What
does the author’s ‘owning’ of a project mean? And does this sense of
ownership still prevail in contemporary architecture culture? Other more
open forms of cooperation and co-creation are emerging alongside the
concept of individual singular authorship.
What, then, might be
the essential argument for retaining the concept of authorship in
architecture today? Perhaps the most resounding argument is this:
authorship is not only an act that implies originality, it is also a
deeply felt commitment to a work that until its realisation belonged
only to the author, but to which he or she is also completely devoted.
Wouldn’t it be more interesting to imagine the concept of the author in
architecture as a space of possibility, as a field in which the
responsibility, the commitment, even being completely absorbed by the
work of invention, is distributed among several heads and hands?
OASE
113 wants to take a position in relation to the ways in which
authorship in architectural practice is both claimed and addressed. It
wants to argue for the importance of authorship and explore a wider
variety of its conceptions in architectural practice.
What
does the author’s ‘owning’ of a project mean? And does this sense of
ownership still prevail in contemporary architecture culture? Other more
open forms of cooperation and co-creation are emerging alongside the
concept of individual singular authorship.
Through a
series of concrete projects, the contributions in this issue explore the
field of tension between architectural aesthetics and issues of energy,
technology and materiality. Ecological practices in architecture must
not only be effective in providing solutions, but inevitably raise
questions of beauty, affection and perception as well.
Call for Abstracts OASE #115 about “Interferences: Migrating Practices in Europe”, written by Justin Agyin, Kornelia Dimitrova,
Christoph Grafe and Bernard Colenbrander. Deadline is June 19, 2022. Read the full text of the OASE #115 Call for Abstracts in the PDF.
Museums stage public encounters between visitors, objects and
stories. This is not limited to a tour through the exhibition spaces, it
starts already with monumental or ‘tresholdless’ entrances.
This issue of OASE makes a critical analysis of how soil connects to
urban planning and urban design, and how it can adjust those practices
in exploring new agendas.