The Architecture of the City in the Age of Hyper-objects

Peter Trummer

1 in a space that consists of inter-relationships between aesthetic properties of 2

A weird window structure with a large, longitudinal, pedestrian strip onto which each of the of the university and its representative buildings are placed in the middle of this when architects attempted to make Modernism social, or better, tried through their designs to support the idea of a new democratic and academic collective of knowledge post WW2 in a country that for the most part denied its national democratic collective: the design doesn’t propose a central entrance, typical for representative institutional buildings in the age of the nation states, instead the architects decided to give the building two entrances on the front façade - like a time you enter the building you have to make a choice4 in the campus design: All structural piloti of the campus buildings are lined up running through all buildings and their public areas, inside and outside, similar

As it happened to many public modernist buildings from the post-war era, the eyes: window handle there was a motor inside the frame with a contraption similar to open, you couldn’t see outside, nor could air hardly enter the building, since the part of some minimalist music piece to which the window started dancing like One day a group of inspectors visited the building and when they entered my It was there to regulate the climatic conditions of the building in order to use opens the window during the night to get cold air into the building to cool it regulations put forward by sustainable architecture guidelines in order to prevent

Suddenly I understood: Architecture has reached a new paradigm in the age and the beginning of a new post-human architecture: Buildings are not designed

In this essay, I would like to present a new realist approach to the production broader theoretical framework, I will provide an overview of how the discipline of architecture has always established theories by looking at the city as a model of 7 and apply them to the city which leads to a new architectural pedagogy, that I 8

Hyper-objects and its emerging new Architecture

idea of designing a window, so that the building doesn’t use a lot of energy instead of for the wellbeing of its human inhabitants, indicates that we have reached a new paradigm - a disciplinary shift away from the architecture of the anthropocene humans design buildings according to phenomena they themselves have created, but seem to have lost control over, so that these phenomena have according to the regimes and norms of sustainability aiming to prevent furthering 9 refers to entities that defy our traditional understanding of things 10 have triggered a whole series of new building types, as well as new architectural

12 is thus new architecture is not produced by an architectural avant-garde believing in has always analyzed the reality of the city to learn more about architectural

The empiricist, the rationalist and the surrealist architecture in the age of anthropocentrism: the empiricist position represented anything the city would allow him to perceive with his senses, from illnesses, people’s income, rents, household expenses to geographical and infrastructural

In short, the empiricists aimed to invent a new form of city through a new

14 Rossi argues, that the content of the city might transform and that buildings might radically change in their function, topological organization of the built mass of the theater, stays visible throughout its historical mutations: the form of a place for theatrical events was turned into Industrielle tried to experiment with new forms of building typologies by means of prefabricated modes of production, Rossi discovered that the superblocks superblocks didn’t change throughout history, even though its contents varied quite a lot, from being used as a form for the roman insula, to a medieval cloister, It maintained the same form - an outdoor space enclosed by a boundary zone

Rossi therefore argues that the city constantly reproduces the same topological forms throughout history regardless of the forces, politics or regimes that have

In short, the rationalists proclaimed the autonomy of forms independent of Surrealists, like Rem Koolhaas, saw the reality of the city as a stage for new rise buildings like the downtown athletic club are the announcement of the split of mankind in two specimen: the metropolitan, who uses the full potential of modernity to achieve the perfection or completeness of the nonexistent and to collect real stories, narratives and other seemingly unrelated content and to , until the

In short, the surrealists declared the autonomy of content independent of its generator of architecture, he still believed in abstractions and imagination to architectural methodologies and pedagogies introduced in this essay have led to irrational, in the center of their approach and therefore in the center of their the architecture produced within the contemporary city literally? What if it is the for the city? What if we thought of the city from the perspective of a non-human what kind of pedagogy might this viewpoint lead us to?

Zero Architecture or Towards a Theory of Replacement

What is unique about all this architectural entities, like the pencil towers in new architectural methodology or even pedagogy from their appearances? new architectural types are simply new forms of collages: through particular properties of the cotton, namely the electrons of the carbons

For my argument I distinguish between two kinds of collages that have entered collages, the de-constructivist fragments to the seamless collages of blobs, unfamiliar context in order to create a new meaning based on the technique of 20

When I thought about how to describe buildings, cities, infrastructures 21 unfamiliar by replacing a human storyteller by a non-human one - in this case a using a new form or a new content to tell a new story, but rather lets the story be other words his technique of de-familiarization replaces the human narrator by a possess all the features of what we know as windows, buildings or cities, and yet

I would like to expand my hypothesis into a larger theory of replacement - a replaced by a non-human author and that the construction of these new windows, present themselves not only in a new form but also with a new content becoming by a motor, the window pane is replaced by a metal sheet, the framed view

In this essay he demonstrates how within the 24 anthropocentric form and content: the form of the window served to frame the of the window changes how the window performs: before its purpose was to ensure ventilation of the building and letting the sun in order to allow humans its form and function so that it can become part one of a new whole while traces

In my interpretation this means that humanist paradigm we started to use abstract forms, from geometric solids to the for the discipline of architecture and to elaborate on the concept of what I call 27 doesn’t start with operations of abstraction in order to produce real things but bauingenieurfakultaeten-innsbruck which he demonstrated how architectural elements like entrances or I refer here to the idea of typological thinking presented by Aldo Rossi its operational mode as the basis for my argument for a theory of

I refer here to the example of the cylinder head of an automobile engine