| 1. |
- Gatz, Sebastian
(creator_code:cre_t)
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Afternoon Performance of the Centennial Park Fruit Bats
- 2021
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Konstnärligt arbete (utställning/event) (refereegranskat)abstract
- The pockets of nature in Sydney and its urban architecture can feel disjointed, but they share a situatedness in space and time. While Gallery 12 is sometimes empty as the sun sets, the co-temporal experience of the calls and flapping of fruit bats in Centennial Park can be heard. Imagining the places as one through a merging of sound and space allows a cohesiveness of place and context to manifest. The weft and the warp, sound and vision, space and time, technology and craft, external nature and interior space meet, as a spiritual access point, facilitated by the creative act. The balance between these and other dichotomous forces through the act of creation allows everything to coexist simultaneously at the site of creation - the tapestry. A parametric simulation was created, which resulted in the tapestry design, using an open-source recording of fruit bats in Centennial Park (taken from the Timber Festival's sounds of the forest sound map and recorded by Jon Panther). As SITE 3: Top Floor Gallery provides the most optimal site for fruit bats to naturally occupy due to its height and unique ceiling, a model of it was used with the recording. The recording and its projected acoustic response in Gallery 12 were utilised to construct the pattern for weaving. As the sound travels through the gallery and resonates on the ceiling and floor, the spatially altered sound waves affect the points on the wall where the tapestry would hang. The tapestry serves as a visual archive of the performance of the sound in the space, modifying experiential acoustic conditions through its physical presence while also highlighting them through its process of creation. The sounds of Sydney's fruit bats (and their effects in space) are given tangible materiality and a human interpretation of the performance as the tapestry is woven.
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| 2. |
- Gatz, Sebastian
(författare)
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Architectural Organs : More than Human Memories
- 2023
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Ingår i: Material Practices. - München : TUM School of Engineering and Design. ; , s. 22/31-
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Bokkapitel (refereegranskat)abstract
- What is an architectural object, taken from one place to another for the purpose of reuse, from a point of memory? Can it be seen as an object which connects humans through nonhuman memory, ‘sympathetic magic’ or matter’s own agency? This text explores some fragments of ideas, follows intuitive hunches and illustrates the concept of ‘architectural organs’ by using the architectural typology/archetype of the window— here specifically from a church — and its human use for contemplation.
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| 3. |
- Gatz, Sebastian
(författare)
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Cosmo-Techno-Poiesis : Architecture of Environmental Control
- 2023
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Ingår i: ISEA 2023. ; , s. 395-402
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Konferensbidrag (refereegranskat)abstract
- Architecture is a collective technological human practice to control local environments in order to protect the human body. Depending on the worldview and cosmology of the society which produces the architecture – increasingly the global worldview is rational, mono-technological and Western – this practice gives more or less space for nonhuman agency. This paper looks at ways to loosen the contemporary Western obsession with controlling the environment architecturally by exploring different forms of architectural memento mori (remember you must die). The act of willing (poiesis) protective-controlling architecture (technology) into the world, inside a certain worldview (cosmology), is explored through the conceptual entanglement of those three notions: cosmo-techno-poiesis. The paper concludes with an architectural example and a short summary.
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| 4. |
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| 5. |
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| 6. |
- Gatz, Sebastian
(konstnär, creator_code:res_t, creator_code:cre_t)
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Hans is Dead
- 2022
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Konstnärligt arbete (film/video)abstract
- Video shown at "Home - Provoking Conversations on Place and Belonging" (online symposium), University of Gloucestershire, July 4, 2022
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| 7. |
- Gatz, Sebastian
(författare)
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Meso-Chaosmos : Situating Architectural Control
- 2024
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Ingår i: Transpositiones. - Göttingen : Vandenhoeck & Ruprecht. - 2749-4128 .- 2749-4136. ; 3:1, s. 55-80
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Tidskriftsartikel (refereegranskat)abstract
- This paper describes architecture as a form of cosmotechnics (Hui) which currently manifests a Western-Christian worldview globally. This worldview is entangled with the assumption of a God-given right to control and subordinate nonhuman nature (anthropocentrism). The text looks at the Japanese concept of wabi-sabi - which itself is a cosmotechnical architectural-aesthetic concept embedded in a Zen Buddhist cosmology - and elaborates on its understanding of human-nonhuman control as an alternative example. Afterwards it zooms in on the notion of control and speculates where it is located on the spectrum between microcosm and macrocosm and to what degree it can be active or passive. The conceptual spectrumof microcosm-macrocosm is used to locate control. The qualitative spectrum of chaos-cosmos is used to define its magnitude and directionality. The paper argues for an architectural cosmotechnological understanding of control which is located partially in the physical and partially in the metaphysical world and which is partially active and partially passive - between chaos and cosmos. This conceptual intersection of both spectrums is defined as a point of continuous active negotiation between the human and the nonhuman world. Awareness of this intersectional control point affords a thinking of post-Christian, postcolonial and posthuman architectural cosmotechnics.
