Current Research

Collaborative Practice, lecture at Maastricht Academy of Architecture

Pierre d'Avoine talks about the following projects: Michiko Koshino, Host (Venice Biennale 1996), Housey Housey, Invisible House, Big House Little House, Chatfield House, Piper Rooftop, Rocket Room, San Salvatore, Busan Opera House, Birnbeck Island, Apparition. credits copyright: Pierre d'Avoine Architects introduction and initiator: Jos Bosman camera and montage: Ivo Rosbeek poster: Sven Jansse


Dwelling in the Future

Pierre is currently making a book titled “DWELLING IN THE FUTURE: land use, housing, and the conditions for contemporary architectural production” for New Ashgate Publishers - series ‘Design Research in Architecture’ (editors: Murray Fraser (Bartlett, UCL), Jonathan Hill (Bartlett, UCL), Jane Rendell (Bartlett, UCL) and Teddy Cruz (University of California).


A Counterproposal for Belper 

An urban design and landscape project with ex Kingston School of Architecture diploma student Aslihan Caruopapoulle which challenges Tesco’s current proposals for the town centre and environs of Belper, Derbyshire situated in the Derwent Valley World Heritage Site . The project follows on from a diploma programme at Kingston School of Architecture 2013-14. Aslihan is using the current research as the basis for a PhD at Kingston School of Architecture.


Client Style, Lecture at Architectural Association School of Architecture, Pierre D'Avoine and Colette Sheddick


What does the practice of architecture entail, how is it authored, and later performed? Bruce Goff when asked what style his houses were replied that they were Client Style. His response may have been a disingenuous off-the-cuff remark or perhaps truly accurate in that all buildings, especially houses designed for a particular client are a reflection of their personality, albeit melded with that of the architect. It is this complex and ambiguous relationship between the client and the architect that we wish to explore in our joint lecture using examples of our work together and apart to illustrate it. At what point does the architect let go of the project and client take possession? How is this transfer negotiated? There are issues of control in the way the house is fitted out (dressed) and even occupied that exposes the suggestion/coercion in the design and the will of the client to resist or yield up to the project. Are they joint authors in a project that relies upon performance for its affirmation and success?