tag:blogger.com,1999:blog-26784158494337708552024-03-04T22:58:13.845-08:00architecturewithoutarchitecturepelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-2678415849433770855.post-60815022007858866962009-01-23T04:35:00.000-08:002009-01-23T04:41:38.336-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDKGhQJTj83lPqSh5e1e2S4d13X4_o4KzWB34JPlwh13VgPPJ-G7m2t2fqKt6E7OHxh1XGJ4UPNEFrnY0cgM8PtY-pd_Ofs9dx6xIxrTqhOB1TiJS5yG7dLWgmrCwnRNmBxjLRCdhiRs/s1600-h/1.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDKGhQJTj83lPqSh5e1e2S4d13X4_o4KzWB34JPlwh13VgPPJ-G7m2t2fqKt6E7OHxh1XGJ4UPNEFrnY0cgM8PtY-pd_Ofs9dx6xIxrTqhOB1TiJS5yG7dLWgmrCwnRNmBxjLRCdhiRs/s320/1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294468404447384354" /></a>pelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.com0tag:blogger.com,1999:blog-2678415849433770855.post-43284205930927368492009-01-23T02:33:00.000-08:002009-01-23T02:43:40.439-08:00fictional Architectonic Homo Sacer....<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6jom0wwIV0nUQ1huK7Rt43eYUWFyZfYs1GMcXPQEGn0TbQcHP9Hay3CPuXjZYoG-Qc7XsPNmoGDWum0f82wkvsOvffLEGdgh3k8vRJlm2A_AikCeGOpQp_E2s-ib_Mod2waCaFk7Gh14/s1600-h/seite03.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 241px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6jom0wwIV0nUQ1huK7Rt43eYUWFyZfYs1GMcXPQEGn0TbQcHP9Hay3CPuXjZYoG-Qc7XsPNmoGDWum0f82wkvsOvffLEGdgh3k8vRJlm2A_AikCeGOpQp_E2s-ib_Mod2waCaFk7Gh14/s320/seite03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294437886284817394" /></a><br />(draft seite3)<br /><br /><br />we are editing and publishing a fictional magazine about the "Architectonic Homo Sacer" research...we need to finish the first draft today..pelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.com0tag:blogger.com,1999:blog-2678415849433770855.post-79691172282931529452009-01-22T02:30:00.000-08:002009-01-22T04:40:09.390-08:00Spatial Research and Visuality<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwnpSzLzO0POlQuhLAkSNYJEY0xP5kR3TmDWqnDAgT-HMxtRQ6NSKZsWB3rT0327gPEUvUxZaEtks3G-n17x3z1BdTheZcw9Bv6L2O6UX8N_BlyiuRKNFnyapEj6wHXCjYzNbOvpoqVkU/s1600-h/-1.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwnpSzLzO0POlQuhLAkSNYJEY0xP5kR3TmDWqnDAgT-HMxtRQ6NSKZsWB3rT0327gPEUvUxZaEtks3G-n17x3z1BdTheZcw9Bv6L2O6UX8N_BlyiuRKNFnyapEj6wHXCjYzNbOvpoqVkU/s320/-1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5294096602956715954" /></a><br />22.01.2009, a42<br /><br />Guest: <a href="http://www.susannekriemann.info">Susanne Kriemann</a><br /><br />We have a guest today; the German artist Susanne Kriemann who works on spatial research and politics. She presented her few projects and the way how she works as an artist about space research and publication.<br /><br />www.susannekriemann.info/12-650/#more-121pelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.com0tag:blogger.com,1999:blog-2678415849433770855.post-87650217811653855722009-01-22T02:22:00.001-08:002009-01-22T02:27:57.217-08:00Cyprus in between / YENİ MİMAR<span style="font-weight:bold;">The Nicosia research of a42 published as a report/summary in Turkish; <a href="http://www.yenimimar.com">YENİMİMAR</a> Turkish architecture magazine,p.10, December,no 68, 2008</span><br /><br /><span style="font-weight:bold;"><br />Cyprus – in between.</span><br /><br />“The paradox of borders is that they divide at the same time that they provide sites of contact.” (Yiannis Papadakis, 2006)<br /><br />We are six students from the Master program on Architecture and Urban research based at the Academy of Fine Arts in Nüernberg . This study program participated in the period between nov. 03Rd to nov. 11th 2008 in a excursion to Cyprus which was a participation in two international workshops: Liminal Zones and incm008/CY workshops. <br /><br />The island in the eastern Mediterranean Sea located is divided in a Greek-Cypriote and a Turkish-Cypriote area since 1974. The dividing line runs across the capital Nicosia, there are five transition points. The UN-Buffer zone, existing since the 1970s, assures peace between both clash parties. In the divided capital two workshops took place. The anacrusis event in the Greek Cypriote part of the city was the seminar Liminal Zones Cyprus 2008, organised by the University