| 1. |
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| 2. |
- 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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| 3. |
- 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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| 4. |
- 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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| 5. |
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| 6. |
- Frichot, Hélène, 1970-
(författare)
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An Apprenticeship in Thinking Architecture
- 2005
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Ingår i: Drawing Together. - Brisbane : QUT.
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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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| 7. |
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| 8. |
- 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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| 9. |
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| 10. |
- 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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| 11. |
- 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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| 12. |
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| 13. |
- Frichot, Hélène, 1970-
(författare)
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Creating an Ethico-Aesthetics for Digital Architecture
- 2005
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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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| 14. |
- 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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| 15. |
- 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-
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 16. |
- 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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| 17. |
- 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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| 18. |
- 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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| 19. |
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| 20. |
- 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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| 21. |
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| 22. |
- 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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| 23. |
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| 24. |
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| 25. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Homo Faber : Modeling Architecture
- 2006
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Ingår i: Architectural Review Australia. - St Kilda, Melbourne, Australia : Niche Media. - 1323-367X. ; 98, s. 26-28
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 26. |
- Frichot, Hélène, 1970-, et al.
(författare)
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Hotel Room Heimat : A Feeling for Home
- 2008
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Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 24, s. 109-110
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 27. |
- Frichot, Hélène, 1970-
(författare)
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Intimus : Interior Design Theory Reader
- 2007
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Ingår i: Artichoke. - Melbourne, Australia : Architecture Media. - 1442-0953. ; 18, s. 61-
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 28. |
- Frichot, Hélène, 1970-
(författare)
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LAB Architecture : Draw the Line
- 2009
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Ingår i: Architecture Australia. - Melbourne, Australia : Architecture Media. - 0003-8725. ; 98:6, s. 33-34
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Recension (övrigt vetenskapligt/konstnärligt)
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| 29. |
- Frichot, Hélène, 1970-
(författare)
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Nathalie’s Rotunda : Breaching the Threshold of Maurice Blanchot’s L’Arrêt de Mort
- 2005
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Ingår i: Colloquy (Print): text theory critique. - 1325-9490. ; :10, s. 171-180
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Maurice Blanchot’s conceptual work on the space of literature lingers in an uncomfortable proximity to that space we conventionally call architectural. Nevertheless, for Blanchot, the space of literature is no space at all. Instead, it can be considered an exemplary non-place, or what Michel Foucault has described as belonging to “placeless places.”[1]Nothing really happens in the hallways, rooms, and stairwells that are detailed in Blanchot’s récits, but I will argue that these settings are crucial to the writer’s sparse narratives and their intimate relationship with his philosophical work. I will suggest a two fold sense of the concept of space in Blanchot’s oeuvre, by way of a reading of L’Arrêt de Mort [Death Sentence]. This récit not only details the breaching of one threshold after another, as Blanchot’s characters venture through series of dimly lit rooms, but the astonishing appearance of a rotunda in the midst of one character, Nathalie’s apartment. Like a mirage, this focal space of fascination, milieu of the impersonal, appears only to sink again into obscurity.[1]Michel Foucault, “Maurice Blanchot: The Thought from the Outside,” trans. Brian Massumi, Foucault Blanchot (New York: Zone Books, 1990), p. 24.
