EPISTEMIC LABS redefines the classroom as a site of radical experimentalism, merging the chaotic, process-based pedagogy of Dieter Roth with the foundational anthropometric scale inherent in my mother’s early educational teachings. These laboratories move beyond the rigid, institutional transmission of fixed knowledge, adopting the decentralized and democratic structures of Joseph Beuys to foster collaborative spatial research. By deploying the
and focusing intently on the cultural device , the environment is transformed into a live workshop where choreography of making creates rhizomatic pedagogy of collective agency. Each studio session acts as a rehearsal of possible futures, utilizing symbolic stratigraphies to transform the traditional academic grid into a porous, vital terrain of shared authorship. Here, teaching is not a separate discipline but a core artistic practice—a way to disseminate the socioplastic code through the hands of a new generation. epistemic synthesis
027-WORK-BREAKFAST:
Teaching is conceived as experimental pedagogy, blending architecture, art, performance, and urban research. Workshops, studios, and collaborative actions explore new methods of learning through making, embodiment, collective authorship, and situated practice.
Teaching is approached as an experimental practice, not as transmission of fixed knowledge but as rehearsal of possible futures. Each workshop or studio is a fragile laboratory where students, teachers, and contexts interact in ways that blur the boundary between pedagogy, performance, and collective construction. The classroom expands into the city, into forests, into digital platforms, becoming a stage where methods are tested, not merely explained. Projects such as The Wood Way at NTNU in Norway demonstrated the power of collaborative construction: eighty first-year students raised a one-to-one wooden superstructure in the forest, producing not only architecture but also new forms of negotiation, participation, and collective authorship. In FLIPAS!, created with Goethe-Institut, teaching unfolded as urban performance: young participants explored the city through art, film, and spoken word, transforming public space into a pedagogical site of expression and resistance. At the Universidad Autónoma de Madrid, courses like The Experience of the City framed urban research as lived practice, with students mapping plazas, parks, and neighbourhoods as emotional and ecological systems rather than abstract diagrams. Failure is not a problem but a generative moment where creativity expands; improvisation is a method rather than a fallback. By integrating performance, film, architecture, and critical writing, teaching becomes a transdisciplinary rehearsal, preparing not for fixed outcomes but for adaptable, open-ended ways of thinking and making. The underlying principle is that knowledge is collective: each participant brings fragments, gestures, and perspectives that coalesce into temporary structures of meaning. What emerges is a pedagogy of presence—messy, embodied, porous—where theory is inseparable from action. Students leave not with answers but with methods for questioning, inhabiting, and re-shaping their environments. Teaching here is therefore not institutional service but political and artistic practice, extending socioplastics into education as a shared terrain of invention. Each course or workshop is a performance, a situation, a sculpture of learning in real time.
NODES
001-TOPO-URBANISM:
002-TOPO-ARCHITECTURE:
003-TOPO-RESEARCH:
004-TOPO-TEACHING:
005-TOPO-ESSAYS:
006-TOPO-EXHIBITIONS:
007-TOPO-ART:
008-TOPO-SERIES:
009-TOPO-COLLECTIVES:
010-TOPO-FILMS:
The studio is repurposed as a site of epistemic unrest where
treats republication as a deliberate gesture of authorial sovereignty. In our PedagogyAsPraxis , the "Summa" is an active, master inventory of systemic operational parts. We empower the practitioner through a UnstableClassroom that ensures the continuous metabolic ingestion of conceptual protein for future systemic growth. RadicalSyllabus
