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Every revolution starts with stupid questions.“ Joseph Beuys

Many find answers, I have questions. Ranging from trivial to yearning, since 2004 new every month, non academic, at the borders of science, more bewildered and curious. May be you have an answer and you need the question? I am looking forward to an exchange. Enter the discourse.

Question of the Month >>> Theory of Architecture:


 

 

4th Question 2013

"travel"

What matches the folly in our inner landscape?


"Like me, you sometimes waken
early in the dark
thinking you have driven miles
through inward country
…"

John Burnside

 


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23.10.2013
Wolfgang Bachmann
Gully.
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23.10.2013
Frank Werner
Bomarzo...."das Wäldchen, mein kleines Bordell" hat Fürst Orsini einst gesagt....der Garten als mental mapping seelischer Befindlichkeiten....aber das ist keine Antwort auf deine Frage...
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23.10.2013
Will Alsop
Not to travel is like freeze framing a film.
Things are observed in detail but you are going nowhere.
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23.10.2013
Diana Soeiro
Dear Florian,

Very inspirational question that has puzzled me, because after reading it several times, I had the feeling that there was something off about it. Below, my attempt to "solve" it. My best regards

--------

Even before finding out what matches the folly in our inner landscape, to assume that a match between our inner landscape and the outer landscape is possible, it already is a very good start, ie. it already presupposes a positive interpretation of folly. A negative interpretation of folly, would disconnect the link between inner and outer landscape, and therefore it would annul the possibility of a match.

We have folly as “lack of good sense, stupidity, recklessness” and to an extreme, as “idiocy, lunacy, irresponsibility, madness”. Still, even if we consider only the first three synonyms, I’m not sure if we can say that there is a positive feeling associated with them. We can consider these from a sociological point of view or from an ontological point of view. Sociologically, many times, what society (or a culture) considers to be ‘lack of good sense’, ‘stupidity’, or ‘recklessness’ can actually be ground-breaking, helping to push a society forward, contributing to lessen prejudice or discrimination. In that sense, apparently, “folly” acquires a positive connotation — fitting perfectly the romantic ideal of what an artist or an individual is expected to do. But the apparent positive connotation it acquires is not assured for the results it has achieved. The positive connotation is assured because the “folly” has an orientation, paradoxically, given for what it has rebelled against. The link between an action expressing “lack of good sense” and what it rebels against assures that there is a link between thee inner and outer landscape.

Ontologically, orientation is again key to determine folly (and eventually what matches it). Folly with no orientation, ie. guiding principle, actually corresponds to “idiocy, lunacy, irresponsibility, madness”. In this case, I think that no positive interpretation of folly is possible and a match between “folly” and “inner landscape” is a word-game. It is to use “folly” in a romantic sense where “the fool” is praised because is free of all society’s constrictions. It confuses the sociological with the ontological. Sociologically, a man can be considered to have ‘no good sense’, and to be ‘mad’, yet, ontologically, society can be talking about someone who either 1) has an orientation; 2) does not have an orientation. If he has an orientation, even if he acts in a way that reveals that he walks away of society’s rules, we cannot say he is a fool; if he has no orientation, he is a fool. In other words, if he, ontologically has an orientation, then it means there is a match between his inner landscape and the outside landscape and his “folly” is apparent — in fact, the word even does not apply, but it reveals an irony, towards those who may eventually not understand that in fact he has an orientation; if, ontologically, he has no orientation, then he is a fool, an there is no match between his inner and outer landscape.

Therefore, the question “What matches the folly in our inner landscape?” is a false question that hides a rhetorical fallacy, in the sense that it means to question something through irony. If there is folly (and for sure if we take it to the extreme as ‘madness’) there will be no match with anything (not between inner and outer landscape, and in extreme cases, not even between inner and inner landscapes!). The particular irony of the question seems to echo the romantic ideal of one who feels he is struggling to find his orientation, without being constricted by society’s rules, while trying not to be judged by society itself (the wish of not being judged is expressed through irony: ‘you think I’m a fool, but I’m not, I’m just affirming my inner landscape, but I'll use the word 'fool' just for you to see that I'm not scared of being called one’).

The thing is like: any affirmation of an inner landscape always implies an outer landscape (and this we can consider to be 'nature', 'society', 'culture' etc — let’s not go into too much detail!), whether one embraces or rejects it. But there can only be an “inner” if we have an “outer” as reference.

In a nutshell: what matches our inner landscape is outer landscape, and if there is a link between both, the word “folly” does not apply, because there is orientation (even is society does not acknowledges it). If there is “folly” than nothing will match our inner landscape… and we have to struggle to find orientation ie. to find the link between outer and inner.

Concerning the question of the month, to question “what” is therefore not as relevant as an understanding of the dynamics between “folly” and “inner landscape”. If we describe the process between both, and why is it that the question is a false one, the “what” will answer itself, for each one of us, differently — but following the same dynamics.
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24.10.2013
Ludwig Mattes
Lieber Maestro
Danke für die Mail: hier die Antwort:
wise
Gruß Mattes
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13.11.2013
Robert Thomsen
Lieber Herr Stocker,
welch eine Frage, Freud veranstaltet Freudentänze im Grab, verzierte Gedankenbäude in unserer inneren Landschaft die uns im Traum begenen, die wir durchwandern und durchschreiten können ohne das unser Narzismus gestört wird. wir durchwandern perfekte Landschaften die sich nicht verändern, der Horizont ist immer der gleiche, der Sonnenuntergang unserer Wünsche. Durchdachte und durchdesignte Architkturen in einer Performation Piranesischer Verführungen und Anmutugen, erdacht und geträumt von uns. Und dann das: Aufwachen ,sehen schmecken ,riechen, fühlen Beton : Bonjour Tristesse!
Herzliche Grüße Robert Thomsen
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14.11.2013
John DeFazio
"What matches the folly in our inner landscape?"
There is no folly, there is no inner landscape. All is real, with no boundaries.
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3rd Question 2013

"touch"

Does Wabi Sabi anticipate the eschatological reservation?



This time I will get no answer


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+++
11.5.2013
Gu Yan 
Fantastic question and imaginary post.
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5.3.2013
Frank Werner
Die vollendete Wabi-Sabi Ästhetik des Daisen-In-Zen-Gartens von Daitoku-Ji in Kyoto "reflektiert" zumindest aus westlicher Sicht den eschatologischen Vorbehalt wie traumhaft hingesagt....Würde man hingegen sagen, das Bild dieses Gartens als Panorama des Diesseits und Jenseits "antizipiert" den genannten Vorbehalt, dann wäre das hermeneutisch vermutlich zu eng begriffen....
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5.3.2013
Weitere Informationen (Editors Note)
Le jardin zen du Daisen-in; "The book of architectural longings" Springer Verlag Wien New York 2010 S. 129 West - Eastern Divans of Longing: Thoughts on two special intellectual edifices.
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5.3.2013
Robert Thomsen 
Lieber Herr Stocker,
die Verbindung zwischen einem ästhetischen Prozess, der nicht in seinem sein zu Ende sein darf, weil sonst die Ästhetik verschwinden würde, mit dem Sauerteig des Chrsitentums herzustellen ist wahrlich Albert Camus geschuldet, eine Sysiphosarbeit. Doch es ist ein Versuch wert über den Begriff der Berührung, in diesem Fall müßte psychologisch betrachtet die Ästehtik der japanischen Kultur in Erwartungshaltung zur Annahme des Reich Gottes, des christlichen Glaubens in der Endzeit sein. Da doch alles im werden ist, wird es nicht sein bzw. wird sich der Raum in den Moment der Idee auflösen und uns mit umhüllter Leere zurücklassen. Die Berührung durch den Luftzug lässt uns eine Gänsehaut erfahren und erschüttert unseren seelischen Raum der Sicherheiten im Mark und es überlebt die Poesie der Stille, sprachlos gewordene Zeichen der architektonischen Bedeutung.
Mit herzlichen Grüßen
Robert Thomsen
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2nd Question 2013

"densification"

Do we find or invent poetic space?

Dedicated to Italo Calvino


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+++
5.3.2013
Urs Wolf
sowohl als auch
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5.3.2013
John DeFazio
"I saw the angel in the marble and carved until I set him free."
Michelangelo
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5.3.2013
Aldo Nolli
Sometimes we try to find, to invent. http://europaconcorsi.com/projects/224921-Intarsia Ideas are in the air, and sometimes we find the right "frequency" to capture them....
Durisch + Nolli — Intarsia
europaconcorsi.com
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5.3.2013
Laszlo Kiss
We find them through the filters of our time
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5.3.2013
Dick van Berkum
occasionally, by coincidence, poetry occurs....
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5.3.2013
Aldo Nolli
Biltà di donna e di saccente core
e cavalieri armati che sien genti;
cantar da'ugelli e ragionar d'amore;
adorni legni'n mar forte correnti;

Aria serena quand'apar l'albore
e bianca neve scender senza venti;
rivera d'acqua e prato d'ogni fiore;
oro, argento, azzurro'n ornamenti...

Guido Cavalcanti, ca. 1280
(Italo Calvino quotes it in the american lesson about "Leggerezza")

(editor's note: Guido Cavalcanti:
beauty of women and wise hearts
and noble armed cavaliers
bird’s song and love’s reason
bedecked ships in strong seas
serene air at dawn
and white snow falling windlessly
watery brooks and fields of all flowers
gold, silver, lapis lazuli in adornment-)

What a wonderful poetic space!!!!
Did I find it or did it find me?
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Bin fasziniert davon, wie durch dieses Gedicht Gefühle als Räume wahrgenommen werden, als räumliche Atmosphären.
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Liebe wird durch Poesie zur räumlichen Wahrnehmung, zur Atmosphäre. Kein Wunder hat Dante Alighieri in der Divina Commedia den wundervollen Vers "E bianca neve scender senza venti" fast wörtlich übernommen.
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But the question is: What is the difference between Find and Invent?
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6.3.2013
Cordula Rau
"Immer nur Fragen ... immer nur Fragen ... das muss aufhören ... " Michel Piccoli in LES CHOSES DE LA VIE rauchend am Fenster kurz vor seinem Unfall ... http://www.youtube.com/watch?v=31us6AJ3W8E : Hat er sich aus der Affäre gezogen? Oder wurde er ... ??
Les choses de la vie bande annonce Claude Sautet
www.youtube.com
Bande-annonce du film les choses de la vie, un film de Claude Sautet de 1970 ave...
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6.3.2013
Frank Werner
ein uraltes philosophisches Spiel: das "Naturschöne" versus das "Kunstschöne"....
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6.3.2013
Aldo Nolli E subito riprende
il viaggio
come
dopo il naufragio
un superstite
lupo di mare

Giuseppe Ungaretti
(Anmerkung der Redaktion:

Freude der Schiffbrüche

Und plötzlich nimmst du
die Fahrt wieder auf
wie

nach dem Schiffbruch
ein überlebender
Seebär
Übersetzung Ingeborg Bachmann)
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6.3.2013
Aldo Nolli And white snow falling windlessly....what a wonderful space.
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6.3.2013
Masumi Mizoguchi
"The words - I imagine often - are small houses, with cellar and attic. Common sense is staying on the ground floor, always ready to trade externally with others i.e. the passer-by who is never a dreamer. Climb the stairs in the house of the words, the higher the steps, the more abstract it becomes. Get down to the cellar, is dreaming, is getting lost in the distant corridors of uncertain etymologies, it is to seek unfindable treasures in words. The life of the poet is to climb up and down in the words themselves. The poet is allowed to either climb too high or too low, who connects the earth with the outer space. Only the philosopher is to be condemned by his peers to live always on the ground floor?"

"Les mots — je l'imagine souvent — sont de petites maisons, avec cave et grenier. Le sens commun séjourne au rez-de chaussée, toujours prêt au « commerce extérieur », de plain-pied avec autrui, ce passant qui n'est jamais un rêveur. Monter l'escalier dans la maison du mot c'est, de degré en degré, abstraire. Descendre à la cave, c'est rêver, c'est se perdre dans les lointains couloirs d'une étymologie incertaine, c'est chercher dans les mots des trésors introuvables. Monter et descendre, dans les mots mêmes, c'est la vie du poète. Monter trop haut, descendre trop bas est permis au poète qui joint le terrestre à l'aérien. Seul le philosophe sera-t-il condamné par ses pairs à vivre toujours au rez-de-chaussée ?"

Sorry for my humble translation.
Gaston Bachelard la poétique d'espace
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6.3.2013
Wolfgang Bachmann
...poetischer Raum
Heute – angeblich seit Tschumis Parc de la Villette – arbeiten Landschaftsarchitekten vornehmlich mit Betonschwellen, rostigen Stahlträgern, punkig frisierten Hecken und blauem Glassplit. Da ist nicht mehr viel mit Poesie, das ist Hip-Hop im Außenbereich (§34).
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9.3.2013
Hans Robert Hiegel
Kann man nach Kants Überlegung zum Weltfrieden noch an Erfindungen glauben? Die Dinge sind da. Man braucht Phantasie oder mehr als das zum zielgerichteten Suchen ... manchmal findet man etcetal.
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9.3.2013
Miles Jaffe
How to explain pictures to dead hare. Joseph Beuys
http://en.wikipedia.org/wiki/How_to_Explain_Pictures_to_a_Dead_Hare


Danteum

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9.3.2013
Josef Bischofs
Giuseppe Terragni - Danteum Philippe Honore
http://vimeo.com/m/15404087

Danteum
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9.3.2013
Josef Bischofs
Weder noch. Sie ist oder Sie ist nicht.
Neither both. She is or she is not.
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9.3.2013
John DeFazio
In quantum mechanics you can be " is" and "is not" and "both".
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9.3.2013
John DeFazio
"is you is or is you ain't"
http://www.youtube.com/watch?v=m7M4thNT_EY
Louis Jordan - Is You Is Or Is You Ain't (My Baby)
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9.3.2013
Josef Bischofs
Quantum mechanics is not. : )
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9.3.2013
John DeFazio laughing.
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9.3.2013
Masumi Mizoguchi
poetic space and quantum mechanics... is this architect thingy? (oh lala, I'm really happy being 4 ^-^)
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10.3.2013
Florian Stocker
Beauty, symmetry, temporality.....may be qantum physics is radical concrete poetry and CERN is the most expensive atelier of our times. But the crucial aspect here seems to be the role of the observer and the experimentor. Josef's contribution leads us a bit in this direction... So I replace Schrödingers Cat with Bischofs Pegasus.
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13.3.2013
Wolfgang Frese
We usually find it and then usually fail to reinvent it
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15.3.2013
Masumi Mizoguchi
I dare...