of Cyprus und Goldsmiths College, London. In terms of roundtables, questions of Liminal Zones in context with the Cyprus-conflict and its spatial effects have been discussed together with experts from south and north Nicosia. In the course of this considerations downtown Nicosia was discovered in proximate area of the UN Buffer zone, both in the south and in the north district. The second international event, incm008/CY, in the north section, a workshop organised by student network EASA (European Architecture Students Assembly), was engaged in architectural practice and spatial politics in the area of the buffer zone . <br />Spaces Tangent To The Zone - The Dead Ends are not dead.<br />a42.org arranged a local thematically-oriented study. Via film the UN-Buffer zonés progress on greek- and turkish-zypriotes side was researched. As a main cognition can be appointed, that the initially illustrated two-dimensionality of the zone in reality has an unimagined and very strong effect on the three-dimensional space, which is located right between the inhabited urban space and the buffer. A remarkable spatial zone, directly adjoined to the buffer zone, is really existing and active. A livelily, accessible space is in no relation to the simple, abstract borderline on the map: Rarely the buffer zone is recognised as a clear, continuous border. Entirely exerted the zone is exceptionally in the form of artificially cut streets, the Dead Ends, which act as sort of windows into the zone. Only punctual the watcher gets insights in the proper restricted area. This is an artificial territory, encapsulated of all surrounding urban context, deserted, inanimately, demilitarized. The space, which used to be here was completely discharged. Ruins in a kind of vacuum were left behind. A Dead Zone. The adjoined Dead Ends are impasses, half streets, which used to run constantly through the city. Today they are leading into a void. The future is uncertainly, just as the respectively other district of the city, beyond the buffer zone. By the strict disruption in the street there is however emerging an unexpected, new spatiality. These areas contain a new function: Playing zones for children are emerging, as well as areas without traffic, storage areas and yards. Altogether this can be seen as an extended housing space of the residents. The separation of the two ethnic groups works unexceptionally, anyhow. The intervisibility to the other side is interrupted; the opposite side is factually not visible. <br /><br /><br />Spaces In The Zone - Abandoned Areas<br />The dividing line of the capital is interrupted by two transitions. The first transition, at the UN-controlled Ledra Palace Hotel, extends over a longer section of the buffer zone. The visitor can cross this one only by foot. The physical construction of the checkpoints on both sides speaks for its self. The border crossing on the Greek Cypriote side is built as a temporary construction of comparable humble dimension. Whereas the Turkish-Cypriote checkpoint is a large, two-storied, non-transient building. Furthermore, since the third of April 2008 the Ledra Street (formerly separated for decades) in downtown Nicosia is passable for citizens and tourists via a border crossing, including passport- a visa checkup. Clearly noticeable is the abrupt changeover, which takes place in the run of only one single street.<br /><br />Since the abandoned space of the buffer zone exists, many ruins of houses emerged in that. In the past efficient architecture was disengaged of all functions. The utilisation- and function system of the buildings got nullified. In the present these structures only exist in form of empty shells. For an indefinite period of time this architecture is being in a comatose, uncertain condition. The real enemy of the built structure is no longer the martial destruction; there are no outer interventions of human beings, no abrasions, no utilizations, no contact to the urban context. Only the factor time remains a continuous parameter. In some individual cases the former function of the architecture is yet permitted today. For instance the Goethe Institut at Ledra Palace Checkpoint can remain as a Facility for German Language and Culture.