| 1. |
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| 2. |
- Burroughs, Brady, 1970-
(författare)
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Architectural Flirtations : A Love Storey
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Formulated as a feminist project, written as a pulp fiction, Architectural Flirtations: A Love Storey begins with our claim that the architectural discipline is centered around a culture of critique, which is based in what bell hooks calls “a system of imperialist, white supremacist, heterosexist, capitalist, patriarchy,” and that the values instilled by this culture not only begin with, but are reinforced and reproduced by, the education of young architects.Sounds serious. Right?In a move toward a more vulnerable, ethical and empowering culture of architecture, the project aims to displace the culture of critique, by questioning and undermining relationships of power and privilege through practices that are explicitly critical, queer feminist, and Campy. In other words, it takes seriously, in an uncertain, improper and playful way, what is usually deemed unserious within the architectural discipline, in order to undermine the usual order of things.All of the (love) storeys take place on March 21st, the spring equinox, in and around a 1977 collaborative row house project called Case Unifamiliari in Mozzo, Italy, designed by Aldo Rossi and Attilio Pizzigoni. Beda Ring, PhD researcher, constructs a Campy renovation of one of these row houses, full of theatricality, humor, and significant otherness; while architectural pedagogue, Brady Burroughs, guides a student group from KTH in an Architecture and Gender course; and Henri T. Beall, practicing architect, attends to the details upstairs.
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| 3. |
- Burroughs, Brady, 1970-, et al.
(författare)
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Between Delft and Stockholm
- 2017
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Ingår i: Footprint. - : Jap Sam Books. - 1875-1504 .- 1875-1490. ; 11:2, s. 119-128
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Over the years, colleagues at the Architecture School of Stockholm have developed a most remarkable and inspiring approach to architecture and writing in terms of performances and the performative while integrating feminist and queer theory. Of particular interest are the Critical Studies in Architecture group, the group Fatale for feminist architecture theory and practice, and the Mycket collaboration. By way of an interview between Footprint editors Dirk van den Heuvel and Robert Gorny, and the Stockholm colleagues Brady Burroughs, Katarina Bonnevier, Katja Grillner, and Hélène Frichot questions of pedagogy, research and methodology are further investigated, how to ‘stay with the trouble’ and where to situate newly emerging knowledge models.
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| 4. |
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| 5. |
- Frichot, Hélène, 1970-
(författare)
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A House for Hermes #01
- 2007
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Ingår i: Landscape Architecture Australia. - Melbourne, Australia : Architecture Media. - 1833-4814. ; 116, s. 64-67
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 6. |
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| 7. |
- Frichot, Hélène, 1970-, et al.
(författare)
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A Visit to the Hospital
- 2008
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Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 25, s. 91-93
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 8. |
- Frichot, Hélène, 1970-
(författare)
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A Work in Ten Parts : Gathering and its Forms
- 2009
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- A Work in Ten Parts: Gathering and its Forms, was a set of 'philosophical' instructions that I wrote and provided to Elizabeth Presa, Centre for Ideas, VCA, University of Melbourne as part of a collaborative work participating in Hans Ulrich Obrist's ongoing Do It project. The instructions were followed by a number of VCA art students as part of a studio project, and the work was exhibited at George Paton Gallery, Union House The University of Melbourne, Parkville (6-16 October, 2009). A catalogue published by The Centre for Ideas, VCA, The University of Melbourne, Melbourne was produced called Do It, which likewise contributes to the ongoing collaborative series curated by Hans Ulrich Obrist.
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| 9. |
- Frichot, Hélène, 1970-, et al.
(författare)
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After Effects : Theories and Methodologies in Architectural Research
- 2019
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Bok (refereegranskat)abstract
- Combining theories and methodologies drawn from diverse disciplinary terrains, the after effects of research presented in this volume are aimed at strengthening future thinking and practice in architecture. We challenge the traditional assumption that theory occupies a position that is detached from the production of architecture. Instead we assert that theory can operate reciprocally with methodology toward experimentation in both critical architectural discourse and projective modes of practice. At stake here are the emergent possibilities of new socio-political and ecological challenges and contexts, where ethical and material conditions must be tackled jointly.
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| 10. |
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| 11. |
- Frichot, Hélène, et al.
(författare)
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An antipodean imaginary for architecture+philosophy : Ficto-critical approaches to design practice research
- 2012
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Ingår i: Footprint. - 1875-1504 .- 1875-1490. ; 10, s. 69-96
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Tidskriftsartikel (refereegranskat)abstract
- This is a collaborative essay that presents the design practice research of six postgraduate researchers (past and present), who have been working within the Architecture+Philosophy research stream at the School of Architecture, RMIT University, Melbourne. What unites the projects is an aspiration to maintain a creative relationship between architectural design project research and critical theory, with an emphasis on transdisciplinary potentialities. While the design research introduced here is diverse, the researchers all share an engagement in how to construct imaginary worlds using what can be identified as a ficto-critical approach that draws on the productive intersection of architecture and philosophy. Hélène Frichot, who will situate this research from her position as their primary doctoral advisor, argues that by pursuing a productive relay between theory and practice a novel Antipodean design imaginary can be seen to emerge across the collected projects.
