TOWARDS NEW ARCHITECTURAL COMPOSITIONS
from emerging intelligences to 1:1 Interventions
is an ongoing design study that explores composition as an artistic and tectonic concept.
These compositions are designed both digitally and analogously and realized 1-to-1 or placed virtually. Thereby the assemblage is negotiated with the bricolage as well as material qualities with ecological considerations.
…the concept of assemblage
is often discussed in the search for a new capacity to act, in the face of an uncertain future. Partly misleading and too complex, the philosophical explanations do not seem useful as a reference for architecture. They have in common the principle of heterogeneity, the reflection of the environment and the property of emergence. A practical definition for architecture can be found in the 1961 exhibition “The Art of Assemblage” curated by William C. Seitz for the Museum of Modern Art in New York. Seitz borrowed from Roger Shattuck’s idea of “juxtaposition,” which contrasts two design principles: on the one hand, combining heterogeneous elements into an exciting and explosive assemblage; on the other hand, emphasizing not the opposition of the parts but their close identity, thus creating a unity.
… LA ISLA BONITA SCHROTT
is a 1:1 Do-It-Yourself construction, a bricolage, patched together from the existing and the discarded, that deals with the excesses of the Anthropocene, with instability and fragility, with remains and human imprints, the landfills, the synthetic and the beautiful waste. The unpredictable fitting piece, with its peculiar architectural aesthetic, combines assemblage as a compositional, articulate, tectonic design principle with bricolage as a material- and resource-saving, uncompromising implementation strategy to realize an architectural practice that is as artistic as it is socially and environmentally conscious.
… with material of all sorts
Jane Bennett defines assemblages as “ad hoc groupings of different elements, of living materials of all kinds, not determined by hierarchies.” She even attributes “thing-power” to things and understands objects to be alive because they are effective and capable of affecting matter. No material or component has sufficient dominance to determine the assemblage. In the midst of a global energy crisis and the shortage of natural resources, there is an urgency to understand buildings no longer as homogeneous entities, but as open assemblages that connect, break apart, and change without end
…imagine planning comes from planting
Ikebana is the mastery of flower arranging and an independent art form in Japan. The relationship to nature, the tracing of a cosmic order and the personal perceptions of the designer seem almost like a counter-concept to architectural efforts. Like a sensei, a teacher, the meditative and precise design method of ikebana leads us through the exploration of the tectonic along materials and geometries between nature and artificiality.
…along precise articulation
, tectonic structures become vivid and comprehensible, not only for ourselves, but also for the AI, who becomes an active collaborator in the ongoing design process.
The term ikebana allows us to convey to the AI that it understands the architectural design not as a building, but as a precise composition of a spatial object, a delicate structure, and its completion as a plant. In this process, the AI does not ask essential questions and does not make final decisions, but helps us find the objects we thought we had already lost.
/imagine prompt architectural ikebana…
