The publication collects the semester discussions and materializes them
into a book. 10 short essays (each participant reflecting on one specific
work of their rival), 60 architectural documents (presented along the
lectures) and 10 critical contributions(short pieces contextualising the
discussion) will generate an intergenerational narrative of this historical
debate that may or not may exist any longer. The book includes texts by AKAS, Baracco+Wright, Andrew Burns, Angelo Candalepas, Scott Colman, Edition Office, Philip Goad, Tristen Hardwood, Mike Hewson, Luisa King, Andrew Leach, Carey Lyon, Desley Luscombe, Ian Moore, Other Architects, panovscott, Andrew Power, Howard Raggatt, Gerard Reinmuth, Sibling Architecture, Richard Stampton, Naomi Stead, Luke Tipene, TRIAS, Leon Van Schaik and John Wardle.

The word 'replica' bears a double meaning; it designates a literal
reproduction of a preexisting work and, in a sense denoted in
Romance languages, a response to a previous statement. Replicas
that respond to the first part of this definition have played a structural
role in the history of architecture. For centuries, plaster casts of
architectural fragments circulated through Beaux-Arts Schools and
professional ateliers as proof of the existence of an ideal, from which
to copy. The second part of the definition adds nuance. Can one
produce a work of architecture that already exists, and by doing so,
take a position? (Not by chance; 'replica'—translated as 'reply'—
often designates the representative's right to answer in parliament.)
We believe that there are architectural replicas that respond to both
meanings. We call them agonistic copies

Urtzi Grau is an architect, director of the Master of Architecture
at the University of Technology, Sydney, and co-founder of
Fake Industries Architectural Agonism (FKAA), an entity of
variable boundaries and questionable taste that has received
the AIA New York New Practices Award, has been shortlisted
for MoMA PS1, the Miami Design pavilion and the Guggenheim
Helsinki Competition. Current projects include the new
library of Lorenteggio, in Milan, Italy and the masterplan for
the Machine Khana in Kabul, Afghanistan.

This house comes from a cross between several imaginaries: the traditional house and the modern house; local technique and industrial technology; the winter house and the summer house; Le Corbusier's Maison Jaoul and Craig
Ellwood's Stahl House; everyday life in the countryside and global media exposure. Starting from these crossings, the project consistently negotiates these imaginaries giving birth to a completely unprecedented result.

This house comes from a cross between several imaginaries: the traditional house and the modern house; local technique and industrial technology; the winter house and the summer house; Le Corbusier's Maison Jaoul and Craig Ellwood's Stahl House; everyday life in the countryside and global media exposure. Starting from these crossings, the project consistently negotiates these imaginaries giving birth to a completely unprecedented result.

As with any other creative discipline, architecture submits to a regime of originality. Operations having in common the recourse to already produced forms, such as appropriation, détournement, objet-trouvé, mash-up, parafiction--well-known critical tools in a wide range of artistic production--still remain unabsorbed and even taboo. While imitation and reproduction are the obvious roots of the last 20, if not the last 600, years of excess architectural shapes, the field of architecture has resisted openly embracing copies, and in so doing has hindered its own potential. It is important to clarify that the intentional copies we are referring to are not references; they should not be confused with quotations or precedents. They do not establish any link to the lost virtue of ancient civilizations and they do not testify to any particular erudition or affiliate copiers with the great masters of the past. These copies are humbler and less re?ned than direct citations; they simply reemploy knowledge that is already available and public. In this context, to intentionally copy entails a radical reformulation of architectural imagination: it allows for the renunciation of form making--since form is defined a priori--to focus on available architectural knowledge yet to be discovered.

The posters in the Puerta del Sol and other public squares in the Iberian Peninsula were explicit: 'They do not represent us'. So were the camps of protestors. The posters described the political and cognitive gap that had opened up with the acceptance of representational models defined during the Spanish Transition. The camps identified the failure of architecture to react to this gap. The occupation of public space by thousands of people included lawyers, doctors, librarians, cooks... but not architects. Unlike other professionals, the architects who participated in the process did so as citizens. Their skills were not required; their expertise was not relevant.

