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Oase 113 (Paperback)

Oase 113 (Paperback)

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What does the author's 'owning' of a project mean? And does this sense of ownership still prevail in contemporary architecture culture? Is the concept of individual authorship not a cul-de-sac, preventing the processes of invention and innovative thinking often necessary for addressing a practice that is more collaborative than ever? What, then, mi...

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    OASE (Paperback)
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    OASE 106 (Paperback)
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    OASE 112 (Paperback)
    OASE 112 (Paperback)
    In recent decades, the field of architecture has witnessed a fundamental shift under the banner of 'ecology': from the innovation in energy technologies to the use of circular materials and climate-neutral building solutions - today, more than ever, the construction of a building seems to be dominated by an ecological awareness. At the same time, such sustainable thinking often places ecological questions outside of the design itself, in the hands of experts and within the logic of quantitative calculation, while the building disappears into the ephemerality of life cycles and network models. By focusing on the intersection between ecology and aesthetics in architecture, however, this issue of OASE situates the thinking about such issues at the heart of the discipline. It asks: how do ecological questions materialise in architecture? And what aesthetic practices are able to shape the perception of these ecological questions? Through a series of concrete projects, the contributions in
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    Productomschrijving

    What does the author's 'owning' of a project mean? And does this sense of ownership still prevail in contemporary architecture culture? Is the concept of individual authorship not a cul-de-sac, preventing the processes of invention and innovative thinking often necessary for addressing a practice that is more collaborative than ever? What, then, might be the essential argument for retaining the concept of authorship in architecture today? Perhaps the most resounding argument is this: authorship is not only an act that implies originality, it is also a deeply felt commitment to a work that until its realisation belonged only to the author, but to which he or she is also completely devoted. Wouldn't it be more interesting to imagine the concept of the author in architecture as a space of possibility, as a field in which the responsibility, the commitment, even being completely absorbed by the work of invention, is distributed among several heads and hands? Oase 113 wants to take a

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