Maurizio Sabini

SAMPLE WORKS RESEARCH | TEACHING | DESIGN

January 2017

“At the foundation of Maurizio Sabini’s work, theory informs practice and practice informs theory in a constant progression…”�

Marco Frascari [1945-2013], 2006

RESEARCH

Editorials Vol. 1, Issue 1: http://theplanjournal.com/article/issue-12016 Vol. 0, Issue 0: http://theplanjournal.com/article/new-beginning http://theplanjournal.com

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Maurizio Sabini

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EDITORIAL CRITIQUE

ARCHITECTURE’S NEW FRONTIER

Editorial Critique:Maurizio Sabini

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DECEMBER ‘16 - JANUARY ‘17

“Architecture’s New Frontier” in: The Plan 95 (December 2016-January 2017): 15-22 http://www.theplan.it/eng/magazine/the-plan-095/architecture-s--new-frontier#sthash.CGTulx8s.dpbs https://dl.dropboxusercontent.com/u/80776144/2016%20THEPLAN095_EDITORIAL_EN%20(1).pdf

CONFERENCE THEME OVERVIEWAs intellectual practice, architecture embodies unique ways of knowing. We use many terms to describe the creation of new architectural knowledge, among them research, scholarship and creative practice. Sometimes these terms are used interchangeably and without precision. As we confront real world crises, and changing expectations for research production within universities, it is important to ask more precisely: what are the unique shapes of the new knowledges that are particular to architecture?

Architecture is shaped by its grounding conditions, among them: shelter, social relationships, culture, economy, energy, materiality, and technique. The challenge of integrating diverse inputs and questions differentiates architecture from other, more narrowly defined disciplines. Rather than framing this heterogeneity as a “generalist” form of inquiry, it can be argued that architecture’s multiplicity of constituencies and concerns can, and does, lead to the formulation of more compelling research questions and creative production.

When an increasing number of fields claim design thinking as their domain, all design inquiry must demonstrate “added value” to whatever objects or problems they explore. Could this value be located precisely in the often tense and positively charged gap between research and practice? The 104th annual conference calls for session topics exploring what this productive tension means to the academy: to our teaching, inquiry, and contribution to the profession. What are the promising new shapes of knowledge emerging from architectural inquiry, and what possible forms of knowing are latent and ripe for future exploration in the discipline and the profession?

Host SchoolUniversity of Washington

Co-chairsRobert Corser, University of Washington &Sharon Haar, University of Michigan

CALL FOR PAPERS ACSA invites paper submissions to the following 23 thematic session topics + open for the 104th Annual Meeting.

SUBMISSION DEADLINE (EXTENDED) September 25, 2015

LEARN MORE & SUBMIT www.acsa-arch.org/conferences

ACSA 104 CALL FOR PAPERS 5

CRITICAL CALL

Maurizio Sabini, Drury University

With the potent advance of new forms of knowledge production and dissemination, with digital technology and social media disrupting established paradigms and protocols, can architecture, as a form of knowledge, recapture a critical role within contemporary culture? How can we reframe the fundamental questions posed by K. Michael Hays’ elaboration1 on “critical architecture”, as a third way between “architecture as an instrument of culture” and “architecture as autonomous form”? In view of the contemporary acceleration in digital technology, prototyping and fabrication, when, since the early 2000s, as observed by Michael Speaks2, “design knowledge through making” has been taking command, while, at the same time, interdisciplinary enquiries, criticism and modes of “critical practice” have continued to challenge the possibly conciliatory scenarios of the post-criticality3, there seem still to be a need for a re-assessment of architecture’s critical call.

With a clearer awareness of the new opportunities that “architecture as open source” (Carlo Ratti4) can allow, leveraging the potential of digital sensing and big data processing, as well as of new modes of architectural production through shared digital platforms, while also realizing the issues that these new conditions pose to architecture’s epistemological core and cultural role, it would seem timely to reframe Hays’ questions and others that come along with them.

How can architecture’s new call for criticality take shape? How can architecture, as a form of cultural and knowledge production, still perform a role of critical agency at this moment of cultural evolution where other forms of knowledge are acquiring ever more important roles in the shaping of the environment? How can the redefinition of a critical cultural role help architecture recapture a level of influence within on-going environmental and urban transformations that has been recently challenged and questioned? How can a response to such a call help architecture at a critical junction of its evolution as a field of knowledge?

