https://luciatahan.com Lucia Tahan Fri, 05 Sep 2025 13:18:44 +0000 https://luciatahan.com en http://luciatahan.com/Internet-Syntax Fri, 05 Sep 2025 13:18:44 +0000 Lucia Tahan 457779 —Internet Syntax is an installation blending physical and virtual objects exhibited at La Casa Encendida in Madrid and Palau Robert in Barcelona. An analysis of the morphological and syntactical units of the internet. <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/7b5975f41aa28a0a559f1292333c8bf605cf8b40783c66ec82c7af94f053a291/LuciaTahan_InternetSyntax_photoAsierRua_02-Large.jpeg" data-mid="1418333" border="0" data-scale="100"/> Internet Syntax Installation Lucia Tahan, Campbell Orme Internet Syntax is an installation about the language of the internet. It looks at today’s two-dimensional web to interrogate a future, immersive internet.ExhibitionsEcologies for other architectures, La Casa EncendidaPalau Robert LecturesLa Casa Encendida <img width="5616" height="3744" width_o="5616" height_o="3744" src_o="https://cortex.persona.co/t/original/i/214405491e5eead4ada52f42bb92d96c1e79a9356d4fba5e7979bf41555789ae/LuciaTahan_InternetSyntax_photoAsierRua_01.jpeg" data-mid="1418327" border="0" /> Will the language of the immersive internet be as loud, unpredictable and disjointed as today’s internet? The immersive internet or metaverse has been proposed as an embodied, three-dimensional evolution of the internet. In it, humans and non-humans will teleport, interact and be immersed in digital environments, unconstrained by the laws of physics. If the 20th century city could be interpreted as a system of ecologies, a 21st century interpretation will need to add the city’s own virtual replica. If Banham’s interpretation of Los Angeles consisted of four urban ecosystems: beach, highways, plains and hills; the Los Angeles of tomorrow will also contain its digital manifestation, including digital content geolocated in it. The urban dwellers of tomorrow will find themselves accessing digital content both in their homes and in the public space through head-mounted displays (HMDs), such as AR glasses. People will be able to enhance their surroundings with personal digital objects that only they can see, or access content that is publicly available at specific locations. <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/276bc430f3486dc92558988357a469d7ab38e8d5eea651044665827d04000810/LuciaTahan_InternetSyntax_photoAsierRua_04-Large.jpeg" data-mid="1418334" border="0" /> Photos: Asier Rua<img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/85c3fbb77a9b3684c14c0bf069e8c02b74ceb90a5f31629c6fc9c6416af4967a/LuciaTahan_InternetSyntax_photoAsierRua_03-Large.jpeg" data-mid="1418332" border="0" /> In today’s internet, powerful forces have emerged in the form of new media that is possible only through the unique capabilities of the internet itself. Some examples of these media are memes, viral content, and ads. How will these translate into a 3D world and superimpose themselves upon urban and living spaces? Internet Syntax critically explores and presents an emerging formal language of a immersive internet: will the language of the immersive internet be as loud and disjointed as today’s internet? The installation consists of two elements: a physical object and an AR experience. The physical object is a pillar made of printed fabric. It represents an immaterial pillar of the internet. This pillar explores some of the elements of the contemporary language of the internet at its most raw and aggressive: ads, memes, interfaces, errors. The pillar’s printed fabric also represents the dualism of 3D objects on 2D camera-spaces. The AR experience is accessible through mobile devices in the exhibition as an AR Instagram filter. Through this filter, the elements of the pillar are augmented and visible in virtual space, filling the room with their loud, attention-seeking presence. Ecologies for Other Architectures La Casa Encendida, Madrid The Ecologies for Other Architectures series examines the proposals of seven international architecture studios chosen by New Generations, a project built around an international network of emerging architects who reflect on pressing issues of the present and future. Over the course of a weekend, the Courtyard at La Casa Encendida hosted a public exhibition of seven installations, models or maquettes that propose a more sympathetic approach to other communities (human and non-human), ecosystems and territories. Ecologies for Other Architectures is curated by Gianpiero Venturini, founder of Itinerant Office and director of New Generations. Exhibitions at other venues Internet Syntax has also been exhibited at: Somia La Ciutat, an exhibition about contemporary urbanism at Palau Robert, Barcelona <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/54ecf5ee3d40704c7809fa66b41d92fb9dcbc77820137d7c6c21a705f4e6029c/_MG_5047-Large.jpeg" data-mid="1418362" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/d17e96cc1cba5e7371d80ce6b4a69cd988543efa7a53e71618d0eb5c5f6a9d52/_MG_5084-Large.jpeg" data-mid="1418364" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/f971397fb38c98a18c9a7676785e4d2666a0f6f4e2fa3dd22cb29bcf4e26c508/_MG_5062-Large.jpeg" data-mid="1418359" border="0" />Photos: Courtesy Palau Robert <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/54abfea3e0f07b2b898f832405f4ff90403001b014f8fd89b579fd2b4963ba53/_MG_5154-Large.jpeg" data-mid="1418360" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/6d441ecdb5f567f714f20b05c9d8513497cfc5386ec5f6bba8fa64c4d4d88ef9/_MG_5111-Large.jpeg" data-mid="1418363" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/80e844f307236b10fb3121ba5f514e83b0a2127e7c5d945726fd9cd49b33866a/_MG_5128-Large.jpeg" data-mid="1418361" border="0" /> Research images <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/dd40f88522302ea00b932a25e92511d7fa8a5d591d2e1b28548df574a50a8203/Presentation-Internet-Syntax-La-Casa-Encendida.033.jpeg" data-mid="1418340" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/33b57b7698b702095b1a29047102db875c4214a35e06092d328aebe0d3140d64/Presentation-Internet-Syntax-La-Casa-Encendida.034.jpeg" data-mid="1418347" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/c2e4afed5b9f4c324976e01495b8bf28d067e31c9207a66e820c861f38a84362/Presentation-Internet-Syntax-La-Casa-Encendida.037.jpeg" data-mid="1418345" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/93b29fb8b20a410f58dd7c644776cdcb699dea12e6e259e2657f86054951c71e/Presentation-Internet-Syntax-La-Casa-Encendida.035.jpeg" data-mid="1418343" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/d405443c507dfbade6437a48cb7f1caba9aae0296e2117a6f6d079b9ba2177db/Presentation-Internet-Syntax-La-Casa-Encendida.041.jpeg" data-mid="1418336" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/f735a55586a9f77945291bc8f6560eab5a0010035f82a1b9a289e3d036b97e61/Presentation-Internet-Syntax-La-Casa-Encendida.040.jpeg" data-mid="1418335" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/55b2b861b69abe877a4f897f44f6ab212d2c30ab6b470b77d07e80901c2fbf1b/Presentation-Internet-Syntax-La-Casa-Encendida.046.jpeg" data-mid="1418339" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/5375bd2e073f8a7d636288d926c087e01acb7d73187db3a36baaac0cb68814ce/Presentation-Internet-Syntax-La-Casa-Encendida.036.jpeg" data-mid="1418341" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/780c769a025dd82a59efea1e2aea0a8c4a1eb7749e06dc37e7a77902b023d8ae/Presentation-Internet-Syntax-La-Casa-Encendida.043.jpeg" data-mid="1418348" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/c0880d246cf9bbbdd69a979b49eda3a871578b5841204943cdf3b494ce0111b5/Presentation-Internet-Syntax-La-Casa-Encendida.042.jpeg" data-mid="1418338" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/dd40f88522302ea00b932a25e92511d7fa8a5d591d2e1b28548df574a50a8203/Presentation-Internet-Syntax-La-Casa-Encendida.038.jpeg" data-mid="1418337" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/493d0dac530d1e801ca4606c71b95e1da5006b28adeb42bda4b87c32d439ffb0/Presentation-Internet-Syntax-La-Casa-Encendida.044.jpeg" data-mid="1418342" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/2bcabe3d2013e88efa2af5141eff531b4b3a6005264ce75ec4cdd4bc1d1bb39a/Presentation-Internet-Syntax-La-Casa-Encendida.045.jpeg" data-mid="1418344" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/ef9a98a8c33891e82891c0c508bda000edb7d47369b634a2bedb3de23eaf761c/Presentation-Internet-Syntax-La-Casa-Encendida.039.jpeg" data-mid="1418346" border="0" /> Drawings <img width="1280" height="1280" width_o="1280" height_o="1280" src_o="https://cortex.persona.co/t/original/i/f7aaa122f2a7578c9d38c346995bf20ada84f0f1c0065a61375f5e17ab980247/lucia-tahan-metaverse-syntax-iso-02-Large.jpeg" data-mid="1418356" border="0" /><img width="1280" height="720" width_o="1280" height_o="720" src_o="https://cortex.persona.co/t/original/i/c78a9980797387a469812ca5c5d58bd764f6a2991cfd4c49d7b8c87e173575a3/lucia-tahan-metaverse-syntax-image-02-Large.jpeg" data-mid="1418349" border="0" /><img width="1280" height="1280" width_o="1280" height_o="1280" src_o="https://cortex.persona.co/t/original/i/af450037d397a2613a7dcee45de0b326cb134b4ff2ec8cbdac4729b91764b712/lucia-tahan-metaverse-syntax-iso-03-Large.jpeg" data-mid="1418358" border="0" /><img width="1280" height="720" width_o="1280" height_o="720" src_o="https://cortex.persona.co/t/original/i/afc6fb0bd01f476d3f6ccecfbc3a668e8dd462d92a53d17e982dc2cc5dd77ff1/lucia-tahan-metaverse-syntax-image-01-Large.jpeg" data-mid="1418355" border="0" /><img width="1280" height="1280" width_o="1280" height_o="1280" src_o="https://cortex.persona.co/t/original/i/28f8b33c3ba11c3938f860f160006ec6fe8632585ffd3c77f5f9ab34759933f5/lucia-tahan-metaverse-syntax-iso-01-Large.jpeg" data-mid="1418354" border="0" /><img width="1280" height="720" width_o="1280" height_o="720" src_o="https://cortex.persona.co/t/original/i/3000c20653b7bdec279803ed6c31499595529c7f37ad441869b286d5bfa557c0/lucia-tahan-metaverse-syntax-image-03-Large.jpeg" data-mid="1418351" border="0" /><img width="960" height="1280" width_o="960" height_o="1280" src_o="https://cortex.persona.co/t/original/i/57956d6584fac8f907b633f45c0b54c70287a235125be8c1e6a84d615627edff/lucia-tahan-metaverse-syntax-image-04-Large.jpeg" data-mid="1418350" border="0" /> LecturesEcologies for Other Architectures, La Casa Encendida, Madrid CreditsAuthorship: Lucia Tahan, Campbell OrmeConstruction / exhibition production: Pablo Ferreira Navone Curatorship: Gianpiero Venturini Photos: Asier Rua Selected press Archdaily,&nbsp;New Generations Presents 7 Proposals on “Ecologies for Other Architectures” in Madrid, Spain&nbsp; Metalocus,&nbsp;Seven innovative spaces by emerging architects. Ecologías para otras arquitecturas at La Casa Encendida&nbsp; El Periodico (video)&nbsp; More information La Casa Encendida, Ecologies for Other Architectures  &nbsp;  Lucia Tahan  2025 Instagram | hello@luciatahan.com —Internet Syntax is an installation blending physical and virtual objects exhibited at La Casa Encendida in Madrid and Palau Robert in... http://luciatahan.com/Ghost-Tortilla Wed, 03 Sep 2025 20:00:37 +0000 Lucia Tahan 457767 —Ghost Tortilla is Lucia Tahan’s contribution to Foodscapes, the Spanish national pavilion at the 2023 Venice Architecture Biennale. Ghost kitchens research &amp; a tortilla recipe in the style of Buckminster Fuller <img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/b99839c81446562b9b6f63cd1031602aabfddca29ea574cd767687ed3e3d9ddd/PG828_Bienal-Venecia-SPANISH-PAVILION_02_Pedro-Pegenaute-Large.jpeg" data-mid="1418076" border="0" data-scale="75"/>Foodscapes, 2023 Venice Architecture Biennale. Photo: Pedro Pegenaute Ghost Tortilla Research Lucia Tahan, Campbell Orme Ghost Tortilla is a research project about the urban impact of food delivery platforms. ExhibitionsFoodscapes, Spanish pavilion at the 2023 Venice Architecture BiennaleCasa de la Arquitectura, Arquerias de Nuevos Ministerios, Madrid, SpainGaleria Proyector, Ciudad de MexicoMUSA, Guadalajara, MexicoUniversidad Torcuato di Tella, Buenos Aires, Argentina PublicationsBuilding Metabolism: Recipes for Food and Resource Cycles, ACTARFoodscapes (book)Foodscapes (catalogue) LecturesStudent Lecture Series, Cooper Union, New York <img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/0676551e27a801b102fb17ccf7ca5c115e77172698d5adbe8ee338e53204f6af/02-Ghost-Tortilla-whole-text-and-photos-3-Large.jpeg" data-mid="1418234" border="0" /><img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/68e0abccc001a07377ea044fde34d2eacdf7815c424079af3cc48ba1e948cbdc/02-Ghost-Tortilla-whole-text-and-photos-2-Large.jpeg" data-mid="1418230" border="0" /><img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/257766ad1cb1f3ea1371f6eef27171b852920195a87acfa45bf1669ae784c954/02-Ghost-Tortilla-whole-text-and-photos-4-Large.jpeg" data-mid="1418232" border="0" /><img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/ed39d93d0af2bddf6f7485ec411304fe3ae34606b1dddd421cdc7692499e6f4d/02-Ghost-Tortilla-whole-text-and-photos-5-Large.jpeg" data-mid="1418233" border="0" /><img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/fe33071740271c67440769499d663e2cea492091112c163146a8cced456d2cd1/02-Ghost-Tortilla-whole-text-and-photos-6-Large.jpeg" data-mid="1418231" border="0" /><img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/cc2bc18c2fae933640c261a70ba68623059348cd180368d2457e65b6b7fc1ffd/02-Ghost-Tortilla-whole-text-and-photos-7-Large.jpeg" data-mid="1418235" border="0" /> Ghost Tortilla blends storytelling, urban analysis, and technological critique to explore the spatial, social, and economic impacts of food delivery platforms — especially the rise of ghost kitchens (also called dark or cloud kitchens). It’s a layered narrative that connects seemingly mundane acts (ordering a tortilla) to complex systems of software, labor, architecture, and global logistics. As part of the research, the photographer Pedro Pegenaute documented key sites that are usually hidden from the public: various ghost kitchens and hubs in Madrid opened their doors for the project, offering a privileged view into the infrastructural underbelly of food delivery. <img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/03228a51cc5af98054910fd9dc8847522cf1d8e62477c0388596b1d32f9f83d3/Comedor-social-Ave-Maria_01_Madrid_Pedro-Pegenaute-Large.jpeg" data-mid="1418082" border="0" /><img width="1280" height="961" width_o="1280" height_o="961" src_o="https://cortex.persona.co/t/original/i/83fd7eae7bf3210e720e72a623b87577bf06e51682e40c5f0d9b16a5c7c146d2/CUYNA_03_Madrid_Pedro-Pegenaute-Editar-Large.jpeg" data-mid="1418078" border="0" /><img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/0733e6c647375d3eb8ed44a3df4a7f099a33f98c141944cfecec17f49df28717/Just-Eat_02_Madrid_Pedro-Pegenaute-Large.jpeg" data-mid="1418077" border="0" />Photos: Pedro Pegenaute<img width="1280" height="961" width_o="1280" height_o="961" src_o="https://cortex.persona.co/t/original/i/6dc2c68d04655f9cad553f62e454db9cebe851bc05681fc07fac695bd884f1d7/Casa-de-Comidas-Las-Margaritas_02B_Madrid_Pedro-Pegenaute_-Large.jpeg" data-mid="1418081" border="0" /><img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/cff2fcb2de575e96ab2287ad7d7a7edd981cd120d657ed621c74d83f0e49ff26/Granja-Legaria_02_Navarra_Pedro-Pegenaute_-Large.jpeg" data-mid="1418079" border="0" /><img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/156d28a95ffd19c8a67f383c55dfa97b274cf375df41b133e46a19b235b2a6d5/CUYNA_04_Madrid_Pedro-Pegenaute-Large.jpeg" data-mid="1418080" border="0" /> Foodscapes Spanish National Pavilion at the 2023 Venice Architecture Biennale FOODSCAPES, curated by Eduardo Castillo-Vinuesa and Manuel Ocaña, “is a journey through the architectures that feed the world; from the domestic laboratories of our kitchens to the vast