<br /><br />In opposition to this the Nicosia International Airport was transferred into a useless, misplaced object, simply because of its position into the restricted area. It is now an airport without a port and air traffic. The air sovereignty is no longer a human issue; it is transferred to the birds, which have occupied the whole space.<br /><br />Reunification?<br />Above Nicosia’s surface there are many borders, in form of walls, languages, cultures and religions. But the city is already reunified in another level. Like a kind of mesh the common used wastewater system holds the city together. A subterraneous, liquid commonness.<br /><br /><br />Written by a42.org<br />(Barbara Geralis, Tamara Härty, Sarah Retsch, Matthias Spielvogel, Florian Thein, Philipp Strom)<br />pictures © a42.orgpelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.com0tag:blogger.com,1999:blog-2678415849433770855.post-948121130466090302008-12-16T14:14:00.000-08:002008-12-16T14:33:44.036-08:00Did you say Architectonic Homo-Sacer? and What About Zombies, Vampires?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYW4uqzQ6IiJqYKZ2AFnehAtb9RI7mVU4tbNmeJ6OLJ517kCJMS4rqcawqUGX4tkmY_Cir5ptiDEX_iImErVP723q7jV0BRJwOhwpP6lfu4VFa9S61icoEsyg51dTRhIGieN0V3A09YYI/s1600-h/nosferatu_gallery_2.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYW4uqzQ6IiJqYKZ2AFnehAtb9RI7mVU4tbNmeJ6OLJ517kCJMS4rqcawqUGX4tkmY_Cir5ptiDEX_iImErVP723q7jV0BRJwOhwpP6lfu4VFa9S61icoEsyg51dTRhIGieN0V3A09YYI/s400/nosferatu_gallery_2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5280517329598636610" /></a><br /><br /><br /></span><br />This winter term, in the “architecture without architecture” course we are focusing on the concept of the “zones of indistinction” by trying to understand and use their ideas as tools of two philosophers: Giorgio Agamben and Jalal Toufic. In the practical level, we want to find a tool that can help us to analyze the conditions of undefined spaces or traumatic spaces or exceptional spaces. How the spatial program of a specific space is constructed, owned and decided under an exceptional condition, building, zone; and how the subjectivities are related to it is the basic question that we try to understand. Moreover, the question of fiction and visualization that is related to our first question is the other main research that we try to pursue.<br /><br />“Homo Sacer” is a condition of a subjectivity that neither formal law (judicial system) nor informal (community law) can be applied. As a traditional figure “werewolf”; a man that transforms between human and animal, is in between exclusion and inclusion, is a source or kind of example of a “Homo Sacer”. “The state of exception” remains as an uncertain space in which the normal law is suspended, where the space becomes exceptional. Re-defining the space with arbitrary rules is where; the ambiguous separation between “bare life” and law/rules begins. Concentration camps, buffer zones or ghettos in urban space are the zones where the exclusion/inclusion appears. During the November workshop in Nicosia; we did examine the buffer zone that divides the city into two parts. The research was about the condition, usage, sharing experience of the buffer zone and its effects to its near environment. In the text “Ruins” by Jalal Toufic is about the traumatic spaces, destroyed or damaged buildings during the civil war of the city of Beirut. Toufic asserts that even the buildings in Beirut will be reconstructed they will remain as ruins: “<span style="font-style:italic;">The physical destruction of severely damaged buildings to construct others in their place is sacrilegious not because they are eliminated as ruins: a ruin cannot be intentionally eliminated since even when it is reconstructed or demolished and replaced by a new building, it is actually still a ruin, that is contains as labyrinthine space and time, this becoming manifest at least in flashes. Such physical destruction is sacrilegious because of the brutal unawareness it betrays of the different space and time ruins contain. It exhibits the same brutality that was shown during the war</span>”. As an existing zone, we would like to examine the zone that includes subsequently the <span