On this evening we want to reflect on the nature of the idea of aesthetics in architecture. We have noticed that the topic has become increasingly polarized. Aesthetics is often regarded as something individual and subjective. In education (in Delft) it is therefore often not valid as a design decision. In practice, also, clear pragmatic and rational design decisions prevail over more undefinable and ungraspable aesthetic considerations, due to efficiency of costs and organization of the process.
Five speakers with both a practical and theoretical background will give a short pitch of their vision regarding the topic. These pitches are followed by an informal discussion with the audience. Harm Tilman, editor in chief of the magazine ‘De Architect’ will be the moderator of the night.
We are happy to announce the following speakers:
Giovanna Carnevali – director of the Mies van der Rohe Foundation
Peg Rawes – senior lecturer at the Bartlett School of Architecture, UCL
Sascha Glasl – owner and co-founder of the office Space&Matter
Jurjen Zeinstra – acting associate professor at the Architecture of the Interior Chair, TU Delft and owner and co-founder of Zeinstra van Gelderen Architecten
The night will start at 20.00h at Art Gallery Kadmium Delft. We advise everybody to be there a bit earlier (19.30h) to have a good spot!
Tickets are 5 euro for non-members and 2,50 euro for Argus members. A drink is included!
Presale: friday 8/5, monday 11/5 and tuesday 12/5 during the lunchbreak in the main entrance hall, faculty of architecture. CASH ONLY
Doorsale: 19.30h, only when there are tickets left.
Make sure to get your ticket in time, since last year we were full!
Texts, images and ideas about architecture are today omnipresent. Through websites, blogs, platforms and interest groups we are continuously informed about ideas, developments and controversies concerning the built environment. Professionals as well as non- professionals generate a never- ending stream of information on projects and buildings. Within this cloud of ‘big data’ the publication of a yearbook seems like an archaic venture; a last convulsion of what Victor Hugo once called the largest event in history.
In this debate we want to explore the role of a (year)book within the broader landscape of architectural criticism. Which role does such a book play within architectural culture; apologetic or rather explorative? How does the slowness of the yearbook relates to the temporalities of other forms of criticism? Is such a book an exercise of convergence within architectural culture or rather an attempt to surface multiplicity and divergence? What role does a (year)book play within architectural practice and education?
Hans van der Heijden
Marina van den Bergen
Do you want to participate in this debate and do you have an interesting question in mind? Let us know! We are looking for two or more students to ask questions at this debate. You can mail us at email@example.com.
Join us for a debate on Thursday March 12th at 16:00h in Room K.
The 13th International Architecture Exhibition entitled Common Ground, directed by David Chipperfield, will open to the public from Wednesday August 29th until Sunday November 25th 2012, at the Giardini della Biennale and at the Arsenale. The Exhibition will be complemented by 55 National Participations organized, as usual, in the Pavilions at the Giardini, at the Arsenale, and in the city of Venice. At the coming Biennale di Venezia, The Delft School of Design (DSD) will be representing the TU Delft Faculty of Architecture during the Biennale Sessions, an event for universities from all around the globe.
The DSD will collaborate with two other universities, including the Dessau Institute of Architecture (DIA), and will organise an intense 3-day event by the name of “AAA” within the Biennale venues for our group, other universities and vistors. The event will take place from October 16th till October 18th. Besides the students from the partner universities, we will represent the TU Delft with a group of 35 students. Within the span of a week we will visit the Biennale session, The exhibition and Venice itself. The journey to Venice will be from October 15th till October 21.
The threefold program of the biennale di Venezia 2012 trip will be: Participate, Explore, and customizable excursions. If you want more information on these topics, please click on them.
The journey will be organized in collaboration with ARGUS, the student association of architecture master students. The costs of this excursion will be approximately 400€, this includes travel (transfer, plane, boat-pass), accommodation and entry to the Biennale. We are looking for motivated students that are interested in joining us at the Biennale! Because we can only accomodate 35 students and more people have shown interest already, we would like to ask you to make a very small assignment. This way we can select students together with the board of the DSD.
To apply for this excursion, click here
For more information visit:
B-Nieuws article (may 2012)
Delft School of Design (DSD)
Info around AAA
At the coming 13th International Architecture Exhibition “Common Ground” at the Biennale di Venezia,
The Delft School of Design (DSD) will be representing the TU Delft Faculty of architecture during the Biennale Sessions.
The DSD will organise with dr.ir. Andrej Radman and Marc Boumeester and their graduation studio an intense 3-day event by the name of “Somæsthetics” within the Biennale venues for our group, other universities and vistors.
The event will take place at the end of september 2012, where we will represent the TU Delft with a group of
50 students and tutors and within the span of a week we will visit the Biennale session and Venice itself.
The event will be organized in collaboration with ARGUS,
the student association of architecture master students.
