Editorial
Expeditions are usually associated with journeys to yet unexplored regions of the world: the North and South Poles, the highest mountains in the world, the deep sea, primeval forests, and deserts. Curiosity, intrepidity, and openness toward encountering the unexpected are the most important impulses in making a decision to advance into unknown terrain. The expedition itself, by contrast, is a concrete operation that requires precise planning, practical thinking, and pragmatic action—involving direct experience. The results of an expedition are dependent on the way its progression was dealt with, and this engenders discrepancies between map and path, idea and reality. On each expedition, new data is collected and knowledge is generated or corrected.
In GAM.13 Spatial Expeditions, the method of expedition is invoked to place a focus not on distant, unknown spaces, but rather on the built space surrounding us—with the idea of re-exploring it from a different vantage point and/or unfamiliar point of view. What seems most promising to us in the process are the non-visual approaches for discovering something new in the seemingly familiar.
The perception of space with all of our senses, among other things, provides the foundation for phenomenological research. One might therefore think that spatial-phenomenological considerations are a main component not only of every analysis of architecture, but also of every architectural design decision. However, within the discipline of architecture there is no continual discourse on the physically experienceable characteristics of space and its atmospheric qualities, as is quite common in most other disciplines. Peter Zumthor’s paradigmatic books Thinking Architecture and Atmospheres, which focus on a spatial-phenomenological conception of architecture, count among the few exceptions. What is more, the voices of non-design-related disciplines dominate current scientific studies. Architectural discourses on spatial experience and atmosphere usually remain limited to the virtual realm, where the experiential sites always remain fictive. A focus on simulated space, however, inevitably raises the question as to the meaning of real spaces and their discovery in an already charted world. These determinations have inspired us to move elementary parameters of spatial perception back to the heart of reflection on architecture, for they harbor conclusions about spatial design per se. Here, the method of expedition facilitates an experimental approach and offers a chance to arrive at new insights and viewpoints on built space, as well as practices geared toward its exploration.
When we speak of the familiar, we mean something with which we are well acquainted or accustomed. Concentrating our thoughts on a less-heeded facet of what is familiar to us may give rise to new insights or changes in terms of the way we deal with matter. Therefore, in the first part of GAM.13—Reading Environments—we approximate already familiar issues in unusual ways. Karen van den Berg and Christina Buck provide a short overview of the concept of space, examining how it is negotiated in various disciplines, and introduce a series of experimental explorations of space in architecture. Eric Ellingsen invites us to accompany him on one of his expeditions through the Greek city of Thessaloniki and to join him in turning one’s own perception upside-down. Ephemeral elements like sound and smell are of decisive importance for the general perception of space, but they are usually ignored. Irmgard Frank explores the smell of materials creating space, thus lending them a higher degree of consequence. Sam Auinger and Dietmar Offenhuber investigate the acoustic profile of cities, calling to our attention the soundscapes that often exist subliminally and thereby sensitizing us to the auditive qualities of space and site. Finally, Gabi Schillig solely references the power of existing spaces that, through artistic interventions, become dialogical spaces and thus invite individuals entering the space to interact with it.
Expeditions are also journeys into the unknown with the goal of discovering something new. The uncertainty of what to expect, the willingness to embark on detours and accept setbacks, is offset by the chance of tapping into something visionary.
