After two years of studying architecture, I have begun to shape certain preconceptions in my mind. And although I am still to young to have set views about the discipline, nevertheless, here I write my 20 opinions/ assumptions about it so far:
1. Architectural form has no inherent meaning.
2. Architecture is a thing—a phenomenal presence—in which people experience their lives.
3. People assign meaning(s) to form.
4. Plurality and difference prevent a unified reading of a work.
5. Meaning(s) in buildings are constantly being rewritten or reevaluated.
6. Experience of architecture occurs mostly in passing (or subconsciously).
7. In their primal condition, buildings serve as reference points or markers: “let’s meet at the corner of…”
8. Non-architects mostly appreciate architecture for its beauty.
9. Experience of space prevails over aesthetics of surface.
10. Architectural space can always be reprogrammed.
11. Architects discuss volumes, space, scale, proportions, representation, tectonics, and other related topics because—in essence—they generate beauty and experience.
12. Materials, textures, graphics, and decoration always enhance the reception of a project, but can never replace spatial organization.
13. (“Good”) Architecture, although a product of its era, transcends the time in which it was built.
14. Architecture does not represent nor can it shape/generate ideology.
15. Recovery of a past is always-already a failed project. Architecture can never replicate that which has been lost.
16. Good architecture learns from the past and uses it to move forward.
17. Despite technological advances, craft remains inversely proportional to the quality of the material. The “cheaper” the material, better is the craft required.
18. Money can hinder the aesthetics of a building, but it can never dictate nor prevent it.
19. A building should be treated like a story or a puzzle, where the architect leaves signs for people to interpret at different levels.
20. The more layers of information a project has or considers, the more meaning people can interpret and so the better the architecture.
Recently I made use of Lego’s Design by Me service to purchase a model of one of my father’s architectural designs. The experience with the purchasing experience was bitter-sweet, but the model arrived and I was able to build it in under seven hours!
As a continuation of my previous post, here another scan, this time of a 1725 document. Again, the use of the “catchphrase” is visible within these pages as well. Read the rest of this entry »
This past week, while researching through Dr. Arturo Dávila’s personal library, I came across a stack of pamphlets, about 11 of them in total, sewn and bound in varied marbleized papers. Trim-wise, these are considerably small, ranging from 3×4.5 inches to 5.5×8 inches, and yet, they called my attention. Don Arturo, as wise as he is, felt as my eyes were drawn to the colorful spines. “Pick them up; take a look“. In the process, he explained that these reproductions were used by the Church to spread its message. Little did I know, my curiosity had brought me to a series of original 18th Century texts—printed versions of homilies recited by Catholic priests in Mexico.
To share these, I took the time to scan one of the leaflets in its entirety. Please note a curious type treatment that has been killing me since I became aware of it: at the end of every page the typesetter included the first few characters of the word that follows on the next page. I had never seen this kind of strategy employed, and it was used in almost all of the documents, printed in a range of many different years, which means it was not a one time thing.
In their time, these documents would have probably not attracted any aesthetic conversation, but today, I can’t help but see them with a clinical eye, and hold them in my hands with admiration. Right now, everything about them—texture, color, smell, sound—is just fantastic. More importantly, each and every one of them holds some kind of typographic lesson that I can learn from. Read the rest of this entry »
Visual interpretation of the negative space in the Herbert F. Johnson Museum.
My dad once told me that there are two kinds of architects: the ones who can understand spatial transparency (the privileged) and those who cannot (the rest). Robert Slutzky and Colin Rowe develop in “Trasparency” and “Transparency 2″ (from Architecture Culture: 1943-1968, by Joan Ockman) an understanding of how a building’s formal structure can demarcate spaces. They single out two types of transparencies: the literal and the phenomenal. The first refers to how a material like glass, although physically “transparent,” is still tangibly present in the structure’s form. In contrast, phenomenal transparency allows for a simultaneous perception of different spatial locations within the same space. The idea is that, like in an optical illusion, forms are suggested –or implied, as Peter Eisenman would prefer to say– rather than depicted. In other words, it allows for spatial stratification within given limits. Phenomenal spaces are never different, but differentiated. Like in Cubist paintings, phenomenal forms are suggested, not stipulated. The viewer defines what he/she sees.