style="font-style:italic;">Tiergarten, Nuremberg Art Academy (where a42 is situated), Altheim </span>and <span style="font-style:italic;">the Reichsparteitagsgelände</span>. We would like to find out: the relationship between those institutions in context of representation, the function of them in the whole network of urban space of Nuremberg, their function of the “common knowledge” of the society about those zones and the borders/connection to each. <br /><br />The research will focus on the described zone from both perspectives as “exclusion/inclusion”, “zone of indistinction” and so-called “ruins” in context of Toufic’s specification on site-time and image/fiction. <br /><br />We would like to proceed this research through a fictional undead character as a <span style="font-style:italic;">Vampire</span> (in J.Toufic’s context) or an in-between character of man and animal <span style="font-style:italic;">Werewolf </span>(Homo Sacer) in order to approach it as a critical tool. <br /><br />a42&Pelin Tanpelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.com1tag:blogger.com,1999:blog-2678415849433770855.post-39483733226877477612008-12-08T05:09:00.000-08:002008-12-08T05:15:01.534-08:00death of the californian freaks?my masterthesis deals with collaborative mappings in google earth mashups. collaborative mapping means that the production of maps is done by a collective of individuals. a "mashup" in general means to recombine (mix up) existing contents of a software or application by using its open application programming interface (api). in the context of mapping, a mashup is to combine an existing mapping application (mostly google maps) and link a database or a datasource to it. the result is a new webapplication which shows the common google maps surface and enables the user to browse the linked georeferenced information in the database-/ source.<br />i started a research about collaborative mapping in the web. as i soon recognized the topic is very much linked to the web2.0 debate, because mashups are often used as a proof that the new web enables its users to generate user generated content and by this becomes a grassroot democratic system (f.e. o´really). that´s why i started to look at the mashups more precisly. programmableweb.com is offering the most actual and most completed list of all existing mashups in the net. there are 3515 mashups which are tagged by the users in application categories (f.e. photo, video, shopping, search engines, mapping). the mapping mashups are dominant, 52% of all entries are sharing a mapping-tag. this means there are 1796 mapping-mashups. by several filters (ratings, visits, used api) i got a selection of 286. i just started looking on them in detail, but i already got some facts, that mapping-mashups are not so much about collaborative mapping, collective production, grassroot democracy or user generated content as the internet-theorists (and me) expected them to be... <br />1. most of them are made for consuming or shopping. so, one of the most visited and highest rated ones, is the Wii seeker, where you can find the nearest and cheapest Nintendo Wii.<br />2. another topic is that in most of them the content isn´t user generated. mostly the content is generated from existing online sources (like news-channels or ebay) and the mash-up only georeferences it. <br />3. also surprising to me was, that a lot of mashups (using an open api from other applications) produce api´s which are not open to others.<br />i´m sure there will be many more facts like this, on my continuing research...<br />all in all, that leads me to the question if o´really and the californian freaks are really right? do mashups lead to user generated content and thereby to a grassroot democratic system? is the web2.0 and one of its most recommended flagships, the mashup movement, really that social and revolutionary as it is anounced to be? or is it just another tool for branding our space? (vgl. "niketown") or even more worse, do mashups serve as a kind of "democratic simualtion", because there is a certain kind of user participation, but in the end it´s only about participating in consuming? <br />if it is possible to show that mashups are not a proof for the anounced "social revolution" in the internet, does this declare the death of the californian freaks?omnibot 2000http://www.blogger.com/profile/04969498207023451505noreply@blogger.com0tag:blogger.com,1999:blog-2678415849433770855.post-42507192380533136382008-12-07T08:53:00.000-08:002008-12-07T08:55:26.339-08:00DREI INTERVIEWS<p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">zum meinem Thema „Was ist eine Bausünde?