Papers by Anne-Catrin Schultz
Expanding the View
As the COVID-19 Pandemic has disrupted how we learn and work, questions about how knowledge and s... more As the COVID-19 Pandemic has disrupted how we learn and work, questions about how knowledge and skills are acquired within architecture education have become more urgent than ever. This paper examines the framework and results of running the FutureLab, a participatory project-based learning environment situated in-between academia and practice. Wentworth Institute of Technology requires two mandatory co-op experiences. During the unfolding of the COVID-19 pandemic and the initial disruptions, students had difficulties securing regular co-op jobs in the summer of 2020. Designed to offer a co-op alternative, the FutureLab connected students to industry and community leaders across different disciplines. For 13-weeks Innovation Fellows worked in teams initially diverging into different verticals such as healthcare, sustainability, future of work, and communities among others to get inspired and jumpstart broad innovative thinking. Using a variety of innovation methodologies and tools s...
Technology|Architecture + Design
Technology|Architecture + Design
Open
Architecture has been used to demonstrate political change in many instances throughout history. ... more Architecture has been used to demonstrate political change in many instances throughout history. This research paper explores tendencies in German architecture after West and East Germany unified in 1990 after more than 40 years under separate political systems, economic conditions and architectural development. The main narrative of the research traces the process of defining new identities after the collapse of a strong physical border and a shift in political and economic structure. Practically overnight an area of more than 40,000 square miles was added to West Germany, and the land and inhabitants of the former GDR joined a lifestyle that seemed to have been driven by consumption and opportunity. Over the next few decades, a building boom unfolded in the area that was formerly East Germany and in the city of Berlin. Architecture after 1990, the year of the German re-unification, also modeled a set of values aiming at progress, unity and technical ability. It retained a preferen...
Technology|Architecture + Design
Technology|Architecture + Design
Anne-Catrin Schultz: Space, structure and light Model and plans Model and site plan Floor plans E... more Anne-Catrin Schultz: Space, structure and light Model and plans Model and site plan Floor plans Elevations Perspective section Axonometric diagram of the departure hall 30 Detailed section through the building Detailed section through the ticket counter Pictorial section Exterior views Interior views Final view Facts.
Technology|Architecture + Design, 2021
Technology|Architecture + Design
Technology|Architecture + Design, 2021
To cite this article: Brause, Caryn; Ford, Chris; Kraus, Chad; Luhan, Gregory; Murray, Scott; Ne... more To cite this article: Brause, Caryn; Ford, Chris; Kraus, Chad; Luhan, Gregory; Murray, Scott; Newman, Winifred Elysse; Olsen, Clare; Ripple, Jeana; Schultz, Anne-Catrin; Uihlein, Marci; Wang, Julian; Zarzycki, Andrzej. (2021). “Reflections on Five Years of TAD,” [Editorial, TAD Editorial Board Members]. Technology|Architecture + Design, Intelligence, 5:2, p119-120.
Untersuchung des Schichtungsprozesses als asthetisches Prinzip in der Architektur des Italienisch... more Untersuchung des Schichtungsprozesses als asthetisches Prinzip in der Architektur des Italienischen Architekten Carlo Scarpa (1906-1978). Dokumentation der architekturasthetischen Einflusse auf Carlo Scarpa und theoretischen Entwicklung des Schichtungsprozesses. Analyse von drei Projekten (Castelvecchio/Verona, Fondazione Querini/Venedig, Banca Popolare/Verona). Examination of the process of stratification as aesthetic principle in the architecture of the Italian architect Carlo Scarpa (1906-1978). Documentation of aesthetic influences on Car Scarpa and the theoretical development of the process of stratification in architecture. Analysis of three projects (Castelvecchio/Verona, Fondazione Querini/Venedig, Banca Popolare/Verona).
Technology|Architecture + Design
Preface The principle of layering: precedents -- Layering and stratification in architecture Carl... more Preface The principle of layering: precedents -- Layering and stratification in architecture Carlo Scarpa -- stratified architecture Theoretical fundamentals of the principle of stratification in the architectural discussion at the turn of the 20th century Stratification in Scarpas work: influences A detailed analysis of layering in three examples Conclusion Index.
Technology|Architecture + Design
Traditional Dwellings and Settlements Review, 2018
Egon Eiermann’s (1904-1970) work shaped the German search for a new and progressive identity afte... more Egon Eiermann’s (1904-1970) work shaped the German search for a new and progressive identity after World War II. He remained in Germany during the time of the Nazi regime but kept close ties with Mies van der Rohe and Walter Gropius and others who were seminal to the American reception of Modernism. Eiermann’s oevre includes single family homes, office buildings, factories as well as churches.