I would like to propose 2011 as an alternative to 2008 in order to explain DOCUMENTS (TO COME). This date change, however, is not at attempt
to define an ultimate origin. The connections between the economic crisis and 15-M are obvious, just as they are with New York of the 1970s, post-war Madrid, Moscow of the 1920s or The Terror in France. These are all situations where projects existed mainly as drawings, which served as a refuge for the lack of commissions But a crisis of credibility has a greater effect on architecture than the lack of commissions. When, consciously or unconsciously, the forms that represent power are under question, the role that architecture plays in the production of these forms is too. The discipline then has to face an urgent question: how should we engage
in representation?

Presentation panels of Guggenheim Helsiniki competition entry 47 Rooms - To design a panel and try to put all information on one or two papers is at every moment hard work. As like any other compromises, for me it´s an unperfect way to show your work. But on the other hand you have to focus on the things which are really important for the story. It makes no difference whether it is for an competition or an presentation.
To present your design is the most important moment. The panels should work without your physical voice. They have to stand alone.

Prehistory and possible origins of the explosion of 'made in Spain' architectural
pedagogy in English-speaking academia.

Architecture is probably the one creative field in which the flow of knowledge
is least regulated. For instance, compare it to music or cinema in which
copyright laws dictate the maximum length of the fragments that can be
freely use by others. Think of the legal implications that terms such as plagiarism,
quotation, or paraphrasing have in literature. Remember how intellectual
property (IP) rights render illegal any transformation of a work of art not
sanctioned by its author. Albeit architecture, since 1990,1 has enjoyed a legal
status similar to these other fields, none of these principles seem to apply.
In fact, IP regulations remain mostly underdeveloped and rarely enforced.

Architecture is probably the one creative field in which the flow of knowledge is least regulated. For instance, compare it to music or cinema in which copyright laws dictate the maximum length of the fragments that can be freely used by others. Think of the legal implications that terms such as plagiarism, quotation, or paraphrasing have in literature. Remember how intellectual property (IP) rights render illegal any transformation of a work of art not sanctioned by its author. Albeit architecture, since 1990, has enjoyed a legal status similar to these other fields, none of these principles sen to apply. In fact, IP regulations remain mostly underdeveloped and rarely enforced.

Through 100 designs--defined expansively, from lab grown organs and robotic companions to smart cities, nationwide literacy projects, and outer space tourism--this exhibition engages complex confluences of design,
science, and technology, emphasizing how designers are responding to human needs, desires, and fears and synthesizing the unimaginable with the incremental, and the iterative with the apocalyptic in an effort to help
further an understanding of the near and far future.
Futures take up no definite space or time. Tomorrows inhabit a fuzzy chronological logic for many of us, simultaneously now, part of our present, and something to come. We all understand the world in different ways
depending on where and how we live, and asymmetric access to resources means that the agency to design and activate desired futures is unevenly distributed.
Design and designers can help us understand and chart a path through these amorphous and freighted avenues, opening up discussion rather than presenting the future as a fait accompli, and offering the tools to
understand and, if needed, take a critical stance in relation to the promises and perils of advanced technologies. From the practical to the conceptual, the projects presented here allow us all to comprehend the possible, debate the inevitable, dream the unreachable, and weigh the alternatives.

development of a conceptual masterplan for the KARIT project for Aga Khan Trust for Culture (AKTC). The KARIT master plan area is connected to the Kabul City Urban Design Framework, consisting of two planning proposals for adjacent areas prepared by Sasaki Associates: the 'Dar Ul-Aman Corridor' plan to the southeast and 'Massoud Boulevard-Airport Road' proposal to the northwest. These plans are focused on developing 'corridors' along key vehicular arteries, with the creation of perpendicular linkages to low-density residential fabric. The KARIT site is situated in the core of the historic city and provides a critical 'link' between the corridor plans.