This session invites papers to offer insights into and through the nexus of these questions from a variety of angles (including, but not limited to, cultural theory, architectural theory, history, media theory). The aim is to offer reflections and debate capable to start building a platform for discussion, thus helping the discourse in our field refocus and helping architecture redefine its paradigm at a critical moment of its own evolution.

1 K. Michael Hays, “Critical Architecture: Between Culture and Form,” Perspecta 21, 1984: 14-39.2 Michael Speaks, “After Theory,” Architectural Record, June 2005: 72-75.3 Jane Rendell et al. (eds.), Critical Architecture, London & New York: Routledge 20074 Carlo Ratti, with Matthew Claudel, Open Source Architecture, New York: Thames & Hudson 2015 - or. ed. Architettura Open Source, Turin, Italy: Einaudi 2014.

DIVERGENT MODES OF ENGAGEMENT: EXPLORING THE SPECTRUM OF COLLABORATIVE AND PARTICIPATORY PRACTICES

Caryn Brause, University of Massachusetts, Amherst Joseph Krupczynski, University of Massachusetts, Amherst

New collaborative and participatory processes are facilitating and, simultaneously, requiring ever more intense interrelationships among all participants in the design process. This impact is dramatically experienced at many scales, altering practice expectations by contractually and socially restructuring the relationships between agents such as clients, consultants, fabricators, stakeholders and users. These changes may be experienced most powerfully at the extremes of disciplinary activity. At one end of the spectrum, emerging project delivery methods seek to harness the talents and insights of all participants while prioritizing efficiency and productivity. At the other end, participatory practices support dialogues within and between a broad range of political, economic and social contexts to contest inequities and promote social justice.

These relational, dialogic and collaborative frameworks point both to the promise of new technological efficiencies and integrated production methods as well as the potential for new social formations and civic actions. Can practices with distinct—even divergent—goals provoke productive dialogues about new models for engagement? This session inquires as to the processes by which new knowledge is created when we engage the distinct intelligences of new collaborators. What conflicts emerge when we collaborate with parties with different academic, cultural, professional, and disciplinary backgrounds and values? How might we capitalize on these conflicts to produce new social capacities and/or practice innovations?

These new models, working within social and cultural contexts, may include participatory action research methods or alternative educational strategies that build the capacity for underrepresented communities to meaningfully participate in their neighborhoods and cities. Within the socio-technical realm, these new models might include reconsidered relationships between designers and constructors due to changing contractual obligations or shifting norms surrounding information exchange.

This session invites exploration and documentation of collaborative and participatory endeavors including design projects, historical precedents, contemporary case studies, professional research, academic experiments and new practice models that explore a spectrum of collaborative and participatory practices by which new knowledge is created. As the architectural academy grapples with its relevance and significance, introducing practices that expand our disciplinary reach and our collaborative network is critical to producing the next generation of practitioners able to operate in an expanded professional territory.

GENERAL THEME:CRITICALITY/AGENCY

GENERAL THEME:PARTICIPATORY DESIGN

>  >  >  >  >  

“Towards an Ethical Technique: Reframing Architecture’s ‘Critical Call’ through H. Arendt.”

Paul Holmquist, Carleton University

“Planning Criticism: Operative Contingencies in the Project of the Italian Tendenza” Pasquale De Paola, Louisiana Tech

“ The Act and Art of Architectural Critique:

A Drawing, a House, and a Sign” Andreea Mihalache, Mississippi State

https://dl.dropboxusercontent.com/u/80776144/2012%20%5B2014%5D%20The%20Just%20City_Polytechnic%20Milan.pdf

“Politics, Architecture and the Informal City” review of book and exhibitions by Urban-Think Tank, The Journal of Architectural Education – on-line version, Fall 2013

http://www.jaeonline.org/articles/exhibit-reviews/politics-architecture-and-informal-city#/page1/

“Infrastructure and the Just City” in: Marco Bovati et al. [eds.], Cities in Transformation. Research & Design, 2 volumes, from the 2012 EAAE/ARCC conference at the Politecnico in Milan [I], Il Poligrafo: Padua [I] 2014, vol. 2, pp. 1298-1305

https://dl.dropboxusercontent.com/u/80776144/2011%20Wittgenstein's%20Ladder_%20JAE.pdf

