Studio SOL

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	<title>Studio SOL</title>
	<link>https://s-o-l.studio</link>
	<description>Studio SOL</description>
	<pubDate>Mon, 04 Jan 2021 10:36:21 +0000</pubDate>
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		<title>Gabi Schillig</title>
				
		<link>http://s-o-l.studio/Gabi-Schillig</link>

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		<pubDate>Mon, 04 Jan 2021 10:36:21 +0000</pubDate>

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“There is no separation really, for me, between life and ‘Gestaltung’; it means, for instance, to construct something as unity or to build something—to construct something to enable.”


Gabi Schillig studied Architecture in Coburg and completed her postgraduate studies in Conceptual Design at the Städelschule Frankfurt am Main before founding her Studio for Dialogical Spaces in Berlin. She has exhibited internationally and received several fellowships and prizes, amongst others: Akademie Schloss Solitude Stuttgart (2007 – 2008), Van Alen Institute New York (2009), Nordic Artists´ Centre Dale (2010), Khoj New Delhi (2011), Largo das Artes Rio de Janeiro (2015), Stiftung Bauhaus Dessau (2016) and Nida Art Colony (2018/19). From 2012 to 2018 she was teaching as professor for Spatial Design at the Düsseldorf University of Applied Sciences – Peter Behrens School of Arts at the Faculty of Design. In April 2018 she was appointed as professor for Spatial Design and Exhibition Design at the Berlin University of the Arts.


INTRO


»How to live?« (Opening Words &#38;amp; Questionnaire)


(This talk took place on the 30th of December 2020. It was recorded online.)


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		<excerpt>Studio &#38;nbsp; S p a c e s ,  O b j e c t s &#38;nbsp; &#38;amp; L i f e &#38;nbsp; ✕                “There is no separation really, for me, between life and...</excerpt>

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		<title>Kristupas Sabolius</title>
				
		<link>http://s-o-l.studio/Kristupas-Sabolius</link>

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		<pubDate>Thu, 03 Dec 2020 15:03:21 +0000</pubDate>

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“In order to live and trying to understand how to live you need to learn your milieu, paradoxically—you don’t understand your milieu because you never take it into consideration, it is too close.”


Kristupas Sabolius is a research affiliate at MIT (USA) and professor of philosophy at Vilnius University (Lithuania). He is the author of Imagination and Matter (ed., 2018, Vilnius University Press, in Lithuanian), Proteus and the Radical Imaginary (2016, CAC and Bunkier Sztuki, in Polish and English) The Imaginary (2013, Vilnius University Press, in Lithuanian), and Furious Sleep. Imagination and Phenomenology (2012, Vilnius University Press, in Lithuanian) as well as numerous essays, signalizing the contradictory function of imagination, appearing in all the major theories of Western thought. He is also an active public intellectual and a writer of novels, theatre plays and scripts, including The Gambler, Lithuania’s nomination for the foreign-language category at the 2015 Oscars.


INTRO


»How to live?« (Opening Words &#38;amp; Questionnaire)


(This talk took place on the 1st of December 2020. It was recorded online.)


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		<excerpt>Studio &#38;nbsp; S p a c e s ,  O b j e c t s &#38;nbsp; &#38;amp; L i f e &#38;nbsp; ✕                “In order to live and trying to understand how to live...</excerpt>

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		<title>Vera Buehlmann</title>
				
		<link>http://s-o-l.studio/Vera-Buehlmann</link>

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		<pubDate>Tue, 01 Dec 2020 17:33:06 +0000</pubDate>

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“The feeling of being alive has a lot to do with going counter gravity—countering gravity; because it is the only way when things that we think or do can have weight.”


Vera Bühlmann is a Swiss writer. She is professor for Architecture Theory at Vienna University of Technology, and director of the Department for Architecture Theory and Philosophy of Technics (ATTP) since 2016. She originally studied English Literature and Language, Philosophy, and Media Studies at Zurich University, and earned a PhD in Media Philosophy/Philosophy of Technics from Basel University in 2009. Together with Ludger Hovestadt, she is co-founder of the Applied Virtuality Lab in 2010, at the Chair of Digital Architectonics (CAAD) at ETH Zurich, where she had been teaching since 2008. She is co-editor of the Applied Virtuality Book Series (Birkhäuser, since 2012). Her newest monograph is under contract with Bloomsbury Press, London, and is entitled Mathematics and Information in the Philosophy of Michel Serres (2020).


