past lectures can be watched at: vimeo.com/lecture
21.11.2011, 13:00: Theodore Spyropoulos @ HPZ F
AA DRL, London
The lecture will feature recent work developed by the Design Research Laboratory (AADRL) and the experimental design studio Minimaforms examining a behavior-based agenda that engages experimental forms of material and social interaction. Cybernetic and systemic thinking through seminal forms of proto-typing and experimentation will situate the work through continued experiments that have manifested since the early 1950s as maverick machines, architectures and computational practices exploring the generative potential of self-regulating phenomena as proto-architectural environments. Through explicit models of interactions, observable patterns and proto-animalistic agency; the research will discuss the capacity of these systems to evolve, adapt and self-structure through computation.
Theodore Spyropoulos is an architect and educator. He is the Director of the Architectural Association’s innovative team-based M.Arch program the Design Research Lab [DRL] (London). He has been a visiting Research Fellow at M.I.T.’s Center for Advanced Visual Studies working with the Interrogative Design Group and co-founded the New Media Research Initiative at the Architectural Association. He has taught in the graduate school of the University of Pennsylvania and the Royal College of Art, Innovation Design Engineering Department.
Theodore directs the experimental architecture and design practice Minimaforms. The work of Minimaforms has been acquired by the FRAC Centre (France), the Signum Foundation (Poland) and the Archigram Archive (UK), and has exhibited at the Musueum of Modern Art in New York, Detroit Institute of Arts, ICA (London), Futura Gallery (Prague), Slovak National Gallery (Bratislava), Architecture Foundation (UK), amongst others.
Theodore has previously worked as a project architect for the offices of Peter Eisenman and Zaha Hadid Architects. He studied at the AA, Bartlett School of Architecture and the New Jersey Institute of Technology.
04.11.2011, 15:00: Chad McCarthy @ HPZ F
Director of Engineering for TelecityGroup, Frankfurt
Infromation Age Buildings
Chad McCarthy was born in New Zealand and studied electrical and electronic engineering at the University of Auckland specialising in Power Electronics. He moved to the United Kingdom in 1997 and worked for NDY and Ove Arup designing Europes first large capacity data centres and completed research work in the simulation of harmonic currents in data centres. In 2002 Chad relocated to Frankfurt am Main, Germany to open and manage the Frankfurt office for Arup, in 2007 this office completed the world’s first LEED platinum rated data centre, being responsible for all engineering disciplines. Today Chad is the director of Engineering for TelecityGroup and will describe some themes associated with energy transfer in buildings which are designed for machines and not persons.
31.10.2011, 15:00: Benjamin S Koren @ HPZ F
1:One | Computational Geometry, Frankfurt
Benjamin Samuel Koren was born in Frankfurt/Main and grew up in Miami, Florida. He studied architecture, film and music at the University of Miami and the Architectural Association in London, at which he was awarded a Bronze Medal commendation, an SOM fellowship and the iGuzzini Award at the 2005 RIBA President’s medals for his project entitled “Harmonic Proportion in Amorphic Form”. He went on to work as a programmer for the Advanced Geometry Unit at Arup and for Herzog & de Meuron in Basel and Hamburg. He is the founder and managing director 1:One | Computational Geometry, a consultancy set up in 2009. Past and current projects include the Elbphilharmonic Hamburg, the Louvre Abu Dhabi and the Philharmonie de Paris.
09.06.2011, 16:00: Philippe Rahm @ HIT E 51
Philippe Rahm architectes, Paris
Recent projects by Philippe Rahm architectes
Might not climate be a new architectural language, a language for architecture rethought with meteorology in mind? Might it be possible to imagine climatic phenomena such as convection, conduction or evaporation for example as new tools for architectural composition? Could vapour, heat or light become the new bricks of contemporary construction?
