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5

Procedural Architecture

 

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

 

Working Notes/Holding in Place

Entanglement of Matter and Meaning

 

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

 

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

 

Art and Technics

Lewis Mumford

 

James Turrell

Aten Reign

Miwon Kwon

 

Under The Volcano

Carmen Gimenez

 

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

 

Robert Mangold

Column Structure Paintings

 

Frank Stella Architecture

Architecture as a means towards creating space

 

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

 

Postproduction

Nicolas Bourriaud

  

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

  

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive

 

From The Bookcase to The Field Table : Landing Sites of Inquiry

  

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

 

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

 

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

 

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition,annotations, commentary, illustrations and photos.

 

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

 

Space Between People

Degrees of virtualization

Mario Gerosa

 

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

 

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

 

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

 

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

 

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

 

Speculative architecture

On the aesthetics of Herzog and De Meuron

 

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

 

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

 

Working Collages

Karl Blossfeldt

 

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts

 

Anti Object

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called architecture, gardens, technology is not important.

Kengo Kuma

 

Body and Perception

The Phenomenon Of Place

Places at the Zero Point

The Box Man

Furnishing the Primitive Hut

An Architecture of the Seven Senses

 

Walter Pichler

Architect/Sculptor

 

The Thinking Hand

Existential and Embodied Wisdom in Architecture

Encounters

Architectural Essays

Identity, Intimacy and Domicile

Notes on the phenomenology of home

The Architecture of Image/Existential Space in Cinema

Lived space in Architecture and cinema

The Eyes Of The Skin/Architecture and the Senses

Juhani Pallasmaa

 

Atlas of Emotion

Journeys in Art, Architecture and Film

Giuliana Bruno

 

Questions Of Perception

Phenomenology Of Architecture

Steven Holl

Juhani Pallasmaa

Alberto Perez-Gomez

 

Materials and Meaning in Architecture

Essays on the Bodily Experience of Buildings

Nathaniel Coleman

  

Matter and Desire

An Erotic Ecology

Andreas Weber

  

Visualizing Feeling

Affect and the feminine avant-garde

Susan Best

 

Making/Anthropology,Archaeology/art and Architecture

Being Alive/Essays On Movement

Knowledge and Description

Tim Ingold

 

Thinking Through Craft

Glenn Adamson

 

The Ceramic Process

A manual and source of inspiration for ceramic art and design

European Ceramic Work Centre

 

A Hut Of One's Own

Ann Cline

 

Smithson, Alison and Peter

Solar Pavilion

Architecture is not made with the brain

Architectural Association

 

The Kunsthaus Bregenz as an Architecture of Art

The Conditioning of Perception

Multiplicity and Memory

Hortus Conclusus

Thinking Architecture

Peter Zumthor

 

Re-Shaping Learning

A Critical Reader

The Future of Learning Spaces in Post-Compulsory Education

Anne Boddington, Jos Boys

 

Hiding, Making, Showing, Creation

The Studio from Turner to Tacita Dean

Rachel Esner

 

Conversations With Strangers

Performing the broom and the bricoleur

Malcolm Doidge

  

Corpus

The Ground of the Image

Jean-Luc Nancy

 

Life Between Buildings/Parking Day Manifesto

 

Poststructuralism, a very short introduction

 

Mapping Intermediality in Performance/Intermedia Chart

Sarah Bay-Cheng

 

Liminality, a psychological, neurological, or metaphysical subjective, conscious state of being on the 'threshold' of or between two different existential planes.

 

Heidegger for Architects/Emotions Building Presence

Adam Sharr

 

The Visual Poetics of Jannis Kounellis

Suzanne Cotter, Andrew Nairne

 

Carlo Scarpa

Craft Intensive/Spaces, Vistas

Technical specifications of materials

 

Site-Specific Art/Tschumi, Robert Morris, Robert Smithson, Giuseppe Penone

Performance, Place and Documentation/Material Affects, Frames, Site, Spaces

What is the relationship between the visual arts and 'performativity'?

Nick Kaye

 

Wittgenstein, The Duty of Genius

Oren Lieberman/Spatial Practices/What does it Do?

These remarks show the unmistakable influence of Schopenhauer. In the World as Will and Representation, Schopenhauer discusses, in a remarkably similar way, a form of contempation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what. 143

     

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

Architecture students view a site in Abu Dhabi for the option studio Matter Design Computation: Human-Centered Adaptive Architecture in the UAE, led by Associate Professor Jenny Sabin.