INTRO


»How to live?« (Opening Words &#38;amp; Questionnaire)


(This talk took place on the 24th of November 2020. It was recorded online.)


</description>
		
		<excerpt>Studio &#38;nbsp; S p a c e s ,  O b j e c t s &#38;nbsp; &#38;amp; L i f e &#38;nbsp; ✕                “The feeling of being alive has a lot to do with going...</excerpt>

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		<title>How to Live?</title>
				
		<link>http://s-o-l.studio/How-to-Live</link>

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		<pubDate>Sun, 05 Apr 2020 12:52:21 +0000</pubDate>

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“Maybe life is just another great concept like space and time, ranged in the category of the possibility.”1


I.

‘Freespace’, ‘Reporting From The Front’, ‘Fundamentals’, ‘Common Ground’, ‘People Meet in Architecture’2, however generous or directed one may read the five titles of Venice’s last Architecture Biennials, it is not hard to hear them sounding through the title proposed by its new curator Hashim Sarkis’ for the exhibition taking place in 2020/21: ‘How will we live together?’3.


And indeed, however exhaustive this way of questioning has become recently, as to be seen in architecture exhibitions, competitions or journalism, it just proves its case; as architects, we can neither doubt the recent call nor the mobilizing power radiating from the expression of these words in the realm of our profession. Architecture and life, life and architecture—how close they are, and yet, how difficult to make them meet each other!


Sarkis captures his recent quest as follows: “In the context of widening political divides and growing economic inequalities, we call on architects to imagine spaces in which we can generously live together: together as human beings who, despite our increasing individuality, yearn to connect with one another and with other species across digital and real space; together as new households looking for more diverse and dignified spaces for inhabitation; together as emerging communities that demand equity, inclusion and spatial identity; together across political borders to imagine new geographies of association; and together as a planet facing crises that require global action for us to continue living at all.”4


Let us keep two things in mind before addressing the described topics in their urgency for our time: First, how the generic question, referring here to Sarkis’ interrogative title, gets instantiated in the contemporaneity of the person stating it. And second, how it is precisely this immobilization that in turn enables the question to mobilize not just what is considered as future but also what is considered as past, known and unknown, at that very moment. ‘Make New History’5, the title of Chicago’s Architecture Biennial in 2017 formulates such equation quite well: ‘How will we live together?’ and ‘how did we live together?’—ultimately ‘how to live?’—how to address life contemporarily, not just to register but to get in touch! A revolutionary question with a casual feel, traceable throughout architecture‘s history, making it identifiable as one of architecture’s motors at large.


Contemporary proposals to approach this, as to be found in the contributions to the shows mentioned above, are diverse: social and technological, intellectual and emotional. However, here we want to build up from rearticulating Laszlo Moholy-Nagy’s aim (1947), to bring these same components into balanced play, “to learn to see and feel them in relationship”6. A generalness pointing to one of the specific qualities of the architectural profession, being also reflected in Sarkis’ quest for a new ‘spatial contract’ fit for our time, and with the architect as its ‘custodian’ and ‘cordial convener’7.


Taking into account also the catchy mechanisms at work in the titles we have started from, and yet before dismissing them for exactly that reason; regardless of how strong or convincing this/next year’s exhibition will be/is/has been able to keep up on approaching today’s pressing issues in the proposed complexity, in Studio SOL we want to emphasize further that it is precisely such abstraction and generosity that coins the nature of the things we are asked to approach today, in our case architecturally.


II.

The background to this shows itself by nature manifold, however renders itself in our concern visible as that “with the changing of societies on local, national and international scales owing to economic, ecological, political and technological developments and crises, a reorganized academic landscape can be observed to be emerging”8. One commonly seen as being motivated by the long-spanning transformations of what has early been characterized as ’post-industrial societies’9 (Illich 1973), was inversely addressed as ‘post-modern condition’10 (Lyotard 1979), and what is today being realized in a digital humanism, in “being human in a hyperconnected era”11 (Floridi 2015)—newly forming »informational« cultural identities with a novel chance and novel needs, challenging our living and built environments all-embracingly. Sarkis’ contextualization above can be read as one expression of such. ‘Anthropocene/capitalocene’, ‘eco-sophies’, ‘digital activism’, ‘algorithmic cultures and security’, ‘the inhuman’12, the broad thematic topics of post-humanist discourses as more elaborated others, also showing that however immediate and captivating the current architectural discussion might get, the questions it raises come with a track. Growingly in- yet, up to now, more extensively outside of our discipline.


