ignacio g. galán
[ igg - office for architecture ]

New York / Madrid
igg@ignaciogalan.com
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Medellin Velodrome

First Prize in International competition for the construction of a Velodrome in Medellín. With Fake Industries, Estudio Mazzanti, Farzin Lotfi-Jam and Bryce Suite

Medellín (Colombia) / 2012 (on hold)

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The Medellin Velodrome synthesizes two seemingly incompatible spatial conditions: an insular, formally specific sports infrastructure; and a permeable, open public space.  It transforms the typology of the sport facility in order to integrate it into the existing Park of the Wheels precinct, distributing the technical and economic investment along it. A modular roof structure, independent from the geometry of the track, dissolves the perimeter of the building, creating spaces that trigger relationships between the specific activities of the velodrome and the informal, leisurely uses of the park.

Each of the roof's modules creates a variety of environmental conditions and provide technical support to the park. Those covering the velodrome offer the necessary infrastructure for its regular functioning, including ventilation chimneys, acoustic isolation, electric systems, etc. Those in the perimeter of the building and scattered throughout the park offer bicycle clinics, support systems for scenic lighting, generators activated by pedals, and sprinklers for lowering the temperature. This infrastructure augments the occasional use of the velodrome with a diversity of everyday uses, which privilege the civic appropriation of the project, transforming it into a strategic development for the city of Medellín.

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Competition: Ignacio G. Galán, Fake Industries, Estudio Mazzanti, Farzin Lotfi-Jam and Bryce Suite.

Design development and construction: Ignacio G. Galán, Fake Industries, Estudio Mazzanti.

Collaborators: BOMA, structural engineers; BAT, textile engineers and more.

Habitactory

Research for a collective housing and production complex. With Neeraj Bhatia [The Open Workshop], Antonio Mora, Charles Hajj, Diego Soto Madriñan, Mikaela Leo, Bella Mang, Cesar López, Clare Hačko, and Aurea Rodriguez.

Hamburg (Germany) / 2017 (competition)

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Habitactory seeks to reconcile different scales of time and changing spatial uses with the goal of creating inclusive, affordable, and productive forms of urbanity that account for a range of users and uses. It particularly considers how spaces of production and living can co-exist and benefit from their proximity without over-determining the terms of their relation.

With this goal, the project capitalizes on two recent trends: Firstly, traditional productive spaces are now complimented with a broad array of new ways to work (from DIY start-ups to co-working spaces) which, grouped together, could benefit from sharing equipment and auxiliary programs. Secondly, domestic arrangements are evolving to include new ways of co-living, embracing a growing range of users. Habitactory enhances the possibilities brought about by these trends by hybridizing the perimeter block (a critical domestic space type) and the big box with saw-tooth roof (a characteristic factory type)—wrapping the latter with the former. A series of circuits strategically located in between, tie these programs together—to benefit from similar needs—while providing separation to ensure distance and isolation. The circuit is programmed with shared amenities, allowing adjacent spaces of working and living to expand and contract to find new productive overlaps.  The roofscape offers a culmination for the circuits as a point of encounter for the different users of the building.

This project understands built structures as evolving entities that need to respond to different timescales of occupation. On a daily and weekly basis, the production areas are time-shared to be used by the residents of the building, for cultural programs, and commercial destination. Housing is equally understood to evolve through changing relations among units. The circuits account for long-term adaptation, absorbing differential needs of production and housing programs. The coexistence of production and residential spaces and their changing occupations requires not only typological hybridation but flexible strategies for real estate development, diverse relations between operators, and different property models. This project offers those through flexible relations between the program units, which offer diverse production and housing options in response to more rapidly changing technologies and transient modes of habitation.

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A Suburban Celebration!

Single family house in the outskirts of a big city. With TallerDe2 (Arantza Ozaeta and Alvaro Martin Fidalgo)

Madrid (Spain)/ 2017-18 (under construction)

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Suburban ideals can be packed quite tightly in order to be combined with the advantages of city life, including access to mass transit and a dense network of services at a walking distance. “A suburban celebration!” builds on a diverse set of suburban imaginations—reaching from repurposed factory spaces to pool parties—and hybridizes their characteristic typologies for this small plot, as a prototype for a new form of development in the fringes of Madrid’s urban networks.

The house’s particular profile builds on those imaginaries while it provides a more compact response to suburban habitation than the detached houses surrounding the intervention, which systematically maximize the built envelope within the limits provided by the regulations (in an understanding of the house as a real estate operation). Rather than operating through stacking formally similar and programmatically disconnected floors, this house exploits the opportunities of different orientations, programmatic associations, and specific imaginations and allows for more complex patterns of appropriation. With that, it seeks to open the suburbs to the openness, complexities and hybridations characteristic of urban social articulations. 

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Ignacio G. Galán [igg – office for architecture] + SOFT architects / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo).

Collaborators: Ana Herreros, Pablo Sainz del Río, Jorge Sedano.

