Analogue landscape: Approaches to the lost space of the Indefinite

Research output: ThesisMaster's Thesis

Abstract

This master thesis is a call for a new architectural form. An artistic tool that attempts, in a reality of superficial accumulation, to invert all superficiality and to add a new plastic thought to the traditional notion of space. At the same time, this thesis focuses on the emergence of the new architectural form. When the modernist concept of an ideal, explainable, and finite object is relinquished and instead the object is regarded as a succession of differences and intensities wherein each part defines a particular world of its own, then the artistic investigation of such an object lies within a deeper, indefinable notion. Central to these thoughts is the line: at first as the literal line within the architectural drawing, but later as a metaphor for any spatial concretion. A line that is understood as a borderline between the visible and the invisible, the real and the virtual. This topological condition is presented in two textual essays and a visual and diagrammatic one. The metaphor of painting for the production of the text and the images, and the emergence of a spatial condition in the textual and visual language shape this thesis on several levels: each written or drawn expression is more of a continuous search, an intensification, and an expansion than an isolated form. The first essay presents a framework of terms that are developed in their relations to architectural theory, art, and philosophy. At the end of the first essay, these terms raise a question concerning the re-definition of the architectural form. This definition is formulated in the second essay by means of setting-up the two essential spatial functions: the function of the explication and the function of the implication. The atmosphere of this spatial understanding which sums up all previous thoughts is shown in the third visual essay: the development of a form emerging from a concrete place - a section of the South Tyrolean Dolomites – where in addition to its specific landscape and topography one also finds inscribed the topological traces of a war landscape. The place shows itself as a fabric, where - in its global movement - the new architectural form is positioning itself on a local scale. The formation of a deeper and yet to be experienced plasticity creates a spatial condition, in which the function does not occur outside of the form, but takes place as an event between human and form as well as between form and form itself. A form of the indefinite, the creation of a new identity, arising from an analogue landscape.
Translated title of the contributionAnalogue landscape : Approaches to the lost space of the Indefinite
LanguageGerman
QualificationMaster of Science
Awarding Institution
  • Graz University of Technology (90000)
Supervisors/Advisors
  • Lechner, Andreas, Supervisor
StatusPublished - 2015

Fingerprint

Philosophy
Redefinition
Architectural Drawings
Visual Languages
Atmosphere
Invisible
Modernist
Architectural Theory
Concretions
Positioning
Thought
Explication
Superficiality
Topography
Plasticity
Visible
Art

Keywords

  • Landscape
  • Morphology
  • Topology
  • Virtuality
  • Art
  • Architectural theory
  • Philosophy
  • Drawing
  • Painting
  • Processuality
  • Autonomy
  • Form
  • Object-oriented ontology
  • Methodology
  • Diagram
  • Plasticity
  • South Tyrol
  • Alps

Cite this

Pirker, CW 2015, 'Analogue Landscape: Approaches to the lost space of the Indefinite', Master of Science, Graz University of Technology (90000).
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abstract = "This master thesis is a call for a new architectural form. An artistic tool that attempts, in a reality of superficial accumulation, to invert all superficiality and to add a new plastic thought to the traditional notion of space. At the same time, this thesis focuses on the emergence of the new architectural form. When the modernist concept of an ideal, explainable, and finite object is relinquished and instead the object is regarded as a succession of differences and intensities wherein each part defines a particular world of its own, then the artistic investigation of such an object lies within a deeper, indefinable notion. Central to these thoughts is the line: at first as the literal line within the architectural drawing, but later as a metaphor for any spatial concretion. A line that is understood as a borderline between the visible and the invisible, the real and the virtual. This topological condition is presented in two textual essays and a visual and diagrammatic one. The metaphor of painting for the production of the text and the images, and the emergence of a spatial condition in the textual and visual language shape this thesis on several levels: each written or drawn expression is more of a continuous search, an intensification, and an expansion than an isolated form. The first essay presents a framework of terms that are developed in their relations to architectural theory, art, and philosophy. At the end of the first essay, these terms raise a question concerning the re-definition of the architectural form. This definition is formulated in the second essay by means of setting-up the two essential spatial functions: the function of the explication and the function of the implication. The atmosphere of this spatial understanding which sums up all previous thoughts is shown in the third visual essay: the development of a form emerging from a concrete place - a section of the South Tyrolean Dolomites – where in addition to its specific landscape and topography one also finds inscribed the topological traces of a war landscape. The place shows itself as a fabric, where - in its global movement - the new architectural form is positioning itself on a local scale. The formation of a deeper and yet to be experienced plasticity creates a spatial condition, in which the function does not occur outside of the form, but takes place as an event between human and form as well as between form and form itself. A form of the indefinite, the creation of a new identity, arising from an analogue landscape.",
keywords = "Landscape, Morphology, Topology, Virtuality, Art, Architectural theory, Philosophy, Drawing, Painting, Processuality, Autonomy, Form, Object-oriented ontology, Methodology, Diagram, Plasticity, South Tyrol, Alps",
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AB - This master thesis is a call for a new architectural form. An artistic tool that attempts, in a reality of superficial accumulation, to invert all superficiality and to add a new plastic thought to the traditional notion of space. At the same time, this thesis focuses on the emergence of the new architectural form. When the modernist concept of an ideal, explainable, and finite object is relinquished and instead the object is regarded as a succession of differences and intensities wherein each part defines a particular world of its own, then the artistic investigation of such an object lies within a deeper, indefinable notion. Central to these thoughts is the line: at first as the literal line within the architectural drawing, but later as a metaphor for any spatial concretion. A line that is understood as a borderline between the visible and the invisible, the real and the virtual. This topological condition is presented in two textual essays and a visual and diagrammatic one. The metaphor of painting for the production of the text and the images, and the emergence of a spatial condition in the textual and visual language shape this thesis on several levels: each written or drawn expression is more of a continuous search, an intensification, and an expansion than an isolated form. The first essay presents a framework of terms that are developed in their relations to architectural theory, art, and philosophy. At the end of the first essay, these terms raise a question concerning the re-definition of the architectural form. This definition is formulated in the second essay by means of setting-up the two essential spatial functions: the function of the explication and the function of the implication. The atmosphere of this spatial understanding which sums up all previous thoughts is shown in the third visual essay: the development of a form emerging from a concrete place - a section of the South Tyrolean Dolomites – where in addition to its specific landscape and topography one also finds inscribed the topological traces of a war landscape. The place shows itself as a fabric, where - in its global movement - the new architectural form is positioning itself on a local scale. The formation of a deeper and yet to be experienced plasticity creates a spatial condition, in which the function does not occur outside of the form, but takes place as an event between human and form as well as between form and form itself. A form of the indefinite, the creation of a new identity, arising from an analogue landscape.

KW - Landscape

KW - Morphology

KW - Topology

KW - Virtuality

KW - Art

KW - Architectural theory

KW - Philosophy

KW - Drawing

KW - Painting

KW - Processuality

KW - Autonomy

KW - Form

KW - Object-oriented ontology

KW - Methodology

KW - Diagram

KW - Plasticity

KW - South Tyrol

KW - Alps

M3 - Masterarbeit

ER -