"These trees are magnificent, but even more magnificent is the sublime and moving space between them, as though with their growth it too increased."
- Rainer Maria Rilke

Florian, your question and recent Trent and Paul's posts on Gordon Matta-Clark (on their respective walls) linked me to this Rilke's quote and this Sofu Teshigahara's ikebana called Kyozo(False Image).

so we can find and invent poetic space.. non? https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-ash3/578424_4336883150223_1278746050_n.jpg
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16.3.2013
Marietta Andreas
+Et actio. As architects sure enough we hopefully are able to create a poetic space - as well as every sensitive person! Reading a poem, hearing beautiful music in a for us dreamful evironment... even in arranging a candle besides an aesthetic picture, flower or any object that we connect with poetic space. Photographers, composers, creators of any kind may. Reactio as written is the issue. It might not be poetic - but look at this 'artist' trying to make you 'feel' the space he is moving in! Happy weekend! http://www.youtube.com/watch?v=pBNHALUdNC0
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25.3.2013
Robert Thomsen
Lieber Herr Stocker,
ist der poetische Raum nicht nur ein literarischer? Wie können Architekten einen verdichteten gedanklichen Raum erfinden? Ist das was wir erfinden nicht nur der Ausdruck unserer Hilflosigkeit im Kontext der Literatur? Wie beschämend nimmt sich Architektur heraus poetisch zu sein! Hier eine rauhe Betonoberfläche mit gekonnter Lichtführung und schon singen alle das Lied poetischer Architektur und wir sprechen von Raumverdichtung und Raumerleben usw., erfinden Sätze die wir selbst kaum verstehen um Dichter zu sein. Wie armselig, wie wenig an Selbstwert um dies tun zu müssen. Lassen wir die Dichter Dichter sein im Rahmen der Sprache, aber nein, ein zweiter Aufschrei, auch wir Architekten haben eine Sprache, ja welche denn ? Die geborgte Sprache der Sprache weil wir uns sonst Totschweigen? Weil wir eigentlich nicht erzählen können was wir gerne würden, denn ist es nicht so, das wir nur bauen können und bauen ist nicht erzählen und erzähltes ist nicht gebautes. Wir bemühen die Dichtung um das was wir tun zu beschreiben, doch das beschreiben spottet uns, denn wir können nur sehen,riechen, anfassen und hören. Wo ist hier erfundener Raum? Wenn , dann finden wir und wenn wir finden haben wir Glück, denn das Poetische währt immer nur einen Augenblick, ebenso lange wie der Lichtstrahl braucht um über eine kleine Öffnung hinwegzuhuschen um uns dann mit den durch Sprache entstandenen Räumen unserer Gehirnwindungen wieder alleine zu lassen im Ringen um etwas poetisches.
Herzliche Grüße
Robert Thomsen
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16.3.2013
Marietta Andreas
Dazu: Ist der Begriff 'Poesie' nur in Bezug auf Literatur zu finden? "Musik ist die Poesie der Luft." schreibt Jean Paul, deutscher Schriftsteller (1763 - 1825). "Poesie! Kunst ist Poesie!" so Jean-Christophe Ammann über seinen Anspruch an ein Kunstwerk. Folgende Schrift zum Thema liegt übrigens vor und wäre zu diskutieren: http://www.koeppler-tuerk.de/programm.html
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18.4.2013
Jörn Köppler
In seiner Erzählung „Der Mann, der Bäume pflanzte“ berichtet Jean Giono von einer Wanderung, die er vor dem ersten Weltkrieg in den provencialischen Ausläufern der Alpen unternahm. Er beschreibt dabei eine durch Abholzung der Wälder verwüstete und trostlose Landschaft, deren Dörfer von ihren Bewohnern längst verlassen waren aufgrund der durch die fehlenden Wälder bewirkten Austrocknung der Brunnen und Quellen. In dieser Einöde traf er auf einen Schafhirten, der bei seinen täglichen Gängen über die kargen Heidewiesen jeden Tag etwa 100 Eicheln in dieser lebensfeindlichen Landschaft aussäte, die er in den entfernt liegenden, noch erhaltenen Wäldern sammelte. Mit den Jahren, in denen Giono immer wieder in dieses Gebiet zurückkehrte, zeigte sich der Erfolg der durch die Zeitläufte unbeirrten Arbeit des Hirten, indem mit den langsam wiederentstehenden Wäldern zuerst das Wasser, dann die Tiere und schließlich auch die Menschen zurückkehrten in dieses Gebiet. Nach etwa 30 Jahren war aus „der Wüste das Land Kanaan“ wiedererstanden, waren die Dörfer wiederbesiedelt, die ausgetrockneten Bachläufe wassergefüllt, war das Leben zurückgekehrt in einen durch Menschen einst lebensfeindlich gemachten Ort.

In dieser Erzählung kommt ein ‚Etwas‘ zur Sprache, dessen unmittelbar nachfühlbarer Gehalt von Wahrheit sich daraus übersetzen könnte, daß der Blick vom Menschengemachten sich weitet auf das vom Menschen unabhängig und jenseits seines Zeithorizontes Existierende: Natur.
Denn ist nicht der äußerste Satz, den wir von der Wahrheit denken können jener, daß Wahrheit Wirklichkeit ist? Und zwar nicht die bewegliche Wirklichkeit unserer menschlichen Geschichte, sondern die von uns nicht zu bewegende, geschöpfte Wirklichkeit der Natur?

Architektur fragte nach diesen Dingen seit je. Man könnte es nun als poetischen Architekturgedanken bezeichnen, das fragile Sinnverhältnis des Menschen zur Natur so zum Ausdruck zu bringen, daß dessen Werke mit Adorno gesprochen nur den „stummen Hinweis auf das, was schön sei“ suchten – auf das, was Sinn zeige in der Natur selbst. Was zugleich bedeutet, daß diese Werke sich eben nicht an der Unmöglichkeit versuchten, selbst Sinn herzustellen, was auch als technisches Verständnis des Bauens zu bezeichnen wäre.
Vom frühen Tempelbau in Dodona, in welchem die als heilig angesehene Eiche von einem schattenspendenden Umgang gerahmt ist, bis zu Mies van der Rohes Aufhebung der konstruktiven Geometrie in eine symbolische Lineatur im Haus Lemke in Berlin ist die Gedankenlinie des in-werksetzenden, sprich: poetischen Bauens zu erkennen.

Bereits von Kant und in der Folge von einer kritischen Theorie modernen Denkens wurde dargelegt, daß der sich reflektierende Mensch zur Versicherung seiner ideelen Grundlagen auf Referenzen außerhalb seiner Selbst sehen muß. Erkenntnisfragen, Fragen nach der eigenen Sterblichkeit, vor allem aber Fragen der Moralität erscheinen zwar durch den Menschen selbst beantwortbar, in Bezug auf ihren substanziellen Wahrheitsgehalt aber bedürfen sie erst den Prozessen einer Objektivierung. Genau hier setzt das poetische Denken ein, welches dem irrationalen Glauben an die unbegrenzten Möglichkeiten wissenschaftlich-technischer Rationalität das Prinzip der ästhetischen Erfahrung entgegensetzt.

Finden oder erfinden wir den poetischen Raum?

Vor dem Hintergrund von Gionos Erzählung würde ich es so formulieren wollen: Der Charakter und ästhetische Ausdruck eines poetisch aufgefassten Bauens ließe sich vielleicht mit dem Bild eines gebauten „Siehe“ beschreiben: Als raumgefasster Ausblick aus unseren Lebenswelten, dessen naturbestimmte Wirklichkeit jene Erfahrung von Wahrheit evozierte, die eben so fraglos und jenseits allem Zweifels – sprich: so poetisch ist wie das stille Fließen einer Quelle, die nach Jahren des Versiegens wieder Wasser führt.

Postskriptum: Und darauf, so glaube ich, zielte auch Italo Calvino, wenn er in seinen Poetikvorlesungen „Sechs Vorschlägen für das nächste Jahrtausend“ zum Thema der Esattezza, der Genauigkeit Giacomo Leopardi zitiert. Für Leopardi, so Calvino, sei das im poetischen Moment enthaltene Unsagbare nicht mittels einer subjektiven Erfindungsleistung der menschlichen Sprache zu fassen, sondern andersherum: diesem sich zu nähern sei, wenn überhaupt, nur möglich durch eine geradezu pedantische Abbildung der Wirklichkeit, aus welcher jeder menschlich-subjektive Ausdruck so weit es irgend geht ausgeklammert ist.

Jörn Köppler
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1st Question 2013

"focus - light"

What does the inner eye see when architecture is embedded in fog?

Dedicated to Hermann Hesse


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+++
8.1.2013
Marietta Andreas
I'm very sorry - but I do have to answer in my own language.

Im Nebel, der vieles verborgen hält, wird es eine Traumvision sein. Er ist eine ästhetische Verschleierung, die unseren Gedanken die Möglichkeit gibt, frei zu schweifen. Im allerersten Moment kam mir der Gedanke: Die Architektur, die man am meisten liebt - denn dem inneren Auge wird diese zuerst als die favorisierte erscheinen. John Pawson. Dann fiel mir ein Bild ein: Die neueröffnete Dependance des Louvre in Lens - mehr eine optische Verbindung. Der Nebel: Freiheit für das innere Auge und die Freiheit, die Architektur einzubetten, die man sich erträumt.
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8.1.2013
Silvia Fohrer
Stufen, von Hermann Hesse

Wie jede Blüte welkt und jede Jugend
Dem Alter weicht, blüht jede Lebensstufe,
Blüht jede Weisheit auch und jede Tugend
Zu ihrer Zeit und darf nicht ewig dauern.
Es muß das Herz bei jedem Lebensrufe
Bereit zum Abschied sein und Neubeginne,
Um sich in Tapferkeit und ohne Trauern
In andre, neue Bindungen zu geben.
Und jedem Anfang wohnt ein Zauber inne,
Der uns beschützt und der uns hilft, zu leben.

Wir sollen heiter Raum um Raum durchschreiten,
An keinem wie an einer Heimat hängen,
Der Weltgeist will nicht fesseln uns und engen,
Er will uns Stuf' um Stufe heben, weiten.
Kaum sind wir heimisch einem Lebenskreise
Und traulich eingewohnt, so droht Erschlaffen,
Nur wer bereit zu Aufbruch ist und Reise,
Mag lähmender Gewöhnung sich entraffen.

Es wird vielleicht auch noch die Todesstunde
Uns neuen Räumen jung entgegen senden,
Des Lebens Ruf an uns wird niemals enden...
Wohlan denn, Herz, nimm Abschied und gesunde!
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8.1.2013
Florian Stocker
Herman Hesse:
In The Fog

It's strange to wander in the fog!
A lonely bush, a lonely stone,
No tree can see the other one,
And one is all alone.

The world was full of friends back then,
As life was light to me;
But now the fog has come,
And no one can I see.

Truly, no one is wise,
Who does not know the dark
Which inevitably and silently
Does from others him part.

It's strange to wander in the fog!
Life is loneliness
No Man knows the other one,
And one is all alone.
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9.1.2013
Be. G. Pfister
'Eine Hülle auf der Flucht !'
'A shell on the run!' (Translation by the editor)
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9.1.2013
Christian Holl wrote:
Sehr geehrter Herr Stocker,

anbei ein Versuch einer Antwort auf ihre Frage des Monats 1-2013

Was sieht das innere Auge, wenn Architektur in Nebel eingebettet wird?

Möglicherweise das gleiche wie ohne Nebel, je nachdem, was man unter einem inneren Auge versteht. Ich könnte mir vorstellen, dass diese Frage dann produktiv für den Diskurs ist, wenn man unter dem inneren Auge die Perspektive versteht, mit der sich die wahrnehmenden Person zugesteht, Architektur im Zusammenhang der eigenen Persönlichkeit, der eigenen Biografie, der eigenen Vorlieben, Wünsche, Begierde usf. zu sehen. Es wäre eine Form der subjektiven Sichtweise auf Architektur, die der objektiven gegenübersteht. Die objektive Perspektive bemühte sich entsprechend darum, Architektur als etwas wahrzunehmen, was von der subjektiven Perspektive soweit wie möglich abstrahiert, und das, was damit erfassbar ist übertragbar zu machen, gültig sein zu lassen unabhängig von einer zufälligen Perspektive. In seinem Extrem wäre es das, was Thomas Nagel den „Blick von Nirgendwo“ genannt hat.
Insofern ist dann der Nebel ein Katalysator, nicht nur festzustellen, dass die Erscheinung von Architektur und damit auch unser Verhältnis zu ihr sich wandelt, sondern auch, sich die Subjektivität des Umgangs mit Architektur überhaupt erst bewusst zu gönnen und zu erkennen, dass diese Subjektivität nicht ersetzt werden kann, dass der Verzicht auf die subjektive Perspektive im Umgang und in der Bewertung von Architektur nur zur Folge hat, dass wir nicht alles erfassen, was an ihr wahrnehmbar wäre.
Mit den besten Grüßen
christian holl
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12.1.2013
Masumi Mizoguchi
Isn't fog meteorological architecture?
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12.1.2013
Christian Huss
Lieber Herr Stocker,Unabhängig dem Gewidmeten: Tauwasserausfall!
Hermann Hesse betreffend: Unterm Rad, Herbstnebel: in und um Maulbronn!
Mit Grüßen aus Plochingen am Neckarstrand (Karl May)
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12.1.2013
Dick van Berkum
Not an answer, but a really foggy and mystery association told me to post it here.....
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13.1.2013
Trent Bromley
Masumi, you're on to something ~ this thought brings to mind Cloudscape @ the Venice Biennale. http://www.youtube.com/watch?v=ql_z2lr1wKU
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28.1.2013
Robert Thomsen
Lieber Herr Stocker,
der Versuch einer Antwort in einer diffusen Wolke die einen erkalten läßt. Als Wanderer durch die äßere Welt sieht meine innere einen schützenden behaglichen Innenraum. Ob dieser Innenraum schon Architektur ist weiß die Seele noch nicht, denn das Aussen ist zu unklar, unscharf. Die Umrisse der äußeren Kanten zerschneiden die Wassertropfen im Nebel,nur bluten will das Haus nicht, rot werden als Bedeutung seiner inneren Wärme. So schiebt sich der Fokus des Auges näher an das Äussere, die kalte weiße Fassade an der die Wassertropfen in kleine Rinnsaalen zu Boden kriechen um in ihm zu versickern. Der Nebel dringt ein in den Boden um das Schauspiel zu wierdholen, dann wenn die Wetterlage es zuläßt. Das Äussere dominiert das Innere, dem Inneren der Architektur wohnt nur ein Hauch von wärme inne, hinfortgetragen von der weichen naßen Wolke Nebel.
Grüße
Robert Thomsen
++++


+++++



3rd Question 2012

"hikers guide to the datascape"

architecture = parametric art?