My House and Other Animals

Refurbishment of an apartment in Madrid. With SOFT architects / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo)

Madrid (Spain) / 2017 (built)

Photo by Miguel de Guzman, imagensubliminal.com

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Everyday dynamics involve a plethora of actors and practices that establish unstable relations with architectural frameworks and consistently challenge the conventional understanding of domesticity and the family as the privileged unit of inhabitation. This house considers these contingent relations and expanded boundaries through a flexible typology retrofitted with a series of devices that acknowledge changing patterns of inhabitation while allowing for the materialization of dynamic attachments and affections within architecture. 

“My house and other animals” results from an intervention in an old apartment. It transforms its spatial and programmatic structure previously defined as a sequence of small rooms and defines a new organization of interconnected spaces along the apartment’s structural bays. A system of interventions mediating the scale of furniture and architecture qualify these bays and facilitate their occupation. They address the needs of a cat, a thirty-something man, his work life and the parties he likes to host. These interventions mediate the attachments structuring ordinary life as well as the expanding forms of sociality involved in this sequence of non-ordinary events hosted in the apartment. They facilitate the required spatial adaptations while allowing for future changes and expected transformations.

Photo by Miguel de Guzman, imagensubliminal.com

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Ignacio G. Galán [igg – office for architecture] + SOFT architects / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo).

Collaborators: Pablo Sainz del Río, Laura Peique, Jorge Sedano.

Cinecittà Occupata

Curation of an installation on the film studios Cinecittà, within the section Monditalia at the 14 International Architecture Exhibition of La Biennale di Venezia (by invitation of the general curator of Rem Koolhaas)

Corderie dell'Arsenale, Venice (Italy) / June 7 - November 23, 2014

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The studio complex Cinecittà, known as Italy's "factory of images," manufactures realities for film and television and circulates them as fictions gathering together different constituencies. At the same time, these fictions are housed in a built structure that, though remaining invisible behind them, occupies more than 500.000 sqm within the city of Rome and is submitted to its changing logics throughout history, its legal frameworks and associated processes of land speculation. Access to this enclave is a precious (and restricted) asset, since its activities congregate an influential set of actors playing roles not only in film, but in broader cultural and economic networks.

The installation Cinecittà Occupata borrows its name from the 2012 occupation of the famous roman film studios, by workers in protest against their recent business strategies, which workers saw as dismissing their expertise and turning Cinecittà's interests away from film and toward projects that depend on the entanglement of image production with the entertainment and tourism industries. As squatters, they are the most recent occupants of the studios, "Cinecittà okkupata."

Beyond this polemic, Cinecittá Occupata showcases the studios' different kinds of occupations—considering both the fictional spaces that gather us, and the spaces of fiction production—and reflects on Cinecittà as a laboratory for the scrutiny of post-industrial societies—one that has been continuously negotiated and contested.

See more in www.cinecittaoccupata.com

Photo by Miguel de Guzman, imagensubliminal.com

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Design and research: Ignacio G. Galán

Ignacio G. Galán and Jose Ahedo, design and construction; Cyrus Penarroyo, graphic design;  Jose Meza, diagrams; Jacob Moore, text editor; Juan Rey, structures; Bat Spain, textiles; Luis Mesejo, web design. With video by Hugo Kenzo, drawings by Thomas Kelley and photographs by Begoña Zubero.

Special thanks to Lucia Allais,  Katy Barkan, Sara Martin, Marina Otero, Javier Rubin, Andrea Sabbadini, Azzurra Stilo, Lèa-Catherine Szacka, Fondo Belloni Peressutti, and Cinecittá World.

Supporters: Consejería Cultural Embajada de España en Roma (AECID), AC/E, www.batspain.com, Serge Ferrari, Elise Jaffe+Jeffrey Brown

Provisional Simultaneities

Book Chapter "Provisional simultaneity"

Published in Space Caviar ed. SQM: The quantified home (Zurich: Lars Müller Publishers, 2014)

The temporary architecture of the Grande Fratello House is one of the spaces bringing together contemporary societies in different and heterogeneous constituencies through media constructed simultaneities—albeit only provisionally. 

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At the same time a physical structure and a continuously broadcast reality, this interior is a system of temporary stabilization of people, of meanings, and of capitals as well. But it is so in a way that is complemented by its capacity to mobilize, to make also meanings, capitals and people more mobile. Here circulation is managed through architecture, and itself manages architecture. Understanding the operations of these circulating interiors might allow finding new strategies for their occupation—including also their appropriation, scrutiny, and contestation.

This research is part of the research project on the architecture of the Italian film studios Cinecittà, known as the country's factory of images. It was inlucided in the publication of the Biennale Interieur 2014 in Kortrijk (Belgium), curated by Joseph Grima.

SQM: The quantified home (Zurich: Lars Müller Publishers, 2014)

Editors: Space Caviar / Design: Marco Ferrari, Elisa Pasqual

Ignacio G. Galán, "Provisional Simultaneity"

Desk informants/Interior intruders

Design objects for circulating interiors, commissioned by AECID. With Jose Ahedo

Rome (Italy) / 2014

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"Desk Informants/Interior Intruders" are devices for the personalization of the desk and reflect on the logics of personalization in contemporary circulating regimes.