Video installation depicting burning of 47 rooms publication, with display of publication.

47 Rooms is FKAA's shortlisted proposal for the new Guggenheim Helsinki international design competition. The proposal acknowledges Helsinki's interiority and presents a multiplicity of chambers and climatic conditions using the architectural technologies that construct this interior citizenry, providing singular and ever-changing experiences by opening and closing doors to different climates. The proposal extends the logic through which Helsinki's population already tempers their more intimate public spaces. Imitating the logic of the Sauna, each room's final climatic conditions include certain degree of negotiation between the institution and its visitors.

The 47 Rooms publication furthered the architectural concept by presenting a different ambience on each spread, avoiding many of the familiar tropes of architectural representation, and by being burned in order to represent the importance of temperature contrasts and atmospheres inside of the building.

The Make Known exhibition features the work of artists and designers who engage with invisible or imperceptible phenomena such as atmospheric conditions, patterns of occupation and inhabitation, ground stability and fluctuations of ground water, movement, energy flows, fluid dynamics and biological systems. The search and discovery of an emergent order in this phenomenon presents a unique insight into ways of apprehending and shaping the world.

Video projection of the OE House construction process for the Building Stories exhibition in Lisbon, Portugal. The exhibition is about what cannot be easily perceived at first glance in architecture: an exhibition about how architecture is produced and built. Building Stories is the representation of an abstract landscape made up of architectural fragments. Like a permanent construction site, it emphasises the dimensions of the exhibition space as if it was a piece of land or a contemporary industrial ruin where it is easy to imagine the cold smell of fresh cement and the sound of heavy machinery. The intent is to transcend the limits of the museum space and focus on architecture as a discipline.

The exhibition ranges from the scale of the territory to the one-to-one, pursuing the architect's imaginary. Building Stories shows achievements, turning points or simply notes and desires from Architecten De Vylder Vinck Taillieu, Maio and Ricardo Bak Gordon are shown as live expressions of a much larger universe. The exhibition thus establishes a conversation between these architects who – despite each having their own ideas, methods and formal expression – share architecture as a common ground, weaving their individual and unique approaches together.

Competition winning scheme for a new library in the Lorenteggio district of Milan, Italy.

1. The new Library of Lorenteggio emerged from the dimensions of the city blocks of the ALER's public housing. Turning 90º from the original grid, the building continues the modernity project that gave life to this urban development
in the 1930s.
2. Acting as a bridge, the Library completes the sequence of civic infrastructures on Via Odazio, including the church of Santo Curato d'Ars, the amphitheater, the old Municipal Library, and the Mercato Rionale.
3. The new Library divides the park into three bands parallel to the Via Odazio: (1) a hard plaza that connects the old Library and the Municipal Market; (2) an area of public green space; (3) an outdoor area for the new Library and a new playground.
4. The new Library's program is distributed on two levels. The FORUM Area occupies the ground floor, and the LAB and LIB Areas fill the upper floor. At the entrance, the staircase and the elevator define the atrium that opens up to the Piazza and link the Market to the old Library. On the upper floor, the staircase and the elevator divide the program into the LAB and the LIB Areas. This organization ensures that the program can work independently, allowing each area to be opened or closed to the public. The FORUM area has direct access to the park and can expand outdoors, increasing and encouraging
citizen interaction with the new building.
5. Each level has a free height of 6 meters. The generous section lends these spaces civic and public character and facilitates future mezzanine extensions . The pavilion with a depth of 14.10 meters allows an optimal distribution of natural light for activities related to reading and studying, meeting and socializing.
6. The ground floor arches create an urban infrastructure for public use. Strong and iconic, these are recognizable and functional. The space recalls the arcades traditionally used for public activities around Italian squares....