“<o:p></o:p></span></span></span></p><span style="font-size:78%;"><br /><br /></span><p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><u><span style="font-size: 9pt;">Frage SR:</span></u><span style="font-size: 9pt;"> <i style="">Herr Schultze-Naumburg, in Ihrem literarischen Werk Kulturarbeiten sprechen Sie wiederholt davon, dass man sich an bzw. durch Architektur „versündigen“ kann. Was ist Ihrer Meinung nach schlechte Architektur?<o:p></o:p></i></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><u><span style="font-size: 9pt;">Antwort Naumburg:</span></u><span style="font-size: 9pt;"> „Nun, dass ein guter Rat an die Bauherren unserer Zeit angebracht ist, <i style="">zeigt unser allgemein anerkanntes Bauelend überhaupt, dass auf jede Strasse seine Greuel pflanzt. Gelbe Chamottesteine, violetter Schiefer und weisser Putz geben einen geradezu ausgesucht abscheulichen Missklang</i>.<o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">Es ist kaum zu fassen. Nach nur einem Jahr meiner Abwesenheit entwickelte sich diese <i style="">harmonische Anlage </i>in <i style="">eine hässliche Larve</i>. Oder <i style="">ist´s aber etwa ein Monstrum</i>??<o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">Ganz im Gegensatz zu diesem kleinen, wahrhaft schlichten Pavillon ohne fremde Schmuckformen, diesem <i style="">Bau aus einem Guss</i>, <i style="">ein Bau, dem sein schöner Zweck klar und rein auf der Stirn geschrieben steht.</i> Vorbildlich ist <i style="">dieser Ausdruck des Äußeren, der eine wohlanständigen Behaglichkeit, die sich lediglich in den Verhältnissen und Formen, nicht in Zierraten ausdrückt, </i>zeigt.“<i style=""><o:p></o:p></i></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">[Paul Schultze-Naumburg, deutscher Architekt, †1949]<o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;"><o:p> </o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">-----------------------------------------------------<o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;"><o:p> </o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><u><span style="font-size: 9pt;">Frage SR:</span></u><span style="font-size: 9pt;"> <i style="">Frau Fröbe, kürzlich wurde ein von Ihnen gestalteter Abreiß-Kalender mit 365 Abbildungen von Bausünden publiziert. Was war Ihr Impuls, all diese Bauwerke bildlich festzuhalten? Wie definieren Sie Bausünde?</i><o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;"><o:p> </o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><u><span style="font-size: 9pt;">Antwort Fröbe:</span></u><i style=""><span style="font-size: 9pt;"> „Bausünden – Jeder kennt sie, keiner will sie. Sie stören nahezu überall und machen aus unseren Städten Einheitsbrei.</span></i><span style="font-size: 9pt;"> Versenken wir nun Tag für Tag eine <i style="">architektonische Katastrophe</i> im Papierkorb! Sonntags zeige ich Eigenheime, anonym, an Feiertagen gibt es Kirchen. <i style="">Die Bildwahl ist subjektiv und hochgradig ungerecht. Grundsätzlich gilt: Bausünden sind in dieser oder ähnlicher Form überall zu finden, ihre Ortsgebundenheit ist rein zufällig! Es ging mir darum, dieses Konvolut städtebauliche Realsatire zu zeigen und die Leute zum sehen zu animieren.<o:p></o:p></i></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><i style=""><span style="font-size: 9pt;">Ich unterscheide in gute und schlechte Bausünden. Gute Bausünden sind solche, die originell sind, die von einem gewissen Mut des Erbauers zeugen, auch wenn er in Farbe, Form und Material danebengegriffen hat. Sie sind fast so schwer zu finden wie gute Architektur. Die schlechten Bausünden sind die, die überall herumstehen, diese belanglose Meterware in Fußgängerzonen und Einkaufszentren, diese gesichtslose Investoren-Architektur.