The objects that build our interiors perform as nodes in networks of information, matter and capital. They no longer constitute the spaces we inhabit as a privileged realm of privacy—as interiors were conventionally understood—, but rather socialize these spaces. The way we interact with them within our daily routines is also part of the same networks, in ways that overcome the logics of fashion and the notion of habitus understood as a series of stabilizing collective symbolic systems and practices that structure ways of doing and being. Contemporary regimes produce constant disjunctures among those systems and practices and are rather articulated around the simultaneous circulation of images and people creating contingent networks rather than stable structures.

Within these regimes, objects populating interiors link personal decisions with geographies of production, individual physiological needs and collectively built paranoia. These objects enact the logics of these different orders, mobilizing around them new postures, physiologies, economic transactions, geographies of production, opinion making and scientific knowledge. Our drinking devices and the amount of water we consume is connected as much to World Health Organization studies as it is to garbage production. Having a cactus in our work space is no longer mere aesthetic decision, since we learnt they absorb harmful radiation from our computers.

Photo by Begoña Zubero.

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Temporary Rural Engraftments/ VC House

Design of a row house in Cuenca

Valdecolmenas (Spain) / 2013 (under development)

Collaborator: Claudia Mainardi

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This project explores alternative residential distributions and new imaginaries countering the progressive abandonment of the village of Taboadela, in Cuenca. A number of equally equipped rooms are provided for the temporary inhabitation of the house, and its diversity of non-regular domestic occupations (including extended family reunions and rural tourism rentals among others. The common space within them is organized by furniture elememts and by the very geometry of the plan, which results from past negotiations between family members of larger plot. The rooms appeal to an idealized imaginary of rural domestic warmth for urbanites, while the common space mobilizes rural technologies like glasshouse roofs in order to integrate the house within its context through its climatic performance.

Interior Perspective

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Corridor Dynamics/ 2x House

Refurbishment and division into two apartments of a house in Madrid (built)

Madrid (Spain) / 2012

Collaborator: Claudia Mainardi

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Following contemporary social trends and real state dynamics, the owners of a big apartment in the center of Madrid decided to divide it into two smaller units for the reduced requirements of their two daughters. A different arrangement of rooms around common spaces is proposed for each case, in an exploration of architecture's participation in the configuration of the social dynamics of diverse domesticities. The corridor is explored as a the main technology mediating these dynamics, following the two main narratives associated to it: corridor as the technology of privacy (Evans) or as one leading to different forms of socialization (Jarzombek). In one of the units it becomes a valve that makes access to each room independent from the others and from the living area, while maintaining a considerable width that allows it to become access, study room and kitchen. Inn the other, it disappears to become a common family/play room  to which the different bedrooms open. Repeated visits to the house and consequent post occupancy evaluations have revealed how the dynamics internal to each unit (and between them) have taken different forms, both mobilizing the potential of the two distributions, and subverting them as well.

Perspectival floorplan and post-occupancy evaluations

 

Hangover Urban Growth System

Runner-up in European competition for young architects. With Elena Barroso, Cruz Calleja, Veronica Melendez,  Marina Otero and Fatima Plaza.

Taboadela (Spain) / 2009.

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Hangover Urban Growth System is a model of non-anthropocentric urban development aiming at being constantly viabile in time, questioning urban-natural dychotomies, built-non built and center periphery.

 

 

Furnished Landscapes

Collective Housing Prototype.

Harvard GSD, Cambridge (USA) / 2008

With Frank Barkow and Chris Bangle, professors.

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This project explores housing configurations for transient collectives, re-considering the dichotomy between objects and furniture as moveable elements and architecture as a fix structure. A folding geodesic structure opens and closes around a fix core to accommodate different uses and create diverse environments, and makes architecture itself perform as a furniture item.

 

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Toposcape Urban Intervention

First Prize in European competition for young architects. With Nieves Mestre and Manuel Leira.

Reggio Calabria (Italy) / 2005.

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Coming soon.

Small Museum

Design of an exhibition building within a cultural complex in Ground Zero. With Jose Ahedo

Harvard GSD, Cambridge (USA)/ 2009 (Joshua Prince Ramus, Professor)

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The Small Museum considers the relation of small cultural institutions to the diverse formats of contemporary art production, and proposes a moving structure able to transform itself to accomodate the changing requirements of different exhibitions—literally turning around. Its movement becomes a public performance through which the museum renders material the relationship between art and spectacle without falling into its formal celebration. 

 

 

After Belonging

Chief Curators of the 2016 Oslo Architecture Triennale: Lluis Alexandre Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier

After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit

Oslo (Norway) / September 08 -November 27, 2016

Being at home has different definitions nowadays, both within domestic settings and in the spaces defined by national boundaries in our contemporary global landscapes. Belonging is no longer just bound to one’s own space of residence or to the territory of a nation, nor does it last a whole lifespan.