Philippe Rahm, born in 1967 studied at the Federal Polytechnic Schools of Lausanne and Zurich. He obtained his architectural degree in 1993. He works
currently in Paris (France). In 2002, he was chosen to represent Switzerland at the 8th Architecture Biennale in Venice and was one of the 25
manifesto’s architects of the Aaron Betsky’s 2008 Architectural Venice Biennale. He is nominee in 2009 for the Ordos Prize in China and was in 2008 in
the top ten ranking of the International Chernikov prize in Moscow. In 2007, he had a personal exhibition at the Canadian Centre for Architecture in
Montreal. He has participated in a number of exhibitions worldwide (Archilab 2000, SF-MoMA 2001, CCA Kitakyushu 2004, Frac Centre, Orléans, Centre
Pompidou, Beaubourg 2003-2006 and 2007, Manifesta 7, 2008, Louisiana museum, Denmark, 2009). Philippe Rahm was a resident at the Villa Medici
in Rome (2000). He was Head-Master of Diploma Unit 13 at the AA School in London in 2005-2006, Visiting professor in Mendrisio Academy of
Architecture in Switzerland in 2004 and 2005, at the ETH Lausanne in 2006 and 2007, guest professor at the Royal School of Architecture of
Copenhaguen in 2009-2010. He is currently visiting lecturer in Princeton, USA. He is working on several private and public projects in France, Poland,
England, Italy and Germany. He has lectured widely, including at Cooper Union NY, Harvard School of Design, UCLA and ETH Zurich.
Philippe Rahm architectes, Convective condominium, IBA-Hamburg, 2010
31.05.2011, 16:00: Heinrich Lüber @ HPZ F
The World is a Museum
This stunningly photographed film captures the various works of Swiss artist Heinrich Lüber, for whom the world is a museum. Rather than set up his work—which usually involves his own body contorted into an unbelievable stance—in a gallery, he plays with the perception of public space, with onlookers becoming part of the art. Their slack-jawed gaze heightens the surreal nature of his installations, as we see him suspend himself off the side of buildings or hold an enormous bird in his mouth in a crowded subway station. The film not only captures the work and the onlookers, but also provides us with a behind-the-scenes look at the modelers and engineers who aid Lüber in developing contraptions that allow him to defy proportion, gravity and, in some cases, comfort. We follow Lüber through dozens of works, as he stretches the limitations of the body as well as those of our own amazement.
25.05.2011, 16:00: Pip Greasley @ HIT E 51
Sonic Artist, De Montfort University Leicester UK,
Now play the building in 7/8
The shared language of harmony, pulse and rhythm has historically been a connect between music and architecture based on the notion that the blueprint as ‘score’ will generate a unique sound signature - an acoustic ident engineered from material and form. But because great architects like great composers will continue to create works that move us and spiritually engage us – buildings will continue to transcend functionality and draw us into pervasive world of their inner vocalizations.
‘Architecture is frozen music’ said Goethe. I’m not so sure. For me, architecture even in its passive state, is an experiential sensation that goes well beyond 3D, and whilst future scanarios will increasingly embrace more dynamic, interactive and transformable structures, certainly Goethe’s ‘frozen music’ becomes more a journey towards melt-down with the merging of sonics and architecture in a state of 4D fluidity.
The architect’s manipulation and transformation of voids and mass will dictate a new form of performative aesthetic driven by a hybrid of installation art, kinetics, dance and sound.
A substantial body of my work has inhabited this ambiguous state between environment and sound, between the real, the fictive and the virtual; between the traditional and synthetic, between generative and linear, and the music of improvisation, ambience, and electronics.
In the lecture we’ll look at the 5K Pursuit Opera, which pioneered the idea of a wired-up interactive environment - velodrome as sonic instrument - within which competing cyclists could generate a musical score. And Accelerato, which interrogates transitional structures by utilizing the lift shaft as synthesizer within which users can compose a score and audition by riding the lifts.
23.05.2011, 13:00: PD. Dr. Gert Schubring @ HPZ F CAAD
History of mathematics, University of Bielefeld and Rio de Janeiro
Conviction by means of visualization, not logics: Graphical representation of complex numbers as a way to accept their existence within mathematics
Complex numbers were used in mathematical practices since the sixteenth century; yet, their acceptance as legitimate mathematical concepts occurred only during the nineteenth century. The eventual acceptance was due to their construction via graphical representations. What is revealing, moreover, is that this visual mode of conviction had been propagated not by famous mathematicians, but by persons marginal to the community.
16.05.2011, 16:00: Prof. Uwe Brückner @ HIT E 51
Atelier Brückner, Stuttgart
SCENOGRAPHY OR THE ART OF CHOREOGRAPHED SPACES
The most important aspect of scenographical design lies in the translation of content into spatial images that can be walked through, and more generally even, in the generation of staged spaces with narrative qualities. In the best of all possible cases, the space itself turns into a medium. It is characteristic for scenographical design to work with an integrative design approach which integrates the artistic potentials and means of different disciplines like architecture, interior design, set design, as well as installation and media art into a coherent composition in the sense of a “Gesamtkunstwerk”.
