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The Nameless Structure

Dates: 24 - 30 August 2014
Type of workshop:
Prices: From 835 € to 1125 € (incl. tuition, materials, food, accommodation)

THE NAMELESS STRUCTURE from Domaine de Boisbuchet on Vimeo.

For this workshop we are going to use a whole pile of building garbage: all kinds of construction leftovers from the current works at Boisbuchet as well as those things, which had been unused and forgotten all these past years – stuff from the junkyard, which is certainly cheap or strange but enough to build a small pavilion, a shelter.

In the very beginning I am going to show you a small presentation about this kind of architecture – examples of my own work and similar things – a short lecture. Then we are cataloging in a simple book all the materials we can use with a short description and raw drawings of every piece. Given this catalog we’ll discuss a structure that we want to build, find a site that fits our idea and altogether create a first rough design. Based on this sketch we are going to errect this structure – maybe including doors and windows and maybe even some furniture – in order to create a holistic experience that includes light, air, humidity etc.

We are going to build our structure on the chosen site by using screws, nails, wire or glue but under two important conditions:
1) We neither cut nor elsewise change the pieces and just connect them.
2) We are obliged to use all the pieces we have – no garbage left!

During this process and until the object is completed all our sketches and photographs are included in our “Book of materials”.

On Friday night we are going to celebrate this work with a party inside our building!

Alexander Brodsky was educated at the Moscow Architecture Institute where he graduated in 1978. Brodsky’s first encounter with the public eye was during the late 1970s. He was a key member of the paper architects (visionary architecture), and furthermore, worked alongside Ilya Utkin in his etchings of distorted cityscapes. Paper architecture was a response to state sanctioned architecture that consisted of standardised and often poorly constructed buildings, which imbued their environments with a communist aesthetic. Such a response allowed paper architects to retreat into their imaginations and defy uniform Soviet architecture through vivid depictions of constructivism, deconstructivism and postmodernism. According to Anna Sokolina, paper architects rose to prominence within the Western world as many of their works won prestigious awards in professional competitions and helped to shape an understanding of Russian modern and postmodern architecture. Scholarship has shown that the whimsical and constructivist etchings of Brodsky and Utkin translate mere illustrations into narratives through the introduction of human characters. These were narratives that voiced man’s alienation within the urban world and provided a commentary on the loss of Moscows historical architectural heritage.

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