“Wittgenstein’s Ladder. The Non-Operational Value of History in Architecture” in: Journal of Architectural Education 64:2, March 2011, pp. 46-58

“Re-Setting the Critical Project. Re-Assessing Tafuri and the Value of Discourse in Architecture”

in Re-Building, proceedings of the 2010 ACSA Annual Meeting, Washington DC: ACSA, pp. 385-392https://dl.dropboxusercontent.com/u/80776144/2010%20resetting%20the%20critical%20project.pdf

2010 2008

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The Kent State Forum on the City

Kent State University-Florence [Italy] 2006-2012 Florence [Italy]: StampArte 2008 Alinea Editrice 2010-12

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TEACHING�

5th year [Master Project] research seminar [five year MArch professional @ Drury], Fall 2013/2016

Alex Reeves [F16] – “[Beta Space] Reprogramming Urban Infrastructure to Reconnect Society.” https://dl.dropboxusercontent.com/u/80776144/master%20project%20research/2016_F_reeves.pdf Junye [Spencer] Zhou [F15] – “The Vertical City. Rethinking Public Space in High-Rise Buildings.” https://dl.dropboxusercontent.com/u/80776144/master%20project%20research/2015_F%20Junye%20Zhou.pdf Mikhail Digman [F14] - “[To] An In[from]ality. Exploring Connectivity Between Formal and Informal Sectors of African Cities.” https://dl.dropboxusercontent.com/u/80776144/master%20project%20research/2014_F%20digman_final.pdf Jamie Lu [F14] - “The Ecology of Healing Place. Creating an Integrated Healing Experience for Patients in Urban Settings.” https://dl.dropboxusercontent.com/u/80776144/master%20project%20research/2014_F%20Jamie%20Lu_final.pdf Elyse Coulter [F13] - “Youer Than You. The Revitalization of Creative Self-Confidence in Children” https://dl.dropboxusercontent.com/u/80776144/master%20project%20research/2013_F%20coulter_final.pdf Jonathan Hays [F13] - “Protecting Families | Preventing Crisis” https://dl.dropboxusercontent.com/u/80776144/master%20project%20research/2013_F%20hays_final.pdf

5th year [Master Project] studio [five year MArch prof. @ Drury], S16 – student Junye Zhou

“The Vertical City. Rethinking Public Space on High-Rise Buildings.”

5th year [Master Project] studio [five year MArch prof. @ Drury], S16 – student Junye Zhou

5th year [Master Project] studio [five year MArch prof. @ Drury], S16 – student Junye Zhou

5th year [Master Project] studio [five year MArch prof. @ Drury], S16 – student Junye Zhou

5th year [Master Project] studio [five year MArch prof. @ Drury], S15 – student Misha Digman

“[To] an In[From]ality. An Alternative Infrastructure Based on the Needs of an Emergent Informal Economy. The Case of Lagos/Makoko”

5th year [Master Project] studio [five year MArch prof. @ Drury], S15 – student Misha Digman

5th year [Master Project] studio [five year MArch prof. @ Drury], S15 – student Misha Digman

5th year [Master Project] studio [five year MArch prof. @ Drury], S15 – student Misha Digman

3rd year studio [five year MArch professional @ Drury], Fall 2015 – student Alexandra Heidrich

MOON CITY CREATIVE INCUBATOR PHASE D

ROOF PLAN 1/20

3rd year studio [five year MArch professional @ Drury], Fall 2015 – student Alexandra Heidrich

MASTER PLAN GROUND FLOOR 1 : 20” PARKING GARAGE 1 : 20”

RELATIONSHIPS MASTER PLAN CIRCULATION

NORTH ELEVATION 1/16” EAST ELEVATION 1/16”

SOUTH ELEVATION 1/16” WEST ELEVATION 1/16”

3rd year studio [five year MArch professional @ Drury], Fall 2015 – student Alexandra Heidrich

3 BEDROOM FLOOR PLAN 1/8” 2 BEDROOM FLOOR PLAN 1/8” 1 BEDROOM FLOOR PLAN 1/8” 1 BEDROOM FLOOR PLAN 1/8

SECTION A 1/4”

SECTION B 1/4”

3rd year studio [five year MArch professional @ Drury], Fall 2015 – student Alexandra Heidrich

The three-week, intensive, Project Programming course was preparatory to the eight-week, intensive, Master Project studio. In Project Programming, students worked in teams. Student team: Marissa Butts, Nicholas Faehnle, Samuel Marcum

