Kas Oosterhuis 9788878381032 Kas Oosterhuis

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Titel: Kas Oosterhuis
Auteur: Kas Oosterhuis
ISBN: 9788878381032
Conditie: Beetje gebruikt

All Oosterhuis' work outlined in this book is built around how rigorous design and free creativity can interact through subtle attention to digital technology. Kas Oosterhuis's architecture runs along the fine line separating or joining it to the realms of art. Oosterhuis has built all his work, illustrated in this book, around a combination of rigorous design and artistic freedom, while also paying subtle attention to digital technology. His work ranges from the’ multiform Active Structures of “Trans-ports'’, an interactive pavilion, to the functional layout of spaces of the Garbage Transfer Station, Variomatic S(culptures) and Vartomatic Landscapes), and finally the clever architectural forms of the Helsinki Music Center and fantastic Programmable Landscapes, a “game” played by a Database on one hand and Intuition on the other. These dialectical relattons between design philosophy and clever invention place Oosterhuis’s works at the cutting-edge of modern-day architectural design. Game, set and match “Architecture is the masterly, correct and magnificent play of masses brought together in light” as Le Corbusier put it in his manifesto Towards A New Architecture. Everything has changed since then, and we are ready for a new paradigm: “Architecture is the programmable hyperbody played skilfully by its masters at the speed of light”. Le Corbusier gave shape and meaning to architecture in the era of the Industrial Revolution. Let's now programme hyperreality in our era of the Digital Revolution. Let's face it: virtual reality is in all respects more real than what we take to be natural reality. Virtual reality including any software ever written for any platform is hyper-real. Simply because we know the stuff it is made of. We know every bit and byte. In the Digital Revolution reality is being re-written from ground zero. Architecture becomes a game being played by its users. And not only architecture will be subject to the forces of real time calculation. Planning, construction, interior design and landscape design are also ready to be developed as real time games. During the design process the game is designed by the architect and. played by all parties involved. During the life-cycle of the building and the built environment the game is played by their users, by the visitors and by the built environment itself. Visitors become participants in the experience economy. By playing the game the participants set the parameters. Each actor triggers an array of sensors writing the new data into a database, from where the building picks up the new data and starts reconfiguring itself, in shape, in content, or both in shape and content. Then the new configuration is matched to the desired conditions. It is fair to say that the building will find itself in a state of continuous operation. The building, consisting of numerous cooperating programmable elements, will behave like a swarm. The building elements will show flocking behaviour, always keeping an eye on the neighbouring actor, always ready to act and react. Hence we propose a new motto for the discipline of architecture: “Game, set and match”. To be played over and over again. Architecture is turning wild. Most people who theorize about the fate of architecture, and its ongoing tendency towards lightness, focus on the constructional aspect. They talk about the use of mirrors ìn the 18th century, new construction techniques in the 19th, modernist transparency and screen facades in the 20th century. For these people the 21st century will show architecture that is even lighter, usìng all kìnds of synthetic materials and fast click systems. There are also theorìsts who concentrate on a conceptual level. These thiìinkers explore the progressive immaterialisation of the architectural object, its gravity, its integrity and its solidity. They come up with either a sort of minimalism, a neutral, abstract space oriented approach, or all kinds of aberrations of Platonic volumes: deconstructivism, blobs, and so on. But there is also a social and programmatic level. And this is perhaps the most important impetus in the literal en-lightening of architecture. Architecture always was a representation of power, and as such a conquest of a certain territory by definition. It also circumvented the agents of social cohesion: a church, a ternple, a palace. Later, in modern tames, even when secularization challenged these agents, the new ones still needed architecture to enclose them: the family house, the factory, the office. In the best functional tradition, people moved from one situation to the other. Today we see the next step of dissolution of social bodies. Families, firms, communities are either vanishing or changing their structure. After the melting into air of ideologies and big moral institutions, how the turn of patterns of dependen ind interaction between people te liquefied. They have become Heable. What we seen is a loss of strong mutual engagement, defined through atial protocols. For instance, in a rt varkable reversal of the millennia long tradition, it is the high and mighty of the day who resent and shun the durable and cherish the transient. Social disintegration is as much a condition e as it is the outcome of the new technique of power, using disengagement and the art of escape as its major tools. Having said that, it seems appropriate on this occasion to look to the way we might take this situation as a condition for creative design, rather a than the hindrance of it. We need to m conceptualize architecture which is no longer the art of occupying space by its enclosure, but the creation of situations that become movable and thus reflecting major social tendencies. What will be the new mandate of architecture in the age of liquid meodernity? As technical facility, spatial accommodation and property investment, architecture will never become superfluous. As long as there are people, they will need shelter and this is in itself enough to guarantee the continued existence of an entire profession. But as a cultural carrier architecture may indeed become superfluous. Culture may designate subs other carriers; people may satisty their tha need for meanìng elsewhere. On this score, architecture must prove itself over and over again, and it is precisely this that makes ìt an art and an interesting cultural medium.

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