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InBetween
(2017)
This PhD investigation lies at the intersection of Architecture, Textile Design and Interaction Design and speculates about sustainable forms of future living, focussing on bionic principles to create alternative lightweight building structures with textiles and digital fabrication techniques. In an interdisciplinary, practice- based design approach, informed by radical case studies from the 1960s to 80s on soft architectures like Archigram, Buckminster Fuller, Cedric Price, or Yona Friedman and critical theory on new materialism, (D. Haraway 1997, K. Barad 1998, J. Bennett 2007) sociological, philosophical (B. Latour 2005, G.Deleuze F., Guattari F 1987) and phenomenological thinkers (L. Malafouris 2005, J.Rancière 2004, B. Massumi 2002, N. Bourriaud 2002 , M. Merleau-Ponty 1963) this research investigates the cultural and social rootedness (Verortung) of novel materials and technologies, exploring in between prosthetic relations between the body and the environment.
Pop-up Workshopreihe
(2020)
Traditional Western philosophy, cognitive science and traditional HCI frameworks approach the term digital and its implications with an implicit dualism (nature/cul-ture, theory /practice, body/mind, human/machine). What lies between is a feature of our postmodern times, in which different states, conditions or positions merge and co-exist in a new, hybrid reality, a “continuous beta” (Mühlenbeck & Skibicki, 2007) version of becoming .Post-digitality involves the physical dimensions of spatio-temporal engagements. This new ontological paradigm reconceptualizes digital technology through the ex-perience of the human body and its senses, thus emphasizing form-taking, situation-al engagement and practice rather than symbolic, disembodied rationality. This rais-es two questions in particular: how to encourage curiosity, playfulness, serendipity, emergence, discourse and collectivity? How to construct working methods without foregrounding and dividing the subject into an individual that already takes posi-tion? This paper briefly outlines the rhizomatic framework that I developed within my PhD research. This attempts to overcome two prevailing tendencies: first, the one-sided view of scientific approaches to knowledge acquisition and the pure-ly application-oriented handling of materials, technologies and machines; second, the distanced perception of the world. In contrast, my work involves project-driven alchemic curiosity and doing research through artistic design practice. This means thinking through materials, technologies and machinic interactions. Now, at the end of this PhD journey, 10 interdisciplinary projects have emerged from this ontological queer-paradigm that is post-digital–crafting 4.0. Below I illustrate this approach and its outcomes.