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| 30. |
- Frichot, Hélène, 1970-
(författare)
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Neighbourhood Watch
- 2007
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Ingår i: Monument. - Sydney Australia : Text Pacific Publishing. - 1320-1115. ; 79, s. 100-
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 31. |
- Frichot, Hélène, 1970-
(författare)
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Nonstandard Homo Faber : A Digital Life
- 2007
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper will highlight two different approaches taken to the question of digital life as that driving force which is invested in seemingly open-ended computational design processes in architecture. These two approaches align with two recent exhibitions of architecture – Architectures Non Standard (Pompidou Museum, Paris, 2003-04) and Homo Faber: Modelling Architecture (Melbourne Museum, Melbourne, 2006). The first, Architectures Non Standard, curated by Zeynep Mennan and Frederic Migayrou, constituted two exhibitions, one embedded in the other. Ostensibly it displayed, in physically modelled form, contemporary digital architectural exemplars, from practices such as NOX, Decoi and R&Sie. A genealogical ribbon of research supplemented this contemporary collation, presenting an historical series of exploratory organic forms that articulated a pre-digital legacy for the formal permutations with which we have become reacquainted through computational techniques. Along this supplementary exhibition ribbon the curators effectively invented a set of conceptual and material precursors by drawing attention to an otherwise repressed fascination in the organic. This organic pre-history of digital architecture was articulated across eleven taxonomical headings, including biomorphisms, mathematical objects, shells, and so on. Where a mathematical paradigm (the non standard) and a curatorial system of formal classificatory logic was privileged in Architectures Non Standard, the Melbourne exhibition, Homo Faber instead examined a return to craft or hand-made procedures proper to the so-called ‘process model’. Importantly, much of the work gathered in the exhibition explored this return to the crafted process model by way of a necessary detour through prevalent computational technologies. The crafting of contemporary process models were frequently seen to be inflected with digital techniques, such that digital techniques could be described as craft-like in their application. A conceptual and material interchange between craft and the digital could be thus seen to emerge. With this paper I will argue that both exhibitions are in search of a life or vital forces in the domain of the digital whether this is articulated as a return to the apparent mark of the maker’s hand, to the life inherent in the concept of process, or even the essential biological principles that motor organic form. The question that must be asked is to what extent either investigation, framed in the exhibition format, also translates into an increased quality of life that contributes to our contemporary architectural surrounds.
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| 32. |
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| 33. |
- Frichot, Hélène, 1970-
(författare)
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Olafur Eliasson and the Circulation of Affects and Percepts : In Conversation
- 2008
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Ingår i: Architectural Design. - London : John Wiley and Sons. - 0003-8504 .- 1554-2769. - 978 0470 51254 8 ; , s. 30-35
-
Tidskriftsartikel (refereegranskat)abstract
- The work of Danish-Icelandic artist, Olafur Eliasson is suffused with an internal atmospheric that profoundly impacts upon the experience of those who apprehend his projects. Through an array of manufactured weather conditions, wild and moody landscapes improbably enter the framed interiors that he creates. Eliasson’s atmospheric works have become increasingly compelling for interior and architectural designers alike as he activates a mobile circulation of affects and percepts creating an intimate relay between the artwork and those who enter into a zone of indiscernibility with the work. Through the manipulation of the colour, transparency, and reflection of light, Eliasson dissolves the material of interior space into the immaterial qualia of atmosphere and captures the fragile visitor in this embrace. Here I hope to go in search of a tentative theory of affect for the artist’s work in order to discover how he has enacted the mutual transformation of space, time and inhabitant. The immaterial materials of atmosphere that Eliasson manipulates move beyond mere surface effect and open up the possibility of new forms of sociality. This brief essay will recount a collective conversation that erupted in the midst of a midsummer forum held at Studio Olafur Eliasson, next to the Hamburger Bahnhof, a reputable museum of contemporary art in Berlin. The leitmotifs of the longest day of the year included temporality, or the inexorable sensation of the passing of time; the status of reality; objecthood, specifically the place of the art-object in contemporary art, but also the medium of the model or maquette; and the perception of colour and light, for example, in the phenomenon of the after-image. The event was named: Life in Space, and was attended by a series of culinary delights that culminated in a BBQ to which all the family was invited.