Dedicated to Hugh Ferriss & Lebbeus Woods (+ 31.10.2012)


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+++
5th November 2012
Fibroestructuras Poliester Reforzado Reticula:
Yo proyecto en Diseño Paramétrico Áureo
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8th November 2012

Aldo Nolli

OH là là, was heisst da parametric Art? Alles folgt irgendwie bestimmten Parametern.
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14th November 2012

Trent Bromley
~ . . . Parametric architecture/art is beautiful when done right - Jason Silva has some interesting ideas on the topic ~ "I think showing the artistry and the beauty behind technology and behind nature I think is a new art form, because I think that even in my talk on big data I was saying: The more we can measure, the more we can quantify, the more we can take pictures of, the more we can understand with our science, the more we can then visualize and illustrate and it becomes art." "More information leading to art"http://vimeo.com/53405087# "Jason Silva: More information leading to art: You emphasize that art has an important role in the vision of human becoming, why & how? I read an article recently that says that science is now giving us much…"
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15th November 2012
Maru Martinez
an interesting perspective, similar ideas have been considered in cybernetics. Interesting is the notion of aesthetics and generative design, manuel delanda perspective on materiality is a must.
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19. November 2012

Robert Thomsen
Lieber Herr Stocker, Mandelbrotmenge computergeneriert = grafische Kunst? Zufallsanimierte Architektur und schon Kunst? Irgendwie wie Architektur = parametrische Kunst. Ich denke das Parametrie ein Hype bleiben wird wie Postmodern oder Dekonstruktion, etwas das in der Beliebigkeit endet. Da stellt sich für mich die Frage:Today people think architecture is like a butterfly, or a flying whale. Or even art.. art is a butterfly. But, you know... I thougt about it. Architecture to me is absolutley an elephant. Art is an elephant. Because you know it is extremly heavy and old. And also kind of looks cute, like elephants looks cute in a zoo, or looks cute in a circus when they dress them up. so it is with parametric architecture, it is a dressed up elephant. Can I have a photo with the elephant, make picture please! But actually when an elephant starts running or does something, you know, it can kill you! Especially when it is running and you are in the way of the elephant, you get killed, completely smashed, like a pumkin at this time (november you know). And here is art and architecture.: You got them provoked, you got an elephant on the run. So it is better to be an elephants trainer than abutterfly collector, so is it with parametric architecture.
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20. November 2012
Patrik Schumacher
Als Definition der Architektur funktioniert der Satz nicht! Architektur ist vielleicht eine "Kunst" im Sinne von "Profession/Disziplin" ... ist aber scharf vom Kunstsystem (Gegenwartskunst) zu unterschieden. Dann: nicht alle Architektur ist parametrisch. Dann waere der Begriff parametrisches Entwerfen trivial/tautologisch. Gegenvorschlag: Architektur = raeumliche Kommunikation..
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20.11.2012
Aldo Nolli
Ich denke, irgendwie verwechselt man da ein mögliches Werkzeug, eine Methode mit der Illusion eines sich selbst generierenden Systems. Am Anfang steht immer die Idee, das Wissen, Talent und Intuition.
Die digitalen Mittel sind immer bloss Werkzeuge, genau wie alle anderen zur Verfügung stehenden Mittel.
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20.11.2012
Florian Stocker
mag Werkzeuge.
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20.11.2012
Aldo Nolli
Ja!!! Auch Renderer und Photoshop Sind bloss Werkzeuge die wir anew den zum erzeugen Von Bildern, die WIR kreieren. Klar ist unser Hirn das ultimative parametrische Werkzeug. :-)
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20.11.2012
Robert Thomsen
Der Begriff Architektur = parametrische Kunst funktioniert und mit dieser Aussage oder Fragestellung ist erwiesen, das Architektur = parametrische Kunst tautologisch ist. Es gibt Architekten denen das nicht gefällt, vor allem jenen die den Begriff geheimnisvoll geprägt und auf den Markt geworfen haben. So schnell kommt man an den Rand der brüchigen Theorie. Es erfordert einfach mehr an Denkleistung als sich nur in Schubladen der Philosophiegeschichte zu bedienen, ohne die Inhalte wirklich durchdrungen zu haben. Architektur = parametrische Kunst ist banal und Sie kann gut gebaut sein, ohne Zweifel, aber ob sie Kunst ist nur weil wir sie parametrisch nennen wage ich in Zweifel zu ziehen. Dies Betrifft aber auch alle anderen Stilblüten der Architektur die Kunst sein wollen. Wir sollten erst einmal die Frage stellen, wann Architektur denn Kunst ist? Kann sie es überhaupt sein? Meines erachtens ist Architektur funktionsorientiertes Design, das wenn es gut ist nahe an den Begriff der skulpturalen Kunst herankommen kann, aber nur solange es keine Nutzer gibt, denn die verstehen das Konzept oft nicht.
+
++
Aldo Nolli
Der Begriff Design ist reduktiv. Seine Bedeutung ist analog zu Zeichnen, im besten Fall, "Gestalten".
Ich hab in der ersten Vorlesung für meine 2.Jahreskurd-Studenten einen Satz, der (frei aus dem Französischen übersetzt) besagt, "Architektur, ist auch wenn sie nicht gebaut ist, immer konstruiert. Um Architekt zu sein, muss man Konstrukteur sein...."
Oder Bauer (was für ein toller Begriff, Bauer). Ich will Bauer sein
Natürlich ist das nur eine aus dem Zusammenhang einer Vorlesung extrahierte partielle Aussage, aber immerhin...
20. November
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Florian Stocker
20. November
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Aldo Nolli
Costruttore
21. November
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Aldo Nolli
In diesem Zusammenhang zwei Sätze extrapoliert aus meinem Vortrag an der UNI Venedig: "La sensazione di "costruire qualcosa", qualcosa di utile per la società, è una sensazione di grande soddisfazione" (...)
L'esperienza professionale Co ha insegnato come per ottenere una certa coerenza spaziale, una certa atmosfera, un'immagine o un'espressione, occorra essere ella condizione di padroneggiare gli aspetti fisici dell'architettura, occorra cioè ESSERE COSTRUTTORI. "
21. November
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Florian Stocker
grande soddisfazione
27. November
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Florian Stocker
the full text of Trent's contribution video on Vimeo (thx Trent)
Jason Silva: More information leading to art
from VINTlabs - The Sogeti Trendlab PLUS 2 weeks ago / Creative Commons License: by nc sa

"You emphasize that art has an important role in the vision of human becoming, why & how?"
Jason Silva: "I read an article recently that says that science is now giving us much greater art than the art world. How could a painting ever compete with the images from the Hubble space telescope. And I don't know if I disagreed with that article. I think that the art world more than anything now should be taking the rich source material that science is giving it and that they should use that as the ingredients for their art. And whether that be electron microscope images of atoms and showing the patterns of atoms and showing maybe how the scans that we're doing of the brain that are showing the connection between neurons and the brain and drawing up these elaborate-, blowing up these pictures where they show that the neurons and the brain look exactly like computer models of the Internet or how they look just like the dark matter in the universe and showing the patterns that connect. And I think showing the artistry and the beauty behind technology and behind nature I think is a new art form, because I think that even in my talk on big data I was saying: The more we can measure, the more we can quantify, the more we can take pictures of, the more we can understand with our science, the more we can then visualize and illustrate and it becomes art."
29. November
+++
Florian Stocker
Just found the qoute this morning:
Wernher von Braun "Die Wissenschaft hat keine moralische Dimension. Sie ist wie ein Messer. Wenn man es einem Chirurgen und einem Mörder gibt, gebraucht es jeder auf seine Weise."
" Science does not have a moral dimension. It is like a knife. If you give it to a surgeon or a murderer, each will use it differently."
29. November
+++
Klaus Teltenkötter wrote:
Lieber Herr Stocker,
da reibt es sich ja schon am Begriff der Kunst...
Ich denke, dass bei allem gestalterischen Anspruch Architektur keine Kunst im Sinne der bildenden Kunst ist, da Sie primär eine Dienstleistung und Funktionen erfüllt und erst danach, wenn überhaupt, auch einen Werkanspruch hat, dem der der Kunst ähnlich sein kann. Das Architektur parametrisch ist, zumindest die gebaute Architektur, ist nichts neues. Architektur ist den Parametern der Bewegung, Licht, Zeiten usw. ausgesetzt.
Aber vielleicht zielt Ihre Frage auf den Planungsprozess oder einer aktuellen Mode bzw. Stil, dem Parametrismus?
In Bezug auf den Planungsprozess ist das parametrische Entwerfen in der Architektur angekommen und hier hat/ wird sicherlich ein Paradigmenwechsel stattfinden. Wirt denken nicht mehr in Zahlen, sondern in Abhängigkeiten wie im ganz normalen Leben auch. Das hat einen großen Einfluss auf das Design und den Planungsprozess und ist Grundlage für die größten Veränderungen seit der Moderne, die in Zahlen und Dimensionen denkt. Es wird also gemorpht, gefaltet und tessiliert und so Dank CNC-Fräse und Co auch jetzt gebaut ...Aber neu ist das nicht: Die Industriedesigner können die Aufregung bei uns Architekten gar nicht verstehen, die Entwerfen nämlich schon seit Jahrzehnten parametrisch...
Muss daher alles in Zukunft Blob sein? Die Antwort liegt vielleicht im -ismus: Hier war die Aufregung schon immer groß und die Halbwertszeit auf sehr natürliche Art und Weise begrenzt. Denn irgendwann können, wir egal welchen -ismus, den -ismus einfach nicht mehr sehen...
Mit besten Grüßen
Klaus Teltenkötter


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2nd Question 2012

"floating architecture"

Is floating architecture transcendent?

Dedicated to Frank Lloyd Wright’s Lake Tahoe project.
Further reading for this question:
http://www.loc.gov/exhibits/flw/images/flw0056x.jpg
http://www.planetclaire.org/fllw/laketaho.html

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+++
19. Juli 2012
Marietta Helen Andreas "erhaben"?
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19. Juli 2012
Florian Stocker erhaben.
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Josef Bischofs
Ich beantworte im Moment keine Fragen, die mit Nässe zu tun haben... ; )
19. Juli 2012
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David Marold
May be when it's sunken?
20. Juli 2012
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Christian Huss
"Atlantis!"
24. Juli 2012
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Robert Thomsen
Lieber Herr Stocker,
eine Antwort zum Bild: Nonsense is better than no sense at all! Eine Antwort zum Link benötigt Geist. Frank Lloyd Wright hat den löbliche Versuch unternommen die Naturgewalt des Wassers über ein Bild zu domestizieren.Das ist bei seinem Entwurf so und das ist beim Haus Falling Water so. Beim Haus Falling Water holt er sich das ins Haus was keiner will : Wasser! Doch wie sieht es mit Architektur aus, die wirklich schwimmt? Ozeandampfer! Das semiotische Modell der moderenen Architektur, zitierte Bullaugen und Kommandobrücken in Massen. Doch Schiffe, die schwimmen und Architektur? Gebaute logische, technizistische Raumzeichensprache ohne Architekten! Bootsbauer sind die visionären Architekten.
Herzliche Grüße
Robert Thomsen
25. Juli 2012
+++
Silvia Fohrer
es ist sehr gefährlich, wieviel Müll im Wasser landet, es ist mittlerweile schon so wie Plankton, die Strände sind voll davon, man fischt morgens ab, Müll, vielleicht werden wir die nächsten Burgen aus Müll bauen müssen, anstatt aus Sand, die Vögel des Meeres bauen schon ihre Nester damit und nehmen es als Nahrung zu sich, eine Katastrophe.
25. Juli 2012
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Robert Hopkins
Transcendence is a condition, not necessarily either permanent or absolute. It is a conditional description. Transcendent of what? Beyond description? Beyond comprehension? Beyond quotidian "reality?"
4. August 2012
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Robert Hopkins
Independent of the water? Not unless it's floating on air...
4. August 2012
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Dick van Berkum Well......not exactly floating:
http://www.exek.uni-hannover.de/fileadmin/exek/pdf/Exkursion_BauenamWasser_D_NL.pdf
20. August 2012
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+++++++




January/February 2012

"product"

Architecture
/ \
Trademark - Product

How does Architecture change between trademark and product?

Dedicated to Walter Benjamin.

