Aida Miron is an architect interested in the cross section between architecture, urbanism, art, film, literature, philosophy and ecology. She received a B. Arch from The Irwin S. Chanin School of Architecture of The Cooper Union, a M.Arch with honors from the Escuela Tecnica Superior de Barcelona-UPC and a post-Graduate degree in Urban Studies from the Bauhaus Stiftung in Dessau, Germany. In 2001, she spend a year at The Cooper Union School of Art working on film and video and at NYU studying with Jacques Derrida. She has been an academic critic and guest juror at Columbia University Graduate School of Design and School of Urban Planning, RISD, Parsons, Pratt, Rensselaer Polytechnic Institute and NYIT; collaborated on the program of Arts Letters and Numbers, directed a workshop and installation at OMI International Arts Center both in upstate NY, co-taught a master program workshop at the Aarhus School of Architecture in Denmark and lectured at the Angel Orensanz Foundation in L.E.S, Aedis Galerie in Berlin, the Bauhaus Foundation in Dessau and the University of Buffalo. Her thesis proposal from the Bauhaus Institute was published in "Refugee Spaces" Transnationale Raum, exhibited at the Bauhaus and at the 4th International Architecture Biennale of Rotterdam. She was awarded the Abraham Kazan Award for Urban Design in 2004. Her research on John Hejduk has been published by Speciale Z, Paris, as well as other articles in 1:1, El Token, and Nova Organa.
She has worked for firms in various cities: Pei-Cobb-Freed and Partners in NY, Plot.dk in Copenhagen, SaAS Architects in Barcelona, Guerin Glass Architects in NY, Craig Nealy Architects in NY-Mumbai; collaborated with Sven Eggers from Buro Schwimmer in Berlin on research projects since 2007, co-founded Casona Garden Design, a research, gardening and landscaping practice in Redland, South Florida in 2008, and co-founded Kora Forms, a research and design space based in the Gowanus Brooklyn. From her studio she collaborates with artists, architects, fabricators, interior and light designers, organizes various community workshops and works along Engineers without Borders on community and infrastructure projects in Latin America. She is the Education Lead for the Yamabal project in El Salvador.
Aida Miron is currently working on a mapping project of critical and endangered zones in Latin America. Since 2009 she has taught Architectonics at The Cooper Union along David Gersten and Lebbeus Woods.
Projects & Links
EVOLUTION OF FORM
JOHN HEJDUK 1954-1974: The Evolution of Form from the Nine Square Grid to the Wall House.
ETSAB Master Thesis
This thesis deals with John Hejduk’s work, emphasizing a move towards a language where being and dwelling, city and object, the individual and the community, the modern and the classicizing are confronted through a juxtaposition of parts. Within each project there is pure fabrication, a reduction of signs which does away with style, a formalism which confronts specific concepts where the "idea of the isolated object of the twenties century is put in crisis.” Between architecture, poetics, ethics and a persistent investigation of habitation, an underlying abstraction which relates to thought is present. Hejduk disrupts the meaning of architectonic signs by re-introducing meaning to an architectonic language through a reductive vocabulary of geometries and relations and by inventing a new syntax, placing a void within new programs after having dismantled history and referent. It is the aim of this thesis to analyze the way Hejduk constructs a language which dismantles the topology of house and to situate the breaks within each frame in the progression of the houses from 1954-1974.
REFUGEE SPACES: BERLIN
Refugee Spaces: Berlin
Bauhaus Institute Research
This project visualizes how the nation state defines the limits of refugees’ mobility, while the city offers high urban mobility and densities in migrant districts where refugees find the possibilities to transcend coding of statuses and restrictions. Through signs, movements and communication within the urban context, refugees and migrants act as a force of potential which offers the city new experience while reshaping urban typologies and creating rich spaces for cultural exchanges. Refugee patterns of mobility and communication extend through different migrant zones where affinities are established through transnational networks and social contacts develop inside refugee camps and in migrant areas. These networks move through culture, gender, religion and language relations and disrupt isolations created by law restrictions, which define categories and exclude refugees from the urban sphere. Substituting different state functions of support, they help refugees re-inscribe themselves into different existing communities through deterritorializations. This project seeks to map out observed patterns of refugee’s moverments as well as analyze refugee camp structures and confronts categories of exclusion with those of habitation and residence.
BERLIN LIBRARY: THE TRACE OF THE WALL
Berlin Library: the Trace of the Wall
The Cooper Union Thesis Project
This project deals with history, language, memory and the possibility/impossibility of reconstruction. It is a search through traces, memories, urban fragments, which questions how to introduce writing and memory into a rupture space, it moves through language and writing as it does through spaces and memory, it is an archive for the collection of memories, writings, conversations, artefacts, from East and West. It moves away from hierchies of space and power and seeks to invent new structures, new forms, constantly transforming like history. It moves between the present and the past, in a space that is an aporia of the urban and human condition. It looks at fragments, deterritorializations, archives, moments in time, film, tracings on walls and memories, it talks about remembrance and the impossibility/possibility of forgetting
TULUM ARCHEOLOGICAL MUSEUM
Tulum Archeological Museum
With Michaella Cardona and Lihui Ke
Addressing the superimposition of Mayan temples, the contemporary archaeological museum extends from the fragmented Mayan wall becoming an open structure where different programmatic moments extend. The structural wall carries the program which is the exhibition space itself. Reconstructing the fragmented pieces of the original Mayan wall and superimposing them over the programmatic requirements, the concept of wall becomes analogous to structure and differentiation, as an interface between past and present allowing a dialogue between mythology and contemporary Mayan culture and form. The project seeks to respect the existing structures and native plants of the area and promote local artisan participation.