While a traditional mock-up is understood as a full-scale prototype used for instructional or experimental purposes, a performative mock-up goes beyond mere representation – it becomes a shared experience that reveals the interplay between behavior and spatial configuration. By creating spatial situations that foster diverse interactions among participants, these reversible installations encourage spontaneous and unexpected encounters, transforming them into moments of collective learning.

Description

Unlike the student's typical approach of first planning and then creating models for review and visualization, the performative mock-up embraces uncertainty and finding comfort in not knowing. It is a 1:1 prototype of an installation used at the beginning of the design process in order to learn from its performance and the reactions towards its form, function, placement, idea etc. When used as a research medium, reactions to such an installation can often reveal people's needs and interests more effectively than direct questioning, as participants may not have been fully aware of them beforehand. Experiencing spatial change firsthand can be provocative, uncovering unconscious behavioral patterns and making them more tangible. The performative mock-up thus becomes the focal point of discussion, where diverse spatial experiences take shape and crystallize. Experiencing the transformations in situ, with their whole bodies and senses, allows participants to recognize the added value of these interventions—an impact that extends beyond spatial improvements to include social, structural, and psychological benefits.

How to Use

The performative mock-up played a central methodological role in the two “Informal Learning Spaces” studios, during the fieldtrip in “Studio Plovdid” and the free master Thesis “Lavadouros”. Rather than relying on verbal explanations, the projects were demonstrated through embodied experiences of transformation. Instead of merely listening to the description of the design proposals, participants engaged with them physically, either by performing them or allowing them to perform. These choreographed review situations became collective sensory experiences, encouraging a diversity of stakeholders to feel the potential of change rather than just discussing it. The idea of the performative mock-up was additionally exhibited during the 

 at Swiss Architecture Museum (SAM) in Basel.

Context

[Studio Informal Learning Spaces Team] Grégoire Farquet, Charlotte Schaeben, Seppe De Blust, Beatrix Emo, Freek Persyn, Momoyo Kaijima,

[Studio Plovdid Team] Michiel van Iersel, Ellena Ehrl, Ina Valkanova, Freek Persyn

[Master Thesis Lavadouros] Students Chiara De Libero and Maria Margherita Innocenti, supervised by Lukas Fink

Credits

Formats

The Performative Mock-up

The “Room of Entanglement” is a scenography which shows a variety of analytical and propositional work in relation. It is constructed as an immersive spatial setup which acts as a playground for discussion. The exact form of the “Room of Entanglement” can vary, as long as the room is the central element (of a design studio) where all individual contributions come together.

The “Room of Entanglement” serves different purposes on various levels. In relationship to practice it is a setting to inspire and to stimulate various actors – students, practitioners and stakeholders involved in urban transformation – to transgress current ways of thinking. By showing different contributions in parallel, the room encourages to think in relationships, to think beyond the plot, and to think in different time spans.

On a pedagogical level the room becomes a collective output and the “boundary object” of the studio. This means the main focus is not the individual “project” as such, but rather the setting where these proposed interventions – as well as the assumptions, emotions and world-views they are based on – are communicated and discussed. Here, the role of the design proposal is rather to activate the setting, to become an object and tool for dialogue and to help others to engage. Arguments, design details, maps, metaphors or renders are no longer there to convince but to invite to add, change, execute, test, cherish or play around with. The fact that students do not present their project in isolation can help them to learn from and with others. It helps to enhance the ability to think about the relations between different projects and to relate an individual contribution to a larger narrative.

Besides, working on the “Room of Entanglement” means that each student or participant takes up different roles: Next to the work an individual contribution one becomes scenographer, production assistant, host and much more.

The concept of the Room of Entanglement as a collective output and structure of the semester was the central element of our spring 2022 design studio on Zurich Altstetten. During this studio we tested four different alterations of the Room of Entanglements. The guests we invited to these sessions rather became active contributors than visiting “critics” or experts.

Room No. 1: For the first room we invited developers, citizens, gardeners and activists engaged in Altstetten. They are all closely related to a specific ongoing transformation project in Altstetten. The goal of the room was to enrich our reading of Altstetten. In an immersive setting of drawings hanging from the ceiling, guests could choose what relates to their stake, focus or interest and new material and layers were added.