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| 12. |
- Frichot, Hélène, 1970-
(författare)
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An Apprenticeship in Thinking Architecture
- 2005
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Ingår i: Drawing Together. - Brisbane : QUT.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The relevance and use of theory when approaching the discipline of architecture would appear to have become eclipsed by the excitement associated with emerging digital technologies, and a renewed fascination in nature, appropriated from biological science in the form of genetic algorithmic models. What’s more, if we are to believe Michael Speaks’s Assemblage essay, “Which Way Avant-Garde?” (2000), we are by now obliged to admit the death of theory (a watered down version of philosophy), and contend instead with the fierce world of globalisation, organised by a new brand of intellectual, the entrepreneur or manager.[1] The name, Gilles Deleuze, for instance, cited by Speaks himself, no longer carries its authoritative weight, and folded architecture has become decidedly outmoded. And yet architecture must still find some means of talking about itself, and conceptually enabling its activities. There is, in addition, the mounting institutional pressure for the architectural academic to publish their research. With this paper I will argue that theory constitutes a crucial part of an apprenticeship in the discipline of architecture in both pedagogical and professional contexts. I will return to the work of Deleuze with the claim that the legacy of his particular practice of thought, which we can name, creative philosophy, maintains an influence on the discourse surrounding digital architecture. Through Deleuze’s Spinozist lens I will also speculate on the possibility of imagining an ethics for architecture in what we can call a post-digital age. Here an ethics can also be taken on as an apprenticeship, rather than a predetermined moral code, wherein practice and theory enter into a relationship of ongoing and, at the same time, responsible experimentation in the arena of design.[1]Michael Speaks, “Which Way Avant-garde?”, Assemblage, no. 41 (April, 2000), p. 78.
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| 13. |
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| 14. |
- Frichot, Hélène, 1970-
(författare)
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An Ethico-Aesthetics for Wet Architecture
- 2007
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Ingår i: Ideology Of The Imaginary in the 21st Century. - Adelaide, Australia : Experimental Arts Foundation.
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Konferensbidrag (refereegranskat)
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| 15. |
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| 16. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Architecture and Feminisms : Ecologies Economies Technologies
- 2017
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Bok (refereegranskat)abstract
- Set against the background of a ‘general crisis’ that is environmental, political and social, this book examines a series of specific intersections between architecture and feminisms, understood in the plural. The collected essays and projects that make up the book follow transversal trajectories that criss-cross between ecologies, economies and technologies, exploring specific cases and positions in relation to the themes of the archive, control, work and milieu. This collective intellectual labour can be located amidst a worldwide depletion of material resources, a hollowing out of political power and the degradation of constructed and natural environments. Feminist positions suggest ways of ethically coping with a world that is becoming increasingly unstable and contested. The many voices gathered here are united by the task of putting critical concepts and feminist design tools to use in order to offer experimental approaches to the creation of a more habitable world. Drawing inspiration from the active archives of feminist precursors, existing and re-imagined, and by way of a re-engagement in the histories, theories and projected futures of critical feminist projects, the book presents a collection of twenty-three essays and eight projects, with the aim of taking stock of our current condition and re-engaging in our precarious environment-worlds.
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| 17. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Architecture + Feminism
- 2008
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Ingår i: Architecture Australia. - Melbourne, Australia : Architecture Media. - 0003-8725. ; March/April
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Is anyone interested in talking about feminism and architecture? In early December 2007 we convened an informal roundtable at RMIT dedicated to past and present conjunctions of feminism and architecture, in partial response to a question from visiting Swedish architect and scholar Katja Grillner. To many, the coupling of architecture and feminism might seem anachronistic now, a defunct double act in an era in which surely we have transcended the necessity to highlight “women’s issues” – for instance, equality of pay, political representation and expression. But curiously, as our small event was being organized, other similar forums and events also emerged from the political woodwork. Gertrude Street Contemporary Art Spaces held a forum provocatively entitled Feminism Never Happened a couple of weeks prior, while earlier in the year the Brooklyn Museum, New York, hosted a show called Global Feminisms (21 March – 1 July 2007), which gathered together a selection of artists grappling with feminist issues from the 1990s to the present day. Those who participated in the RMIT roundtable speculated on whether such signs might tentatively suggest a return to questions and projects that fall loosely under the much-maligned and misunderstood rubric “feminism”.
