Schriften der Bauhaus-Universität Weimar Die Realität des Imaginären Architektur und das digitale Bild 10. Internationales Bauhaus-Kolloquium Weimar 2007 120 Jörg H. Gleiter, Norbert Korrek, Gerd Zimmermann (Hrsg.) Die Realität des Imaginären Architektur und das digitale Bild 10. Internationales Bauhaus-Kolloquium Weimar 2007 Inhalt Gerd Zimmermann Die Realität des Imaginären. Architektur und das digitale Bild 5 | Jörg H. Gleiter The Reality of the Imaginary Architectural and the Digital Image 7 | W. J. T. Mitchell Back to the Drawing Board: Architecture, Sculpture, and the Digital Image 13 | Plenarvorträge Lambert Wiesing Artifizielle Präsenz und Architektur 23 | Gerd de Bryun Von der ephemeren zur pervasiven Architektur oder: Die Kraft der Bilder 31 | Mario Carpo Video killed the Icon Star Inkarnationen der Architektur im Zeitalter unbeständiger Bilder 37 | Roemer van Toorn The Quasi-Object. Aesthetics as a form of Politics 43 | Eduard Führ Ikonik und Architektonik 49 | Ullrich Schwarz „Das echt-absolut Reelle“ (Novalis). Überlegungen zu einer reflexiven ästhetischen Moderne 63 | Arie D. Graafland Nature, Territoriality, and the Imaginary 77 | Albena Yaneva Obsolete Ways of Designing Scale Models at the Time of Digital Media Technologies 83 | Martin Seel Architekturen des Films 91 | Karl Sierek „Architketur in Bewegung“ Zur Enträumlichung urbaner Orte durch Medien- und Lichtfassaden 99 | Frank Eckardt Globale Medien – Urbane Bilder 105 | Harry Francis Mallgrave Utopia or Oblivion. The Image of the 1960s 111 | K. Michael Hays The Desire called Architecture 117 | Kachiro Morikawa Learning from Akihabara: The birth of a personapolis 123 | Stephan Günzel Die Realität des Simulationsbildes. Raum im Computerspiel 127 | Sylvia Lavin Architecture Animé or Medium Specificity in a Post-Medium World 137 | Frank R. Werner Einverleibungen oder (vor)digitale Positionierungen von Körpern im Raum 141 | Klaus Jan Philipp Die Imagination des Realen Eine kurze Geschichte der Architekturzeichnung 147 | Kari Jormakka Paper, Rock, Scissors: anaolog and digital pictures in architectural design 159 | Philipp Ursprung Photoshop und die Folgen: Das Dilemma der Architekturdarstellung 171 | Liane Lefaivre The Power of Play 177 | Alexander Tzonis Peak and Valleys (by Architecture) in a Flat (Digital) World 183 | Workshop 1: Bild und Raum Sabine Zierold Bild und Raum 195 | Leslie Kavanaugh Architecture in the Age of Digital Representation 197 | Andrzej Zarzycki Formal Mutations 203 | Margarete Pratschke „Overlapping Windows“ Architektonische Raumkonzepte als Vorbilder des digitalen Bildraums grafischer Benutzeroberflächen 211 | Katharina Richter Das digitale Bild als Ideenakzelerator 219 | Bernhard Langer Entleerte Bilder. Indexikalität und Buchstäblichkeit 225 | Ching-Pin Tseng The Disjunction between Image and Space: The Representation of Imaginary Reality and Its Spatial Reconstruction 233 | Workshop 2: Architektur und die Erzeugung der Sichtbarkeit Asli Serbest, Mona Mahall The Aesthetics of Digital Images – Selection and Semiosis 243 | Ingeborg M. Rocker Architecture of the Digital Realm: Experimentations by Peter Eisenman | Frank O. Gehry 249 | S. Yahya Islami Digital Surfacing 263 | Tonguç Akıs¸ Haptic in Architectural Design Education New Possibilities in the Information Age 269 | Ingrid Böck Imaginary Architecture and Spatial Immediacy Rem Koolhaas and Experimental Conditions of Architecture 273 | Ole W. Fischer Atmospheric Interferences On the production of physical presence in the age of digital representation 279 | Workshop 3: Globale Medien – Urbane Bilder Till Boettger Physische Nachbildungen im Prozess des authentischen Eintauchens 289 | Stephanie Hering New York als Weltfinanzhauptstadt in ihren materialen und virtuellen Architekturen Das Beispiel der nyse 293 | Felix Sattler Architektur und Performativ Das Fernsehbild der Freiheitsstatue am 11. September 2001 299 | Lorenzo Tripodi Space of exposure: notes for a vertical urbanism 305 | Alexander Jachnow Attractive Eyesores – The image of slums in the world’s cities 313 | Workshop 4: Mobilsierungsformen des Blicks Ingmar S. Franke Mobilized Multi-Perspective—Virtual Views 317 | Birgit Maria Leitner Architécriture: Jaques Tatis Playtime (1967) 321 | Nathalie Bredella Die Inszenierung des Blicks im Backstage-Film: Directing the Spectator’s View 329 | Sandra Schramke Eameses’ Exhibition Architecture 1959–1965 333 | Michele Stavagna Image and the Space of the Modern City in Erich Mendelsohn’s Amerika: Bilderbuch eines Architekten 339 | Alena Willams Movement in Vision: Architecture and László Moholy-Nagy’s Light-Space Modulator 345 | Die Realität des Imaginären. Architektur und das digitale Bild X. In 1976, fifty years after the opening ceremony of the Dessau Bauhaus building, the