Arno Brandlhuber: Katalogdaten im Herbstsemester 2019

NameHerr Prof. Arno Brandlhuber
LehrgebietArchitektur und Entwurf
Adresse
Professur f. Architekt. u. Entwurf
ETH Zürich, HIL G 57.1
Stefano-Franscini-Platz 5
8093 Zürich
SWITZERLAND
Telefon+41 44 633 04 28
E-Mailbrandlhuber@arch.ethz.ch
DepartementArchitektur
BeziehungOrdentlicher Professor

NummerTitelECTSUmfangDozierende
052-0517-19LTheorie und Praxis: Überlegungen und Übungen zu Jürgen Habermas' Erkenntnis und Interesse von 1968 Information 2 KP2GC. Posthofen, A. Brandlhuber
KurzbeschreibungKolloquium zur epistemischen Grundlagenforschung von
Kommunikation und Medien anhand der Lektüre und Diskussion kurzer Textpassagen von Jürgen Haberma's Erkenntnis und Interesse von 1968.
LernzielDie Studierenden gewinnen Einsicht in das Spektrum erkenntnistheoretischer und wahrnehmungstheoretischer Theorien, lernen diese zu lesen und deren jeweilige Voraussetzungen zu analysieren und kritisieren. Aus dieser Arbeit entwickelt sich ein Objektbeziehungsmodell in progress, das der Eigenüberprüfung im Entwurfsprozess so wie der Beurteilung architektonischer Situationen im Allgemeinen und im Besonderen dient. Das Verfassen von „wissenschaftlichen Tagebüchern" in denen in freier Form die Inhalte des Kolloquiums mit der Alltagserfahrung der Studierenden zusammengedacht werden, schult das konzentrierte ergebnisorientierte Denken im Allgemeinen, wie auch in architektonischen Situationen. Die besondere Form der Schriftlichkeit des „wissenschftlichen Tagebuchs" führt abstrakte Theorie mit dem Erleben der Studierenden zusammen und macht das Wissen auf eigene Art kreativ verfügbar.
InhaltIn Erkenntnis und Interesse wendet sich Habermas zugunsten einer „radikalen Erkenntniskritik die nur als Gesellschaftstheorie möglich ist“ gegen eine reine Subjektphilosophie, etwa im Deutschen Idealismus. Dabei entdeckt er drei übergeordnete, der Reproduktion der Gattung „Mensch“ zugeordnete „Erkenntnisleitende Interessen“: die technischen, die praktischen und die emanzipatorischen Erkenntnisinteressen.
Über diese Analyse wird die intentionale Verschränkung von Theorie als Wahrnehmung/Erkenntnis und Praxis als Handlung deutlich. Die Einsicht in diese Verschränkung ist sowohl für die empirisch/mathematischen Wissenschaften, als auch die Geisteswissenschaften, wie auch die angewandten Wissenschaften (wie die Architektur) von axiomatischer Bedeutung.
Der etwas schwierig zu lesende, weil voraussetzungsvolle, Text von Habermas wird in kurzen Textstücken gelesen, um sich vor diesem Horizont an eigenen Theoriemodellen zu versuchen.
Voraussetzungen / BesonderesMitarbeit in Form von Diskussionen und wissenschaftlichem Tagebuch.

Der zusätzliche persönliche Arbeitsaufwand (ausserhalb der Lehrveranstaltung) beträgt ca. 20 Arbeitsstunden für die Erstellung eines wissenschaftlichen Tagebuchs sowie die individuelle Vertiefung und filmische Aufnahmen!
052-0559-19LStorytelling in Architecture: Fiction vs. Fact Information 2 KP2GC. Roth, A. Brandlhuber
KurzbeschreibungArchitecture is often communicated through precise drawings and models, books and exhibitions. However, architecture is more than an object to be mediated on—it should be told through stories, characters, and what-if-scenarios that can disseminate to much wider audiences, giving architecture the opportunity to be understood as an argumentative, discursive practice. Fiction is a shared language.
LernzielThe course is aimed at teaching students to identify and design architectural arguments introduced through narrative and fiction, inviting a wider audience to respond and interact with their ideas. Students will first research fiction films, television and documentaries, reveal the structures and plots and develop compressed arguments for architectural problems. How do you (emotionally) engage an audience? How do you convince with stories?
InhaltThe students will gain insight to the history and theory of film, video, and television, with a clear focus on different methods of storytelling. Together we will think about the relations between subjects, human and nonhuman, and discuss ways of translating architectural knowledge to time-based media. The students will therefore construct narratives that communicate architectural, social, and political concepts more directly in the context of a wider argument.

