Monica Ponce de Leon and Nader Tehrani: "Versioning: Connubial Reciprocities of Surface and Space"

In their article "Versioning: Connubial Reciprocities of Surface and Space," the principals of Office dA, Monica Ponce de Leon and Nader Tehrani, define and explain versioning as it applies to the works of their firm. For Office dA, versioning, with its connotations of integration, means integrating surface and space. Surface and space are, more often than not, treated separately from one another. Herzog & de Meuron are architects who have developed highly detailed skins, showing innovation at its best; however, these skins cover off the shelf spaces found throughout modernism. Gehry's development of space has made him a household name in the world of architecture, but he clads these forms with metal panels that have been used for many spatially unimpressive buildings in the modern era. The work of Office dA sets up architectural alibis, where program, site, and fabrication lead to the development of rational systems. Their works are based on arbitrary decisions crafted into strong, rational decisions. The Tongxian Arts Centre project provides and example of this process. The building is cast in concrete, but based off a brick mould. They use a Flemish bond, and remove the headers; in this concrete construction, the spaces left behind become arbitrary, and can be adjusted to break away from conventional building. These adjustments allow for the compression of expansion of not only the wall surface, but the spaces contained within. The surface manipulation defines the space; a relationship where coexistence is essential.

This type of versioning has many potentials in the field of architecture. One of the most important being the reinforcement of symbology in architecture. This level of integration can allow symbols of space and the build form to become more evident. Gehry's work would benefit highly from this design approach. His organic forms would become a more full bodied experience, selling itself for what it is both inside and out, as opposed to being hidden in the metal panels covering other, less symbolic buildings. There are many levels to which this integration can be taken. An extreme case would be the Death Cube K bar described in Anthony Vidler's article in Warped Space. This bar's insect-like cladding reinforcing the idea of corruption the bar stands for. While the symbolism in this example is rather negative, it is the idea of being able to use this level of integration for symbology that is important. In this form, versioning can give architecture the chance to reveal what before could only be hidden within the fabric of space and form.