Prof. Uwe R. Brückner is founder and creative director of Atelier Brückner in Stuttgart. He will present a series of projects like the BMW Museum in Munich, the visitor center at CERN in Geneva or the pavilion for the world-largest energy company State Grid at the Expo Shanghai which took place last year. Furthermore he will also present students projects to illustrate that exciting and consistent scenographical design is not purely a question of large budgets.
20.04.2011, 13:00: Prof. Stephen Gage @ HIT E 51
Bartlett UCL, London
I argue that the experience of architecture, the delight and wonder of finding oneself in beautiful places and spaces resides both in highly designed interactive spaces and events and in spaces from which close functionality has departed or in which close functionality was always transient. I describe the latter as a-functional spaces and places. The combination of transient functionality with a-functional spaces and places is a rich and challenging future for architecture. This paper is an attempt to suggest representations of the way that observers make sense of a-functional spaces and places and representations and models of the way that architects might design them. The suggested model is not based on an understanding of any one particular space and place. It is derived from Gordon Pask’s description of his understanding of an aesthetically potent environment. The resulting type of architecture is, in principle, similar to both the highly designed architecture and vernacular architecture of the past. An extreme example is that given by Evans in his description of the architecture of the 15th and 16th century palazzo, where corridors and spaces off them hardly existed, where spaces where all “ en suite” and activity was supported by furniture. The incorporation of “slack” in the design of these spaces and places is critical to their long-term success.
Cleopatra' s feast
08.04.2011, 16:30: Michael Steinbusch @ HPZ F
Professur Industriebau, TU Dresden
Classical Ballet is oriented towards the stage center. Modern developments like Forsythe's Ballet are multifocal, and they raise the question how different foci can be connected, having in mind that they in turn comprise of connections. This "global/local" problem reappears in brain research but can only carefully be adapted to embodied and communicative situations like those architectures are decisive and necessary for. Another analogy can be found in business administration: Open Innovation strategies implement cooperations beyond a company's borders, e.g. with customers or suppliers, as well as cross-departmental cooperations (e.g. between Engineering and Sales). These relations cannot be organized in a conventional way, but a conception of communication has to be rather "architectural".
04.04.2011, 15:00: Prof. Mette Ramsgard Thomsen @ HPT C 103
A sensitive architecture: designing for a materially graded architecture
Architecture is engaged in a radical rethinking of its material practice. Advancements in material science and more complex models of material simulation as well as the interfaces between design and fabrication are fundamentally changing the way we conceive and design architecture. This new technological platform allows for unprecedented creative control over materials design and production. This development is central to the emergence of a more sensitive approach to design.From the very small to the very large, the imagination of performative materials that are engineered in response to highly defined design criteria are challenging the traditional boundaries of design and representation. Performative materials can be structurally differentiated designed in response to a variegated load, materially graded responding to change in programme or property or computationally steered incorporating actuated materials designed for state change and environmental response. Hyper specified and designed, what they have in common is that they are developed in response to particular criteria by which the strength, structure, elasticity or density of a material can be devised.
Mette Ramsgard Thomsen is an architect working with digital technologies. Through a focus on intelligent programming and ideas of emergence she explores how computational logics can lead to new spatial concepts. Mette’s work is practice lead and through projects such as Slow Furl, Strange Metabolisms, Vivisection and Sea Unsea she investigates the relationship between computational design, craft and technology.
Slow Furl, Mette Ramsgard Thomsen, 2008
30.03.2011, 14:00: Dr. Daniel Bisig @ HPZ F
Institute for Computer Music and Sound Technology, Zurich University of the Arts
Swarm Simulation in Interactive Art
Swarm simulations model the coherent movement of a large groups of animals. They represent a classical category of multi-agent systems that rely on principles of self-organization to give raise to a variety of emergent phenomena. Accordingly, swarm simulations can serve as generative mechanisms for the creation of autonomous and responsive artworks.
The presentation will introduce two research projects that are conducted at the Zurich University of the Arts. These two projects explore artistic applications of swarm simulations and place a particular emphasis on issues of interactivity and multimodal feedback. In the context of these research projects, several interactive installations and dance performances have been realized. Some of the conceptual, technical and artistic and aspects of these realizations will be discussed.
Daniel Bisig is a senior researcher at the Artificial Intelligence Laboratory of the University of Zurich and the Institute of Computer Music and Sound Technology of the Zurich University of the Arts.He is active as scientist and artist and has realized several interactive works for installation and performance. The simulation of biological behavior forms a central underlying commonality in his works.
