Volume 9,
No.
1
November 2004 |
|
Built Spaces.
The Cultural Shaping of Architectural and Urban Spaces |
|
|
|
|
|
|
Conceptional design and editing: |
|
Cornelia Jöchner,
Kirsten Wagner |
Organisation and layout:
|
|
Heidrun Bastian,
Ehrengard Heinzig
|
Cornelia Jöchner
&
Kirsten Wagner
|
|
Editorial
(in German) |
Hartmut Böhme |
|
Speech at the Conference
(in German) |
|
|
Body Spaces - Spaces of Living |
Rebekka Ladewig |
|
Directions Getting Moving -
Considerations Concerning an Unattended Term |
Kirsten Wagner |
|
From Body to Space.
Aspects of the
Discussion of Space in Architecture from the Perspective of Cultural Studies |
Eduard H. Führ |
|
But, can
Spaces
be Built,
then? |
Jasper Cepl |
|
From
"Palace Style" to the
"machine a habiter"
–
The Transformation of Urban Spatial Structure in the Early 20th
Century,
or: Preliminary Remarks Regarding a Forgotten Problem of Form |
Alexandra Staub |
|
Public Face
and Private Space:
The West German Single Family House in the Twentieth Century |
Evening Lecture:
Karsten Harries |
|
Aus- und
einräumendes Bauen:
Our
Discordant Longing for Freedom and Shelter |
|
|
Progress as Condition of Spaciality |
Cornelia Jöchner |
|
How does
'Movement'
Get into the Theory of Architecture?
On the Space
Debate
at the Beginning
of the Modern Age |
Christoph Asendorf |
|
Space and
Movement in the Modern Age |
Turit Fröbe |
|
Ways and Movement in the Architecture of Le
Corbusier |
|
|
Media Spaces |
Jörg Seifert |
|
Phenomenology of Spatial Orientation:
About the Relationship of 'Mental Maps' and Three-Dimensional Perspective
Mental Picture Impressions of Movement Spaces |
Riklef Rambow
& Honke Rambow |
|
Limits of
Expansion:
Architecture, Music, Drugs |
Jörg H. Gleiter |
|
Reconceptualizing Architectural Space in the Virtual Age |
Evening Lecture:
Bruno Flierl |
|
Regaining Lost Places in Cities by Built Symbols |
|
|
Opening / Closing Spaces |
Gert Selle |
|
Opening and
Closing -
On Old and New References to Space |
|
|
Action Spaces |
Ludger Schwarte |
|
The
Architecture of the Public Space:
An Action-Theoretical
Approach |
Walter Siebel |
|
The Change of Public
Space |
Karsten Feucht |
|
"Building
Conversations" – Innovative Tourism Concept Shapes Landscape |
|
|
Intercultural Spaces |
Ivan V. Nevzgodin |
|
Post-Soviet Phenomena: Transformation of Urban Spaces and Functions of Karl
Marx Square in Novosibirsk |
Gül Kaçmaz-Erk |
|
Architecture as Symbol: Space in Wim Wenders' Cinema |
Lu, Yi
& Ruzica Bozovic-Stamenovic |
|
The Spatial Concept of Chinese Architecture |
|
|
Poster Presentations |
Diane Fellows |
|
Remembrances and Passages:
An American Grid as Memory Personified |
Gesa Mueller von der Haegen |
|
Scenography
in Architectural Contexts |
|
abstracts: |
|
|
|
Body Spaces - Spaces of Living |
|
|
|
___Rebekka
Ladewig
Berlin |
|
|
Despite the spatial, topographical or cartographic turns exclaimed in the
last years, a theoretical exploration of the term ‘direction’ is still
expected from the perspective of cultural studies for the time being. That
is all the more astonishing as the organization of spatiality,
that is the construction and arrangement of spaces, has always been based on
directions.
At the beginning of the last century Rudolf Goldscheid commented that "the
direction is the more original and particularly the more concrete (than
space and time), and that space is nothing else than the sum of all
imaginable directions" (cf. Rudolf Goldscheid: Der Richtungsbegriff und
seine Bedeutung für die Philosophie.
In: Annalen der Naturphilosophie VI, ed. by
Wilhelm Ostwald, Leipzig 1907, p. 69).
