Hs17 keynote handout

Keynote Lectures Autumn Term 2017 -

Sensing Space Sociology

sti In

kt ur In sti tut Ar chi tek tur

BG HA eiz hw stsc dwe Nor hule ochsc Fachh tu tA rch it

ekt

ur

|

H o c h s ch l e u

h Tec L u ze r n

ni k

&

ite ch r A

Fachhochschule Nordwestschweiz, HABG, Institut Architektur und Fachhochschule Luzern, Institut Architektur Masterstudiengang Autumn Term 2017, Keynote Program Dr. Fabian Neuhaus, fabian.neuhaus@fhnw.ch and Heike Biechteler, heike.biechteler@hslu.ch Illustration on title page: The Mandelbrot set, taken from Ballinger, Sean, 2014. Plotting the Mandelbrot Set. Online at http://sball.in/projects/mandelbrot/ Illustration to the right: Plan of a Mausoleum, by William Chambers, 1931. Soane Collection at the Sir John Soane Museum London.

Illustration on the following spread: VR Love: the New Self, taken from OpenSense online http://opensenses.squarespace.com

Sensing Space

Sociology

HS 17 Keynote Lectures Sensing Space Sociology |7

Content Keynote Lectures Program

9

Sensing Space Intro

11

Seeing the City: Visual Sociology

13

Spaces of Encounter

15

Right Beneath Our Noses

17

Unknown Perspectives

19

Sonic Sociality: listening and sound making in the social body of the urban environment.

21

From where we are

23

Location Basel/Luzern

26/27

Keynote Lectures Program Sensing Space Sociology

Workshops start 09:15 and end around 17:00

Friday, 22nd September, 2017 Sandra Abegglen Seeing the City: Visual Sociology. Location of Workshop FHNW, IArch, Basel.

Friday, 06st October, 2017 Raumlabor Spaces of Encounter. Location of Workshop HSLU, IAR, Horw.

Friday, 13st October, 2017

Alex Rhys-Taylor Right Beneath Our Noses. Location of Workshop FHNW, IArch, Basel.

Friday, 20st October, 2017 Planbude Unknown Perspectives. Location of Workshop HSLU, IAR, Horw.

Friday, 24st November, 2017

Salomé Voegelin Sonic Sociality: listening and sound making in the social body of the urban environment. Location of Workshop FHNW, IArch, Basel.

Friday, 01st December, 2017

Laetitia Gendre und Miriam Rohde From where we are. Location of Workshop HSLU, IAR, Horw.

Illustration on the left: Aestesiologia Tab. XVI, taken from: Sigismond Laskowski, 1894. Anatomie normale du corps humain: atlas iconographique de XVI planches. Genève : Braun.

|9

You Are The City

Sensing Space Intro

To explore the environment with the human senses and making sense of body reception signals is to interpret the environment as a continuous process in which the individual is challenged to construct its own space. To consider space is to consider one self. What is space?

|11

12|

Seeing the City: Visual Sociology Sandra Abegglen, senior lecturer, Education Studies, London Metropolitan University

‘Seeing comes before words. The child looks and recognizes before it can speak.

But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.’

Sandra Abegglen is Senior Lecturer and Course Leader BA Hons Education Studies at London Metropolitan University (UK), and is currently teaching on modules promoting experiential learning and peer-to-peer support. Her research interests are in culture, visual narratives, qualitative research methods, creative learning and teaching, and peer mentoring.

She has written about her teaching practice in a variety of journals and actively participated in creative learning events.

Find out more about her work, including a list of recent publications, on her website: www.sandra-abegglen.com

(John Berger, Ways of Seeing) This workshop explores the visual aspect of culture in relation to space to reflect on the meaning and purpose of visual representations as well as the ways in which vision is socially and culturally constructed. The basis for this exploration build theoretical inputs as well as practical exercises in the city. Participants are encouraged to engage with the space around them using visual recording devices and to produce their own visual representations working with the idea of ‘markers’. The aim of the work is to draw upon the city as an empirical (re)source for sociological inquiry and to examine the visual meanings and signifying practices that both produce and define space. In this context, participants are introduced to a range of theories from sociology and cultural studies that critically question the visual dimensions of urban social life.

