination is still persisting nowadays, in particular for the architects, by the omnipotence that provides the enormity of flux we potentially succeed to manipulate.
Although if anthill are magic/intelligent in their mechanism despite its composing individuals’ simplicity, what emerges from human society is more about traffic jams, congestion phenomena, pollution, resources waste, stock exchange crisis, public space privatization, urban spreading or scattering.
The point is not to simulate those processes, neither to reproduce them but on the contrary to come out of those emergent absurdity. There are thus two intervention hypothesis: the structure or the awareness. Structures which could be architecture works are imposing themselves in a centralized way and find their legitimacy in the fact that they allow to go beyond the emergent phenomena’s insufficiency. What is new nowadays is the move offered to architecture to design, not anymore structures which organize and solve emergence’s anomalies, but to design devices allowing people to become collectively aware of these phenomena and to modify their behaviors in order to avoid their absurdity.

Continue reading

# INTERVIEWS /// Stephen Graham by Subtopia

Here is a very interesting interview of Stephen Graham by Brian Finoki (talented webmaster of subtopia) tackling the relationship of architecture and transcendental control in a warfare society as defined by Antonio Negri and Michael Hardt’s Empire.

# INTERVIEWS /// Usman Haque and granularity

I recently met Usman Haque in London and got the chance to talk with him about his work and I’ll be trying here to make an article about it.

Usman Haque is a Bartlett graduated architect who tries to increase human participation in architecture. Too many people confuse technology and interaction he says, himself always trying to create some human engaging interaction more than determinist technology.
The ambiguity consist then in using the same tools than the illusion of so called intelligent environments. Humans are far more adaptable than the technique. That is why he designs environment where sensors, instead of being considered as owners of an inherent logic, tend to propose what seems to be an irrational behaviour which must be learnt indistinctly by humans in order to control it. This is how he tries to achieve to change relationships between people and their environment and also change the way urban designers are conceiving this same environment.
In fact, he develops the concept of granularity as the resolution of different entries to the system:

Continue reading

# INTERVIEWS /// Peter Cook le 2 novembre 2007 à Londres

Ron Herron pour Archigram / Tuned suburb


Je remarque seulement aujourd’hui que je n’ai jamais diffusé l’interview que Peter Cook m’avait accordé dans le cadre de notre mémoire de diplôme en novembre dernier. Mieux vaut tard que jamais; la voilà ! (il est à noter que grâce à la qualité horrible de mon enregistrement audio, je n’ai plus retranscrire que la seconde partie…)

la traduction française est plus bas…

Léopold Lambert: When we are thinking about design of cities, there are two extreme cases which could be, on the first hand, the paternalist utopian architecture and, on the other hand, an architecture without architect. Where should we stand between these two cases ?

Peter Cook: That is the most difficult question of all ! If you just let anarchy reigns, there would be an authority; it would be the authority of money. There would be a certain point to which it is unliveable.
On the other hand, if everything becomes so “authority written”, it would be what we already call in England, a “nanny state”. Everybody is watching if you do this right, everything is correct, you don’t do this because it is bad for you, you don’t do that because it is bad for others. Don’t do that because it’s not good. Don’t do that because it will upset somebody etc. This is a kind of robot world and I’m against that. If somebody says: “You can only choose one from the other”, I’ll risk for the free state.

Continue reading

# INTERVIEWS /// Daniel Docu

Building Blog publie une interview de Daniel Docu, ex-graphiste d’Electronic Arts et directeur du département artistique du jeu vidéo online ArenaNet (NCSoft). Cet entretien porte sur la relation du jeu et de l’espace.

Continue reading

# INTERVIEWS /// François Roche et Stéphanie Lavaux (R&Sie)

Interview réalisée le 6 février à Paris, dans le cadre de notre diplôme Penser la ville démocratique (Pré-jury le 21 mars prochain)


Martin Le Bourgeois : Le pouvoir de l’architecte, plutôt que de le déléguer aux hommes ou aux usagers, vous préférez le déléguer à des machines, ou à la nature (cf : spidernet). Quand vous perdez le contrôle pourquoi ne le remettez vous pas aux usagers plutôt qu’à une altérité autonome et qui n’a pas pour vocation de servir l’homme ?

François Roche : Je sens poindre l’hypothèse qu’il y aurait un déficit d’humanisme. Je sens dans ta question, une critique qui s’insinue malignement comme un préalable, une critique qui flatte celui qui l’émet, drapé et paré d’un supplément d’âme, portant l’humanisme en écharpe, en bandoulière, voir en cartouchière, pour flinguer dans le confort et la complaisance tout ce qui présupposerait ne pas en être.
L’attention aux mécanismes humains, et aux structures qui les conditionnent, l’empathie aux situations, les valeurs climatiques, voir pollutives d’un environnement, la relecture chimique des humeurs, autant de petits dispositifs qui chez R&Sie(n) fonctionnerait plutôt comme sa dénégation et son antidote.
Comment ne pas se prémunir et se méfier d’une notion, resucée anachronique des idéaux de la Renaissance, qui a été le vecteur, le levier opératoire des envolées illusionnistes du XXe siècle. On ne peut en évacuer la duplicité, sous couvert de…, a l’ombre de… ; duplicité maligne auréolée de grandeur d’âme pour simultanément et contingentement s’asservir aux systèmismes de la standardisation fait de tabula rasa, d’autorité panoptique, de mode de production sous-surveillance…pour en éliminer les multitudes, les anomalies, les singularités.
Continue reading