In the second part of GAM.13—Exploring Terrains—various tools and conceptual approaches are applied to pursue unexplored realms. Of focus in the conversation with Claudia Gerhäusser and Sebastian Behmann is the experimental approach of Studio Other Spaces, illustrated by example of the project Ilulissat Icefjord, where the designing architects were confronted with utterly new conditions. Neeraj Bhatia works with the ephemeral building material of air and its temperature to create space without a physically built equivalent, choreographing the interactions of people within this context. Interaction between people and temperature zones in turn provokes interaction among people. Considering the paradigm shift in the relationship between nature and man leading toward an understanding between two reciprocally influencing systems, we are presently facing new challenges in building. Klaus K. Loenhart discusses the Austrian Pavilion at EXPO Milano 2015, including which technical means were employed to achieve the desired spatial atmosphere and which new insights were gained regarding life in the Anthropocene. Samuel Zwerger describes a project by the musician Iannis Xenakis, which was groundbreaking at the time of its inception. The Philips Pavilion built in 1958 for the EXPO in Brussels was a expedition of design, lending architectural form to musical notation. And with a view to the climatic demands made on space, Philippe Rahm has developed new spatial constellations that also invite users on an expedition into the unknown. Also novel, in our view, is the way in which the artist and architect group Numen/For Use creates spaces. Without construction and with soft materials, they generate statically durable and accessible spaces sans ground contact.
The third and last part of GAM.13—Mapping Transitions—documents expeditions that thematize change and are therefore not codified. They chronicle discoveries that cannot be grasped at first glance but that actually lead from one state into another. This also includes the ambiguous and contradictory qualities of spaces. Malcolm McCullough delves into new practices for imagining space and analyzes the extent to which built space is changed by “ambient” information as engendered by a world experienced through the media. He presages a spatial-phenomenological development that will also involve architectural design in the future. Franziska Hederer analyzes Veronika Mayerböck’s light and sound performances with and in space, which are influenced by her training as architect and are interwoven with her practice of dance. Shreepad Joglekar’s photo essay allows us to accompany him on an expedition to the live-fire village at a US military base, where fictions become real and the real becomes fictive. Marta Traquino transforms, through artistic intervention, an apartment in Lisbon into a state of absurdity and confronts visitors with the uncertainty and also the curiosity that open doors evoke within us. In the photo series by Martin Grabner about Tel Aviv on Yom Kippur, it ultimately becomes clear how the readability of space is transmuted and one’s perception of this space altered when faced with spatial appropriation that deviates from everyday life.
Inherent to each individual discipline is a unique perspective on reality. Moving out of this system of reference, through thought and action, into other referential systems provides an opportunity to detect new realities and to open up windows to—thought and built—spaces of the future. We started with an aspiration to set foot in marginal areas, to trace the not-quite-yet identifiable, the perceivable that is initially blurry, and now hope to have succeeded in making a contribution to this subject with the thematic focus of GAM.13 Spatial Expeditions.
As has been the case for many years now, the thematic contributions are followed by reviews of current publications that we consider relevant to architectural discourse. This time the spectrum includes theory of design and perception, research methods for architects, a media analysis of the architectural book, urban-planning theory and landscape architecture, as well as architectural-historical topics, with new releases about reform architecture around 1900, the planning of concentration camps, and the work of Yona Friedman covering a very broad field.
GAM.13 is rounded out by the “Faculty News,” which offers an impression of the important events and activity in the Faculty of Architecture at Graz University of Technology over the past year. Now complementing the information provided about personal matters, publications, prizes, exhibitions, and events is the new category of research, meant to highlight the achievements of our Faculty in this area that have been on the rise for a considerable amount of time. Our plans for GAM.14, set for publication in April 2018, are detailed in the “Call for Papers” on the last pages of this volume.
With this edition, GAM is being published for the first time by JOVIS, Berlin, which has developed in recent years to become one of the most important architecture publishers with distribution networks in Asia and America. As a bilingual magazine, we consider ourselves to be in especially good hands with JOVIS and are looking forward to continued collaboration.
We are grateful to our supporters and also extend our gratitude to all members of our Faculty and to the international authors who have contributed to the success of this edition with their broad expertise. We wish you a pleasant reading experience.
