FG Architektur und Visualisierung
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Digital Natives – Plädoyer für eine strukturierte Lehre der Visualisierung in der Architektur
(2024)
Rendering/Visualisierung
(2024)
Die visuelle Repräsentation prägt die Architektur. Sowohl ihre Produktion als auch die Art und Weise, wie sie wahrgenommen und begriffen wird, sind maßgeblich durch die Medien ihrer Darstellung bestimmt. Von der ersten Skizze über die Präsentation im Wettbewerb bis zum suggestiven Schaubild für die Kommunikation und Vermarktung werden seit jeher Verfahren der visuellen Modellierung und bildlichen Repräsentation eingesetzt. Mit der Digitalisierung der Architektur erfährt nicht nur das Entwerfen, sondern auch das Visualisieren von Architektur einen grundlegenden Wandel, der sich über das digitale Bild vollzieht.
Salvaging Buildings - Reclaiming a Livelihood from the Excesses of Istanbul's Mass Urbanization
(2023)
For at least two decades, major cities in Turkey have been subjected to endless waves of urban development that has left scores of building demolitions in its wake. The construction waste produced is immense but its removal or abatement is completely ignored by the state. Who will deal with all this waste? Enter the reclaimers (çıkmacıs), an informal network of building salvagers, who have stepped in to create a new form of assemblage that fills this gap. Erdogan Onur Ceritoglu makes an in-depth ethnographic study of the under-the-radar livelihood of the reclaimers long-term. He also focuses on incremental architecture through the reuse of second-hand building elements.
Europe is also architecture. When Jacques Derrida counts philosophy, democracy and the
Enlightenment, architecture is an essential gap. There is a number of artistic
expressions, but amongst them architecture, as the space that we live in, plays an
exposed role. Architecture is a criterion, a tradition that truly belongs to Europe. A
debate on the architectural artistic representation of Europe from the past to the future
will consolidate a place for Europe in the world. And this place does not, at least not in
the principal sense, yield to the imperialist tradition. On the contrary, Europe’s
architecture consists mainly of civilian or clerical buildings. Built architecture though is
subject to its deterioration, while the intellectual achievement of architectural projecting
and design are what will be left of Europe’s history. Architectural ideas are almost
timeless as they always negotiate ourselves in our environment. But ideas are rarely
acknowledged as deserved. In most cases, architecture that does not meet today’s
needs is considered as part of building archaeology. But there is much more in historic
architecture, a wealth of inspirations. Architecture has always been more than buildings.
This artistic surplus needs to be exposed, to be presented as a timeless intellectual
achievement that goes far beyond its original historical intention. For this we have
developed a method that visualizes architectonic ideas. The presentation aims to
demonstrate and illustrate this method by several projects developed by the authors in
cooperation with archaeological research institutions like Cologne Cathedral and its
Predecessors (by order of and exhibited in Cologne Cathedral), The Metropolis of
Pergamon (within the German Research Fund Excellence Cluster TOPOI, actually
exhibited in Leipzig as part of Sharing Heritage, the European Cultural Heritage Year
2018), The Palatine Palaces (by order of the German Archaeological Institute, both latter
exhibited in the Pergamon Museum Berlin).
How to Communicate Complex Spatial Itineraries: A balancing act between diagram and simulation
(2022)
This paper shows our method of visually conveying the intricate pathway system of the unique amphitheatre in Durrës, Albania, in a way that allows visitors to experience the spatial implications for the ancient world. In the firm conviction as architects that architecture can best be understood when it is experienced, but that a destroyed building can no longer be witnessed, we have elaborated a method that does justice to this circumstance. In the communication of archaeological knowledge, the combination of find drawing, schematic illustration and descriptive text is often relied upon. Recently, perspective computer-generated drawings have entered the picture. What remains unresolved, is the perception of space as a process. Technology has not yet reached the point where a virtual world that deceives all the senses could simulate actual spatial perception. And so here, as in perspective composition, it is necessary to compensate for the actual perception of space by means of targeted image guidance by the film camera in such a way that a plausible impression of space is created. In addition to the composition criteria of point of view and angle of view, from which the focal length then arises, as well as the tilt-shift lenses for the compensation of the sense of balance, that is, that the recognition of the vertical is reproduced exactly in the image, and finally image framing, dynamic criteria are added. These are first and foremost the speed of movement, which has a considerable influence on the perception of the dimension, above all the length of the path travelled, but also the speed of rotation during changes of direction and, and here it becomes particularly demanding, the rotation as well as its speed before, during and after changes of direction, since the gaze does not run tangentially to the direction of movement, but anticipates changes of direction of the path, similar to directional headlamps in certain cars. In the end, the viewer receives a lasting impression that comes as close as possible to the archaeological hypothesis, but at the same time creates a spatial impression from an architectural point of view.