The Body in Architecture

Description

How do you define your role as an architect?
I move within an expanded architectural concept,
which is made up of the intertwining diversity of
space in academic teaching, art and design. In Vienna,
I found it difficult to come up with a name for my
job. In Rio de Janeiro this became irrelevant, as one
thinks less in categories there. I found my concept
of body, space and architecture anchored in Rio:
culture and body-cult, the artistic spatial references
of Brazilian artists and architects. This climate
influenced me greatly, as did among others a work
by Lygia Clark titled A casa é o corpo (The House Is
a Body).
What do you teach your students about this very different
cultural environment you experienced?
I would like to convey to my students that architecture
can be seen in an expanded social and societal context.
For me, it is important to observe what is happening in
art, because events and exhibitions, such as the Manifesta
or the Venice Biennale, broaden your point of view
and keep you from stewing in your own juices — your
own culture. It helps find other solutions. I like to use the
example of the word sleeping, which in Europe we immediately
associate with a bed. In Japan, on the other
hand, sleeping is connected with a futon or, in Brazil, a
hammock…
Thinking space means thinking not only about the hard
facts, but also the soft skills. Architecture has to do with
dedication, not only to the design process, but also to
implementation. This includes creating partnerships
with tradespeople and professionals in order to achieve
better solutions.
What is your Herzblut project?
My Herzblut project is Vanilla Space, which
refers to a project by Haus-Rucker-Co and
best embodies my view of architecture as
occupied space in connection with space
and architecture. The project was also a
turning point for my practice.