Young Architects 9: Proof
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Proof is the ninth in an annual series of publications that features the best young practicing architects as selected by the Architectural League of New York in their annual Young Architects competition. Competition entrants wereasked to use the theme "proof" to frame their portfolios and critically evaluate their work. This required creating projectsthat acknowledge architectural design as a unique process that begins with a speculation and gains traction through the subsequent testing, confirming, checking, and rechecking that occurs before and after designs encounter the real world. Eachof the winners—Aranda/Lasch, Jinhee Park, ludens, PARA, PRODUCTORA, and Uni Architecture—confronted this year's theme with work that is original, and inspiring.
frangipane-filled Galettes des Rois eaten throughout France on Epiphany (whoever gets the fève becomes royalty for a year)—then, despite the Young Architects Committee’s protests to the contrary in the competition brief, proof is in fact product as much as it is process: it’s the demonstration, meaning the end product, as well as the action of demonstrating. How do you find the fève in a pile of portfolios? What even constitutes architectural proof for a young office today? The brilliance of the
unexpected sites for inquiry when architects, in the words of the call for entries, “work on proofs, put proof to work, witness the results, then rework the proofs.” 16 YOUNG ARCHITECTS 9 Biographies Ivan Hernandez Quintela is the founder and principal of ludens (www.ludens .com.mx), a design firm established in 2002 in Mexico City. Since its inception ludens has been investigating issues of intimacy and interaction in the public and private spheres through the production of small-scale
are a series of exercises that examine the conditions of intimacy. Each project, devised as a tool, explores the many ways in which we interact with one another and, consequently, investigates how the objects that surround us play an active role in our relationships—they are never innocent or neutral. I take my cue from the films of Charlie Chaplin and Buster Keaton, and try to be humorously critical of architectural conditions through architecture itself: exaggerating certain codes of behavior,
the spirit of Charlie Chaplin movies, where body movements are critical tools—one must sit on the seat in order to lift the needle. The seat is placed a bit higher than a typical chair, requiring a series of uncomfortable movements to reach it. This indirectly ridicules “authority” by making the very action necessary to exercise their power seem absurd. The Segregator was put into practice in different arbitrary spots around the city—places where no restriction was necessary. A group of
to store pieces of art. This led me to propose that the bookshelf be an ad hoc assemblage using and adapting the crates. The juxtaposition of each stamp, mark, signature, or logo that remained on the crates contributed to the construction of a collaged narrative—an informal biography of the accidents, voyages, and experiences that the client has undergone since he began collecting art. 1 2 41 COLLECTOR ’ S STUDIO 1: Sketch showing the accumulation inherent in collecting 2: General