What About Portfolio Interview?

WAI’s Interview has been featured in Damdi’s latest publication Portfolio

The Interview in English as follows:

Q. Is your portfolio for your own or for an office? What is the difference between the two?

Our portfolio is for our office, WAI Architecture Think Tank. The office portfolio focuses on the particular design philosophy of WAI; in this way our first concern is to integrate theoretical texts, which we consider as a major part in our approach, as well as underlining the development of our different projects ranging from pure research, urbanism, architecture and several experimental mediums, like magazines, film and exhibition art. An individual portfolio, for somebody as young as us, would usually focus more on the diversity of approaches and experiences that you can acquire through your studies and professional practice.

Q. What is the most important element in a portfolio?

For us it can be seen as the good balance between content and layout. Too much of either of those elements can alter the harmony, and result in a portfolio too heavy in the first case, or a portfolio too banal in the second.

Q. How do you select the works to be included in the portfolio? Where does the most successful project placed within the portfolio? What is the best way to order the projects?

It all depends on the projects that you have, and what you want to communicate through the portfolio. It is common to think that the logic corresponds to a chronology, with the most recent projects or the projects that portray the best of your development in the beginning to make a good first impression.

Q. What makes a successful portfolio?

A really successful portfolio is the one that highlights your capacities. A portfolio is something very personal that should reflect the best characteristics of the author. The size, layout and colors should variate according to the preference of the author, as long as it takes into account that which is most suitable way to display his or her work.

Q. What is the most effective layout?

What can be reckon as being a clear layout would be a design that doesn't obliterates the content. The layout should help to showcase the work displayed without competing with it.

Q. Where do you get your ideas?

We are constantly reading and looking around us. We get inspiration everywhere, from graphic design websites, contemporary magazines on design and culture, to the historical research we do for theoretical projects as on the 20th century avant-garde movement in art and architecture that particularly interest us .

Q. If there is one, what is the weakness or needs of development of your portfolio? If none, how can you make the perfect portfolio?

In the name of WAI architecture, we are concerned in developing our design philosophy, and that is reflected in our portfolio. For us the most important thing is how to manage to have substance and content in what we do, and how to create a visual language that displays it. In that sense our portfolio will develop as our projects get more complex and our practice more mature.

Q. What are the most common mistakes made by people making portfolio?

A very common mistake in portfolio making is the overload of material. Editing plays a major rôle at the time of making a portfolio. Very often portfolios get too saturated with material, and sometimes even too crowded with a unrefined layout. Another issue is to avoid emphasizing too much on yourself, taking the focus away from the projects.

Q. Is there a rule in making a portfolio?

For us a portfolio is like a personal magazine; the project images, content, information, and text in our case, should be integrated harmoniously. It usually follows the same logical order as in a magazine, with a front cover, followed by a small curriculum vitae, an index or page of contents and then the projects. The colors, texts, titles and images are to the discretion of the author; we don't think there is one rule for it.

Q. When and why did you make your first portfolio?

What can be considered as our first portfolio is a magazine called « What About It? Part 1 ». The publication represented a compendium of one year of WAI's work. The challenge was how to address graphically the underlying consistency of ideas behind all the different projects, even when they varied from publication texts, to architecture and urbanism competitions, to film and exhibitions.

Q. Anything to say to those making their first portfolio? If you were in the shoes of one who is judging the portfolio, what would you look for and why?

A good portfolio should achieve two main goals: be a good visual tool, and at the same time be clear about the capacities of the author. When we are judging a portfolio, we look for a line of thoughts behind the designs and the craftsmanship of the author (i.e. model making, image making, renderings, CAD).


To see complete interview and portfolio see Damdi’s Portfolio Volume 5.

Interview Available in English and Korean

To Buy a Copy: www.damdi.co.kr/



What About Post?

WAI has been featured in POST POST POST Nuevas Arquitecturas Iberoamericanas Exhibition

WAI Think Tank has been selected to be part of an exhibition in the CCEBA (Centro Cultural de España) in Buenos Aires.

The exhibition that spans from August 11 to September 11 includes selected practices from Argentina, Brasil, Chile, Colombia, Ecuador, El Salvador, España, Guatemala, Honduras, México, Paraguay, Perú, Portugal, Puerto Rico, Uruguay and Venezuela. Between them: A77, Estudio POP Arq (Argentina), Grupo Bijari (Brasil), Supersudaka (Chile), Mesa Editores, Plan b, and JPRCR (Colombia), Estudio A0, and Somadic Collaborative (Ecuador), Fabrica de Paisaje, Monica Galain (Uruguay), Mateo Pinto D’Lacoste & Carolina Cisneros (Venezuela), Tatiana Bilbao (México), Edgar González, elii Agencia de Arquitectura and C+ Arquitectos (España) and Pedro Bandeira (Portugal).

