archimaera (Journal)
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Die Mauer
Full text linkIm Westjordanland haben Grenzen zwischen Gebieten palästinensischer und israelischer Verwaltung eine sehr reale Dimension. Ein System von Sperranlagen trennt die Territorien. Aufnahmen einer Exkursion Zürcher Studierender dokumentieren Eindrücke dieser Trennungslinie in ihrem städtischen und landschaftlichen Kontext
Traversing Thresholds, Borders and Passages
Full text linkThe staircase is presented as the architectural component that most potently embodies thresholds, boundaries and passages due to its diagonal orientation and essence as an intermediary zone. Connections then are made between the kinesthetic requirements of traversing a staircase and viewing a stereoscopic photograph. From this foundation, the haptic essence of stereoscopic photography is proposed as uniquely qualified medium through which to view a staircase and therefore thresholds, boundaries, and passages within architecture. Analyses of stereoviews of staircases in the Palais de Justice in Brussels, the Library of Congress in Washington, and the Palais Garnier (Opéra) in Paris close the essay
Dutch boundaries
Full text linkIn many schools of architecture the 1970s have been an important watershed for the way in which architecture was taught. For example, recent studies have stressed the importance of Aldo Rossi for the changes in the teaching of architec-ture at the ETH in Zürich that before was based on orthodox modern principles. A similar struggle between an orthodox conception of modernity and its criticism took place at the architectural faculty of Delft, in the Netherlands. Although Delft is an important European school of architecture, the theoretical work produced during this period is not largely known outside the Netherlands. This is perhaps due to the fact that most studies were published in Dutch. With this article, I intend to make the architectural theory developed during this period known to a larger public. The article describes the intellectual journey made by Dutch stu-dents of architecture in the 1970s and 1980s. This was the quest to receive recognition for the intellectual substance of architecture: the insight architecture could be a discourse and a form of knowledge and not only a method of building. Specifically, the work of the architectural theoretician Wim Nijenhuis is highlight-ed. However, as I point out in this article, the results of this journey also had its problematic sides. This becomes clear from the following sentence taken from the dissertation of Wim Nijenhuis: "The search for metaphysical fiction and the tendency towards a technological informed absolute through fully transparent and simultaneous information, should be contested by a fantasy dimension, that does not wish to \u27overcome\u27 a given situation and that does not rely on \u27creativi-ty\u27 (that would still be historical and humanistic)." Texts like this have a hermet-ic quality that is not easy to comprehend for an architectural public. Even more, there is an important debate looming behind these sentences. As an important outcome of their quest the architectural students in Delft asked themselves: how do we give form to architectural theory once its claim to truth is exposed as an illusion? For Nijenhuis, the discourse about architecture is a mere \u27artful game with words\u27: a fiction, besides other forms of fiction like poetry or literature. The question is then if we have not entered the realm of total subjectivity and relativ-ism with this position. From what can the discourse of architecture derive its authority after the death of God
The Border as Threshold Space of Simultaneities
Full text linkThe contribution spatial analysis should nowadays attempt to make to an understanding of the effects of power on space is precisely located in incorporating this understanding of the border. Without such a model, one will only remain to speculate about the properties of the border. It will, in other words, remain discourse only, rather then discursive production operating towards understanding. It is therefore crucial that the workings of power, and its spatial implementations and implications, are studied in precise detail. In this respect, the objectives for the field of spatial analysis, as described by Foucault, have to consider mechanisms of power in order to identify what is specific about them at a given moment. Borders are moments of demarcation not only in order to allow separation and differentiation. They also allow a space of encounter to emerge as well
Produktion der Illusion
Full text linkJedes Theater inszeniert und überwindet eine Grenze in zweifacher Art: die Grenze zwischen Realität und Illusion und die Grenze zwischen Bühne und Publikum. Das Jahr 2012 bedeutet für das Kölner Opernhaus eine zusätzliche Grenzziehung. Der Beginn der Sanierungsarbeiten markiert den Abschied von einem bühnentechnischen Zustand, der im Kern dem Stand der 1950er entsprach. Die lange und kontroverse Debatte um die Zukunft des Ensembles aus Oper, Schauspielhaus und Opernterrassen steht darüber hinaus für einen Grenzfall in der Kölner Stadt- und Kulturpolitik. Erst der engagierte Einsatz großer Teile der Bürgerschaft konnte geplante Abrissmaßnahmen abwenden.
Kurz vor Beginn der Sanierungsarbeiten in den Spielstätten der städtischen Bühnen am Kölner Offenbachplatz, nutzte die Redaktion von archimaera die einmalige Gelegenheit, das leergeräumte Opernhaus unter Führung von Reinhard Beuth zu besichtigen. Die Fotos der Exkursion zeigen den großen Kontrast zwischen den Bühnen- und Zuschauerbereichen eines Theaters. Während der letztere dem Auftritt des Gastes und den Zeremonien eines Opernbesuchs verpflichtet ist, präsentiert das Bühnenhaus ohne Kulisse die Nüchternheit der Industriearchitektur vergangener Zeiten
Grenzen - hart oder weich - 02
Full text linkIm Verhältnis des Hauses zu Garten und Landschaft, zu Straße und Stadt haben die haben die traditionelle japanische und die europäische Baukunst sehr verschiedene Strategien der Vermittlung, der Öffnung, Rahmung oder Wegeführung entwickelt. Tür und Schwelle, Fenster und Veranda sind Orte des Übergangs, die mit Mitteln der Architektur definiert und gedeutet werden. Ihre Gestaltung beruht auf kulturellen Praktiken für den Umgang von Menschen untereinander und mit der Natur. Die Ausgestaltung von Grenzen kann in diesem Sinne als architektonische Kultur eines Landes betrachtet werden. In ihrer Ausformulierung in harter und weicher Form repräsentieren Grenzen nicht allein soziale Konventionen, sondern erzeugen in der bewussten Öffnung von Aus- und Einblicken (oder in deren inszenierte Verweigerung) Situationen für schöpferische Momente der Kontemplation. Bis heute wirkt das Erbe der traditionellen japanischen Architektur in Entwürfen moderner japanischer Architekten fort