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| 34. |
- Frichot, Hélène, 1970-
(författare)
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On Finding Oneself Spinozist
- 2006
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Ingår i: Wandering with Spinoza.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This present investigation, or activity of becoming Spinozist, begins with a fascination in a concept taken up toward the voluntary conclusion of Deleuze’s life; the concept of a life. And in the midst of this concept we discover a further perplexing term, that of beatitude. Beatitude is the mode of being in which one achieves the maximum of active power or force of existing, and the minimum of reactive passions; the mind becomes a cause of its own ideas, and the body that of its actions, in relation to an infinite milieu. Following Deleuze’s Spinozist account, the question of a life, which attains to absolute potential and absolute beatitude, installs one in the midst of a plane of immanence, which implies a mode of living, a way of life, an affirmative and ethico-aesthetic pursuit. We are in the midst of things, as Deleuze and Guattari are fond of telling us, and in being so unsteadily placed we discover ourselves in the context of certain contemporary political and ethical problems through which we must grope in an experimental manner. The structure of beatitude promises a refuge of sorts from such striving, and also from both sad and joyful passions; it is like the limited place or shelter from which we make all our necessary departures and returns. I will approach the notion of beatitude through the structure of any-space-whatever, a spatial formation Deleuze treats in his cinema books and also where he examines Samuel Beckett’s television plays. As Deleuze writes with respect to the any-space-whatever, “One can exhaust the joys, the movements, and the acrobatics of the life of the mind only if the body remains immobile, curled up, seated, sombre, itself exhausted…What matters is no longer the any-space-whatever but the mental image to which it leads”[1], a mental image I would like to examine through Spinoza and Deleuze’s concept of beatitude. Can beatitude, achieved through Spinoza’s third kind of knowledge, take on a spatial character, considered as much in extensive as in intensive terms? [1]Gilles Deleuze, “The Exhausted”, in Essays Critical and Clinical, trans. Daniel W. Smith and Micahel A. Greco (London: Verso, 1998), p. 169.
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| 35. |
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| 36. |
- Frichot, Hélène, 1970-
(författare)
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On the Death of Architectural Theory and Other Spectres
- 2009
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Ingår i: Design Principles and Practices: An International Journal. - 1833-1874. ; 3:2, s. 113-122
-
Tidskriftsartikel (refereegranskat)abstract
- The relevance and use of theory when approaching the discipline of architecture would appear to have become eclipsed by the excitement associated with increasingly well-established digital design techniques and technologies. Digital design, especially where it calls forth the evocative term, emergence, admits a renewed fascination in nature whereby genetic algorithmic models are appropriated from mathematics and biological science and deployed in novel design processes. One of the results of this shift in emphasis is the apparent obsolescence of theory: we no longer need to reflect upon, or intellectually engage in what we are doing. If we are to believe Sarah Whiting, Rob Somol, as well as Michael Speaks, then we have entered a ‘post-critical’ era in which the negative critical work of theory, and its burdensome emphasis on textual analysis and dialectics, can be displaced with a ‘projective’, ‘performative’, ‘cool’ and ‘atmospheric’ architecture. Reinhold Martin, another American architect and theorist, weighs in against the ‘post-critical’ players and asks by what criteria they hope their work will be judged. Certainly it would appear that there is a slippery slide into habit, opinion and cliché, and even worse, a loss of political engagement that attends the ‘post-critical’ aspiration to be cool and easy, to resist resistance, and avoid dissent. Jeffrey Kipnis, in turn, asks whether there is not the glimmer of a possibility of a new ‘metacritical’ discourse that is orientated around affect, which inevitably returns us to the work of such philosophers and theorists as Gilles Deleuze and Félix Guattari. This paper will map a recent history that marks the decline of theory and the rise of cool digital techniques and technologies and ask what is at stake with respect to how architecture can continue to speak for itself and what risks are posed in the forgetting of architectural theory.