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+++
5.3.2012
Dick van Berkum
I think this is about a more complicated question.
Quote from the archdaily.com article:
What if Le Corbusier patented his designs? Mies van der Rohe? Frank Lloyd Wright? Their work and strategies have been copied and implemented all over the world to varying degrees. So, where is the line between protecting an original idea and creating a barrier against progress? Or does this commercialization of architecture fuel competition to design better or design around strategies already patented?
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5.3.2012
Dick van Berkum
Is this the beginning of a takeover by commerce (= we are only in it for the money)? It would restrict the "free" playfield of architects. I am not an architect, just an artist, but i would be very concerned when this happened to the arts. So......architects, wake up!!!
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5.3.2012
Marietta Helen Andreas
No. No. No. No! But for example the influence on architecture as to "ERCO" is there and it is very interesting that the architect thought about the barcodes.... why not?
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7.3.2012
Sokratis Georgiadis
Lieber Florian,
wenn Frage und Widmung zusammenhängen, so ließe sich erstere dahingehend
beantworten, dass selbst Hersteller von Markenprodukten inzwischen Wind
davon bekommen haben, dass es heute, in Zeiten "fluktuierender Normen", wie
Deleuze sagt, nicht so sehr auf die Reproduktion identischer Kopien ankommt
als um die Produktion einer Vielfalt von Varianten, die eine
Mannigfaltigkeit von Konsumentenwünschen bedienen oder diese auch erst
erzeugen. Man könnte sich aber auch vorstellen, dass diese v.a. durch die
Anwendung von CAD und CAM Werkzeugen erschlossenen Möglichkeiten von der
Konsumlogik abgekoppelt werden könnten, um stattdessen das Feld der
Architekturproduktion der Partizipation der Nutzer zu eröffnen. Die
Beteiligung am Prozess, die Mobilisierung der Ressourcen kollektiver
Intelligenz lässt nämlich hoffen, dass allmählich neue Fluchtlinien der
Wunschartikulation jenseits des Konsumdiktats entstehen könnten.
Marken-Architekten tun sich aber damit schwer.
Schöne Grüße
Sokratis Georgiadis
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7.3.2012
Trent Bromley
‚Äé~ . . . John Chase writes "Commercial vernacular's most perplexing quality is that it goes to great lengths to appear to be what it is not." "Just as soap opera has supplanted folklore and storytelling, commercialized architecture has taken the place of the traditional vernacular in the building of present-day America. A large part of this building is, nonetheless, a new kind of vernacular."
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7.3.2012
Aldo Nolli
Produkt, kommt von Pro-Ducere, Vor-Führen? Voran-Führen? Aus-Führen?
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7.3.2012
Aldo Nolli
Wobei Architektur ist immer noch ein Manufakt, das macht sie ja gerade interessant.
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7.3.2012
Aldo Nolli
Aber vielleicht rede ich am Thema vorbei. Wie ist das mit dem Begriffspaar Marke/Produkt bezogen auf die Architektur gemeint, Florian?
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7.3.2012
Florian Stocker
@Aldo Nolli Deine Verführung legt den Finger in die Wunde... Produkt - Handwerk, Sokratis Georgiadis hat das Wort "Konsumdiktat" weiter oben verwendet. Der Architekt verführt ja gerne...
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7.3.2012
Florian Stocker
Authorship might be a topic too?
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7.3.2012
John DeFazio
I am with Aldo on this one. What is the question?
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7.3.2012
Florian Stocker
I have to reformulate?...I am thinking about the tendency of architects to generate a trademark, without forgetting Frank Llyod Wright, Corbu....even Arlbrecht Dürer, so is it a marketing tool, does a "product" allow participation...in the machinery of desire, lust an fulfillment? As a midwife I should keep silent (Maieutics in progress)... since the motto is "May be you have an answer and you need the question?"
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7.3.2012
John DeFazio
Thanks Florian. Now time to think.
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7.3.2012
Peter Klick
Hi Florian
In the US it's called Branded Environment
Brand means to me actually to set something on fire… Brand, that’s the German word for fire and blaze.
Start the fire and there will be heat! You are a maverick without a brand‚¶
Gruesse aus Chicago,
p
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7.3.2012
Maru Martinez
@Florian Stocker, you have posed a crucial question addressing the practice of participation and the ambivalent notions of innovation, consensus and common ground: "does a "product" allow participation... in the machinery of desire, lust an fulfillment?". i am reading markus miessen "the violence of participation and just saw harun farocki's film "In Comparison". So, following your question i wondered what sort of frictions and differences supplement such micro political forces?
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7.3.2012
Maru Martinez
so, i tried to reread the posts, so your question aims addressing experience economy/experience society linked to how an organization structures and names the brands within its portfolio?
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10.3.2012
Jürgen Mick
Hallo Herr Stocker,
es scheint mir ein reizvoller Ansatz, Architektur aus dem Spannungsfeld Produkt – Marke heraus zu beobachten, weil auch Architektur sich nicht länger einem Anspruch entziehen kann, der mittlerweile an ...nahezu alle Dienstleitungen und Produkte heran getragen wird: Erwartbarkeit.
Meine Vermutung ist, dass die Einlösung dieser Erwartung über einen standardisierten Produktionsablauf versucht wird. Erst die Standardisierung von Produktion erlaubt es Marken zu etablieren, die als Garanten auftreten können. Ein architektonisches Bauwerk kann mittlerweile genau deswegen als ein Produkt bezeichnet werden, weil sein Herstellungsprozess vorrangig den Bemühungen Rechnung trägt Herstellung und Gebrauch voraussehbar zu machen und alle Erwartungen gerecht zu werden. Das Schema „Erwartung und Einlösung“, das vom „Konsumenten“ in alle Lebensbereiche und so auch in die Architektur hinein getragen wird, hat ein hochkomplexes Zusammenspiel von Regeln und Normen, Gesetzen, Strafen und Versicherungen etabliert, welches als Systematisierung von Herstellungsbedingungen beschrieben werden kann. Wobei der Architekt stellvertretend als Marke fungiert und das „Produkt“ (das ja Unikat bleibt) sich über bewährte Abläufe einer gefestigten Entstehungsstruktur rechtfertigt.
Mit freundlichen Grüßen
Jürgen Mick

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13.3.2012
Masumi Mizoguchi
Architecture became part of entertainment experience where something is constantly happening. sort of RPG. The purpose of such structure is to consume. And since I don't know when God replaced by an entertainment, and consumption became part of entertaining experience, the architecture itself became part of such experiences (a new church with billions of believer and they are really obedient sheeps! ) Where, I think the original purpose of container is let us pursue our purpose : for us to focus, think or contemplate on something..but today, the container provides already the purpose. Not long time ago, some buildings or museums allow you to just be yourself and let your flow of thinking go... but today, either I go to monastery or church (even there, so many things are sold for souvenir!) or libraries (which is now a simple free wifi-spot), I have no choice going in the nature where no architecture is available.. I don't say it is bad and I'm not nostalgic but you need to be solid today to pursue "your" thinking. Each time, I open my Moleskin with a pen at cafe (and I choose the most discreet corner not to shock anyone.) and physically write or draw something, amazed that people has not denounced yet that I'm dangerous
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13.3.2012
Robert Thomsen
Lieber Herr Stocker,
das ist eine humorvolle Frage auf die es zwei Antworten gibt, Erstens : Architektur wird zur Briefmarke und damit wird der Architekt vom Raumkünstler zum Oberflächendesigner und das geschieht zum Teil ja auch. Die Raumstruktur liefert der Bauingenieur, preiswert und langweilig und dann kommt der Architekt und macht die Mode, fehlen nur noch die Reißverschlußdesigner. Das wäre die kapitulierende Antwort.Die zweite Antwort lautet anders und ist viel optimistischer.Es wäre zeckmäßig im Sinne Benjamins Spuren zu hinterlassen die bleiben, so eine Art wachsende Erinnerung, ohne selbst zur Marke zu werden. Wenn Architektur zur Marke wird hat Sie die Qualität des originalen Produkts verloren. Ein Beispiel: Ausstellungsdesign, wollen wir mehr HG Merz oder Atelier Brückner, was ist das Marke oder Produkt? Beide liefern einen Stil und werden zur Ikone, dann sind wir beim Zeichen und beim Superzeichen, wann gibt es Coca-Cola Architektur? brauchen wir dann noch Architekten oder lieber ein Designhandbuch für gute Coca-Cola Architektur. Architekten bauen Coca-Cola wenn Sie als Marke wiedererkennbar sind, aber ist das wünschenswert? Zwischen Produkt und Marke wird Architektur inhaltsleere Hülle, befremdlich könnte daran sein, das es eigentlich niemanden interessiert, wo wir Architekten mit unsere Architektur uns so daran gewöhnt haben ein kleines bißchen wichtig zu sein. Die Essenz ist dann weinger Produkt, weniger Marke und mehr Mut zur Originalität, abgeleitet von der Aufgabenstellung.
Jetzt ist die Antwort fertig
Grüße Robert Thomsen
+++
13.3.2012
John DeFazio
Logo? Brand? Product?... (Think. Think. Think.)... http://mydesignstories.net/profiles/blogs/luis-vuitton-icon-bag-zaha-hadid-architects
+++
13.3.2012
Michael Pracht
Hallo Herr Stocker!
Erreichen wir über einen Auswahlprozess zwischen angebotenen Produkten tatsächlich den gewünschten Grad an Angemessenheit, den das Entwerfen mit dem Architekten ermöglicht? Oder landen wir in einer "Schöne [n] neuen Kuhstallwelt"?
Was bieten wir Architekten eigentlich an: Produkt oder Prozess? Und sind wir tatsächlich "zuerst und zuletzt Vermittler" wie Julia Gill schreibt? Das könnten wir in beiden Fälle sein.
Viele Grüße!
Michael Pracht
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13.3.2012
John DeFazio
logo |?lōgō| noun ( pl. logos )
a symbol or other design adopted by an organization to identify its products, uniform, vehicles, etc.: the Olympic logo was emblazoned across their jackets.
Vs
product |?präd?kt|noun
1 an article or substance that is manufactured or refined for sale: marketing products and services | dairy products.
• a substance produced during a natural, chemical, or manufacturing process: waste products.
• a thing or person that is the result of an action or process: his daughter, the product of his first marriage.
• a person whose character and identity have been formed by a particular period or situation: an aging academic who is a product of the 1960s.
• commercially manufactured articles, esp. recordings, viewed collectively: too much product of too little quality.
+++
13.3.2012
John DeFazio
Architecture? Logo? Brand? Product? Art
Architecture has split in two. It happened almost exactly 100 years ago (with Peter Behrens I think). Architecture divided into a form of industrial design, away from its origin, as an”art form.” Architecture had been something different yet related to “building as craft.” Practical, craft buildings had always been the foundation from which architecture-- “building as a work of art”-- sprang, but art has always had a different purpose and use in culture and society than just necessity. Architecture carries art content-- what it means to be of a culture (or doesn’t mean), and what is like to be a human being in the universe and what we aspire to be. With “architecture as art,” where necessity stops, art and architecture begins.

This single way looking at architecture as an art ended with the second phase of Modernism-- when the modern mode of doing things (introducing modern engineering into traditional modes of making things) of the 19th Century became Modernism of the 20th C. (letting go of tradition and allowing form to be shaped by abstract and engineering principals). With Behrens, architects started to see themselves as designers rather than artists, and designers, design products. Products are not art objects-- though they can be extremely elegant and beautiful (something that used to be synonymous with art). The functionality and means of production of architecture became the cornerstones of 20th C Modernism. Yet I would argue that architects such as Frank Lloyd Wright, Le Corbusier, Mies van der Rohe (and many, many others) carried on with the “architecture as art” tradition-- though now informed by new technologies and functions. Though they evolved their own “signature style,” (what we now call “brand”), I would argue that it evolved for them organically as they worked through their careers. For the most part, each work they did, though they learned from their previous work, was the next step in the evolution of their ideas as much as each project would allow. Though they all flirted with the idea of mass productions of “product lines-- that wasn’t their primary mission-- which was to advance the art of architecture (for humankind). Each of their masterworks were like prototypes for what architecture could be. (But more often then not, once they started to become imitated by others, these new model types lost all the life of the originals and fall into becoming first a style and then cliché.)

Now a century after Behrens we often no longer see a distinct line between design and art. Today great industrial design is seen as ‘nearly” art-- ie: iPhones, iPad and the like. And now, especially after Warhol, Koons and Murakami have intentionally blurred the line between art, commerce, high and low art-- to the point where art itself has become a product, so why not architecture?

But I would argue no, that architecture should not be embraced as just a product or branding. It needs to be much much more than that. I love good design. But good design, by its nature, can not be challenging -- and great art can be and often must. Great design provides answers. Great architecture, and art, asks questions.
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13.3.2012
Josef BischofsŸ
Florian can you please think next time of a question that i can answer with one sentence . To answer that one i have to define first what for me the substantial qualities of architecture are and how i define branding and product. Leaving that out ... my answer for now would be that good architecture can never be a trademark or a product because it would discarding the context and or the genius loci...
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Visit our facebook page, since a lot of very interesting video linked there:
www.facebook.com/groups/QuestionoftheMonth/
+ + + + + +






November/December 2011

"dwelling"

Does a house dwell within us?

Dedicated to John Burnside.

send an answer*German
subscribe to the newsletter (no costs)
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Karen Schifano
Another question: Are we at home in our bodies? (thanks for the questions!)
30. Dezember 2011
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Claudia Núñez
Wait a minute...I have the answer but a lot of work.
30. Dezember 2011
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Claudia Núñez Another question...house or home? ^-^
30. Dezember 2011
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Florian Stocker
For the moment "house"
30. Dezember 2011
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Claudia Núñez
"A house is a machine for living in". Le Corbusier....I am not a a big "fan" of Le Cobusier, but I guess it is impossible because is not a house, it is only a construction, perhaps beauty, the designer follow all the rules...but the important of a house is to be a home. And what becomes a house in a home...us. We have a fantastic houses to watch, to study but now are museums, a construction. And from the other side, walls, the house per sé is like a LP, it recorded all the memories, stories...but is not a home. We are designers, architects, or maybe like my father says...creators of dreams or nightmares.
31.12.2011
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Claudia Núñez
Every house on every street is full of so many stories; so many triumphs and tragedies...but in past. I just remember this phrase of Bacon “Houses are built to live in, not to look on; therefore, let use be preferred before uniformity, except where both may be had” ... house needs people to become a home and I think is our work and responsability to make it happen :-)
31.12.2011
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Claudia Núñez
I just remember something. The first day at university, mi father gave me a Neufert and he wrote: For a new builder of dreams..
My father is painter...
OMG I am old.
3.1.2012

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Wuwi Erhardt-Stierli
Lebendiges Wohnen in der rechten Kopfhälfte; da wird Intuition, Gefühl, Kreativität, Spontaneität und Neugier gelebt! Ja und mit der Sprunghaftigkeit des Tanzes & der Musik erleben wir das Raumempfinden neu.
6.1.2012
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Wuwi Erhardt-Stierli
Living accommodation in the right half of the head, there is intuition, emotion, creativity, spontaneity, curiosity and lived! With the volatility of the dance and the music we enjoy the new sense of space.
6.1.2012
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John DeFazio
Does a house dwell within us? Wohnt in uns ein Haus?

Many houses dwell within the hearts and minds of us all. They are the houses of our childhood, filled with giant-order furniture and inhabited by the colossal calves and ankles and ship-sized shoes of our mothers and grandmothers... where rich aromas of onions and soup on the stove mix with the sweet-stale smell of flowers on the dining table and hang in the air... where window sills were just barely within reach and doors stretched skywards towards cathedral-high ceilings... where window muntins cast long cross-shaped-shadows across dusty wooden floors and folded over our scattered toys.

Later those toys will become those of our children and the house that dwells within us is that into which our families are born into the world, out from the ether from which they came. The ceilings come downward to nearly within reach and the windows open out to the daily world of time in which we dwell. Mystery gives way to reality, one full of beauty and responsibilities and troubles of life and the house within us holds them all.

At night the house within us can become haunted by the uncertainties and fears that lay concealed in the daylight. Things unsaid, or unsayable, that can only be housed in our dreams. Fantasies can dance in the darkness breaking all the bounds of the world of weight and reason can become unleashed and our house within becomes unmoored from even our conscious selves.

