The production and concept of architecture is not only shaped by its technical-constructive aspect, but also by its visual representation. From the first sketch, through the presentation in a competition, to the suggestive representation for the purposes of communication and marketing, methods of visual modelling and pictorial representation such as drawing, three dimensional model or photography have always been used.
The project seeks to investigate these process-related relationships in the phase of transition from analog to digital planning and framing procedures between 1980 and the 2000s. The aim is to examine the assumption that the digital design and representation methods have left their mark on architecture in a media-specific way and to determine in exemplary studies how the ‘digital image’ changes the concept and production of architecture.
To this end, the digital tools and their visual products will be approached on the one hand from the perspective of art history and media criticism, and one the other hand from the production-aesthetic standpoint of architectural practice. At two workplaces in Marburg and Cottbus, on the one hand the spread of the digital image of architecture in selected architectural journals will be examined, focusing both on the reception of “digital architecture” under buzzwords such as “blob” or “bar code” architecture and on the specifics of image aesthetics. On the other hand, the development and use of CAD programs will be examined in an application-oriented analysis to explore their possibilities and limitations as well as the implicit seductive power of technical developments and design automatisms for digital architecture and image production.
Hubert Locher, Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg
Dominik Lengyel, Brandenburgische Technische Universität Cottbus-Senftenberg
Florian Henrich, Philipps-Universität Marburg
Catherine Toulouse, Brandenburgische Technische Universität Cottbus-Senftenberg