Fake Industries Architectural Agonism's OE House, designed with Aixopluc, demonstrates an interest in the image and material practices of replicating and recombining existing architectural forms as a design approach. The OE House is conceived as the montaging of two image precedents seen in the framed collage. The first image is Pierre Koenig's 1959 Stahl House; famously staged by architectural photographer Julius Schulman, it captures the expansive optimism and openness of the lifestyle promoted by Arts & Architecture magazine's Case Study House Project, of which this photo was a part. The second image depicts Le Corbusier's 1954–1956 Maisons Jaoul in Neuilly-sur-Seine, a French house that borrowed the masonry vaulting from Catalan vernacular traditions. The two photos and the buildings they showcase were key in the broader distribution of an imagery of modernism, circulated in print magazines and advertising, a process that embedded the logic of replicating certain effects and atmospheres in culture at large. For FAKEAA and Axiopluc, these images also serve an opportunistic function by fulfilling the clients wishes for two ways of living in one house: the exposed and the introverted. The design itself was a cross between two industrialized translations of rural construction typologies: a masia (traditional Catalan rural home) and a peasant's storehouse. The original montage was displayed alongside a video that showed the house in two states: the beginning of construction and after completion.

The exhibition in Kassel at the Central Train Station lasted one month. Afterwards it moved into the university for art. Exhibited were the models and panels with plans and description of each project as well as an urban development model of Scheid. The plan for this exhibition is to be shown round the world.

Seoul, Republic of Korea, September, 2017 — Commissioned by the curators of the inaugural Seoul Biennale of Architecture and Urbanism, open September 2, 2017 through December ??, 2017 at the Donuimun Museum Village, Seoul, SK. Driver Less Vision presents the immersive experience of becoming an autonomous, self-driving vehicle.

Created by Urtzi Grau (Fake Industries Architectural Agonism), Guillermo Fernandez-Abascal with Perlin Studios, the project was produced with virtual reality video and architectural design by the New York-based teams, and installed in a 25' dome at the Seoul Biennale.

Driver Less Vision examines the tension and reality of AI and humans merging and diverging as they negotiate Seoul's unique urban landscape—challenging us to consider how we can design cities for the future of autonomous vehicles.

Driver Less Vision aims to generate empathy between humans and non-humans, to construct the trust required for negotiations that will settle how we will live together. By overlapping human and machine's perceptions, the installation helps to identify the areas of the city that will need to be redesigned in the immediate future.

Driver Less Vision is the immersive experience of becoming an autonomous, self-driving vehicle. It explores the untapped conflicts and disruptive effects on the built environment caused by the deployment of technologies for autonomous mobility. Currently, the visual stimuli that organizes traffic is designed for human perception. The arrival of driverless cars entails the emergence of a omnidirectional gaze that is required to negotiate existing visual codes. To assume that driverless cars will fully adapt to future conditions of the city, however, neglects the history of transformations in urban streetscapes associated with changes in vehicular technologies. Driver Less Vision is an attempt to understand how driverless cars will change the city by immersing the audience in an urban journey through the car's point of vie...

The piece includes a political map, an historical map, a physical map and a map of conflicts of the Indo Pacific Region each of them placed on a separate wheeled cart with and audio piece associated wondering around the rooms of the 3rd Istanbul Design Biennale

Second stage competition entry after being short-listed in the largest architectural competition in history, the Guggenheim Helsinki Design Competition for a New Guggenheim Museum in Helsinki

Selection of recent works by Fake Industries Architectural Agonism

Treatise: Why Write Alone? brings together fourteen young design offices to consider the architectural treatise as a site for theoretical inquiry, experimentation, and debate. Organized by Chicago and Los Angeles-based designer Jimenez Lai, the project grows out of a recent Graham Foundation grant to Lai, whose interest in discursive practices and non-conformist approaches to architecture led him to ask his peers working in the realm of conceptual architecture: Why write? And, why write alone? In response to these questions, Treatise presents an exhibition of works by this core group of designers to provide a platform to investigate the collective and individual stakes that emerge from this temporary alliance of designers as they explore architecture's representational limits and possibilities.