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| 18. |
- Frichot, Hélène, 1970-
(författare)
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Bartleby the Scribe’s Formula : I Would Prefer Not To…(Design Creativity as a Mode of Resistance)
- 2010
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Once upon a time, prior to the development of mechanical and then electronic copying devices and their ubiquitous colonisation of the corporate world, the figure of the scrivener or copyist would have been a regular fixture in the office. The great American writer Herman Melville tells the story of such a scrivener, a law copyist called Bartleby who perplexes his employer, an attorney, with a singular phrase of resistance: I would prefer not to. Bartleby responds to an advertisement for the position of scrivener and arrives one day in the open doorway of the attorney’s offices, “pallidly neat, pitiably respectable, incurably forlorn!” The attorney explains that his chambers at that time were located up the stairs of what is presumably an office block at an undisclosed address on Wall Street, New York. He describes the outlook of his rooms as follows: “At one end, they looked upon the white wall of the interior of a spacious sky-light shaft…from the other end of my chambers…my windows commanded an unobstructed view of a lofty brick wall, black by age and everlasting shade.” The premises are further divided into two halves, one for the employees, and one for the attorney, separated by ground glass folding doors, which the attorney opens and closes depending on his temper. Bartleby will be further cordoned off behind a high green folding screen that not only separates him out from the three other employees, but places him in the closest proximity to his employer, specifically on the attorney’s side of the office. Melville, as can be seen, composes the spatial arrangement of the office and its outlook with specific care. It is within this circumscribed space that Bartleby’s phrase, I would prefer not to, will come to infect the collective enunciation of the employees as well as the attorney himself. Each will unwittingly find themselves using variations of Bartleby’s phrase. This is a phrase that is taken up as an object of study by a number of philosophers, including Gilles Deleuze, Isabelle Stengers, and Giorgio Agamben. What interests all of these thinkers is how the figure of Bartleby troubles the outline of what constitutes a collective voice of enunciation or expression and the cohesive identity of some community of shared practices and beliefs. The passive resistance of Bartleby’s phrase, which Deleuze names a formula, offers a protest that cannot be explicitly named, and at the same time it calls upon a potential creativity the realisation of which may be indefinitely forestalled.
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| 19. |
- Frichot, Hélène, 1970-
(författare)
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Becoming Woman, Old Man
- 2008
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Ingår i: Bureau. - Melbourne : VCA Margaret Lawrence Gallery, Faculty of the Victorian College of the Arts, The University of Melbourne. - 9780980484328
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 20. |
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| 21. |
- Frichot, Hélène, 1970-
(författare)
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Charles Anderson : Touch This
- 2010
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Ingår i: Landscape Architecture Australia. - Melbourne, Australia : Architecture Media. - 1833-4814. ; 127, s. 31-32
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Nearly one hundred years ago now, a man walked into a room and dropped three pieces of string, each measuring a meter long, from the height of one meter onto a stretched horizontal canvas so that they fell in three curved lengths, twisting as they pleased. He called his experiment the Three Standard Stoppages. How long is a piece of string? One meter subsequently reconfigured to create a new unit of length depending on how it falls. Some ten years ago now a man walks into his studio and discovers that effluent from his leaky roof has been seeping unnoticed through a stack of papers. As the paper thirstily absorbs the liquid, discoloured blotches descend through the layers forming an inverted pyramid. The peak of the pyramid marks the point of exhaustion of the liquid. Sheets of time have been captured as though in stop motion, and from this happy accident the exigency of creation emerges. He knows that stochastic or chance-based procedures demand patience and a great amount of exactitude: don’t leave them up to blind chance. The man attempts to repeat the accident using medical as well as bodily fluids. He also collects other stains, for instance, captured photographically from discarded mattresses. How big is a landscape? As big as the stain on a discarded bed mattress.
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| 22. |
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| 23. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Clinic for the Exhausted : An Architectural Exploration of the Imaginary Techniques of Raymond Roussel
- 2010
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Ingår i: Imagining.... - Newcastle, NSW, Australia : University of Newcastle.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The French writer Raymond Roussel has been described as the Marcel Proust of dreams, and it is a curious fact that the two writers’ mothers were friends, for it is as though they were both infected in the cradle by a maternal imaginary that would haunt their delicate constitutions and trouble their ascent into the realm of the symbolic. With this paper we will present a few of the surreal methodologies that Roussel employed to write certain of his novels and plays. We will argue that the imagination here is not simply the faculty that allows for a free play of images and ideas, but that it also offers a methodology by way of associations between images and ideas that can be followed even while these proceed at a break-neck speeds. Michel Leiris explains that Roussel was not interested in anything real, or on any observations of the world, but only upon completely imaginary compositions. Some of the methods or compositional techniques that Roussel professes to employ include taking two sentences that sound the same, but from which two different senses can be derived that allows the writer to arrive at distinct scenarios; choosing a random phrase and employing phonetic word play to create a different sentence; conjoining words with multiple meanings; and other similar disturbances and slippages of language making the textual medium an uncertain and precarious one. Influenced by the textual methodologies of Roussel, which seek to disrupt the common sense meaning of language, the architectural imagination that we will present belongs to the work in progress of Michael Spooner’s A Clinic for the Exhausted, a design research project that is composed of four clinics, each an architectural exposition on Edmond & Corrigan’s Building Eight, RMIT University. We will focus in particular on the clinic entitled, The Swimming Pool Library, submitting a performance of the design imagination at play as it gathers associations of images and ideas that disrupt our expectations of how a design methodology should conventionally proceed. As Michel Foucault explains, on encountering Roussel’s work, “the reader thinks he recognises the wayward wanderings of the imagination where in fact there is only random language, methodically treated.” Building Eight’s discontinuous genealogy in A Clinic for the Exhausted is offered as evidence of how Roussel’s compositional ambivalence can be mobilised in the exploration of design methodologies pushed to their limits, unmooring what we understand to compose the architectural imaginary and in turn, questioning how we go about constructing our architectural edifices.