In my contribution, I
would like to examine directions as elements of the spatial that are
equally constitutive for the construction of material, mental and symbolic
spaces. It is necessary to underline that directions themselves represent
culturally encoded constructs that are woven into a network of mythical
pictures, habitualised methods and cultural techniques. On the one hand,
the horizontal and the vertical form the elementary
reference axes of any spatial movement; however, they can also be made visible as 'culture types', if for instance Odysseus' wandering is drafted as
a paradigmatic movement in the horizontal and Phaeton's hybrid desire as
an exemplary expression of the verticality of human space-wanting. In
addition these mythological figures show that spaces of movement,
experience, game and action of human beings as well as the
architectures connected with these spaces
are opened up or
become accessible
only by the movements of the body and that they cannot be separated
from these.
On the background of a bodily-philosophic
approach the bodily-geometrical
directions (Schmitz),
originating in the space axes (above – below, in
front – behind, left – right), shall be
concerned as basis of spatiality and
spatialisation. Only the intact localization of the own body, its 'grounding'
in a ‘here’ and ‘now’ allows the subject to get a point of view from which
it can plan its physical and mental movements, it can think a ‘where to’
and develop intentionality. From
this perspective
it can be shown
that relational
space concepts, like inside – outside, centre – periphery, core – edges, as well as
the spatialisation of
the
worlds human beings
live in
are
enlargements and expansions of bodily directional spaces.
|
(Paper in German) |
|
|
|
|
|
___Kirsten
Wagner
Berlin |
|
|
Architectural space is a comparative recent subject of theoretical
reflection. It was not before the end of the 19th century that the concept
of space has been introduced in the theory of art and architecture. The
epistemological function of the concept of space was twofold. On the one
hand it allowed a formal analysis of the pictorial, plastic, and built
artefacts, on the other hand it was used for their historical and
stylistic classification. Thus a particular ‘spatial style’ shared by
diverse artefacts was read as a characteristic expression of an epoch and
its idiosyncratic feeling of space. Whereas this formal and
style-historical concept of space dominated the theory of art, it was in
the context of architecture that a more anthropological concept of space
was developed. For in the context of architecture the human body became
the basis of the experience and reception of built spaces. This new
approach to architectural space and architecture in general was influenced
by perceptual psychology as well as the theory of empathy. Both had
emphasised the role of the body and its multi-sensorial and kinaesthetic
disposition for the processes of perception and cognition. On this
background space also in architectural theory could be defined as
something that depends on the movements, actions, perceptions, and
feelings of the human body. With such an approach architectural theory has
anticipated not only phenomenology but also the recent performative
approaches to cultural spaces and their bodily conditions of production.
Accordingly, a revision of the early space discussion in architectural and
art theory proves to be very constructive even for the contemporary
reflection of space in cultural studies. On a more global level this
revision can also document the close connections that have existed and
still exist between architecture and cultural theory.
|
(Paper in German) |
|
|
|
|
|
___Eduard H. Führ
Cottbus |
|
|
The
author pursues the question how space can be designed, therefore how
subjective statements can be made in a medium with objective value.
|
(Paper in German) |
|
|
|
|
|
___Jasper
Cepl
Berlin |
|
|
The
Critique of historicist architecture around 1900 resulted in an increased
awareness of the role of space in architecture. Architects like Muthesius
or Gessner, who abandoned the
'styles', hence were freed to design
different spaces as well.
New concepts of space emerged. The theory of Herman Maertens was one
milestone, another one was Muthesius’s argument that the interior space
ought to be governed by the context: he distinguished country house and
town house, both of which required a different spatiality, depending on
their surroundings.
This concept was later forgotten. The quest to find the minimal dwelling
made considerations about the three dimensions of the interior
superfluous. After World War I radical ways of restructuring the city were
conceived, by men like Heinrich de Fries and most importantly by Le
Corbusier, who, in accordance with the work by his precursors, developed
his own theory of adequate spatiality in the
'ville vert'.
Reconsidering the aforementioned authors I suggest that we have to revise
the critique of the modern movements concepts of the city, as authors like
Colin Rowe produced it. Rather than lamenting the loss of well-defined
public space in the modern city we should turn towards the still neglected
aspects of proportionality of interior and cityscape in these concepts.
