Bøger udgivet af gta Verlag / eth Zürich

Shopping is history, in both senses of the word. As shopping shifts online and the economic shocks associated with the COVID-19 pandemic push bankruptcies to ­unprecedented levels, retail is facing its own version of the end of days. The arsenal of commercial techniques that retail has developed can no longer function as usual. The entangled worlds of architecture, fashion, business and art that supplied those techniques now appear to us in a new way, as a museum of a culture that is now ­becoming extinct. At the same time, retail's techniques of attraction and distraction have become visible in a new way. Stripped of their use value, they reveal themselves as techniques of pure display. Retail Apocalypse presents a compendium of case studies, interventions, and object lessons rescued from the bonfire of retail culture. It ranges from Friedrich Kiesler's display windows to Gae Aulenti's Fiat show­rooms, from J. G. Ballard's dystopian fantasies to TELFAR's critical utopias, from Rem Koolhaas to Herzog & de Meuron.

"Lore" as a term suggests a cumulative and collective understanding of a topic. Today, it is particularly common in gaming and serial storytelling to refer to the comprehensive background story of a fictive universe. This issue of trans magazine attempts to understand the many ways in which lore affects our present moment: the texts deal with narrated realities, logistics of knowledge, ghosts and angels, and how the subconscious influences the built environment.

Methodological, epistemic, and ontological borders have long prevented landscape and urban studies from engaging in transdisciplinary dialogue, sensuousness, and affect. Researching Otherwise uncovers possibilities for deploying sensory, collaborative, and restitutive methodological tools to craft spaces for producing knowledge from pluriversal worlds. These methods connect researchers and their objects of investigation in new ways to empower restitutive and regenerative futures "otherwise." Original contributions stem from research methods based on drawing, photography, sounding and listening, filmmaking, walking, and cartography. They reveal journeys of specialists and their companions while navigating through multi-species walks, engaging in cinematic and performative ways of knowing, submerging in ocean worlds, unsilencing bank vaults and troubled architectural histories, and exploring collaborative ethnographic investigations with refugees.

Do you feel heard?We try to put our thoughts into words to describe what we feel or what we believe in. We communicate with our bodies and speak through our actions. But silence is a form of communication, too. In silence, complex relationships unfold and allow unspoken realities to emerge. In every absence lies a presence, in every pause a possibility.This issue of trans magazin invites you to perceive the phenomenon of silence beyond the absence of sound.

Buildings are made up of different layers which have different lifespans. Like human bodies, they are composed of skin, bones and organs, but unlike a living organism where the different parts have closely interwoven lifespans, a structure, a facade or a spatial plan become more durable if they can be changed independently of each other. Buildings are witnesses to other times, times before us and times yet to come. They are thresholds that let us peek at how previous generations lived and how coming generations might carry on. The timelessness that many strive for in architecture is not part of the nature of trans magazin. People and ideas come and go. It lives from the present, tries to reflect on the past, and looks towards a future.

A window is a mediating device between our body and the environment: by simply opening or closing it, we can regulate air, light, and sight. Both climatic and cultural conditions, alongside technological developments, shape the architecture of windows. Switzerland's diverse climate, which results from the Alps' particular geomorphology and its geographical location at the crossroads of European cultures, has generated a wide variety of window forms.The collection of windows gathered from field research takes the reader on a tour of the diverse practices of living and working in the country. Full-page hand drawings portray each window as a part of a complex network of elements and a site of knowledge. Short texts offer insight into various historical, technological, and socio-economic conditions of each spatial configuration. Conversations with Swiss architects reveal challenges of window design in contemporary building processes. The book unveils the role of the window as a tool for resourceful living practice and suggests ecological perspectives for its architectural design.

Whether experienced as a courtroom, a competitive talent show, or a theater of the absurd, critical reviews - "crits" - are a galvanizing, confrontational, and memorable rite of passage in architectural education. The crit stages a drama in which students are asked to present and defend their work in front of an audience of peers, teachers, and external experts. Although it is often a source of acute discomfort, the crit is also a tool of instruction, a forum for exchange, and a scene of discovery.A close analysis of the crit uncovers radical possibilities in experimental teaching, process-driven design, and the presentation of architectural ideas. At the same time, this analysis reveals fault lines in global architectural discourse and education, its historical dissemination, and its contemporary discontents. This issue of gta papers presents both a critique and a celebration of this storied rite.