operational landscapes that nourish our cities. At a time when energy debates are more pertinent than ever, food remains in the background, yet the way we produce, distribute and consume it shapes our world more radically than any other energy source.”Lucia Tahan’ contribution is one of ten “recipes” presented in the pavilion that interrogate contemporary food supply chains and the landscapes that feed them. Participant studios Common Accounts Guillermo Fernández-Abascal + Urtzi Grau Iván L. Munuera + Vivian Rotie + Pablo Saiz, Urbanitree + Manual Bouzas Lucía Jalón Oyarzun Aldayjover Institute for Postnatural Studies Lucia Tahan C+ Arquitectas Federico Soriano <img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/7c426d17f02a5279f7df116b4f621091ecc1aae72e1cb9e844037ac7e38abb28/PG828_Bienal-Venecia-SPANISH-PAVILION_01_Pedro-Pegenaute-Large.jpeg" data-mid="1418151" border="0" /><img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/337231ba452cd3cd42b9f6608176e215ce692091d2de6a311ec6b838454b5ac7/PG828_Bienal-Venecia-SPANISH-PAVILION_33_Pedro-Pegenaute-Large.jpeg" data-mid="1418167" border="0" /><img width="1280" height="943" width_o="1280" height_o="943" src_o="https://cortex.persona.co/t/original/i/7a1724ecb5882c6c35b95e6fb2ddbdf24c7c022915b8f31e58a8857fca268aec/PG828_Bienal-Venecia-SPANISH-PAVILION_43_Pedro-Pegenaute-Large.jpeg" data-mid="1418168" border="0" /><img 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src_o="https://cortex.persona.co/t/original/i/8b808665b132ca4261008a6863bba6ed3b8e75cb2032b8c06c81e59dfaa4b194/PG828_Bienal-Venecia-SPANISH-PAVILION_41_Pedro-Pegenaute-Large.jpeg" data-mid="1418188" border="0" /><img width="1280" height="957" width_o="1280" height_o="957" src_o="https://cortex.persona.co/t/original/i/3bea0d6fa8ff31f3f5e853eea90fd9c414b9a1a5c2c7c6566f7e4a8b30e0cce7/PG828_Bienal-Venecia-SPANISH-PAVILION_10_Pedro-Pegenaute-Large.jpeg" data-mid="1418189" border="0" /><img width="960" height="1280" width_o="960" height_o="1280" src_o="https://cortex.persona.co/t/original/i/a0290677fa6452c88e5f16fcb264ba55dc4fef8c3b34042b1412e5c9c9cf3c79/PG828_Bienal-Venecia-SPANISH-PAVILION_31_Pedro-Pegenaute-Large.jpeg" data-mid="1418183" border="0" /><img width="960" height="1280" width_o="960" height_o="1280" src_o="https://cortex.persona.co/t/original/i/38496998dcea1affc88647b5435dacd461245dbc3551bbaa7772c36d5c8eef57/PG828_Bienal-Venecia-SPANISH-PAVILION_25_Pedro-Pegenaute-Large.jpeg" data-mid="1418174" border="0" /><img width="1280" height="1238" width_o="1280" height_o="1238" src_o="https://cortex.persona.co/t/original/i/5ac61e41742fdb60a58e3c3ead18e3e734d9a35fa4f27b167a422f04c8d23b76/PG828_Bienal-Venecia-SPANISH-PAVILION_22_Pedro-Pegenaute-Large.jpeg" data-mid="1418182" border="0" /><img width="1280" height="1135" width_o="1280" height_o="1135" src_o="https://cortex.persona.co/t/original/i/632e2f64e3c8e56773aab4f26207b779b664e5115a36d6888222b8968b210011/PG828_Bienal-Venecia-SPANISH-PAVILION_09_Pedro-Pegenaute-Large.jpeg" data-mid="1418180" border="0" /><img width="1280" height="960" width_o="1280" height_o="960" src_o="https://cortex.persona.co/t/original/i/1160c627ea9ce92018f805708f129856cfee107b7298e6b86d9ccda06df01116/PG828_Bienal-Venecia-SPANISH-PAVILION_23_Pedro-Pegenaute-Large.jpeg" data-mid="1418176" border="0" /> Photos: Pedro Pegenaute Publications Building Metabolism: Recipes for Food and Resource Cycles by Lydia Kallipoliti (Editor), Areti Markopoulou (Editor) ACTARWith Contributions of Lydia Kallipoliti, Areti Markopoulou, Andrés Jaque, Mark Wigley, Barbara Penner, Design Earth, Lateral Office, and Feifei Zhou among others. Buy&nbsp; Foodscapes: Total Recipes by Eduardo Castillo-Vinuesa (Editor), Manuel Ocaña (Editor) Ministerio de la Vivienda de España Winner of FAD award <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/c969518c77fb30063344e63a176062f80052e5d97dc9dadbea77c53e2d83558d/230901_SPANISH-PAVILION-18TH-VENICE-ARCHITECTURE-BIENNALE-gerdastudio_014_5DS3532-Large.jpeg" data-mid="1418205" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/39338bd4e74c1bcdd0db4a90804134cf7f130946a118efa4aa804f670c584957/230901_SPANISH-PAVILION-18TH-VENICE-ARCHITECTURE-BIENNALE-gerdastudio_011_5DS3523-Large.jpeg" data-mid="1418204" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" 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src_o="https://cortex.persona.co/t/original/i/52c41a4615ce89474e15261facab7632a09d0d18a7beed7789e74048b3c82150/Cover-Mock-up--Large.jpeg" data-mid="1418208" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/89596fecf3074cb9708b5b8654859264f005d9489b52377c63556be647409019/230901_SPANISH-PAVILION-18TH-VENICE-ARCHITECTURE-BIENNALE-gerdastudio_027_5DS3614-Large.jpeg" data-mid="1418203" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/cf00c7ca287fc4636addd19c463a7faaf09ee8a46ea5c9681aa54864d7442b63/230901_SPANISH-PAVILION-18TH-VENICE-ARCHITECTURE-BIENNALE-gerdastudio_024_5DS3604-Large.jpeg" data-mid="1418202" border="0" /> Exhibitions at other venues Ghost Tortilla and Foodscapes have also been exhibited at: Casa de la Arquitectura, Arquerias de Nuevos Ministerios, Madrid, Spain Galeria Proyector, Ciudad de Mexico MUSA, Guadalajara, Mexico Universidad Torcuato di Tella, Buenos Aires, Argentina <img width="1217" height="1280" width_o="1217" height_o="1280" src_o="https://cortex.persona.co/t/original/i/34f917fa0dd8d125ed5fa8baa1866c586eefac94e58bc41e405fd4bb1706c7a9/ARQUERIAS-FOODSCAPES-12-Large.jpeg" data-mid="1418210" border="0" /><img width="1280" height="1225" width_o="1280" height_o="1225" src_o="https://cortex.persona.co/t/original/i/574047371f0cadb8b49af0de97a35887e353b76a31a8b7dd28d83887f4643d6b/ARQUERIAS-FOODSCAPES-07-Large.jpeg" data-mid="1418212" border="0" /><img width="1280" height="955" width_o="1280" height_o="955" src_o="https://cortex.persona.co/t/original/i/b265e17da96839a126accd5d5b825a4118e8dd5bce380f3138f807ac71ea635f/ARQUERIAS-FOODSCAPES-02-Large.jpeg" data-mid="1418214" border="0" />Casa de la ArquitecturaArquerias de Nuevos MinisteriosMadrid, Spain Photos: Jose Hevia <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/b0381da1f5c9a7369b21793100beb7e06f92dbb7ed5b15713676ddf90638089f/javier-agustin-rojas_foodscapes_DSF1677_high-Large.jpeg" data-mid="1418215" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/765394874286194c9df5296e77864dc4301ee83d3746fdfe69d12a3ab602aa0e/javier-agustin-rojas_foodscapes_DSF1707_high-Large.jpeg" data-mid="1418217" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/679ac7e14ae2183a9e559980ec47fdb04e6dd0e6173d868652bd64e9a80a8d4a/javier-agustin-rojas_foodscapes_DSF1749_high-Large.jpeg" data-mid="1418216" border="0" />Universidad Torcuato di TellaBuenos Aires, Argentina Photos: Agustin Rojas Research images <img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/2e0382f851e4998ad85b5512c271f54e8353392e2c967ffe23e674cde8e3c906/all-10-Large.jpeg" data-mid="1418099" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/824c37e6ad2b5ea6c95385327bd788c4d7df6c706a98ebd28616951ae7728317/all-14-Large.jpeg" data-mid="1418092" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/40f4d653aa96e6ef9945a6b6b450739780aaf9be309054ca030dcc92ce244ffd/all-8-Large.jpeg" data-mid="1418089" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/4a6cea87aacc3fd7d8ace1ee910813ad2fd2b86f8e4c32fc0d6d2eaa2a86fb55/all-11-Large.jpeg" data-mid="1418086" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/73c95a95e92eb5f3a6e6d6db1cedb33e5fbe13019fcd027fff9085bdcc3e360b/all-13-Large.jpeg" data-mid="1418093" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/6532ca77cab227f0a541fecdff48e19107d178a7fbcfc221bf003d945208da32/all-12-Large.jpeg" data-mid="1418085" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/052cdb2d2d1e601922e84ae129457f09f87570c9534e3a079622bdd83c1e2377/all-15-Large.jpeg" data-mid="1418090" border="0" /> <img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/6ffe2358594b2f9d6aa4f98e8dc1c4b8f3d29be7d2ba2d831432f7fb3e0e4a47/all-3-Large.jpeg" data-mid="1418096" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/6e8fa9d40c497703340b5de3f4b177bb06940ddc547662dcbab0f5946dfaadfb/all-2-Large.jpeg" data-mid="1418087" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/7a802a595f26690097817855a96d719952c135633dabe22ff78dbf2c104a0fd2/all-Large.jpeg" data-mid="1418094" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/478df9bba266808bedea1aefffcc888a410ac504119f8c470a18b91761df44a9/all-9-Large.jpeg" data-mid="1418098" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/9811bcc467ed7b3c8e6ef3d051ee810a6287b7af4fca8e3a7e992b0d7a138175/all-5-Large.jpeg" data-mid="1418097" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/f02b75fdee3d34c508549e71cdee80a147d6fb22d0608453b04be0b071a5b960/all-6-Large.jpeg" data-mid="1418095" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/faff2706d1fa6e80a43ea81faa38d3ec62d5152c0f96b53a32280a7a68acac13/all-7-Large.jpeg" data-mid="1418091" border="0" /><img width="905" height="1280" width_o="905" height_o="1280" src_o="https://cortex.persona.co/t/original/i/2d6a2d0c355dee261466d85b688ef5c2028d95ff01533ece0529c44c3a8dde3c/all-4-Large.jpeg" data-mid="1418088" border="0" /> Ghost Tortilla Full text Ghost tortilla recipe in the style of Buckminster Fuller It’s 10pm in Madrid and you’ve just had Spanish tortilla for dinner. Now, we run the sequence in reverse: all the food comes out of your mouth onto the recyclable container box. The box closes itself and returns into a paper bag that has your name written on it, as well as a stapled receipt. The door opens and the delivery rider, clad in a wind jacket and bike helmet, takes the bag from your hand and walks back down the stairs as you get the notification that they will arrive soon. Then they ride on their bike back to where the app told them to collect your order. Meanwhile, a server in Midwest United States pinges the message “picked-up by rider” and pushes it to the delivery platform state machine: your app, the vendor’s app and the rider’s app in turn show different user interfaces developed by a team of designers and engineers in the San Francisco Bay Area. From their office in California, these same engineers discuss the latest feature they are working on, and your rider queues outside the window of a dark kitchen, tucked away in a fresh produce market in Madrid. The only cook in this kitchen, who makes tortillas exclusively, is efficiently operating his pans as they prepare multiple orders. The data associated with your order travels through a transatlantic cable (not quite at the speed of light), leaving the northern coast of Spain and arriving in the United States in Maryland. The data center where hundreds of images of tortillas are stored quietly hums in a dry landscape in central Spain, and the high resolution version of the tortilla tile image that you tapped is sent to your device, where it is displayed. As you click “Order now,” product managers in San Francisco discuss the results of their latest AB test to reveal whether “Order now” or “Place order” is the better call to action on the app’s checkout page, while your bank uses an encrypted protocol to transfer money to the company’s account. The rider then disappears into traffic on their bike. Case study I Doña Tortilla: Ordering a tortilla from a ghost kitchen at Mercado de Barceló When searching for “tortilla” on one of the digital platforms that provide food delivery services in Spain, one is provided with various options for restaurants that specialize exclusively in tortillas, with minute variations of the classic recipe. While delivery platforms digitize existing restaurant offerings, the power of their interfaces tells us that some restaurants have adapted to be optimized for online search. The search page — the most important destination on the app’s user flow — contains the so-called “vendor tiles,” where only one image is displayed per restaurant. Users are far more likely to select a vendor that matches the dish they want, overlooking the vendor itself. Doña Tortilla is a vendor that offers only tortilla. There’s classic tortilla, tortilla with a side of bread, tortilla with a side of salad… excellent for SEO and customization. It is located in a fresh produce market called Mercado de Barceló, in central Madrid. The market dates back to 1954, when it opened to sell vegetables, meat and fish to professional resellers. Between 2009 and 2014, the mercado was rebuilt as a modern public infrastructure to provide services beyond the market of the local neighborhood. In an effort to breathe new life into it, the designers of the market (Nieto y Sobejano) included a mixed program of traditional grocery shops with small restaurants next to one another. The market’s prime location, together with closures due to COVID-19, have transformed many of its booths into delivery restaurants. Some, like Doña Tortilla, occupy spaces designated for a small restaurant. Others occupy a space that was initially designed for retail and do not serve walk-in customers. Ghost kitchens, also known as dark, host or cloud kitchens, are part of the infrastructural shift behind the turn to delivery. A ghost kitchen is simply a kitchen space for hire, used by many different groups like food stylists, caterers, supper clubs and start-up food ventures. Although platform delivery apps refer to every brand on their interface as “restaurants”, ghost kitchens do not serve customers who arrive physically at the door. Doña Tortilla, therefore, is a prime example of informal spatial opportunism, a kind of opportunism that has marked the history of urban development. It is a virtual restaurant operating from a ghost kitchen in a market. Riders arrive often at Mercado de Barceló, leaving their bicycles and scooters at the entrance and then go up the escalator to the second floor, where the kitchens are located. Riders wait inside the market, or sit on the chairs intended for non-existent restaurant consumers. While in other European countries traditional indoor fresh produce markets have all but disappeared, in Spain they continue a long and slow death. For over two decades, the Municipality of Madrid launched consecutive plans to breathe new life into markets, such as the 2003-2007 Plan for Innovation and Transformation of Madrid Markets. New models sprouted, more popular with younger consumers, such as outdoor farmer markets, or indoor-outdoor food markets, with bars and restaurants peppered with some specialty produce shops. Meanwhile, Doña Tortilla and the other kitchens in the market, along with their rider visitors, keep the space alive, together with the grocers who continue to buy, sell and display their produce, maintaining their relationships with those who visit the market. Every nook at Mercado de Barcelo has found a use. Case study II Las Margaritas branching out While vendors like Doña Tortilla created a business for optimized delivery, some traditional restaurants have adapted to the delivery platforms’ economics and design. Las Margaritas, an established restaurant in Madrid with a loyal clientele, al-fresco garden dining and broad traditional Spanish menu, ventured into delivery platforms. It evolved a whole set of strategies to make its digital and physical businesses coexist and thrive. In the first years, expansion was easy, thanks in large part to the restaurant’s reputation. Things started to become more difficult as the market became more crowded. Niche food operations like Doña Tortilla appeared, with better search optimization, and many more competitive players. When legislation was approved to regularize delivery wages for couriers, a tipping point was reached. As numerous voices denounced the conditions to which riders and other gig-economy workers were subjected, it was expected that the same obligations were bestowed on tech companies – and the same rights bestowed upon workers – that had existed in traditional employer-employee relationships, in terms of taxes, pension and social security coverage. Spain passed legislation that turned riders into employees of delivery platforms. Some competitors, such as Deliveroo, left the country. Delivery prices rose. A consequence for all food businesses was that riders became scarce. The riders could now pick the orders they were most interested in. The owners of Las Margaritas noticed that orders were canceled when riders didn’t accept them quickly, so they shifted their attention to providing a better experience to appeal to riders. When a large number of riders congregated at the entrance of the restaurant, crowding out the customers looking to be assigned a table, the customer experience suffered. It was important to segregate customers’ spaces and the riders’ entrance. Riders now have a dedicated entrance from another side of the restaurant, providing them a sheltered waiting room, where they can rest while waiting. This makes riders more likely to choose Las Margaritas for delivery, increasing revenue and ratings for the restaurant, whose orders are less seldom canceled and generally delivered faster. The riders’ entrance and restaurant dining hall are both connected to the same restaurant kitchen. Most importantly, a subterranean tunnel was built that connects the kitchen with the remote riders’ entrance, a sort of modern-day medieval secret passageway. Assistants take the orders from the kitchen to the waiting room through this tunnel. Food travels through this passageway like data through submarine internet cables: swiftly and invisibly, protecting the digital experience’s appearance of immateriality and convenience. The passageway and the rider shed are grafted onto the restaurant, transforming its typology and function. The design and spatial quality of this infrastructure responds directly to software updates.