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| 37. |
- Frichot, Hélène, 1970-
(författare)
-
Refuge, Beatitude and the Any-Space-Whatever
- 2007
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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. This present investigation, or activity of becoming Spinozist, begins with a fascination in a concept taken up toward the voluntary conclusion of Deleuze’s life; the concept of a life. And in the midst of this concept we discover a further perplexing term, that of beatitude. Beatitude is the mode of being in which one achieves the maximum of active power or force of existing, and the minimum of reactive passions; the mind becomes a cause of its own ideas, and the body that of its actions, in relation to an infinite milieu. Following Deleuze’s Spinozist account, the question of a life, which attains to absolute potential and absolute beatitude, installs one in the midst of a plane of immanence, which implies a mode of living, a way of life, an affirmative and ethico-aesthetic pursuit. We are in the midst of things, as Deleuze and Guattari are fond of telling us, and in being so unsteadily placed we discover ourselves in the context of certain contemporary political and ethical problems through which we must grope in an experimental manner. The structure of beatitude promises a refuge of sorts from such striving, like the limited place or shelter from which we make all our necessary departures and returns.
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| 38. |
- Frichot, Hélène, 1970-
(författare)
-
Return to the Fold : An Aesthetics of the Infinitesimal
- 2009
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Konferensbidrag (refereegranskat)abstract
- With this paper I plan to go in search of an aesthetics of the infinitely small that is to be discovered in the creases and pockets, the material pleats and immaterial inflections of Gilles Deleuze’s concept of the fold. I will also follow Michel Serres’s involutions, his narrative envelopments and developments, in insisting that we do not yet know what a fold can do. The aesthetic domain I will frame, perhaps predictably, belongs to the discipline of architecture and contemporary design research being undertaken by way of computation into living systems and how architecture too may one day become life-like. In the past, throughout the 1990’s especially, architects were renowned for their formal explorations of the fold, even though many of the aesthetic results remained reified versions of the fold that obscured the infinitely porous peristaltic movements, whorls and maelstroms, and worlds within worlds, as well as the pliable materiality offered up by this concept. This is not to discount the fascinating architectural forms that sometimes emerged from all this activity. Now the name of Deleuze is rarely heard amongst (post) digital architects who, as Bruno Latour points out, consume theoretical concepts rapaciously: “they eat a theory for breakfast then go and get another one”, Latour provocatively suggests. Certainly, in the milieu of architecture there would appear to be the implicit assumption that the concept of the fold has been exhausted: this is an assumption I plan to counter with this paper.
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| 39. |
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| 40. |
- Frichot, Hélène, 1970-
(författare)
-
Southern Exposure
- 2006
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Ingår i: Monument: Architecture and Design. - Sydney Australia : Text Pacific Publishing. - 1320-1115. ; Residential Issue, s. 58-62
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 41. |
- Frichot, Hélène, 1970-
(författare)
-
Stealing into Deleuze’s Baroque House
- 2005
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Ingår i: Deleuze and Space. - Edinburgh : Edinburgh University Press. - 9780748618927 - 9780748618743 ; , s. 61-79
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 42. |
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| 43. |
- Frichot, Hélène, 1970-, et al.
(författare)
-
Take a Walk : Architecture and Interiors Tour
- 2006
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Ingår i: The Melbourne Design Guide. - Melbourne : Lab 3000: RMIT University. - 0980291402 ; , s. 37-49
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 44. |
- Frichot, Hélène, 1970-
(författare)
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The Atmospheric Ecologies of Peter Sloterdijk : A New Thinker for Architecture?
