THE WEATHERS THEY LIVE IN, 13.5. - 28.5.2017, puntWG, Amsterdam (NL) [Research]


Today I awoke from a sound sleep with curses of joy on my lips, with gibberish on my tongue, repeating to myselflike a litany – ‚Fay ce que vouldras! … fay ce que vouldras!‘ Do anything, but let it produce joy.



Mexican truck front with reflective surface to mimic the environment, probably.




ayr: So how do you think the administrative or organizational role of architecture has moved onto digital platforms? Is architecture now able to be a bit freer, more liberated? Now that digital platforms have become more mature, one can observe a return of materiality - or, more precisely, the possibility of a return of the wall, but a wall which is friendlier, stripped for some of its modernist violence. In the 1990s architecture was dominated by parametric dreams and the rhetoric of openness, unpredictability, and newness. All of a sudden we don't want this so much anymore. There is a greater interest in small rooms, a booth, a nook - more legibility, more intimacy, another materiality. This is the genealogy we are showing - from "The Berlin Wall as Architecture" to the pierced cozy wall of contemporary office design.

RK: It's not simply that architecture is becoming digital or that we can use the digital to make interesting architecture. The digital world is a world of totally different adventures, of conceptual, mental spaces. So maybe architecture can focus on exactly what you're describing - physical and material experiences and the various emotions generated or offered by those experiences and not available in cyberspace.

(ayr, Rem Koolhaas and Hans Ulrich Obrist, When Harry Met Sally (9th Berlin Biennale),



Sunrise-and-sunset-times-in-Amsterdam-for-the month-of-May