• HFA: “House For Algorithm“

    innsbruck AUSTRIA

    University of Innsbruck, studio 3 / institute for experimental architecture
    critic: Volker GIENCKE
    tutor: Tobias KLEIN

    suckerPUNCH: Describe your project.

    Ferdinand FRITZ: The art of music is one of the most direct ways to intoxicate to express emotions, and manipulate. I think one of the earliest ways to describe virtuality.

    Algorithmic composition has Stockhausen a way to generate purely through electronic circuits and resistors, music and frequencies. In course of time, this way of music production but based heavily on the immersive space. Tones, which are triggered by reactive actions extend increasingly the interaction between man and machine. Turning over the twelve-has revolutionized the music composition to manifest themselves in the subculture.

    The “House for Agorithmen” (HFA) lives by this realization. It acts as a forum for communication of the City of New York and as a communicator between people and places. Algorithmic Music promotes the expansion of space and the creation of new spatial atmosphere.

    The urban space of Manhattan is released from the urban grid and brought into vibration and overlaid with information from the surveying. The result is a web of lines overlap, transitions, and points that are not affected in the chaos.

    The chaos and Fugue, the orientation of the subordinates in the maze.

    The content of the site is defined for the upcoming architecture not only of the genius loci of a special spirit of the global impact of its content of worldwide communication obsolete. The description and the extract results in a brand new place, the place is over-paint and newly measured, as I call it, the notation of the place.

    The space sequences of the HFA are dominated by the frequency sequences of the city. The urban space is an expression of the house. The facades, the building form of reflection and absorbation, New York as a huge part of a concert hall.

    The HFA is structured as an instrument in the early 60s, where composers and sound researchers pick up the sound of our everyday life and trying to play in a transformed form (Karlheinz Stockhausen).

    The house is so the receiver and transmitter at the same time, an interface to the city, a generator that receives reactive to its environment and reflects what is received. Once it starts to play, it does not stop, it was built and destroyed at the same time. „Solving a problem is the birth of the next task, the basis of science“. Bazon Brock

    sP: What or who influenced this project?
    FF: I care what happens in the here and now, what connections can knit and what the results of it, and start the test, an architecture to allow it to grow. So the intention of current trends, in my case, the entanglement of the high frequence tradings, to put in a global and urban contexts, and to analyze, transform, and provided with a more human scale. I like. The approach of the Institute for experimental architecture studio 3 (columbosnext) in Innsbruck and the approaches of Tobias Klein, who were very important to me The narative in architecture not to lose, but skillfully linking them to the digital resources of the present. Architecture does not live by dogmas by a special expression of performance and interaction to describe the new space and to articulate.

    sP: What were you reading/listening to/watching while developing this project?
    FF: I had a lot of music, post-rock and music that became known as independent country. I read a lot about Frederick Kiesler and Bazon Brock, a German art historian who deals a lot with the disputations of art and science. Theories of Michel Foucault and Deleuze. . . . Architecture is an unquenchable source of influences and approaches—almost every conflict can be transformed into space

    sP: Whose work is currently on your radar?
    FF: The work of Tobias Klein (UK), columbosnext (austria), horhizon (UK), Thomas Niederberger (Austria), Johannes Ladinig (Austria), timesnewroman (Austria) thanks for music. Dietmar Köring, Wolfgang Tschapeller, Patrik Schumacher. . . . I like to combine things—I say architecture is an enormous pool of knowledge is waiting to be drawn in order to strengthen its own position

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