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0108.4 Disko 16–19 ×

Disko (acronym for Diskurs-Kontinuum) was a publication series of 0093 a42.org, the master’s program in architecture and urban research directed by Arno Brandlhuber at the Academy of Fine Arts Nuremberg. The aim of this series was to communicate the research and debates taking place within the study program to the outside world. Disko appeared between 2006 and 2013 in packages of three to six issues, each of which was produced in an economical DIN A5 format.

Download Disko 16: Oliver Miller, Daniel Schwaag, Ian Warner, “The New Death Strip”
Download Disko 17: Matthias Spielvogel, “Handbuch Verfahrensfreie Bauvorhaben in Berlin”
Download Disko 18: Tamara Härty, “Psychotropie”
Download Disko 19: Nine Budde, Robert Burghardt, Kito Nedo, “Townhouses” Read more

Disko 16
Authenticity and artifice, remembrance and concealment, hyperbole and banality: twenty years after German reunification, the piece of land once defined by the Berlin Wall’s notorious Death Strip is a landscape of paradoxes. Once the front­line of the Cold War, now a super­charged historical signifier, the Strip is facing up to a perplexing semiotic challenge: normality.

Disko 17
Baufreiheit (freedom to build) is the right of the owner to erect buildings on his land. However, this potential freedom is restricted by provisions of building law and neighborhood law to such an extent that, in principle, any development, alteration, or change of use is prohibited until the express approval of the project has been obtained (ban with permit reservation). Exceptions to this rule are a few construction projects that do not require planning permit, which is anchored in the building regulations of the Länder. Those projects may be realized unbureaucratically and without the usual permit procedure. They are free of procedural obligations, they can be built in a self-determined and arbitrary manner and are made accessible to a wider public through this manual.

Disko 18
Do buildings have power over us? The question of the emotional quality of architecture is asked repeatedly in theory. Why do which rooms affect the viewer in which way? This eternal question has recently been increasingly negotiated from the perspective of media theory. If, for example, architectural space is discussed as an “immersive environment,” it is, by definition, seamlessly transitioning into a pictorial space or, ultimately, into the viewer. Against this background, it becomes not least understandable how the Berlin Palace, as if rising from the grave, not only dominates the debate about the Berlin city center (and thus the constitution of the republic as a whole), but also shapes and changes the real physical space out of its absence.

Disko 19
“A little like 350 years ago, when the Latifundia on the Friedrichswerder were settled. At the time, the site was still located outside the gates of the royal residence Berlin-Cölln. When it became too cramped inside the city, the Prussian elector princes had the land parceled out and gave it to better-off employees of the court. Among them were master blacksmiths, as well as master riders, chamber servants, minions, and confidants of the court. Just a few simple people. No servants of any kind. And this is likely to persist.”
Dirk Westphal Read less

Category
Publication
Place
Nuremberg
Year
2011
ISBN
978-3-940092-04-5
Collaboration
Arno Brandlhuber, Silvan Linden, akademie c/o Architektur und Stadtforschung (AdBK Nürnberg)
Team
Oliver Miller, Daniel Schwaag, Ian Warner, Blotto Design
Contributors
Nine Budde, Robert Burghardt, Tamara Härty, Oliver Miller, Kito Nedo, Daniel Schwaag, Matthias Spielvogel, Ian Warner

© Brandlhuber+ Team

© Brandlhuber+ Team

© Brandlhuber+ Team

© Brandlhuber+ Team

© Brandlhuber+ Team

© Brandlhuber+ Team

© Brandlhuber+ Team