The figure we aim to foreground here is the following: If with production, in relation to industrial societies, we can see forms of »industriousness« as playing the central role in people’s lives (private, public, professional; »productivity« as a means to qualify), with shifted terms towards an information paradigm, this referent changes and with it our relation to the world.


Countering the project of rendering the human being a master of nature, as ascribed to modern movements, we can think with contemporary philosophers like Michel Serres, that it is today through information, which “circulates through the inert, living and human world, where everything and everyone emits it, receives it, exchanges it, conserves it and processes it”13, how this scheme can be remodelled in a fruitful way. Information “constitutes the bedrock of thinking”14 and elevates that “thinking means inventing: getting hold of rarity; discovering the secret of that which has the huge and contingent chance to exist or to be born tomorrow - ‘natura’, nature, means that which will be born”15, human and non-human alike.


Hence, so we argue, to design and build with(in) such architectonic relation of world and imagination, we shall open up to perspectives that face a critical and inventive architectural practice. Furthermore, as architects, we shall take into account but not really focus on knowledge one already has or hasn‘t gained, instead concentrate all the more on information that surrounds us all equally in everything that can be known. We shall learn to act climatically, fearless and playfully augment the given, »data«, like an adventurer does, to find momentary stability, »stasis«, in the know-, live- and buildable plenty.


“Men may affirm this

beasts also

and the plants perhaps

And on this earth alone

which is ours

The sun master of our lives

far off indifferent

He is the visitor – an overlord

he enters our house.”16


III.

After travelling to America in 1936 and experiencing what he called the ‘urban chaos’, Le Corbusier was confronted with the same question we have started from, ‘how to live?’, and he answered it with a sign of the twenty-four hours cycle marking one solar day, entitled: “This is the measure of our urban enterprise.”17 In Studio SOL we pick up a similar gesture as Le Corbusier yet rooting it in an altered state.


Without a doubt, much has changed since »modern« times, specifically as we face today how modern infrastructures (social and technological, intellectual and emotional) exchange their proclaimed neutral state into at times very challenging characters. The differences appearing between Le Corbusier’s and Sarkis’ line of reasoning on a similar question, from within a similar environment and a distance of eighty years, can be seen as paradigmatic for this. “Knowing how to live is the fundamental question before modern society, everywhere, in the whole world“18, this is what Le Corbusier pointed out before making it a topic of ‘habitation’. Sarkis picks up on this question today, making it timely a topic of ‘in-habitation’19. In the Studio we address the latter with parts of the former, working on living-spaces just under the sun.


IV.

In today’s still foremost urban driven architectural discussion, interiors are mostly considered of minor importance. While, thinking with Andrea Branzi, “their design should instead be seen as a way to update the city with functions and activities which architecture [from an enhanced urban planning point of view] is traditionally unable to provide for”20. In a way, as the backside of the same coin, interior-architecture, to be distinguished from interior-styling and industrial-design, comes with a rich history of forms and techniques of imagining an architecture that, other than wanting to provide a stage, is able to take an active role in life and in generously imagining it. “An interior is a concept, and the quality of the space or habitat is made up of the quality of the objects which are inside and of the materials that make it up.”21


Approaching subjects temporally and with a point of view up-close, interior-architecture offers traditionally the sensibilities and quickness to invent and embody forms of togetherness. While on the same time it is still up to us to update it into a craft with a technologically augmented and climatically mixed view of what can be considered as inside, or »interior« from Latin »inter-« ‘among, between, betwixt, in the midst of’, today; to learn to see how every room can connect to the whole world and how in turn every room can bring the whole world with it.