- 2009
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Ingår i: ANZAScA 2009 : Performative ecologies in the built environment / Sustainable research across disciplines Proceedings of the 43rd Annual Conference of the Architectural Science Association. - School of Architecture and Design, University of Tasmania, Launceston, Tasmania : Launceston. - 9781862955479 ; , s. 1-2
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Konferensbidrag (refereegranskat)abstract
- In a recent interview, Bruno Latour, one of the founding progenitors of ANT (Actor Network Theory) and champion of Science and Technology Studies stated emphatically that the German philosopher, Peter Sloterdijk, 'is the thinker of architecture', (New Geographies, 0,3). By the use of the definite article it seems that we are to understand that Sloterdijk is the thinker of architecture today, and that the pressing problems that Sloterdijk can help us address include the implications that would result should architecture and design venture into the future production of biological species, as well as their ecological niches: A problem that Sloterdijk infamously addressed in his 1999 essay, Rules for the Human Zoo: A Response to the Letter on Humanism. The intricacies of ecological atmospheres and their affects are present from Sloterdijk's early work, for instance, within The Critique of Cynical Reason, and become explicitly formulated in the Sphären (Spheres) trilogy, only fragments of which have been translated into English. The first part of this essay will present an introduction to Sloterdijk's atmospheric ecologies. By atmosphere Sloterdijk sets forth not merely the affective qualities of ecological niches in natural and artefactual mixtures, but an ethics and politics of such spheres of existence. In the latter part of this essay I will set out a tentative ethico-aesthetics that can be drawn from Sloterdijk's work in order to address the question of ecologies at the three scales of mental, social and environmental ecologies, and how design comes to play a role in the creation and destruction of these interrelated ecologies. In this I will also have the opportunity to draw on Félix Guattari's ethico-aesthetics, and his formulation of the three ecologies, which I have appropriated above.
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- Frichot, Hélène, 1970-
(författare)
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The Biopolitical Wall in the Midst of Our City
- 2006
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Ingår i: SAHANZ 2006. - Fremantle, Western Australia : Curtin University. - 0646465945 - 9780646465944
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Konferensbidrag (refereegranskat)abstract
- At the closure of his essay, We Refugees, a title for which Giorgio Agamben states his indebtedness to Hannah Arendt, Agamben enacts a disturbing displacement of identity such that the citizen is challenged to “acknowledge the refugee that he himself is”.[1] Likewise, in his essay, The Camp as the Nomos of the Modern, Agamben enacts an analogous and equally disturbing displacement, this time explicitly spatial, whereby the camp comes to be “securely lodged within the city’s interior”.[2] It is the ancient Greek term nomos that operates as the pivot around which both of these displacements occur. Not only does nomos designate the laws that regulate that life lived by the legitimate citizen, but in a very concrete sense nomos refers to the appropriation of land, that is, property ownership. While examining the etymology of nomos Hannah Arendt draws attention to a fragment of text by Heraclitus that reads “the people should fight for the law as for a wall”.[3] Through the term nomos, law, property ownership, and the figure of the wall become conjoined toward the regulation of life through the strictures of biopolitics. It is a wall of a particular kind that I wish to address with this paper, the barbed and surveilled wall that surrounds the contemporary refugee camp. The contested biopolitical terrain of the camp in the Australian context is arranged according to three conditions. First, the camps associated with the infamous ‘Pacific Solution’, the offshore ‘desert island’ camps of Nauru, Christmas Island, Manus Island and other excised islands. Second, the isolated, out-back desert camps, formerly Woomera and now Baxter, and also Port Headland, and finally, the camp that we find hidden in our suburbs, Villawood (Sydney) and Maribyrnong (Melbourne). Historically, both of these suburban camps have been impermanent home to newly arrived migrants whose freedom to move in and out of the community was less restricted. It is this third camp as spatial and political problem that I wish to treat here in order to map how, by architectural increments, through the increasingly formidable wall that segregates the camp, asylum seekers are stripped of all political representation and reduced to bare life. [1]Giorgio Agamben, “We Refugees,” in Symposium, (Summer 1995 v49 n2 pp. 114 – 120. Also published as “Beyond Human Rights”, in Means Without End, trans. Vincenzo Binetti and Cesare Casarino (Minneapolis: University of Minnesota Press, 2000). See also Hannah Arendt, “We Refugees” in The Menorah Journal, vol. 3 (1943). [2]Agamben, “The Camp as the Nomos of the Modern”, in Homo Sacer: Sovereign Power and Bare Life, p. 176. [3]Hannah Arendt, The Human Condition, p. 63 n62.