“Food travels through this passageway like data through submarine internet cables: swiftly and invisibly.” Today, Las Margaritas sells food on delivery platforms, not only under its established brand name, but using a variety of virtual restaurant brands that specialize in specific food types that consumers search for. It is therefore a physical space shaped by the virtual interface, as well as a multiplicity of virtual spaces originating in one physical space. Dark, ghost and cloud kitchens: Trans-scalar dimensions When we order food, the scale of the production chain involved doesn’t end in our city or even within the same country. On a neighborhood scale, there is the space and distance between the consumer’s location, the kitchen, and the rider. The rider enables the spatial decoupling of the kitchen and the consumer by moving food between the two. On a different scale we have the production processes of the food substance: the tortilla is made with eggs laid by chickens, somewhere in Castile, measured and packaged in a large warehouse by Huevos Guillén in Almendralejo, Spain’s largest egg producer. But there is a much larger scale at play when software is introduced. The photo of a tortilla that represents the vendor is stored in a data center along with the images and data of many other vendors and users. Sometimes in the proximity of cities and sometimes further into remote areas, data centers sprawl shrouded in secrecy and clad in security measures. Terabytes or even exabytes of pictures of food, stored in these centers, as well as the queries and data transmitted by a user’s actions on the apps, make their way across the Atlantic ocean through submarine cables that transmit internet data between continents. The MAREA cable connects the northern coast of Spain at Bilbao with Virginia Beach, VA, in the United States. In spite of its massive scale in terms of the amounts of data it carries, and its size (6600km), it lands invisibly underneath a small beach. A similar transition to hidden infrastructure is taking place in kitchens. Not only are traditional restaurants like Las Margaritas adding infrastructural grafts, or small dark kitchens like Doña Tortilla springing up opportunistically in urban nooks, but a powerful process is being set in motion to turn dark kitchens into large-scale, organized investment operations. In 2018, the co-founder and ex-CEO of Uber, Travis Kalanick, announced an investment of nearly $150 million in a real estate redevelopment company of which he is now CEO. The company operates a ghost kitchen business under the name CloudKitchens, which was valued at $15 billion as of 2021. CloudKitchens builds dark kitchens in large warehouse buildings. Each one has dozens of small kitchens that are rented out to delivery platform vendors and other clients. The kitchen design is standard, a windowless cubicle with an extractor hood on one side, and a sink on the other. Set along a corridor and identified with numbers, the buildings suggest efficiency and being purpose-designed for delivery. In their own words on the CloudKitchens website: “Unlike traditional commercial kitchens, CloudKitchens locations are fully optimized for delivery, requiring minimal kitchen staff and capital.” Therefore, food preparation costs can be lowered, so that consumer demand will not suffer when delivery costs rise. CloudKitchens has over a dozen kitchen hubs in Madrid and Barcelona. Still, a defining parameter that continues to influence kitchen development is location. Delivery times matter to consumers and kitchens need to be within a certain radius of a user’s delivery location to show up in their search results. This has led investors to seek out cheap urban spaces that can be transformed into ghost kitchens, often eliciting major protests by neighborhood associations. A local grassroots platform called Plataforma Vecinal de Afectados por las Cocinas Fantasma (Platform for Neighbors Affected by Ghost Kitchens) organized protests and legal action against kitchen hubs, such as one on José Calvo Street in Madrid. A common type of space used for this purpose is basements underneath industrial and residential buildings. Ghost kitchen hubs from CloudKitchens, and other providers, can house up to 20 kitchens in only 800 sqm and create issues. Neighbors are faced with dozens of riders blocking the street, tons of food waste generated by the kitchens in containers on the sidewalk, and food preparation smells. An infamous kitchen-development case was ignited in Prosperidad, Madrid in 2020 when CloudKitchens’ development group Cooklane, filled the entire surface of a city block’s inner patio with a 38 kitchen hub in a 1500 sqm pre-existing warehouse, adding a massive tower as well. New regulations in Barcelona have forbidden industrial kitchens in residential areas, while Madrid has restricted their size to 350 sqm or 8 kitchen units and required an indoor waiting area for riders. However, the software design that produces these kitchens has not been the target of regulation, only its spatial manifestation. As neighbors’ protests and the latest regulatory developments push these kitchen hubs to suburban industrial areas, the result may be that their development enters a new phase, in which they become part of the invisible digital hinterland — the infrastructure behind digital products that includes data centers and Amazon warehouses, that the city doesn’t want to see. Software continues to neither see itself nor be seen by regulators as a powerful spatial planning agent. Food delivery has deconstructed a restaurant into a kitchen, dining hall and food — and spatially decoupled the three of them. This is the formula for its success. Kitchens, an entity distinct from restaurants, are a new typology that seeks its place within the urban fabric.“Kitchens, an entity distinct from restaurants, are a new typology that seeks its place within the urban fabric.” The effects of software may be obvious when they generate an image of a precarious chimney towering over residential blocks, but the urban changes and cultural effects that software induces are more profound. Delivery platforms set the rules, while restaurants and small businesses do the hard work of trying and failing at finding the formulas to adapt; to transfigure the city in order to serve the rules imposed by the software. The city is a resilient structure that can adapt to new demands. But what do we demand from it? The global cloud kitchen market size was estimated at $44.9 billion in 2023, and is estimated to reach $154.9 billion by 2035. Can cities develop ways to incorporate kitchens in a meaningful manner? Or should they be an infrastructure extirpated from the city and centralized in its hinterland? Transactional food deliveries across scales create spaces in the city and outside of it, while regulations and grassroots activism are targeting these spaces and negotiating their co-existence with people, the urban fabric and the environment. The future is unclear as to whether they will also be able to influence the software itself to produce more positive urban manifestations. Drawings <img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/3c0a60ef6581a4e4adc02639d53d513104e5e1f6512835cdaa863784aaca9e54/10-AI-generated-tortilla-omelet-Large.jpeg" data-mid="1418064" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/75a516574ff24d198defbe1f6a2cd636587c25a013910064657a384a976e9f28/13-CloudKitchens-rental-kitchen-unit---c-LT--Campbell-Orme-Large.jpeg" data-mid="1418067" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/d82b913e963eeb7c4614320e736115926eb1f1d1a5e3c2a361306eafa95dba4a/16-Human-Interface-analysis-wireframe-of-a-food-delivery-app-Large.jpeg" data-mid="1418068" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/467204875ed0fbdfd3d132f1508dfc2f16aea3a91771fbe6447736158dd90756/11-Mercado-de-Barcelo-photogrammetry-Large.jpeg" data-mid="1418066" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/dbb3302ebf067dd048e179f54855cb8b9ca3ec1dc1c01a4215ce5708fad0df81/14-Cloud-Kitchens-hub-plan-composition-Large.jpeg" data-mid="1418063" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/df81c6c3a7490bcbd2934b65654c0d67938781906e2b8826bcf8bef1bb1d2f3f/09-Eggs-Large.jpeg" data-mid="1418071" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/a43d9371265f8dcdbbae685145576e6dca143a6ff40035d170be2fa1bfe14cf2/12-Submarine-cable-Large.jpeg" data-mid="1418069" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/9263fcaeaa83f7341f223ca4e4e0ba3b2aee2fb404a7b2191c758de8a57f3c85/15-Restaurant-tiles-in-a-delivery-app-Large.jpeg" data-mid="1418070" border="0" /><img width="940" height="1280" width_o="940" height_o="1280" src_o="https://cortex.persona.co/t/original/i/e8edc61c42fa2770da5b2d9156a20eb3ef680c8a97841446fa9c2a7172dabef9/10-Internet-cables-map-connecting-Spain-and-US-Large.jpeg" data-mid="1418065" border="0" /><img width="1280" height="904" width_o="1280" height_o="904" src_o="https://cortex.persona.co/t/original/i/0df813b59fccb5b0f4de697d315ca4775f1b0572f30ca1a5cc804911943958e4/09-CloudKitchens-hub-plan-2-Large.jpeg" data-mid="1418075" border="0" /> <img width="1280" height="905" width_o="1280" height_o="905" src_o="https://cortex.persona.co/t/original/i/5d9990507d3085b640ea139792acbd4353ecb8f47911fd4858e7819c23e6849a/08-Riders-path-to-a-ghost-kitchen-in-Mercado-de-Barcelo-c-LT--Campbell-Orme-Large.jpeg" data-mid="1418073" border="0" /> Lectures Student Lecture Series, Cooper Union, New York / Lucia Tahan: Ghost Tortilla &nbsp; CreditsAuthorship: Lucia Tahan Collaborators: Campbell Orme Curatorship:&nbsp;Eduardo Castillo-Vinuesa and Manuel Ocaña Photos: Pedro Pegenaute Selected pressEuronews,&nbsp;Ghost kitchens, tortillas and giant greenhouses - Spanish gastronomy on show at the Venice Biennale&nbsp; e-flux, Foodscapes Exhibition Program &nbsp; More information Foodscapes  &nbsp;  Lucia Tahan  2025 Instagram | hello@luciatahan.com —Ghost Tortilla is Lucia Tahan’s contribution to Foodscapes, the Spanish national pavilion at the 2023 Venice Architecture Biennale. ... http://luciatahan.com/Room-With-a-View Wed, 03 Sep 2025 14:14:26 +0000 Lucia Tahan 457766 —Room With a View is an installation commissioned for&nbsp;Stop Drawing. Architecture Beyond Representation, an exhibition at the MAXXI museum in Rome exploring the ongoing transformations within the world of architecture and the tools used to create, represent and communicate it. “The digital section is explored through the pioneering Generator Project (1978–1980) by Cedric Price &amp; John Frazer, reflections and studies on the computerisation of architecture collected by Nicholas Negroponte in the interview The Architecture Machine (1970), and by many others including Matias del Campo &amp; Sandra Manninger and Lucia Tahan, who for two decades have contributed to the discourse on parametric, generative, algorithmic and hyper-modern architecture, radically influencing how projects are represented.” MAXXI, Stop Drawing. Architecture Beyond Representation Room With a View Installation Lucia Tahan Room With a View is a free-standing wunderkammer in which the boundaries between physical and virtual architecture blur.&nbsp; Visitors entering the room can see a virtual sky beyond the ceiling: the “view”. Both sound and vision are controlled, as the room absorbs sound thanks to its anechoic chamber insulation. The installation speaks of awe at technological advances, and simultaneous unease as they mediate human perception.&nbsp;&nbsp; <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/1a1ed736b2bd7e6bd25d0f4023148379f7a72c882f960cdb898708818ab46f2b/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_6.jpeg" data-mid="1417867" border="0" />Room With a View.