Map of the curatorial Project by Lluis A. Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier. Drawing by David Jiménez Iniesta, Ma Ángeles Peñalver Izaguirre, Studio Animal (Javier Jiménez Iniesta)

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After Belonging addresses and imagines the objects, spaces, and territories of a transforming condition of belonging. Global circulation of people, information, and goods has destabilized what we understand by residence, questioning spatial permanence, property, and identity—a crisis of belonging. These transfers bring greater accessibility to ever-new commodities and further geographies. But, simultaneously, circulation also promotes growing inequalities for large groups, kept in precarious states of transit. After Belonging analyzes the ways in which architecture participates and intervenes in both our attachment to places and collectivities—Where do we belong?—as well as our relation to the objects we produce, own, share, and exchange—How do we manage our belongings?

The Core Program of the Triennale is composed by:

-After Belonging: On Residence, an exhibition at the Norwegian Centre for Design and Architecture (DOGA)

-After Belonging: In Residence, a program of intervention strategies and exhibition at the National Museum—Architecture

-After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit, a book published by Lars Muller

-The After Belonging Conference, at the Opera House

-The Embassy, a stateless embassy that represents, through cultural means, the ideals of “stateless democracy” developed by Kurdish communities of the autonomous region of Rojava in northern Syria. Conceived and designed by Studio Jonas Staal in collaboration with the Democratic Self-Administration of Rojava.

-The Academy, a forum organized by the Oslo School of Architecture and Design AHO, bringing schools and students from around the world into a global dialogue and knowledge-sharing experimen.

See more about the Oslo Architecture Triennale 2016: After Belonging in http://oslotriennale.no/en/2016

See more about the After Belonging Agency in afterbelonging.org

Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich

After Belonging: On Residence

Curation and Design of an exhibition within the Oslo Architecture Triennale 2016: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier

Norwegian Centre for Design and Architecture (DOGA)

Oslo (Norway) / September 08 -November 27, 2016

Design by Lluís A. Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier. Drawing by Eduardo Tazon.

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After Belonging: On Residence documents the spatial conditions that shape our ways of staying in transit and the redefinition of our contemporary spaces of residence, considering the aesthetic, technical, and sociopolitical implications of this redefinition. Architecture, here, takes different forms beyond the building, from arrangements of objects and their logistics, to territorial configurations and digital systems of organization. The contributions to the exhibition gravitate around five areas: Borders Elsewhere, Furnishing After Belonging, Sheltering Temporariness, Technologies for a Life in Transit, and Markets and Territories of the Global Home. Arranged as an accumulation of evidences and speculations, the exhibition unveils the multiple scales and media involved in the architectures of contemporary forms of residence, and how they convey new articulations between individuals, objects, technologies, collectives, and territories.

Participants: Unfold; Amadou Kane Sy; Kër Thiossane; Enorme Estudio & PKMN Architectures; ROTOR; Jill Magid; Coralie Gourguechon; Superunion Architects; Folder; Andrés Jaque / Office for Political Innovation; Femke Herregraven; Einar Sneve Martinussen & Jørn Knutsen; Martti Kalliala; Sputniko!; Sigil, Khaled Malas; estudio SIC |  VIC; Martha Rosler & Pelin Tan; Bouchra Khalili; Supersudaca; Pa.LaC.E; Frida Escobedo & Guillermo Ruiz de Teresa; Kadambari Baxi, Janette Kim, Meg McLagan, David Schiminovich, Mark Wasiuta; Cooking Sections; Paulo Tavares with Armin Linke, Giulia Bruno; L.E.FT with Lawrence Abu Hamdan;  Nora Akawi, Nina V. Kolowratnik, Johannes Pointl, Eduardo Rega; Center for Political Beauty; Adrian Lahoud; Luis Callejas & Charlotte Hansson; Design Earth; Center for Spatial Research (Laura Kurgan, Juan Francisco Saldarriaga, Angelika Rettberg); Ana Naomi de Sousa, Paulo Moreira, Pétur Waldorff; OMA + BENGLER 

The exhibition is produced by DOGA - The Norwegian Centre for Design and Architecture in collaboration with Oslo Architecture Triennale. This exhibition is part of the Oslo Architecture Triennale 2016, After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit, and accompanies the exhibition In Residence, at The National Museum – Architecture.

Exhibition Curators and Designers: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier

Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) + MHDS (Markus Heibø) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich

After Belonging: In Residence

Curation and Design of an exhibition within the Oslo Architecture Triennale 2016: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier

National Museum-Architecture

Oslo (Norway) / September 08 -November 27, 2016

Design by Lluís A. Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier. Drawing by Eduardo Tazon.

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After Belonging: In Residence is a speculative platform focused on a selection of ten sites around the globe that encapsulate current transformations of belonging. The exhibition presents ten commissioned reports and five intervention strategies, intended as two distinct but related architectural operations to approach these sites. The ten reports outline diverse ways of describing the sites, offering multifaceted perspectives and bringing together different scales. In addition, five intervention strategies have been selected through an international open call for the sites located in Oslo and the Nordic region. These interventions design tactical and long-term forms of engagement with the sites, and rehearse alternative architectural practices. By bringing together these different approaches, the In Residence exhibition aims to test the capacity of architectural expertise to respond to changing realities.