By the time the computer arrived on the architectural scene, its place had been prepared by decades of avant-gardist experimentation. The modernist program of rationalizing creative practice took a decidedly bureaucratic turn between two generations of constructivists in the 1930s and 1960s. From Paris to Cambridge, painters, poets, designers, and architects poured their energy into cracking the code of artistic genius in hopes of democratizing the creation of better environments, thus stimulating a nascent repertoire of algorithmic techniques. The motivation to use these new techniques emerged from attempts to understand art and architecture through serial effects. By reformulating their disciplines in terms of flowcharting procedures developed in the field of scientific management, artists and architects enacted a paradigm shift that had long been a cherished dream of modernism, replacing composition with organization as the basis of design.

What was once a fixed notion of landscape has long since evolved and diversified. New buzzwords continue to fuel the discussion about the past, present, and future of our environment. Where do current debates about landscape start? Which paths remain, and where are unknown paths being trodden? This primer on current concepts in landscape architecture reflects the range of approaches in theory and practice that the Chair of Landscape Architecture of Christophe Girot at ETH Zurich has engaged with. A collection of short texts and audiovisual contributions, it forms an intergenerational terrain in which old and new ideas have taken shape. Terrain Vogue also marks the end of a publication series that has shaped discourse on research, teaching, and design with nature and landscape for twenty years.

Vitruvius's De architectura, written in the first century BCE, has been revered as the first treatise on architectural theory. Since its resurrection during the Renaissance, its enigmatic text has been adjusted, refined, and redefined in subsequent iterations. The book at hand bypasses exegeses of the text to focus on the material history of the printed editions disseminated throughout Europe. It surveys overa hundred editions of Vitruvius from 1486 to the present, tracing the power of the printed page in establishing the Roman author as an authority. Focusing on the impact of the physical objects that embody the Vitruvian canon highlights how book history and architectural history cross paths and how a symbiotic relationship between the printed and the built emerges. The resulting picture is that of a zigzagging thread between practice and theory, an elusive network of fruitful carelessness in architecture.

Care work is at once omnipresent and invisible. It encompasses all forms of socially necessary - or reproductive - labor: raising children, cooking, cleaning, shopping, looking after the elderly and the ill, and many other tasks. It is what allows for and sustains productive labor (including architectural labor) in the first place. Although economic production depends on the work of social reproduction, care work is usually unpaid and pushed out of sight. It is indisputable that care work falls disproportionately upon women and unevenly along lines of race and class. Demographic changes, environmental crises, growing mobility, transformations of labor, and the reconfiguration of traditional institutions of care - from the nuclear family to welfare state provisions - have made the inequity of care a key problem in architectural debates.

The articulation of transitional space forms a key element in Japanese architecture and its relationship to landscape. Climate and cultural history have shaped myriad forms and expressions of these spaces, which connect as well as separate. We pass through or dwell within them; these transitional spaces differentiate between one space and another, inside and outside, public and private, our body and what surrounds it.This issue of Pamphlet documents a conversation about six residential houses in Kyoto, Osaka, and Tokyo. The houses and their surroundings were captured through sound recordings and Point Cloud laser scanning, the results of which were processed into short videos. Based on this material, architects, researchers, artists, and landscape architects from Japan and Europe discuss different modes of perceiving and representing transitional space in architecture and social interchanges, religion, and customs.

This issue of Pamphlet deals with the perception, visualization, and representation of distinct parts of Zurich and offers different ways of representing the city - both above ground and underground - by analyzing five unique sites, each of which represents a multifaceted, layered and spatially complex system: the ETH main building, Zurich main station, the Jelmoli department store, the Sihl River, and the Schanzengraben and adjacent Old Botanical Garden. Each site is approached from two perspectives: the visual aesthetic perspective of student works that accurately visualize the site through point cloud modelling; and the perspective of experts who have a special relation to the site or knowledge of the applied methods and technologies, thus contributing insights from urban history, city planning, architecture, and landscape architecture.

Following the exhibition Tendenzen-Neuere Architektur im Tessin in Zurich in 1975, contemporaneous architecture in Ticino became the subject of fervent coverage in Swiss and international publications. This extended essay argues that the critical attention emancipated the narratives of Ticino architecture from the actual conditions of production, leading to the paradoxical divergence of its historiography from its history. Placing well-known external constructs, such as the notion of the School of the Ticino, against the robust skepticism of local architects and historians, the essay chronicles the long-term consequences of the misalignment between autonomous theory and situated knowledge.

