Good, Bad; Actually Indifferent
Guillermo Fernández-Abascal
OFFICE KGDVS are good architects and DOGMA are not. At the same time, however, OFFICE and DOGMA are the same architect as their first projects prove. They produce architecture in the same way. So what makes OFFICE good and DOGMA bad?
For *MOS’s sake, the difference is indifference. OFFICE is able to accept the world around them and let it enter into their architecture. Most of their buildings immediately accept life, react to contexts and change according to the times and environment. For OFFICE, abstraction is not literal. There is no need to justify everything. Reality can be accepted: fake columns are OK, colourful structure is OK, big pink doors are OK, mesh curtains are OK, shiny mirrors are OK, fancy marble is also OK, a bit of “design” is always OK. The intelligence of their projects is not found here, and consequently there is no risk in introducing a bit of trendiness, some good taste, and plenty of fashion. OFFICE loves ambiguity and DOGMA aims just for clarity.
OFFICE’s name is good. DOGMA’s one is just too obvious. OFFICE are charismatic and DOGMA are not. Yet OFFICE’s kids will not be amazing, DOGMA’s disciples could be good if they accept that they don’t need to design the “everyday life” – its framework is enough. DOGMA are good educators. Obviously DOGMA are too smart to be good architects, they cannot accept indifference.
OMA and Ungers’s story repeats again, or Mies and Hilberseimer’s.
Basically, OFFICE are still good, DOGMA are not, and yet they seem indifferent to this difference...even after working together.
Guillermo Fernández-Abascal is an architect, lecturer at the UTS School of Architecture, and founding partner of the offices GFA2 and GFA. Based in Sydney, Australia and Santander, Spain, his recent work destabilises the dichotomy of research vs buildings and includes diagrams, stories, exhibitions, films, prototypes, housing, and public buildings across the globe.
Notes: This text is a "copy" of San Rocco's call for Papers for issue no.7 Indifference. *Regarding MOS’s indifference, see: Indifferene, Again, Michael Mereditch, Log no.39.
Images Credits:
1-2. Territorio de Gigantes, DOGMA in collaboration with Tatiana Bilbao Estudio, Dellekamp Arquitectos, MAIO, HHF and MOS. 3. City Villa, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 4. Incubator, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 5. RTS Champ Continu, OFFICE Kersten Geers David Van Severen. 6. Tim Van Laere Gallery, OFFICE Kersten Geers David Van Severen. 7. Centres for Traditional Music, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 8. Solo House, OFFICE Kersten Geers David Van Severen. Photograph: Mariluz Vidal. 9-10. City Villa, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 11. A Grammer For The City, OFFICE Kersten Geers David Van Severen & DOGMA.
Notes: This text is a "copy" of San Rocco's call for Papers for issue no.7 Indifference. *Regarding MOS’s indifference, see: Indifferene, Again, Michael Mereditch, Log no.39.
Images Credits:
1-2. Territorio de Gigantes, DOGMA in collaboration with Tatiana Bilbao Estudio, Dellekamp Arquitectos, MAIO, HHF and MOS. 3. City Villa, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 4. Incubator, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 5. RTS Champ Continu, OFFICE Kersten Geers David Van Severen. 6. Tim Van Laere Gallery, OFFICE Kersten Geers David Van Severen. 7. Centres for Traditional Music, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 8. Solo House, OFFICE Kersten Geers David Van Severen. Photograph: Mariluz Vidal. 9-10. City Villa, OFFICE Kersten Geers David Van Severen. Photograph: Bas Princen. 11. A Grammer For The City, OFFICE Kersten Geers David Van Severen & DOGMA.