</span></i></span></span><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">“</span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">[Turit Fröbe, Architekturhistorikerin, UdK Berlin, *1971]<o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;"><o:p> </o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">-----------------------------------------------------<o:p></o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;"><o:p> </o:p></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><u><span style="font-size: 9pt;">Frage SR:</span></u><span style="font-size: 9pt;"> <o:p></o:p></span><i style=""><span style="font-size: 9pt;">Herr Eix, Sie sind Bürger von Rinteln und Mitglied im dortigen Bürgerverein. Sie haben im Jahr 2007 eine Seite mit dem Titel „Rintelner Bausünden“ ins Internet gestellt. Welche Gebäude sind nun konkrete Bausünden und warum trifft dies zu? </span></i></span></span><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">[</span></span></span><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">Rinteln – Ein Kleinstädtchen an der Weser, westlich von Hameln</span></span></span><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">]</span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><u><span style="font-size: 9pt;">Antwort F. Eix:</span></u><span style="font-size: 9pt;"> „Mit einem <i style="">aufdringlichen hässlichen Kaufhauskomplex (Woolworth) wurde das südliche Weserufer verschandelt.</i> Anstatt die historischen Baulichkeiten aus dem 18. und 19. Jh. zu modernisieren, <i style="">wurden sie brutal vernichtet. </i>Nicht besser ist es auf der gegenüberliegenden Seite, <i style="">wo ein umgebungsblinder Architekt ohne Anpassung an die umgebenden alten Häuser einen kolossalen überfrachteten Betonbau dort hingeklotzt hat.<o:p></o:p></i></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><i style=""><span style="font-size: 9pt;">Ästhetisches Augenmaß, Stilempfinden und historische<span style=""> </span>Rücksichtnahme waren nie die Stärke der Stadtverwalter. </span></i><span style="font-size: 9pt;">Es ist ein <i style="">unharmonischer Modernismus. Auf Freiflächen am Rande der Stadt sind sie </i>(die modernistischen Gebäude)<i style=""> passend, aber nicht mitten im kleinstädtischen historischen Rahmen der Altstadt. Dort zerstören sie das historische Stadtbild.</i> Wieso konnte ein <i style="">überfrachteter Gebäudeklotz neben historischen Häusern</i> nicht verhindert werden? <i style="">Wie kann man einen solch überkandidelten schmalen Glas- und Metallbau unmittelbar an ein historisches Gebäude anklatschen?!<span style=""> </span>- <span style=""> </span>Disharmonischer geht es nicht mehr!<o:p></o:p></i></span></span></span></p> <p style="font-family: arial;" class="MsoNormal"><span style="font-size:78%;"><span style="font-size: 85%;"><span style="font-size: 9pt;">Diese <i style="">Verunstaltung</i> <i style="">des historischen Postamts</i>, diese <i style="">Geschmacklosigkeit</i> der <i style="">disharmonischen Bauwerke</i> - <o:p></o:p> dieses <i style="">Unheil</i>. <i style=""><span style=""> </span></i>[…]“<o:p></o:p></span></span></span></p> <span style="font-size:78%;"><span style="font-size: 85%; font-family: arial;"><span style="font-size: 9pt;">[F. Eix, Bürger der Kleinstadt Rinteln, Niedersachsen]</span></span></span>srhttp://www.blogger.com/profile/09049227791386549259noreply@blogger.com0tag:blogger.com,1999:blog-2678415849433770855.post-48132395472056628562008-12-04T08:32:00.000-08:002008-12-04T08:47:22.490-08:00Semsterprojekt<span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">So wie es im Moment aussieht untersuche ich <span class="Apple-style-span" style="font-weight: bold;">Tiergarten</span>, <span class="Apple-style-span" style="font-weight: bold;">Justizvollzugsanstalt</span> und <span class="Apple-style-span" style="font-weight: bold;">Blindenanstalt</span>. Wie meint ihr kann ich vorgehen. Ich hänge gerade fest:</span></span><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">- man kann dazu natürlich umfangreich recherchieren ohne je die Vollständigkeit zu erreichen. Vielleicht ist das auch gar nicht hilfreich?</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">- sollte man überhaupt versuchen die Anstalten zu besuchen oder quasi naiv und unbelastet erst man beobachtend untersuchen, konsequent überall gleich auf irgendwelche Merkmale.