first International Bauhaus-Colloquium took place in Weimar as a conference of re- searchers in the field of Bauhaus history. From that early beginning the Bauhaus Collo- quium without doubt was the largest and most influential architecture conference in East Germany. And it was an exceptional East-Western meeting place. In 1992, three years after the collapse of the wall and the decline of the gdr, we started once again the Bauhaus-Colloquium in Weimar, the 6th one. Impressed by the unveiled pathology of political systems and with Nietzsche in our mind, the Collo- quium reflected on the relation of ”Architecture and Power“. In 1996, under the headline Techno-Fiction, we thought about the invention of technological utopias, mainly the expectations for a new digital world—indeed a very topical question. In 1999 the title of the Colloquium was Global Village. Perspectives of Architecture. Frederic Jameson suggested that cultural globalization will construct new modes of architectural production, new codes, and hybrid styles. Michael Hays told us about the smoothness and flatness of the world. In 2003 we focused on Medium Architec- ture, trying to read architecture as a medium. Jean Baudrillard spoke about 9/11 and it became fully evident that ”architecture is what its media are“. Trying to seize crucial questions of architecture, the Bauhaus-Colloquium rose to be some kind of a jewel in Bauhaus-University. Step by step it became a very prominent place for theorizing architecture. In 2007 once again the world of architecture theory was gathering in Weimar at the X. International Bauhaus-Colloquium. We are very glad to have had contributions by 51 leading scientists from Austria, Canada, China, France, Germany, Great Britain, Holland, Italy, Japan, Poland, Switzerland, Turkey and the usa. These include the media, art, and literature theorist Prof. William J. T. Mitchell (University of Chicago), a leading figure in visual culture and the author of Iconology (1986) and Picture Theory (1994), the star architect Arata Isozaki (Tokyo), who designed the Olympic stadia in Torino and Barcelona, the Harvard Professor K. Michael Hays, the best-selling author and anime researcher Kaichiro Morikawa (Tokyo), the Director of the McLuhan Program, Derrick de Kerckhove (Toronto), the former Gropius-Professors in Weimar Kari Jormakka (Vienna) and Kurt Forster (Yale University), the image philosopher Lambert Wiesing (Jena), the historian Mario Carpo (Paris), the architectural historian Sylvia Lavin (Los Angeles), the architecture theorists Arie Graafland (Delft), Alexander Tsonis, Liane Lefaivre, and many other outstanding and leading figures in the world of architecture theory and philosophy. And I am especially glad that again we had a group of very promising young researchers in the workshops of the Colloquium. topic Like Etienne-Louis Boulée, El Lissitzky, Le Corbusier, and many other architects, Henry van de Velde originally was a painter. Walter Gropius was not a painter, but searching for a fundamental visual grammar of all art and architecture. The Barcelona Pavilion for a long time existed only as a group of photographic pictures, wich we took for rea- lity. Rudolf Arnheim told us decades ago what now is fully evident, that iconic think- ing and the use and production of pictures and iconic metaphors is crucial for archi- tecture. In short: Architecture is picture processing. But today, in the time of what we may call digital imperative, and under the con- ditions of global networking, pictures are no longer what they were before. Digital pictures are no longer analogy, but construction. And this makes a fundamental differ- ence. And digital pictures are no longer regional, but globally present. And this makes a fundamental difference too. Subsequently, digital imaging is one of the upcoming super-powers in the beginning of the 21st Century. 5 The old questions are transforming into new ones. If reality and imagery implode, how are we then to speak about delusion, iconoclasm and the magic power of iconic rituals? Especially architecture may help to answer such questions, because it is mainly architecture, wich consists of this unique dual nature to be material and iconic, spatial and pictorial in the same time. Architecture is: stony images. And what about these authors who talk about a renaissance of the analogue against the digital? Bauhaus-University Weimar today integrates architecture, engineering, design, art and media. It seems to me, that the main question of our colloquium is a core questi- on for the university too. We have extended work here in all faculties about model- ling, simulation and visualization, and we plan to focus on these scientific and artistic capabilities. Thus after van de Velde and Gropius, digital