O ce for Phantasmatic Displace
ments
Design is some sort of a technique to organize things
and processes in an e cient and smoothway. In order
to create just a beautiful surface it often ignores cru-
cial questions on social and environmental impacts.
With our approach we directly focus on these ques-
tions using what we call phantasmatic displacements
as a tool, which opens up discontinuities, controver-
sies and spaces of reflexion in public sphere. In order
to architecture and questions of urban planning it
means to create a site-specific fictionwhich reacts sub-
versive on the surrounding context.
For ourworkshopwe use phantasmatic displacements
in the form of construction sign building-blackboards,
which have to be designed by the students. The aim is
to generate a phantasma which transforms common
patterns of perception, creates areas of involvement
and penetrates social conditions. Installing these con-
struction sign building-blackboards on selected places
in the city the students have to promote their architec-
tural vision to the passerby. By performative interac-
tions they generate together with the passerby a shift-
ed perspective on the symbolic order of the city. So
these sitespecific fictions have the potential to induce
unexpected shifts in everyday life.
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Jakob Pock
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Franziska Hederer
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Max Höfler
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PG 2 Meppel DLVZ/Studio …
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renedaniels_-painting-on-the-bullfight_1985_foto-peter-cox__Courtesyvan Abbe MuseumDen Bosch
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Michel Melenhorst
A
RoomDisplaced
To understand the fundamental element of (a) space,
we reduce it to its (arbitrary) elementary, essential
characteristics and then
displace
it from its original
context. In the reduction and
displacement
we grasp,
know and feel a space.
Three steps
1. The displacement starts through the isolation and
mimesis of an interior space. A new space is created
whenwe get to the essential qualities of a space and
recreate it with minimised means and elements. How
to decide andwhy?What´s awindowwhenwhat´s
behind it, is unknown, is it essential? Do you replace
it? And howdoes this affect the space?
2. The space is loose from its context andwill be (dis)
placed in a new ´social´ spatial context in the public
domain. What techniques do you use in defining it´s
new location: Drawing, 1:1 test trial and error? Can
you deduce directions from the spatial intrinsic values
of the space?
3. In a new context the space will be adapted to a point
that is regathers the same spatial qualities as it had
before step one.
To describe, evaluate and valuate these steps we will
use the terminology as developed by architect Hans
van der Laan: Spatial cell, court and domain.
Central and permanent to our spatial experiences is
our body; the one constant factor in all our encounters
in changing contexts. Therefore, the workshops start
with an exercise in displacement of the body using ba-
sic Aikido techniques.
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MICHEL MELENHORST
Hochschule Ostwestfalen Lippe,
Detmold School of Architecture and
Interior Architecture/FM Architecten
ERIC DE LEEUW
ArtEZ University of the Arts;
Architecture and Interior architecture/
DLVZ/ studio
FRANZISKA HEDERER
Graz University of Technology / Forum
Stadtpark / In Your Face Architects
MAX HÖFLER
Forum Stadtpark / In Your Face
Architects
Franziska Hederer
, born 1972 in
Austria, studied Architecture in Graz
/A and Delft NL, Associated
Professor at University of
Technology / Graz/ Department of
Spatial Design. Focus in Teaching
and Research: Spatial Perception
and Experimental Design. Teaching
activities at KTH-Stockholm, TU-
Liverpool and University of Applied
Arts / Vienna Part of the artist
association FORUM STADTPARK.
2015 Habilitation thesis: On the
oscillating boundaries of
architecture_tools for spatial
perception.
Max Höfler
, born in 1978, is a Graz,
Austria, based author, sound artist,
curator and part of the artist
association Forum Stadtpark and
the international radio art collective
radia. He is the founder of In Your
Face Architects and the net art
project Eigenheimgalerie GG44. He
studied German literature,
philosophy and history of art and
did his PhD on Post-Wittgensteinian
aesthetics.
Max Höfler is writing experimental
texts, which are influenced by the
avant-garde movements of the early
20th century. For his books he was
awarded several prizes and grants.
Michel Melenhorst
After his studies
at Delft Technical University Michel
Melenhorst worked at Wiel Arets
(1991-1995) and Rem Koolhaas/OMA
(1995-1999). He founded M
architecture in 2000 that merged
with DAAD Architects 2005 and
continued 2012 as FM together with
Angelika Fuchs, FM specialises on
research and design especially on
educational and inclusive spaces.
Since 2012 he is a Professor for
Contextual Design, at the HS
Ostwestfalen-Lippe in Germany he is
speaker/coordinator for the Master
of Integrated Architectural Design.
Melenhorst has an extensive
experience in teaching and
lecturing: TU Delft, KTH Stockholm,
Design Academy Eindhoven, HCU
Hamburg, Arhus school of
Architecture, Academy of
Architecture Groningen.
For Docomomo international he is
active in the Workgroup education.
Eric de Leeuw
studied Interior
Architecture and Architecture at the
University of Architecture,
Amsterdam where he graduated
cum laude in 1996.
He worked at Mecanoo Architects
and in 1997 he founded DAAD. In
2005 he founded DLVZ/ studio
together with Ingrid van Zanten.
DLVZ/ is an interdisciplinary studio
that has realised project s in
almost every domain of spatial
design. DLVZ/ invests many effort in
research in order to enlarge the
knowledge of the discipline.
In 2001 Eric de Leeuw started
tutoring at many different schools
i.e. the Universities of Architecture
in Amsterdam, Rotterdam, Arnhem
and Groningen. And at the
University of the Arts, Int.
architecture, in Zwolle. Currently he
holds a position as head and tutor at
ArtEZ University of the Arts,
department of Interior Architecture.
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