As a teacher, he educated several generations of students through his teachings at the University of Karlsruhe, Germany. Eiermann’s architecture is characterized by the precise exploration of steel structures creating light and multilayered spaces that offer gradual transitions from interior to exterior. Functionality, order and performance harnessed to fulfill technical requirements is at the heart of his design attitude. For Eiermann, design is not the search for a formal system representative of a political and cultural order. He concentrates on finding solutions at all scales, creating a system of parts that comes together as a whole. This design strategy reflects the optimistic goal of political neutrality supported by industrialized production of spaces and buildings.
A building for Eiermann has to feel “right” and he achieved this by tracking consistent geometric patterns and detailed relationships among all the parts. Transparency and a clear structural rhythm is present especially in structures that were commissioned by the government such as the Expo Pavilion in Brussels and the German Embassy in Washington DC – both results of collaborative efforts and a lively exchange of conceptual thinking between Germany and the US. This clarity of see-through and a constructive order represented a new friendly (and ultimately democratic) Germany, a Germany that one could understand and that had nothing to hide.
This paper examines the tendencies of modern architecture that reinterpreted German culture at the beginning of the 20th Century and showcases Eiermann’s work as the basis of late 20th Century architecture in Germany and beyond. It reviews the political and narrative qualities of transparency, modularity and strict ordering systems based on the performance responsibilities of individual parts. Seemingly removed from the building tradition, Eiermann's work serves as a case study for the political message of an architecture that attempts to being apolitical in a time of cultural and political redefinition.
Urban Culture Institute www.urbancultureinstitute.org, 2017
Wentworth Architecture Review, 2017
Kinetic facades, still an architectural novelty, have the potential to impact urban and architect... more Kinetic facades, still an architectural novelty, have the potential to impact urban and architectural spaces tremendously. In the last twenty to thirty years the integration of elements animated by the wind, sun or water into building envelopes has increasingly been explored by cutting-edge designers and architects––both as an aesthetic element and as impetus for sustainable design. The scale and type of architectural kinetics ranges from the experimental to the monumental. Manifold questions of impact arise in relationship to moving facades and how they fit into the built environment. The co-authors investigated an international interdisciplinary group of noted architects, engineers, artists, and scientists in an inquiry that considered the present and future of kinetic applications in facade design. We focused on a selection of projects that involve kinetic mechanisms and explore potential already realized and evolving visions. A dearth of literature can be found on the subject to date, hence our goal was to better understand the status quo of the genre, to position designs, mechanics and intentions in a common context. Excluded from the framework of this essay were large-scale LED video screens, projections and lighting design as a means to animate facades.
Making in contemporary perception is related to the act of producing small objects, machines or a... more Making in contemporary perception is related to the act of producing small objects, machines or apps without the help of professionals. If one expands the definition, making also can relate to defining place as well as making things happen. This essay explores the notion of making places at different scales. The first part of this essay offers an exploration of what encompasses place and the making of it while the second part discusses the Placemaking movement and how it reflects a culture of making.
enhsa Livelong Learning Programme: What's the Matter? Materiality and Materialism in the Age of Computing, 2014
The Truth of Architectural Matter – Textiles, Nature and the “Real Thing.”
Etymology relates mat... more The Truth of Architectural Matter – Textiles, Nature and the “Real Thing.”
Etymology relates matter to the Latin word materia, meaning substance from which something is made but also meaning subject of a discourse and lastly relating to the term mother. [1] Physial Matter in architecture – its substance – points to construction materials and how they were formed to perform and to relate to a given site and culture. Immaterial Matter relates to the subject of architectural discourse that generates and accompanies the art of building. Architectural matter therefore is linked to both physical form and immaterial narrative of a building, to structure, enclosure and ornament. The question remains, how the physical and immaterial inform and shape each other, their unity possibly leading to the truth of the matter in architecture. This essay compares three different ways of approaching the origins of architectural matter, paralleling a search for architectural truth. All three approaches (Textile, Nature and the Real Thing) explore ideas related to the origin of architectural form and expression. They define matter as a product of the chosen design process, human skills and the world around them.
Gottfried Semper traces the development of architectural tectonics, analyzing the relationship between materiality and craft. For Semper, the textile arts are essential, they are the origin of architecture and evolved when spaces were defined by sticks and woven enclosures. His analysis of historic architecture and its evolution highlights the transition from fabric to other building materials: the architectural ornament (according to Semper) maintains a relationship to the rules of the woven fabric even when turning into stone and plaster. John Ruskin suggests the abstracted line of the surface of a “glacier on a spur of the Aiguille de Blaitière Mountain in France” [2] as one meaningful form for architectural ornament and useful as the basis of finding truth. According to him, natural lines and outlines can be applied independent of scale or size and will lead to harmony and truth in architectural detail. Peter Zumthor states: “When I start, my first idea for a building is with the material.” [3] Looking for acoustic qualities, sensations of smell, the memory of touch, Zumthor places architectural truth (the real thing as he calls it) in the realm of perception. His goal is to bring out “specific meanings of certain materials.”[4] At the core of architecture is an ancient elemental knowledge, something primal, possibly archetypal that is universal rather than specific to a regional culture.