</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">- Bei der Blindenanstalt ist die Wahrnehmung von Architektur ohne den optischen Teil des Sehens natürlich interessant. Die Wahrnehmung findet vor Allem in Kombination mit Bewegung im Raum statt. Dazu habe ich auch so einen Spaziergangforscher gefunden, der der Meinung ist man kann Raum sowieso nur durch die Bewegung empfinden??? Aber was damit machen?</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">- Das Thema Grenze als übergreifend noch mal aufgreifen?</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">- oder erst mal getrennt von einander und am Ende schauen was zu erkennen ist?</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">- oder Filme drehen?</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">.</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">.</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">.</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">.</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;">.</span></span></div><div><span class="Apple-style-span" style="font-family: verdana;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><br /></div>tamarahttp://www.blogger.com/profile/04837376433653142455noreply@blogger.com1tag:blogger.com,1999:blog-2678415849433770855.post-6326822008957637922008-12-03T05:03:00.001-08:002008-12-03T05:40:17.817-08:00[tag 1](...) sobald ich meine Wohnungstür öffne, kommen mir die Gerüche aus der Nachbarwohnung entgegen, welche sich im ganzen Hausflur ausgebreitet haben. <div>Frau Mühl hat heute aber ganz schön früh mit dem Kochen angefangen.</div><div>Ich bin erst vor einer halben Stunde aufgestanden, gefrühstückt habe ich noch nicht und die Gerüche der Kochkünste meiner Nachbarin überfordern meine noch schlafende und somit empfindliche Nase.</div><div>Frau Mühl ist eine ältere Dame, die soweit ich weiß alleine wohnt. Tagsüber lässt sie ihren Hausschlüssel an der Wohnungstür hängen, damit ihre Enkelkinder sie besuchen können ohne klingeln zu müssen. Sie ist nett, ich darf nun auch einfach reinkommen, ohne vorher zu klingeln. Sie reden gerne und viel, nur leider kann ich nicht immer verstehen, was sie mit mir spricht. Sie hat einen extremen bayerischen Akzent und ich muss mich mindestens genauso so stark konzentrieren sie zu verstehen, wie wenn jemand auf englisch mit mir spricht. </div><div><br /></div><div>(...) gleich erreiche ich an der Ecke zur Wodanstrasse das griechische Restaurant "kalimera", welches natürlich die Farben "blau und weiß" als Kennzeichen hat und an dem ich jedes mal, wenn ich daran vorbei laufe den gleichen Gedanken habe. Und zwar: wie einfallslos doch die Besitzer mit der Namensgebung des Restaurants umgegangen sind. Doch sofort danach erinnere ich mich an den noch wenigstens leckeren Schnitzel dort und ich überspringe das Thema mit dem Namen. </div><div><br /></div><div>(...) auf der Wodanstrasse befinden sich hauptsächlich alte Gebäude. Die meisten sind Wohngebäude, die mindestens aus der Zeit des Nationalsozialismus stammen und seitdem nie wieder renoviert worden sind. Dies verraten mir ihre Fassaden, die teilweise sehr ungepflegt und dreckig aussehen. An manchen Fassaden sind noch die Fahnenhalter aus der damaligen Zeit vorhanden. (...) und ich versuche mir vorzustellen, wie es wohl in dieser Zeit, des Nationalsozialismus in Nürnberg und in einer Strasse, wie die Wodanstrasse aussah.</div><div><br /></div><div>(...) und endlich sehe ich meine Straßenbahn kommen. (...) eine Frau mit einer roten Mütze lächelt mich an und ...</div>babs_gehttp://www.blogger.com/profile/13725511801643805017noreply@blogger.com1tag:blogger.com,1999:blog-2678415849433770855.post-67108756934786888122008-11-24T12:46:00.000-08:002008-11-24T13:53:22.732-08:00die falte<span style="font-family:arial;">"die falte" ist mein sammelbegriff sowohl für einen simplen vorhang als auch für eine erkenntnis unseres workshop-films, dass die "glatte" grenze der bufferzone in nikosia mit einer ganz anderen "gekerbten" linie beschrieben werden kann.</span><br /><span style="font-family:arial;">was kann "die falte" leisten? ist "die falte" als werkzeug nutzbar und über welche funktionen verfügt dieses werkzeug?