Room No. 2: For the next room we invited planners, architects and colleagues from ETH to refine and test the elements, developed by students, and to introduce a map as a common layer. During the session we co-created a first draft of the collective map.

Room No. 3 & 4: Room number three served as a rehearsal for the fourth and final room. For these rooms the map was further developed by students and all the studio’s elements were brought together in a collective performance, including a kind of “live power point” presentation. For this session we invited the city administration of Zürich to test the Room of Entanglements as a setting to discuss the densification plans of the city.

Afterlife: A later and more detailed version of the Room of Entanglements and the map was made within the context of an exhibition at ZAZ (center for architecture Zurich). This alteration of the room and the map became the starting point for another series of discussions on urban transformation with a variety of stakeholders.

[Studio Team Altstetten] Seppe De Blust, Lukas Fink, Chloé Nachtergael, Freek Persyn

Urban Practice

The Room of Entanglement

In this letter the students and the team of Studio Piraeus recollect their encounters with the city, sending back some of the ideas inspired by them and shaped throughout the semester as a continuation of their dialogue with Piraeus

We hope this letter finds you well. We met some of you when we visited Piraeus in February.
A lot has happened since then. Please allow us to give you an update, hoping that we will be able to meet (again) in the future.

As architecture students and professionals from the Technical University in Zürich we wanted to learn from Piraeus. We stayed in Chatzikiriakio, walked along the coast from Palaio Faliro via Kastella and Drapetsona to the Ferry Port of Perama. Along the way we met with activists, scholars, politicians, entrepreneurs and many others. We heard about the financial crisis, the shortage of affordable housing, Chinese shipping company COSCO’s involvement in the port and the arrival of galleries and foreign companies in Agios Dionysios. And we learned about the waves of refugees reaching the city, the lack of green public spaces and the needs of the people who call Piraeus their home.

Shortly after we returned from Greece, the spread of Covid-19 made the world spiral out of control. We were all forced to stay home and work online. Despite the distance, we developed ideas and concrete design proposals for the places we visited in Piraeus in close collaboration with people we met. For example, some of the students developed a plan for the construction of a ‘solar furnace’, a large solar power station to replace the oil refineries in the port and accelerate the transition from fossil fuels to renewable energy. Others proposed to transform the tower of Piraeus into a mixed-use complex, inhabited by a variety of temporary residents. Another idea, to ‚adopt a periptero’, the traditional Greek kiosk, aims to give an impulse to local businesses and create a more resilient and self-sufficient local economy. The idea for a ‘Green Piraeus’ campaign addresses neglected urban spaces along the coast and forms the start of an ongoing collaboration between Swiss students and a local grassroots initiative.

We presented these and other ideas during a final online session in May with guests from Piraeus and from different parts of the world. On the other side of this letter you can see and read a selection of reactions and thoughts for Piraeus, which came up during this presentation.
You can find more information by visiting the website of Studio Piraeus:
www.newropepiraeus.world. Unfortunately, it’s mostly in English, but let us know if you would be interested to have it translated for you.

We care about Piraeus and want to stay involved. We see the proposals as a first step in a long- term exchange. This letter is an invitation to get in touch with us (again). We would love to get your response, positive or critical, and to receive questions and suggestions. So please don’t hesitate to call us or send us an e-mail or letter. Because now, more than ever, communication is crucial if we want to overcome the distance that keeps us apart.

We look forward to your response and wish you all the best,
Students and team of Studio Piraeus”

[Authors] Students and team of Studio Piraeus

[Students] Sogol Amuzegar, Lea Andermatt, Leon Beck, Leon Dähler, Andreas Dietschweiler, Nadina Dollie, Tobias Etter, German Kiyyan, Sina Lengerer, Maurizio Mätzler, Clara Peter, Théophile Ray, Nicolas Rolle, Angela Roth, Timothy Schärer, Ekaterina Scholz, Emily Tobler, Janelle Woo

[Studio Team] Joël Berger, Seppe De Blust, Lukas Fink, Falma Fshazi, Evelyne Gordon, Michiel van Iersel, Moritz Köhler, Freek Persyn, Meghan Rolvien, Charlotte Schaeben, Ina Valkanova

Letter to Piraeus

Resource