Andrea Zanderigo & Pier Paolo Tamburelli

baukuh was founded in 2004 and is based in Milan and Genoa. baukuh completed the House of Memory in Milan (2015) and is currently developing the restoration of the Seminar School in Hoogstraten (Belgium), the construction of the flagship store of the Poretti Brewery in Induno Olona (Italy), the masterplan of the Pupillen site in Aalst (Belgium) and the strategic plan for the Student City of Tirana (Albania). baukuh took part in the Rotterdam Biennale (2007 and 2011), in the Istanbul Biennial (2012), in the Venice Biennale (2008 and 2012), in the Lisbon Triennale (2016), and in the Chicago Biennial (2015 and 2017).
Pier Paolo Tamburelli studied at the University of Genoa and at the Berlage Institute Rotterdam. Tamburelli has taught at the Berlage Institute Rotterdam, at TUM Munich, at FAUP Porto, at the University of Illinois at Chicago, and he is currently a professor at the Milan Politecnico.
Andrea Zanderigo studied architecture at IUAV in Venice. He has been visiting professor at Universität Stuttgart, at PBSA Dusseldorf and Columbia University in New York. He is currently teaching at RCA in London.
Tamburelli and Zanderigo are among the founders and editors of the architectural magazine “San Rocco”.

A universal history of re-making

baukuh is specialized in twisting existing, often unresolved constellations of objects into new unexpected and meaningful configurations. The aim is to be able to answer to contemporary needs, desires and requirements, while avoiding wasting precious resources in a universe where energy, money and identity are becoming increasingly scarcer.
There’s no more empty space to be conquered, the even covered field is everywhere but in harsh natural conditions. We better start looking at what is there on the ground as an asset, as a valuable resource more than an impediment towards the fulfilment of the project.
In order to be able to operate on existing built matter, an extreme sensitivity in reading contexts is needed. The architect has to be able to discern the different layers, to investigate their statutes, to read the design intentions of their creators, to understand the subsequent modifications to the original sets of forms. A broad formal knowledge is certainly needed, as well as a non-superficial understanding of the cultural and material conditions which produced those pieces and might produce the new ones. A deep knowledge of architectural languages is required in order to be able to operate with and between them.
Not everything though has the same value: in the often chaotic accumulation of forms of any given context, it is fundamental to be able to judge the [objective] value of its pieces. Every project is first of all an act of judgment on the architecture[s], the city, the world. Being able to choose what to keep as it is, what to alter and what to throw into the dustbin, is the precondition of any project of reconfiguration of what already exists.