The exhibition attempts to describe Spain's current situation of fleeting professionals under an analytical yet slightly optimistic point of view. In opposition to the classical enumeration and display of specific works of architecture, the exhibition rearranges numbers, statistics and concrete data in order to reveal the modern-day meaning of 'working abroad' as something much more complex than actual construction and design practice.

The title of the 2015 edition of the Chicago Architecture Biennial will be The State of the Art of Architecture.

What is The State of the Art of Architecture today? More than a profession or a repertoire of built artifacts, architecture is a dynamic cultural practice that permeates fundamental registers of everyday life—from housing to education, from environmental awareness to economic growth, from local communities to global networks. In an age of accelerated change, today's architects, artists, designers, planners, and activists are developing an extraordinary range of visionary ideas that test the limits of these realms of everyday life. As a platform for the creative breakthroughs that are reimagining the ways we inhabit and shape the world around us, the Chicago Architecture Biennial will bring an international and intergenerational network of architectural talent together to explore the ambitions, challenges and possibilities that are fueling the architectural imagination today and steering the future of the field.

The State of the Art of Architecture will offer an opportunity to take stock of architectural projects and experiments from around the world, establishing a broad foundation for future editions of the Chicago Architecture Biennial. With an incredible breadth of design approaches, research interests, and cultural perspectives, it will offer a global stage for debate and the exchange of ideas.

The inaugural Chicago Architecture Biennial takes its title, The State of the Art of Architecture, from a 1977 conference organized by architect Stanley Tigerman, which invited leading American designers to Chicago to discuss the current state of the field. The Chicago Architecture Biennial will expand the spirit and scope of this event. It will invite both emerging and established practices from across the world to Chicago to demonstrate how groundbreaking advances in architectural design are tackling the most pressing issues of today. In this way it wil...

Today's society has had a profound influence on the discipline of architecture, yet despite the utilization of current technologies, these contemporary works are not divorced from history. Chatter: Architecture Talks Back is about just that—having a dialogue, talking back to architecture of the past. Works from the Art Institute's vast collection of architecture and design are presented alongside these five ultra-current practitioners to highlight this conversation. As these architects apply new technology to a confluence of historical influences and theories in order to conceive new designs and ideas, they are constantly expanding the dialogues within the legacy of their field. This dynamic installation makes readily apparent how each studio recognizes that the architectural past, though a shared language, is sometimes best understood with modern punctuation.

Measure is an exhibition of newly commissioned drawings by 32 international architects presenting 32 edifices of thought. Drawings are of Storefront for Art and Architecture's gallery space on 97 Kenmare Street in New York. Architectural representation, which draws upon the diagram as a conceptual and abstract component, has historically been criticized as obscure and self referential. The proliferation of data visualization in popular media today, however, allows us to engage a much larger audience in conversations about measurement and representation. The 32 drawings presented at Storefront unveil the challenges of representation and extrapolate them onto the architect's table and the gallery walls.

Storefront's third iteration of the drawing show seeks to find measures, resist measurement, and measure the immeasurable by presenting drawings that range from the real to the fictional and from the functional to the symbolic. Measure positions the medium and the act of drawing as a process by which we seek coherence in data and representation, and shows that it is the making of facts that is the basis for the production of futurity beyond existing norms.

For the special issue "Becoming Digital" - a collaboration between e-flux Architecture and Ellie Abrons, McLain Clutter, and Adam Fure of the Taubman College of Architecture and Urban Planning.

The catalogue pairs these 22 documents with the critical vision
of 9 representation experts. The essays analyse the relevance
of works within contemporary discourses. Oscillating between
nihilistic scepticism and extreme optimism, the experts describe
the authors of the documents as resentful virtuosos, social
illusionists, well-versed masters, commendable cartoonists,
budding academics, competent mediators, expert technicians,
impeccable illustrators and all of these things at the same time.