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| 24. |
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| 25. |
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| 26. |
- Frichot, Hélène, 1970-
(författare)
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Creating an Ethico-Aesthetics for Digital Architecture
- 2005
-
Konferensbidrag (refereegranskat)abstract
- A practical philosophy requires that one install oneself in the midst of things such that abstract propositions can lead toward the concrete manner in which one pursues a life. By living out propositions, and, we could add, by creating concepts, Gilles Deleuze suggests that one finds oneself to be Spinozist without having understood why. The question of a way of life concerns affects, the capacity to be affected, and to affect others. Architecture is a practical discipline apt to create blocs of sensations through the circulation of affects, concepts and percepts. Though the role of architecture should be considered distinct from that of philosophy, a vibrant traffic in ideas continues to pass between the disciplines. At least since the nineteen-eighties, architectural thinkers have shown a pronounced interest in the work of Deleuze. Though this fascination would appear to have diminished somewhat, the conceptual assemblage constructed between Deleuze and Félix Guattari toward the practice of a creative philosophy continues to inform the emergence of what has been nominated digital architecture. The deceptively liberating promise of digital architecture, which suggests to the designer a plethora of formal permutations, even deformations, and novel techniques, obfuscates the embeddedness of the architectural artefact (whether material or imagined) in a socio-cultural and political milieu. The very same architectural form can create effects of power that are, from one point of view, affirmative of existence, and from another, repressive. With this paper I will speculate on the possibility of engaging with an ethico-aesthetic practice for digital architecture. Ethics, Deleuze argues, constitutes “a typology of immanent modes of existence”, and displaces morality, “which always refers existence to transcendent values”.[1]How might an ethico-aesthetic, creative practice of architecture be inaugurated for a discipline that remains, for the most part, formalist in its preoccupations?[1]Gilles Deleuze, Spinoza Practical Philosophy, trans. Trans. Robert Hurley (San Francisco: City Lights Books, 1988), p. 23.
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| 27. |
- Frichot, Hélène
(författare)
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Creative Ecologies : Theorizing the Practice of Architecture
- 2018
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Bok (refereegranskat)abstract
- Architect and philosopher Hélène Frichot examines how the discipline of architecture is theorized and practiced at the periphery. Eschewing a conventionally direct approach to architectural objects – to iconic buildings and big-name architects – she instead explores the background of architectural practice, to introduce the creative ecologies in which architecture exists only in relation to other objects and ideas. Consisting of a series of philosophical encounters with architectural practice that are neither neatly located in one domain nor the other, this book is concerned with 'other ways of doing architecture'. It examines architecture at the limits where it is muddied by alternative disciplinary influences – whether art practice, philosophy or literature. Frichot meets a range of creative characters who work at the peripheries, and who challenge the central assumptions of the discipline, showing that there is no 'core of architecture' – there is rather architecture as a multiplicity of diverse concerns in engagement with local environments and worlds.From an author well-known in the disciplines of architecture and philosophy for her scholarship on Deleuze, this is a radical, accessible, and highly-original approach to design research, deftly engaging with an array of current topics from the Anthropocene to affect theory, new materialism contemporary feminism.
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| 28. |
- Frichot, Hélène, 1970-
(författare)
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Daddy, Why do things have outlines? Constructing the Architectural Body
- 2013
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Ingår i: Inflection Journal. - : Inflexions. - 2199-8094. ; :6, s. 112-124
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Tidskriftsartikel (refereegranskat)abstract
- Arakawa and Madeline Gins’s book The Architectural Body performs a radical relation of indiscernibility between the embodied performance of the inhabitant and their architectural or built surrounds. This paper will explore the conceptual and architectural composition of the architectural body and suggest, after Gilles Deleuze and Benedict de Spinoza, that we do not yet know what this (architectural) body can do! In particular, I will focus on the dialogue that Arakawa and Gins employ in The Architectural Body to demonstrate how the performing body-being and the transforming architectural surround cleave to one another to create another kind of atmospheric individual, a bioscleave, and by extension, a resituated concept of ecology. To explore the atmospheric ecologies at work in the concept of the architectural body, I will place two further conceptual scenes alongside that offered in Arakawa and Gins’ book: The first scene is another dialogue, Metalogue: Why do Things have outlines? from Gregory Bateson’s Steps to an Ecology of Mind, and the second scene is that in which Deleuze describes the active procedure of the diagram in Francis Bacon: The Logic of Sensation. I will conclude with a discussion of the way ethical know-how can be practiced at the threshold between organism and environment. ?