28.03.2011, 16:00: Ruairi Glynn @ HPZ F
Although Vitruvius's treaties included clocks, waterworks and mobile war machines; architecture is often understood to be an art of space, not of time. Architecture's traditional role has been the spatial backdrop to social interaction and performance: In the 20th Century, Price's 'Fun Palace', Archigram's 'Instant City', and Fisher's various 'Staged Architectures' challenged this axiom, imagining and constructing architectures that were active kinetic participants in their own right. Increasingly architects enabled by computational technologies are creating spaces that can engage actively within social and performative interactions.
To have a motive, is to have reason behind your behaviour, so how our built environment saturated with computation can sense the world, and make decisions about its behaviour will be discussed.
To be motive, is put behaviour into motion, so I will present my kinetic installations and discuss their context in the long history of architectural automata and the rise of robotic architecture today.
Ruairi Glynn splits his practice between the production of public art installations, teaching, curation and writing. He is a Lecturer in MSc Adaptive Architecture and Computing and MArch Architectural Design at the Bartlett School of Architecture, University College London and MA Textile Futures and MA Industrial Design at Central Saint Martins College, University of Arts London. His blog www.interactivearchitecture.org is the largest online resource dedicated to the territory between interaction and architectural design. He is regularly invited to lecture, run workshops and exhibit his interactive art works internationally, receiving prestigious awards including at the 11th Annual "Concurso Internacional de Arte y Vida Artificial", Madrid Art Fair. and the 'European Top Talent Award for Digital Media', Europrix. He has organised and curated over a dozen conferences, symposiums and exhibitions all centred on the driving influence computation is having on design and research. His latest event www.fabricate2011.org will be held in London in April.
Dancers, Ruairi Glynn, 2008
14.03.2011, 13:00: Daniel Aliaga @ HPZ F
Chair for Information Architecture, ETH, and Associate Professor of Computer Science at Purdue University
Computational Cities: Geometrical Modeling for Urban Design and Simulation
This lecture addresses the growing desire to create geometrical models that design better, smarter, and more efficient cities. Cities are inherently very complex to model because they are simultaneously dense and large, spanning from a few to hundreds of square kilometers, and because their underlying structure is influenced by a very large number of hard-to quantify variables including land policies, economic behavior, transportation infrastructure, governmental plans, and population changes. In this talk, I will provide a brief overview of a new approach that blurs the boundary between behavioral modeling and geometrical modeling of urban spaces. Within computer graphics and visualization research focuses on producing complex and visually appealing 3D geometrical models from images and/or LIDAR, while urban behavioral modeling focuses on accurate urban dynamics and behaviorally-validated simulations using socio-economic data, for example. I will show how our concurrent behavioral and geometrical simulation significantly benefits the design, editing, and prediction of large-scale 3D city models. The result is the ability to generate, in a few minutes, 3D city models that resemble existing locations, to simulate urban behaviors not previously possible, to predict and visualize the outcome of urban policies and regulations, to design cities that best conform to meteorological aspects, and to consider the urban ecosystem during the design phase. I will present our latest collection of works representing the state of the art and will also inform the audience on the latest related thoughts and approaches in the field.
14.02.2011, 14:00: Vis. Prof. Bige Tuncer @ HPZ F
Chair for Information Architecture, ETH, and Design Informatics, Delft University of Technology
Performative Architecture: Design Models, Methods and Tools
Development of new instruments and methods contribute to a new understanding of the way buildings and cities are imagined, constructed and experienced. Due to recent developments in technology, cultural theory and the emergence of sustainability as a defining socio economic issue, there is an increasing interest in performance as a design paradigm. Performance in this context refers to technical performance as well as qualitative performance. Custom design models, methods and tools form the core of performative architecture, creating a bridge between performance, complexity and computation. These enable scientific inquiry into novel ways of evaluating and influencing building performance using computational methods for measurement, prediction and simulation of buildings’ performances, form finding, design generation and analysis, information modeling, decision-making and design communication.
Living Art Environment, Muge Krusa
09.02.2011, 14:00: Michael Weinstock @ HCI J 4
Emergent Technologies and Design, AA, London
The Metabolism of the City
Geometry has always been the principal mathematical means of describing the form of a city, persisting from the plans of ancient cities through to many contemporary studies. In recent decades there has been an increasing interest in the application to urban analysis of mathematical techniques that are more commonly used in biological studies of the metabolism of individual animals and insects, in their social groupings and collective constructions, and in the relations of energy, information and material flows through ecological systems.