Reporters: Eriksen Skajaa Arkitekter; James Bridle; Transborder Studio; Ahmet Öğüt & Emily Fahlén; Ila Bêka & Louise Lemoine; THE STATE; Matilde Cassani; Emeka Ogboh; First Office; Husos Architects

Intervention Strategies: Bollería Industrial; Nabil Ahmed, Dámaso Randulfe; Caitlin Blanchfield, Glen Cummings, Jaffer Kolb, Farzin Lotfi-Jam, Leah Meisterlin; Elisabeth Søiland, Silje Klepsvik, Åsne Hagen; Ruimteveldwerk;

The exhibition is produced by The National Museum of Art, Architecture and Design in collaboration with Oslo Architecture Triennale. This exhibition is part of the Oslo Architecture Triennale 2016, After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit, and accompanies the exhibition On Residence, at The Norwegian Center for Design and Architecture, DOGA. 

Exhibition Curators and Designers: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier

Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) + MHDS (Markus Heibø) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich

After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit

Editors of the Official Publication of the Oslo Architecture Triennale 2016: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier

Publisher: Lars Müller Publishers, 2016

The After Belonging publication brings together commissioned essays exploring theoretical arguments, historical case studies, and narrative voices, with a compilation of contributions presented in the different Triennale’s platforms. Working as an archive, it contextualizes each contribution within wider conversations and fosters relationships between the works.

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With original pieces by: Arjun Appadurai; Cristina López Uribe; Deane Simpson; Didier Fassin; Felicity D. Scott; Hu Fang; Ijlal Muzaffar; Iver B. Neumann; James Graham; Jeffrey Schnapp; Jesse LeCavalier; John Harwood; Keller Easterling; Louise Amoore; Lorenzo Pezzani & Charles Heller; Mabel O. Wilson; Merve Bedir; Michel Feher; Pamela Karimi; Thomas Hylland Eriksen; Thomas Keenan; Troy Conrad Therrien

Graphic Design: This is our work / Copyeditor: John Wriedt

 

 

Image by This is our work

After Belonging Conference

Curators of the Oslo Architecture Triennale 2016 Conference: Lluís Alexandre Casanovas Blanco, Ignacio González Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier

Oslo Opera House

Oslo (Norway) / September 9, 2016

The After Belonging conference brings together architects, thinkers, decision-makers, and local experts in order to dissect the role of the architect in the contemporary reconfiguration of belonging. 

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The Conference is organized in four sections: 

Global Expertise interrogates the role of the architect within current processes of globalization. By addressing economic, ecological, and logistic networks, this first section questions previous understandings of global expertise and practice, and seeks for a new common frame of action and discussion.

Sheltering Temporariness delves into the complexities of architectural action within the loaded social and political contexts in which notions of belonging and shelter are reconfigured. The section addresses contexts either affected by the alleged exceptionality of natural disasters or armed conflicts, or where precariousness has been normalized.

Productions of Locality looks at the practices and representations involved in the construction of identities in global regimes. Distinctive geographies will be addressed both in their instrumentalization for the markets of tourism or as a form of emancipation.

The Digital and the Real Estate analyzes architecture’s mediations within the technological and financial infrastructures supporting new ways of being together, considering both their potentials and challenges.

Participants: Amale Andraos, Yoshiharu Tsukamoto & Momoyo Kajima, Eyal Weizman, Grete Brochman, Gro Bonesmo, Ippolito Pestellini Laparelli, Juan Herreros, Karl Otto Ellefsen, Kjetil Trædal Thorsen, Michel Feher, Negar Azimi, Even Westvang & Simen Svale Skogsrud, Per Heggenes, Reinhold Martin, John Palmesino & Ann-Sofi Rönnskog, Thomas Hylland Eriksen, Andreas G. Gjertsen, Yasmeen Lari

 

The Materiality of Belonging (www.youtube.com/watch?v=GXKv07ghKIw)

Design of a flag for the exhibition "Westopia"

Bice Bugatti Foundation, Villa Vertua, Nova Milanese (Italy) / 2017

Design by Lluis Alexandre Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier. Exhibition curated by Parasite 2.0.

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During the debates preceding the Brexit referendum, a video of a hooded and allegedly British individual attempting to burn the EU flag went viral. After accusing the EU of taking away “our [that is, British] nationality, our identity, our free speech and our sovereignty,” the man approached the star-filled blue flag with a cigarette lighter. His action, however, produced no evident result: the piece of fabric—manufactured following EU regulations on flammable materials—would not light, forcing the man to give up his enterprise after two minutes. Ultimately, the video exposes how the EU flag not only embodies ideological constructs on identity and sovereignty, but also how belonging to the EU has material implications in the everyday objects of shared landscapes.

www.youtube.com/watch?v=GXKv07ghKIw sheds light on the materiality of flags by reasserting their phenomenal conditions. In the flag we propose, constructed entirely out of inflammable fire-protection foam, symbolic and aesthetic values rely exclusively on the manufacturing process. The flag emphasizes not the idea of belonging to abstract socio-political entities, but rather the materiality of those forms of belonging as such.

