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!

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.

In ‘Transparency 2″, the authors try to explicate more concretely the idea behind literal and phenomenal transparency. Two examples stand out: the facades of Le Corbusier’s Algiers Skyscraper and Michelangelo’s  San Lorenzo. The facades have a basic, skeletal organization, yet a closer look reveals that “objects function as a series of relief layers for the further articulation of th[e] space” (Ockman, 218). That is, the arrangement of the formal elements can refer to multiple interacting planes at the same time. The shapes get “transfigured,” since they “change,” while still preserving their original form. Hence, different understandings get revealed through the interrelationships between figures within a composition. Like in a El Lissitzky painting, each figure, in relation to another, exists in a kind of floating tension that “forces” one’s eyes to focus on them in various ways. Possibilities are rather endless.

As a result, phenomenal transparency can efface the boundary between the figure and its ground – which alludes to the way we phenomenologically experience the world around us as a sum totality. This refers to Gestalt psychology and means that our sensory perception already processes the information it receives before transferring it to the mind. If, our senses are “intelligent” (Ockman, 224), then the possibility of apprehending new levels of information expands the potentialities of space.

This being said, “Transparency 2” lags behind its first part because it is limited to the discussion of phenomenal transparency in façades. “Transparency 1,” by focusing on how phenomenal transparency gets revealed through the interplay of architectural spaces, the authors could show how the built environment as a whole and not just figural elements on the façades can communicate powerful implied meanings. If the architect should be assigned a social role, then the interaction between spaces can be imbued with philosophical, social, and political messages through phenomenal transparency. For now, I will briefly focus on phenomenological implications.

While theorists, critics and the common person alike tend to argue in regards to design styles that the essence* of architecture lays somewhere within the topic of space. Although I consider that architecture cannot just be simplified into the issue of transparency – style, technique, representational medium, etc. are indeed important –, I agree that it founds the architecture discipline. While painting concerns itself with paint (and color), sculpture with an array of materials, and dance with movement, architecture irreducibly deals with space.By understanding the literal and the phenomenal we can analyze how space can affect a spectator (consciously and subconsciously –I even  wonder, sexually? –). As the authors note: transparency “is richly loaded with the possibilities of both meaning and misunderstanding” (Rowe and Slutzky, 22). If space can serve as a tool for human self-reflection, then through transparency, the architect can reveal different ways of what it means to be human: not only the beautiful, the pleasant, and the entertaining, but also the ugly, the offensive, and the uncanny. In depth interpretations of how literal and phenomenal transparencies affect spectators can transform the architectural practice into a way of being that interprets and renews human existence in the world more honestly.

On a final note, as the philosophical postmodern trend grew on me in the last years, I have constantly looked for definitions or interpretations of what would be the postmodern space. From the literature – primarily focused in Derrida with side readings of Eisenman, Venturi and Scott Brown –, I can say that po-mo spaces (try to) recognize the Other to reflect tensions and contradictions.  I now think that if we classify traditional space as literal and modern as phenomenal, only the latter – by opening up the possibility of multiple spatial readings that simultaneously include and exclude each other – can realize postmodern principles. But then, how can one differentiate between modern and postmodern built environments aside from preferences in style? Maybe the postmodern intelligently uses both transparencies at the same time. Nevertheless, no doubt many architects through history have playfully and successfully employed the use of transparencies – evidence that for now makes my answer seem sophomoric and baseless.

(Writing this I wonder: Could the construction of a text yield readings of phenomenal transparency?)

*I usually avoid using the word ”essence” because it implies a traditional philosophical notion of Truth and its understanding that can never be grasped. Even though I have decided to insert it in the text, I clarify that the essence is somewhere within the boundaries of the topic of space, which means that it can never be fully grasped.

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.

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.

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…

Herbert F. Johnson Museum: Floor plan of one of the galleries.

Herbert F. Johnson Museum: Interiors.

Herbert F. Johnson Museum: Concrete detail and Axonometric.

Sage Chapel: The Environment overpowers the building.

Sage Chapel: Floor Plan.

Sage Chapel: Details (middle column reinterpreted).

Uris Library: An entrance.

Uris Library: The old with the contemporary.

Uris Library: Main area floor plan.

Uris Library: A.D. White Library... freeing up constricted space.

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.

The initial challenge was to suggest the quality of the object. Even though the award uses the term “medal“, I inclined for a piece that could be exhibited by the recipient in a more efficient manner, thus the creation of a table-top piece.

Conceptually, the composition represents the larger social context (outer square) inside which architecture unfolds (smaller square). The recipient reaches out from this larger context and crosses the architectural field (diagonally placed piece of glass), leaving his mark (smaller aluminum triangle on the lower right side of the inner square). He or she eventually keeps moving into other aspects. (the extension of the piece of glass beyond the smaller square).

*For those of you with a nerdy inclination towards typography, the initials of the award’s name are abstractly embedded in the design, with a lower case r on the left side of the diagonal piece of glass and an upper case A it’s right side.

Architecture by Jorge Rigau, FAIA. Typography by Alberto Rigau. Scultpture and modeling by Jaime Suárez Toro.

Original letterform designs.

Final letterforms in their construction molds.


Final letterforms in their construction molds.

Making sure the concrete is ready.

Stamping it.

On its way.

Taking shape.

Maybe too dry.

In context of the fountain where it will reside.

Applying more water.

Playing the inspector gadget role.

Enough water. It needs to dry out now.

Image as message. Message as texture. Image as texture.

Now we have to wait until final stage.

Face to face.

* ] ELEMENTAL Iquique social interest housing [ Looks to deal with extremely low-cost housing that can be a real means to overcoming poverty. The project intends to design neighborhoods of good quality, expandable housing units, which in turn can be well located in cities, and able to develop harmoniously over time. These structurally safe units would be built for $7,500 per family.

There were three goals: the best possible architectural design (having intelligence and precision in form), the best possible engineering and construction (using development and lab tests for new prefabricated components and seismic systems), and the best possible social and community work (offering pre- and post-construction guidance to residents).

** ] ELEMENTAL [ Based at the Universidad Católica de Chile's school of architecture, supported by a Chilean government grant and by the Harvard Design School, is an initiative to build seven exemplary projects of around 200 units each throughout Chile, bringing together the best practices in construction, engineering, social work and architecture, while at the same time aiming to offer a concrete contribution to housing for the poor.

*** ] Alejandro Aravena [ Architect Universidad Católica de Chile 1992, independent professional practice since 1994. Studied history and theory in Istituto Universitario di Architettura di Venezia (1992-93). Visiting Professor at Harvard University between 2000 and 2005. Professor at the Universidad Católica since 1994. Since 2006 he is the Elemental Copec Professor at UC and Executive Director of ELEMENTAL.

original conditions of Iquique

project as delivered by architects

2 years later

project as delivered by architects

2 years later

and created this interesting living space. The building, treated as a template, allowed the residents to customize their spaces.