Cover | Indice Anotado, 13 years of Mid-Career research investigations from architecture students of the Polytechnic University of Puerto Rico.
Jorge Rigau, FAIA, founding dean of the School of Architecture of the Polytechnic University of Puerto Rico; Miguel Rodríguez, current dean; and funds from the Historic Preservation Office of Puerto Rico have made it possible to publish the Índice Anotado (Anotated Index). This publication documents the Mid-Career research investigations completed by students at the School of Architecture of the Polytechnic University of Puerto Rico.
These texts were completed between 1996 and 2009 and executed by students at the end of the 3rd year of study. Their topical range is extensive, and most are complemented by photographs, drawings and inventories that will be useful to others following similar lines of research. While the collection is mainly about Puerto Rico, some projects look at Cuba, Dominican Republic and Panamá.
The index is organized by themes, and while some overlap, researchers will have to asses the focus areas of each of their topics to find relevant investigations. The documents are written in Spanish, but the the index provides a blurb about each of them in English to expand the ideas to a larger audience.
Copies of the full writings will be available for public consult at the library of the Polytechnic University of Puerto Rico and at the library of the Historic Preservation Office. The Índice Anotado has been designed by Alberto Rigau and published by Editorial Revés.
Back in the 60′s, Puerto Rico’s government considered the development of a social housing project called “Habitat“. The monstrous structure had its life, for pre-fabricated pieces were actually ordered and many arrived on the island. Thankfully, it was never built.
As this cartoon from 1969 satirically emphasizes, the social implications associated to the design of this structure would have only lead to a catastrophe. It’s labyrinthic layout would have provided a space for crime and drugs to prosper, and a new meaning to the term “cacerío“.
It’s a learning experience to look back at these materials. As a designer, I can imagine all of the blind efforts that must have been pushed forward by the building’s creators. As this case clearly illustrates, designers have the responsibility of understanding the implications of one’s work, specially if the social impact is at a scale that affects communities or cities. Of course, you may think “duh”, but proposals like Habitat make me aware that not everyone out there actually thinks this way.
Today, there are a few of the prefabricated pieces of the Habitat still around Puerto Rico.
Recently my father, an avid architectural historian, managed to track 2 of them down in the town of Arecibo. These pieces never fulfilled their original purpose, but today form a new kind of habitat that keeps intriguing some of us whose curiosities never sleep.
Study of a custom typeface in 1/2″ frosted acrylic. Each letter was cut to be 12 inches tall.
Study for a commercial booth in a 1/2 scale model to test the assembly system.
While at NC State University’s College of Design I was encouraged to consistently prototype. Even though we had access to a full machine shop and a laser cutter, I always prototyped in paper. I loved the quick success granted by playing with some post-its and markers (I have to say my friend Valentina was the grad-school queen of markers who got me into the habit of using them again).
Now, a few months after leaving NC State, I am still consistently prototyping. I have to say that now, because I am trying to establish a multidisciplinary practice, I require more quick iterations than ever before, be it to keep my mind fresh or to be able to collaborate with another designer on a project.
Here I want to show a few images from two projects that are currently underway. In each of them I have prototyped using a laser cutter and some acrylic. Read the rest of this entry »
This past week I received my copy of Gary Hustwit’s film Objectified. You can imagine my excitement to have the opportunity to finally press play, but seventy-five minutes later I found myself asking: “–That was it?” Just as with Helvetica, I enjoyed the film, I truly did, but I found it too closed niched, too much in the preference of a certain kind of designer and object.
Where were the Campana brothers? Did the One-Laptop Per Child deny an interview? Was Phillip Stark not available? Javier Mariscal? How come no electric cars made it to the edit? How about Massimo and Lella Vignelli? And those unsung heroes who today produce some of the most amazing work on the sustainability front? How about Catalan designer Juli Capella who constantly writes about Spanish objects, their design and influence in culture? How come Scandinavia’s and India’s work did not make it? And why were there no architects? (they happen to design a large percentage of the objects that surround us) I bet you can also instantly think of a few more examples.
This project being a film, I understand its need for editing and focus. Not everything can make it. I understand that, but… Would it have been too hard to minimize the fourth showing of one person and introduce the perspective of an up-and-coming designer? And how come Latin American design has not been referenced? (I am so shocked about the non-showing of the Brazilian Campana brothers).