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| 29. |
- Frichot, Hélène, 1970-
(författare)
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David Ralph : In Captivity
- 2008
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Ingår i: Landscape Architecture Australia. - Melbourne, Australia : Architecture Media. - 1833-4814. ; 118, s. 31-32
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 30. |
- Frichot, Hélène, 1970-, et al.
(författare)
-
Deleuze and Architecture
- 2013. - 1
-
Bok (refereegranskat)abstract
- How is it that the legacy of the French philosopher Deleuze has lasted so long and impacted so greatly on both the practice and theorising of architecture? The uptake of the philosophy of Gilles Deleuze in architectural theory and practice since the 1980’s has been fast, furious and multifarious. From ubiquitous formal translations of the process of ‘folding,’ to differences between ‘smooth’ and ‘striated’ space, to appropriations of concepts such as ‘immanence’ and the ‘virtual’ in digital architecture, the consumption of Deleuzian philosophy has fuelled a generation of architectural thinking, and is manifest in the design of a global range of contemporary built environments. The work of Deleuze, and his collaboration with psychoanalyst, Félix Guattari, has also, importantly, alerted Architecture to crucial ecological, political and social problems, with which the discipline must continue to grapple.Deleuze and Architecture provides critical genealogies of Deleuze’s influence in architecture, as well as critical commentaries on, and evidence for, the ongoing relevance of this philosopher to the discipline. Fifteen essays by a current generation of key interdisciplinary scholars reflect upon the following questions: What is a critical history of Deleuze’s influence in architecture? How has Deleuze’s work challenged architecture’s disciplinary construction, and how, through novel readings of Deleuze, has the discipline of architecture contributed to philosophical thinking? How does an engagement in the philosophy of Deleuze contribute to an architectural understanding of the complex politics of space of our increasingly networked world? How can a rethinking of Deleuze’s philosophy enable new ethical, ecological and participatory approaches to architecture?
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| 31. |
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| 32. |
- Frichot, Hélène, 1970-
(författare)
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Deleuze and the story of the superfold
- 2013. - 1
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Ingår i: Deleuze and Architecture. - Edinburgh : Edinburgh University Press. - 9780748674640 - 9780748674657 ; , s. 79-95
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Bokkapitel (refereegranskat)abstract
- Gilles Deleuze’s concept of the fold has inspired much architectural experimentation in terms of novel form-making, or fold-making writ large at the scale of buildings and even urban environments. With what can be called the rise of a new biological paradigm in architecture, the concept of the fold, while less explicitly evident, continues to promise novel approaches to form-making, and is also suggestive of a way in which architecture can conjoin with a life within the folds. Contemporary avant-garde architects now claim that one day soon buildings will respond to life criteria, by becoming something akin to building-organisms. A definition of life is broadly appropriated from the life sciences, and the models that it uses to map life in process range from the scale of the cells that cluster as organisms to the organization of ecological systems. The resulting focus on generative digital models, which borrow from genetics, evolutionary theory, and so forth, continues to draw on the aesthetics of Deleuze and Félix Guattari. I will argue that an emphasis on an aesthetics of life that is directed toward architectural formal ends, and which calls upon an array of interdisciplinary sources including biology, computer science and philosophy, risks forgetting the ethical and political importance of simultaneously pursuing an ethics of immanence, or else what Guattari has called an ecosophy. The drawing of the diagram of the fold also designates a tremulous site of battle that pertains to life, how it is defined and how it is transforming, especially in societies of control. In the Appendix of his book Foucault, Deleuze describes what he calls the Superfold, a concept by which he speculates on a life within the folds that goes beyond the human organism as well as beyond the silicon-based machine: A life within the folds in profound contact with the outside of thought is not all that it seems. I will conclude the essay with a discussion of this marginal concept of the superfold and its implications for the ground that is shared between architecture and philosophy.
