»Roundabout« is a case study. As a typical element of public space roundabouts are mostly overlooked. Round islands inside urban infrastructure – concentrated space isolated from its sourrounding. The focus is based on the diverse spectrum of their appearance and how those micro-environments are shaped by humans and regional circumstances.
The utopian proposals try to question established systems of urbanization. It is not the will to show a ready to implement plan, but to motivate a conciousness towards diverse opportunities – together with the minds of the viewers.
The more graphical than architectural renderings point towards symbolic, dreamy and utopian aspects, stretching the idea of the possible in regard to the reality they are reflecting. In the backdrop resides the untouched brownfield the wonder if cities are exactly in need for these areas, where all possibilities are still available, free for the future.
The proposals were developed with a look out of the window on a brownfield, connected with own dreams.
Regarding the conceptual guideline »The piece need not be build« developed by Lawrence Weiner in 1968, this rule applies to the utopian proposal of »Brache A–D« as well. It is the recipients decision how, what and if it is realised, Weiner connects terms in his typographical work in ways of construction pointing to the matter less than its definition – this synthesis is made by the viewer. In reference to Weiner. the approach of »Brache A–D« is to describe the complex relation between reality, fiction and utopia, but also the social construction of space, the exhibited proposals and the brownfield itself.
In the advanced cosmos of »The Work of Art in the Age of Mechanical Reproduction« (1935, Walter Benjamin), the loss of the aura and the concomitant change of media, the need arises for an updated sensitization for the original and its copy. In the wake of a quotation from David Wills, the Brother Art Gallery was created in March 2014 as a microarchitecture in Weimar.
»Once a copy is added to an original there is not just the original, plus the copy, but also the relation between them, which is different from either one or the other, even though one appears the same as the other. A different order of relations has been established, and indeed the term original has no sense unless it is used in the context of a real or potential copy.«
The Brother Art Gallery questions topics of value marketing and property in the scope of publishing. Filling in the role of the galerist, artists were asked to send a digital reproduction of one of their artworks. Further in the process, the artworks were once printed and functioned as the original. Visitors were asked to join events of the BAG where copys of the ‚originals’ were open for sale to them. Derived from the presence of the copyshop to its decline nowadays, the project provoked the meaning of the original for its owner or developer. BAG is questioning the effect of current german copyrights and their institutionalization, such as Wort Bild Gesellschaft, where the copyshop owner is obliged to pay a fee for every copy that leaves the store. During the process, the black and white copy was impressed by social exchange with the artists and visitors, redefining its value.
In favor of my graduation I engaged myself with the destruction of cultural heritage, its meaning as well as the power of images in relation to the collective memory – researching the near past and present to set out the image under the pressure of the cybernetic reproduction in the digital age. The fragility of materialized memory is often recognized in a moment of threat. In its destruction – implying its intitial exposure, meaning archeological excavations – the image of the monuments destruction can be experienced as a state of consternation which empowers the symbolic content of the object even more.
Currently the spread of images and videos showing destructions and looting are in great demand. As a counter reaction to these hollow images Versus Eternity collects the monuments original meanings, draws from them to lift off to new outputs and gathers to commemorate their loss. The project was realized with Kani Marouf.
The publication follows the symposium »Architektur bildet« held at Bauhaus University Weimar in 2015. Reflecting actual positions in architectural education and mediation, the output gives insights on the contemporary state of theory and practice opening a dialogue between art and museum pedagogues, architects, psychologists and scientists.
»HORIZONTE– Journal for Architectural Discourse« is loosely based on weekly lectures at Bauhaus University Weimar and published twice a year. The ruin describes an intangible fragment wavering between death drive and permanency, eluding from our understanding. As the embodiment of différance it stands undecided between the things, shifting because of our attempts to solidify it. Terms such as the present and the past, nature and culture, memory and consciousness, clarity and transfiguration, thought and perception start to blur and overlap. Away from a linear historical narration, an awareness appears which reflects on the ruin’s decay and obscures its state. Our fascination of the ruin becomes a fascination about the decay of ideas. Realizing the abscence of meaning not as a loss, a lack or an insecurity but reinterpreting these connotation, is the subversive and constructive potential of the ruin. HORIZONTE Nr.9 seeks to examine these dialectical relationships, to combine perspectives and create an image that arises doubt and leaves an open question whether in the end what remains is more than the image of the ruin.
»HORIZONTE — Journal for Architectural Discourse– is loosely based on weekly lectures at Bauhaus University Weimar and published twice a year.
Posters for the SW 2014.
Cultural heritage sites are places of touristic attraction – where future and technology meet in the shadow of history. The ancient Rome former a place of trade and spirituality, so to call the heart of an empire, becomes a stop for selfies and snacks, data storage on a device, a post on a social media platform. The visitors fill those cultural hot spots to create an atmosphere with an inherent visual comedy.