“In his latest project, which he calls “spaceinvader” (a title I like because of its evocation of algorithmic play), he leaves behind the lush climates of “mind” and burrows into the more austere domain of ‘brain,’ with its computational networks of neurons and electrical charges and discharges, its quantified physicality so often reduced to charts and other forms of ossified data. Kordetzky’s gamble—that herein lies an architecture of fully human dimensions—is based on the obvious fact that the brain is the sponsor of the mind, indeed, its very source. Inspired, perhaps, by pioneering scientists and thinkers like Heinz von Foerster and his colleagues in cybernetics, he sees in the neural structure of the brain not a ‘trivial machine’ in which output is a strict function of input, but rather a complex organism capable not only of unpredictable results but of creativity, the very source of our humanity. In the complex interconnections, the synapses and gaps, the ever-incomplete structure of neural space, Kordetzky constructs a model of imagination’s exploration and growth, a spatial matrix of both the possible and the improbable, challenging our capabilities and our will to inhabit the world.”
edited by lebbeus woods riea concept series springer wien new york
“Transient Sedimentation” looks at movements in the city, in the country, in unknown, invisible spaces … a differentiation of lines and currents, an exploration of friction in space, … an immersion in infinite movement and therefore a ceaselessly changing configuration of links, tangents, collisions with countless different lines and spaces.
The chapters and their associated projects describe different sequences in this study, they relate to, and with, different places, involving contact with the ground, a room that could be anywhere, that is nothing but space and turns into a microcosm (Drift), Manhattan and other islands (Lost Space), an out-of-whack circle and six towers in Vienna (Splinters) and other places, real and virtual spaces, colliding, condensing and overflowing lines …
“In contrast to the sea, the city is the striated space par excellence; the sea is a smooth space fundamentally open to striation, and the city is the force of striation that reimparts smooth space, puts it back into operation everywhere, on earth and in the other elements, outside but also inside itself. The smooth spaces arising from the city are not only those of world-wide organization, but also of a counterattack combining the smooth and the holey and turning back against the town: sprawling, temporary, shifting shantytowns of nomads and cave dwellers (…).”
Gilles Deleuze and Félix Guattari, A Thousand Plateaus
catalogue, badischer kunstverein karlsruhe Published on the occasion of the exhibition „PARA>SITES, Who is Moving the Global City?“ with Lars Kordetzky, Sean Snyder, Marjetica Potrc, Kyong Park, Sybil Kohl, Philipp Oswalt, Albrecht Schäfer, Oliver Musovik
edited by lebbeus woods riea book series springer wien new york
„Sequences – saw only the moon“ takes an architectural approach to the psyche. An intervention in the isolation room of a psychiatric clinic in 1997 was the point of departure for a confrontation between architecture and the psyche. Collapsing edges, dislocated perception, an enclosed world and liberated space, … a network of thoughts and illusion “sequences – saw only the moon” describes the development of architectural structures in a precariously balanced, in-between world.