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| 33. |
- Frichot, Hélène, 1970-
(författare)
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Design and Attention
- 2009
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Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 29, s. 6-
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 34. |
- Frichot, Hélène, 1970-
(författare)
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Design and Loneliness
- 2009
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Ingår i: Artichoke. - Melbourne : Architecture Media. - 1442-0953. ; 28, s. 88-89
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 35. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Design that Moves
- 2009
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Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 27, s. 85-89
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 36. |
- Frichot, Hélène, 1970-
(författare)
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Design Thinking in the Beehive
- 2011
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Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 36, s. 97-
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 37. |
- Frichot, Hélène, 1970-
(författare)
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Desire and Identity : The Architecture of Chancellor and Patrick
- 2011
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Ingår i: Architecture Australia. - Melbourne, Australia : Architecture Media. - 0003-8725. ; May/June:3, s. 17-18
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The scene that is set describes a serene Victoria enjoying her post-war prosperity together with the pleasures of a bay-side leisure lifestyle. This is an age in which the Victorian citizen, the everyman, can feel sure of his place in the work-a-day world, and then return home to large helpings of meat and three veg prepared by the wife. There persists, more or less imperceptibly, the quiet murmur of a fading indigenous race, whose children and land have been stolen, but little matter, this is now a resolutely white Australia. Whiteness has been so thoroughly internalised into the nation’s psyche that the white Australia policy has been allowed to cautiously ease. Even with the considerable post-war push for immigration – populate or perish – the newcomers are mostly European, and the newsreels show images of smiling blond women, and smart, healthy young men in stylish sunglasses alighting from large ocean liners. There are dams to be built, and primary and secondary industry to consider. This is also an era within which mainstream television is just being introduced, and all the living room picture windows, one by one, up and down the block, begin to flicker and glow after dinner time as families gather around the televisual hearth to hear news from elsewhere. It is during this period, from the early to the mid-1950’s, that experimental young Australian practices such as Chancellor and Patrick look with great admiration toward the new architecture emerging out of Europe, and the international flowering of modernism.
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| 38. |
- Frichot, Hélène, 1970-
(författare)
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Disjunctive Syntheses of (Post)digital Architecture and Life
- 2007
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Ingår i: AASA. - School of Architecture, University of Technology : Sydney.
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Konferensbidrag (refereegranskat)abstract
- In her recent book, Architecture, Animal, Human: The Asymmetrical Condition, Catherine Ingraham maintains a stalwart asymmetry between, on the one hand, human, animal and other life, and on the other hand, the material constraints or framed enclosures of architecture. When we turn to the recent, speculative work of the Emergence and Design Group (Michael Hensel, Michael Weinstock, and Achim Menges) we find a practice that deploys the software of computer technologies as a medium that has become increasingly life-like in its operational capacities and engagements. Rather than an asymmetrical condition, digital architects, such as the Emergence and Design Group, appear to be dismantling the distinction between architectural form and human, animal and other life forms. What we are asked to imagine is a continuum that unfolds in both directions, one infecting the other, organic interpenetrating inorganic, technology intertwined with biological life. What’s more, the resulting hybrid of architecture-cum-life in (de)formation, should be apprehended as animated and ever-responsive to the field from which it emerges. The formal complexity that supposedly results erupts unexpectedly from a plane of continuous variation where the emphasis lies in the surface effect. This paper will trace the legacy of the work of Gilles Deleuze and Félix Guattari with respect to key conceptual moves, implicit and explicit, being made by so-called digital architects. Following what can be identified as Deleuze and Guattari’s ethics of immanence, this paper will also consider whether an appropriate ethico-aesthetic practice can be engaged to address what appears to be a new architectural paradigm with its attendant desire for an intimate proximity with life.
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| 39. |
- Frichot, Hélène, 1970-
(författare)
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Drawing, Thinking, Doing : From Diagram Work to the Superfold
- 2011
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Ingår i: Access: Critical Perspectives on Communication, Cultural & Policy Studies. - Melbourne, Australia : RMIT University, School of Art. - 0111-8889. ; 30:1, s. 1-10
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Tidskriftsartikel (refereegranskat)abstract
- In 1998, when the names Gilles Deleuze and Félix Guattari still exuded a seductive attraction for architectural thinkers and practitioners, Any Magazine, edited by Cynthia C. Davidson, published an edition entitled Diagram Work, which was guest edited by architects Ben van Berkal and Caroline Bos. The diagram work in question drew predominantly on the philosophical thought of Deleuze and Guattari, especially their version of the diagram, or ‘diagrammatic’, as mobilised in their book A Thousand Plateaus where the diagram is also referred to as an ‘abstract machine’. This essay will present a series of different ways in which the concept of the diagram can be argued to be at work in Deleuze, and Deleuze and Guattari’s ethico-aesthetics. Their speculative, projective and radically creative employment of the diagram will also allow me to present a discussion of Deleuze’s concept of the ‘Superfold’, which he introduces briefly in the Appendix of his book Foucault. I will conclude by discussing the relevance of the concept of the Superfold with regard to computational architectures and (post)digital diagrammatic processes, and also as a concept that alerts us to the risk of assuming too much about our relationship with diagrammatic forces.
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| 40. |
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| 41. |
- Frichot, Hélène, 1970-
(författare)
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Ethics, Aesthetics, Architecture
- 2007
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Ingår i: Architecture Australia. - Melbourne Australia : Architecture Media. - 0003-8725. ; 96:8, s. 61-62
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 42. |
- Frichot, Helene
(författare)
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Exhausting (Architectural) Theory, Noopolitics and the Image of Thought
- 2016
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Ingår i: SITE Zones. - Stockholm. - 2004-2574.