Irmgard Frank/Claudia Gerhäusser/Franziska Hederer
Translation: Dawn Michelle d’Atri
READING
ENVIRONMENTS
On the Poetics of Measuring Space
Appropriating, Acting, Creating Atmospheres
Karen van den Berg | Christina Buck
1 Workshop “Yoga und Design”, Immanuel Grosser/Dominik Lutz, Teaching module “Kreative Performanz”, Zeppelin Universität Friedrichshafen, 2016 © Karen van den Berg
Decoding and Experimental Measuring. The spectrum of approaches to investigating and exploring spaces has expanded noticeably in recent times. A stronger recourse to artistic-interventionist methods and an increased use of image and sound media is evident in this. Many of these more recent approaches have to do with a politicization of the discourse about space and are linked to more recent psycho-socially determined epistemologies of space.1 The multimedia investigations of settlement policies in violation of human rights, for instance, which were conducted by the collective Forensic Architecture and shown in 2016 at the 15th Architecture Biennial in Venice, are a striking example of this expanded perspective.2 Yet the support program “Reallabore” launched in 2015 in Baden-Württemberg for sustainable transformation processes also shows that investigations of urban spaces, landscapes, and buildings are conducted more and more frequently through interventions and not only observations.3 Appropriating space has become one of the key terms here.4 Several more recent experimental methods therefore aim primarily to more clearly illuminate the obscured symbolic and imaginary dimensions of spaces, in order to do justice to a more complex concept of space. They take a look at atmospheres and observe patterns of social interaction, trace the emotional dimensions of space, and shed light on hidden power relations. For this they use alternative systems of notation and mapping techniques, as well as interactive playful approaches, such as translation into different media and back again (fig. 2). This applies at least to the analysis strategies that circulate, for instance, under the term dérive and for those used in conjunction with cooperative urbanism or that were developed by the aforementioned collective Forensic Architecture.5 Examples like these will be presented in the following after a few brief theoretical considerations.
2 Alternative notation techniques, Workshop “Mediation of Artistic Knowledge”, IKKM Weimar, 2016 © Karen van den Berg
A Little Theory and Sense of Space. Many of these new investigation approaches have been inspired by theorists like Michel Foucault, who examined the history of space as a history of economic-political powers and also identified the effectivity of imagined spaces.6 However, important theories were also supplied by Henri Lefebvre, who newly defined the understanding of what is treated as spatial orders in the 1970s. In his book La production de l’espace (Eng.: The Production of Space), which is being intensively received again today, he describes spatial orders not solely as topological, functional, and formal arrangements of objects, but rather primarily as performatively produced psycho-social relationship ensembles with practical levels of meaning.7 According to this understanding, spaces are produced essentially by the way they are used. The way they are programmed is in the hands of various actors and is not determined solely by an architectural framework.8
Other decisive theoretical considerations that develop the idea that it first becomes possible to experience spaces in a complex context of practical performance can be found in early social psychology. They point out that spaces are permeated by collective imaginations, which become social facts that delimit and enable and invoke wholly concrete actions. This connection was described by one of the pioneers of social psychology, Kurt Lewin, in his quite remarkable essay “Kriegslandschaft” (War Landscape).9 In war—as he traced it out, returning wounded from the front in 1916—a landscape space, a path, or a tree is suddenly seen only from the perspective of protection and cover. Space can abruptly acquire an unequivocal direction that is oriented to the frontline. Being involved in a battle transforms the perception of space so fundamentally that a landscape which previously seemed endless and open now suddenly has an end: the frontline.