 

photo / Jenny Sabin

Canon 400D with an adapted Olympus 50mm f1.8 Lens

5

Procedural Architecture

 

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

 

Working Notes/Holding in Place

 

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive

 

From The Bookcase to The Field Table : Landing Sites of Inquiry

  

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

 

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

 

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

 

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition,annotations, commentary, illustrations and photos.

 

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

 

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

 

Space Between People

Degrees of virtualization

Mario Gerosa

 

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

 

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

 

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

 

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

 

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

 

Speculative architecture

On the aesthetics of Herzog and De Meuron

 

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

 

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

 

Working Collages

Karl Blossfeldt

 

Anti Object

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called architecture, gardens, technology is not important.

Kengo Kuma

   

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

  

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

Frame Vernacular, eclectic. Two and one-half stories. Purdy Villa embodies the late 19th century eclectic tendency to adapt architectural forms freely, as the house is built in the Georgian foursquare form and incorporates elements of the neo-Classical, Queen Anne, and Italianate styles. The home was built with two internal bathrooms, an unusual feature for 1883.

  

1875-1899

 

"drive-by shooting"

Build4People Exhibition 2020: Green Buildings and Sustainable Neighbourhoods

 

Exhibition Aims and Rationale

 

Aims:

 

The exhibition is a tangible product raising awareness on the topic of green buildings and sustainable neighbourhoods.

 

The exhibition provides information in an accessible format with easy-to-understand language, many graphic visualisations and photos to reach out to a wide public.

 

The main target group for this exhibition are end-consumers in Cambodia, architects, construction and engineering companies, developer enterprises and institutions of higher education.

 

Presentation of first ideas how to apply those to Cambodia.

 

Manufacturing of the exhibits in a portable form because the aim is to do a touring exhibition which shall be shown at as many locations as possible in Cambodia.

 

Rationale:

 

Highly dynamic urbanisation is giving rise to more resource-intensive lifestyles, going along with new values and life concepts being formed, with new aspirations and new possibilities are set into place.

 

Therefore, the development towards a modern consumer society in urban Cambodia strongly affects the way buildings are designed, built and operated.

 

All in all, the potential to promote climate-adapted architecture, energy efficient and healthy buildings and sustainable neighbourhoods is far from ex-hausted.

 

Implementing green buildings and sustainable neighbourhoods will reduce energy costs - which are the among the highest in the region - but it will also contribute to an overall higher urban quality of life through increased thermal comfort, better access to urban green as well as improved indoor and outdoor air quality.

 

Part 1: Science Posters

 

They introduce general principles of sustainability from a multi-disciplinary team which are based on different policy fields such as urban green, urban climate, buildings, neighbourhood development or urban transformation.

 

Part 2: Case Study Posters

 

The 1st edition of the Build4People exhibition focuses on examples from Germany and Europe. This is because the Germany’s building sector has been the most successful policy field in terms of achieving sustainability goals, by far. In comparison to the level of 1990, greenhouse gas emissions in Germany could be reduced by 44% till 2018 in this sector.

 

Part 3: Introducing DGNB

 

Europe‘s biggest network for sustainable building

 

Acknowledgement:

 

The development of the Build4People exhibition was supported by funds from the German Ministry of Education and Research (BMBF) in the context of the research project “Build4People: Sustainable Buildings for People – Enhancing Urban Quality of Life in Cambodia”. This is part of the BMBF funding programme “Sustainable Development of Urban

Regions”.

 

Curator of the Build4People Exhibition “Green Buildings and Sustainable Neighbourhoods”:

 

EMP Eble Messerschmidt Partner

Architects and Urban Planners PartGmbB

Berliner Ring 47a, 72076 Tübingen, Germany

www.eble-architektur.de

CEO: Rolf Messerschmidt

Curator Team: Oliver Lambrecht, Marcelo R. Leyton,

Petra Messerschmidt

   

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The self-erecting Air-Hall when fully deployed.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

 

Haarlemmerstraat , Amsterdam, the Netherlands

 

The Posthoornkerk is a building of more than just national importance. When first constructed, Cuypers' first church in Amsterdam attracted the attention of Ecclesiologists and theorists worldwide, partly for his use of structural polychromy, but more presciently for the fact that he designed it with galleries above the aisles. In fact he uses double galleries - architecturally a double-tribune, or triforium - to gain maximum seating capacity in a church constructed on a very tight site with constricted ground-plan. Given the that Pugin had railed AGAINST the use of galleries, and this rallying cry had been taken up by the Gothic Revivalists almost without question, their acceptance and rehabilitation is all the more remarkable, and is a sign of the high esteem that Cuypers was quickly held in by the major players in the Revival.