The second Venice Architecture Biennale, directed by Paolo Portoghesi, raised questions about a postmodernity throughout realms extending south and east from the Mediterranean, where modernity and decolonisation were converging. Though the exhibition on architecture in Islamic countries was largely forgotten, these questions are ever more relevant. Selected texts by Portoghesi, Medhi Kowsar and Udo Kultermann from the original exhibition catalogue, which was published only in Italian, are translated for the first time for an English-speaking readership and accompanied by commentary.Following an introduction by the editor, Esra Akcan reflects on the historical and socio-political contexts of the exhibition. In addition, Asli Çiçek and Véronique Patteeuw consider the catalogue itself from an architectural history perspective. Together, this historical and contemporary material suggests starting points for investigating this broadly overlooked biennale.

West German architecture underwent a phase of intense productivity from 1949 to 1964. In the immediate postwar years, architects confronted Nazi legacies in building culture amidst drastic privation that hampered construction. As industrial production recovered and a middle-class nation emerged, so too did a new architecture influenced by the American International Style model, especially as Bauhaus masters returned to Germany from the United States as advisers. But there was much more at stake than style. Construction details and other technical documents reveal that this was a moment when architectural practice aspired to calibrate social, material, and political norms through design. At the center of all these transformations were Hans Schwippert and Sep Ruf, two architects who shared political, religious, and professional allegiances. Schwippert, architect of the new Bonn parliament, worked to align economic redevelopment and a burgeoning consumer goods industry with design. Ruf, to whom Schwippert directed the commission for West Germany's first World's Fair pavilion, found ways to master architectural construction amidst both scarcity and largess. Photographs, drawings, and a broad range of unpublished documents introduce these two architects to an English-language audience.

The term 'social distance' was once only a vague metaphor to describe the relationship between different social groups. Yet it has acquired a precise meaning as the mandatory minimum distance for face-to-face interactions: 1, 1.5, or 2 metres (or 6 feet), depending on the jurisdiction. But what is the appropriate distance from which to interpret a pandemic? Rather than asserting a diagnosis of the con­tem­porary emergency, the issue Social Distance offers perspectives from archi­tectural history and theory. From the great plague of Venice to cholera in the indus­trializing city, from the human placenta to the 1960s bubble or the office of today, the fifth gta papers provides a broad range of reflections on contagion, disease, and health.

The Lloyd's building in London was constructed in the early 1980s based on a vi­sion­ary design by Richard Rogers and Partners. Its planning and construction transformed the ideas of megastructure and intelligent environment into built reality. Mock-ups (prototypic full-size models) played a crucial role in this, enabling Rogers' team to test and refine the necessary novel constructions and procedures to minimize the risks of such an ­ambitious project. Lloyd's 1¿:¿1 is the first case study of one of the most important building projects of the late modern era. It showcases pre­viously unpublished ma­ter­ial from the ­archives of Rogers Stirk Harbour¿+¿Partners, Josef Gartner and Arup to reconstruct the planning process and demonstrate the working methods. Ex­amples of how mock-ups were used as research or planning ­instruments highlight their ­relevance for further developing building culture.

Can design processes constitute genuine forms of research? Of course they can. Against and For Method highlights exemplary cases of how studio architects teach architectural design, both with and without methodological and research ap­proaches strictly in mind. This edited volume openly addresses deficiencies in studio teaching and proposes possibilities for integrating methodological approaches into teaching and practice. Contributions by leading scholars in architecture, plus interviews with five practicing architects who are studio professors at ETH Zurich, reveal the ways in which design concepts are considered, teased apart and passed along. ­The texts contributions and interviews intend to urge studio teachers to reflect on their ­methods and consider to what extent systematic and conceptually coherent approaches aid their students.

In der Arbeit von Michael Hopkins and Partners fand in den 1980er und 1990er Jahren ein Wandel statt, der sich in den fünf in diesem Buch untersuchten städtischen Gebäuden besonders deutlich widerspiegelt. Hopkins, ausserhalb Grossbritanniens relativ unbekannt, präsentiert seine damalige Perspektive in seinem Vortrag «Technology Comes to Town», der hier veröffentlicht und durch Baustudien von fünf zeitgenössischen europäischen Architekten ergänzt wird. Essays von Adam Caruso und Helen Thomas untersuchen die britische Szene, in der grundlegende Fragen zu Technologie, Stil und Kontext die Diskussionen über die Architektur des 20. Jahrhunderts pr.gen. Die Präsenz dieser Themen in Hopkins' Architektur wird durch neu angefertigte Zeichnungen und durch aktuelle Fotos von Hélène Binet deutlich.