Lewin’s impressive phenomenological analysis describes from a psychological perspective what Martin Heidegger later covered philosophically with his ideas in Being and Time. Heidegger coined the term “being-in-the-world,” which he shifted to the place of the western subject-object dichotomy.10 Consequently, the human being is always already placed in concrete performances, is constantly involved in the world, never stands apart from it.11 Heidegger also emphasizes here the temporal performance character of the human relation to the world and the fact that every relation to the world is always also pre-reflectively attuned. For this the philosopher uses the concept of “state-of-mind” (“Befindlichkeit”).12
Particularly in recent years these ideas have formed the starting point for philosophical and aesthetic space studies, which focus on the concept of atmosphere.13 Here atmosphere is considered embedded equally in subjective perception and in the surrounding things themselves. The urban researcher Jean-Paul Thibaud, for instance, describes atmospheres as felt facts, which attune and determine being-in-the-world: “In other words, we do not perceive an atmosphere, but rather perceive in keeping with an atmosphere,” he writes.14 In his monumental work on the theory of space, Spheres, Peter Sloterdijk calls the feeling of atmosphere an “intimate sense,” although at the same time it is more public than all other senses and quicker than any analytical differentiation: “They [people] are emerged in atmospheres, from atmospheres the apparent speaks to them … sender, receiver, channel, medium, code, message—this distinction comes too late for the fundamental opening.”15
For this reason, investigating and systematically recording atmospheres presents a particular challenge. Exploring the psycho-social textures and sensual-emotional or symbolic effects of spaces poses similar difficulties. Against this background, one can observe more and more attempts to systematically explore that social force field which is generated in space by actors and things. This is exactly what the artistically inspired approaches to spatial analyses attempt to do. Through physical interaction, practices of spatial appropriation, and media techniques, they try to make it possible to grasp atmospheres and power relations.
Sensual Expeditions. For some years now alternative strategies of observation, exploration, and research have been tried out in the academic context. These strategies seek to expand the purely conceptual access to the world with a sensual theory profile, thereby also taking pre-reflective and embodied knowledge into account and thus calculating with the subject of the investigation being inexplicable to a certain extent.16 These ideas were also followed, for example, by the experimental teaching format “Creative Performance,” which was established several years ago at the Zeppelin University in Friedrichshafen.17 Using artistic techniques from the fields of design, architecture, performance, music, film, and concept art, insights are gained during the “Creative Performance” events from experimenting with one’s own perception. This happens by implementing sensual experiences in artifacts and actions. Spaces are felt and probed primarily physically, but also with media support. A yoga workshop with the artists and body trainers “Y8”, for instance, seeks to integrate one’s own stance of observation in actions (fig. 1). This starts by becoming more sensitive to one’s own perception in repeated exercises (so-called “Asanas”). The strict limitation of options for bodily actions also belongs to this method. In staircases, corridors, and between library shelves, participants practice performatively translating bodily experiences. These spaces are thus transformed into stages, on which the repertoire of behavior possibilities conventional to the university is newly defined. At the same time, however, participants also gain access to rooms and surroundings, which had become detached from the conventional orientation of actions.
A further example from the context of the same teaching format at the Zeppelin University are the exploration tours by the dancer Daniel Aschwanden, who calls on participants to translate the experience of more or less highly frequented public places—such as a remote railway area—into movements (fig. 3). The psycho-physical reactions of individuals are adapted and exaggerated by the group. Through their multiplication the movements are imbued with something imaginative. In this way, unconscious emotions and spatial atmospheres are made visible. A third example from this teaching format are the terrain excursions by the performance artist Sylvi Kretzschmar. She starts by capturing primarily acoustic signals. Using sound recording devices moods and sound resonances are probed in places where we are otherwise not conscious of them as such (figs. 4–5). Through the use of contact microphones, amplification systems, and distortion effects, noises on the surface of a table can be increased until they become monstrous, thus making it possible to experience the psycho-social impact of scaling effects.
3 Workshop „Tanz und Performance“, Daniel Aschwanden, Lehrprogramm „Kreative Performanz“, Zeppelin Universität Friedrichshafen, 2013 © Daniel Aschwanden
4–5 Workshop “Performance”, Sylvi Kretzschmar, Teaching module “Kreative Performanz”, Zeppelin Universität Friedrichshafen, 2014 © Zeppelin Universität
These sensual-experimental exploration strategies all attempt to trace atmospheres or raise awareness of patterns of interaction that have become habitual by purposely avoiding them. Here the body itself is understood as a medium, which conducts itself in direct correspondence with the surroundings, objects, and sensual stimuli. This “living” knowledge is finally translated into images, sounds, and films and thus made comprehensible as an object of analysis.