All three examples express an affinity to the traces of the human craft as well as the formal and material resources of nature. The truth of the matter in architecture seems to reside in a complex triangle of making, material and emotion. Zumthor summarizes what all three examples have in common: “The real thing exists but is endangered, it is found in earth, water, sun light but also in landscapes and vegetation.”[5]
Notes:
1. http://www.etymonline.com/index.php?term=matter
2. Ruskin, John, and J. G. Links. The Stones Of Venice. New York: Da Capo Press, 2003. Page 104
3. Robin Pogrebin, Pritzker Prize Goes to Peter Zumthor, The New York Times, April 12, 2009 http://www.nytimes.com/2009/04/13/arts/design/13pritzker.html?_r=0 (accessed June 1st, 2014)
4. Peter Zumthor, Thinking Architecture, 2012
5. Peter Zumthor, Thinking Architecture, 2012. 17
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Papers by Anne-Catrin Schultz
As a teacher, he educated several generations of students through his teachings at the University of Karlsruhe, Germany. Eiermann’s architecture is characterized by the precise exploration of steel structures creating light and multilayered spaces that offer gradual transitions from interior to exterior. Functionality, order and performance harnessed to fulfill technical requirements is at the heart of his design attitude. For Eiermann, design is not the search for a formal system representative of a political and cultural order. He concentrates on finding solutions at all scales, creating a system of parts that comes together as a whole. This design strategy reflects the optimistic goal of political neutrality supported by industrialized production of spaces and buildings.
A building for Eiermann has to feel “right” and he achieved this by tracking consistent geometric patterns and detailed relationships among all the parts. Transparency and a clear structural rhythm is present especially in structures that were commissioned by the government such as the Expo Pavilion in Brussels and the German Embassy in Washington DC – both results of collaborative efforts and a lively exchange of conceptual thinking between Germany and the US. This clarity of see-through and a constructive order represented a new friendly (and ultimately democratic) Germany, a Germany that one could understand and that had nothing to hide.
This paper examines the tendencies of modern architecture that reinterpreted German culture at the beginning of the 20th Century and showcases Eiermann’s work as the basis of late 20th Century architecture in Germany and beyond. It reviews the political and narrative qualities of transparency, modularity and strict ordering systems based on the performance responsibilities of individual parts. Seemingly removed from the building tradition, Eiermann's work serves as a case study for the political message of an architecture that attempts to being apolitical in a time of cultural and political redefinition.
Etymology relates matter to the Latin word materia, meaning substance from which something is made but also meaning subject of a discourse and lastly relating to the term mother. [1] Physial Matter in architecture – its substance – points to construction materials and how they were formed to perform and to relate to a given site and culture. Immaterial Matter relates to the subject of architectural discourse that generates and accompanies the art of building. Architectural matter therefore is linked to both physical form and immaterial narrative of a building, to structure, enclosure and ornament. The question remains, how the physical and immaterial inform and shape each other, their unity possibly leading to the truth of the matter in architecture. This essay compares three different ways of approaching the origins of architectural matter, paralleling a search for architectural truth. All three approaches (Textile, Nature and the Real Thing) explore ideas related to the origin of architectural form and expression. They define matter as a product of the chosen design process, human skills and the world around them.
Gottfried Semper traces the development of architectural tectonics, analyzing the relationship between materiality and craft. For Semper, the textile arts are essential, they are the origin of architecture and evolved when spaces were defined by sticks and woven enclosures. His analysis of historic architecture and its evolution highlights the transition from fabric to other building materials: the architectural ornament (according to Semper) maintains a relationship to the rules of the woven fabric even when turning into stone and plaster. John Ruskin suggests the abstracted line of the surface of a “glacier on a spur of the Aiguille de Blaitière Mountain in France” [2] as one meaningful form for architectural ornament and useful as the basis of finding truth. According to him, natural lines and outlines can be applied independent of scale or size and will lead to harmony and truth in architectural detail. Peter Zumthor states: “When I start, my first idea for a building is with the material.” [3] Looking for acoustic qualities, sensations of smell, the memory of touch, Zumthor places architectural truth (the real thing as he calls it) in the realm of perception. His goal is to bring out “specific meanings of certain materials.”[4] At the core of architecture is an ancient elemental knowledge, something primal, possibly archetypal that is universal rather than specific to a regional culture.