&nbsp;Photo: Asier Rua Stop Drawing. Architecture Beyond RepresentationExhibition MAXXI. National Museum of 21st Century Arts 18 April 2025 - 21 September 2025 Together with society, architecture and the tools used to create and communicate it evolve. This exhibition explores these transformations through the evolution of its primary medium: drawing. Works by significant figures—some drawn from the MAXXI Collection—accompany visitors on a journey through the 20th and 21st centuries. They illustrate how the ability to represent and define space, once the exclusive domain of drawing, has now expanded to include a world of digital simulations, collages, videos, performances, textiles, and more. These new representational forms can profoundly reshape the future of architecture and spatial disciplines. The exhibition is structured in five sections: MAXXI Collection, Digital, Activist, Artistic, and Back to Drawing. “The journey begins with the first section, dedicated to digital architecture. This is introduced by an immersive, experiential installation by Lucia Tahan that blends physical space with last generation technology. Visitors then encounter a range of works that trace the evolution of digital design culture — from early pioneers like Nicholas Negroponte to contemporary platforms such as SCI-Arc.”, in the words of the curator Pippo Ciorra. Some of the work shown includes: Frank Gehry’s original model of the Walt Disney auditorium in Los Angeles, collages by Superstudio, drawings by Aldo Rossi, drawing tables used by Carlo Scarpa, artwork by Olafur Eliasson and a textile piece by Frida Escobedo. <img width="4000" height="3000" width_o="4000" height_o="3000" src_o="https://cortex.persona.co/t/original/i/23c600bcc738a9994baeb49514f0e9279a8bc5bc3cf6082772e20f4453cb0573/2-Stop_Drawing_installation-view_fotoVincenzo_Labellarte_courtesy-Fondazione_MAXXI.jpg" data-mid="1417869" border="0" /> <img width="4000" height="3000" width_o="4000" height_o="3000" src_o="https://cortex.persona.co/t/original/i/f9110226f617c72c00817596d537e600439b2fcc958860fba8a464c5d94ca1bd/1-Stop_Drawing_installation-view_fotoVincenzo_Labellarte_courtesy-Fondazione_MAXXI.jpg" data-mid="1417871" border="0" /> Stop Drawing. Photos: Vincenzo Labellarte courtesy Fondazione MAXXI Room With a View Room With a View embodies the spirit of the digital realm through a chamber composed of abstract physical elements, where a virtual sky becomes the central figure. Evoking the historical concept of the wunderkammer, the work offers a reflection on the act of seeing, perceiving, and experiencing space through purely virtual mediations. With its immersive approach, the piece invites the audience into a contemplative yet unsettling pause, suggesting that representation is not limited to lines or objects, but can also unfold as a sensory and critical experience. The installation consists of a cubic room measuring 3x3x3 meters, covered both inside and out with acoustic foam. It functions as an anechoic chamber—completely isolated from sound and devoid of reverberation. Once inside, the visitor is guided to lie down on a chaise longue and can observe a hyperreal digital sky that replaces the ceiling of the room. The space is projected without horizons, tricking the senses. The architecture of the room is presented as abstract, made up of geometric solids like pyramids and parallelepipeds, reminiscent of 3D and digital visual languages. However, the chosen colors and furnishings reference the work of Le Corbusier and Charlotte Perriand. Meanwhile, the sky is rendered hyperrealistically, inverting the formal language of the physical and the virtual. “I wanted to create a poetic yet threatening atmosphere — an experience in which the audience drifts in and out of awareness that they are in a mediated environment.” The installation expresses both a fascination with the progress of the digital realm and a discomfort with its power to mediate human perception. Room With a View proposes not just an architectural concept, but also an invitation to silence, to the senses, and to a painterly experience of digital space—a call to look beyond the physical, toward horizons suspended between architecture and unreality. <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/f34ae0915db86a088c314dafa0a08643e9ed8ebdf7cdc80b4dc027dda384dc34/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_7.jpeg" data-mid="1417877" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/fadeba671417512042309b3b624312e9d6011cf54028e873f38b30ba0eae90b0/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_3.jpeg" data-mid="1417878" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/2d51b11fd85fd98dde035b3f3e19d07895f320f5a35d67a3d1678925eda19746/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_4.jpeg" data-mid="1417874" border="0" /> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/5c697e0f17b353bf28017ebbc0454c8db920befea9d802cc13c2fb062f8c448a/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_2.jpeg" data-mid="1417876" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/5c54bf84457ae3a9726f615061afeb30133b87428ef2b7d7bca7862e4fef3f29/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_5.jpeg" data-mid="1417872" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/02a65c0bbeef53cc94a30fc7094fd59df9c8e72251efe638371ecb4dde033639/RoomWithAView_LuciaTahan_Photo_AsierRua_Low_1.jpeg" data-mid="1417873" border="0" /> Room With a View. Photos: Asier Rua Sound designWhile the space seems to open infinitely, within the room, sounds and silences evoke an artificial landscape, in a soundscape composed by the artist Ignacio Furones and developed during a series of workshops with Brian Eno in January 2025. Immersed in this atmosphere, the visitor is transported beyond the physicality of the space for a few minutes, as their senses of hearing and sight are mediated by technology. The spatial sound consists of layered loops in four different channels (coming out of four speakers in the room: above, below, left and right), with the sounds representing the sky and ground. A baseline continuity is broken by two elements: high-pitched klangs and silences. The silences are especially emotive as the chamber is nearly anechoic, therefore the silences are almost absolute. The klangs startle the visitors, rendering them aware of their environment. Drawings <img width="1920" height="1920" width_o="1920" height_o="1920" src_o="https://cortex.persona.co/t/original/i/8411f146e9421bdf6baceb3be7524ffc022fd8b9e8c852d7199e5d967d8b6340/RoomWithAView_LuciaTahan_Drawings_2.jpg" data-mid="1417924" border="0" /> <img width="720" height="720" width_o="720" height_o="720" src_o="https://cortex.persona.co/t/original/i/9b5dcd6aa1d3dc621b36994a05f49897a4420251cd7114ba03daa56941f8ed5e/RoomWithAView_LuciaTahan_Drawings_5.png" data-mid="1417926" border="0" /> <img width="2000" height="2000" width_o="2000" height_o="2000" src_o="https://cortex.persona.co/t/original/i/274d96a3f556d541bbb9642888793be33c3969139dc029937cacd9f0fa834c24/RoomWithAView_LuciaTahan_Drawings_1.png" data-mid="1417928" border="0" /> <img width="720" height="720" width_o="720" height_o="720" src_o="https://cortex.persona.co/t/original/i/d794eab514f7274a4e1c7c948ecfd6300231c28ebb33edddb009e4d4a13c1144/RoomWithAView_LuciaTahan_Drawings_4.png" data-mid="1417925" border="0" /> <img width="1726" height="1628" width_o="1726" height_o="1628" src_o="https://cortex.persona.co/t/original/i/b28fe0a848af1147f34a6fa0184fb4b0bc3cf6722d457a5f1c04b09192c0561f/RoomWithAView_LuciaTahan_Drawings_3.png" data-mid="1417927" border="0" /> More about Stop Drawing. Architecture Beyond Representation In harmony with the fluid layout and terraced spaces of Gallery 3, the exhibition route, designed by studio DEMOGO, unfolds through a series of supports and environments of varying scale, where the works emerge like islands in a narrative archipelago. Invited to find a balance between the order imposed by spatial sequence and their own perceptual path, visitors are guided through the five sections of the exhibition, each narrating different approaches and multiple perspectives on the evolution of architecture over time. Section 1. MAXXI Collection The vast archive of authored drawings from the MAXXI Architecture Collection marks the beginning of the exhibition route, occupying the picture gallery along the gallery’s ramp with works and representations by masters such as Carlo Scarpa, Aldo Rossi and Giancarlo De Carlo. Ranging from more conventional renderings to visionary compositions, this section bears witness to the role that drawing has played as a tool of cultural and disciplinary hegemony – particularly in Italy – during a recent phase in the history of architecture. Section 2. Digital The disappearance of traditional media goes hand in hand with the rise of new technologies, which on one hand simplify the architect’s work, and on the other stimulate imagination by opening new avenues for research. The digital section is explored through the pioneering Generator Project (1978–1980) by Cedric Price &amp; John Frazer, reflections and studies on the computerisation of architecture collected by Nicholas Negroponte in the interview The Architecture Machine (1970), and by many others including Matias del Campo &amp; Sandra Manninger and Lucia Tahan, who for two decades have contributed to the discourse on parametric, generative, algorithmic and hyper-modern architecture, radically influencing how projects are represented. Section 3. ActivistWhen architecture becomes a civil and political act, addressing the most pressing issues of our time - ecology, resource management, inclusion, racial and gender equality, post-humanism and decolonisation - two main operative directions emerge, both represented in the section dedicated to “activists”. Berlin’s Floating University (2019–2022) by Raumlabor and the Sexy Assemblage project by the Orizzontale collective provide examples of how practical, performative engagement aims at direct political involvement of communities.Section 4. Artistic In the artistic section, architecture is enriched by new languages and tools, extending the boundaries of representation, conceptualisation and design experimentation. As Hans Hollein once foresaw, everything can be architecture: Frank Gehry, Enric Miralles and Benedetta Tagliabue, November Wong, Olafur Eliasson, Frida Escobedo, Gordon Matta-Clark, Cyprien Gaillard, Philippe Rahm and Hollein himself are just a few of the artists and architects who, through collages, textile works, illustrated narratives, virtual realities and bodies in motion, show how every gesture can become an architectural act. Section 5. Return to drawing Within the digital realm, drawing not only survives but becomes the guardian of an ideological and artistic legacy: the works of Jorinde Voigt, Jo Noero, Atelier Bow-Wow, Jimenez Lai (Bureau Spectacular), Maria Giuseppina Grasso Cannizzo and CAMPO firmly defend the traditional, technical and expressive space of drawing as a true statement of method, in which hand-drawn representation re-emerges as a conscious choice, bringing the narrative of the exhibition to a close. Photo gallery Opening <img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/2b233f488e8e9898dfa287b589062de1897fd1f6876686d78450f78a5306f469/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_15-Large.jpeg" data-mid="1417879" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/3021b04f40f99a8a54b2c0f1448a13564bd2a948f1c65ed7fdc0eeb97c3a0bcc/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_12-Large.jpeg" data-mid="1417893" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/29cce0e258af58f9c9ebb60c763fb63cc41e3a529b12fa0f5b58cc7306ece511/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_5-Large.jpeg" data-mid="1417888" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/703ab8341734b25ef1fe4f258411f2477587725c24d4746bf9e3cfac3e4097bf/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_1-Large.jpeg" data-mid="1417889" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/6f70f4a1d32153b4a18714d67e25ec63d8a08cd7edd48066216d8b1f58c2caa4/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_16-Large.jpeg" data-mid="1417892" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/cb8012286b43400d641e90cb6145b30f87bb915c91a10c282821be2ab6b2c525/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_4-Large.jpeg" data-mid="1417881" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/0a684fdbb2470510db70ffe6eea5a1074d7484e1fce405a5c4b04866a2cf4368/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_14-Large.jpeg" data-mid="1417886" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/5b45ca98623bada60e2a9e413f956a7ada037d9bbf0b753040a24a40aeae0ac7/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_6-Large.jpeg" data-mid="1417883" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/88f3ffbe893cf1d54fdc80528218bb0df1b6c79fd6b2883c5359892959fd2e5d/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_9-Large.jpeg" data-mid="1417880" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/bb3d6bfe39025a99b1acf911082f14fa511da5fad25c0a3428f338b36e83e51a/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_11-Large.jpeg" data-mid="1417885" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/8aaff8d577a7cc480d4011a43f0c74d6342a274333d5e23d09bd794635bef447/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_13-Large.jpeg" data-mid="1417882" border="0" /> <img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/868061fc99e8b3833b7d8a82210e9feaa9ac61599d5389138ce6c3005a94fbde/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_2-Large.jpeg" data-mid="1417894" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/21ab26cc546f17eba125a35e656d1502ac7a747271e5dba7f54030681dfcf21f/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_3-Large.jpeg" data-mid="1417890" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/fc21d6c1ef3592e53f08d6b374acf0b775718af8782b53812fef8dcf308fa00d/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_10-Large.jpeg" data-mid="1417884" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/ccd97a8fb0e677507456a96ca107dabb58770ea43679ec2293d7fa3fb6e5b6dc/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_8-Large.jpeg" data-mid="1417887" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/1fc57c398a10373e67394dbc5301e36963bd4d0845709c8bad415c483cc818fe/StopDrawing_Opening_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_7-Large.jpeg" data-mid="1417891" border="0" /> More photos <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/9961c505de91420bc0a58db5ea164dbed7c78912c592e938d8d77616cb1eaec0/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_24-Large.jpeg" data-mid="1417922" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/77567eb965759e6cd33a6d8227a0d0c35c83070685dbfda736111ec053370bfa/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_29-Large.jpeg" data-mid="1417918" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/ffc38c2d2517c9d43ef6f6dc7777bc17008e3c656d1a70d23366787b8c605f9c/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_28-Large.jpeg" data-mid="1417923" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/c23b7a1f4721dded3331d1f2767a92018244b02eb2e7136877d4a6b83fa5ac23/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_21-Large.jpeg" data-mid="1417920" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/f507afc5d5f8b7b6318480b432854aac9f1e08ffedaaffb1acc9b7d6362a4459/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_16-Large.jpeg" data-mid="1417917" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/6982f773a7af9451a9e411110a482c9d4b769c22ca9b272e7d559039c03ae29f/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_25-Large.jpeg" data-mid="1417915" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/7c634748e208587d54930e86420f4509c13bdf788c03f965c41d42ddf20da9ad/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_5-Large.jpeg" data-mid="1417916" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/703f3b958fc471bc6e31f9b6d84a505025584eb7de0e29a44c021d25bfaab8f6/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_26-Large.jpeg" data-mid="1417905" border="0" /> <img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/677eb2b33b6bb39423e4efed078aa6b4819cc8943282212f1c6c8a38af524c48/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_7-Large.jpeg" data-mid="1417921" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/d7b0f865b12226fb896ffe5f36d519b8c8784d22d0a65e954e10002d57f78bc0/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_12-Large.jpeg" data-mid="1417913" border="0" /><img width="854" height="1280" width_o="854" height_o="1280" src_o="https://cortex.persona.co/t/original/i/f792f56221ac74b79ef7686994f3614404d2094bf983fcde100f8b2b34ff8cbf/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_15-Large.jpeg" data-mid="1417912" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/bc19122573e533e657f23d14442e58286703cc0fa85e3555006bb08e9701488b/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_8-Large.jpeg" data-mid="1417906" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/9ddbb7e582ff4c64ddfaab6c84c0ce9d6c74cbec5121067a2f214c1ef109ad07/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_13-Large.jpeg" data-mid="1417899" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/4e17adfc65dd8ea6fe3e167a496f7b08ebad0d5d285ea815975177865612aeea/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_17-Large.jpeg" data-mid="1417909" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/656fa85fd83734cfdd4146688b3ce186f1ebac6a39fb744680a5fcb28eeaa832/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_3-Large.jpeg" data-mid="1417898" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/36755c60dd280f6244378b3e007f32ab466c37753d67cfaceafe4c65eafae190/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_4-Large.jpeg" data-mid="1417895" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/369be2b63ae283c90b21fae11d132d6d721fdada07d6e54e6383f91c7fbdad7a/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_6-Large.jpeg" data-mid="1417911" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/03ebbc41c0eb7a9ae2eca04a4cef0f8f3905bb8cad0af6e9c0d2203cee6f4eea/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_2-Large.jpeg" data-mid="1417910" border="0" /><img