As we grow old, so does the house within us. It may show the wear and tear of time and may seem quaint and out of date. But its rooms are packed to the rafters with the furniture and old photos and books of our lives. And when the lamp lights in its windows flicker-out, so do we.... and we return to the ether carrying within us the house of our story, the house of our being.
6.1.2012
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Aldo Nolli Viele Häuser wohnen in mir. Denn Bunt ist meine Lieblingsfarbe! Danke für die Vorlage, John, my friend.
6.1.2012
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Claudia Núñez
Ÿ!!! Peace in the house...ohmmm
6.1.2012
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Claudia Núñez
For some people it is impossible. My childhood was different. If I try to keep the houses were I lived...It is a personal point of view and my experience... House but not home...a lot of houses, only places to live months, a couple of years...
It is personal and I guess nobody have the answer because my truth is not your truth, in this case.
6.1.2012
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Aldo Nolli
Und nicht nur Häuser, ganze Städte!
6.1.2012
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Aldo Nolli
Landschaften, Planeten ein ganzes Universum...
6.1.2012
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Florian Stocker
Zelt in der Landschaft?
Tent in the landscape?
6.1.2012
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Wuwi Erhardt-Stierli
Besetzen wir die Häuser in uns ! ! !
*** occupy all of our homes within us ***
7.1.2012
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Masumi Mizoguchi
Does a house dwell within us? Wohnt in uns ein Haus? Une maison habite dans nous? OUI. We have 4 cats in our farm house. None has pedigree. One of them "Yuna" come back probably 2 months per year . The cat who stays us only 2 out of 12 months, can we still call her our cat? hoever, she does think it is "her" house. she probably keeps the image, smell, my voice or whatever of this place in her and when she finishes her mission in wild nature, her system says "go back to that house".i.e. this house dwells in her, I suppose.
7.1.2012
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Robert Thomsen
Dear Mr. Stocker,
We live in a cell, consisting of many cells that reside in us and come to terms with each other. the house of the eye, the ear of the house, the house of the pancreas, etc. This house inhabited our house without our knowledge we are inhabited. dan we still inhabit thoughts, thoughts are the inhabitants of the sub-words that dwells in us, and the language of those we are accustomed to take possession without really living in it, because much of what is usual and is so common. then we have certainly kept - lives, be-lives of foreign words with no usual home Behausung.Welches still lives in us? The house of the divisible protozoa or the house of glittering fragments of architecture magazines who want to tell us how we are able to house us. How much is still our home and has not quite it deann Derrida's deconstruction of the usual character of the architectures. We must not only dsa home which perhaps is not our house and newly deciphered from the fragments of the symbols mean: THE HOUSE LIVES IN U.S.? As we proceed, we deconstruct the constructs of our usual and build new. What would Freud respond to this idea of what dwells within us and dwelling house, where is the protection of our soul, not to mention the architect soul and the soul of architecture, which has one? Which of the houses we lived in the longing?
Mr. Stocker and you live all the readers you are good at?! 1
Kind regards
Your Robert Thomsen

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Margo van Berkum
No words
Rene Magritte (1898-1967)
The Thought Which Sees, 1965

20.1.2012
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Margo van Berkum
Yes, more and more houses are dwelling within us as time goes by, no longer bound to physical limitations like size or location, always there for us to dwell.
Image:
René Magritte
Les Grande Voyages
1926, 25.6 x 59.1 in. / 65 x 150 cm


20.1.2012
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Ludwig Mattes
'lt is the mind itself which builds the body'. Friedrich Schiller
25.1.2012
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June/July 2011

"acupunture"

What is the name of the place between utopia and reality on which we build?

Dedicated to Thomas Morus.

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subscribe to the newsletter (no costs)
news>projects>cv>sketches>profile>theory>jazz>contact
+++
Gu Yan wrote:


24. Oktober um 07:49
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Forian Stocker
Dream balloon floating in the horizontal wind?
24. Oktober um 07:51
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Gu Yan
yeah
24. Oktober um 07:51
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Florian Stocker
swift thx!
24. Oktober um 07:52
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Gu Yan
every evolution can only be successful if it starts from a crisis.
24. Oktober um 07:59
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Gu Yan
because if no crisis, there will be no chance to start any new transformation in evolution to start it.
24. Oktober um 08:00
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Bernd Dietrich Schultze
... no risk, no ideas.
24. Oktober um 22:36
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Gu Yan
minimal risk to start new ideas is when the situation is in crisis.
24. Oktober um 23:54
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John DeFazio
acupuncture |?aky??p? ng k ch ?r|noun
a system of complementary medicine that involves pricking the skin or tissues with needles, used to alleviate pain and to treat various physical, mental, and emotional conditions. Originating in ancient China, acupuncture is now widely practiced in the West.
ORIGIN late 17th cent.: from Latin acu ‘with a needle’ + puncture .
DERIVATIVES acupuncturist |-ist| noun
25. Oktober um 09:02
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John DeFazio
Pop! goes Reality! Pop goes Utopia!
25. Oktober um 09:02
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Gu Yan

25. Oktober um 09:03
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John DeFazio
“What is the name of the place between utopia and reality on which we build?”
Realty maybe is where we are and Utopia is maybe where we imagine to be actualized into our best selves in a best world. I am not one for utopias. They imply that it is “a special place” in “a special time” where this is only possible. It implies a removal from this world. I am more inclined to think that the potential of our actualization lies within us all the time and everywhere. It is within us that this place lies. I think we already dwell in Paradise. It is this unfolding reality in which we live... Paradise is not something lost. We were not banished from it. We had lost our ability to see it (and ourselves within it) after the Fall. It is through our lives that we struggle to relearn to see and to fully be in within this miracle, this unfolding Universe. Though I am not a religious man, I believe in Grace.
25. Oktober um 09:23
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Gu Yan
Between utopia and reality is an approach we are still struggling to figure out, but this approach is built exactly through the struggling, without which nothing would happen. Therefore, the pain of struggling brings, finally, the arrival of our dreams in utopia.
25. Oktober um 09:28
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Florian Stocker
“How can the past and future be, when the past no longer is, and the future is not yet? As for the present, if it were always present and never moved on to become the past, it would not be time, but eternity.”― Aurelius Augustinus, Confessions
25. Oktober um 10:29
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Gu Yan consistent energy input.....no other drama.
25. Oktober um 10:31
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Maru Martinez
concrete utopia (E. Bloch)
25. Oktober um 14:17
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Florian Stocker
and after Bloch....?
25. Oktober um 16:04
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Wuwi H. Erhardt-Stierli
Utopie ist der noch namenlose Raum, der ganz in der Nähe der Unmöglichkeit liegt !
25. Oktober um 17:20
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Maru MartinezŸ
Florian Stocker: to acknoweldge being singular plural (Jean Luc Nancy) or act in multitude (Antonio Negri)
25. Oktober um 17:56
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Florian Stocker
Andrea Haase wrote (see above):
Hi Florian Stocker, I have not forgotten your initiative... we wanted to do some rsearch together... time passes quickly if people are busy otherwise... nice to meet you on facebook, "Vision" is my answer, 26. Oktober um 07:26
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Roland Wolf:
Geld ohne Zinsen - Money without interest
26. Oktober um 17:44
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Paulo Brito Silva
To dwell has purpose, it is both aestetic and ethic. It is to" put an world on earth "(Heidegger), a world has all our dreams. So to dwell is to dream, call it utopia or ideology (not very important in my opinion for this question). We must dream "on the condition that it is maintened the relationship between the real and the virtual, the logical and the sensible, the visible and the invisible" (Muntanola). The place beetwen the utopia and "reality" is place, inside us, whyle dweling.
26. Oktober um 21:29
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Be.G.Pfister wrote:
Lieber Florian
der Ort heisst „Vision“ ... !
Herzlichst Bernhard
27. Oktober um 07:33
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Maru Martinez
ok, perhaps then: dream, plan, hope or delusion;
maybe: imagination, creativity, inventiveness, innovation, intuition, prescience.
27. Oktober um 09:13
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John DeFazio
A Book of Utopias http://www.youtube.com/watch?v=PDgO5E05SdI
rospero's Books - A Book of Utopias
An adaption of Shakespeare's "The Tempest" by Peter Greenaway
28. Oktober um 14:37
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Masumi Mizoguchi
I perceive the world like layers of realities like mille-feuille. We just believe that we are living only one layer of reality visible to each then when we encounter incidents which make us lose this balance of vision, we sometimes glance at or relate to another layers. And one of layer may be called utopie. Acupuncture is a one of the oldest healing method not only occupying "visible body" but "invisible body".. body or soul has also layers which we are not necessary aware of.. btw this is totally personal point of view. as Florian quoted Masumian.
28. Oktober um 15:37
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Masumi Mizoguchi
If you follow Haruki Murakami, I think layers of reality is his lifetime theme.
28. Oktober um 15:38
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John DeFazio
Masumi, my quantum sister, bravo.
28. Oktober um 15:51
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Bernd Dietrich Schultze
Fantasie
29. Oktober um 01:42
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Annett Zinsmeister wrote:
Als Anwort empfehle ich das Buch "Constructing Utopia. Konstruktionen künstlicher Welten" Hg. Annett Zinsmeister, erschienen im diaphanes Verlag Zürich/Berlin 2005.
Beste Grüße
Prof. Annett Zinsmeister
31. Oktober um 13:01
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Aldo Nolli wrote
I love the poetic and multilayered organic vision of Masumi! I have similar thoughts, but maybe not in layers but multidimensional also in time. I think that's why I love the End scene of 2001 a Space Odyssey so much.
13. November
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Aldo Nolli
Complexity maybe.
13. November 2011
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Josef Bischofs
Wirklichkeit. (sorry couldn't find a proper english word for that)
13. November 2011
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Josef Bischofs
Reality is maybe a proper translation for Realität, but 'Realität' is not the same as 'Wirklichkeit'
13. November 2011
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Masumi Mizoguchi
May be,
Realität : It exists truly.
Wirklichkeit : It makes sense.
: It appears concretely.
wow... culture kitchen ;-) My reality was truly delicious canelloni appeared and disappeared and that made sense.
13. November 2011
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Florian Stocker
: Wirklichkeit {f}; Gegebenheit {f}; Realität {f}; Aktualität {f}; Sinnenwelt {f}; Welt {f} der Dinge.
14. November 2011
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Florian Stocker
state of being real; real thing or fact; actuality
14. November 2011
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Masumi Mizoguchi
sure... my "may be" synthese was over Canelloni with different participants, which deeper layer of sense this word is used. Very philosophical table thanks to your group Florian. ;-)
14. November 2011
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Florian Stocker
enjoy
15. November 2011
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Florian Stocker Desert served by Haruki Murakami via Masumi Mizoguchi "Whether you take the doughnut hole as a blank space or as an entity unto itself is a purely metaphysical question and does not affect the taste of the doughnut one bit."
15. November 2011
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Michaela MaierŸ
"what is reality" - - - - billions of realities
15. November 2011
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Aldo Nolli
Effectivity?
15. November 2011
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Michaela Maier
aber doch, ... es gibt ja so etwas wie eine hegemonie von realitäten ....
15. November 2011
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Aldo Nolli
Wirkichkeit, Effectivity
15. November 2011
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Aldo Nolli
Is Reality an abstract concept? Who can tell what reality is, if there is always a subjective component in our thoughts?
15. November 2011
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Masumi Mizoguchi
hmm... I always start with doughnut and leave the hole at the end. the best to be kept longer, non?
15. November 2011
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Aldo Nolli
I think nobody can tell what is reality. Is it a metaphysic entity? :-)
15. November 2011
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Michaela Maier da wäre ich differnzierter ...
15. November 2011
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Josef Bischofs
The hole in the donut is what makes it a donut. Its like in architecture its not the substance it's the space that defines it.
15. November 2011
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Aldo Nolli
This could be an other question for Florian's Forum. I think your definition of Architecture is impressive but also reductive. Architecture, but also reality are complex things. I love complexity, the complexity of things, thoughts, nature, universe. I like, to tell it with Masumi's words, the multiple sheets of the world, or of an object or person.
15. November 2011
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Aldo Nolli
I like the therm "facettenreich"
15. November 2011
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Masumi Mizoguchi
hmm... I love simplicity though.
15. November 2011
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Aldo Nolli
I love essentiality. It is maybe complexity brought to simplicity. I think the 2 therms are not contradictory.
16. November 2011
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Aldo Nolli
Wesentlichkeit. Essenzialità.
16. November 2011
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Robert Thomsen
Lieber Herr Stocker,
ich würde diesen Ort realistische Träumerei nennen, wenn er gelungen ist, das Werk vollbracht, der Geist befriedet und das Auge ruhend. Doch da es oft zuviel der Störungen ist ,ist es oft ein Unbehagen das zurückbleibt und so bauen wir vielleicht die Realität des Faktischen , Zahlen ,Zeit und... statt etwas anrührendes. Sind nicht wir selbst es die,die uns an unseren Utopien scheitern lassen weil wir zu feige sind? Mutlose Diener der Honorargewährenden? Immer der Knüppel der Realität der uns hindert unsere Utopien zu bauen und zu einem wahren Überzeugungstäter werden.
Schöne Grüße
Robert Thomsen
18. November 2011
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Florian Stocker
Bauen wir auf Treibsand? Panta Rhei?
18. November 2011
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Bernd Dietrich SchultzeŸ
... ein Loch ist da, wo etwas anderes nicht ist.
21. November 2011
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Claudia Núñez
Firstable, architects we are not so special...the answer for me is the common person, without the ability to see in 3d, perception like the time. Nothing poetic, nothing surrealist, is simple what are feeling the people and the perception is different, everyone is a world. We are at this plane of the universe, it is our reality...The key is the people feel good...I don`t care the rest. The architect has to find how to enter in the head of the client, we use our experience but it is a piece of me and a piece of my client. Perhaps in other side of the universe the rules are different but in this one we have to folow them for mental health inclusive, frustating yes but true.
26. November 2011
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Florian Stocker
its good that you are back Claudia Núñez
26. November 2011
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Claudia Núñez
The new question Mr. Stocker????
28. November 2011
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Florian Stocker you're right Claudia coming soon!
28. November 2011
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Claudia Núñez
How to kill students of architecture.... :-) at least the mine.
28. November 2011
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John DeFazio I have found that you get much more out of architecture students if you manage not to kill them in the process....
28. November 2011
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Claudia Núñez
It is true...well kids you will be still alive thanks John!!! ONLY FOR TODAY!!! :-)
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June/July 2011

"architecture parlante"

At what speed does Architecture talk?t

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news>projects>cv>sketches>profile>theory>jazz>contact