All three examples express an affinity to the traces of the human craft as well as the formal and material resources of nature. The truth of the matter in architecture seems to reside in a complex triangle of making, material and emotion. Zumthor summarizes what all three examples have in common: “The real thing exists but is endangered, it is found in earth, water, sun light but also in landscapes and vegetation.”[5]
Notes:
1. http://www.etymonline.com/index.php?term=matter
2. Ruskin, John, and J. G. Links. The Stones Of Venice. New York: Da Capo Press, 2003. Page 104
3. Robin Pogrebin, Pritzker Prize Goes to Peter Zumthor, The New York Times, April 12, 2009 http://www.nytimes.com/2009/04/13/arts/design/13pritzker.html?_r=0 (accessed June 1st, 2014)
4. Peter Zumthor, Thinking Architecture, 2012
5. Peter Zumthor, Thinking Architecture, 2012. 17
As a teacher, he educated several generations of students through his teachings at the University of Karlsruhe, Germany. Eiermann’s architecture is characterized by the precise exploration of steel structures creating light and multilayered spaces that offer gradual transitions from interior to exterior. Functionality, order and performance harnessed to fulfill technical requirements is at the heart of his design attitude. For Eiermann, design is not the search for a formal system representative of a political and cultural order. He concentrates on finding solutions at all scales, creating a system of parts that comes together as a whole. This design strategy reflects the optimistic goal of political neutrality supported by industrialized production of spaces and buildings.
A building for Eiermann has to feel “right” and he achieved this by tracking consistent geometric patterns and detailed relationships among all the parts. Transparency and a clear structural rhythm is present especially in structures that were commissioned by the government such as the Expo Pavilion in Brussels and the German Embassy in Washington DC – both results of collaborative efforts and a lively exchange of conceptual thinking between Germany and the US. This clarity of see-through and a constructive order represented a new friendly (and ultimately democratic) Germany, a Germany that one could understand and that had nothing to hide.
This paper examines the tendencies of modern architecture that reinterpreted German culture at the beginning of the 20th Century and showcases Eiermann’s work as the basis of late 20th Century architecture in Germany and beyond. It reviews the political and narrative qualities of transparency, modularity and strict ordering systems based on the performance responsibilities of individual parts. Seemingly removed from the building tradition, Eiermann's work serves as a case study for the political message of an architecture that attempts to being apolitical in a time of cultural and political redefinition.
Etymology relates matter to the Latin word materia, meaning substance from which something is made but also meaning subject of a discourse and lastly relating to the term mother. [1] Physial Matter in architecture – its substance – points to construction materials and how they were formed to perform and to relate to a given site and culture. Immaterial Matter relates to the subject of architectural discourse that generates and accompanies the art of building. Architectural matter therefore is linked to both physical form and immaterial narrative of a building, to structure, enclosure and ornament. The question remains, how the physical and immaterial inform and shape each other, their unity possibly leading to the truth of the matter in architecture. This essay compares three different ways of approaching the origins of architectural matter, paralleling a search for architectural truth. All three approaches (Textile, Nature and the Real Thing) explore ideas related to the origin of architectural form and expression. They define matter as a product of the chosen design process, human skills and the world around them.
Gottfried Semper traces the development of architectural tectonics, analyzing the relationship between materiality and craft. For Semper, the textile arts are essential, they are the origin of architecture and evolved when spaces were defined by sticks and woven enclosures. His analysis of historic architecture and its evolution highlights the transition from fabric to other building materials: the architectural ornament (according to Semper) maintains a relationship to the rules of the woven fabric even when turning into stone and plaster. John Ruskin suggests the abstracted line of the surface of a “glacier on a spur of the Aiguille de Blaitière Mountain in France” [2] as one meaningful form for architectural ornament and useful as the basis of finding truth. According to him, natural lines and outlines can be applied independent of scale or size and will lead to harmony and truth in architectural detail. Peter Zumthor states: “When I start, my first idea for a building is with the material.” [3] Looking for acoustic qualities, sensations of smell, the memory of touch, Zumthor places architectural truth (the real thing as he calls it) in the realm of perception. His goal is to bring out “specific meanings of certain materials.”[4] At the core of architecture is an ancient elemental knowledge, something primal, possibly archetypal that is universal rather than specific to a regional culture.
All three examples express an affinity to the traces of the human craft as well as the formal and material resources of nature. The truth of the matter in architecture seems to reside in a complex triangle of making, material and emotion. Zumthor summarizes what all three examples have in common: “The real thing exists but is endangered, it is found in earth, water, sun light but also in landscapes and vegetation.”[5]
Notes:
1. http://www.etymonline.com/index.php?term=matter
2. Ruskin, John, and J. G. Links. The Stones Of Venice. New York: Da Capo Press, 2003. Page 104
3. Robin Pogrebin, Pritzker Prize Goes to Peter Zumthor, The New York Times, April 12, 2009 http://www.nytimes.com/2009/04/13/arts/design/13pritzker.html?_r=0 (accessed June 1st, 2014)
4. Peter Zumthor, Thinking Architecture, 2012
5. Peter Zumthor, Thinking Architecture, 2012. 17