width="854" height="1280" width_o="854" height_o="1280" src_o="https://cortex.persona.co/t/original/i/c748c189167360427eb8dd8a6f97a1bbe95178a68a98b9c9966f7fd512ff5670/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_19-Large.jpeg" data-mid="1417919" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/4c617154cac78e2d83002dd74c2aa71cceac2fb6636aa93a668a0492cc4f1faf/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_10-Large.jpeg" data-mid="1417908" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/cd0ae7e3b37d653cf06d892f179574c268aed0786045963f9b6023105d94faa9/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_27-Large.jpeg" data-mid="1417907" border="0" /><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/2b11fca2d128ef07c2b223cde78a3ce9c8c75d2c16d67e394387111ab48aa73e/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_23-Large.jpeg" data-mid="1417896" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/ab4ca5b1a8b52245bc5584cca86f11a945a1771fdd6d69b9bda327f3f352b442/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_30-Large.jpeg" data-mid="1417900" border="0" /><img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/03750988540d4dbe909021735e0c8cf3bb696d5d5aa0be91d0bb7cfa752f9183/StopDrawing_RoomWithAView_LuciaTahan_Photo_VincenzoLabellarteCourtesyFondazioneMAXXI_11-Large.jpeg" data-mid="1417902" border="0" /> Photos Vincenzo Labellarte, courtesy Fondazione MAXXI CreditsAuthorship: Lucia Tahan Music: Ignacio Furones Software: Notelos Ltd Curatorship: Pippo Ciorra Exhibition design and construction: Demogo Photos: Asier Rua / Vincenzo Labellarte courtesy Fondazione MAXXI Selected pressKoozarch, Stop Drawing: Pippo Ciorra on the evolving role of architectural representation  Il Giornale Della Architettura,&nbsp;Al MAXXI si va “Oltre il disegno”  More information MAXXI National Museum of 21st Century Arts / Stop Drawing  Stop Drawing - Press release PDF Stop Drawing - Brochure PDF &nbsp;  Lucia Tahan  2025 Instagram | hello@luciatahan.com —Room With a View is an installation commissioned for&nbsp;Stop Drawing. Architecture Beyond Representation, an exhibition at the MAXXI museum... http://luciatahan.com/Cloud-Housing Thu, 17 Oct 2019 20:34:33 +0000 Lucia Tahan 344180 The digital product economy has expanded to offer anything as a service —television on Netflix, music on Spotify, driving on Uber— but for many, the home has remained a private, physical space. Cloud Housing demonstrates a future in which the home will be transformed into a platform for digital content. Three-dimensional interfaces will interlace with the domestic space to take advantage of its monetization opportunities. This will open the home to new design forces, transforming many domestic rituals, and affect the meaning of privacy and ownership. <img width="4584" height="3056" width_o="4584" height_o="3056" src_o="https://cortex.persona.co/t/original/i/868f85e40464c3afa502f0515432534e63e57039fd09134908ede0925cacf1da/2019-10-17-cloud-housing-3384.jpg" data-mid="798161" border="0" /> Installation space at Radialsystem, Berlin. Courtesy of Dinko Verži <img width="2048" height="2732" width_o="2048" height_o="2732" src_o="https://cortex.persona.co/t/original/i/d8276e3f109246d5639ea087ad5100926fc622decfd1a6b758ad5328b273fce8/App-2.jpg" data-mid="798157" border="0" /> View of the AR app, Spatial Data interactionThe cloud home relies on a global 3D scan of the world to place content on it. People scan the world and their private homes as they use their devices, sharing personal data about their physical environment.Would we want to allow apps to read and store our private 3D environments, such as the interior of our bedroom? Is spatial data privileged data? Should it be? <img width="4896" height="3264" width_o="4896" height_o="3264" src_o="https://cortex.persona.co/t/original/i/a09c4d28c259e567f2a7cf02e00207450e945e9bbafd7d276802d51645a0a4a2/2019-10-17-cloud-housing-3380.jpg" data-mid="798166" border="0" />Installation space at Radialsystem, Berlin. Courtesy of Dinko Verži <img width="2054" height="1528" width_o="2054" height_o="1528" src_o="https://cortex.persona.co/t/original/i/f7340b991fc7aad2b3ee90ce6c8129e018416f11825e71623c06ce6de78219d8/Scene-1.png" data-mid="798167" border="0" /> <img width="2048" height="2732" width_o="2048" height_o="2732" src_o="https://cortex.persona.co/t/original/i/8e11fe2b53ea21ff507866721b32d1f68f417c9773ecda3c1c9e2021f9ac2cd0/App-1.jpg" data-mid="798168" border="0" />In this ironic slider, users can dial ‘reality’ from ‘balanced’ down to ‘physical’ or up to ‘personal’. <img width="2048" height="1532" width_o="2048" height_o="1532" src_o="https://cortex.persona.co/t/original/i/751bb7a2a2093fdb2a95c19c0cd015e3cc5fbc900a25eb9948dcb502411518d0/Scene-3.png" data-mid="798169" border="0" />View of the AR app, Reality Slider interaction.The cloud home offers virtual home content and allows users to personalize their experience and immerse themselves in a reality of their choice. They can dial up the virtual to transform their home into a more beautiful or functional space; or dial it down to just see their home as it is. Virtual objects of our choice will be part of the home, like today’s furniture is.&nbsp; <img width="3264" height="3995" width_o="3264" height_o="3995" src_o="https://cortex.persona.co/t/original/i/e3f780d79dacca8ea5b62ad489b0a3b203d4c520a1238532fe69b2a6908135ba/2019-10-17-cloud-housing-3412.jpg" data-mid="798183" border="0" /> <img width="3264" height="4896" width_o="3264" height_o="4896" src_o="https://cortex.persona.co/t/original/i/ab72e6db172648d5050c0391a5efbcfa09a2489f1b58d3cfdc0b115de592ac94/2019-10-17-cloud-housing-3407.jpg" data-mid="798182" border="0" /> <img width="4657" height="3105" width_o="4657" height_o="3105" src_o="https://cortex.persona.co/t/original/i/1fc5592326e05efa2c5beba232562e479deaa5847fe63ad96a0aeeef821a666e/2019-10-17-cloud-housing-3414.jpg" data-mid="798184" border="0" /> <img width="4698" height="3132" width_o="4698" height_o="3132" src_o="https://cortex.persona.co/t/original/i/0ab497156879be9e639b33d3e3ed4bf1eb93d073f69283cc983135a8dddbbc2d/2019-10-17-cloud-housing-3377.jpg" data-mid="798190" border="0" /> <img width="4896" height="3264" width_o="4896" height_o="3264" src_o="https://cortex.persona.co/t/original/i/99f4f087a5334cb3df78da73122a08770804fe0ed65eb0464631d9870bbaa4e6/2019-10-17-cloud-housing-3370.jpg" data-mid="798189" border="0" /><img width="4896" height="3264" width_o="4896" height_o="3264" src_o="https://cortex.persona.co/t/original/i/7c24b4e083f69f13f7459db5a9b9b082ba10808d92d7c8cab46f3ab86738a2dc/2019-10-17-cloud-housing-3373.jpg" data-mid="798191" border="0" /> The digital product economy has expanded to offer anything as a service —television on Netflix, music on Spotify, driving on Uber— but for many, the home has... http://luciatahan.com/productdesign Sat, 22 Sep 2018 13:40:48 +0000 Lucia Tahan 289768 http://luciatahan.com/productb Tue, 12 Jun 2018 23:43:31 +0000 Lucia Tahan 275345 <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/a5134f28aad3d8b4df26b35de63e8180e8182f4acd2f3839a7963e005e700e10/Group-4.png" data-mid="468998" border="0" /> <img width="1537" height="663" width_o="1537" height_o="663" src_o="https://cortex.persona.co/t/original/i/c60c7c02ac67cffc5a0d638efc65545fec4d9328c30c2bf36f7a88ba1612ccfd/webdesign2.jpg" data-mid="480201" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/9504a3dc237e121a44664c50a72c6d7480172790b188427c5d9c8121d9539144/Group-2.png" data-mid="468997" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/d5eb3d5c7615d4b5677f0dbf878e5a4fd3eb0e24c2db23af234e4f27bf246f66/Group-9.png" data-mid="468999" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/d0ff9e39d288730271f9cd57a3720c4cd0f74fa1fa82c3349779c27d2713cf9b/Group-11.png" data-mid="469000" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/bb11d5afb96b9a5fa412f3b28fa38c2ae67cd31906fbd75ebdad1a79b2affb9e/Group-12.1.png" data-mid="469001" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/7cd385cf606a4ca96b35ba304ba874f200e78d7d3a6e1f736c4d5b17fa35f269/Group-6-1.png" data-mid="469002" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/a37a4f6c3f77b1f8fd1a8456dcdd3d363e1706081314fcafad89a3729f020b44/Group-11.1.png" data-mid="469005" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/463bf77fdb1bac4d63d9324abe3934bbbb46e673e3ab1d5daaadb849531fcb85/Group-6.png" data-mid="469003" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/04a1163fbba328608e7a25fccfff3b1b33a37c5c5e9a683e52ceb7fad3601006/Group-3.png" data-mid="469006" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/2a49c2dd49be56440503b3d4f1ab108fcb2d7b853675949994a21db4392f17e8/Group-5.png" data-mid="469007" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/c4bb9eac2edf3cfc7fcca73ab45bf05b349b2dfa334422e9badea3c1b8888a22/Group-8.png" data-mid="469004" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/c49f5379e065bc62db65292dc23fc8b4469666ee5ba7d5b94689e896c3e30992/Group-5-1.png" data-mid="469008" border="0" /> <img width="1715" height="1021" width_o="1715" height_o="1021" src_o="https://cortex.persona.co/t/original/i/11408d97e532b21e101fa4134383dc0ca1fd2d8187e11a113b108aac53f3f5cc/Group-12.png" data-mid="469009" border="0" /> <img width="1715" height="1504" width_o="1715" height_o="1504" src_o="https://cortex.persona.co/t/original/i/244f9fa6e8c854faff2348fbeb10a9950f7fe6d0a8ce8651dc44cb7bc5dd75ed/Group-14.png" data-mid="469010" border="0" /><img width="1715" height="1504" width_o="1715" height_o="1504" src_o="https://cortex.persona.co/t/original/i/e72dd6c07a13c7f8140d6bc572e5471f073b2021513de49f967400049a156293/Group-13.png" data-mid="469011" border="0" /> http://luciatahan.com/product Tue, 12 Jun 2018 20:32:39 +0000 Lucia Tahan 275307 —Web &amp; mobile projects Products leveraging user-oriented design, design systems&nbsp;and UX research methodologies.&nbsp; <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/67f00636a535ad69acd2d94dca3e89ceacae3d377b0d3852262cbd79d5889451/oblique.jpg" data-mid="468898" border="0" /> Oblique StrategiesOur lives are governed by interwoven banks of collective customs, civic conventions, and public contracts. Often erratic, sometimes fleeting, and usually deeply ingrained in our patterns of life, these protocols silhouette our choices and shape the structure of society at every scale. <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/36ff75f79888dd790cc88d60003c3363deb8c26e1d83c6c5a55050ce870b94dd/download.jpeg" data-mid="468905" border="0" />AI risk research. Ariadna Cantis Politicas Transmateriales, Turistificacion, Freshlatino &amp; more. Pa Six case studies of completed web commissions. I like to work closely with clients to learn about their needs and their target users. I develop prototypes based on user personas and conduct user research to iterate the design. Unless otherwise stated, both design and code were developed by Lucia Tahan. Information website for a debate group on AI-RiskRationality Sessions Challenge To convey the idea of intelligent debate and AI-Risk in a modern way to appeal to young talent and weed out the non-specialized public. UX Design I opted for abstraction, relying on fresh typography, and designed an animated splash reminiscent of automation that would be slightly unnerving to the users to convey AI-risk. Results/Testing Usability tests for the sign-up process were successful. In interviews, users reported being annoyed by the animation but could recall the key information presented. Further inquiry resulted in the discovery that the emotional response was very successful in improving memorability and getting the message across&nbsp;:)  Rationality Madrid — rationality.persona.co Professional portfolio website for an architecture visualization studioPoliedro StudioChallenge A major project for a studio that had produced hundreds of visualizations for big architecture firms. The challenge was to amaze and excite potential clients while conveying professionalism and recognition. UX Design The core of the design was dynamism. The idea of awarded work and vast professional experience was communicated through sleek animation feedback and repeated symbols in a dynamic layout. The amount of projects was chosen to seem countless. Results/Testing I developed a live prototype with Wordpress to test the design and conduct contextual interviews prior to production. Users expressed excitement and overwhelm at the amount of experience the studio was shown to have. Developed by PUM Studio.  Testing prototype — poliedroweb.com  Official Poliedro Studio — poliedroestudio.com Portfolio website for an alternative architecture researcherLys Villalba Portfolio Challenge The challenge was to create a hybrid between an academic research profile and a fresh design image. UX Design I proposed a bold color scheme contrasted with a conservative, small-tiled and structured layout &amp; typography strategy.&nbsp; Results/Testing The website helped the researcher be awarded a major fellowship at Columbia University in NY.  Lys Villalba — lysvillalba.net Portfolio website for a senior architecture communicator and curatorAriadna Cantis AgencyChallenge A senior curator, Ariadna desired to market her brand as a modern agency but appeal to conservative institutions. UX Design We devised a minimal layout making use of white space with scarce but neatly animated UI elements and a block-like mosaic of bold images. The emphasis is on the services listed as text but the images themselves convey her work’s contemporary quality.  Ariadna Cantis Comunicacion — ariadnacantiscomunicacion.com Information website for an art installation in Japan Simulated Experience Challenge The challenge was to convey the ideas of abstraction and interactivity while enticing the users to discover the installation. UX Design I designed an interactive interface where animated objects could be dragged and superimposed. Results/Testing Usability testing was positive, with users understanding the discovery of information as a game and reporting to want to visit the installation. &nbsp;Simulated Experience — simulatedexperience.jp Information website for a photography exhibition in BerlinLama LoChallenge The challenge was to unify a diverse body of work by different artists and provide a very accessible source of images for the press. UX Design My proposal was a very simple unifying grid, paying attention to color schemes in the work itself. Results/Testing Design-specialised media learned about and reported on the exhibition through this website.  Lama Lo Exhibition — lamalo.com  Publication on It’s Nice That —&nbsp;itsnicethat.com Part II: Product &amp; Mobile In depth case study: Find me a home, An app started in a hackathon that now has 200+ organic users WINNER PROJECT — 1ST PRIZE MYOUTH HACKATHON SPAIN — FINALIST EUROPEAN YOUTH AWARD Find me a home An Android app for rehoming animals Created by two backend/Android developers and me as the only designer.