Keywords: visual sociology, images/photographs, representation, visual ‘markers’, urban space, culture

Friday, 22th September, 2017 IArch, Basel

Illustration on the left Fig. I and Fig. IV, taken from: Aestesiologia Tab. XVI, taken from: Sigismond Laskowski, 1894. Anatomie normale du corps humain: atlas iconographique de XVI planches. Genève : Braun.

|13

14|

Spaces of Encounter Andrea Hofmann und Jan Liesgang for Raumlabor, Berlin, Germany

What kind of social exchange happens in our public spaces today?

Part one: field study / relational site map Where in Luzern are possible spaces for encounter and spontaneous social interaction with strangers?

Choose a public space in Luzern in which you expect interaction between strangers. “Extensive hanging out� is a method used by anthropologists to research social conditions and relations in a specific field. We want you to spent 3 hours at the chosen site and find out as much as possible about its social and spatial conditions. You have to think about your recording method before hand. You should work in teams of 4.

Divide tasks: Two of you might do sketches every 10 minutes of the social interaction in your research field. Two of you might do short interviews with people on your site.

How do people behave in your space? Why do they come here? What is the impact of media and telecommunication in your space? What does happen in your space? What kinds of programs are given at the place? What is the impact of the architecture? How can you describe the atmosphere? What is the impact of the architecture?

Create a map of your space of investigation. Choose a set of tools / techniques that you want to use before hand. Think about methods to represent social interaction in relation to spatial qualities. Force yourself to choose different perspectives. Try to talk to as many people as possible on your location. Be as precise as possible. Your map should be represented on an A3 sheet of paper.

Part two: performance space of encounter In the second part of the workshop you should discuss the result of your field research and prepare a short performance (2 Minutes), which represents the findings of your field work and showcases your findings about the behaviour of strangers in the public sphere today.

Your relational map can work as an additional narrative / information for your presentation. It will be projected in the background of your performances.

Contact: If you have questions please contact Jan Liesegang jl@raumlabor-berlin.de or Andrea Hofmann ah@ raumlabor-berlin.de via email.

Friday, 6th October, 2017 HSLU, Horw

Image on the left by Raumlabor

Since 1999 raumlaborberlin works on questions of the city and community. raumlaborberlin understands space as a product of social interaction, for us urbanity as the coexistence of contradictions and architecture as the art of making space out of this. raumlabor loves ideas for a better future and seeks the collaboration with inspiring artists, planners and social scientists. raumlabor creates urban situations, that bring new narratives and imaginations into the city, that bring together people with places and possibilities with imaginations. raumlabor connects art, architecture and city planning and thus connects the direct environment of people with long term perspectives. The main topics are cityscapes in transformation and the relation between public and private and common.

|15

16|

Right Beneath Our Noses Dr Alex Rhys-Taylor, senior lecturer, Centre for Urban and Community Research, Goldsmiths University of London

In this workshop, we will consider the oft-hidden significance of olfaction within our experience of the city.

Looking – or rather sniffing – at the world that exists right beneath our noses, we will consider the biological and psychological peculiarities of olfaction. Above all else, however, we will consider the nuances that olfaction imparts to social experiences, and the broader functioning of urban life. The nose is notable for its sensitivity (it can detect one atom’s difference in a given molecule), for its connection to emotion and memory, and also by way of both of these facets, for its relationship to culture: With nostrils that will not close, the nose is permanently switched on alerts us to both real and symbolic danger. Which is to say that as well as protecting the body against dangerous toxins, the nose also serves as the border guard for the culture that lives through any given body. At the same time, it is through our nose that the lines between inside and out / us, and them, are smudged.

These peculiarities of smell lend the nose social significance in metropolitan contexts. This workshop focusses on the consequences of olfaction within the built environment and aims to raise awareness of the noses oft-overlooked powers.

Dr Alex Rhys-Taylor is a senior lecturer in sociology at Goldsmiths and deputy director of the Centre for Urban and Community Research. He is an urbanist with a focus on the relationship between the senses, culture and space.

His recent publications include Food and Multiculture: A Sensory Ethnography of East London (Bloomsbury, 2017) and an edited collection, Walking Through Social Research (Routledge, 2017).

Workshop aims and objectives.