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- It is exactly the space and pace, the local and global extent of exhaustion that I wish to explore again in this essay. In the introduction to Deleuze and Architecture, and in other of my writings,[1] I have extracted a methodology of exhaustion from Deleuze’s brief and dense essay “The Exhausted”, so removing and abstracting it, without some attendant risks, from the specific application he has tested in his reading of Samuel Beckett’s novels, plays and television plays.[2] Below I will address the way Deleuze enumerates four ways of exhausting the possible, accepting that this list should not be taken as exhaustive. I should also admit that I have wilfully extracted these four approaches from what Deleuze identifies as three ‘Languages’: Language I, II, and III respectively. It is important to note, as I will elaborate, that the results of the methodology of exhaustion can proceed toward a more powerful composition of forces, as well as toward a decomposition of our relations and encounters amidst our local environment-worlds. That is to say, the methodology produces what could be judged as both ‘failures’ and ‘successes’, but this very much depends on point of view and situation. Although in Deleuze’s argument the methodology seems to progress from exhaustive series or ‘combinatorials’ (of concepts, things, images,) toward the dissipation of the power of an ‘image of thought’, I will argue that it is more useful to see what happens when the methodology is followed in both directions. The four approaches to a methodology of exhaustion include: 1) the composition of combinatorials arranged through the formation of exhaustive series (of concepts, images, things, any such thing that can be named); 2) the drying up or exhausting of the flow of weak and strong voices; 3) the extenuation of the potentialities of space by way of the any-space-whatever, as well as exhaustion via images; 4) and finally, the dissipation of the power of the ‘image of thought’, which as an iconoclastic moment leads either to a new more positive image of thought or else to a more dogmatic one. It is also worth mentioning that there is a mathematical and geometrical definition of a method of exhaustion that allows the area beneath a curve to be calculated by approaching the problem of exactly measuring curvature without, strictly speaking, arriving at anything more than a sufficient answer, creating what might be called a working method. To be exhaustive, in the sense of a search party, is to search an area as completely as possible, but there is always the suspicion that some thing still remains to be unearthed, or that we missed some crucial detail. And so the search may well be taken up at a later date. Crucially, and as will hopefully become clearer, the methodology of exhaustion as well as confronting the dissipation of sense, also leads to the breakdown of the organic or inorganic body, defined in the broadest way to include, for instance, a human body, a body politic, a built environment-body, an ecological body, and so forth.[1] Hélène Frichot, “Michelle Hamer: One Stitch at a Time” in Louis Mannie Leoni, ed. 05401, 01 (2012) pp. 17-19, 25-26; Hélène Frichot and Stephen Loo “Introduction: The Exhaustive and the Exhausted – Deleuze AND Architecture” in Deleuze and Architecture, op. cit.; Hélène Frichot, “Gentri-Fiction and our (E)States of Reality: On the Exhaustion of the Image of Thought and the Fatigued Image of Architecture”, in Nadir Lahiji, ed. The Missed Encounter of Radical Philosophy with Architecture (London: Bloomsbury, 2014).[2] “The Exhausted” was first published not in the collected essays of Critique et Clinique, translated by Daniel W. Smith as Essays Critical and Clinical, where it now appears in English, but first appeared in Samuel Becket’s Quad et autres pieces pour la television. Samuel Beckett, Quad et autres pieces pour la television (Paris: les éditions de minuit, 1992); Gilles Deleuze, Critique et Clinique, Paris: Éditions de Minuit, 1993); Gilles Deleuze, Essays Critical and Clinical , Daniel W. Smith and Michael A. Greco, trans. (London: Verso, 1998).