As you can tell, I am a bit disappointed, but don’t let that discourage you from watching it. The film offers a rare look into the process and thinking of some of those whose work has changed the contemporary way of living. It is a good reference. It just left me with too many questions that probably only a design nerd like me will ever make…
In my first night around Seville I made one significant stop (which was non-food related). I visited the Cathedral in Seville, final resting place of Christopher Columbus. Read the rest of this entry »
I arrived at Seville. I have to admit I was exhausted from the long travel, flying into Madrid and then, only 2 hours later, taking a train. Once here, I decided to get myself out into the old city. It was a two-fold strategy. I have never visited before and this might be my only chance to do so on this trip. My work schedule begins tomorrow morning at 9:00am. Walking around would also ensure that I would wear myself out completely to sleep through the night.
Of course, first thing is first. I have to hunt down some nice typography.
I am always surprised that more typography like this is not found in Puerto Rico.
Maybe I am the only person who finds this odd, but a young man searching to take care of older people… hmm, suspicious in my book.
Bar Europa. Strongly recommended by my father, mother and uncle. After enjoying it, I fully endorse their recommendation.
Small, cozy place.
Menu of this bar. It had some of the tastiest ham croquettes I have had in my life. (and if you know me, you are aware of my experience on the topic. jeje)
Today I used Renfe’s Ave train as a means of transportation from Madrid to Sevilla. I had heard a lot about it before, but I had never used it. I have to say that I am very impressed with it. More so, I am even more impressed with the graphic and visual landscapes which are born when the train reaches very high speeds. Probably I am the only person in the world who like it but you can be the judge for yourself.
In it’s weekly show, the Puerto Rican League of Theatrical Improvisation executes a game that involves people from the audience. In this game, one of its members calls two single people to the stage for an interview on personal information, dating profile, professional goals, dreams… and also nightmares. With the information attained, the league improvises a complete scene. This past week was my turn.
Coincidentally, the League also chose my dear friend Denisse, and I have to say it was great to share this moment (and embarrasment… hahaha) with her. Good friends of mine think that Jonathan (who played me) did a great job!
Sorry to those of you who don’t understand Spanish and will not be able to understand the play.
Recently I have had the opportunity to work on a series of identity projects for a diverse group of clients. One of the most exciting has been the challenge to re-design the visual language of Puerto Rico’s State Historic Preservation Office (SHPO).
In a collaboration with Jorge Rigau FAIA and Miguel Ortiz, the approach intends to provide a framework on which SHPO can now establish a permanent visual structure. The project is currently being implemented, and a full system roll-out should be done in the next 2 months. Here I share some of the elements that have been generated. Read the rest of this entry »
If you are near New York City on October 29, AIA/NY is hosting a one night lecture event around the work of three Puerto Rican architects. One of them is my father, Jorge Rigau, FAIA. Sadly, I won’t be able to make it, but I am sure it will be a nice gathering, so check it out if you have some time.
This past thursday 3M Company of Puerto Rico held a fashion show to promote some of their Post-it products. For the event, I was commissioned by my friend Lorna Ramos to execute the event’s decoration… all of it made out of Post-its.
This video documents, in under 2 mins, the 15 hours spent playing with squares of colored paper. For photos of the setup, see here.
I want to point out that frame after frame you will consistently notice the collaboration of Miguel Ortiz, a young architect with whom I am currently working on a series of projects. I also want to thank Lorna, Juan Carlos Rubayo, Denisse Rodríguez and Sofía Acevedo who came out to help.
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To make the video more interesting, I used the music track Again and Again by The Bird and the Bee. As of October 11, 2009, the official website of the band is offline and the Internet Archive’s Wayback Machine was not useful in accessing its contact information. I will keep trying so that I can ask for a formal permit to keep the song in the video. If it is not granted, the song will be removed immediately.
Recently I have been playing with a new toy that has me thinking I am Eadweard Muybridge. So far I am only playing to learn the features and its quirks (as in the timer is always on). Here a small peek into this morning’s sunset.