For More information visit the CCEBA : www.cceba.org.ar

Revista Plot: www.revistaplot.com/

What About Mark?



WAI has been featured in MARK Magazine

WAI’s project for a Fashion Museum Tower Vertical Omotesando has been featured in the Notice Board of Mark Magazine’s 27th issue. This number of the leading architecture magazine features projects and interviews from standardarchitecture, Michael Sorkin, Neutelings Riedijk, Preston Scott Cohen, Michael Maltzan, Giancarlo Mazzanti & Felipe Mesa, and Peter Eisenman, between others.

To order a printed copy www.mark-magazine.com

What About Wall Stalker?



WALL STALKER

WAI’s Wall Stalker is the first of a trilogy of Architectural Narratives that explores the Essence of Architecture.

Stay tuned to WAI for the complete release.

video





What About the Last Urbanisms?

Potentially Valuable

What About reconsidering the last (Hardcore) Urbanisms?

By Nathalie Frankowski and Cruz García (WAI)

L’urbanisme n’existe pas : ce n’est qu’une « idéologie », au sens de Marx.

-Attila Kotanyi [1]

Ideology

Urbanism is not a profession; it is ideology in a pure state. Often confused with urban planning, its real value gets undermined; its potential spoiled. Urban planning can be taught in school, and like architecture, it has become a conformist result of endless discussions, bureaucratic dialogues, constant editing and undesirable modifications. On the other hand urbanism implies an intoxicating faith in the power of design to transform the city and whoever that lives in it. Urbanism is architecture’s oxymoron: if Architecture is constrained, urbanism is unlimited. How to explain that urbanism as a belief has ceased to exist just when prosthetic architectural reincarnations of yesterday’s ideal cities seem to be proliferating everywhere? Are those architectures organs without a body? Would we be able to unearth the corpse?

Value

A contingent of statistical failures has forced urban visionaries to abandon utopia in exchange for taxable facsimiles. Usually accompanied by totalitarian regimes the potential of urbanism has been abandoned, overlooked; never again seriously considered. After declaring “all the solid melted into air”, urban production has been reduced to a belated and partial reclaiming of the city. Paradoxically, architecture has become the immediate substitute for urbanism at the very moment that architects stopped talking about architecture and concentrated all their “manifestoes” on the city. We have read an endless list of (post-modern?) arguments about generic cities and junkspaces, metacities and datatowns, spaces of flow, green cities and virtual networks, and all the other speculations about contemporary urban understanding, but we have failed to see the staggering potential of the last real urbanisms. More than forty years ago urbanism was declared dead, and after that nobody has even tried to resurrect it. Conformity with the status quo and the role of the architect as a rockstar has forced a prolonged disqualification of the wholesome ambitions of urbanism. In order to claim relevance the architect has remained irrelevant; the urbanist has become nonexistent.

Bolshevik Urbanism

Visionary

Despite its premature abandonment urbanism is not finished. The inevitable resurgence of Brasilia fifty years after its creation proves that ideas don’t die. A statement on the belief of the spatial politics of Juscelino Kubitschek, Brasilia reinforces the notion that the true value of urbanism doesn’t lie in the conformist policies of categorized living standards, but in the potential to establish visionary plans with a strong determination. A newly founded Brazilian capital marked the apotheosis of a period characterized by an intense intellectual urban brainstorming fueled by social reform and political ambition. Motivated by decades of social instability, urbanism became a tour de force in the hand of visionaries. From the Bolshevik constructivists, to a Le Corbusier led CIAM, urbanism was the ultimate tool for change; a deus ex machina for social transformation.

Le Corbusian Urbanism

Heroic

Urbanism’s passionate involvement with utopia has evaporated into the air. The twentieth century alone saw urbanism dissolve from the most volatile, experimental and intellectually fertile period into a passive analytical phase that extends right up to today. [2] It’s not a coincidence that the heroic period of Modern Architecture was not driven by architecture but by the appeal of the city as a hotbed for social, political, and economical transformation. After the Bolshevik revolution urbanism was highly fueled by ideology and ideology was being catalyzed by urbanism. The series of stratagems utilized by the architects of the revolution were not only relegated to the creation of propaganda, the city, and hence its architecture, became a monument for the class struggle and a collective infrastructure for the highly mechanized communal lifestyle of the new “ruling” working class. As strongly as these ideologies were manifest in the projected urban landscape, the palette of proposals could not have been more diverse; une autre ville pour autre vie was easily translated into whatever form urbanism can take. During this same period Le Corbusier went from declaring a war on the actual city with his publication Urbanisme and the presentation of the Plan Voisin (both released in 1925), to using the CIAM—the most ambitious modernist enterprise—as a screen to project his urban intentions. [3][4] After him, a fluctuating series of sublime urbanisms took shape, from the rapidly multiplying Metabolist cities in Japan, to the high flying Architecture Mobile of Yona Friedman and the GEAM, to the Walking, and the Instantaneous and Plug-In Cities of Archigram. Even the Situationists with their sharp critique on modernist urbanism –especially on Le Corbusier, went on to develop their own customized version of urbanism: Constant’s New Babylon.