We are looking for motivated students that are interested
in supporting the organization of the trip.
Are you eager to join up for the team, let us know! Send us an email at firstname.lastname@example.org.
Do not hesitate to ask for further information or comment on this post.
For more information visit:
Delft School of Design (DSD)
Info around Somæsthetics
Andrei Tarkovsky Retrospective
(text by: Marc Schoonderbeek)
Organized in cooperation with BORDER CONDITIONS/TERRITORY/PUBLIC BUILDING
While the discussion of spatial issues in cinematic discourse is well established, aspects of cinema in architecture are less evident. The discussion of the influence and relevance of cinema for architecture has unfortunately mostly focused on the stage sets created for the enfolding drama of films, with Das Kabinett des Doktor Caligari or Blade Runner as the classic examples of subliminal architectural expression in film. Only in a few exceptional instances has cinema been discussed with less factual and directly translated considerations. Manfredo Tafuri’s analysis of the ‘ambiguity of language’ in Sergei Eisenstein’s study on Piranesi’s Caceri constitutes a theoretical discussion of formal principles and techniques implemented in both disciplines. The Manhattan Transcripts of Bernard Tschumi is another exemplary project that offers a clear and highly original treating of cinema in terms of an architectural inquiry. Tschumi’s project offers an analysis of New York based on small-scale events and their spatial consequences. In this specific project, the architectural consideration of cinema is especially intriguing since it combines the implementation of specific formal techniques with the development of a system of representation that is related to the exploration of urban space. By following the small scenario’s scripts, the city is presented as a potentially interesting field of research where the relationships between space, image and daily life are explored. In this instance, and through the implementation of specifically developed spatial representations, aspects of architecture and cinema are brought into close proximity.
Andrei Tarkovski passed away 25 years ago, on 27 December 1986, not long after finishing his eighth film, Offret/The Sacrifice. To commemorate his extraordinary work, the BC group of the department of Public Building (chaired by Michiel Riedijk) in cooperation with Argus offers a Tarkovski retrospective during which 4 films are viewed and the relationship between architecture and cinema will be discussed. With this retrospective, the organizers intend to offer an extended exploration of the relationship between cinema and architecture. In cinema, explorations of space express temporality via issues of ‘context’, ‘exploration’, ‘ordering’, ‘narrative’ and ‘sequential imaging’. Tarkovski’s work is considered particularly relevant for architecture, as the themes of his films not only cover a variety of spatial and architectural topics, they form a very elaborate and integrated body of work as well where several dimensions of architecture come together. In Nostalghia, the cultural heritage experienced by an artist in exile is part of an extended exploration of the quest for artistic relevance coinciding with a longing for ‘home’. In Andrei Rublov, the role of intuition and reason in artistic practice forms the kernel of the film’s meditations. In Stalker, the voyage into an industrial wasteland becomes part of an inner journey towards salvation while the question of the border, of inclusion and exclusion, of freedom and imprisonment, are also part of the film’s narrative.
Perhaps what connects these films is the systematic deconstruction of the house as home. In each of these films, the house is both the place of being and belonging, as well as a haunted space, a place where elements of decay and alienation play a crucial role in the overall experience of space. The minimal (house) versus maximum (zone) place of dwelling in Stalker; the invasion, doubling and ultimately sacrificial destruction in Offret/Sacrifice; the return to the distant, fatherly home in Solaris and Nostalgia, appearing in dream-like sequences; or even the house of god in Rublov, where perhaps painting becomes the ultimate place of home at the end of the movie, are different manifestations of a recurring architectural theme in Tarkosvki’s work.
The movies are shown on four consecutive Tuesday evenings in room C starting March the 20th at 18.00. (note the last movie showing on April 10th will start at 18.45) we’ll start each evening with an introduction of the movie and after the showing there is room for some drinks and discussions until we’re kicked out of the building. Drinks will be available for 1 euro and you’re able to order your pizza for each evening. You can order a pizza by the use of Paypal, iDeal (not yet) and cash.
introduced by Michiel Riedijk
introduced by Stefano Milani
introduced by Henriette Bier
One Day in the Life of Andrei Arsenevich, a film by Chris Marker
introduced by Marc Schoonderbeek
 See, for instance: Pudovkin’s distinction between ‘filmic time’ and ‘filmic space’ or Stephen Heath’s ‘narrative space’ and David Bordwell’s ‘scenographic space’ in film.
 Manfredo Tafuri, The Sphere and the Labyrinth; Avant-Gardes and Architecture from Piranesi to the 1970s (Cambridge (MA): The MIT Press, 1990), chapter 2: ‘The Historicity of the Avant-Garde: Piranesi and Eisenstein’, pp. 55-91.
 Bernard Tschumi, The Manhattan Transcripts (London: Academy Editions, 1994).