我們這一代人的良知衝突──德國弗萊堡大學的「海德格教席」風波

近日德國一起發生於弗萊堡(Freiburg)大學哲學系的學術事件愈演愈烈,在歐陸哲學界捲起風波。

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Haus- Rucker- Co

ARCH BLOG

„You can blow up a balloon“ (Archigram)

04d-Ose-7-Hamburg2010-800x535

OASIS Nr. 7, 1972

„Architekturutopie Reloaded“ wirft einen Blick zurück auf die innovative Kraft der Wiener Avantgardegruppe Haus-Rucker-Co (1967 – 1992), die mit begehbaren pneumatischen Architektur-Räumen für Furore sorgte. Als Haus-Rucker-Co entwickelten Günter Zamp Kelp, Laurids Ortner und Manfred Ortner Ideen für radikal neue Lebensformen. Der Name reflektiert die metaphorische Aufforderung, tradierte Vorstellungen zu verrücken. Die späten 1960er Jahre standen im Zeichen von Aufbruch und Lebenseuphorie: Mondlandung, The Beatles, Flower-Power. Das Design und die Architektur wurden bunt, sexy und leicht.

Die Ausstellung läuft noch bis zum 22. Februar 2015 im Haus am Waldsee in Berlin

HR1_Fresh-Air-Reservation-1971

Fresh Air Reservation, 1971

HR2_Joes-Bar-1971-
Joe´s Bar, 1971

HR3_The-Cocoon-1971
The Cocoon, 1971

HR4_Rooftop-Garden-1971-
Rooftop Garden, 1971

HR5_Four-Seasons-Hotel-1971
Four Seasons Hotel, 1971

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Kunst oder Kleinholz?

ARCH BLOG

“Art is not what you see but what you make others see." (Edgar Degas)

kunst111

„The Passenger“ © dpa

Die belgische Stadt Mons fungiert 2015 als eine der beiden europäischen Kulturhauptstädte. Die hierfür in der Innenstadt errichtete generative Installation „The Passenger“ aus Holzlatten des bekannten flämischen Konzeptkünstlers Arne Quinze ist an Heiligabend zusammengebrochen. Damit präsentiert sich das Kunstwerk in völlig anderer Form und es erhebt sich die Frage mit was man es jetzt zu tun hat: Kunstwerk oder Abfallholz?
Marcel Duchamp sagte: „Der Künstler vollzieht den schöpferischen Akt nicht allein. Indem der Rezipient die tieferen Eigenschaften entziffert und deutet, liefert er seinen eigenen Beitrag zum schöpferischen Prozess.“ Das heißt, auch die Rezeption des Environments in Mons ist kein simpler Wahrnehmungsakt; immer muss man das Werk richtig sehen, um die Aussage zu verstehen. Moderne Kunst entsteht im Auge des Betrachters. Einerseits basiert das Kunstwerk auf der künstlerischen Idee, anderseits auf dem gedanklichen…

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# INTERVIEWS /// Conversation with Wes Jones about the notion of Machine

The Funambulist

Corbu/Perriand reinvented: Chaise Lounge (1992) by jones, partners: architecture

This week, exceptionally there won’t be any guest writers essays on the funambulist. Instead I propose an interesting conversation I had, two weeks ago, during a short trip in Los Angeles, withWes Jones, who was kind enough to answer my questions about the way he intermingles the notions of machine and design in his work. Since the early 90’s when he started his own office Wes Jones has indeed been proposing a design that engages a dialog between humans and   “medium-tech"  architectural assemblages that affirm and celebrate their mechanical  legibility as a contractual agreement between the user and the architect.

Interview on August 22nd 2011 at Sci-Arc (all images have been chosen by Wes Jones himself to illustrate our conversation):

Leopold Lambert: As a form of introduction, could you please give us your definition of the notion of…

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# ARCHITECTURAL PROJECTS /// Performing MDM Opera House by Jie Shen

The Funambulist

The following project is a design for an opera in Warsaw by the London based architect Jie Shen.Here, the model is not so much a representative tool than a diminished scale building in which materials match with their potential real application. That is how, the proposed opera introduces a rough vocabulary which recalls the one used in naval construction.

found via designboom

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# ARCHITECTURAL PROJECTS /// Coastscraper, Iceberg Autonomy and Fish Tower for Evolo Competition

The Funambulist

Evolo just released the winners of the 2011 Competition and as often the interesting projects are more to be searched in the Honorable Mentions (and I know some more that did not even made to this step and that’s a shame) as I would like to illustrate here. I also would like to add that making people pay 65$ to participate in a digital competition is simply outrageous and should really be reconsidered at every levels.

Three projects of those mentions are extremely interesting:
Coastscraper by Gary Kellett (UK) introduces a gigantic and fantastic machine that scrapes the English cliffs, using the chalk to fight against the acidification of the oceans. The level of details of his project and the beauty of his drawings makes it one of the very best project I have seen for this competition for the last six years.

Iceberg Autonomy: Oil Recovery by

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