Radical Pedagogies Venice

Co-curation of an installation featuring the collective research project on architecture pedagogy led by Beatriz Colomina with Princeton PhD Candidates, within the section Monditalia at the 14 International Architecture Exhibition of La Biennale di Venezia (by invitation of the general curator of Rem Koolhaas): Beatriz Colomina, Britt Eversole, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister, Federica Vannucchi

Corderie dell'Arsenale, Venice (Italy) / June 7 - November 13, 2014

Acknowledged with the Special Mention of the Jury

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Radical Pedagogies explores a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. As a challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. They are radical in the literal meaning stemming from the Latin radix (root), as they question the basis of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.

This installation at Monditalia zooms in on the Italian situation. Multiple case studies are explored to expand the geographical and conceptual map—reconstructing the pedagogical shift in Italy in the late 1960s and 1970s. 

See the Radical Pedagogies web platform.

Photo by Miguel de Guzmanimagensubliminal.com

Research and curation: Beatriz Colomina, Britt Eversole, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister, Federica Vannucchi.

Design and construction: Cristóbal Amunátegui and Alejandro Valdés, Amunátegui Valdés architects. Graphic design by Pablo González, Smog.tv.

Multiplatform publishing concept: dpr-barcelona, Ethel Baraona and César Reyes.

Radical Pedagogies Lisbon

Co-curation of an installation featuring the collective research project on architecture pedagogy led by Beatriz Colomina with Princeton PhD Candidates, as an Associated project to the 3rd Lisbon Architecture Triennale: Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister

Sinel de Cordes, Lisbon (Portugal) / September 12 - December 15, 2013

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Radical Pedagogies explores a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. As a challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. They are radical in the literal meaning stemming from the Latin radix (root), as they question the basis of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.

See the Radical Pedagogies web platform.

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Research and Curation: Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister.

Design: Ignacio G. Galán, Evangelos Kotsioris and Anna-Maria Meister with Dorit Aviv and Loren Yu.

Construction: Dorit Aviv, Ignacio G. Galán, Anna-Maria Meister and Evangelos Kotsioris with John Hunter, Rui Morais e Castro and POLIGONO.

Pedagogy, Practice, History

Book Chapter "The Pursuit for a 'Change of Life:' Pedagogical Experiences, Poetic Occupations and Historical Frictions"

Published in Building Cultures Valparaiso (Laussane: EPFL Press and Routledge, 2015)

Architecture pedagogy continuously revises the tools and protocols of the discipline, and it simultaneously considers its diverse agendas and goals as well. The pedagogy of the Valparaiso School directly addressed this conundrum, explicitly rejecting with its methods of architecture production any attempt to “change the world,” and was otherwise guided by a pursuit for a “change of life.” Their proposed exercises and architectures did not advance any material form of engagement with their historical context, but sought a different productivity for architecture with forms of expression that could overcome this context.

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With this particular aim, poetry's relation to architecture was explored as a strategy to set in friction processes of artistic synthesis with the experience of the city. Sites were occupied as playing fields in which the movements of bodies, their appearance in public, their  formal arrangement in space and other artistic and architectural strategies were disengaged from any goal beyond them. Such an approach to architecture was thought to charge spaces with meaning and to open them to the production of new subjectivities. In fact, through different poetic acts and performances a new form of productivity was sought for architecture in the relation to different forms of expression and the occupation of spaces. The development of the Valparaíso School's agenda inevitably brought to the fore the tension between a quest for newness in its forms of expression and the unfolding of historical events. This tension became clearest in the 1967 protest in Valparaiso, which this research project addresses and evaluates.

This research is part of the collective research project Radical Pedagogies, and results from archival research in Santiago de Chile and Valparaiso, funded by the Program in Latin American Studies at Princeton University.

Building Cultures Valparaiso (Laussane: EPFL Press and Routledge, 2015), including:

I. G. Galán, "The Pursuit for a 'Change of Life:' Pedagogical Experiences, Poetic Occupations and Historical Frictions"

B. Colomina, I. G. Galán, E. Kotsioris and A. Meister "Radical Pedagogies. Notes Toward a Taxonomy of Global Experiments"

Radical Pedagogies Publications

Co-authored publications of the collective research project Radical Pedagogies, led by Beatriz Colomina at Princeton University

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Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. This challenge to normative thinking was a major force in the post-war field of architecture.

B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies: Educating Change," Quaderns 267 (2015)

B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies," Uncube n.25 (Oct. 2014)

B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies," Pidgin 17 (2014)

B. Colomina, E. Choi, I. G. Galán, AM. Meister"Radical Pedagogy," Architectural Review (Sept, 2012)

Circulating interiors

Doctoral dissertation currently under development at Princeton University: "Circulating Interiors: The Logics of Arredamento and the Furnishing of National Imaginaries in Italy 1922-1945

Dissertation Advisors: Lucia Allais and Beatriz Colomina

This project examines the transformation of architectural interiors in Italy throughout the fascist period, considering the changing forms of articulating domestic spaces both at the scale of the home and at that of the nation.     