Last but not least this re-thinking might improve the practice of building
in the city today.
|
(Paper in German) |
|
|
|
|
|
___Alexandra
Staub
Pennsylvania |
|
|
From the nineteenth century on, the house has been seen as a private
refuge, and a place (for the husband) to relax after a hard day’s work. In
Germany, this view went hand in hand with reformist efforts to allow all
social classes to limit their households to members of the immediate
family.
This article analyzes the physical manifestation of these efforts, by
using both photos and plans of representative houses, and film images in
which use of the spaces is shown. The analysis concentrates on the
boundaries between the private house and the public street, looking at
this space both historically up to 1945, and in its evolution during the
postwar era.
The privatization of individual family space takes on new meaning, as
“openness” of the house is limited only to the house’s interior, while the
boundary between inside and out remains impermeable. A new spatial freedom
thus seems only possible in spaces that can be privately controlled.
While the
house turns more and more away from any interaction with the public
street, the inside of the house expresses a new parity and democracy
within the family. Both an increased accessibility and larger allotment of
spaces to the children are indicative of a new family atmosphere. This
condition helps to soften the impermeability of the house itself, even as
its built appearance retains its defensive stance.
|
(Paper also in German) |
|
|
|
|
|
___Karsten
Harries
New Haven |
|
|
The
German title resists translation: ‘ausräumen’ means to clear a space,
‘einräumen’ to make it habitable, as we do when we furnish a room. But
does it make sense to speak of architecture as emptying out or clearing
space? Architectural fantasies help us to understand not only what such
architecture might look like, but also what gives it a perennial appeal.
What calls us in such fantasies is freedom. From the very beginning
building has thus been accompanied by a protest against all architecture
that would assign to persons and things their proper places. Freedom,
however, must bind itself if it is not to degenerate into arbitrary
willfulness. But where is freedom to find what would bind it? Those who
have experienced the weight of this question, will perhaps discover some
comfort in the recent turn in art to what is dark, heavy, and abject: a
first recognition that all genuine self-affirmation demands a return from
that wilderness into which freedom and reason have led us to a recognition
of ourselves as mortals, belonging to the earth.
|
(Paper in German) |
|
|
|
|
|
Progress as Condition of Spaciality |
|
|
|
___Cornelia
Jöchner
Cottbus |
|
|
It is a
relatively young realization that architectural spaces are constituted in
the movement of the body.
If
aspects
of
perception
found their way
into the
architectural theory of the
Renaissance
for
the first time (Alberti:
street space),
an erosion of previous
concepts
of
architecture
occured
under the
impression of the emerging scientific psychology
in the late
19th century. Whereas Gottfried Semper still
conceptualized the building as a closed form
– a form,
also existing in
nature, but
being equipped with the
human
ability to form a horizontal axis
– the art historian August Schmarsow placed a turning point for the reflection of architecture with his
Leipzig inaugural lecture (1893): the
´innermost nature´ of architecture would be space – an explanation that
found its way into the different theories of architecture immediately.
My contribution explores which role
'movement' played as a
constitutive element of space in papers on the theory of art and
architecture at the beginning Modern age. In the early theories of
Hildebrand and Schmarsow the observer is a prerequisite of space,
'movement'
is understood as the characteristic reception form of architecture.
In the twenties the theory split up the process of the space-making,
actively shaped by an observer, either into different perception levels, or
it looked at the observer just as a passive performer of architecture. This
point of view culminated in the design teaching
of Moholy-Nagy at the
Bauhaus that wanted to ´educate´ a space experience of the modern human
being: space-making turned into the matter of the architect. And so in the
development of the Modern age there appeared not only a new understanding of
space, but also a position to the observer / user of architecture becomes
generally accepted, that must be brought in consideration today, when in the
field of architecture space- and place-making qualities are looked for again
increasingly (keyword
'identity_).
|
(Paper in German) |
|
|
|
|
|
___Christoph
Asendorf
Frankfurt an der Oder |
|
|
Movement
has always influence on the perception of
spaces. Often designers even evoke
specific movement experiences what is particularly obvious in the
architecture of the baroque. However, the acceleration of all life processes
and the general dynamics of changes in the modern age put this problem on
the agenda in a quite new manner. In the years around 1910,
the effects of the speed of automobiles and of the view from above
made
possible
from an aeroplane
were
discussed. Seemingly stable coordinates
began to totter;
people saw that the prerequisites of creative work began to change
against the background of omni-dimensional circulation. World War I brought quite
a new
experience of the modern space of movement; it presumably
causes also
the
diverse
reflections on the phenomenon of spatial penetrations in the twenties. After World War II Alexander Dorner realized a
"hyper-spatial reality" of global interaction, however, not asking more
exactly about possible architectural representations. The last quarter of
the 20th century then sees the slow end of the transportation revolution and
the ascent of information technologies.