&nbsp;  Download Find me a home for Android — Google Play Store  Official website — findmeahome.org  Github repository —&nbsp;github.com  Publication&nbsp;— cafebabel.co.uk  Interview winner projects — mYouth.com What I do:product design UX designUX researchUI designillustrationinterface development (XML &amp; asset management in Android Studio)content creationwebbrandingcampaign Case Study&nbsp; Index &nbsp;01 Product design: The app screens and functions 02 The design process: Prototypes03 UX research/design case study: An appealing user flow to create a new listing04 UX research/design case study: Rethinking the search filter screen 01 Product design: The app screens and functions Find me a home is an app that connects people who want to take care of an animal with people who have an animal and need someone to care for it. The app has three main user interaction possibilities: 1) as a user who has a an animal and is browsing available home listings 2) as a user who offers their home 3) as a user who needs support taking care of an animal they just found in the street 02 The design process: Prototypes Paper and pencil sketches showing the user and animal profiles. This kind of prototype is useful for designing the product and discussing features with developers before a high-fidelity mock-up. An early mock-up showing the basic screens in a typical user flow. This is just a step after developing a user flow. The key features are added in a very crude manner.&nbsp; While exploring UX possibilities, this kind of prototype is useful to think about the key elements of the interaction. A hi-fi (high fidelity) mockup created in Illustrator. XML Layout view in Android Studio. When rendered in the compiled app, this layout results in the exact same design as the one on the left. A hi-fi (high fidelity) mockup created in Sketch. XML Layout view in Android Studio. Item XMLs are defined separately. High fidelity prototype designs and their Android native coded version in Android Studio for upcoming features. To see my code check out my Github profile:  Lucia Tahan on Github — github.com/luciatahan 03 UX design case study: An appealing user flow to create a new listing A traditional way of creating a new profile or listing in many apps is the form, where there is a preset profile/listing interface and the user is prompted to fill or complete their profile/listing. This is often cumbersome and boring and users give up before completing the form. We wanted to do it better. But we also had a unique challenge. We categorize users into three categories: Adoption Families, Foster Homes and Sitters. But just asking people what they wanted to be was going to be confusing, since they may not know the definition of each*. So we designed a conditional questionnaire where we asked simpler questions in an interactive way. Check out the steps below. Step 1: Onboarding Step 2: Tap to select Step 3: GPS-Automated location. If GPS is not enabled, the user is asked for permission to enable it. Step 4: This important step covers the complicated difference between a temporary home and an adoption family in a simple way. If ‘Forever’ is selected, jump to Step 6. Else proceed to Step 5. Step 5: This enables us to differentiate between a foster home and a sitter. If requiring compensation, the user inputs a fee. Step 6: Profile preview. Users fill the resulting profile with a photo and description. The blurred photo is a useful cue to the users. The label ‘Sitter’ is automatic depending on the user’s previous choices. Step 7: Confirmation of success. Finished listing.&nbsp; *If you have been left wondering, an Adoption Family is someone who wants to take care of animal forever and be a family to it. A Foster Home is anyone who offers to take care of an animal in need for free or for some money to help cover the associated costs, but without a willingness to make money, and for any amount of time (from some days to forever) and who would seek to find another permanent family to it, or anyone who just wants to take care of an animal for some time for fun, to help, or to try and see what it’s like to have a pet before deciding to get one of their own. A sitter is a person who offers to take care of someone else’s pet as a service and charges a fee for it, and they may offer more services like walking dogs, grooming, visits... UX research interviews I did revealed that if we had asked users to read these definitions and categorize themselves, we would have run into a lot of confusion. After developing this set of carefully-worded questions and turning them into conditional steps, the process has been absolutely successful. The graphics are all original illustrations made by me to reinforce the points asked. The color scheme follows Google’s Material Design color guidelines. 04 UX design case study: Rethinking the search filter screen Often, filter screens are full of details and lack clarity. They have all kinds of bars and switches and checkboxes and overwhelm the users. I wanted to design a filter screen that users would like to touch just out of satisfaction. I used only one element: the toggle icon. Filtering results is highly visual and intuitive with large toggable icons. To help users, the icon description appears when selected: thus toggling the icon for a dog will make the word ‘dog’ appear and disappear from underneath the title ‘Animals accepted’. This greatly improved the interaction in the tests conducted. A little anecdote: See that owl next to the cat? Usability tests revealed that users were failing to expect the owl to signify ‘Other animals’. After many iterations I drew a UNICORN and it was an instant success. ‘Other’, disabled ‘Other’, enabled When returning to the home screen, active filters are visible in a horizontal-scroll list. The devil’s in the detail, so here I was very careful to design this layer of information in a way that would not be intrusive but rather reflect its level in the hierarchy of information: while useful and reassuring, it is not among the top-level UI elements of this screen. A dirty UX trick: Each tag can be killed individually and thus an X closing mark signals this to the user. The X is too tiny, so tapping anywhere on the tag (not just the X) will kill the tag, but users will be fooled to believed that they aimed correctly at the little X. There is more to come to Find me a home as we are still developing it. You can get the app on:  Download Find me a home for Android — Google Play Store Part III: Usability testing hands-on This video is from a UX research project I made at the Visual Communications Department at the Bezalel Academy of Art and Design in Jerusalem.&nbsp; In the project, I asked users with different levels of computer skills to use different web apps to crop a photo. The goal was to 1) rank the web apps according to usability; 2) investigate how the previous computer skills affected the results and 3) compare the usability of the different interfaces for the different user groups. In the video a girl who is proficient in Photoshop struggles for five minutes to crop a photo using one of the apps receiving the worst ranking in usability :)  Lucia Tahan  2017 Instagram | hello@luciatahan.com —Web &amp; mobile projects Products leveraging user-oriented design, design systems&nbsp;and UX research methodologies.&nbsp; Oblique... http://luciatahan.com/Return-to-Zion Tue, 22 May 2018 22:44:59 +0000 Lucia Tahan 271717 Return to Zion SeriesBecoming, Spanish Pavilion at La Biennale de Venezia, 25 May 2018 — ExhibitionCuarto Magazine, Fall 2017 — Spin-off book Trienal de Arquitectura de Lisboa - Distancia Critica, 26 Oct 2017 — Lecture and debateCOCA Congress in Architectural Communication, 17 May - 4 Jun 2017 — Exhibition and article publicationMAO Ljubljana, Future Architecture Conference, 2017 — Lecture  Future Architecture Platform, 2017 — Award Simulated Experience, 2015 — Exhibition, PrototypesReturn to Zion is a series of three projects critically exploring a fictional urban transformation of Israeli housing in the event of an Israeli withdrawal from the West Bank. Part III: Talmud. Incremental housing for returned settlers. (2017)Part II: Gefilte Fish. Infrastructure creation based on settlers’ tactics. (2017)Part I: Sukkot. Affordable community driven housing. (2016)Introduction: The urban fabric of Jerusalem. Mid-century social housing today. (2015) Return to Zion has been prototyped in Japan and exhibited and discussed at international venues.  Interview, Future Architecture Conference, MAO Ljubljana, 2017 Return to Zion Part I, Future Architecture Conference, MAO Ljubljana, 2017 Return to Zion Parts I-II-III, Distancia Critica, Trienal de Arquitectura de Lisboa, 2017 Return to Zion SeriesBecoming, Spanish Pavilion at La Biennale de Venezia, 25 May 2018 — ExhibitionCuarto Magazine, Fall 2017 — Spin-off book... http://luciatahan.com/uxui Mon, 16 Oct 2017 15:06:22 +0000 Lucia Tahan 221889 —Web &amp; mobile projects Products leveraging user-oriented design, design systems&nbsp;and UX research methodologies.&nbsp; Six case studies of completed web commissions. I like to work closely with clients to learn about their needs and their target users. I develop prototypes based on user personas and conduct user research to iterate the design. Unless otherwise stated, both design and code were developed by Lucia Tahan. <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/f3a24caf1705a9bdddb47c5c74ca029af84fd4e9e8df331803dd085509873297/ratio.jpg" data-mid="308110" border="0" /> Information website for a debate group on AI-RiskRationality Sessions Challenge To convey the idea of intelligent debate and AI-Risk in a modern way to appeal to young talent and weed out the non-specialized public. UX Design I opted for abstraction, relying on fresh typography, and designed an animated splash reminiscent of automation that would be slightly unnerving to the users to convey AI-risk. Results/Testing Usability tests for the sign-up process were successful. In interviews, users reported being annoyed by the animation but could recall the key information presented. Further inquiry resulted in the discovery that the emotional response was very successful in improving memorability and getting the message across&nbsp;:)  Rationality Madrid — rationality.persona.co <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/678480fa2fe6aab7ba5adcd57ad300e32a93d0c4333bad7545f18897dfc928c3/poliedro.jpg" data-mid="308108" border="0" />Professional portfolio website for an architecture visualization studioPoliedro StudioChallenge A major project for a studio that had produced hundreds of visualizations for big architecture firms. The challenge was to amaze and excite potential clients while conveying professionalism and recognition. UX Design The core of the design was dynamism. The idea of awarded work and vast professional experience was communicated through sleek animation feedback and repeated symbols in a dynamic layout. The amount of projects was chosen to seem countless. Results/Testing I developed a live prototype with Wordpress to test the design and conduct contextual interviews prior to production. Users expressed excitement and overwhelm at the amount of experience the studio was shown to have. Developed by PUM Studio.  Testing prototype — poliedroweb.com  Official Poliedro Studio — poliedroestudio.com <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/f9af0b53e0b0acc695df2d6878a6b2e74710fca5b391444173e18e18092ffed7/lys.jpg" data-mid="308109" border="0" />Portfolio website for an alternative architecture researcherLys Villalba Portfolio Challenge The challenge was to create a hybrid between an academic research profile and a fresh design image. UX Design I proposed a bold color scheme contrasted with a conservative, small-tiled and structured layout &amp; typography strategy.&nbsp; Results/Testing The website helped the researcher be awarded a major fellowship at Columbia University in NY.  Lys Villalba — lysvillalba.net <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/665dd35d0fa1109de5630d7b45907b224d5371ffe724738499b45b40a5e2f8ce/ari.jpg" data-mid="308111" border="0" />Portfolio website for a senior architecture communicator and curatorAriadna Cantis AgencyChallenge A senior curator, Ariadna desired to market her brand as a modern agency but appeal to conservative institutions. UX Design We devised a minimal layout making use of white space with scarce but neatly animated UI elements and a block-like mosaic of bold images. The emphasis is on the services listed as text but the images themselves convey her work’s contemporary quality.  Ariadna Cantis Comunicacion — ariadnacantiscomunicacion.com <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/52c445d573e35828adb7e8182035d6dc243368d0055d8b54879701fbad260a12/simulated1.jpg" data-mid="308104" border="0" /> Information website for an art installation in Japan Simulated Experience Challenge The challenge was to convey the ideas of abstraction and interactivity while enticing the users to discover the installation. UX Design I designed an interactive interface where animated objects could be dragged and superimposed. Results/Testing Usability testing was positive, with users understanding the discovery of information as a game and reporting to want to visit the installation. &nbsp;Simulated Experience — simulatedexperience.jp <img width="1600" height="1200" width_o="1600" height_o="1200" src_o="https://cortex.persona.co/t/original/i/c0c105bea6d64235705eac0726b6a6b2cf14fa600f3660d07d9689166f1749b5/lamalo.jpg" data-mid="308103" border="0" />Information website for a photography exhibition in BerlinLama LoChallenge The challenge was to unify a diverse body of work by different artists and provide a very accessible source of images for the press. UX Design My proposal was a very simple unifying grid, paying attention to color schemes in the work itself. Results/Testing Design-specialised media learned about and reported on the exhibition through this website.  Lama Lo Exhibition — lamalo.com  Publication on It’s Nice That —&nbsp;itsnicethat.com Product &amp; Mobile In depth case study: Find me a home, An app started in a hackathon that now has 200+ organic users <img width="1620" height="1080" width_o="1620" height_o="1080" src_o="https://cortex.persona.co/t/original/i/3527fcbb0fb7b0ad172b37a69bf642d8ff8ad125bdce8434feb9ed51185c3a48/Iphone_color_1620.jpg" data-mid="308112" border="0" /> WINNER PROJECT — 1ST PRIZE MYOUTH HACKATHON SPAIN — FINALIST EUROPEAN YOUTH AWARD Find me a home An Android app for rehoming animals Created by two backend/Android developers and me as the only designer.