The hypothesis of our current research is that the combination of the study of energy, information and material flows and their networks in relation to the environmental physics of the urban surface and spatial patterns of the city, and how each acts upon the other over time, will be a significant step towards understanding of the dynamics of cities.
24.01.2011, 16:00: Dr. Christoph Schindler @ HCI J 4
An architectural periodization model with criteria of production technology, as illustrated with the example of timber construction
Contemporary production technology is about to exert an influence on the development of architecture as fundamentally as experienced during Industrialization in the 19th century. While new computer-aided methods are widely discussed and applied, their roots and relation to previous production technology remain obscure.
Christoph Schindler analyzes architecture from the perspective of production technology. He aims to contextualize contemporary research in the building industry—driven by information technology—and identify it as part of a continuous development in history of technology. The thesis is built around the scheme of a periodization model, which intends to integrate fabrication within manual, industrial and information technology. It is based on the relation between the three categories matter, energy, and information in each respective period.
The validity of the model is proven with help of history of timber architecture, as no other construction method illustrates the relation between processing technology, fabrication methods and architecture more comprehensively over a comparable period of time. It is studied whether the proposed model can be circumstantiated with historical facts—how constitutive changes in process technology influenced wood processing and how they respectively coined construction and appearance of timber architecture.
17.01.2011, 16:00: Arnold Walz @ HCI J 4
11.01.2011, 15:00: Prof.Dr.Frank Eckardt @ HCI J 4
Urban Research @ Bauhaus-University)
The Urban Labyrinth: Orientation by Comparison
Cities are complex entities, whether they are comparatively small or of mega-size. This renders it difficult to speak about any kind of urban process without being trapped by naive reductionsm. One way of tackling this challenge may be represented by a double move, which combines top-down, theory-guided reasonings with open-style, bottom-up comparatistic "descriptions." Such a doble-move does not provide "the" theory about cities, but rather could be regarded as a tool, a practice(d)-theory.
22.12.2010, 14:00: Prof. Achim Menges @ HIT E 51 - Siemens Auditorium
The lecture will introduce Achim Menges’ research focusing on computational design approaches that unfold morphological complexity and performative capacity without differentiating between form generation and materialisation processes.
Based on an understanding of material systems not as derivatives of standardized building systems and elements but rather as generative drivers in the design process this approach seeks to develop and employ computational techniques and digital fabrication technologies to unfold innate material capacity and specific latent gestalt. Extending the concept of material systems by embedding their material behaviour, geometric characteristics, manufacturing constraints and assembly logics within integral computational processes promotes an understanding of form, material and structure not as separate elements, but rather as complex interrelations in polymorphic systems resulting from the response to varied input and environmental influences and derived through the logics and constraints of advanced manufacturing processes.
16.12.2010, 17:00: Johannes S. Sistermanns @ CAAD, HPZ, F
Everything is less [or the Small becomes big]
Johannes S. Sistermanns sees itself as a sound sculptor (Klangplastiker). He works with the versatility of sounds. The reference of image in the sound. Electro-acoustic instruments allow him to open up the potential of an open space. Earth's surface becomes score: Exploit in unheard fields. And, not the boundaries of the physical characteristics of instruments (eg cello, piano) are constitutive of it, but the in-band power of imagination. How everyday sounds and video images resonate surface on wood? Horizon is the transition into the atmosphere, place of transshipment.
Two vectors are distinguished from the works of Sistermanns: the exploration of the acoustic potential of spaces, places, situations, instruments as well as experimenting with the transmission of sounds on each vibrating material, such as conventional instruments, car bodies, a hotel room, a stairway.
Sistermanns has been awarded several prizes, most recently in 2008 with the ‚German Sound Art Award 2008’. His work consists among other things intermedia art projects, live-satellite and internet performances, graphical notations, radio plays, soundplastic, video scores and electro-acoustic compositions for stereo, 47 loudspeakers in the sound dome (ZKM Karlsruhe) to 2704 speakers in the wave field synthesis (TU Berlin). Performances, grants, teachings in USA, Japan, Australia, Europe.
29.11.2010, 14:00: Alvin Huang @ HIT E 51 - Siemens Auditorium
Director of Amanda Levete Architects, London
Digital Craft: The Grey Area
A new territory has emerged from the act of realizing forms and spatial constructions that until recently have only existed on computer screens. The pairing of advanced digital design tools with a do-it-yourself attitude of experimentation facilitates the translation between virtual tectonics and the act of physical construction. This process leaves undeniable traces on the final artefact and is the essence of what can be defined as ‘digital craft’. Whereas the term craft has clear associations with the handmade arts, the fundamental nature of craft is embedded in the affinity between the artifact, the maker, and the act of making. The feedback loop of processes utilized and adopted for the application of digital fabrication extends the notion of craft beyond the hand and into the digital realm.