After the physical movement, also the informational movement as a shaping
phenomenon of the surrounding culture turned into a challenge for
architecture. Does "liquid spatiality"
correspond "liquid modernity" now?
|
(Paper in German) |
|
|
|
|
|
___Turit
Fröbe
Weimar / Amsterdam |
|
|
"Equipped
with his two eyes, looking
in front of himself, our man goes, he moves forwards,
acts, practises his occupation, and
–
at the same time
–
notes any
architectural demonstrations and their details
as they appear
one after another. He
has
inner
emotions, the result of following shocks. That is going so far that the
architectures can be organized into dead and alive ones, depending on
whether the law of walking-through was not observed or whether it was
followed brilliantly quite the reverse. […] Good architecture is walked
through, stridden through, indoors as well as outside." (Le
Corbusier, 1942)
Similar observations and emphasized polemics against the "graphic" planning
practices of the so called academic tradition are already found in "Verse of
une Architecture", that essay collection
with which Le Corbusier entered the
international architecture stage in 1923. Even two chapters of the
publication contain his programmatic demands for "dynamic" architectures
that can only be grasped completely
by movement. The Acropolis of
Athens served as an exemplary reference of "vivid" architecture for Le
Corbusier that must be walked through accordingly its plan disposition and
that includes the observer as well as the nearer surroundings into the
composition. In this context the famous Acropolis interpretation by August Choisy from the year 1899 has a key role; later it was reflected directly in
Le Corbusier's
own architectural and town-planning projects.
|
(Paper in German) |
|
|
|
|
|
Media Spaces |
|
|
|
___Jörg
Seifert
Konstanz |
|
|
How does human spatial orientation work? How are spaces and space systems
represented mentally? Which role do two-dimensional pictures play that
result from maps and city plans, and three-dimensional-perspective picture
impressions that are generated when going or driving through a space or
that are conveyed by photographs and films? These questions are discussed
on the basis of some selected approaches and positions that deal with
aspects of space perception and different forms of two- and
three-dimensional cognitive space representations. As a starting point,
serves the classic of the literature on urban development "The Image of
the City" by Kevin Lynch (M.I.T. Press, 1960). Lynch understands the
"image of the city" as an imaginary plan – a so-called mental map.
However, Lynch’s merit is not to have coined this term, but rather to
negotiate this subject within the discourse on architecture and urban
development. The research about cognitive
maps is done in different
sub-disciplines of psychology (environmental and architectural psychology,
cognitive development psychology), as well as by geographers, city
planners, and others, but also by computer scientists. The different
approaches are
introduced by the examples of a
united publication of the
geographer Roger M. Downs and the psychologist David Stea, of
contributions of the psychologists Mark May, Johannes Engelkamp and Ruth
Schumann-Hengsteler and a work of the computer scientist Jochen Schneider.
In psychology
which has obviously dealt most intensively with this
subject by now, the discussion about mental space representations already
goes back to the late nineteenth century. Since the methods of psychology
obviously are little suitable to treat typical problems of architects and
urban planners that can be summarized as questions about the consequences
of the reception and mental representation of space
for the production of
space, I try to
take the position
of a phenomenological approach between psychology
and architectural theory. In view of a media-based change of perception
paradigms (higher information density, increase of abstract references
instead of physical-authentic marks), the relationship of two-dimensional
mental maps, three-dimensional mental models, three-dimensional
perspective single images and their sequences are to be discovered again.