This group of Puerto Rican military personnel works to exterminate rats, and every other kind of rodents, via asphyxiating gases. From Puerto Rico Ilustrado, 1921, No. 582
Handcrafted with love by Brigham Young University (BYU) design students and faculty, for Typophile Film Fest 5. A visual typographic feast about the five senses, and how they contribute to and enhance our creativity. Everything in the film is real—no computer generated (CG) effects!
Herbert F. Johnson Museum: Exploring how the negative space of the facade blends in with its environment.
As part of the first exercise for first-year drawing class of the M.Arch. I at Cornell’s Architecture School, my classmates and I were asked to go around the campus and free-hand draw three structures. The assignment was completely open, as we could draw anything we wanted to portray. The purpose of the exercise was to begin thinking about how we “see” buildings and how we can represent those ideas about them. I centered on the Herbert F. Johnson Museum, the Sage Chappel, and Uris Library. I wish to share part of my outcome… Read the rest of this entry »
Clearly inspired by the Powers of Ten of the Eames, this wonderful interactive website is exploring the relationships of space, scale and size in out contemporary universe, as measured by present-day technology.
Commemorative piece given to the 2009 recipients of Puerto Rico's Architecture Awards. Design and concept by Alberto Rigau. Fabrication by Roberto Pérez.
This past Thursday, Puerto Rico’s professional college of architects and landscape architects awarded the 2009 medals in architecture. These awards, named after Ricardo Alegría, are given to individuals and/or entities who are not directly related to the discipline of architecture but who have contributed to the field in a way that can be evidenced in a substantial body of work.
Previously, this prestigious recognition had been given four times, and to my knowledge, recipients were given only a certificate. This year I volunteered and gifted the College with a design of commemorative piece to be handed out in the naming ceremony. Read the rest of this entry »
Before Sports Illustrated, Life and the image-based version of National Geographic (can you believe it began as a text-based academic publication?), Puerto Rico had it’s very own image-based weekly: Puerto Rico Ilustrado.
It was published from March 6th 1910 through December 27th 1952, a length of time during which it amassed a collection of 2227 issues. Content wise, the pages primarily chronicled life in the island, while it also included writings and images on international events of the time.1 On average, these were about 16 pages, with about 6 of them dedicated to advertisements (which are fabulous in their own right). It was printed on a kind of dull paper, originally in black and white, but slowly 2 color printing makes its way into the covers. In the later years, covers are then produced in full color (which in many ways diminished the visual impact of earlier compositions)
During the last few weeks I have been scanning directly from about 15 years worth of issues, and the more I look at it the more I marvel at the typography contained in the mastheads of the issues, particularly their visual exploration which shows a struggle between looking man-made and machine-made, with an observed preference on the former.
My study on this publication is only beginning, but I have scanned a series of typographic treatments from a few years’ worth of the publication to begin a process of sharing them. Read the rest of this entry »
mother: [Places plate on table.] Here’s breakfast. daughter: [Arms-crossed with some attitude.] Just toast? Dad gives me scrambled eggs. mother: [Places plate on table.] Scrambled eggs… daughter: [With more attitude and a rude gesture towards the plate…] Plain scrambled eggs? Dad makes it how I want. And to drink? …juice, chocolate or coffee. mother: [Brings some orange juice.] daughter: And the whole wheat? mother: [Frustrated] Commercial voice: Our breakfasts do not have competition. Only in our restaurants do we prepare you a real breakfast, complete and your way.
[Commercial ends with father and daughter eating.]
This advertisement currently airs as part of the commercial prelude to feature films in Puerto Rico’s movie theaters. Due to its dry humor, its consistent showing during the summer offerings, and the context of the cinematic apparatus, every movie-going person now knows it by heart. The phrase ¡¿Revoltillo pelao?! has become part of everyday conversations.
On a first glance it’s a fairly standard advertisement: short and to the point. Its story relies on contemporary characters and scenarios we can quickly understand, an association it uses to explicitly inform, with a hyperbolical narrative, the benefits of this particular fast food chain. Yet, a deeper look reveals a myth(1) portrayed by a series of implicit messages which reference a drastic cultural shift in the Puerto Rican understanding of family values: the divorce has been socially accepted. Read the rest of this entry »
Armando Rigau currently pursues a Master in Architecture I at Cornell University. He received his bachelor's degree in Philosophy with History and Spanish minors from Georgetown University.