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- Frichot, Hélène, 1970-
(författare)
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The Coming Community and the Question of a Life
- 2005
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Konferensbidrag (refereegranskat)abstract
- The concept of the coming community, which we discover in Giorgio Agamben’s work, together with the concept of a future people, treated by Gilles Deleuze and Félix Guattari in What is Philosophy?, would appear to be formulations of community that indefinitely forestall the arrival or satisfaction of community, making of it an impossible project. Yet to assume the perpetual deferral of the coming community does not allow for the activity of ontological and ethical striving, which participates not in a fixed idea of community, but in a structure that is ever in flux. With this paper I would like to argue that the striving for a coming community, and the formation of a future people, is an ethico-aesthetic activity suffused with an affirmative joy that we can associate with Deleuze’s treatment of the concept of a life. What’s more, the structure of the coming community allows us to address contemporary problems, which continue with us from a past as part of our legacy, which demand our attention in the present, and which promise to pass into the future ill-considered unless we take up their challenge. To address such problems demands that we install ourselves on a plane of immanence, and think by way of creative, conceptual processes in the ever mobile and elastic present. As Deleuze suggests in his book on Michel Foucault, “To think means to be embedded in the present-time stratum that serves as a limit: what I can see and what I can say today?”, furthermore, “Thought thinks its own history (the past), but in order to free itself from what it thinks (the present) and be able finally to ‘think otherwise’ (the future)” (Deleuze, Foucault,119). In a similar vein, Agamben insists that the concept of a life constitutes a pressing problem for a coming philosophy, one that can be returned to a practical calling. A practical philosophy is exactly that which Deleuze considers when he turns to the work of Spinoza. Here we discover that the theme of a life, in addition to a way or mode of life, operates alternatively through a diminution and an increase in our power to act in a world in relation to a common plane of immanence; the greater our capacity to act, the stronger our force of existence, the more open we are to being affected. As Deleuze suggests, “it is a long affair of experimentation, requiring a lasting prudence”. The formulation of the coming community requires the understanding that we are never separate from our relations with a world, and that we do not know in advance what we are capable of, nor what good or bad compositions of the socio-political we might enter into.
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| 49. |
- Frichot, Hélène, 1970-
(författare)
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The Nature of Digital Architectural Life : Confounding the threshold between Physus and Nomos
- 2007
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Ingår i: SAHANZ 2007. - Adelaide : University of South Australia.
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Konferensbidrag (refereegranskat)abstract
- In her seminal book, The Human Condition, Hannah Arendt draws a distinction between Animal Laborans and Homo Faber. Where Homo Faber is the fabricator of the human world, working with her hands such that the earth is transformed into world, Animal Laborans labours away incessantly in order to sustain the very possibility of the continuance of his life. Arendt also describes an important operational concept that has become even more pertinent of late with respect to (post)digital architectural design production: process. Process is an interminable, even unstoppable force, which Arendt assimilates to the concept of life. With the advent of computation as a crucial part of the representation of architectural projects, and more radically the ever-evolving action concomitant with design, process can be considered a key term. The vital life inherent to the notion of process in fact thwarts the best efforts of Homo Faber, who, according to Arendt’s account, is concerned with ends over means. Process, specifically (post)digital architectural process, celebrates iterative means over the satisfaction of ends. Of particular relevance to this paper is the work of those architects engaged in experimental (post)digital and post-critical practice who are increasingly returning to the study of the growth and evolution of life forms for inspiration. Where architecture seeks an intimate proximity with living organisms to the point at which architectural structures can be said to respond to the life criteria identified by biological science, something would appear to have gone awry with the order of things. Systems of classification pertaining to the life sciences and those architectural objects that are assembled according to the logic of classification come to be confused. In classifying populations of architectural form as though they were living, evolving organisms the particularities of the discipline of design become obscured. The potential that is lost in all this post-critical activity is an active political and ethico-aesthetic engagement with a world.
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