Is the phenomenon ‘city’ in accordance with Lyotard’s "End of the Big
Stories" no more planable in principle? Or is it possible to develop new
strategies for urban planning, according to Lynch, including more current
perception and media theories? The search of answers to this question is
the essential motivation of my research – a doctorate project at the
university of Konstanz.
|
(Paper in German) |
|
|
|
|
|
___Riklef
Rambow
Cottbus
& ___Honke
Rambow
Bochum |
|
|
The overcoming or dissolution of spatial boundaries is a topic for
architecture at least since the beginning of the modernist period. In
contemporary architectural discourse it appears in diverse contexts and
with a variety of conceptual meanings. But in spite of the ostensible
self-evidence with which many designing architects articulate claims at
overcoming spatial boundaries most often it remains totally unclear which
experiential effects they strive for and why these should be worthwile
striving for at all. But without clarity concerning these questions the
discourse on spatial expansion is just an empty cliché.
In this paper we first discuss what types of sensual experience can be
aimed at by means of spatial expansion strategies. This leads to the
question which motives lie behind the search for such experiences. Motives
may fall in the physical realm, for example the expansion of possibilities
brought about by the temporary overcoming of gravity. Or they fall into
the psychological realm, like all sorts of mind-expansion or heightened
awareness. Strategies to satisfy such motives can be found in classical as
well as in popular music, in the use of hallucinogenic drugs, in cinema,
but also in the fields of extreme sports or computer games. They can be
found not only in western industrial societies, but in many other,
possibly even in all cultures. Seen from this perspective, the reasons
behind the desire to produce spatial expansion experiences by
architectural means might be rather found in the psychology of the
designer than in the psychology of the user of architecture.
|
(Paper in German) |
|
|
|
|
|
___Jörg
H. Gleiter
Tokio / Berlin |
|
|
Towards the end of the 19th century architecture theorists engaged in a
vivid discussion about how to define the very nature of architecture. This
was triggered by the then frenzied development in science and technology
and the ever more evident loss of traditions in architecture culture.
Prominently discussed in art theory at the time empathy theory
served as a prime source in the effort to reontologize architecture. By
defining architecture as a spatial art architecture was believed to have
finally reached the clearest articulation of its true nature. In reference
to Hegel‘s Phenomenology of Mind this cleared the way for the
conviction that the century old evolution of architecture had come to a
final halt. Despite the fact that they were born out of a deep suspicion
of the new technologies of the machine age, these ideas seem to have
survived all conceptual changes in architecture culture so far. Even today
they serve as the undebated basis for a large part of the actual
theoretical discourse, while on the other hand the empathy theories
themselves have long lost their formerly dominant position in the
scientific and artistic field. Doubtlessly this widely unquestioned legacy
of the 19th century has to be held responsible for the reluctance of
contemporary architecture to cope with the actual digital paradigm shift
by tackling the most
remarkable question in architecture culture today: the reconceptualization of architectural space in the age of its digital
doubling by the new media technologies.
|
(Paper in German) |
|
|
|
|
|
___Bruno
Flierl
Berlin |
|
|
The most
topical
and at the same
time the
most spectacular
example of regaining lost places in cities
undoubtedly
is the “Ground Zero”
called area in New York Manhattan, where until their destruction by
islamistic
terrorists on
11 September 2001 the Twin Towers of the World Trade Center
stood. Another
example is
the central area of the Spree Island in Berlin,
once
the place of the
old Prussian Palace,
which was seriously damaged
by bombs in 1945,
and in 1950
eventually was
pulled down.
Later on, in
1976,
the Palace
of Republic was
erected at
this place. It
still exists,
even though it has been
ruined by radical sanitation of asbestos
(in the meantime)
and is
determined to be demolished.
With regard to the
political grounds
of their destruction as well as to their planned architectural renaissance
as built symbols
both
places are comparable.
|
(Paper in German) |
|
|
|
|
|
Opening / Closing Spaces |
|
|
|
___Gert
Selle
München |
|
|
In
essayistic form
and from a historico-cultural and phenomenological
point of view, the
author of the paper tries to define the basic gestures of opening and
closing real and virtual spaces as constants of acting in the process of
space
learning,
running crosswise through changed
space
structures and new requests for relations with space.
|
(Paper in German) |
|
|
|
|
|
Action Spaces |
|
|
|
___Ludger
Schwarte
Berlin |
|
|
Because of the privileging of the methodically intervening subject, the
classical action theories neglect not only the material bases,
which cause
respectively
enable actions,
but also
reduce
actions
to an
outwardly
directed penetrative
activity.