Situationist Urbanism

Genealogy

Forty years after those clouds of tangible possibilities dissolved from the urban atmosphere, the remaining forms of urbanism have been turned into an exhaustive catalog of pessimistic explanations and uncompromising arguments. No matter how strong the convictions can be, or how inevitably obvious the ideas can seem, urbanism appears to be unable to be crystallized into concrete forms. What would happen if, with the humorous sense of a Foucaultean genealogy, we decided to carry out an archaeological survey of the remnants of the last specimens of urbanism? What if we decided to analyze them not by their known fate, but by their conceptual value? What if for once we stopped admiring that last breed of hardcore urbanisms by their seductive aesthetics and their aura of naïve ingenuity and evaluate the potential they had to carry out the hedonistic utopias that the old reformers envisioned? Maybe then, we would stop looking at urbanism as a fossilized enigma, reconsider its true value and grasp its ultimate potential.

Archigram Urbanism

Metabolist Urbanism

[1]. Attila Kotanyi, “Programme élémentaire du Bureau d’Urbanisme Unitaire” originally appeared in Internationale Situationniste #6 (Paris, August 1961).

[2].Ideological Urbanism or Hardcore Urbanisms as stated in this article passed through three main phases during the Twentieth Century: revolutionary, reactionary and analytical. The revolutionary period started to reach its peak during the 1920’s with the Bolshevik revolution, the multiple ideal cities proposed by Le Corbusier and the creation of the CIAM, and lasted until the upheavals of 1968 following the dismissal of the CIAM. The reactionary period post 1968 includes projects like Superstudio’s Il Monumento Conitnuo, Archizoom’s No-Stop City (both 1969) and Rem Koolhaas’s Exodus or the Voluntary Prisoners of Architecture(1972). These proposals were created as ironical critiques on urbanism and its tools of representation. The beginnings of the analytical period could be traced to the publication of Robert Venturi and Denisse Scot-Brown’s Learning from Las Vegas (1972). This category marks a distancing from the proactive urbanistic proposals of the reactionary period and creates a more descriptive attitude towards the city. The projects –between them Rem Koolhaas’ Delirious New York, and all the other observations on Atlanta, Lagos, Pearl River Delta, Singapore (just to mention a few) —are more observations that incursions on the city.

[3]. The Plan Voisin was an adaptation of the project for three millions of inhabitants or “Ville contemporaine de trois millions d'habitants.”

[4]. A Le Corbusier fueled CIAM (Congrès Internationaux d'Architecture Moderne) produced documents like La Charte d'Athènes, that summarized under an official document that the future city relied under the four canonical values of travailler, habiter, circuler, et le cultivar le corps et le spirit.




What About Portfolio?

WAI has been featured in DAMDI’s Newest Book: portfolio


WAI’s Portfolio has been published in DAMDI’s portfolio: 107 Portfolio for Work and Presentation. The five-volume publication features a Q’s and A’s section of WAI’s perspective on portfolio presentation, and more than 30 pages of the Portfolio of the Architecture Think Tank.

Damdi’s new publication, portfolio, contains the portfolios and the stories of 107 designers of various fields. Between them NL Architects, Manuelle Gautrand, JDS Architects, ECDM, Ofis Architekti, Triptyque Architecture, KNLB, IwamottoScott, Elastik and Concrete.

According to the publisher the concept of the book is “Several Men, Several Minds”. The main five colors used for case and cover design are Korea’s traditional color scheme ‘O-ban-saek’, meaning ‘colors of five different directions’. It reflects the variety of the designers and their characters. Ordered in alphabetical order, the volumes are divided in Black, Blue, Yellow, White, and Red. WAI is featured in the RED Volume, Portfolio 5.

To buy a copy:

http://damdi.co.kr/po.html

What About Concept?


WAI has been featured in Concept Magazine


WAI’s project Vertical Omotesando a fashion museum for the 21st Century Tokyo has been featured in the issue no. 133 of the Korean Architecture Magazine Concept .


To buy a copy:

http://www.capress.co.kr/shopping/good_view.asp?prodid=475&cagid=5

What About Arq.I.Tec?


WAI has been featured in Revista Arq.I.Tec

WAI’s narrative autoportrait What About WAI? A year Asking What About It has been featured in the issue 4.3 of Revista Arq.I.Tec The publication expands the relationship with the Puerto Rican magazine as a hotbed for theories and experimentation. Previous collaborations include issues 3.1, 3.4, and 4.1.



To Buy Copies:

http://www.revistaarqitecpr.com/contacto.html