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Disturbing readymade
Eric Lapierre for materials , No. 7, August 2004
[1]
[2]
Use
" The question of the use is for us the priority " [5] .
This axiom is based the "economic" approach Lacaton and
Vassal. With the consequent desire to avoid any formal
overdetermination buildings that limit their ability ownership: "
Our concern is always to stop at some point to make way for the
locals; it is for him to nish, to occupy a way that is not
necessarily what we had imagined. In the denition of nishes,
we do not want to go too far in the expression " [6] . The
attention to the use induces a withdrawn position in the
denition of the form which involves in design details of the
adoption of simple solutions and, if not neutral, at least not
expressive. A neutral expression signal a focus on the form
itself that architects reject: "[...] we do not care of the exterior of
our buildings " [7] says Jean-Philippe Vassal. Thinking
architecture from the use leads to pursue a comfort that borders
on "luxury": " Our ambition is to produce quality, luxury,
housing related, in the sense: what is that can be produced that
would not imagine being able to afford? " [8] . And luxury is
being able to live in large thermally controlled surfaces.
The criteria "large area" and "thermal comfort" are
performance-oriented and non-formal. Their adoption led
Lacaton and Vassal to reassess both, contemporary architectural
production and post-war: " We like the International Style, as
this very simple architecture produces a real spatial generosity:
it offers views, comfort and is resolutely modern. This
architecture seems to meet the aspirations of contemporary
society better than the complex architecture, formalist and
ashy today. We try to practice today an efcient architecture of
the same type and which allows to offer the same spatial
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the same type and which allows to offer the same spatial
[9]
[10]
Lightness
In support of their research capabilities to the largest
economy, and Vassal Lacaton seeking what they call the
lightness : an attempt to meet the need for protection that is
expected of a building with the minimum of things, that n is
reminiscent analyzes Reyner Banham in the Well Tempered
Environment [11] . Jean-Philippe Vassal concretely experienced
this kind of lightness and climate relevance when he lived in
[12]
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Readymade
In the house in Coutras, Lacaton and Vassal conducted
such a strong reduction of the architectural elements that the
house is an architectural readymade resulting from the
implantation on the site of two manufactured objects whose
form has not changed [ 17] .
What remains of "architectural" in an architecture that
reduced much? What makes this ready-made house is different
in our eyes mundane greenhouses are found in the landscape of
Coutras area? What makes us consider it as a work of
architecture, despite its maximum relief artistic intentions?
Anne Lacaton indicates a rst track: " Less material is
also less cost, and it is a completely straightforward way to
implement things, to assume the materials, to assume the
assemblies: this performance, also becomes an aesthetic
quality. "
[18]
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own pathos. Such works are more open process than nished
objects. Pollock has welcomed a critic once wrote that his
[23]
uncanny
Why works of art, which are by denition artifacts, they
earn to stand as close to a state that could be considered as the
"natural" elements? The works do not they lose relevance,
strength, and freedom, wanting to nd expressions as inevitable
as natural phenomena?
[24]
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Architecture
We understand better now what distinguishes our eyes a
vulgar horticultural greenhouse. The greenhouse "Winter
Garden" is gross; it has, like all his fellows, an anemometer,
visible on the front. The greenhouse "programmed" is "helped"
[31] ; it is lined and insulated, and equipped, in front of a TV
antenna. The standard unmodied greenhouse to measure the
intervention by which all turned into a house, how the
anemometer has turned into TV antenna. The repetition of two
identical volumes, evokes the greenhouses to the "wild" state,
when aligned in the landscape, and architectural impact of this
brute repetition, which fascinated Aldo Rossi in his time, about
the cabins range, especially. Repetition also evokes duplication:
" A [...] important aspect of the readymade is its lack of
uniqueness ... the replica of a readymade delivering the same
[32]
message "
. This alone and found to be three reasons:
instability of interpretation lends richness and essence of the
architectural fact.
By reducing their involvement in the selection of two
greenhouses, and Vassal seem Lacaton give up their
prerogatives architects as "directors form" and mark a
withdrawal so strong that it could appear as a desertion of the
architectural eld. Instead, the busy household traces of life of
its inhabitants - Anne Lacaton expresses very attached " to the
ability of architecture to show the uses it generates " explicitly manifests the tension created between the original
appearance of greenhouses, still readable, and home use made
of it. Drying laundry, sofa, table, etc., in a greenhouse: we are
here in the heart of the dialectic of re-known into the unknown
that characterizes the uncanny. There, no doubt, there are
architecture, architecture a reduced and, hence, precipitated, in
what is essential is that strange inner tension born of an
interpretation instability which imposes an awakening
permanent. By establishing, for use as a shortcut literally
surreal, Lacaton and Vassal give to hear one of the fundamental
dimensions of architecture: that of the shift and tension caused
by the need to use known and recognizable materials in a
context and a new work always. By installing the daily life of
residents in the greenhouses, they show us the architectural
quality that these objects have to "wild" - in doing so they
change the look until we could carry on them - and manage to
the bringing within the scholarly eld of architecture without
reducing their strength or their original efciency. Finally, they
managed to give them a sense architecture based entirely on the
quality of use, while showing the beauty and poetic value of
these: an encounter with a sofa and a greenhouse on a eld is
near that of a sewing machine and an umbrella on a dissecting
table.
By implementing such an economy of means, they show
that in terms of reducing architecture understood ways led to an
intensication of the effects; effects that are, at the same time
meaningful. Reduce the effects of credible means trying to give
a learned and articial work the evidence of its opposite: a work
of Nature. As Jackson Pollock suggested itself when responding
to a critic who pointed out to him that he did not paint from life:
" I am nature ."
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