The search of the bases of actions should turn towards performativity
as a reality-making and culture-shaping potential of a (performance)
process. Such a process results from a situation in which performativity
develops and in which an action unity
–
at first independent from any discernible desire
–
becomes apparent in an allocation of movement and perception, of activity
and passiveness etc.
The material bases which shape such a situation, appear particularly in
the architecture of the public space, because on the one hand this
architecture must be orientated to eliciting at first unknown, but then
observable reactions from forces, things, or creatures. It must make
openness understandable so that people, things or forces appear publicly
in an unpredictable manner. In the centre of the public space, there is an
action in the sense that things, forces, or creatures are allowed to get
scope at first by that architecture to behave in another way or not at
all. On the other hand, however, that architecture is not a rigid
prerequisite, but it is modified by every action. Designing, building,
using and changing of the public space are kinds of action likewise. The
architecture of that scope makes an event from what is created in such a
performative situation.
Starting out from these considerations I try to outline
an
architecture of the public area in my lecture. One goal is to propose a
concept of the public space that neither assumes the contrast to the
private, nor a space conception that can explain merely the
representation, but not the subversion of power. Above that I would like
to test the workability of architecture-philosophical reflections for action theory.
|
(Paper in German) |
|
|
|
|
|
___Walter Siebel
Oldenburg |
|
|
-
In the polarity of public and private urban
spaces
the
structure of civil society has
gained spatial shape.
-
This polarity is distinct in four dimensions: legally, functionally,
social-psychologically and spatially.
-
In all four dimensions,
tendencies of privatization and undermining the polarity of the
public and the private can be observed.
-
But there are also opposite tendencies of a publication
of private spaces.
-
New types of urbane spaces are discussed in conclusion.
|
(Paper in German) |
|
|
|
|
|
___Karsten
Feucht
Berlin |
|
|
The experience of
provisional landscapes
as bizarre, exceptional landscapes
gives them a new valence. The appearance of open-cast mining only
apparently
was not transformed by that. Actually, it is changed
as a result of that because its changed public
perception and the changed communication on it "renovated" the open cast.
In this respect we understand our tour concepts as architectural designs
and our tourism as means of landscape formation.
|
(Paper in German) |
|
|
|
|
|
Intercultural Spaces |
|
|
|
___Ivan
V. Nevzgodin
Delft / Novosibirsk |
|
|
Already
in 1930 Karl Marx Square was designed as the main square for the new
socialist city Left-Bank Novosibirsk; but the construction of its
buildings started as late as the 1970’s. About two decades later, in 1991,
the opening of the underground station finally gave the impulse for a
dynamic development. The square is now an important hub between the
underground terminal and other means of public transport.
In the past decade the new capitalistic era transformed the square to the
alternative city centre of Novosibirsk as a whole. The lack of attention
of the central authorities gave a chance for spontaneous self-regulating
transformations, determined by the upcoming capitalism. The two
urbanistically most important buildings here are still unfinished, while
in front of their construction site fences, as in a theatre before the
curtain, capitalism performs new plays.
The square presents the plurality of new experiences of space and social
actions in its spatial fragmentation. It not only mirrors the rapid
economic developments and differentiation in the Russian society but also
shows the effects of globalization. The contrasts are extreme. The wild
Russian capitalism bore on this territory several worlds, which yet never
meet each other. Transportation and trade are not only shaping open and
covered spaces here, they also create new symbols, new myths and new
social scenarios.
The constructions of the Palace of Culture and the hotel in the centre of
the square were reactivated in 2003-2004, and it seems that these
buildings will be finished in a very short time from now. What is going to
happen with this entire kaleidoscope, when the construction fences have
disappeared? Will it be the start of a new urban play?
|
(Paper in English) |
|
|
|
|
|
___Gül
Kaçmaz-Erk
Amsterdam / Istanbul |
|
|
Architects
may
learn
a
lot
about
architecture
through
cinema.
What
is
represented
in
a
film
is
an
interpretation
of
architecture. Film
space
is a
representation
of
architectural
space.
As in well-known German director Wim Wenders’
cinema,
films
in
which
space
is
in
the
foreground
suggest
different
ways
to
perceive,
experience
and
interpret represented
space.