Dérive. A more well-known technique of exploration, particularly in the field of urban research, is dérive, a systematically unsystematic rambling and registering of atmospheres (the French word dérive means drifting, rambling, wandering aimlessly).18 The practice developed by Guy Debord in 1958 goes back to a critical revolutionary stance of the Situationist movement in France in the 1950s.19 In recent decades, however, it has met with broader resonance in conjunction with the new cooperative urbanism, where an explicit tie is made to the Situationists. At the time, the Situationists turned against an understanding of space, planning, and architecture that was to correspond solely to utilitarist principles and followed a very limited profile of functionalist purpose requirements. The Situationists advocated the primacy of collective, self-determined, situative forms of use. They countered purpose-directed, thoroughly calculated master plans with the force of the event, the concept of appropriation, and the idea that spaces first arise through individual and partially also resistive use: “Space is a social product,” according to the core message of one of the most important theorists in this field, Henri Lefebvre.20 And the pioneer Guy Debord therefore recommended not aiming for a particular destination and carrying on the experiment of dérive “for three or four days, or even longer”, and to stick “to the direct exploration of a particular terrain,” a single neighborhood or even a single block, in order to concentrate “primarily on research for a psychogeographical urbanism.”21
Today these approaches are often used by groups that follow cooperative and user-oriented design premises and want to decode social and symbolic knowledge on site, in order to explore the respective “psychogeographical” profile of a space. The journal dérive especially developed the format “Laboratoire Dérive” for this reason. Here ad-hoc research groups come together and conduct urban explorations explicitly following the model of the Situationists. These explorations are subsequently documented on the Internet in multimedia form, as far as possible.22
With this procedure it is important, most of all, that “one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there.”23 These methods are used to grasp the ecological microclimate, spatial nodes, and social attractions, and to take in the residents’ self-understanding of their living space.24 To research neighborhoods, the “researchers” set out in small groups or alone, seek conversations with passersby, map the route covered, and observe social activities, spatial categorizations, patterns of movement, axes of passage, and protected zones. This approach plays an important role today especially in the field of cooperative urbanism, which presumes that specific modes of action and use are the most important foundations for planning.25
Interventionist Expeditions. In the field of extensive participative planning processes, today dérive is more and more frequently supplemented with interventionist and activist strategies. This is probably because they seem to be especially suitable for turning over expanded possibilities for articulation to the users and residents.26 Particularly in the area of larger planning and construction processes, this means that not only the specific needs and concerns of marginalized groups, but all possible local knowledge sources can be made visible. Among other things, this is due to the way artistic interventions aim to find ways and means to reveal patterns of action and symbolic codes in a staged way so that they can become manageable and flow into planning processes.
An example of expedition processes in which these strategies play a prominent role are, for instance, the “Reallabore” supported by the Baden-Württemberg Ministry for Science, Research and Art.27 These laboratories are intended to encourage citizens to become self-reliant and responsible producers in issues of the future, so that they not only participate in urban processes, but also carry them.28 “Reallabor für nachhaltige Mobilitätskultur” (The Laboratory for Sustainable Mobility Culture) at the University of Stuttgart, for instance, by temporarily occupies and artistically re-purposes parking spaces to demonstrate how a discourse can be sparked, which makes the wishes and visions of different types of actors and participants in mobility visible.29 In Stuttgart during the summer of 2016 colorful, partly green islands and creatively arranged seating areas popped up under the title “Parklets” (fig. 6), which created public meeting points for many people, where previously there had been a parking space for a single car. In this way they sent a playful and powerful signal for unexpected uses of public space. By means of movement protocols, observation, and surveys they also investigated the immediate impacts of the installations on street and urban spaces at the same time.