 

He uses a cloverleaf plan for the eastern portions of the church, with transepts and sanctuary being of equal length and ending in polygonal apses. This plan-form is a resurrection of a type common in Germanic Romanesque, and it is highly significant that one of Cuypers' first major works was the restoration of the late Romanesque Munsterkerk in Roermond, which also has a cloverleaf plan about the crossing. He crowns the crossing with a spiky octagonal tower and spire, internally rising on squinches. Originally this was the only tower on the church. He was called back later by the parish to extend the building westwards, where he added a western transept crowned by twin towers - again, topped with his characteristic spiky timber spires encircled by a gallery towards the apex. This western facade, the only one easily visible on a building that is very hemmed in on all sides, suggests all the height that the church possesses, for it is a very tall building internally and rises magnificently through arcade, two levels of galleries and clerestory to a typical Cuypers ribbed vault of brick.

 

The decline of religious observance in the Netherlands in the sixties and seventies meant that the Catholic Church was left with a huge legacy of vast buildings with no real means of maintaining them. Of Cuypers' six churches in Amsterdam, three met their fate at the hands of the wrecking ball - the Maria Magdalenakerk, a building of exceptional skill and highly original plan was demolished in 1968; the cathedralesque Sint Willibrordus buiten der Veste, his largest church and never completed, came down in 1970, and the church known as 'De Liefde' (not his best work, and finished off hastily and omitting the intended western tower) was bulldozed as late as 1990. So the survival of the Posthoornkerk, like that of the Vondelkerk, is most fortunate. Deconsecrated in 1976 it was threatened with demolition until architect Joop Stigt came along with his successful scheme in which the galleries were enclosed with glass screens to form office space, and the western portion of the nave was similarly treated. This has ensured that the major volume of the building remains as designed, and it is now available for hire for various functions. It is an exemplary piece of adaptive architecture.

 

Caption kindly written by my friend Rob Robinson (Bear and Rabbit) who alerted me to the work of Pierre Cuypers

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

Haarlemmerstraat , Amsterdam, the Netherlands

 

The Posthoornkerk is a building of more than just national importance. When first constructed, Cuypers' first church in Amsterdam attracted the attention of Ecclesiologists and theorists worldwide, partly for his use of structural polychromy, but more presciently for the fact that he designed it with galleries above the aisles. In fact he uses double galleries - architecturally a double-tribune, or triforium - to gain maximum seating capacity in a church constructed on a very tight site with constricted ground-plan. Given the that Pugin had railed AGAINST the use of galleries, and this rallying cry had been taken up by the Gothic Revivalists almost without question, their acceptance and rehabilitation is all the more remarkable, and is a sign of the high esteem that Cuypers was quickly held in by the major players in the Revival.

 

He uses a cloverleaf plan for the eastern portions of the church, with transepts and sanctuary being of equal length and ending in polygonal apses. This plan-form is a resurrection of a type common in Germanic Romanesque, and it is highly significant that one of Cuypers' first major works was the restoration of the late Romanesque Munsterkerk in Roermond, which also has a cloverleaf plan about the crossing. He crowns the crossing with a spiky octagonal tower and spire, internally rising on squinches. Originally this was the only tower on the church. He was called back later by the parish to extend the building westwards, where he added a western transept crowned by twin towers - again, topped with his characteristic spiky timber spires encircled by a gallery towards the apex. This western facade, the only one easily visible on a building that is very hemmed in on all sides, suggests all the height that the church possesses, for it is a very tall building internally and rises magnificently through arcade, two levels of galleries and clerestory to a typical Cuypers ribbed vault of brick.