Wenders’
techniques
and
elements
of
space
not
only
turn
space
into
an
actor
but
also
make
space
a
symbol
of
contemporary
society. This
study
aims
to
uncover
the
relation
of
representation
between
architecture
and
cinema
through
Wenders’ films,
focusing
on
the
conception
and
shifting
meanings
of
space in his thirteenth
feature
film Der Himmel über
Berlin
(1987).
|
(Paper in English) |
|
|
|
|
|
___Lu,
Yi
&
Ruzica
Bozovic-Stamenovic
Singapore |
|
|
The shape
and pattern of architectural and urban spaces certainly play an important
role in our everyday life, affecting our perception and emotions.
Conversely, it could be argued that cultural parameters are also highly
relevant to the spatial concept and patterns of built space.
This
paper attempts to point out some important traditional concepts that might
have influenced the understanding of space in the mind of Chinese people
from the cultural point of view, as well as indicate how these concepts
actually influence and reflect the form and pattern of Chinese
architecture.
The
theories underpinning the architectural form are introduced in the
beginning. These theories and philosophy include Dao, Yin-Yang,
Feng-Shui, and Confucianism.
In order
to grasp the main idea of spatial concepts relevant for the ancient
Chinese, the characteristics and meaning of Chinese architecture are
described in general. These significant patterns of Chinese buildings are
noted as: walled closure, axiality and cardinal orientation, and
courtyard spaces.
Further
elaboration positions the architectural space and form as the expression
and reproduction of a reduced version of the great cosmos that is close
and important to human life.
Spatial
concepts developed in this study could shed lights to the inherent meaning
and functions of the traditional Chinese buildings, as well as the
architectural design in modern Chinese society.
|
(Paper in English) |
|
|
|
|
|
Poster Presentations |
|
|
|
___Diane Fellows
Oxford (Ohio) |
|
|
The inter-disciplinary work, “Remembrances and Passages”, a
performance narrative, deals with architectural place-making using
painting, video, and a performance reading. In the video montage,
paintings of characters in self-portrait and abstractions of urban alleys
are in concert with live action video to inform the understanding of human
activity in a given place, and the creation, through aesthetic attributes,
of that place. Fundamentally, my work addresses how private aspects of
migration and refuge become visible through the creation of public spaces
and constructions. By private, I suggest gender, sexuality, and ethnicity.
“Remembrances and Passages” takes place in Denver, Colorado, USA,
in the city’s alleyways. Eight city blocks
historically identified as the ‘Chinese community’, or ‘Hop Alley’,
existed within the urban grid of
Denver’s commercial district.
The
performance text, based on historical accounts of this early Chinese
community (1870-1947), is a contemporary story of two people who know each
other by name only and agree to meet on a July afternoon in lower downtown
Denver. As each travels along an inner city alleyway, events unfold making
it impossible for them to meet.
Accounts of immigration, refuge, and ethnicity are shared in the video by
Chinese currently living in Denver. These accounts are the pulse that
drives the total video montage and the performance narrative, and informs
architectural place making through layers of narrative storytelling.
|
(Presentation in English) |
|
|
|
|
|
__Gesa
Mueller von der Haegen
Karlsruhe |
|
|
What is
scenography? How can artistic scenography and architecture
interplay? The subject
of
‘stage-managing’
in architecture
is as old as
architecture itself. The short lecture
investigates spatially
extensive
artistic works
situated
in the urban and shows how
temporary spatial artistic interventions
can influence the perception of space and architecture sustainably and
how, in addition, they can be understood as instruments for the
improvement of the urban-spatial quality of life.
This
improvement is not intended
here
as a repair measure for building sins, but as
a
complementary interpretation of
the built environment
(and its structural interrelations) which could have
effects on future planning processes.
In this context,
the course of studies “Exhibition design and scenography” at the Hochschule für Gestaltung in
Karlsruhe
is
introduced
as well. With its
reorganisation the fields of scenography,
exhibition design and architecture
have been put
in a new context.
|
(Paper in German) |
|
|
|
The editorial staff keeps all rights, including
translation and photomechanical reproduction. Selections may be reprinted with
reference:
(Wolkenkuckucksheim, Cloud-Cuckoo-Land, Vozdushnyj Zamok >http://www.cloud-cuckoo.net<)
if the editorial staff is informed.
|