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| 8. |
- Gatz, Sebastian
(författare)
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New Romanticism : It’s Time for New Realities
- 2022
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Ingår i: Transpositiones. - : Brill Deutschland GmbH. - 2749-4128 .- 2749-4136. ; 1:2, s. 55-72
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Tidskriftsartikel (refereegranskat)abstract
- The essay elaborates on the fluidity of realities and different forms of shaping them. Realities can be created and thus must be imagined first and implemented second. Reality production happens on different scales: from the small design studio – where products and desires are created – to the big world stage, where political narratives shape global happenings. At the moment we are experiencing a global dispute about how and to what extend humanity should technologically interact with nature. Should humanity intensify the control of climatic issues through the use of technology or slow down and develop new modes of being in the world? Existing movements provide space for exploring new ways of being in the world such as posthumanism, ahumanism, degrowth practice and marginalized forms of knowledge production such as occulture. Those fields come from fundamentally different (research) traditions but overlap in their quest for new non-anthropocentric ontologies. The overlapping space of these movements is conceptualized as a form of New Romanticism which opposes mainstream reality production and includes the nonhuman in its worldview. Methods for shaping realities range from speculative design to (capitalist) magic. I intend to advocate for non-hegemonic ontological explorations in academic research through experimental speculative design methods. I have written in an explorative style in order to implement speculation as a method. I first begin by looking at a tradition of Romanticism as an “irrational” opposing force to scientism and note how tendencies towards the Romantic have crept into the impetus behind other movements. Afterwards I explore different forms of shaping realities and narratives. Then I will propose new narratives for care for the age of the Anthropocene, followed by some initial ideas of how to implement New Romanticism through methods of Speculative Design. I will conclude with a short summary.
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| 9. |
- Gatz, Sebastian
(konstnär, creator_code:cre_t)
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Posthuman Borders
- 2021
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Konstnärligt arbete (film/video) (refereegranskat)abstract
- Video-performance presented at the two-day international PhD event "Approaching Research Practice in Architecture. Five Questions" (13-14 October 2021, online).This two-day event, hosted by TU Munich and KTH Stockholm for the second time, takes as its point of departure the growing interest in practice-oriented research in the broadest sense, including expanding modes of work in well-established areas of architectural research such as architectural history and theory or urban and landscape studies. This recent ‘turn to practice’ manifests itself, first and foremost, in the flourishing of empirical and performative approaches and a host of experimental methods and forms of dissemination. The aim of the workshop is to reflect upon the multitude and diversity of current research practices. This event also marks the beginning of a doctoral course on research practices.
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| 10. |
- Gatz, Sebastian
(författare)
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The Agency of a Half-Finished Building : An Active Ruin
- 2024
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Ingår i: Urban Corporis. - Conegliano : Anteferma Edizioni. - 9791259530561 - 9791259530882 ; , s. 64-69
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Bokkapitel (refereegranskat)abstract
- When is a building finished? Is a building ever finished or is it just a product of constant transformation? Transformed by its users, by time, by society and nature? When is a building a building? The moment the foundation is created? The moment the first wall is created? When it is airtight? When the workers leave the construction site? Currently I am constructing a building which functions as an artist studio, a greenhouse, an energy accumulator and an architectural test site. The building is part of my PhD in artistic research at Konstfack University in Stockholm. My PhD and the building’s current state is “half finished”. What does that mean? Is there something to be learned from Romanticism and its obsession with ruins? Is there such a thing as an “active ruin” – a planned ruin? A ruin exposed to the weathering agents of nature but also not forgotten and still in the control grip of its creator. Can a half-finished building feedback and inform theory, which feeds back and informs the rest of a building? Architectural production is different from working with clay on a sculpture.
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