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Throughout the fascist period, Italian discourse on interiors conceptualized its object of concern as "arredamento"—a term meaning both furniture and the ensemble of elements that furnishes a livable space. While the word "interni" was also used at the time, the emphasis on "arredamento" signaled a distinct interest in the material elements that construct an environment, different both from the association between interior and interiority of the German philosophical tradition and the insistence on social control of French modern practices of the interior. Italian discourse transformed the interior from a unified and enclosed realm, as it was hitherto understood, into an ordered arrangement of elements that moved beyond stable boundaries: Curated displays of furniture and interior ensembles were shaped by the transfers of objects in the market, reconfigured by processes of information circulation, and articulated in relation to the movement of people throughout the territory in different kinds of migratory, colonial, and touristic endeavours.

These forms of circulation manifested in architectural interiors mobilized by political, commercial and media agencies in films, specialized magazines and commercial showrooms, but were not limited to those. These interiors put in motion and managed the use and meaning of the great mass of modern interiors of the nation, all of them connected within material and imaginary networks.

See the PhD dissertation "Circulating interiors: The logics of arredamento and the furnishing of national imaginaries in Italy, 1922-1945"

Interior networks, Italian habitations

Research and design of an installation within an exhibition at Real Academia de España en Roma
Rome (Italy) / June 17 - August 31, 2014

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Contemporaneous to the construction of the notion of privacy and increasingly throughout the 20th Century, the interior spaces we inhabit became entangled with different cultural and economic processes and exploded any stable definitions of its boundaries. And still, interiors continued to gather different constituencies and manage systems of inclusion and exclusion in forms exceeding their physical delimitations alone.

"Interior networks, Italian habitations" reflects on the real and imagined interiors built simultaneously in the late 1920s and the 1930s in Italy, and displays the complex array of spaces overlapping in the construction of an Italian habitation throughout the period. Different interiors were linked within cultural and material networks reaching from rural settings to New York and Addis Abbeba, from arrangements suggested in Il Corriere della Sera, to objects on display in La Rinascente, to stages shot in Cinecittà.

Simultaneously a display wall and a dividing fence, the exhibition reflects on the way in which the flatness of interior images reproduced in the media and the fleetingness of interior ensembles in department stores and exhibition rooms had lasting spatial implications and created borders at different scales.

"Interior networks, Italian habitations" is a private installation in a collective exhibition.

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Society building interiors

 A conversation with Andrés Jaque, published in "Society Building Interiors"

Published in Volume Magazine n.33 (2012)

Madrid-New York / 2012

IGG:   You have claimed that "Ikea builds societies", countering the  motto that announces Ikea interiors as ‘the independent republic of your home. You argue that interiors are key to understanding contemporary social structures and can claim to have a political status, in opposition to those that privilege the city as the paradigmatic sphere for the construction of the social and the ultimate res-publica.

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AJ: Yes, I don't think that the paradigm of the city can account for the reality I am attempting to grasp. Even the dialectics urban/rural or urban/suburban are no longer valid. Individuals and groups are no longer shaped by cities or  landscapes, but mainly by the way they establish associations with a series of home-like interiors. We can only account for contemporary subjects and societies if we recognize how they are constructed in association with small architectural devices like living rooms, kitchens, bedrooms, psychotherapy rooms, hotel beds, or bingo tables.

Circulate!

Research project, currently under development

See an abridged version of this research in "Circulen," Circo 186 (2013)

How can we regard architecture's entanglement with the material actuality of contemporary circulatory processes? This materiality is certainly obvious when considering the infrastructures that architects and engineers negotiate for the city. However, it is not so clear when it concerns the cultural and economic processes involved in the movement of images and capitals. Architecture, completely imbricated between all of them, enacts the apparent virtuality of these processes. In this research I follow these simultaneous forms of circulation in the analysis of Milan's subway and Milanese circulating imaginaries.

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Consider the following image to begin: A policeman (or maybe a policewoman?), poses in a relaxed position. She is framed horizontally by a continuous banner announcing a subway station, Duomo, and the edge of a platform, positioned, respectively, at the top and the bottom of the photograph. Dressed in a light elegant white outfit, legs crossed and leaning on the stair rail, she is observed not only by the camera located on the opposite platform, but also, on the left-hand side of the image by a group of six people, seemingly a four-member family and an elderly couple turning their heads toward the figure in white. A colored tube rises from the wall turning upward, making a perfect quarter-circle arc to the right and then a full half-circle to the left to meet the policewoman's fist, before finally turning around the dark wall behind her back. There, before rising upstairs, the railing tube meets, in an optical coincidence, the tip of the gigantic arrow of an advertising board located on the wall that backdrops the scene several feet further into the background. On the white and well-illuminated board, the big abstract arrow frames the rather austere logo of the department store La Rinascente, pointing to the stair that rises to the exit. In fact, several feet above the scene depicted in the photograph, one would find not only the successful boutiques of the Galleria Vittorio Emanuelle and the popular Gothic cathedral that gives its name to the subway station, but also the original space in which La Rinascente had first opened in Milan in 1865 and the much larger location to which the thriving business had subsequently moved. Nothing stands out in this 1964 photograph of the recently inaugurated Milan subway, taken by Carlo Orsi—the policewoman, the railing and the advertisement orchestrate a perfect choreography—together they state: "Circulate!"

Metropolitana milanese, Carlo Orsi (1946).