 

The decline of religious observance in the Netherlands in the sixties and seventies meant that the Catholic Church was left with a huge legacy of vast buildings with no real means of maintaining them. Of Cuypers' six churches in Amsterdam, three met their fate at the hands of the wrecking ball - the Maria Magdalenakerk, a building of exceptional skill and highly original plan was demolished in 1968; the cathedralesque Sint Willibrordus buiten der Veste, his largest church and never completed, came down in 1970, and the church known as 'De Liefde' (not his best work, and finished off hastily and omitting the intended western tower) was bulldozed as late as 1990. So the survival of the Posthoornkerk, like that of the Vondelkerk, is most fortunate. Deconsecrated in 1976 it was threatened with demolition until architect Joop Stigt came along with his successful scheme in which the galleries were enclosed with glass screens to form office space, and the western portion of the nave was similarly treated. This has ensured that the major volume of the building remains as designed, and it is now available for hire for various functions. It is an exemplary piece of adaptive architecture.

 

Caption kindly written by my friend Rob Robinson (Bear and Rabbit) who alerted me to the work of Pierre Cuypers

detail of the main doorway

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

The “Smart Flexibility: Advanced Materials and Technologies” exhibition is the result of the ongoing technological surveillance task of Materfad, the Materials Centre of Barcelona. Materfad seeks to explore the current capabilities provided by certain structures and materials to raise awareness and adapt architecture to its environment.

 

These contemporary works and projects associated with materials, sensitive systems and articulated mediums allow us to imagine the functionalities that can be made available, from smart and flexible architecture to a reactive garment.

The harvesting of wind and solar power, electrical and thermal energy generation, perception and adaptation to climatic conditions, to acoustics and the lighting environment, user detection and modification of the space according to a person’s body, movements or even emotions are the challenges of tomorrow’s spaces and are thus the guidelines of this exhibition.

Haarlemmerstraat , Amsterdam, the Netherlands

 

The Posthoornkerk is a building of more than just national importance. When first constructed, Cuypers' first church in Amsterdam attracted the attention of Ecclesiologists and theorists worldwide, partly for his use of structural polychromy, but more presciently for the fact that he designed it with galleries above the aisles. In fact he uses double galleries - architecturally a double-tribune, or triforium - to gain maximum seating capacity in a church constructed on a very tight site with constricted ground-plan. Given the that Pugin had railed AGAINST the use of galleries, and this rallying cry had been taken up by the Gothic Revivalists almost without question, their acceptance and rehabilitation is all the more remarkable, and is a sign of the high esteem that Cuypers was quickly held in by the major players in the Revival.

 

He uses a cloverleaf plan for the eastern portions of the church, with transepts and sanctuary being of equal length and ending in polygonal apses. This plan-form is a resurrection of a type common in Germanic Romanesque, and it is highly significant that one of Cuypers' first major works was the restoration of the late Romanesque Munsterkerk in Roermond, which also has a cloverleaf plan about the crossing. He crowns the crossing with a spiky octagonal tower and spire, internally rising on squinches. Originally this was the only tower on the church. He was called back later by the parish to extend the building westwards, where he added a western transept crowned by twin towers - again, topped with his characteristic spiky timber spires encircled by a gallery towards the apex. This western facade, the only one easily visible on a building that is very hemmed in on all sides, suggests all the height that the church possesses, for it is a very tall building internally and rises magnificently through arcade, two levels of galleries and clerestory to a typical Cuypers ribbed vault of brick.

 

The decline of religious observance in the Netherlands in the sixties and seventies meant that the Catholic Church was left with a huge legacy of vast buildings with no real means of maintaining them. Of Cuypers' six churches in Amsterdam, three met their fate at the hands of the wrecking ball - the Maria Magdalenakerk, a building of exceptional skill and highly original plan was demolished in 1968; the cathedralesque Sint Willibrordus buiten der Veste, his largest church and never completed, came down in 1970, and the church known as 'De Liefde' (not his best work, and finished off hastily and omitting the intended western tower) was bulldozed as late as 1990. So the survival of the Posthoornkerk, like that of the Vondelkerk, is most fortunate. Deconsecrated in 1976 it was threatened with demolition until architect Joop Stigt came along with his successful scheme in which the galleries were enclosed with glass screens to form office space, and the western portion of the nave was similarly treated. This has ensured that the major volume of the building remains as designed, and it is now available for hire for various functions. It is an exemplary piece of adaptive architecture.

 

Caption kindly written by my friend Rob Robinson (Bear and Rabbit) who alerted me to the work of Pierre Cuypers

BRANDING A BETTER WORLD

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