6 Jesús Martinez, “Parklet Casa Schützenplatz”, Future City Lab, Stuttgart, 2016 © Konrad Zerbe
The PlanBude in Hamburg also works with a whole range of tried and tested artistic tools of exploration, such as a planning container, cooking actions, film evenings, furniture and model-building actions. Here, in the middle of the Spielbudenplatz neighborhood in St. Pauli, ideas were developed together with residents in a cooperative planning process for a new building complex in the Reeperbahn. They started, first of all, by furnishing the container itself together. Planning games, workshops, and cooperative events contrasted the frequently very distinct architectural expert discourse with methods that correspond to the practical skills of the residents, thus making participation in the design process even possible.30 Using techniques of self-affirmation and by integrating personal stories, the group also made it possible to “tie into the intrinsic logic of St. Pauli,” thus deriving from this the planning premises for the public call for the project (fig. 7).31
7 PlanBude/HafenCity Universität Hamburg (HCU), Workshop “Taktische Möbel” – Public space is tranformed into a planning office, Hamburg, 2014 © Margit Czenki
These kinds of interventionist exploration techniques always operate with performative elements. In and around the “PlanBude” people publicly cooked, drew, and sewed, and models, drawings, and texts were created, which were then exhibited in the container. The “raumlaborberlin” also operated in a similar way by setting up a “Kitchen Monument” to discover and test temporary communities.32 Here “raumlaborberlin” works with highly iconic implementations. The “Kitchen Monument,” which looks like a transparent zeppelin and in which people cook, eat, dance, and pursue other collective activities, already radiates a utopian spirit itself. Jammed in under an ugly bridge in public space or set up in a nondescript place, the “Kitchen Monument” is both a sculpture and a container at the same time. It raises sensitivity, as it unfolds an atmosphere of being protected and sheltered inside. Its expressive external appearance both inspires and provokes ideas.
All of the aforementioned interventionist approaches do not start solely from an observation of the world, but also from releasing impulses for action for the transformation of space, and thus they are poetic in the literal sense. For poetics, as Armen Avanessian writes, is a “knowledge of the production that, in leaping into the speculative realm, engenders what eludes the loops of a meta-reflective critique—creation from the possible.”33 The interventionist strategies discussed here rely on exactly this moment of inspiring action.
“Forensic Architecture”. Whereas interventionist techniques of exploration and analysis are mostly used directly for planning purposes and serve to open up ideas,34 the activist research team “Forensic Architecture” pursues purely political-educational intentions. The group formed in 2007 has developed media techniques for reconstructing spatial orders and events, to expose the entanglement of spatial orders and buildings in human rights violations. With the help of mobile phone photos, films from the Internet, media reports, images, sound recordings, and computer animations, they conduct an archeology of territorial orders and struggles.35 In his book Hollow Land: Israel’s Architecture of Occupation,36 the architect Eyal Weizman, head of the research group, traces out how occupation policies are carried out through setting up mobile control points, the seemingly harmless construction of radio antennas, shelters, and walls. All of that is depicted with the help of images, maps, and aerial photos. This makes it clear to what extent the transformation of spaces is involved in the dispossession and displacement of human beings. In more recent projects the group has investigated war crimes by preparing renderings and computer animations from media images and sound recordings, to virtually recreate how the crimes were carried out.