(May 2020)


1 FRIEDRICH HEBBEL, TAGEBÜCHER - BAND 1, DE GRUYTER, 2017

2 WWW.LABIENNALE.ORG/EN/HISTORY/RECENT-YEARS

3-4,7,19 WWW.LABIENNALE.ORG/EN/NEWS/BIENNALE-ARCHITETTURA-2020-HOW-WILL-WE-LIVE- TOGETHER

5 HTTP://2017.CHICAGOARCHITECTUREBIENNIAL.ORG

6 LASZLO MOHOLY-NAGY, VISION IN MOTION, WISCONSIN CUNEO PRESS, 1947

8 HTTPS://NEWMATERIALISM.EU/ABOUT/COST-ACTION-IS1307.HTML

9 IVAN ILLICH, TOOLS FOR CONVIVIALITY, FONTANA/COLLINS, 1975

10 FRANCOIS LYOTARD, THE POSTMODERN CONDITION, MANCHESTER UNIVERSITY PRESS, 1984

11 LUCIANO FLORIDI (ED.), THE ONLIFE MANIFESTO, SPRINGER, 2015

12 R. BRAIDOTTI; M. HLAVAJOVA (EDS.), POSTHUMAN GLOSSARY, BLOOMSBURY PRESS, 2018

13-15 MICHEL SERRES, “INFORMATION AND THINKING” (TRANS.: J. VISSER), LECTURE AT PHILOSOPHY AFTER NATURE UTRECHT, 2014

16 LE CORBUSIER, POEM OF THE RIGHT ANGLE, HATJE CANTZ, 2012

17-18 LE CORBUSIER, WHEN THE CATHEDRALS WERE WHITE, MCGRAW-HILL PAPERBACK EDITION, 1964

20-21 WWW.DOMUSWEB.IT/EN/DESIGN/2018/01/18/ ANDREA-BRANZI-PREHISTORY-IS-NOT-OVER. HTML


This text gathers the opening words to VOICES — A Series of Talks on »How to live?«:


TALKS


#1 Vera Bühlmann

#2 Kristupas Sabolius

#3 Gabi Schillig


QUESTIONNAIRE


&#60;img width="1240" height="1240" width_o="1240" height_o="1240" src_o="https://cortex.persona.co/t/original/i/04ee9f805a12265a0104b76d76404b0bc1b46900a365453483ca0bdc8d30a5ab/QUESTIONNAIRE_Voices.jpg" data-mid="1099747" border="0" data-scale="49"/&#62;


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		<title>Blazingfield</title>
				
		<link>http://s-o-l.studio/Blazingfield</link>

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		<pubDate>Tue, 14 Jan 2020 20:51:37 +0000</pubDate>

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Blazingfield is the playground of musement and the country of Ops—it is the laissez-faire host of a flamboyant feast; not really new but really quite something, laying in and outside you, just under the sun..


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(Orig.: G.Richter, Corsica–Fire, 1969)


WORK


Students: Timo Bogataj, Natana Char da Silva, Ada Sefika Curkic, Hayati Demir, Jakob Eschlböck, Ceren Görgün, Buse Gür, Ismihan Elif Hayran, Barbora Kolarova, Jiyeong Lee, Rina Merovci, Mila Mihaylova, Mais Msto, Mary Osibanjo, Erza Rexhepi, Fevziye Fulya Sakarya, Meltem Seyhan, Emonda Shefiku, Philipp Stauß, Aimee Beatrice Timircan, Pinar Tomris Tola, Marija Vrdoljak


Selected Project: 'Limitless Eternity'

Students: Ceren Görgün, Mary Osibanjo, Emonda Shefiku


COURSE


Design Studio 2020S, Department for Architecture Theory and Philosophy of Technics, Vienna University of Technology


MATERIAL(S)


&#60;img width="1240" height="1240" width_o="1240" height_o="1240" src_o="https://cortex.persona.co/t/original/i/694b737e3c337d743e193a00d6aa212839a72f999f9442fe10d612900c6d3a3a/BRIEF-Blazingfield.jpg" data-mid="854546" border="0" data-scale="49"/&#62;
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		<excerpt>Studio &#38;nbsp; S p a c e s ,  O b j e c t s &#38;nbsp; &#38;amp; L i f e &#38;nbsp; ✕          Blazingfield is the playground of musement and the country of...</excerpt>

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		<title>Intro</title>
				
		<link>http://s-o-l.studio/Intro</link>

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		<pubDate>Mon, 22 Jul 2019 07:16:27 +0000</pubDate>

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Sol is not the sun, but the sun personified.


Sol is light as noon and dark as night.


Sol prefers cycles to styles—the climate, culture and communication.


Sol talks about everything under the sun.