&nbsp;  Download Find me a home for Android — Google Play Store  Official website — findmeahome.org  Github repository —&nbsp;github.com  Publication&nbsp;— cafebabel.co.uk  Interview winner projects — mYouth.com What I do:product design UX designUX researchUI designillustrationinterface development (XML &amp; asset management in Android Studio)content creationwebbrandingcampaign Case Study&nbsp; Index &nbsp;01 Product design: The app screens and functions 02 The design process: Prototypes03 UX research/design case study: An appealing user flow to create a new listing04 UX research/design case study: Rethinking the search filter screen 01 Product design: The app screens and functions Find me a home is an app that connects people who want to take care of an animal with people who have an animal and need someone to care for it. The app has three main user interaction possibilities: 1) as a user who has a an animal and is browsing available home listings 2) as a user who offers their home 3) as a user who needs support taking care of an animal they just found in the street <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/684e5d4e9426c4e485b9923e7fa5580085724f31af6ecaf837be719b998a92c1/fmah01.jpg" data-mid="308113" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/0e43a538ef8e56abb88d8da6eda60999b1cc46b5343ec5324d060649ae013ade/fmah05.jpg" data-mid="308115" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/61d21ac03fa38aeee231af4c7f75a2d71af14d3eac7140a34f3aaa8f00608782/fmah06.jpg" data-mid="308116" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/77d10ca8ebf2b55f9f2c15fccb2e96982f9bbe9e85ce0e29d1d6fd04162671fe/fmah07.jpg" data-mid="308117" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/1715641e8318ae4ac56a3c509ca5fb013101e6838af2858e588e860ed07dfd13/fmah08.jpg" data-mid="308118" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/5e69cbeffb3018e37515ac36cc55142d55b56de5e7f193dc77a47cb8639bc4ec/fmah11.jpg" data-mid="308121" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/c9b4c0914b2f3f3044197cc774575e444fdf0ad7673f60eab30a8771711a2e48/fmah09.jpg" data-mid="308119" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/4f112a9ac53654cab8dc51c504185998d2e1a38a339d4296f030120b62458d03/fmah10.jpg" data-mid="308120" border="0" /> 02 The design process: Prototypes <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/52e7d6d3a8be80f00387cf68b28fd9044dfa28e9b0d2b0add3d73d8e4ea407fa/ux01.jpg" data-mid="308122" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/9b45b0ec53cd993f14d394967a40f4d5508fe7b9391b6e7b80762bc11f24d922/ux02.jpg" data-mid="308123" border="0" /> Paper and pencil sketches showing the user and animal profiles. This kind of prototype is useful for designing the product and discussing features with developers before a high-fidelity mock-up. <img width="834" height="1667" width_o="834" height_o="1667" src_o="https://cortex.persona.co/t/original/i/260520f997eacb8d5b55b107187f2da816484546445b3dc480a447ac7ba78cd6/web07-copy.jpg" data-mid="308129" border="0" /> <img width="834" height="1667" width_o="834" height_o="1667" src_o="https://cortex.persona.co/t/original/i/7e413a651cea04cfed242b1b685fd6baa92468111b0b8f16c723b647e1133b9a/web06-copy.jpg" data-mid="308128" border="0" /> <img width="834" height="1667" width_o="834" height_o="1667" src_o="https://cortex.persona.co/t/original/i/d7fbc0122e496764d2f98ca568d47f8fdacf3e354163e734e5aa9d33d0f16fda/web05-copy.jpg" data-mid="308130" border="0" /> <img width="834" height="1667" width_o="834" height_o="1667" src_o="https://cortex.persona.co/t/original/i/c39382c0e0aebb616018e69fb0d406cf09c85cb8162b944966665faed4be8d82/web02-copy.jpg" data-mid="308124" border="0" /> <img width="834" height="1667" width_o="834" height_o="1667" src_o="https://cortex.persona.co/t/original/i/2918a152aef2d1192ffc2093ae6df4e27cf1a38e12ce0e3a45704699124cc20d/web04-copy.jpg" data-mid="308127" border="0" /> <img width="834" height="1667" width_o="834" height_o="1667" src_o="https://cortex.persona.co/t/original/i/579b710c43051d46036d252f04de4542607ae9fd93bf17eb137dd4121d3c3bad/web03-copy.jpg" data-mid="308125" border="0" /> An early mock-up showing the basic screens in a typical user flow. This is just a step after developing a user flow. The key features are added in a very crude manner.&nbsp; While exploring UX possibilities, this kind of prototype is useful to think about the key elements of the interaction. <img width="1080" height="1920" width_o="1080" height_o="1920" src_o="https://cortex.persona.co/t/original/i/aba79eec205119ce1bcfebd21708ce4f7af276a8e8a9525840caa3ecb24ab155/ChatList.jpg" data-mid="308148" border="0" data-scale="100"/> A hi-fi (high fidelity) mockup created in Illustrator. <img width="622" height="956" width_o="622" height_o="956" src_o="https://cortex.persona.co/t/original/i/85a0c9604f2e74bf157c5c37c9376adeb395d82293d3a113160830641f8bbbf5/Screen_Shot_2016-09-28_at_05.15.46.png" data-mid="308149" border="0" /> XML Layout view in Android Studio. When rendered in the compiled app, this layout results in the exact same design as the one on the left. <img width="814" height="1368" width_o="814" height_o="1368" src_o="https://cortex.persona.co/t/original/i/6a701e762ac5d1f2fed0fcb17f90f6694ad3f36a7755f0502baad1ad25327a84/Screen_Shot_2016-09-28_at_05.33.24.png" data-mid="308150" border="0" /> A hi-fi (high fidelity) mockup created in Sketch. <img width="602" height="938" width_o="602" height_o="938" src_o="https://cortex.persona.co/t/original/i/fdbffa4d065850228fc01ce3d01123809048d4427ee26f87baaeb65c78e47d0a/Screen_Shot_2016-09-28_at_05.18.29.png" data-mid="308151" border="0" /> XML Layout view in Android Studio. Item XMLs are defined separately. High fidelity prototype designs and their Android native coded version in Android Studio for upcoming features. To see my code check out my Github profile:  Lucia Tahan on Github — github.com/luciatahan 03 UX design case study: An appealing user flow to create a new listing A traditional way of creating a new profile or listing in many apps is the form, where there is a preset profile/listing interface and the user is prompted to fill or complete their profile/listing. This is often cumbersome and boring and users give up before completing the form. We wanted to do it better. But we also had a unique challenge. We categorize users into three categories: Adoption Families, Foster Homes and Sitters. But just asking people what they wanted to be was going to be confusing, since they may not know the definition of each*. So we designed a conditional questionnaire where we asked simpler questions in an interactive way. Check out the steps below. <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/4582be1fbef39bf2be38889ff038333723d9795a8d136f067f1c01dbf6ad7c44/unnamed.png" data-mid="308132" border="0" /> Step 1: Onboarding <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/c851e6030dc4d7c287c9616da9cb3f6ad71b8ba00bdf61039c4f5edc1b32463e/unnamed-2.png" data-mid="308133" border="0" /> Step 2: Tap to select <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/7213b2b0f5bb0c493268d72ddacec8f1b4845eb1c09af03253d8ca028a9ea0af/unnamed-4.png" data-mid="308135" border="0" /> Step 3: GPS-Automated location. If GPS is not enabled, the user is asked for permission to enable it. <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/963ccee168e8f8de1681c229ca45d07755610e450f4bee0085a688b52f1e934f/unnamed-6.png" data-mid="308142" border="0" /> Step 4: This important step covers the complicated difference between a temporary home and an adoption family in a simple way. If ‘Forever’ is selected, jump to Step 6. Else proceed to Step 5. <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/45635c82c6d8dae05670ccd3e393a4f469e02ac3ec7d60fb571bc7c18fc0abab/unnamed-8.png" data-mid="308138" border="0" /> Step 5: This enables us to differentiate between a foster home and a sitter. If requiring compensation, the user inputs a fee. <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/98a5b1e6a506bcfc006ddbe6dc3187636dca9fcc53172282ee726f6ec0738d05/unnamed-9.png" data-mid="308139" border="0" /> Step 6: Profile preview. Users fill the resulting profile with a photo and description. The blurred photo is a useful cue to the users. The label ‘Sitter’ is automatic depending on the user’s previous choices. <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/41b42b773b307bb9852b125e5a591147c6db9b9dcc9c0f4761f88ce3a1ebd791/unnamed-10.png" data-mid="308140" border="0" /> Step 7: Confirmation of success. <img width="960" height="1706" width_o="960" height_o="1706" src_o="https://cortex.persona.co/t/original/i/8f53bba08307e35b01df2c88de8646ad4144d5e8695e84f4cc6185f2fefe8b88/unnamed-11.png" data-mid="308141" border="0" /> Finished listing.&nbsp; *If you have been left wondering, an Adoption Family is someone who wants to take care of animal forever and be a family to it. A Foster Home is anyone who offers to take care of an animal in need for free or for some money to help cover the associated costs, but without a willingness to make money, and for any amount of time (from some days to forever) and who would seek to find another permanent family to it, or anyone who just wants to take care of an animal for some time for fun, to help, or to try and see what it’s like to have a pet before deciding to get one of their own. A sitter is a person who offers to take care of someone else’s pet as a service and charges a fee for it, and they may offer more services like walking dogs, grooming, visits... UX research interviews I did revealed that if we had asked users to read these definitions and categorize themselves, we would have run into a lot of confusion. After developing this set of carefully-worded questions and turning them into conditional steps, the process has been absolutely successful. The graphics are all original illustrations made by me to reinforce the points asked. The color scheme follows Google’s Material Design color guidelines. 04 UX design case study: Rethinking the search filter screen Often, filter screens are full of details and lack clarity. They have all kinds of bars and switches and checkboxes and overwhelm the users. I wanted to design a filter screen that users would like to touch just out of satisfaction. I used only one element: the toggle icon. <img width="2437" height="1667" width_o="2437" height_o="1667" src_o="https://cortex.persona.co/t/original/i/97b0768bd20db22f9513149f904e1191eabc38d77925d75eb91f598e2c70075c/04-Filters.png" data-mid="308144" border="0" /> Filtering results is highly visual and intuitive with large toggable icons. To help users, the icon description appears when selected: thus toggling the icon for a dog will make the word ‘dog’ appear and disappear from underneath the title ‘Animals accepted’. This greatly improved the interaction in the tests conducted. A little anecdote: See that owl next to the cat? Usability tests revealed that users were failing to expect the owl to signify ‘Other animals’. After many iterations I drew a UNICORN and it was an instant success. <img width="200" height="200" width_o="200" height_o="200" src_o="https://cortex.persona.co/t/original/i/da0175798bc144c574abfd51f8c02c1cb2c2fc26600a9b4a6002752f57463400/ic_animalother_disabled.png" data-mid="308146" border="0" data-scale="22"/> ‘Other’, disabled <img width="200" height="200" width_o="200" height_o="200" src_o="https://cortex.persona.co/t/original/i/026d994fa7ca169c0adc2a6df0660e944155dc44243ef527d67df1b35dad5830/ic_animalother_enabled.png" data-mid="308147" border="0" data-scale="22"/>‘Other’, enabled <img width="714" height="444" width_o="714" height_o="444" src_o="https://cortex.persona.co/t/original/i/31b130f9392625b767d70fddaa181671da7d085601953c896ee0d77c48c9c0ae/Screen-Shot-2016-07-22-at-19.39.33.png" data-mid="308143" border="0" /> <img width="800" height="600" width_o="800" height_o="600" src_o="https://cortex.persona.co/t/original/i/0e43a538ef8e56abb88d8da6eda60999b1cc46b5343ec5324d060649ae013ade/fmah05.jpg" data-mid="308115" border="0" /> When returning to the home screen, active filters are visible in a horizontal-scroll list. The devil’s in the detail, so here I was very careful to design this layer of information in a way that would not be intrusive but rather reflect its level in the hierarchy of information: while useful and reassuring, it is not among the top-level UI elements of this screen. A dirty UX trick: Each tag can be killed individually and thus an X closing mark signals this to the user. The X is too tiny, so tapping anywhere on the tag (not just the X) will kill the tag, but users will be fooled to believed that they aimed correctly at the little X. There is more to come to Find me a home as we are still developing it. You can get the app on:  Download Find me a home for Android — Google Play Store  Lucia Tahan  2017 Instagram | hello@luciatahan.com —Web &amp; mobile projects Products leveraging user-oriented design, design systems&nbsp;and UX research methodologies.&nbsp; Six case... http://luciatahan.com/Meraviglioso-Urbano Fri, 01 Sep 2017 17:16:26 +0000 Lucia Tahan 209193 —‘The Theaters of Culture: Ephemeral Projects for the Eternal City’ is an exhibition of five projects by five emerging young studios about ephemeral architecture in Rome commissioned by MAXXI National Museum of 21st Century Arts. It represented Rome at the 2017 Seoul Biennale of Architecture and Urbanism. “It is through the fragility of temporary tools that architecture remembers “the art of wonder”.” Federica Fava on Renato Nicolini’s ‘Il Meraviglioso Urbano’ <img width="1200" height="1736" width_o="1200" height_o="1736" src_o="https://cortex.persona.co/t/original/i/6fd2d8f48c69295cf6cec55fbd8ecd9ed67121f10577529174e2e40a451a8fd1/maxxidibujo.jpg" data-mid="283633" border="0" data-scale="64"/> Meraviglioso Urbano Lucia Tahan Model, two books, exhibition, symposium Beyond dimension, Meraviglioso Urbano explores ambiguity and disembodiment through a series of abstract stages. Connected and immaterial, an archipelago of cultural commons grows. <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/fac738dc83681d36819845cd590689853028117cb2c8f071360c253c67919920/maxxi---13.jpg" data-mid="283635" border="0" /> The Theaters of Culture: Ephemeral Projects for the Eternal City Born out of the need to react to the troubled atmosphere suffocating Rome during the 70s, the Estate Romana took cultural initiatives out into the public space. Architecture’s contribution took shape in ephemeral projects, creating proper scenarios for both the events and everyday urban life. On the occasion of the 40th anniversary of Estate Romana five practices were invited to design five ephemeral installations at MAXXI that would act as temporary museums devoted to five areas of culture: film, music, literature, theatre and media.&nbsp; The project has been realised in partnership with the Municipality of Rome, with the support of Future Architecture Platform and affiliation with the Seoul Biennale. In September the exhibition of the projects together with historical documentation regarding the Estate Romana and the Parco Centrale from the 1970s will be presented at the Seoul Biennale of Architecture and Urbanism. &nbsp; Participants BNGRT (Florian Bengert) – FAKT (Sebastian Ernst, Sebastian Kern, Martin Tessarz, Jonas Tratz) – Lucia Tahan – Microcities / Socks Studio (Mariabruna Fabrizi, Fosco Lucarelli) – Studio NO (Magda Szwajcowska, Michał Majewski) Exhibitions Imminent Commons: Cities Exhibition — Seoul Biennale of Architecture and Urbanism, Seoul, 2 Sep - 14 Nov 2017 The Theaters of Culture: Ephemeral Projects for the Eternal City — MAXXI Museum of 21st Century Arts, Rome, 14 Jul - 30 Jul 2017 <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/0f68946560b3acbb347a61f4d0a86898594728fba23950bd300c53858e6edb90/maxxi---24.jpg" data-mid="283634" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/ea980464ab674dc09ab1888579cd9faf527f3ada02cc88273b514d641e9be334/opening---86.jpg" data-mid="283636" border="0" data-scale="50"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/747eeaa53b7e7c0c8e364a2662ea1334056c9e7a45b4011a683134f878a830f1/opening---108.jpg" data-mid="283637" border="0" data-scale="50"/><img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/3f4017e53e6f12a00a0cbe2100b2454a015632e435dd1d2dccdbeb4ddcc90246/opening---98.jpg" data-mid="283638" border="0" data-scale="50"/> The exhibitionMAXXI Museum of 21st Century Arts invited five groups of young architects from different European countries were asked to design five ephemeral installations that will work as temporary museums dedicated to five cultural fields: cinema, music, literature, theatre and media.These ephemeral museums create a new “Parco Centrale”, and are ideally placed next to five abandoned Roman cinemas, the symbol of a cultural and architectural quality that has been partially lost and is to be retrieved by the city. The exhibition was held from Jul 14th to Jul 30th. <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/e3263ffdea083b1671a884da140b301904a78b136c7d0dc6919a51546e39ffe1/opening---129.jpg" data-mid="283641" border="0" /> Microcities/SOCKS Studio <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/adcc58f7f021f8d5960ccf2a17ed795cce796dce5e2146e5013d8b48409006e6/opening---130.jpg" data-mid="283642" border="0" /> Studio