Following the workshop it is hope that participants will 1) Heighten awareness of their own, and others, olfactory capacity 2) Recognise the potential significance of olfaction in the built environment 3) Grasp both the methodological constraints, and affordances, of researching and analysing the world through the nose

Friday, 13th October, 2017 IArch, Basel

Illustration on the left Fig. V and Fig. VI, taken from: Aestesiologia Tab. XVI, taken from: Sigismond Laskowski, 1894.

Anatomie normale du corps humain: atlas iconographique de XVI planches. Genève : Braun.

|17

18|

Unknown Perspectives Lisa Marie Zander und Renée Tribble for PlanBude, Hamburg, Germany

Networking and connection to the residents is fundamental to create opportunities and various places for interaction as well as possibilities to learn from each other. In our opinion it is essential for urban design processes to leave familiar places, to swarm out, to allow new experiences and perspectives, to use the entire neighbourhood as a lecture room.

In order to realize such forms of emancipatory participation and planning processes, all involved actors need courage and openness to experiment, as well as recognition and trust in the collective knowledge and the expertise of local residents as experts in their everyday lives. This form of participatory processes is based on engaging in an open-ended process, the guarantee for an effective influence on the planning and the implementation of the results. It also requires a structure defining clearly consented roles for each step in order to ensure a long term stable and flexible process.

Processes such as the PlanBude create platforms that allow the exchange of information about what and how city as a whole should be. From an originally particular interest, universal values can be derived in the debate, which can be translated into a broader context: the right to city within a neo-liberal urban development.

In the perspective of Henri Lefebvre urban space is here a place of reproduction of hegemonial relations and ideological fights as well as conflicts between different powerful stakeholders over appropriation of urban space as a central factor of urban development processes.

PlanBude would like to discuss the question of quality of space, which evolves from acting commonly and is based on everyday knowledge. We will swarm out in groups into the city of Luzern and search for interesting spaces and their openness to appropriation.

Based on this quick research we will develop ideas for open processes for further urban development.

Since we’ll be going into the city participants should be equipted for a field trip, including things as cameras, notepads, pencils and what ever you’ll need to note down your thoughts and findings. Please do also consider to be prepared to present your group work in quick and dirty none digital presentation up to three pages DIN A3.

Friday, 20th October, 2017 HSLU, Horw

Image on the left by Frank Egel

PlanBude is a transdisciplinary office, organizing the planning and participation for a 28.000 square meters ensemble of houses in place of the former Esso-Houses on Reeperbahn, St. Pauli, Hamburg. The PlanBude idea was kicked off by an independent citizen’s assembly in the Ballroom of FC St. Pauli.

The team of six combines planners, artists, architects, cultural scientists, DJs and community workers. PlanBude now works commissioned by the planning authority. In a unique planning process, PlanBude opened it’s doors right at the construction site in the heart of St. Pauli, offered innovative tools that allow complex contributions by everybody. PlanBude collected 2.300 wishes and designs, in an open brief process. Eventually, politics, planning authorities, and the private owners agreed to accept the PlanBude-developed “St. Pauli Code” from the neighbourhood as a briefing for the architectural competition.

PlanBude now works on the realisation of the “St. Pauli Code” with the winning teams of NL-architects (Amsterdam), BeL (Cologne), IFAU/Jesko Fezer (Berlin), Lacaton & Vassal (Paris) and feld72 (Vienna).

|19

20|

Sonic Sociality: listening and sound making in the social body of the urban environment.

Dr Salomé Voegelin , Reader in Sound Arts, London College of Communication, University of the Arts London

This talk cum workshop will consider and practice the architectural volume of an interior space and of the built environment of the city through its sound understood as the invisible and mobile sphere of its construction. The soundtrack of a place at once reveals social behaviour and relationships that might remain hidden or unseen in a visual evaluation, and it contributes to how we act and what associations we make. It stands in a symbiotic contact with a visual outline: necessitated by its design it uncovers its causes and consequences and provides a view on its use and habitation.

