Posts mit dem Label Interview werden angezeigt. Alle Posts anzeigen
Posts mit dem Label Interview werden angezeigt. Alle Posts anzeigen

Sonntag, 14. Dezember 2008

Te Wero Bridge + exclusive interview

photo by http://www.dentoncorkermarshall.com/


Architects Denton Corker Marshall, working in collaboration with engineers Hyder Consulting and Kenneth Grubb Associates, have won the international design competition for the Te Wero Bridge in Auckland, New Zealand.

View here their submission

photo by http://www.dentoncorkermarshall.com/

Recently I made an e-mail interview with Neil Bourne, the Director of Denton Corker Marshall, which goes as follows:

1. You have been influenced by?
Neil Bourne: "
The impact of all infrastructure on communities is high, so it should be well considered.

Bridges are commonly seen as ‘icon opportunities’ but as with all types of engineering works, they often seem to escape careful aesthetic design consideration.

It is not about superficial cosmetic treatment, but rather more deeply embedded issues such as the need to take a holistic
approach when considering infrastructure – the obvious social environmental impact is well understood and debated but more
subtle characteristics including forms, alignments, materials, colours, textures, detailing, lighting, landscape, signage and the
many interfaces between each engineering discipline often causes dysfunctions or slip-ups that can, and should be, avoided.
Ultimately outcomes should seem ‘natural’ and well considered – a characteristic of all good design."
photo by http://www.dentoncorkermarshall.com/

2. What are the main determinants in the design process for you?
Neil Bourne: "Much as above.

Obviously functional requirements and cost are important, but in working with our engineering colleagues, Hyder, we
canvassed what was, in their opinion, the most ‘practical’ approach to a bascule bridge in this location and context. This purely
engineering consideration became the base from which the concept subsequently developed."

3. What made you come up with the concept of "Te Wero Bridge"?
Neil Bourne: "From the main determinants, the concept developed from the requirement of the brief that the bridge should be a landmark in its
context. Nothing that a bascule bridge in the ‘down’ position (ie the condition that it would be in for most of the time) has very
little presence, some sort of response that had permanent ‘landmark’ qualities was required. This landmark objective had to
have, in our view, some structural or functional relevance. The idea of a tower as part of a draw bridge mechanism that would
supplement the hydraulics in a conventional bascule solution was very appealing. The final engineered solution is a very
elegant balancing of the structural loads with the mechanical system that drives the working of the bridge leaves.

The horizontal angling of the hinging of the bridge leaves, to create the divergence as they are raised, was another element that
contributed to the landmark character.
photo by http://www.dentoncorkermarshall.com/

5. Any maxim you'd like to leave for our readers?
Neil Bourne: "Don’t ever give up!

Good design is an important objective in all endeavours. Good design is not a luxury that cannot be afforded – it should be
regarded as essential."

Video


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Sources:

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Sonntag, 23. November 2008

Atoms + Exclusive Interview With Whitevoid!

Whitevoid, is an interactive art and design studio from Berlin. They have created the “Flare Facade” (Post 29.04) and the “Polygon Playground (Post19.11)" and numerous other amazing things! See here Atoms!:

ATOMS,
performed at Centre Pompidou in Paris on April 4 2008

Flickr-photo by whitevoidFlickr-photo by whitevoid

“Performance for a matrix of 64 gas balloons, lights, and sound

A room is filled with deep, evolving noises from a four-channel sound system. An eight-by-eight array of white, self-illuminated spheres floats in space like the atoms of a complex molecule.

Through variable positioning and illumination of each atom, a dynamic display sculpture comes into being, composed of physical objects, patterns of light, and synchronous rhythmic and textural sonic events. Change, sound, and movement converge into a larger form.

The height of the helium balloons is adjusted with a computer-controlled cable, whilst the internal illumination is accomplished using dimmable super-bright LEDs, creating a pixel in a warped 8x8 spatial matrix.

The sonic events, the patterns of light, and the movement of the balloons are manipulated in real time as a 45-60 minute-long performance.”