 

  • About Open or Close

    [igg - office for architecture] is a design and research office, particularly focusing on architecture's role in the articulation of society. The designs of the office have been awarded in competitions including the First Prize for the New Velodrome in Medellín, and he was finalist to the 2014 Iakov Chernikhov Prize. His work has led to the production of several publications and exhibitions including the installation Cinecittá Occupata for the 2014 Venice Biennale by invitation of the general curator Rem Koolhaas, and is part of the permanent collection of the Pompidou Center.

    The work of the office unfolds through diverse media and platforms and is continuously informed by different kinds of conversations and collaborations. Together with the After Belonging Agency, Ignacio g. Galán is the Chief Curator of the 2016 Oslo Architecture Triennale (Graham Foundation Award 2015). He previously collaborated in the research project Radical Pedagogies, led by Beatriz Colomina at Princeton SOA, and has co-curated its exhibition at the 2013 Lisbon Architecture Triennale and at the 2014 Venice Biennale, where it was awarded a Special Mention of the Jury. 

    Galán studied Architecture at ETSAMadrid and TUDelft, he graduated as a Fulbright Scholar from the MArchII program at Harvard GSD, and has a PhD in Architecture History and Theory of Architecture from Princeton. He has been a Fellow at the Spanish Academy in Rome. He is Term Assistant Professor in the Department of Architecture at Barnard+Columbia Colleges and has taught studios and seminars at Columbia GSAPP and PennDesign.

  • Statement Open or Close

    We understand architecture as a key agent participating in the articulation of society. 

    We are concerned with architecture's relation to cultural cultural transfers, material exchanges, and population transience in a global context. The relation of these forms of circulation to architecture, conventionally associated with control, enclosure, permanence, and stability, remains a realm for further inquiry and intervention.

    We are additionally interested in the objects, media technologies, and institutions transforming architecture's individual occupations, collective operations, and diverse types of mobilization, particularly concerning the architectures of residence. 

    These emphases lead the work of the office and continuously challenge our methods of analysis and our design practice. 

     

News

2018 05 21 > Ignacio G. Galán defends his doctoral dissertation at Princeton University, concluding his PhD!

 

2018 03 30 > “Furnishing the Italian home away from home: Nomad interiors for the African colonies, 1936-1943,” presentation in the symposium ARCHITECTURES OF MIGRATION, TECHNIQUES OF CITIZENRY, Council for European Studies Annual Conference.

 

2018 03 15 > Lecture "The University will be erotic or will not be University. Valparaiso ca. 1968" at the Master of Advanced Architecture in ETSA Madrid.

 

2017 09-12 > Teaching "Water Communities," a research studio for the seniors in the Architecture Department at Barnard+Columbia Architecture Departement, in collaboration with Facultad de Arquitectura de la UNAM, Mexico, including a workshop in Mexico with the students from Taller Hidrico Urbano. 

 

2017 12 12 > Lecture "Constructions of Belonging" at the Master of Advanced Architecture in ETSA Madrid. With Marina Otero Verzier.

 

2017 10 27 > Participant of the Dialogues Lucha Libre organized by Super Sudaca within the Bienal de Arquitectura de Chile.

 

2017 10 26 -11 10 > Participant in the Bienal de Arquitectura de Chile, IMPOSTERGABLES, in Valparaiso with the research project After Belonging. Finalist award in the Academic Category.

 

2017 09 > "The materiality of belonging," the design of a contemporary flag by the After Belonging Agency, included in the exhibition Westopia, curated by Parasite 2.0 for the 58. Bugatti-Segantini International Prize at Villa Vertua Masolo, Nova Milanese, Milan.

 

2017 06 29 > The publication After Belonging won the FAD AWARD in the category of thought and criticism! Edited by Ignacio G. Galán, Lluis A. Casanovas, Carlos Minguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier, designed by This is Our Work, published by Lars Muller with the Oslo Architecture Triennale. Additionally selected for the FAD Award, International category with the exhibitions On Residence and In Residence.

 

2017 05 19 > Ignacio G. Galán as part of the After Belonging Agency presented curatorial project for the Oslo Architecture Triennale 2016 at the International Symposium on Architectural Communication in Madrid, together with Marina Otero and Lluis A. Casanovas.

 

2017 04 07Furnishing the Italian home away from home: Nomad interiors for the African colonies, 1936-1943,” presentation in the symposium “Design and Displacement,“ the Twenty-Sixth Cooper-Hewitt/ Parsons Annual Graduate Student Symposium in the History of Design.

 

2017 03After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit reviewed by Jack Self in "Never at home,"  The Journal of Architecture, Volume 22, 2017 - Issue 2: “A singular proposition as relevant for its timing as its subject matter.”

 

2017 03 10 > "Domesticity After Belonging," A one-day workshop organized and moderated by the After Belonging Agency with the Urban Works Agency at the California College of the Arts. Bringing architects, urban planners, activists, members of the technology industry, and community leaders together, Domesticity After Belonging takes the current political context as a framework to discuss and imagine new architectures of being together.

 

2017 01 > After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit reviewed by Ann Lui, in “Reading After Belonging in the Heartland,” The Avery Review n.21: "After Belonging is a potent guidebook of the complexities of identity and community today."