This talk will illustrate the processes involved in the design and execution of a series of projects of varying scales, each of which mediates the hi-fidelity inputs of digital mediums and the lo-fidelity outputs of physical construction.
Projects to be discussed include: Central Embassy (Bangkok, Thailand), Spencer Dock Bridge (Dublin, Ireland), Corian Super-surfaces (Milan, Italy), and [C]Space Pavilion (London, UK).
Corian Super Surfaces, ALA, 2009
22.11.2010, 16:00: Jessica Rosenkrantz and Jesse Rosenberg @ HCI J 4
15.11.2010, 16:00: Karsten Schmidt @ HIL E 3
08.11.2010, 16:00: Sebastien Wierinck @ CAAD, HPZ, F
OnSite Studio 2002-2010
The lecture will be the occasion to present and discuss the evolution of the OnSite_00 project through the years.
Started in the year 2002 as a proposal for customizable urban furniture for the city of Brussels, the OnSite_00 project or “programmatic urban furniture prototype” is a system based design project, using both CAD/CAM technologies, and a flexible (standardized) construction material, to design and produce variable objects out of the particular dialogue between the “system” and its final use or context (input).
After working out this project for a couple of years now, it seems to be interesting to compare the conceptual and theoretical issues from its origin with the facts and realities of its own itinerary.
Next to technical aspects of the project I would like to discuss the “economic realities” related to the use of IT technologies at the particular scale of the furniture industry. After transforming the way to design and produce our products, digital tools have also given the designer the ability to rethink its economical autonomy. We (digital crafts designer) are not anymore related to the major production companies, we can indeed find within the IT world all tools needed to develop, produce, communicate ad sell our products on an autonomous basis. This is somehow what happened to the music industry a couple of years ago. This might also be the only and real evolution: taking over the mass production industry model to a more humanized and personalized scale.
Last part of the lecture will be the presentation of the winning competition for the design of public outdoor furniture for the city of The Hague in the Netherlands, project that will be worked out with the collaboration of ETHZ.
01.10.2010, 16:00: Dr. Edward Willat @ CAAD, HPZ, F
University of Brighton
The History of Architectonics: from the Foundations of Knowledge to Gilles Deleuze's Architectonics of Growth
Architectonics has a long history in philosophy. Successive philosophers sought to locate the beginning or foundation of all knowledge. This was used to organise all the disciplines of knowledge in a system. This lecture will explore the work of Aristotle and Kant where the foundational and organisational tasks of architectonics are articulated. We will then introduce the crisis of foundations that altered our understanding of knowledge in the twentieth century. This crisis undermines architectonic
systems, revealing vulerabilities in these supposedly complete structures. By exploring Diane Morgan's re-reading of Kant's architectonic in the light of this crisis we will uncover a new version of architectonics that now emerges. Deleuze and Guattari also give us a new formulation of architectonics when they put forward the notion of the 'rhizome' as a model for all knowledge. What emerges is a practical, open and interdisciplinary version of architectonics. Instead of seeking a systematic overview of
other disciplines philosophy now engages with the concrete work of different fields and seeks to articulate the principles behind a knowledge which lacks foundations.
18.10.2010, 16:00: Dr. Kate Marshall @ CAAD, HPZ, F
University of Notre Dame, IN USA
Narrative Infrastructures: Architecture, Media, Fiction
In this lecture I will show how infrastructure, or what the American novelist Henry Roth calls “the strange world behind the walls,” works not only as a highly visible and privileged topic of fiction, but also as an important way of thinking about narrative form. Reading infrastructures quite literally as narrative objects – and thinking about the narrative infrastructures that order and orient everyday experience – allows for a reconceptualization of the built world and its visibilities. It also makes room for reconsidering the structures of the persons that inhabit this world and its descriptions, for infrastructure has the uncanny tendency to provide in literary representations the precise locus of modern reflexivity. I will discuss how the idea of infrastructure develops in contemporary media theory, and how forms of blockage, noise, or excessive connectivity have been rendering infrastructures textually visible in works of narrative and visual art over the past century. The task, then, will be to discover in infrastructure not only a vast system of metaphoric resonance, but the structure of modern communication, and to therefore put pressure on theories of architectonics and construction otherwise unaccountable to this paradoxical situation.