No <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/b8073aff12591ae576d5a73c59728ff0029bfa6c27436bf7ccdb832b54668283/opening---131.jpg" data-mid="283643" border="0" /> FAKT <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/b5ebb15386b82da49093dd4a0974f62bf75d7b826aec6fa388b15f6109015566/opening---132.jpg" data-mid="283644" border="0" /> Lucia Tahan <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/6eb7228f4d38d4c158dee445aaae289bf8df6c14d9f0ec06397b6a0f72edb840/opening---133.jpg" data-mid="283645" border="0" /> BNGRT <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/4de2676eac606233d7daaec945c2f7a5f505644f5905d635268ee10803bec468/opening---146.jpg" data-mid="283647" border="0" data-scale="97"/>Microcities / SOCKS Studio <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/f76f7b469f78e2d53225399c9f90a28da3fee06d2169ff437d55e164a5245836/opening---156.jpg" data-mid="283650" border="0" data-scale="94"/>FAKT <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/3619ed4d7621771e109a1862484a267bb299c1701a3f95dbb2fd02c224d52f76/opening---147.jpg" data-mid="283648" border="0" data-scale="82"/> Studio No <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/eb9e057e96978552da67dd9a346ae7a59c27fede3bb22bca957c47b73291688a/opening---134.jpg" data-mid="283646" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/9ed9b3d5e7fb21d38650572483891ff1b8de97b0b62939d19d26b4c865ad34ab/opening---5.jpg" data-mid="283654" border="0" data-scale="86"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/62c11418942931809291cd7e85f513deaa2452ca7a6de4329be8e0c2a8853ddb/opening---245.jpg" data-mid="283653" border="0" data-scale="86"/> Meraviglioso Urbano Between 1977 and 1985—the “stagione dell’effimero” (season of the ephemeral) years—the Estate Romana, led by Renato Nicolini, transformed Rome through a series of ephemeral architecture interventions. The term ‘meraviglioso urbano’ described the possibility to amaze and transcend the limitations of physical, permanent architecture. Nicolini believed that the meraviglioso urbano was embodied by the events that take place in ordinary areas, focusing on actions rather than buildings. The project researches the idea of an urban wonder, a way of seeing ordinary places as extraordinary ones. SITE The Villa Aldobrandini sits on an elevated plot surrounded by tall walls. Its gardens have a capricious layout, with a winding path around patches of thick foliage. The project imagines the walls as dams and the patches as islands, a kind of wonder where an archipelago emerges tall, each island as a column. Nine islands are chosen for the installation. VOICES The proposed program—readings of literature and poetry—is translated into a set of voices. Nine voices are situated in relation to one another, to their script, and to each of the islands they are placed on. The immaterial and the ephemeral, embodied in a landscape of simultaneous voices, are deployed as the core of the intervention. DISEMBODIMENT The voices are human, but the project wishes for their independence. The voices are subsequently disembodied through the physical architectural intervention on the site. Two types of disembodiment are proposed: the void, and the frame. As a stage, a void acts as a backdrop; a frame, as a foreground. The voids amaze with their formal aloofness; the frames recast the voices to a new form by englufing them within their inner volume. DIMENSIONAL AMBIGUITY The process of reading is interpreted as an exercise in dimensional ambiguity: when reading, a two-dimensional text is rendered three-dimensional, while at the same time the voice makes it immaterial and ehpemeral. All these qualities are explored formally. The voids present shapes coated in a special black paint that absorbs almost all light. Although three-dimensional, they are perceived as flat due to the lack of reflection, creating a sense of wonderment at their formal ambiguity. The frames are composed of thin white two-dimensional linear elements that suggest immaterial volumes. Both are alternatively visible and invisible in contrast with the very dark vegetation and Rome’s blinding-white summer sun. When photographed, the intervention appears to be unreal, a drawing overlayed on the landscape. IMMATERIAL CITY PLANNING The idea of a set of interplaying stages for different voices echoes Franco Purini’s idea of defining the points of an imaginary thread linking all interventions in the program. By breaking architecture rules in accordance with the rules of art, the project situates itself at the boundary of the material and the immaterial, the built and the drawn, to pay due tribute to the transformative power of the Estate Romana and to once again amaze the public with an ‘urban wonder’, a ‘meraviglioso urbano’. The model and silverprintsMade of only one-dimensional materials —black paper and brass thread— the three-piece model appears to float. When seen from the side, it disappears. It was accompanied by silver paper prints that reflected the object, fusing it with the drawings representing the project. <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/fade41365cac460294aa115f7bd080cd820507be629fa2573d9ff03fe4120dc6/opening---37.jpg" data-mid="283666" border="0" data-scale="46"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/d768028badb4a560d66765058e36b21bf7a5bf5d369c1eb518fa501e97d9eb7f/opening---47.jpg" data-mid="283668" border="0" data-scale="64"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/0ed16eea3dfa4e203596add376f148abca0684227e132971c076b8cc70db89b1/maxxi---2.jpg" data-mid="283655" border="0" data-scale="63"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/415a299df1da5670778157ab8590967392f88f02aec41ab357fd7e4456bb0b93/opening---64.jpg" data-mid="283685" border="0" data-scale="78"/> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/26a5c3a32939bcae57515ee5e93ab9fbe1d5769e6fd4bbf20b1cb978e04a536a/maxxibck---27.jpg" data-mid="283657" border="0" /> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/d1ec15dc1964af89c05b9b9e8593f115cef34da9cde57930bb10044ffdd0ba27/maxxibck---14.jpg" data-mid="283659" border="0" /> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/f3ec45c4bbaaed1995e56886a6104e6b8fe18e6976d2dbb206dc23a5c497c858/maxxibck---21.jpg" data-mid="283658" border="0" /> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/ace9152eef7b8e8564f1f2aea7835e3783f0864425ce5982960947c7ddb7463d/detail-madrid----1-3.jpg" data-mid="283660" border="0" data-scale="71"/> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/1bda98da991de0f55fe0ad7a131b6d5f8434fef665aef14d073b0ae66c21d4aa/detail-madrid----2-1.jpg" data-mid="283661" border="0" data-scale="71"/> <img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/8754e66b39541e588dc3952f44c46c65e019cf90662386c46da79756884843fb/detail-madrid----1-1.jpg" data-mid="283662" border="0" data-scale="58"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/8911c079b574097a27ea1ada975527999aab595fd41a49a38ee885db3d735305/instructions---2.jpg" data-mid="283663" border="0" data-scale="70"/> Extremely fragile, the process behind the making required high precision and careful leveling for the structure not to rotate or collapse. <img width="5000" height="3333" width_o="5000" height_o="3333" src_o="https://cortex.persona.co/t/original/i/7da6edac1cd78e691491c3a3f89cf11022d02d14a85a017c5de0a756216d8b02/0_fav01_full.jpg" data-mid="283664" border="0" /> The books <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/ea980464ab674dc09ab1888579cd9faf527f3ada02cc88273b514d641e9be334/opening---86.jpg" data-mid="283636" border="0" data-scale="89"/> Book #2 This book accompanied the model as a process book and explained the research undertaken into the site, the historical background, the materials and the building of the model. <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/747eeaa53b7e7c0c8e364a2662ea1334056c9e7a45b4011a683134f878a830f1/opening---108.jpg" data-mid="283637" border="0" data-scale="74"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/3f4017e53e6f12a00a0cbe2100b2454a015632e435dd1d2dccdbeb4ddcc90246/opening---98.jpg" data-mid="283638" border="0" data-scale="92"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/feb319840fe1892ea1cce316e7ca0116a0bc40c545520186ca7edc4ed4449e50/opening---85.jpg" data-mid="283669" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/2538f06c02a9f29b37eda420e8619545962d5a802f7d9225995a0c8858757007/opening---88.jpg" data-mid="283670" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/4e97f53c1bfc28f7b4f53f57fd6fbe1baa2ba1b7f7c5fa3e7f024d82dbb458d6/opening---96.jpg" data-mid="283671" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/f6582e44128f2f1168bcbc3cc4bdee2810cd9008409652ecea41b14bc5f8ebd1/opening---126.jpg" data-mid="283682" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/4a995c46a692f43534aa7f47167e57963f22e760df4493bec91705a7d6b69705/opening---106.jpg" data-mid="283673" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/bfb551ec686f9fbbbb00f7f4a61f56a05f6289d9f66afd389640d9ae990d91ab/opening---122.jpg" data-mid="283681" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/ef89c874088992834ad6c13783969032cf331d2808d53a287ec21a3bf8b1ad73/opening---118.jpg" data-mid="283679" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/bab086c4c7aa8180ec6866ad84abf140ca3524b6ece80930143e04d7a0b45510/opening---120.jpg" data-mid="283680" border="0" /> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/c367c503c4c65fa1cd58ef99677ac98be0037a98eb0ba85eb0cbab627e5f8abe/opening---72.jpg" data-mid="283686" border="0" data-scale="78"/> <img width="1280" height="853" width_o="1280" height_o="853" src_o="https://cortex.persona.co/t/original/i/3a069b1b033cf789cf7cc0a5fdcf0895050c526adb499a10b8c91e0a6f7ebe57/opening---62.jpg" data-mid="283684" border="0" data-scale="78"/> Book #1 The main book represented the theoretical and experimental aspects of the project, dealing with subjects like disembodiment, contrast and dimensional ambiguity. See all the drawings  <img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/a5828e022283772b037a87d46ae318ade5f1ca284b9463be2cafb204a7c9c81c/seoulbiennale_luciatahan6.jpg" data-mid="283690" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/d5bf372351a9c0e89c697c5de0f6d8da374c1120547f16069ea3acf9762aa9e7/seoulbiennale_luciatahan8.jpg" data-mid="283691" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/f6feb221b5bea5dbcf9019f858497f71197fcf96b5b6b45ca0df81d43261e8b9/seoulbiennale_luciatahan11.jpg" data-mid="283692" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/4a98657ad513e3a8060eab4e90312f8eec9f538ac2c58651e1e62120c996976e/seoulbiennale_luciatahan12.jpg" data-mid="283693" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/bc2f278a5a380a312f1869ad60c006402c8f6a0ee4d1caea15b7b904d735b227/seoulbiennale_luciatahan7.jpg" data-mid="283694" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/40adec61611da4a347a693524d454185674191d67e8bf596260af3ce354541f4/seoulbiennale_luciatahan16.jpg" data-mid="283695" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/466efc5b10d9dcc15632c420837f9d807fec2c722e900d01d9f609ccd45f99c6/seoulbiennale_luciatahan17.jpg" data-mid="283696" border="0" /><img width="1587" height="1123" width_o="1587" height_o="1123" src_o="https://cortex.persona.co/t/original/i/137370dfc25e3c437ac5a1db729f6e3d0fc86044eec5a4c68a4fa965dcc6b7bc/seoulbiennale_luciatahan21.jpg" data-mid="283697" border="0" /> The workshop A five day workshop was held at MAXXI National Museum of 21st Century Arts in which the five invited studios visited the different sites in Rome where their research took place, while production for the exhibition took place and new ideas were developed. Photos by Giovanni Stella for Smilevision, Courtesy Fondazione MAXXI <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/821bf64488869eae2790dc059feceb718ce45fc17f3efa84f667c3bee89de500/tahan_FAP_MAXXI-31-di-55.jpg" data-mid="283698" border="0" data-scale="71"/> <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/ad13db02ae836fd40c1dc6eaf0b4d6e3668ab61af4c8de12680cebcd7ddb62b0/tahan_FAP_MAXXI-46-di-55.jpg" data-mid="283702" border="0" /> <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/557a899b6d87a44e5e98ed97d09420ef27a5ca3a7336f7d1dfdca7b84232eba5/tahan_FAP_MAXXI-42-di-55.jpg" data-mid="283701" border="0" data-scale="84"/> <img width="800" height="1200" width_o="800" height_o="1200" src_o="https://cortex.persona.co/t/original/i/cdac7cedad761009d1d780ac8b2e0f9782a0e1e8ed5ab2172085c1cf8284694d/tahan_FAP_MAXXI-38-di-55.jpg" data-mid="283703" border="0" data-scale="65"/> <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/48bd5306ee49a5a6dd76e70705b7b437a02adf4c32c34957b3bb8aa124a0859a/tahan_FAP_MAXXI-40-di-55.jpg" data-mid="283700" border="0" /> <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/8206bab68d8fe827036de898ce03cd6f61775e25510bc06b776b877d659301aa/tahan_FAP_MAXXI-41-di-55.jpg" data-mid="283699" border="0" data-scale="71"/> The symposium Moderated by Pippo Ciorra and Luca Galofaro, a discussion about the role of ephemeral architecture and a presentation of each studio’s ephemeral projects took place at the partial reconstruction of the Nicolini’s Teatrino Scientifico installed at the MAXXI Museum. The participants were FAKT, No studio, Lucia Tahan, BNGRT and Microcities/ SOCKS-studio accompanied by the Italian studios Fosbury Architecture, La Macchina, Warehouse of Architecture and Research, and Supervoid. Photos by Giovanni Stella for Smilevision, Courtesy Fondazione MAXXI <img width="800" height="1200" width_o="800" height_o="1200" src_o="https://cortex.persona.co/t/original/i/50753285e7db05aa83f7e71784a1dff0606bd63c5569b11bc5cc7a79c63747c4/tahan_FAP_MAXXI_SERATA-5.jpg" data-mid="283705" border="0" /> <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/448cfde9d06ef66a68c91ead1754f58a3bfd543f69b870eb9b4823d471a5857c/tahan_FAP_MAXXI_SERATA-37.jpg" data-mid="283710" border="0" data-scale="87"/> <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/6c0d5eed7fdcb25392e4fd70794d4f2e2188d2f2123b815c92b000bed016e8ba/tahan_FAP_MAXXI_SERATA-39.jpg" data-mid="283709" border="0" /> <img width="800" height="1200" width_o="800" height_o="1200" src_o="https://cortex.persona.co/t/original/i/82d6ca810c073764ea8dd48b6da9ca6c2d7185b09e623e28011e6b0899ed33f8/tahan_FAP_MAXXI_SERATA-9.jpg" data-mid="283704" border="0" data-scale="72"/><img width="800" height="1200" width_o="800" height_o="1200" src_o="https://cortex.persona.co/t/original/i/165eb6c72f5b2b8022e058ce99aedb514933d5afc3b8095a03186b5597ac3132/tahan_FAP_MAXXI_SERATA-11.jpg" data-mid="283706" border="0" data-scale="72"/><img width="800" height="1200" width_o="800" height_o="1200" src_o="https://cortex.persona.co/t/original/i/9eca8dfcac0fa53cf63a28187c44f462740b752b95d0d10cc1de78532e478344/tahan_FAP_MAXXI_SERATA-21.jpg" data-mid="283708" border="0" data-scale="72"/><img width="800" height="1200" width_o="800" height_o="1200" src_o="https://cortex.persona.co/t/original/i/79506aafc547db37c8aa6d1571af9c8c90f78ec55ae1f27d8d3c9b29e92dd8ab/tahan_FAP_MAXXI_SERATA-16.jpg" data-mid="283707" border="0" data-scale="72"/> More information:&nbsp; MAXXI National Museum of 21st Century Arts / The Theaters of Culture: Ephemeral Projects for the Eternal City&nbsp; Seoul Biennale of Architecture and Urbanism / Common Cities&nbsp; Individual projects: Microcities / Socks Studio (Mariabruna Fabrizi, Fosco Lucarelli) – Studio NO (Magda Szwajcowska, Michał Majewski) FAKT (Sebastian Ernst, Sebastian Kern, Martin Tessarz, Jonas Tratz) – BNGRT (Florian Bengert) &nbsp;  Lucia Tahan &nbsp;2017 Instagram | hello@luciatahan.com —‘The Theaters of Culture: Ephemeral Projects for the Eternal City’ is an exhibition of five projects by five emerging young studios about...