With their specific way of linking architectural planning and animation programs with found footage, the group, located at the Goldsmith College of the University of London, makes highly charged materials available to human rights and environmental activists. These not only show how architecture and urban planning are involved in crimes against humanity, but they also make forbidden, no-go zones and destroyed places alive and accessible through media. At a time marked by flight and security issues, “Forensic Architecture” has developed what is probably the most explosive new tool of analysis and indicates most clearly the political turn in architectural and spatial research. At the same time, however, particularly this project shows how the collective and media analysis of spaces and spatial orders makes the archeological or forensic reconstruction of every space and every order appear itself as a fictive construct; a fictive construct that always appears only in a radical temporalization. •
Translation: Aileen Derieg
1 See Jörg Dünne and Stephan Günzel, eds., Raumtheorie: Grundlagentexte aus Philosophie und Kulturwissenschaften (Frankfurt am Main, 2006); Johan Frederik Hartle, “Die Räume,” in Text Revue 6 (2008), online: http://www.text-revue.net/revue/heft-6/die-raume/text. Atmosphere research also belongs in this context: Christiane Heibach, ed., Atmosphären: Dimensionen eines diffusen Phänomens, HfG Forschung, vol. 3 (Munich and Paderborn, 2012); Michael Hauskeller, Atmosphären erleben (Berlin, 1995); Rainer Kazig, “Atmosphären: Konzepte für einen nicht repräsentationellen Zugang zum Raum,” in Kulturelle Geographien: Zur Beschäftigung mit Raum und Ort nach dem Cultural Turn, ed. Christian Berndt and Robert Pütz (Bielefeld, 2007), pp. 167–86. On sociological approaches: Pierre Bourdieu, “Physical Space, Social Space and Habitus,” in Rapport 10 (1996), Institutt for sosiologi og samfunnsgeografi Universitetet i Oslo, pp. 7–22; Martina Löw, Raumsoziologie (Frankfurt am Main, 2001); Gertrud Lehnert, ed., Raum und Gefühl: Der Spatial Turn und die neue Emotionsforschung (Bielefeld, 2011); Gabriele Klein and Hanna Katharina Göbel, Performance und Praxis: Praxistheoretische Studien zu szenischer Kunst und Alltag (Bielefeld, 2016).
2 See Forensic Architecture, ed., Forensis: The Architecture of Public Truth (Berlin and New York, 2014).
3 See: https://mwk.baden-wuerttemberg.de/de/forschung/forschungspolitik/wissenschaft-fuer-nachhaltigkeit/reallabore/.
4 See Tina Zürn, Bau Körper Bewegung: Prozessuale Raumaneignung in der Moderne (Berlin, 2016).
5 On the concept of “dérive,” see Tom McDonough, ed., The Situationists and the City (London and New York, 2009); on cooperative urbanism, see Philipp Oswalt, Klaus Overmeyer, and Philipp Misselwitz, eds., Urban Catalyst: Mit Zwischennutzungen Stadt entwickeln (Berlin, 2013); on Forensic Architecture, cf. Forensic Architecture, Forensis (see note 2).
6 See Michel Foucault, “Das Auge der Macht,” in Schriften in vier Bänden: Dites et Ecrits, vol. 3, ed. Daniel Defert and François Ewald (Frankfurt am Main, 2003), pp. 250–71, 253 (English trans.: The Eye of Power), and Michel Foucault, Michael Bischoff, and Daniel Defert, Die Heterotopien: Der utopische Körper: Zwei Radiovorträge (Frankfurt am Main, 2005). In English, see Michel Foucault, “Of Other Spaces: Utopias and Heterotopias,” trans. Jay Miskowiec, in Architecture / Mouvement / Continuité 5 (1984), pp. 46–49.
7 Henri Lefebvre, The Production of Space (Oxford, 1991).
8 On this, see also Lars Lerup, Das Unfertige bauen: Architektur und menschliches Handeln (Braunschweig, 1986).
9 Kurt Lewin, “Kriegslandschaft,” in Kurt-Lewin-Werkausgabe, vol. 4: Feldtheorie, ed. Carl-Friedrich Graumann (1917; repr., Stuttgart, 1982), pp. 315–25.
10 Martin Heidegger, Sein und Zeit, 16th edition (Tübingen, 1986), pp. 52f., 136–37f., 388f. (Engl. trans.: Being and Time).
11 Ibid., pp. 130f.
12 Heidegger writes: “What we indicate ontologically by the term ‘state-of-mind’ is ontically the most familiar and everyday sort of thing; our mood, our Being-attuned. Prior to all psychology of moods … it is necessary to see this phenomenon as a fundamental existentiale … A mood makes manifest ‘how one is, and how one is faring’ … In this ‘how one is,’ having a mood brings Being to its ‘there’.” Martin Heidegger, Being and Time, trans. John MacQuarrie and Edward Robinson (New York, 1962), pp. 172–73.