+++
Wolfgang Bachmann wrote:
"Hängt von ihrem Alter und dem Dialekt ab.
Gruß BCH"
27. Juli
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Silvia Fohrer:
da gibt es verschiedene Geschwindigkeiten
27. Juli
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Urs Wolf:
....gute Architektur braucht nicht zu sprechen
27. Juli
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Aldo Nolli:
Florians Frage habe ich mir noch nie gestellt. Und wie auch schon gibt es zwei Ebenen der möglichen Antowrten. :-) Eine ist schnell, schlagfertig, effektvoll. Wie man auf italiensich sagt "UNA BATTUTA". Die andere, wenn man zu überlegen anfängt, ist langsam, es entstehen Verständnisfragen, die zuerst bearbeitet und beantwortet werden müssen. Also ich bin da nicht so schnell. Vor allem im Sprechen nicht. ‚... Aber die Frage stellt sich schon: spricht Architektur?‚...Oder anders herum gefragt: ist das Gehör das primäre Wahrnehmungsorgan für Architektur :-)))) (Ist natürlich alles Blödsinn, aber ich bin heute abend von der Arbeit so "ausgelaugt", dass mir nichts gscheites einfällt)
27. Juli
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Daniel Purdy:
Depends on the material.
27. Juli
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Christian Schlameuss:
I think, concrete speaks veeeeerrrrryyyyy slllllooooooooooowwwwwww..‚Äã.....;-)
27. Juli
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Paulo Brito:
Silva how fast can you read ?
28. Juli
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Florian Stocker:
@Aldo... so "UNA BATTUTA" like Aldo Nolli mentioned? I know the terminus from fencing, there it is used for a sudden stroke against the epée of the opponent to open his target area.
28. Juli
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Aldo Nolli:
UNA BATTUTA may be translated with EIN SPRUCH oder im Französischen UNE BOUTADE? ‚... Sprüche Klopfen, Wortgefechte wie Cyrano...
28. Juli
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Dick van Berkum:
no answer about the speed here, but architecture communicates definitely, in fact buildings behave a bit like us.
http://www.youtube.com/watch?v=87ZWWqf40J0&feature=related
DELIRIOUS NEW YORK Koolhaas
29. Juli
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Paulo Brito:
Silva fun-tastik @Dick van Berkun...
29. Juli
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Florian Stocker:
@Dick van Berkum so its "body language"?
30. Juli
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Dick van Berkum:
Yes, and the speed varies, it's more like this........
http://www.youtube.com/watch?v=-mUv705xj3U&feature=related
György Ligeti - Poeme Symphonique For 100 Metronomes
30. Juli
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Christian Schlameuss:
I think, to approach to the question of speed, first you have to think about, WHAT the specific architecture is saying. Some buildings talk about very deep thoughts, other are just babbeling stupid shit, and other have just nothing to say.....
30. Juli
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Wuwi H. Erhardt-Stierli: http://www.chenshaoxiong.c‚Äãom/welcome.gif What and when, how fast do I interpret anything into it in something?
http://www.chenshaoxiong.com/welcome.gif
www.chenshaoxiong.com
30. Juli
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Michaela Maier:
nachdem vor der sprache immer ein zeichen ist .... "in welcher geschwindigkeit schreibt architektur?"
(na gut, ich bin ja auch der steinerne brunnern)
01. August
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William Alsop:
"AT THE SPEED OF LIGHT."
ARCHITECT, ARTIST, ANGLER,SMOKER.
3. August
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Cordula Rau:
"Architektur sollte nur sprechen, wenn sie gefragt wird." Hermann Czech
"Die Geschwindigkeit ist daher zweitrangig. Cordula Rau"
4. August
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Diana Soeiro:
Dear Florian,

Out of intuition I would say architecture talks fast, too fast, every time faster and as time goes by we are less and less aware of it because we're too busy responding, with our bodies, to fast architecture. We are meant to be casual passer-bys and architecture, always eager to act metaphysically, actively promotes places where each and every one of us has a hard time staying.

One way to achieve that is working with straight-lines (oh so very modern) and use white surfaces (a grey, or rainbow like, shoe-box style structure is a variation of that). Another way is to work with scale conceiving its form as if you were an alien seeing the building from ‚Äúup there‚Äù. It makes beautiful blueprints, though no one will ever see the place like that - except aliens and people flying in planes with excellent eyesight and x-ray vision. Some architects use both techniques. Then of course, you have exceptions, the ones that go for weird shapes and try to join forces with the latest engineering tricks building impressive, perceptional defiant shapes. Again, you look at it and you're impressed, it looks great in blueprints and magazine pictures. How it actually works when you're at the place, around it, and inside‚... most of the times is very disappointing. And you move faster, to leave the place.

Big stadiums, airports, train stations, bus station, universities, schools, hospitals, hotels, all of these are the kind of structures where architects nowadays can build something from scratch - which is getting not so common‚... - and leave their print in the world. Usually they go for the big alien-like-scale where no human feels comfortable in. And actually, because there are a lot of people moving around the place is conceived to keep you walking and not standing/ sitting. (This is achieved by avoiding small protected areas, by always keeping the space open where you always have the feeling of having hundreds of people looking at you, by conceiving small bathrooms with less stalls than it would be necessary, by painting walls in aggressive colours, by using too much light, by using blueish-light lamps that hurt your eyes, by adding rollers everywhere, by making you walk stupid distances to get you tired, etc).

As for apartment buildings they are meant to be cheap and have a lot of apartments in order to force people to get used to live in smaller and smaller places. Sometimes so small, you have a hard time staying in too long.

So whether you're talking about public or private spaces, the intention is to keep you going. The question is‚... where to? To the office, to the restaurant, to the mall where you work? Humm‚... Perhaps to your computer, where you can sit and let the world spin a bit slower. There's nothing wrong with that. Only disadvantage is that architecture creates a place where people's eyes meet and computers don't. And that is a big responsibility for architecture that should conceive structures that make us interact with each other, slower.

All the best,
Diana Soeiro, Lisboa, Portugal"
4. August
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Paulo Brito Silva:
I find this a good text (congrats Diana Soeiro), although, in my (humble) opinion, language and communication are an essential part in the essence of the humanity of the human being - that, in my opinion, can be found, for example, in Heiddeger text "Letter about humanism", where he wrote that we act (and think) by language and that language take us to the being. But, maybe I am wrong and this is a good day to learn....
4. August
+++
Bernd Breyvogel:
"Lieber Herr Stocker,
in aller Kürze Ja doppelt versetzt: Zu verschiedenen Zeitgenossen und zu verschiedenen Zeiten unterschiedlich!
Viele Grüße Bernd Breyvogel"
5.August
+++
John DeFazio Ÿ"architecture parlante"
At what speed does Architecture speak?
Question of the Month June/July2011:
Different architectures speak at different speeds and some stand silent or mute. Some speak quickly, matter-of-factly say what the have to say and get off the stage. Some like to play-their-cards-close-to-the-chest, slowly revealing themselves-- seeing if you are smart or patient enough to follow along. Some are quick stand-up comics, rattling off one-liners-- rat-a-rat-tat -- others, dead-pan comedians-- saying their line lazily and flatly and wait for you to get the joke. Some architectures are proud and civic minded-- formal and rhetorical-- they speak in Greek or Roman Latin, Renaissance Italian or French in a pinch, something that befits the occasion-- changing their cadences, rhythms and speeds, building up to a crescendo, all for dramatic effect. Often they fall into bombast-- but sometimes they stir the soul. Then again, some others seem to start with some point to make, and, somewhere, go off on a tangent and forget what they had to say in the first place. Some scream at you, standing on soap boxes, clamoring for your attention--”they’re mad as hell and not going to take it any more!” -- explaining what is wrong, now, with the world and with us. But many stand stoic, doing their work quietly, steadily and without complaint, nor looking for any applause. Others slowly whisper of other times and other cultures-- half memories of who we once were and who we thought we would be someday. Some quietly weep, lamenting a lost past. Of course some are more poetic and speak in the cadence of poets: teahouse-haikus, flowing Romantic sonnets, or, like the Acropolis, in a lyric epic form. Others sing. Some in slow low solemn Gregorian chants, others sing like little birds, tweeting in a light Rococo mezzo soprano, skipping up higher and higher ‘till they evaporate into the ether. Some architectures barrel-down “The Strip” at 60 miles-per-hour, shaking their hips and flashing their rhinestones, rolling to “Viva Las Vegas!” Some buildings don’t sing at all-- purely instrumental-- majestic symphonies of buildings, little minuets. Some play honky-tonk stride piano, others blare out in raspy soaring Goodman jazz clarinet for all the world to hear. And, there are architectures that rap in the quick and dirty funk-jive of the street, not ever meant to be considered significant of anything at all-- most prefer not to acknowledge them-- they’re not art-- just buildings, just life.
All communicate in their way, all we need to do is listen.
16. August
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Aldo Nolli
And sometimes it depends on the mood of the subject who is wathcing or using architecture. :-)
16. August
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Aldo Nolli
What Architecture does to me, it's not to speak. I think I could compare it to breath. I'm breathing architecture. Like Sunday in Castelvecchio in Verona. I was breathing architecture in every detail, in every corner. :-)
16. August
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Aldo Nolli
Sielende is a quality I like in persons and in space. Today architecture is often too eloquent. Like a person who talks too much. One of the absolutest Architectures like the Pantheon in Rome doesn't talk. If you listen to you standing in the Pantheon's space, you believe to hear a deep continous sound, from the infera....or is it just in your imagination?
16. August
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John DeFazio
An "architecture parlante"-- an architecture that speaks-- is a old concept in architecture. It usually is associated with ornamental systems and the integration of figurative sculpture in architecture that work in toto to create narrative and allegorical "stories." Through history architecture was everything-- truly "the mother of all the arts." This reading of purpose of architecture began to evaporate with rise of Modernism-- each of the arts became "pure" and broke away from their mother, and abstraction (something that was always beneath) became a new language -- the thingness of things open up to us and the world changed. A great Myth (a metaphor bearing a great truth) became a second-hand mythology (some falsity that we can no longer believe, we have our own Truth now). But that does not mean that they (architectures of the past) fell silent. They whisper to us still. Our humanity still dwells within them and we can hear it if we listen.
16. August
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Silvia Fohrer
yes it is different between silence and to much sound, the sound of pantheon, i can understand this # in the konzentration camp now a museum , pardon, it is a very strong picture, there was a sound of hell, this is no sound of life it is in the walls and room for ever and ever no end. So I thinThis is no architektur, but here live and murdered people in rooms, the people must go to this places an hear the sound of death. ######but, please, architektur is more then a room. Different silence, motion and emotion, when I see the sound (in form) I see motion of artists soul. What is room, space, sound, feeling, history, form, remember, architektur without people is nothing.
16. August
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Christian Schlameuss
To say something possibly provoking: Is it too immodest to say, that all the whispers, crys or shouts what we may hear from a building are just echoes from that what the constructor engraved in it? Isn't a Building just a frozen idea from someone else? (you may ask, how long can this echo remain to stay comprehensible). In this case you could imply that that, what you may hear from architecture is only a combination of that, what the architect trained it to say (like you would do with a parrot) and that what the listener is willing to understand....and the question of speed is just secondary.
17. August
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John DeFazio
This is a question about "authorship", "the reader" and the "privileged voice"-- a Deconstructivist philosophical question... perhaps for another day. As for "parroting"-- architecture is product of a culture (or at least a small circle with a culture with the means of building) and not just the architect. That said what ever content that the architect "as an artist" brings to a work, I don't think it is just a matter of propaganda being parroted. It is not unlike other arts-- did Picasso parrot a way of seeing? Did Joyce parrot a way of writing about what experience is?
17. August
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Christian Schlameuss
I agree, that the architects ideas are interpretations of the influences from the enviroment and culture, in which he was situated. So architecture is therefore like an effigy of its specific culture and it is this culture, you are going in a dialog with, when you are listening to a building- Then the question of the speed is related to the question of the speed of the specific culture in the context of history and in relation to our own culture. On the other hand, for sure its possible, that architecture is able to emancipade from its original idea and tells storys, where the constructurs would turn in their graves, if they would hear about it...
17. August
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John DeFazio
I think Florian's question was more metaphorical-- if architecture "speaks," at what speed?-- than the content it communicates. The "slippage" of content from it original intent to later interpretations is yet another long conversation for later.
17. August
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Hans Georg Keitel
BIG=prestissimo; zumthor=adagio and the other once s.th. in between...
17. August
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Silvia Fohrer
what is speed ? Speed is motion, so when we take a stone and a motion in one concept, there are two demensions in one. Two demensions in one, very difficult. Reality and Dream, Water and Fire, + and -, so we put feeling for answer this difficult question. But feeling is emotion and no product in mathematic. Feeling can help. Time can help,space can help, a sculpture of motion is dynamic form, drive in space, my hands goes in the form and take vibration my feeling ::::::the answer of Florians question, your body and your motion in correlation to sculptur space, this is speed.
18. August
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Bernd Breyvogel
Lieber Herr Stocker,
früher gab es sehr wohl nationale oder sogar regionale Architektursprachen, die aber verstehen konnte, der nur genau hinsah (pardon: hörte). Heute ist die Architektur ohnehin zunehmend international und spricht mit einer einheitlicheren Sprache denn je ...
Nochmals Grüße
Bernd Breyvogel
+++
Kaye Geipel
Wenn die Fragen kürzer und die Antworten pointierter werden hat das mit Gescwhindigkeit zu tun.
26.8.2011
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Aldo Nolli
La vie, vite!Stand hinter meinem Haus an der Bäckerstrasse 25 in Zürich (1981-1986) auf einer Wand gesprayt. Es war jeweils das erste, was ich sah, wenn ich aus dem Haus kam.
26.8.2011
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Florian Stocker
Quote "The movie in the head" Henning Engeln in Geo Kompakt Nr.27 "Das Rätsel Zeit"
"- There is a 3 seconds lasting moment time frame, which we perceive as the present.