</span>matthiashttp://www.blogger.com/profile/18326554495036183675noreply@blogger.com2tag:blogger.com,1999:blog-2678415849433770855.post-17887609022328119982008-09-26T08:04:00.000-07:002008-09-26T08:10:53.077-07:00architecture without architecture, winter, 2008<br />pelin tan<br /><br />Theme: <br />How we understand the “space” and what is our tool in defining it? How can we find out the critical position of our definitions of spatial practices? This course will firstly research the conditions of space in different circumstances; how to experience it, how to define it, how to find out its social-cultural, political attachments. Furthermore, terms about space such as territory, heterotopias, camp, utopia, border, zone and related subjective, social conditions will be analysis through different tools such as site trips, theoretical texts, films, documentaries, artistic/urban projects. <br /><br />The sessions at the end aims to reach to a discussion/analysis on the term of criticality and criticism, participation in order to understand the border of common-collective thinking, spatial practices that describe an understanding and action about spatial production and architecture. <br /> <br /><br />Schedule<br />October<br />1. session: space/place<br />This session of the course will be about re-defining the Space.<br />An introductory lecture of theories of space of Deleuze (territory, deterritorialization) Foucault (hetereotopias), Agamben (state of exception / bare life), Derrida (hospitality). The terms space and place will be discussed with the short-focused texts of philosophers. Furthermore, the sessions of the course will focus on concepts of “empathy” and “uncanny” in relation to physical environment and the experiences of the “subjectivity” and will follow-up related artistic and urban projects, two movies related to the issues as Stalker (1979, Tarkovsky) and “In Bruges” (2008) and discussion on some parts of the novel “the possibility of an Island”, M.Houellebecq.<br /><br />November<br />2.session: tactics /subversion/utopia<br />This session of the course will a transitional space experience.<br />This session as a workshop and site trip (North/South Cyprus)will focus on the idea and relation of border and space, undefined territories, social-cultural contexts, surveillance and utopian architecture of 60s. Borders or division lines create not only physical border between two spaces but also social-cultural attachments of two sites. The control and surveillance system in those undefined territory between two spaces, continuously redefines the biopolitics of space. The session will focus on brainstorming, discussion about terms border, territory, zones, wall, also, 1960’s Utopian architecture and urbanism (GEAM, Yona Friedman, SI, Constant, Superstudio). Discussion through projects and manifestos about utopia, mobility, montage, derive, survival structures, living forms.<br /><br />December<br />3.session: collaboration/participation<br />This session of the course will be about possibilities of common thinking and representation.<br />This session of the course will focus on the practices of collaboration and participation in order to understand the border of common-collective thinking and the practices of radical democracy. Types of collaborative projects, discussions about participatory practice and spatial representation. <br /><br />January<br />4.session: criticality / criticism<br />This session of the course will a wrapping-up meeting in order to understand the position of criticality/criticism in context of space.<br />The course will be about re-defining the term criticality and criticism in thinking. During the sessions, past sessions and examples will be connected in order to understand critically on space. Some readings and discussion of Toni Negri on Rem Koolhaas, texts by David Harvey, Hilde Heynen and Foucault about positioning a critical standpoint in order to understand spatial practices will help to wrap-up the whole course to describe an understanding and action about spatial production and architecture. Documentary “Cell” on T.Negri will be shown.pelin tanhttp://www.blogger.com/profile/02815522911418082603noreply@blogger.com0