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  • 7 / Sincere Fun, 2024
    • 7-1 / I / Call for Contributions
  • 6 / Learning Architecture, 2021
    • 6-1 / I / Call for Contributions
  • 5 / Invisible Structures, 2020
    • 5-1 / I / Prologue
    • 5-2 / II / Essays
  • 4 / The Possible Progress, 2019
    • 4-1 / I / The Possible Progress
    • 4-2 / II / Answer Series
  • 3 / Building Identity, 2018
    • 3-1 / I / ASSIMILATION
    • 3-2 / II / APPROPRIATION
    • 3-3 / III / REJECTION
    • 3-4 / IV / CONCILIATION
    • 3-5 / V / THE CASE OF DWELLING
  • 2 / The limits of fiction in Architecture, 2017
    • 2-1 / I / THE TEXT ISSUE
    • 2-2 / II / THE IMAGE ISSUE
  • 1 / The Form of Form, 2016
    • 1-1 / I / How To Learn Better
    • 1-2 / II / The Architecture of the city. A palimpsest
    • 1-3 / III / LISBOA PARALELA
  • 0 / Relations, 2015
    • 0-0 / Ø / Worth Sharing
    • 0-1 / I / Confrères
    • 0-2 / II / Mannschaft
    • 0-3 / III / Santisima Trinidad
  • imprintingidentity / Imprinting Identity, Special Issue 2019
    • imprintingidentity / Imprinting Identity
  • makingheimat / Making Heimat, Special Issue 2017
    • makingheimat / Making Heimat
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    The Tree from the Triangle

    Fritz Barrell

    “Fritz Barell” is the fictitious name of someone who gave us access to the information that builds up this diagram but doesn’t want to have his/hers name published. This diagram relates to the overall project structure for a typical production building of a major company. The graphic work of Max Frischknecht on the project structure […]

    “Fritz Barell” is the fictitious name of someone who gave us access to the information that builds up this diagram but doesn’t want to have his/hers name published.

    This diagram relates to the overall project structure for a typical production building of a major company.

    The graphic work of Max Frischknecht on the project structure makes use of identical modular units arranged according to the hierarchy imposed by the client’s approach to the process of planning, managing and building. The architect is one of many.

    The triangle is, in corporate architecture, a long gone fantasy replaced by a tree-like shape of highly hierarchical relations between an exponential amount of intervenients in the project, where the client never really comes in contact with the architect.

    Why has this relation come to this point?

    Is this way of proceeding productive?

    How is the built reality influenced by the replacing of the triangle by a tree?

    1 See the articles of Enrique Pelaez, Pedro Bragança and the interview with Marco Serra for further insights on this specific topic.
    3 – 07
    Essay
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