13 Cf. Hermann Schmitz, Neue Grundlagen der Erkenntnistheorie (Bonn, 1994), p. 80; Michael Hauskeller, Atmosphären erleben (Berlin, 1995); Gernot Böhme, Architektur und Atmosphäre (Munich, 2006).
14 Jean-Paul Thibaud, “Die sinnliche Umwelt von Städten: Zum Verständnis urbaner Atmosphären,” in Die Kunst der Wahrnehmung, ed. Michael Hauskeller (Kusterdingen, 2003), pp. 280–97, esp. p. 293.
15 Peter Sloterdijk, Globes: Spheres Vol. II: Macropherology, trans. Wieland Hoban (Los Angeles, 2014).
16 On this, see for instance SenseLab in Montreal: http://senselab.ca/wp2/; Erin Manning and Brian Massumi, Thought in the Act: Passages in the Ecology of Experience (Minneapolis, 2014).
17 See: https://www.zu.de/lehrstuehle/kunsttheorie/kreative-performanz.php.
18 The Austrian journal for urban research takes its name from this. See also: http://www.derive.at.
19 19 See Guy Debord, “Theory of the Dérive,” Internationale Situationniste 2 (1958), pp. 62–66.
20 The original quotation: “(Social) space is a (social) product.” Lefebvre, The Production of Space (see note 7), p. 26.
21 Debord, “Theory of the Dérive” (see note 19), p. 64.
22 See http://www.derive.at/index.php?p_case=2&id_cont=941&issue_No=40; http://www.mikromakrowelt.de/?p=354.
23 Debord, “Theory of the Dérive” (see note 19), p. 62.
24 See Anja Schwanhäußer, “Stadtethnologie: Einblicke in aktuelle Forschungen,” dérive: Zeitschrift für Stadtforschung 40 (2010), available online: http://www.derive.at/index.php?p_case=2&id_cont=940&issue_No=40.
25 See also: http://newcommons.com.
26 On this see, for instance, Christoph Schäfer, Renée Tribble, and Patricia Wedler et al., “Wir nennen es PlanBude,” dérive: Zeitschrift für Stadtforschung 61 (2015), pp. 37–40.
27 See also: https://mwk.baden-wuerttemberg.de/de/forschung/forschungspolitik/wissenschaft-fuer-nachhaltigkeit/reallabore/.
28 See for instance, Lisa Buttenberg, Klaus Overmeyer, and Guideo Spars, eds., Raumunternehmen: Wie Nutzer selbst Räume entwickeln (Berlin, 2014).
29 This was a cooperation between the Urban Planning Institute, the Laboratory for Sustainable Mobility Culture of the University of Stuttgart, and the city of Stuttgart. Online: http://www.uni-stuttgart.de/reallabor-nachhaltige-mobilitaetskultur.
30 See also the theoretical reflections on “urban storytelling” and transformative participation processes by the architect Jeremy Till: Jeremy Till, “The Negotiation of Hope,” in Architecture and Participation, ed. Jones Blundell, Doina Petrescu, and Jeremy Till (London, 2005), pp. 25–44, available online: https://jeremytill.s3.amazonaws.com/uploads/post/attachment/19/2005_The_Negotiation_of_Hope.pdf, pp. 10–11.
31 See also: http://planbude.de/planbude-konzept/.
32 “The Kitchen Monument” is a project by raumlaborberlin and Plastique Fantastique: http://raumlabor.net/kuchenmonument/.
33 Armen Avanessian, “The Speculative End of the Aesthetic Regime,” Texte zur Kunst 93 (2014), pp. 52–65, esp. p. 52.
34 See Buttenberg, Overmeyer, Spars, Raumunternehmen (see note 28).
35 See also: http://www.forensic-architecture.org.
36 Eyal Weizman, Hollow Land: Israel’s Architecture of Occupation (London, 2007).