Visiting Critics: •  urban designer: Alberto Francini, “metrogramma”, Milan -

http://www.metrogramma.com/ •  transportation engineer: Federico Parolotto, Mobility-in-Chain, Milan - http://www.michain.com/

Master Project studio [five+ year MArch professional @ Kent State], Summer 2009/2010

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College of Architecture & Environmental Design - Graduate Studies – Master of Architecture Professional Program Academic Year 2009-10 – SUMMER Terms [INTERSESSION]

P R O J E C T P R O G R A M M I N G

ARCH 60150/004 [CRN 10373] 3 credit/hrs M/T/W/Th/F 9:00am - 12:00pm Cleveland Urban Design Center Prof. Maurizio Sabini msabini@kent.edu 216.357.3428 off hrs: by appointment @ CUDC

METROGRAMMA [Andrea Boschetti + Alberto Francini], new master plan of Milan, 2009.

Master Project studio [five+ year MArch professional @ Kent State], Summer 2009/2010

cont. – Project Programming [Summer 2010] students Marissa Butts, Nicholas Faehnle, Samuel Marcum

Master Project studio [five+ year MArch professional @ Kent State], Su10 – student Marissa Butts

Master Project studio [five+ year MArch professional @ Kent State], Su10 – student Marissa Butts

5th year Urban Design studio [five+ year MArch professional @ Kent State], Spring 2011

In collaboration with: The Ohio State University Knwolton School of Architecture [Prof. Kay Bea Jones, PI research leader] and the University of Cincinnati School of Architecture and Interior Design

5th year Urban Design studio [five+ year MArch prof. @ Kent State], S11 -Anya Kulcsar+Lucas Staib

publication of research outcomes & student work: Kay Bea Jones, ed., Re-Visioning Weinland Park, Knowlton School of

Architecture, The Ohio State University: Columbus OH 2011

5th year Urban Design studio [five+ year MArch prof. @ Kent State], S11 – A. Escudero + C. Ramlow

Redevelopment for the Mall, Cleveland OH

•   soon after graduation, Dong won an international design competition to build a new art museum in China

Capstone Project [Master of Urban Design post-prof. @ Kent State], F04-S05 - student Dong Jia

Capstone Project [Master of Urban Design post-prof. @ Kent State], F04-S05 - student Dong Jia

Capstone Project [Master of Urban Design post-prof. @ Kent State], F04-S05 - student Dong Jia

Community Design Charrettes 3 out of 3 charrettes developed into real projects: •  Poland OH, 2002 •  Clark Field Park, Cleveland OH, 2002 •  Chagrin Falls OH, 2003

“The Cleveland Urban Design Center [CUDC] is gaining quite a glowing reputation for the work the faculty and graduate students are doing with regard to their urban design projects in our local neighborhoods.“ [Henry L. Meyer III, Chairman & CEO, KeyCorp., Cleveland, letter to KSU President Cartwright, 2003]

The Poland Charrette’s success resulted in an endowment established by a KSU alumnus in 2003, to support future CUDC-led community design charrettes

Community Design Charrettes [Master of Urban Design post-prof. @ Kent State], 2002-03

DESIGN WORK

CONTESTED MEMORY RECONCILED

This proposal has a twofold objective: to evoke WWI’s story and to inspire reflection on its meaning. The main elements to achieve this are, respectively, a new “topographic volume/plane” (the park), to remind of the combat landscape, and the “Platform of Reflection,” where war narratives and their “contested memory” can come together in a place of solemn remembrance of the collective sacrifice.

The new “volume/plane” is scarred by stairways/ramps/“incisions,” evoking European battlefields, but also “healed” by grass and vegetation. Walking up the stairs and ramps, also from the Pershing Memorial (respectfully kept as is, in plan and elevation), represents that going “over-the-top” that characterized American troops’ dramatic experience. The new park “contains” the existing memorial, but its level is lower than General Pershing’s statue; it also includes 21 European cypresses to improve the comfort of its experience, but also to symbolize a gun salute to the fallen.