The course will be structured through input-lectures with accompanying discussions, aimed at developing individual perspectives on the course topic. These reflections will include economic, political and philosophical aspects and will lead to a coherent collaborative project, that will be carried out as a group.
Voraussetzungen / Besonderes- No requirements / prior knowledge
- Upon agreement with the class there might the option for one short trip (Thursday 15-19 h) according to the topic "Fiction vs. Fact".
052-1119-19LArchitectural Design V-IX: Once Upon a Time in the Future... (A. Brandlhuber) Information Belegung eingeschränkt - Details anzeigen
Please register (www.mystudies.ethz.ch) only after the internal enrolment for the design classes (see http://www.einschreibung.arch.ethz.ch/design.php).

Project grading at semester end is based on the list of enrolments on 5.11.19, 24:00 h (valuation date) only.

Ultimate deadline to unsubscribe or enroll for the studio is 5.11.19, 24:00 h.
14 KP16UA. Brandlhuber
KurzbeschreibungHistory plays a role when it tells us a story about the future, but not if we use it as a framework to confirm those who already occupy the positions of power. We must make the present the trigger of another future, using history as a guide. Together we will find models from the past which work in the future. What are the real stories behind them? How do we fix these ideas? How can we update them?
LernzielArchitecture is always thought and communicated through models and drawings. Still, it is more than an object. It is defined by content and context, both time-based elements. Starting from this point, the question becomes — how can time-based media, such as video and television, bring both spatial and temporal dimension of architecture into a discussion? Storytelling allows for an argument to be made, and for an architect(ure) to occupy a political position.

Therefore, television as a technology de-centers the view from the object, and challenges our usual way of thinking of architecture. Could we use television as our tool to communicate and design architecture?
InhaltIn the late 1960s and early 1970s, design had its peak as a political and transformative tool. The Montreal Expo from 1967 presented ambitious projects such as Buckminster Fuller’s geodesic dome, Frei Otto's cable net structure, Moshe Safdie’s Habitat, and Gorazd Čelechovský’s Etarea. Visions between political emancipation and cybernetic control. Option that never became models.

335.000 people attended the opening ceremonies and celebrated together, with a space age-style countdown, the “Man and His World”. It was broadcasted live to more than 500 million people worldwide, who became part of the theme and the question, how they / we want(ed) to live together. People were full of hope.

The main players kept on designing, building and inventing until the late 1970s. Many of their ideas still seem relevant today, some were never realized, some didn’t make it into serial production, most are forgotten. The Reagan and Thatcher years made us loners, competitors, and dystopians.

However, what was possible then should be even more possible now!
Do we really believe that? Or do we expect great cultural shifts only from the entrepreneurial CEOs in Silicon Valley and elsewhere?

„When you give everyone a voice and give people power, the system usually ends up in a really good place,” declared Mark Zuckerberg in the early days of Facebook. We know how it went.

History plays a role when it tells us a story about the future, but not if we use it as a framework to confirm those who already occupy the positions of power. We must make the present the trigger of another future, using history as a guide. Together we will find models from the past which work in the future. What are the real stories behind them? How do we fix these ideas? How can we update them? How can they go into serial production?
Voraussetzungen / BesonderesSingle work and group work, whereof 3-4 weeks group work.
Costs: CHF 100.-- (seminar week not included).
063-0521-19LMaking TV: The Show Production (Thesis Elective) Information Belegung eingeschränkt - Details anzeigen 6 KP13AA. Brandlhuber
KurzbeschreibungSelf dependent thesis under the supervision of the tutor. It serves to continue the discussion with the themes of the elective course. The subject of the elective thesis is tied to the correspondent elective subject.
LernzielThe elective gives students the opportunity to expand their knowledge in the area of making TV - show production.
InhaltThe subject of the elective thesis is tied to the correspondent elective subject.
Free thesis is only possible after consultation with the tutor and has to be well prepared by the student (statement, catalogue of questions).