- Longer time slots than 3 seconds surveys the consciousness with the aid of short time and long time memory "

Which means that all things we can perceive within three seconds, we can relate to each other in one perceived present moment. Battuta?
23.10.2011
+++++++++++++++++





April/May 2011

"iF buiLdings flOweR Ideas Are polleN" (Alec Finlay 2011)

When do buildings flower?t

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+++
John DeFazio
7.5.2011
"...it was the spirit animating the mass and flowing from it, and it expressed the individuality of the building." -- Louis Henri Sullivan


What instantly came to my mind when Florian posed this question: ” when do buildings flower?,” was obviously, the writings and architecture of Louis Sullivan... (one of my personal touchstone architects). Sullivan’s most famous quote (mostly because it was appropriated by the Bauhaus as their battle cry) was “form follows function.” But, unlike the “Machine-Age Functionalism” that was to emerge out of Gropius’s Bauhaus, I think Sullivan’s word’s intent were to teach us to think “organically”-- as in Nature-- and that things unfold and become as to their true function, their purpose, their essence, their needs to be. Sullivan was an architect of form and ideas. He sought a “free and authentic” architecture-- one that expressed not only the stuff of building and architecture but the spirit of a fully realized Man. He said that Architecture originates with “the idea”-- like a germ or a seed, and like a seed in grows out-- and it comes into being. Sullivan’s building forms were simple and bold; the building’s themselves are regular, symmetrical, proportional and balanced. Their tectonic forms are truly Classical-- harmonic order but without any reference to “the Classical Orders”... (Doric, Ionic, Corinthian, etc)... nor imitative of Greek or Roman or Renaissance architectures nor the Neoclassical styles that were to follow. Sullivan’s classicism is Classicism at its origin; it is classical as Nature is classical. He achieved this order and poetry through Tectonic Expression-- and through his own, personal, ornament-- an American version of the Continental ‘Art Nouveau. His buildings were like textiles with business-like working elements (windows, doors, piers, columns, beams, arches) interwoven with rich naturalistic patterns that evoke Celtic interlacing forms. These patterns created effervescent fields that animated and breathed life into the inert elements of ordinary construction. Beneath Sullivan’s flowering and shimmering patterns lay an invisible complex geometric armature-- “lines of force”-- that gave Sullivan’s ornament the same rigor and poetry of his overall building form. These abstract underlying geometries are not unlike the mathematical geometries found in Nature itself. Sullivan believed man should design like Nature because he was of Nature.
Louis Henri Sullivan’s seminal works and writings are all a century ago, and now perhaps we live in a more difficult and more complex times. But his architecture and ideas still speak to me for they are true. Buildings “flower” when the beauty of their idea unfolds and comes into being.
+++
7.5.2011
Häuser blühen, wenn sie in sich Ruhe finden !
Be.G.Pfister
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9.5.2011
Lieber Herr Stocker,
Mit neuen Fenstern und falschem Lüftungsverhalten!
Ohne Sporen in den Grüßen
Ihr Fensterbauer aus Plochingen
Christian Huss

+++
7.5.2011
Indian Bahai Temple aka lotus temple... so that ideas must be pollen ;-)

Masumi Mizoguchi
http://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash4/222278_1674795359692_1531689345_31355989_5637700_n.jpg
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11.5.2011
Florian Stocker @John DeFazio... an underlaying botanic message with a "noveaux/vieux force to grow"... ?
+++
11.5.2011
John DeFazio
Yes and no... yes as metaphor, but no as imitation of botanical-like forms (that is only a secondary trait)... it is deeper than that. The building "flowers" when deep and true purposes and forces are actualized within its constructed form. What was a (powerful, authentic, rich and true) idea becomes realized in building form... and experienced through use.
+++
11.5.2011
Florian Stocker thx - rich
+++
13.5.2011
John DeFazio The Early Louis Sullivan Building Photographs
William K Stout Pub; 1 edition (December 2001)-- www.facebook.com/media/set/?set=a.2069721982032.2127692.1214312907
+++
6.7.2011
Lieber Herr Stocker,
die Antwort folgt im Juni. Pol(L)emisch blühen Häuser dann wenn sie eine Allergie haben. Die natürlichen Erscheinungen wie Algen, Schimmel und andere ähnliche distinguierte Nervensägen kann man mit entsprechenden Oberflächenbeschichtungen bekämpfen und dann ist es gut. Heutzutage gibt es aber auch andere Blütenpollen die schwerwiegender wirken weil sie extrem gut vernetzt sind, man spricht hier vom Wärmedämmverbundsystem, Es gibt da Politiker, Bauphysiker,Industrielle, die allen, vor allem Eigentümern(Bauherren) und Architekten aufzeigen wollen, das dies die effektivste medikamentöse Behandlung gegen Wärmeverluste im Haus ist. Nonsens ist dies sehr wohl, denn erst einmal gilt: Heizung sanieren! Die Häuser können dan stilvoll weiter Blühen und brauchen keine Allerologen gegen Verluste.
Güße
Robert Thomsen
+++++++++++++++++



February/March 2011
Double Question



"stew"
Does a house cast different authenticities into one new „Gestalt“?
Dedicated to Immanuel Kant.



"mix it up"
How can Architecture be not authentic?
Dedicated to the Nara Document.

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+++
John DeFazio
4th of March 2011
authentic | (abbr.: auth.)
adjective
1 of undisputed origin; genuine : the letter is now accepted as an authentic document | authentic 14th-century furniture. See note at genuine .
• made or done in the traditional or original way, or... in a way that faithfully resembles an original : the restaurant serves authentic Italian meals | every detail of the movie was totally authentic.
• based on facts; accurate or reliable : an authentic depiction of the situation.
• (in existentialist philosophy) relating to or denoting an emotionally appropriate, significant, purposive, and responsible mode of human life.

inauthentic |
noun
not in fact what it is said to be : the Holy Shroud of Turin is thought to have been proved inauthentic by radiocarbon dating.
• not genuinely belonging to a style or period : baroque harpsichord pieces played on the decidedly inauthentic modern Steinway.
• lacking full reality or sincerity : people close to death could not waste time being inauthentic.

“How can Architecture be not authentic?” Can something, anything be inauthentic? One can argue that, because such a word exists--inauthentic-- there must be things that are... (interesting the Shroud of Turin appears again in the definition above, isn’t it)? But I think Florian is posing a deeper question here.

The question of what is authentic (genuine) goes to the nature of being and of being real. His original question, “Does a house cast different authenticities into one new Gestalt“?... (does a house pile differing (authentic) meanings into the same box?)... is really the opposite question for it implies that there are many authenticities that may sometimes seem mutually exclusive being held within the same place... which is how we may have many contradictory interpretations of the very same “house” (or work of architecture).

The problem lies in that some-(apparently real)-things do not seem “true” at all. They maybe falsehoods that only seem to be real, or factual. Our senses maybe being deceived and our interpretations, misreadings. A building, a house, maybe a fact, but it may allude to other houses in another time and place that may seem not present at all... like a daydreaming child staring out the window of school thinking of summers on the beach. The body is present, but his heart and mind are somewhere far off... which is the true boy?

What presses the question is when a moral imperative is attached to “authenticity”-- such as that as the agenda of Modern architecture at the turn of the last Century. “(Bad boy, John; stop daydreaming).” Before Modernism buildings had to be true in that it would be good if they did provide shelter and were relatively well made... but they were free to be ornamented and ordered on formal systems that had little or nothing to do with the truths of necessity. Artifice, something of a given in all the other arts, became shunned in Modern architectural theory.

Of course the search for truth in architecture has always concerned architects for architecture is the art that grows out the utility of building... and buildings’ factual utility” nature allows them only representing themselves and not alluding anything other than the facts. If you believe that Artifice is immoral in something that is by its nature a necessity, then YES, Architecture can be in authentic. But if you believe, that artifice is part of the nature of art and communicating ideas that are not of necessity and not present in time and space-- say, “a house like a whale”--, then NO, architecture can not be inauthentic.

In our Post-Humanist, Post-Structuralist, Post Deconstructionist world which we live everything, and every reading of it, is slippery, even things that seem to come out of necessity. Many authenticates. Nothing seems able to be nailed down. Plato would say well course you are all confused-- you are only looking at shadows distorted on the walls of a cave, the truth is the objects creating them... and the light that casts them-- the ultimate truth-- G_d.

All Florian’s questions are really the same-- what is truth. Like Diogenes of Sinope, staff in hand, he walks the streets in the daylight backward looking for the True, the Authentic. He keeps us all honest, and his questions, lifting the fog from our eyes.


+++
John DeFazio
4th of March 2011
If a (real ice) igloo is built in Las Vegas, it is not indigenous and, if it is meant to be a "true" shelter, it is not authentic. But, a plastic one, where one can purchase ice-cream, is authentic, and, irony or not irony intended, it is (somewhat) indigenous. This is the definition of Post-Deconstructionist discourse I think.
+++

4th of March 2011
Alexandra Straub:
Architecture is always authentic, if we accept that parody and irony and even ignorance can be authentic. There is no unauthentic architecture. We sometimes try to get rid of buildings or ensembles because they express ideas we don't agree with or find uncomfortable. The sort of pluralistic dialog that makes up society is reflected in its built form and is probably one reason why we have architectural theory at all.
+++

Florian Stocker@john, walking backwards...every bird sings one song. May be I have to get out of the hole of the seeker after truth and enjoy with you the hunting grounds of Las Vegas. "Man only plays when in the full meaning of the word he is a man, and he is only completely a man when he plays." J. Friedrich von Schiller
+++
Lieber Herr Stocker,
zu Frage 2: Dies ist ja ein großes Thema bei allen "Reko"-Diskussionen und wäre in diesem Zusammenhang eine eigene Betrachtung wert. Mir fällt spontan aber ein 1:1 - Nachbau der Marksburg irgendwo an der japanischen Küste ein - der ist mit Sicherheit nicht authentisch (aber originalgetreu - eine interessante Differenzierung)!
Liebe Grüße aus Weinstadt
Bernd Breyvogel
http://www.marksburg.de/ueno.htm

+++
Lieber Herr Stocker,
widmen wir die Antwort Herrn Heidegger und stellen die Frage nach dem Sein, dem Bauen und dem Wohnen. Auf diesem Hintergrund will ich kurz umreißen ob die Gestalt, neu gegossen werden kann aus verschiedenen Authentizitäten und zum Haus werden kann. Das eigentliche Problem dabei ist, welche Authentizitäten hier gemeint sind, die derer die das Haus bewohnen werden mit den bekannten geohnten Gewohnheiten, oder sind es die Dinge, die Materialen die neu zusammen gesetzt werden.Wenn es um die Bewohner geht ist es keine neue Gestalt, sind es die Materialien, dann gibt es sehr wohl eine neue Gestalt durch verschiedene Authentizitäten.
Grüße, authentische, ihr Robert Thomsen



+ + + + + + + + +



January 2011

"tacet"
What is silence in Architecture?
Dedicated to John Cage.

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Bart Lootsma
Silence only works as a carefully enscenated interlude in a world of noise and expectations of noise. It can never be a general condition.
29.1.2011

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Michaela Maier da stelle ich mir ein Zen garten vor
vor 23 Stunden · Gefällt mir nicht mehrGefällt mir · 1 PersonWird geladen ...
29.1.2011
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Petra Block Kreuzgänge, Klostergärten
vor 23 Stunden · Gefällt mir nicht mehrGefällt mir · 1 PersonWird geladen ...
29.1.2011
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Florian Stocker but why?
29.1.2011
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Luigi Cosenza is the music...
29.1.2011
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Petra Block can´t verify it. Ich höre die Stille
29.1.2011
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Trent Bromley
~ . . . dead silent or living silent architecture?
29.1.2011
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Florian Stocker
@bart thx... nature has "horror vacui" and man creates a temporal void by listening?
29.1.2011
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Aldo Nolli Silence in architecture is an empty space?
Or better, silence is space, in his virtual (abstract) assumption?
29.1.2011
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Masumi Mizoguchi
I posted 間"ma" concept at forest yesterday..where " the identity of the place is as much in the mind of the beholder as in its physical characteristics." I know a few places, including architecture makes me silent. But does it architecture ...make me silent or is it elements (stone, light, wood, air or slight sound of water) makes me this effect? or I can be totally silent à la gare de metro parisien... Can we say "this buidling is silent?".. sure but it requires someone to feel that way..is it him silent or a building??
29.1.2011
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Aldo Nolli
Masumi: maybe the sense of silence has to do with space, or with a particular atmosphere or imagine.
I understand your feeling very well, because it happens to me too. I love also silent spaces, and the silence of spaces.
The unique feeling w...hen you are alone in a church, or in a big hall, and your percept the silence when it is "disturbed" by a sound like shoesteps in a big reverberating space.
I love in old schools with wide high reverbering corridors, the silence of space, after the end of lessons with the chaotic polychromatic "noise" of the childrens after school. This moment when the school is empty and then, the silence is interrupted by the steps of one person (the teacher?)....
Today, in our pardox World ruled by the totalitarism of commercial based NORMS in construction, whe are often not allowed to build spaces with this particular acustic characteristics, since the NORM says, these are bed.
Thinking about a World where the individual responsability is reduced and all is subordinated to NORMS and RULES who limit the individual genious and "good sense".
(Aldo Nolli hopes that his english was not TOOO BAD....and his thoughts are understandable)
29.1.2011
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Masumi Mizoguchi
Sense is not to understand but to feel. So I feel very well what you feel. Thank you for sharing your senses and I'm so happy to know an architect keeps these fundamental sense. btw.. I was at musée de Grenoble the other day and their conte...mporary sections was "sous-sol" ;-), while going under the beautiful slopes, I faced undemolished, antique quality huge stone wall in front of me... and "silence" transcended to me right there... Musée de Grenoble is a superb architecture but it was this stone wall which was probably not permitted to demolish for archaeologicall reason, gave me a sense of silence... so that's why I'm asking is it architecture or is it elements.. but you are right.. it is a sense of space which containing this wall in certain way... then after that, there is a candle of Richter.. I had a beautiful silent moment.
29.1.2011
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Florian Stocker
@Aldo oh yes, since you are using poetic language...
29.1.2011
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Aldo Nolli
In Ticino you can hear almost everywhere the sound of the highway N1, Milano-Zurich, wich goes along the valley.
So you get a sort of assuefaction of this continous sound, and you even notice it. You get conscience of this sond when you reac...h a place, where the highway-continuo is not present. And you get a special feeling of beauty and serenity in that silence.
29.1.2011
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Marietta Helen Andreas Sic: Schweigen oder Stille???
29.1.2011
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Aldo Nolli
Also the silence of big spaces is very strong.
Or the feeling of sound penetrating across openings in the walls of quiet rooms. It's similar to the feeling of sunlight filtering across the close blinds and the curtains of a room, when you c...an see the light materialized by the highlighted dust in the room
29.1.2011
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Florian Stocker tacet = er/sie/es schweigt/ he/she/it is silent...
29.1.2011
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Cristina Dreifuss http://divagarquitectura.blogspot.com/2009/09/silencio-o-433.html
29.1.2011
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Marietta Helen Andreas
I don't want to read the other comments before expressing what was my first thought: John Pawson.
How to explain in English....