In this way sound reveals and determines norms and conventions of how we live together, how we act and interact; how we practice associations and produce identifications through social agency and efforts of belonging. However, sound’s sociality does not show itself in the architecture but involves us as listening inhabitants and sound making participants in its design. Therefore to reflect on the nature of a sonic sociality we need to make sound and we need to listen. We need to, as Frances Dyson suggests, practice an “echography” : to shout and sing, talk and listen with scores and without instructions, to hear the tones that resound the “how” of the current (architectural) construction of a place, to understand its dynamics and ideologies, to make its limits audible and attune us to the tones that sound beyond, that remain as yet inaudible, in order to reach a different imagination and design other possibilities of the real.

Salomé Voegelin is an artist and writer engaged in listening as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum 2010, and Sonic Possible Worlds: Hearing the Continuum of Sound, Bloomsbury 2014.

As an artist she works collaboratively with David Mollin (Mollin+Voegelin) in a practice that engages words, things and sound, and focuses on invisible connections, transient behaviour and unseen rituals. Salomé is a Reader in Sound Arts at the London College of Communication, University of the Arts London. www.salomevoegelin.net

Our walking sounding and listening becomes a form of co-habitation of ephemeral rooms that do not remain rooms but become ‘volumes’, triggering an understanding of space not as a construction of walls, floors and ceilings, windows and doors, but as a dimensionality that has a capacity: the capacity of the place and the capacity of our experience of it.

Please bring recording devices to the workshop, they can be as rudimentary as a smartphone with recording capability or an old tape machine.

Friday, 24th November, 2017 IArch, Basel

Illustration on the left Fig. X and Fig. XI, taken from: Aestesiologia Tab. XVI, taken from: Sigismond Laskowski, 1894.

Anatomie normale du corps humain: atlas iconographique de XVI planches. Genève : Braun.

|21

22|

Part of the storyline ‘access’ / workshop OPENINGS 1, Alice in Wonderland, Walt Disney Productions, 1951

2. ‘Hatton Garden Heist’, safe deposit burglary in 2015 3. Speleology

4. Crawl space under a home without a cellar 5. ‘Being John Malkovich’, 1999, Spike Jonze 6. A secret door

7. ‘The Twilight Zone’ TV Series 1959-64

8. ‘Flammarion’ engraving, anonymous, 1888

From where we are Laetitia Gendre, artist and Miriam Rohde, architect and artist, Brussels, Belgium

Space regards all of us. We take up space, with our bodies, material belongings and also in non-material ways, when physical presence is translated into legislation, represented by third parties, enhanced, transmitted, transformed by technology. Spaces influence and determine us, often before we even notice. And vice versa: we constantly make space, albeit not necessarily with bricks and concrete.

More than ever the notion of space raises important questions – How will the idea of the nation-state develop as globalization proceeds? What will our factories look like when most work is automated? Will ever more sophisticated communication technologies change the significance of our bodies and their physical presence? Questions of space are relevant for a wide range of disciplines (geography, sociology, anthropology, economy, natural sciences and also for the numerous artistic disciplines). Space is subject of highly specialized debates and a commonplace in the same time – it is a fundamental dimension of our existence and in this sense a topic on which we are all experts.

The idea of the workshop is to examine in a critical and playful way how we define -and are defined by- space and spatiality. It is a collective exploration of familiar and less familiar definitions and manifestations of space and a search for the links between abstract spatial conceptions and the experienced spaces of our everyday lives.

The workshop starts with a presentation of a heterogeneous selection of images, film fragments, sound, texts or anecdotes around the topic of PROXIMITY AND DISTANCE. You are then invited to contribute with new examples and modify the proposed narration. For the practical exercise we will work in small groups. Each group should choose one example from the presented material and work on a proposition that translates the chosen example into an intervention in situ -a ‘spatial sketch’ as we call it. The format and material for the interventions can be chosen freely (sketches or paintings, installations, projections, language and speech, gestures, sound or performance).

Please think of three examples that relate to the topic of ‘proximity and distance’. Not more than one example should directly relate to architecture or urbanism.

Friday, 1st December, 2017 HSLU, Horw

Laetitia Gendre’s primary medium is drawing, which she approaches with an eye informed by her early work as a painter. Her work took a spatial turn with her large-scale 3D drawings and paper sculptures installations, which also include various media (slideshows, video, printed material, text and sound). In her recent work she investigates places and situations, such as shooting clubs or electronic surveillance.