Sol observes the sky but visits the world.


Sol burns for life today.


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		<excerpt>Sol is not the sun, but the sun personified.   Sol is light as noon and dark as night.   Sol prefers cycles to styles—the climate, culture and...</excerpt>

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		<title>Highdesert</title>
				
		<link>http://s-o-l.studio/Highdesert</link>

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		<pubDate>Tue, 18 Jun 2019 14:33:04 +0000</pubDate>

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Highdesert is the wellspring of Sophrosyne and the outlook of Kairos—it is the fruitful farm yet unproductive; not really new but really quite something, laying in and outside you, just under the sun..


&#60;img width="2480" height="2480" width_o="2480" height_o="2480" src_o="https://cortex.persona.co/t/original/i/f3feaeed61af0a10e3d794ff841a5b8f9a36ffc95cfe7dcb6736fcffef2b88d7/StudioSOL_IMG-Highdesert.jpg" data-mid="1087513" border="0" data-scale="65"/&#62;

(Orig.: W.Herzog, Fata Morgana, 1974)


WORK


Students: Mate Asboth, Polina Baliuk, Lucia Blahova, Mykhailo Bula, Benedetta Fantoni, Florian Feigl, Behnaz Jalilifar, Alma Kugic, Laura Maria Loranzi, Mila Mihaylova, Mais Msto, Radu-Alexandru Parvu, Martha Luise Pilz, Sandra Prieto, Meltem Seyhan, Zinat Tashpulatova, Atahan Ünal, Marilies Wedl


Selected Project: 'A Grotesque Inter-Venture'

Students: Florian Feigl, Radu-Alexandru Parvu, Martha Luise Pilz


COURSE


Design Studio 2019W, Department for Architecture Theory and Philosophy of Technics, Vienna University of Technology


MATERIAL(S)


&#60;img width="1240" height="1240" width_o="1240" height_o="1240" src_o="https://cortex.persona.co/t/original/i/831d62614ec4b56c8c77490b9ed18fcdae2f4ef1b3c8cfcb47b73b9c5195e1b5/BRIEF-Highdesert.jpg" data-mid="780912" border="0" data-scale="49"/&#62;
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		<excerpt>Studio &#38;nbsp; S p a c e s ,  O b j e c t s &#38;nbsp; &#38;amp; L i f e &#38;nbsp; ✕          Highdesert is the wellspring of Sophrosyne and the outlook of...</excerpt>

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		<title>Studio</title>
				
		<link>http://s-o-l.studio/Studio</link>

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		<pubDate>Mon, 17 Aug 2015 23:34:03 +0000</pubDate>

		<dc:creator>Studio SOL</dc:creator>
		
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Sol is working and thinking architectonically—remembering and exposing thereby the classical craft of interior architecture to the sun. Not accommodating but being open for abstraction, the hot topics and the contingency of our daily life, the Studio proposes ‘solar-vernaculars’ as a means to build a home in today’s world; poetic, rich, and yet casual and lightweight—original spaces, objects and life, human and non-human, not native to the ground but native to the sky.


SEASONS


The Studio acts within the change of the seasons in cycles of one extended solar day; from night to sunrise, to high-sun and sunset Sol directs courses ◓, writes ◑, conversates ◒ and more ◐.


&#38;nbsp;◒

Gabi Schillig&#38;nbsp;


&#38;nbsp;◒

Kristupas Sabolius&#38;nbsp;


&#38;nbsp;◒

Vera Bühlmann&#38;nbsp;


&#38;nbsp;How to live?

◑&#38;nbsp;


&#38;nbsp;Blazingfield

◓&#38;nbsp;


&#38;nbsp;Highdesert

◓&#38;nbsp;


The sun is Sol's capital, the database, and the seasons its motor; spring and summer, fall and winter, characteristics of weather, qualities of light, daily rituals; fashions, temperaments, visions and memories—times of action full of right moments.


ABOUT


Studio SOL was a research and teaching collaboration between the architects Georg Fassl and Indrė Umbrasaitė (2019-2021).


It was founded at the Department for Architecture Theory and Philosophy of Technics, Vienna University of Technology.


CONTACT


In case you would like to contact us, please send an e-mail to one of the following addresses: 
mail@georgfassl.net &#124; mail@indreumbrasaite.net


 YouTube

 Instagram


© Studio SOL


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