Here you find also an interesting interview just about Atoms




Exclusive Interview with Christoph Bauder:

Recently I made an e-mail interview with the man behind Whitevoid Christoph Bauder, which goes as follows:

photo by http://www.bauderfilm.de/christopher_bauder.html

1. You have been influenced by?
Christop Bauder: "Ken Adam, set-designer for the best James Bond movies."

2. When did you actually realize that you have an inclination towards interactive art&design?
Christop Bauder: "I started studying "visual communication" at the university of the arts in Berlin, which was mainly graphics design, layout and a bit of video. Then I joined the so called "digital class" that mainly developed screenbased interfaces at that time. I was fascinated by the endless options that interaction design was offering me, but did not like the screenbased approach so much. One semester we started experimenting with household appliances connected to the computer as input output devices. From that moment on I knew that connecting stuff to a PC for physical interaction was exactly what I was always looking for."

3. What made you come up with the concept of Flare?
Christop Bauder:"We were not satisfied with the existing technologies to create so called "media facades". They were all based on LEDs and only visible at night. We wanted to create an animateable building skin that would work in full daylight conditions. So we came up with the idea of reflective shingles in a rigid 3D shape to transform the buildings surface in a physical and digital way at the same time."

Flickr-photo by whitevoid

4. So what do you think you are trying to say through your Polygon Playground?
Christop Bauder:"The idea is that projection technology and screen technology is not restricted to flat surfaces but can also be brought into 3D space to cover basically any 3D object with a reactive surface. People do not have to pay attention to restricted computer input or output methods. The interaction happens in the natural surrounding by natural movements."

Flickr-photo by whitevoid

5. What are the main determinants in design process for you?
Christop Bauder: "Usability and fun!"

6. What do you think about kinetic architecture?
Christop Bauder: "Kinetic architecture is a next step approach to building our surroundings. Architecture was always known as static, solid and heavy. Architecture in the future will physically adapt to our needs and expectations. Since change is a constant process of our time, our surroundings need the ability to change too. What are your current obsessions and preoccupations? I am always interested in bringing bits and bytes to the real world or vice versa."

7. Any maxim you’d like to leave for our readers?
Christop Bauder: "It does not count to have a good idea! You have to make it into a product to prove its power!"


Here is a selection of other amazing projects of Whitevoid:

3D-Portfolio
Secondly, you have to visit their website. This was awarded with the reddot design award 2008! They made an incredible nice 3D-portfolio. As you move through the site, stacks of content unfold and as you move back up levels in the site hierarchy, they zip back up before you are taken to your destination.
Flickr-photo by whitevoid

VIEWZI
But this is not everything, WHITEvoid, has created another great intuitive visual experience with the 3D image browser for Viewzi called “3D photo cloud view”. Viewzi is a new way to search stuff visually.
Foto by Whitevoid.com
Sources:

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Montag, 17. November 2008

Transformable Eco House + exclusive interview with Dror Benshetrit

photo by studiodror.com

Eco House
“Contemporary design and building responds to seasonal variations primarily through artificial systems of climate control. The Eco House transforms structurally to suit environments in which cold winters and hot summers are the norm. The pitched, A-frame roof assists the conversation of heat, deflects light, and eases snow run-off in the winter months while the flat roof and upper band of ventilation creates a wind tunnel circulating breezes in the summer heat.”(Animation here)

photo by studiodror.comphoto by studiodror.com
photo by studiodror.com

Exclusive interview with Dror Benshetrit:
Studio Dror is an extension of Dror Benshetrit's work. Being a multidisciplinary design company, founded in 2002, Studio Dror specializes in product design, architecture and art direction. Dror's client list includes Puma, Rosenthal (Germany), Boffi (Italy), Levi's, Bombay Sapphire, Surface Magazine, and Kiehl's.

With several years of combined art and design education from the Design Academy (Eindhoven, Holland) and the Center for Art Education at the Tel Aviv Museum of Art (Israel), Dror developed a unique style of design that is evident in each project Dror adopts.

1.You have been influenced by?
Dror Benshetrit: "The three artists and designers I admire most are Buckminster Fuller, Isamu Noguchi, and Achille Castiglioni. Buckminster Fuller was a unique and amazing thinker who used architecture and physics to communicate his vision of the future. Noguchi had a passion for math and physics, and as an artist he was able to incorporate his interest into creating a beautiful aesthetic. Castiglioni was a revolutionary designer, who brought a third element to design, that of emotion and humor. He had a specific passion for innovation."