If you enter a room and your heart stops to beat for a moment - you keep your breath - and stand there in silence... - impressed by a calming architecture that makes you speechless by its beauty and its asthetic charisma or vibrancy - that's silence in architecture for me. And the first connection of these thoughts were my memories of John Pawsons architecture...
29.1.2011
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Aldo Nolli
This happens to me entering the Pantheon :-)
29.1.2011
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Marietta Helen Andreas
Oh yes! This I do understand too.
29.1.2011
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Sokratis Georgiadis
Lieber Florian,
hier könnten wir uns, so hoffe ich, leicht einigen: das was man halten
sollte, wenn man nichts zu sagen hat - in der Architektur, aber auch darüber
hinaus.
...Schönes Wochenende,
SGe
29.1.2011
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Alexandra Staub
Für mich ist es der tiefe Schatten. Silence in Architecture is deep shadow.
29.1.2011
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Claudia Núñez del Prado
Silence in architecture I guess it depends of us. Go into a space an feeling all the designer wants to tell us because, always designers want to say something, always, at least in my case...Silence is go to a big and high building and to li...sten the wind, feeling in our faces, close your eyes and feel no more. For me silence in architecture but is very personal is my piano, the room, has a special room at my home, it is very important to me and start to play it lke a sea of sensations come to me...BUT IT IS VERY PERSONAL :-). In english I am running...
30.1.2011
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Julie Hoffman:
Silence in Architecture = silence in music = ground in figure/ground = the stone that is taken away to reveal the sculpture. It is the frame, it is the space that allows the form to emerge. It allows the visual noise to be seen. There are endless kinds of silence, in architecture and all around us. Silence first, then the insertion of sound.
31.1.2011
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W. R. Bachmann:
Die Abwesenheit von Daniel Libeskind.
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31.1.2011
Thomas Drexel wrote:
Sehr geehrter Herr Stocker,
Stille in der Architektur – das ist das Ergebnis demütiger Auseinandersetzung des Planers mit dem Objekt seiner Arbeit – Ort, Landschaft/Stadt-Landschaft, Menschen, Räume. Nicht schon zu Anfang... dynamisch Ärmel hochkrempeln und Großes gestalten wollen, ohne geschaut und gehört zu haben. Und dann überlegen: Wie lässt sich Stille bewahren oder herstellen? Durch eine Formensprache und eine Materialwahl, die nicht nach vordergründigen Effekten heischt, sondern größte Klarheit anstrebt. Und akustisch durch die geschickte Situierung, Drehung, Öffnung/Schließung, das Spiel mit Innen- und Außenraum. Und auch dadurch, einfach mal Natur und bestehendes Gebautes nicht zu verändern.
Beste Grüße
Thomas Drexel
31.1.2011
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Marietta Helen Andreas
Sehr gut ausgedrückt....
31.1.2011
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Marietta Helen Andreas "Calmness" in structure of material induces silence in visual perception
31.1.2011
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Masumi Mizoguchi http://www.facebook.com/photo.php?fbid=1469236252705&set=a.1303251543191.2039279.1287557659
http://www.facebook.com/photo.php?fbid=1310528133239&set=a.1310525973185.2038244.1531689345
31.1.2011
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John DeFazio
On Silence and Light--
"Silence is the unmeasurable or that which has not yet come to be... the unmeasurable is the force that propels the creative spirit toward the measurable, to the Light. When the inspired has reached that which is, that... which known, he has reached the Light. Eloquently expressing the architect's passion for design is the of feeling at the beginning at the threshold where Silence and Light meet. Silence, the unmeasurable, desire to be. Desire to express, the source of new need, meets Light, the measurable, giver of all presence, by will, by law, the measure of thing already made, at a threshold which is inspiration, the sanctuary of art, the treasury of shadow.-- Louis I. Kahn
31.1.2011
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Florian Stocker
...the treasury of shadow...~*
Do you know the lines of Kate Bush (Hello Earth / Hounds of Love):
"tiefer, tiefer irgendwo in der Tiefe gibt es ein Licht"
("deeper, deeper, somewhere in the depth there is a light.")
Sorry jus a wild association chain.
And John, what says John?
31.1.2011
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John DeFazio
It is interesting to me that there are two, very different, concepts of Silence being discussed here. One is experiential and phenomenal (the architectural silence we may experience at Chartres or the Pantheon ... the other is conceptual...... as a precondition that has yet to come into being. (This can be for architecture, but can be seen as more as a precondition for all the arts and even being itself). Kahn’s understanding of silence is interesting to me, for it seems somewhere in between the two... and, in a way, very profound-- for it implies that in the process of making architecture we are making the invisible visible, and silence speak. Silence in this sense is primordial-- a mystery from which architecture (and being human) emerge. The silence we experience in architecture therefore is the “Silence before being” made present.
31.1.2011
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Florian Stocker
Yes indeed, Sorkratis put in a provacant direction by saying, "silence is what one should keep, if you have nothing to say"!
So is Minimalism sometimes speechless...?
We are fighting with "ratio et animus" again.
Well I try to be a good midwif...e, as Sokrates (mind the e) put it some milleniums ago in "Maieutics", wait and see...
31.1.2011
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Marietta Helen Andreas
Yes John. It's very interesting - there seem to be different understandings of silence in architecture. One of the pictures hasn't to do anything about silence to me.... And it's worth to research to find out why there is so much about light and shadow which I think is not the most important to me..... I have to think this over...
31.1.2011
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Florian Stocker
May be the question was put in a wrong way?
31.1.2011
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Marietta Helen Andreas
Wodurch wird "Stille" in der Architektur ausgedrückt? Es ist das zögernde Berührtsein das uns erfasst, wenn wir einen Raum betreten, der uns schlagartig mit Erstaunen erfüllt und uns schweigen lässt, uns in diese Tiefe eindringen lässt - in... das Bewusstsein, etwas Wunderbares zu spüren, etwas, dass uns dank seiner Schönheit staunen lässt, uns auffordert, zu "erspüren" was uns sprachlos gemacht hat. Das uns für einen Moment in der rapiden Geschwindigkeit der Welt, in der wir leben - verharren lässt. Um diese kostbare, verlangsamte Zeit, die die Stille eines Anblicks, eines Raumeindruck uns ermöglicht, schweigend auszukosten.
Sorry, but I can't say this in English.
31.1.2011
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Ryan Flener wrote:
theory:
silence in architecture lends itself to the discourse of touch and the enhancement of senses. while this may be both trivial and literal to deafness, it does not necessarily indulge in that specific realm. moreover ...silence is most experienced in simple forms and majestic landscapes, formally produced from landscape painting and the transformation to modern architecture.
thomas moran's "grand canyon of the yellowstone" provides this silence in architecture even though no building exists within it. the belly of water and the visual presence of geologic time create a silence unlike any other, as if the noise from the falls creates it. like shooting a gun, the first round rings your ear, everything stops, but the noise continues. we look for silence in architecture in ruins for example, where a something is frozen in moving time and a divine intervention might take place. boullees cenotaph provides this experience in the representation of a celestial body, however it is also frozen in place and does not move, thus we can begin to understand silence as non architectural, but rather experiential and much more complex.
thanks,
Ryan
1.2.2011
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Masumi Mizoguchi
"What is silence in Architecture?"
Marietta's comment "If you enter a room and your heart stops to beat for a moment - you keep your breath - and stand there in silence - impressed by a calming architecture that makes you speechless by its ...beauty and its asthetic charisma or vibrancy - that's silence in architecture for me. And the first connection of these thoughts were my memories of John Pawsons architecture..."
I totally agree of this feeling and I'm lucky enough that it also did happen to me several occasion in my life,(kyoto temple especially) although this effect of "encounter" to silent vibration can be reproduced at the moment I encounter with Richter's candle.. the silence its propagate to the surroundings and to a viewer amazingly. but it must be contained also in a structure which withhold this silent vibration.. but if there is no Richter there, probably I do not consider the space silent as although simplified and excellent lighting, the space structure was rather complicated..
so.. what is silence in architecture to me is not the moment of the encounter but... some longer time span.. I stayed a while then architecture as a container start to withhold silence as a content including my existence or others.. that even shut down other noises and we focus only to the senses which maintain and amplify this sense of silence.. like.. the container almost naturally force us to rather see the light coming from outside and make us close our ears not to hear sound of heels... the container gave us a focus...
Well.. I wish it is "feel" able ;-)
1.2.2011
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Marietta Helen Andreas
Yes Masumi. This is what I added in german (sorry): The pause you take within these rapid days - staying in that silence, slowing down, calming down, keeping up this impression - wonderful moments in life.
1.2.2011
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Marietta Helen Andreas
I'll try to use Babelfish (thanks John!) and hope my german expressions may be a little understood:
Whereby " Stille" in architecture is expressed? It is seized by that hesitating affect-affecting if we enter an area, which suddenly fulfills... us with astonishment and lets us be silent, lets us penetrate into this depth - into consciousness to feel something marvelous requests us something that owing to its beauty lets us be astonished, to " erspüren" which made us speechless. For one moment in the rapid speed of the world, in which we live - to remain silent. In order to this precious, slowed down time, which is made possible by the silence of a sight or space impression, to out-cost being silent.
1.2.2011
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Marietta Helen Andreas
"erspüren" = to sense, to perceive
1.2.2011
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Masumi Mizoguchi
beautifully said Marietta. btw.. I love a german word "betrachten" which seems impossible to translate in any other language but.. more or less " to make pregnant by giving an object your undivided attention".The space makes me feel the und...ivided attention and intention of the architect for the silence : silence was conceived, kept in the belly of the architect ;-) and given a birth... so this silent withhold the affect, the depth, marvelous senses and the silence is living in this space.. Trent brilliantly said way above " living silent architecture." ;-)
1.2.2011
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Aldo Nolli
Is "betrachten" not to observe? Osservare in italian?
2.2.2011
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Marietta Helen Andreas
Yes. To observe is not bad as translation for "betrachten"!
2.2.2011
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Marietta Helen Andreas
Today in the afternoon - driving in my car - I thought: Silence in Architecture might also come up as a feeling when touching a wonderful surface ....
2.2.2011
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Masumi Mizoguchi
I learned word betrachten in the therapy context ;-) In Jung's active imagination, it was decoded ainsi.
2.2.2011
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Robert Thomsen
Lieber Herr Stocker,
ich möchte den Versuch unternehmen zu beweisen das es Stille in der Architektur nicht geben kann, sehr wohl aber Lautlosigkeit. Die Unterscheidung zwischen Stille und Lautlosigkeit ist das Fundament ...der Erklärung. Stille ist dann wenn nichts mehr spricht, nichts mehr sich bewegt, denn schon die Bewegung eines Grashalms erzeugt einen Laut und somit auch die Verwitterung der Gebäudehülle, der Behausung. Nur das dies für uns lautlos von statten geht. Ich sehe darin viele ,tiefere Ebenen des Denkens über das Gebaute, die Architektur mit ihren verschiedenen Interpretationsmöglichkeiten.
Die Stille der Architektur entspricht einem Stück von John Cage, Silence; eine CD die 30 Minuten läuft auf der nichts zu hören ist. Eine architektur der Stille wäre demnach eine Architektur die unsichtbar ist, vielleicht die schönste, anrührenste,poetischste Architektur die es gibt,denn sie kann unsere visuelle Wahrnehmung nicht verletzen.
Gruß Robert Thomsen
2.2.2011
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Florian Stocker
52 Entries, and now it seems like a little pause.
Thank you very much, you made such beautiful and passionate contributions. I learned a lot. I try to phrase my learning, which comes along a bit dry, but may be it is a little bit of a summa...ry:
proposition #1
Nature is not silent, but we can remain silent
proposition #2
Architecture as "second creation" can not be silent if it is relevant
proposition #3
Silence is created by us as a void in time when we listen
propostion #4
Architecture can stage this momentum
propostion #5
Architecture can be an observatory tool for the horror vacui of nature
propostion #6
Architecture can advance us to listen to the surroundingMehr anzeigen
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Urs Wolf http://www.facebook.com/photo.php?fbid=1704124894679&set=a.1017136600401.3108.1584695791

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Marietta Helen Andreas

@Masumi and Aldo: I talked about the word "betrachten" with my british neighbours. In fact it's right, that "to observe" is: "beobachten", not "betrachten". So there doesn't really seem to be an english word as Masumi said. You could translate it with a mixture of words... "Stand there in silence and watch while thinking about it".
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John DeFazio
I use to half joke with my students that architecture "is a place where you go to have an architectural experience"... (an art experience in building form). Of course the next question would be "what is an art experience?" I would say that ...it is a deep insight into the nature of things... your relation to things... and in the case, of architecture, your relationship to the world around us and even in creation itself. I do not think that it is experienced in architecture solely through silent contemplation though... we experience it in movement and action as well. Architecture "is the art that we use" and I think we don't understand it just through the eyes but with the whole of our bodies and our mind... contemplation is but one of our "actions"... one done is stillness and quite.Mehr anzeigen
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Marietta Helen Andreas

"contemplate something" - that's not too bad, is it bros? but would you say "I contemplate a painting"???
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Marietta Helen Andreas would you "view" a painting? :(
"regard" a painting?
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Trent Bromley

~ . . . I dunno . . .I'm contemplating :-)
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Marietta Helen Andreas

@Florian and John: to experience does not necessarily include a view on things....
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John DeFazio

Marietta, for me contemplation has been an inward looking experience... revelation though contemplation, for me at least, may happen long after viewing or looking... But do understand what you mean... an active looking and thinking at the same time... this happens in all the arts... it is part of the art experience. Architecture makes one feel fully present in the moment, fully aware.
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Josef Bischofs

My answer to this Question is a series of Images i took yesterday.
http://www.facebook.com/album.php?aid=46308&id=10000028445055


1 2 3
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Claudia Núñez del Prado

Dear Florian...please another question of the week??? :-)
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Florian Stocker

@Claudia Núnez del Prado thx for asking, One Month one Question! Promise!
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Claudia Núñez del Prado

Week....:-)
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emergency exit wrote:
Quiet's cool because it actually lets you hear noise from far away, albeit quietly. Whenever I hear the freight train that's a ha...lf mile away, that means it's about to rain. Lunchtime out front offers the happy cacophony of many children in a school yard, reverberating from on top of the other side of the valley. Hearing the constant flow of the Roosevelt Boulevard (US Rt. 1, twelve lanes of traffic also on top of the other side of the valley) at night when the windows are open really puts you to sleep.mQuiet's spectacular precisely because of the things it lets you hear otherwise.Mehr anzeigen
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Steven Ward on Archinect wrote:
nice, eew. visual quietness (quietude?) works in a similar way, of course, because of the things it lets you see.
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emergency exit ward replied:
Steven, you'll have to provide some examples, because I don't fully agree with your 'of course' assessment. I can see what you say being true in terms of how a night sky completely devoid of man-made light litera...lly offers the universe, but there's also the joy of exercising focus while searching through a thousand puzzle pieces (all the stars) to find the ones you want (Mars, Jupiter, Saturn). Mars, Jupiter and Saturn are relatively easy to find on a clear night in the city (where you don't see all the stars), because, after the Moon and Venus, they are brighter than the rest of the heavenly bodies.Mehr anzeigen
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Lieber Herr Stocker,
Stille in der architektur ist wenn das zu bauende
dann steht als ober es schon immer stand, schon
immer da war! Und schweigen, wenn es weder
bauherr noch architekt seines nennt.
Mit Grüßen aus Plochingen
Christian Huss
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