The “Platform of Reflection,” raised from the park plane and circular in shape (47’ in radius, as 4.7 million Americans served in uniform), symbolizes idealism and abstraction. The outside of the platform parapet has notable quotes. Engaged in its external concrete base are 116 bronze columns, each for every thousand fallen Americans, to signify the meaningful loss. The center has an appropriate sculpture (to be determined) and around it are pavement inscriptions about WWI’s many ideals, such as Idealism/Peace/Service/Duty/Valor/Heroism/Liberty/Egal i tar ism/Democracy/Pluralism.Two stairways have specific alignments: with General Sherman’s statue and with the WWII Memorial respectively, representing WWI’s place in American history.

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National World War One Memorial, Pershing Park, Washington DC, 2015 sponsored by The US World War One Centennial Commission, Washington DC collaborator: Danny Loza

FINALISTS Winner__________ Joe Weishaar, architect + Sabin Howard, sculptor

“Life at the Speed of Rail” HSR Visions for Cleveland, OH and the Cuyahoga Valley, 2011 International Design Competition sponsored by the Van Alen Institute, NYC collaborators: Anya Kulcsar, Travis Vannoy

The new HSR station in Cleveland, Ohio, is envisioned on the site of the existing Amtrak station, serving as a hub for the lines New York City–Chicago, Pittsburgh-Cleveland and the already proposed “3C” line Cleveland-Columbus-Cincinnati.

The new HSR station, primarily seen as a new public space, is the missing piece for the completion of the revitalization and re-design of the Mall/lakefront system, currently underway.

The Mall __________________________________

It is here also proposed to elevate a section of I-90 (the “Shoreway”) to allow a continuous pedestrian public space through the section lakefront/station/Mall. The Shoreway is thus celebrated as a fast connector between the region, the lakefront, Cleveland downtown and the new HSR station. Thus marrying speed and the pedestrian experience of the public city.

A re-alignment for the HSR tract Pittsburgh-Cleveland is here proposed to innervate the Cleveland-Akron metro region. …

The new line, leveraging on the region environmental assets and economic potential, will create with the Cuyahoga Valley National Park and its attractions a new axial swath of integrated infrastructures, potentially capable to reverse the outward trend of regional sprawl. …. The new HSR line will have two stations in Akron and Cleveland, with minor stations in between for an additional metro-line...

Dr. Martin Luther King Jr. Memorial in Washington DC, 2000 International Design Competition [sponsor: The MLK Foundation] – collaborator: Clarke Holmes

__________ competition site

A “living memorial” [a “people’s forum”] commemorating: Spirituality >>> the Man Design challenge “capture the essence of Personal Empowerment”

• a memorial of remembrance • a memorial to strengthen the values of “home / family”

Vision >>> the Movement Design challenge “capture the essence of Active Citizenship”

• a place for human justice and dignity • a memorial for the vanguard, moving from protest to

possibility, to the “realization of a dream” Leadership >>> the Message Design challenge “capture the essence of the Quest for Justice”

• a memorial harmonizing with rhythms of nature and cosmos • a memorial for reflection and connection across races,

ethnicities, nationalities, political boundaries

site________

existing proposed

Winning entry by ROMA Design Group, San Francisco [CA]

The Intelligence of Place Exhibition catalog of design work [1985-95], Raffaelli Editore Gallery, Rimini [Italy], June 1996

Additions to the Prado Museum, Madrid, 1995 International Design Competition – collaborators: Paolo Cazzaro, Anna Di Summa, Ramon Pascolat

Best 20/100 over 500+ entries, same ranking with, among others: Zaha Hadid, Arata Isozaki, and Morphosis

project site

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DESIGN BRIEF Support Spaces

atrium, cafeteria, library, bookshop, auditorium, 3 seminar rooms

Exhibition Spaces for XIX c. collection for temporary shows

Workshops Offices Total 190,000 sqft

Winning entry by Rafael Moneo, built 1998-2007

Luxembourg Embassy, Vienna [Austria], 1995-96 CONSTRUCTION DRAWINGS for the architectural firm Hermann & Valentiny, Vienna/Luxembourg, 1993

Serantoni House, Shela, Lamu Island [Kenya],1990-94 Restoration & Additions to a XIX Century Swahili House

Lamu Town                

Shela

existing conditions

typical Swahili house

[drawings by MS]

Yaya House, Lake Victoria, Kisumu [Kenya], 1990 Schematic Design [drawings by MS]

“A constant understanding of the ‘other’, both as a user or as a student, and of the ‘otherness’ of architectural and educational construction,

is the critical ground on which Maurizio Sabini is building his cultural legacy.”

Marco Frascari [1945-2013], 2006