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| 43. |
- Frichot, Hélène, 1970-
(författare)
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Experimentations on the Surface of Home
- 2004
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Ingår i: Inside: interior design review. - St Kilda, Melbourne, Australia : Niche Publisher. - 1326-9631. ; 32
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 44. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Feminist Practices : Writing around the kitchen table
- 2017. - 1
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Ingår i: Feminist Futures of Spatial Practice. - Baunach : AADR - Art Architecture Design Research, Spurbuch Verlag. - 9783887784898 ; , s. 171-198
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Bokkapitel (refereegranskat)
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| 45. |
- Frichot, Hélène, 1970-
(författare)
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Five Lessons in a Ficto-Critical Approach to Design Practice Research
- 2015
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Ingår i: Drawing-On: Journal of Architectural Research By Design. - Edinburgh : The University of Edinburgh. - 2059-9978. ; 1
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In the following text I propose to offer the outline of five preliminary lessons in a ficto-critical approach to creative research practices in architecture, or more precisely, between architecture and philosophy; a transversal relay I pursue through my own research. I will identify these creative and critical practices as operating amidst what can be called an ‘ecology of practices’, a formulation I appropriate from the philosopher of science Isabelle Stengers (who also stresses the power of fiction with respect to explorative practices in the sciences) although I will ask whether it might be helpful to refer instead to ecologies, placing the stress on the plural, in order to allow for more diverse trans-disciplinary encounters. I propose ecologies of practices as surely every ecology jostles alongside another ecology; as one ecology brims over the threshold into another it either wreaks havoc and brings about the decline of a neighbouring less resilient ecology, or else enjoins a more powerful composition, an allegiance. At these thresholds a certain ethics is called for, and the possibility of experiencing-experimenting with an ethico-aesthetics.[i] With respect to much of what I will discuss here I am indebted to the researchers I have had the opportunity to work with in the School of Architecture and Design, RMIT University and within ResArc, the research institute that conjoins the four schools of architecture in Sweden. In many instances I have guided these researchers through their PhD projects, as they, in turn, have guided me into an understanding of the very difficult domain of research by or through design. In particular I thank Michael Spooner, Julieanna Preston, and Margit Brünner for kindly allowing me permission to reproduce their images.[i] Guattari, Félix. 1995. Chaosmosis: An Ethico-Aesthetic Paradigm, trans. Paul Bains and Julian Pefanis. Sydney: Power Publications.
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| 46. |
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| 47. |
- Frichot, Hélène, 1970-
(författare)
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Foaming Relations : The Ethico-Aesthetics of Relationality
- 2009
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Ingår i: Occupations. - Brighton : University of Brighton. - 9781905593736 ; , s. 1-11
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The German philosopher Peter Sloterdijk uses the analogy of foam to describe the relations that cohere between one individual and the next, each co-isolated in the context of the modern city. Our habits, in co-production with the framing of our urban habitus, determine that we are arranged as networks of isolated, bubble-like, monadic cells. By effervescent means we nevertheless find ways of communicating across the cell walls that we share, and which divide us, or do we? I will enlist a series of concepts to consider the foaming relations that go toward forming the life of the urban habitus. These will include, relational aesthetics (Nicolas Bourriaud); ethico-aesthetics (Félix Guattari); human and nonhuman relations (Bruno Latour) all of which will help toward articulating a foaming, bubbling mass of relations that are external to their terms. The use of Sloterdijk’s concept of ‘foam city’ will be employed to consider contemporary modes of occupation of the city and how occupation is a processual activity that requires innovative responses to ever-transforming spatio-temporal networks. Following Guattari, this paper will venture an ethico-aesthetic approach to the way problems can be framed by architects and designers toward new modes of occupation of urban fields enlivened by the circulation of human and non-human actors. Practices of occupation accompanied by relations of affect and percept require an ethico-aesthetic rethinking of the design process and its modes of conceptualisation. This paper will address the manner in which the contemporary urban scene is inhabited as a live medium and ask to what extent the public sphere has been rendered redundant in exchange for a multiplicity of co-habiting as well as agonistic private spheres, or what Sloterdijk has called, ‘ego-spheres’.
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| 48. |
- Frichot, Hélène, 1970-
(författare)
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Folds for Marion Manifold
- 2010
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Deep Mapping for the Stony Rises is an assemblage of the topographies and topologies encountered in the making of a cross-landscape environment for six particular places in the Stony Rises of Victoria and the Flinders Ranges of South Australia. It is an experiment in the superpositioning of gathered and invited material interleaved with a stratigraphy of text – as a kind of writing over writing over writing where points once separated in time are made adjacent2 – through the medium of the gridded mat. The ten elements for a deep map are guides for peripatetic travelling through stony terrains shaped by curatorial fine-tuning further informed by instructions from collaborators, when such advice exists. Arrangements of collected, invited and offered fragments of impressions gathered across these landscapes are ordered and layered onto conceptual ground – the deep mapping mat to be laid out, reorganised, folded up and carried about as necessary. At the invitation of Gini Lee, who was one of the cited artists of 'The Stony Rises Project', I submitted a set of drawings to be used and composed at her discretion as part of her curated contribution, 'Deep Mapping.'
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| 49. |
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| 50. |
- Frichot, Hélène, 1970-
(författare)
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Following Hélène Cixous’s Steps Towards a Writing Architecture
- 2010
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Ingår i: Architectural Theory Review. - London : Routledge. - 1755-0475 .- 1326-4826. ; 15:3, s. 312-323
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Tidskriftsartikel (refereegranskat)abstract
- In her book Coming to Writing, He ́le`ne Cixous suggests that the woman writer must always struggle to establish her right to write. Within the field of architecture the act of writing is often assumed to be a passive after- effect of the built form and not an active force that might substantially participate in the process of design and its material out- come in a world. Using Cixous as a guide, I will argue that a creative and critical practice of writing can materially contribute to the thinking and doing of architecture, especially with regard to the woman architect.
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