Architects often use double or triple scripts in order to develop and communicate their projects. They devise a commercial story for the developer, explaining how well their “iconic” building will sell. They tell a second story to the community boards, suggesting that their building’s public spaces will enhance the quality of urban life. They finally tell a third story to other architects and architectural theorists, about figure-ground or parametric steps, depending on their inclination or their generation. They also adopt drawing techniques according to each of these three “clients.” Most good architects do it nearly unconsciously, as part of their skills and talent in communication. However, here is the question: what if this was done consciously, as a strategic device in order to arrive at a sophisticated solution that could break new grounds or generate new concepts in architecture? Artists, such as Matisse, have also used doubles and series as a conscious means to develop their work. This was the theme of our studio this semester. Entitled, “The House with the Three ‘Clients'” (Public and Private: The House with the Three Scripts, after last year’s House of the Three Little Pigs), it aimed to develop new architectural concepts.
Maria Esnaola Cano + Yang Xia A
Samantha Leung + Alison Lugrin B
Wenlong Yan + Sang Hyun Lee C