Through an associative process she mingles heterogenous matter such as the history of perspective, shooting targets, early cinema or CCTV… a strategy of collage which often reveals a tongue-in-cheek humour. www.laetitiagendre.com Miriam Rohde worked as a freelance architect and also realised her own architectural and design projects. Today she relates to her ten year’s experience as an architect in her artistic practice. With various media - such as text, film, installation - she reflects on the built environment and space, its use, making and ever-changing role in our society. She is currently doing an artistic research on the question of “presence and absence in space”. She realizes a series of short films on and with architecture. She is part of the interdisciplinary collective CECI, which work is situated ambigously between design and art. www.ceciestunmagasindevetements.com

|23

Illustration above: Alberto Ponis, Study for Casa Heintzschel, Punta Sardegna, 1986. Pencil, pen and ink and felt pen on paper, 900 Ă— 780 mm. Taken from Drawingmatter, online https://www.drawingmatter.org/drawings/20-january-844-out-816/ drawer-13/ Illustration to the right: Der Mensch als Jndustriepalast, taken from Fritz Kahn, 1931. Das Leben des Menschen (The Life of Man. Druck bei Fricke & Co. Stuttgart.

Location Basel FHNW, Institut Architektur, Master, Sennareal, 2nd Floor Lecture Space, Spitalstrassse 8, 4056 Basel

26|

N

Fachhochschule Nordwestschweiz FHNW Hochschule für Architektur, Bau und Geomatik Spitalstrasse 8 4056 Basel

Voltastrasse

Dreirosenbrücke

Dreirosenstrasse

Ba dis ch er Ba

t

ho

tad

e

hn

ss

rs Vo

tra

an n

ers

1 Institut Architektur

Rheinring

Klybeckstrasse

ing

Joh

thr

St.

Lo

T + 41 61 268 94 00 F + 41 61 268 94 09 info.habg@fhnw.ch www.fhnw.ch /habg

.J

oh

s-

Rin

Feld

g Johan

nite

berg

stra

sse

cke rbrü

Sp

ra st en

e

Messeturm

Ro

se

nta

lst

ras

se

nta

lstr

ass

e ras

tra

ss

e

he

ns

tra

e ss Voge

lsan

gstr

asse

tste

inalle

n zer

ab

b en

tle

B re

rüc

ke

en

Mit

Pete

rsgra

Grenzacherstrasse

Von

B

Ab Bahnhof DB Tram Nr. 6 bis Haltestelle «Schifflände»

B

Ab Bahnhof SBB Tram Nr. 11 bis Haltestelle «Universitätsspital»

of SB

Spitalstrasse 8

A

Bahnh

1

e

gr

se

Lu

Wet

ra

tras

Cla

bels

rn

se

He

Be

ras

Rie

h,

lst

Cla

üric

ge

1

nZ

nz

ass

vo

Klin

ita

ha

str

/A 3

Sp

Sc

err

A2

ss e

St

n an

f

T + 41 61 268 94 00 architektur.habg@fhnw.ch iebau.habg@fhnw.ch

Rhein

Location Luzern HSLU, Institut Architektur, Architektur-Atelier, Trakt IV, Raum F400, Technikumstrasse 21, 6048 Horw

|27 L

28 hrt orw s fa - H Au zern Lu

Au

S ta n

s/Go

ttha

tob

ah

nA

Pilatusmarkt

rd

st ell e VB L-H al te st ra ss e Te ch ni ku m Trakt X

VBL-Haltestelle Spier

SB B-L ini e Lu zer n – En ge lbe

2

iHomeLab

Ho ch sch ule Te ch nik & ArLu ze rn – ch ite ktu r

P

rg/ Brü nig

VBL-Haltestelle 22 Werkhof

20

18

14

Ebena ustras se

P Seefeld

Standorte der Hochschule Luzern – Technik & Architektur Hochschule Luzern – Technik & Architektur Technikumstrasse 21 CH-6048 Horw T +41 41 349 33 11 technik-architektur@hslu.ch www.hslu.ch/technik-architektur

Bahnhof Horw

P

er uz

n

Keynote Lectures Autumn Term 2017 -

sti In

kt ur In sti tut Ar chi tek tur

BG HA eiz hw stsc dwe Nor hule ochsc Fachh tu tA rch it

ekt

ur

|

H o c h s ch l e u

h Tec L u ze r n

ni k

&

ite ch r A