This is a story about the everyday lives of every street’s buildings. The happiness and worries of those most prominent residents, who don’t even have a name, but we sweetly call them home.
One of the main reasons why we love cities is because in their royal slowness, they are also so dynamic. Every city changes with its residents, new neighbourhoods pop up, old ones change and so on. One of Europe’s (and not only!) most charming move is the transformation of previously poor and downtrodden areas by artists. As the story goes – a district on the lower end of the spectrum catches the attention of local artists and young people for its low rent prices. The new life in the area inspires many new activities and soon it is the hip place to be.With people on the move, the entire districts changes, but it is only the architecture that remains the same. All the way from Oslo’s Grünerløkka to Berlin’s Kreuzberg, we all know about the social policies that changed their status and the economical aspect to it. This time, we’re looking into the architectural side of the question to see what do buildings have to say about that shift. The following is a conversation we happened to overhear at a street in de Jordaan – Amsterdam’s hippest district, which almost got demolished after WWII for the bad smells of its canals, but now is a blossoming tulip in the capitals garden with property prices sky rocketing. Read More »
In today’s conversation we have invited two distinct guests, one based in Spain and another in Austria. The two share a similar intention at their conception and a common start in life, however although both largely succesful now, they occupy a very different status today. In the following quite existential talk between Casa Batllo from Barcelona and Hundertwasserhaus from Vienna, they discuss topics such as concept display, meaning of existence and ways to connect to the public.
It is quite remarkable how we are so obsessed with originality and innovation when it comes to art or most of our daily appliances, but when it comes to architecture the story changes rapidly. In our attachment to the authenticity of the artwork, the personality of the author and the story of the object, we insist on beholding only the original Rembrandt or the original da Vinci, but then why are we so ignorant of the autenticity of the very buildings we live and work in and the entire cities we inhabit?
The Death of an almost eternal city comes with its recognition for UNESCO, or so say the residents of the city of Split, Croatia.
In my previous posts on the series Space in and out of Time I commented briefly on the phenomenon that this specific city of cultural significance exhibits and this time I would like to focus a bit more thorough on the lessons and threats that this precedent teaches and predicts.
I passionately believe in the need for a theory and approach for a building to “grow”, adapt and develop in time and space as fast as society and technology does. I am continuously investigating the extend of oblivion and remembrance needed to foster sustainable urban, architectural and cultural progress.
This present second part of a series of essays named Space in and out of Time discusses a theory of a systematic growth in time of a building, based on extensive precedent research and drawn conclusions. In this part I am seeking a theoretical and design approach to allow for a building to develop in time and space, but still preserve its identity.
I passionately believe in the need for a theory and approach for a building to “grow”, adapt and develop in time and space as fast as society and technology does.
I am continuously investigating the extent of oblivion and remembrance needed to foster sustainable urban, architectural and cultural progress.
In the following I trace a first train of thought – one of time and space, building and rebuilding and the meaning of doing so. It is a poetic study of architecture and building in time. Thereby I seek to learn the extend of the problematic and to express it with words and examples.
The following is an attempt to grasp the contemporary wide spread disregard for copies and glimpse into a world of future copying, therefore also a world of future originality.
In a study by Angelika Seidel and Jesse Prinz at CUNY (the City University of New York) the researchers told test subjects to imagine that the Mona Lisa was destroyed in a fire, but that there happened to be a perfect copy that even experts couldn’t tell from the original. If they could see just one or the other, would they rather see the ashes of the original Mona Lisa or a perfect duplicate? Eighty per cent of the respondents chose the ashes. That is to illustrate the state of our almost obsession with originals and hate for copies. But this wasn’t always the case. Romans used to copy Greek art, in particular sculptures at an unprecedented rate and that was not regarded as forgery. There are countless roman copies of roman sculptures too – and with each copy a different concept comes to life. So how did we end up here? And where do we go from here – with the rise of digital technology and digital artworks – where is the boundary between original and copy? And when is it a copy we are talking about and when an instance of an object.
As the year 2016 closes we cannot fail but look upon a year of a great loss in the art world. Rarely has there been a year filled with so many deaths of great creatives, who shaped the art world for what it is – starting from Prince, David Bowie and Leonard Cohen all the way to architect Zaha Hadid. In this and last week’s post I try to bid farewell to two so very inspiring teachers in my life – Reiner Zettl and Zaha Hadid.
As the year 2016 closes we cannot fail but look upon a year of a great loss in the art world. Rarely has there been a year filled with so many deaths of great creatives, who shaped the art world for what it is – starting from Prince, David Bowie and Leonard Cohen all the way to architect Zaha Hadid. In this and next week’s post I try to bid farewell to two so very inspiring teachers in my life – Reiner Zettl and Zaha Hadid.