2.When did you actually realize that you have an inclination towards designing?
Dror Benshetrit: "I was working as an artist for my whole life, but during my mandatory military service in Israel I felt a separation between my inner constant desire to create, and the day to day tasks that had nothing to do with my artistic passion. I began to resolve this tension by solving problems around me in a creative way. Some of the solutions resulted in product design. I realized that there is a whole other level of art, which deals with practicality, and I was very fascinated by that notion. I started to seek knowledge about this, and slowly my main form of creativity, which was painting, evolved into three dimensional sculptures and objects. In the past several years, my three dimensional thinking has led to a new passion in architecture, where I see a direct relationship between design and process."

photo by studiodror.com

3. What made you come up with the your kinetic architectural proposals?
Dror Benshetrit: "After trying out different design exercises I started noticing that movement is evident in every design challenge I have taken on. Movement progressed into transformation, physical and metaphorical. Both philosophy and style are constantly evolving. On some projects I interpret movement literally, by shifting forms, and transforming from one position to another. In other cases the movement is evident within a static product or structure. But movement always plays an important role, in either its process or conceptual meaning."

4. What do you think about kinetic architecture?
Dror Benshetrit: "As a designer who is constantly thinking about both movement and practicality, I have a great appreciation and admiration for kinetic architecture. Transformation is something I work with a lot in all of my work, whether it physically takes place in a product, or is the concept for a graphic project. To be able to work with that idea on a large scale architectural project is something I’d like to do in the future. I also believe that in future architecture, walls will move and spaces will adapt to our desires."

5. What are the main determinants in the design process for you?
Dror Benshetrit: "Most of the times, my initial inspiration comes from reflecting on new experiences. By constantly questioning my surroundings, I find ways to integrate new concepts into design."

photo by studiodror.com

6. Any maxim you’d like to leave for our readers?
Dror Benshetrit: "If you are stuck on something, try to approach it from a child-like perspective."

7. What are your current obsessions and preoccupations?
Dror Benshetrit: "When I’m not designing, I enjoy visiting the country side, surfing or doing Yoga. Those are my three means of escape. I started surfing a few years ago, and find it extremely charging for the body and the soul. Living in New York can be very stressful and going to the country side and connecting with nature allows me to dream from far way. Yoga has thought me the importance of breathing, which I believe to be essential for a healthy lifestyle."



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Sources:
http://www.studiodror.com/#id=architecture

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Donnerstag, 23. Oktober 2008

Flow 5.0 + exclusive Interview with Daan Roosegaarde

Flickr-photo by Oxidiser


Flow 5.0 ist eine interaktive Landschaft des renommierten niederländischen Ateliers "Studio Roosegarde". gemacht aus 1200 Lüftern von Xilence. Die Installation reagiert beim Vorbeigehen auf Schall und Bewegung, sodass der Betrachter hiermit auf eine beeindruckende Weise interagieren kann. Schaut es euch an!


Flickr-photo by Studio Roosegaarde
Flickr-photo by Studio Roosegaarde



Exclusive Interview(English) with Daan Roosegaarde:

Roosegaarde’s work explores the dynamic relation between architecture, people and new media.
His sculptures are a collision of technology and the human body. In this interaction the sculptures create a situation where visitor and (public) space become one. (1)
Foto by http://www.studioroosegaarde.nl/

1. What are the main determinants in the design process for you?
Daan Roosegaarde: "I am highly interested in the dynamic relation between your body and its surrounding architecture. Technology is becoming a more and more influential element in the way we communicate and experience our social identity. I am interested in making environments which merge technology into this sensual, techno poetry experience."

2. What made you come up with the concept of Flow 5.0?
Daan Roosegaarde: "After the success of 'Dune' there was a strong need for me to move away from LEDs and make something you could actually physicially feel. The beauty of Flow 5.0 is that it exist out of 1000 fans (made in Taiwan) but creates these beautiful fields of transparencies and artificial wind when your hands gets nearby."

3. What did you experience while developing Flow 5.0?
Daan Roosegaarde: "At Studio Roosegaarde we developed the design and interactive tech such as the electronics, software and sensors. Its a very precise work of art with a high notion of detail. One intern went mad while working on it and left. Main goal was to embed all elements so you would not see the wires or sensors but experience the artwork that respond to you; as an extension of your skin. By placing in at the premiere of TodaysArt in the City Hall of The Hague NL people would interact with the artwork on a daily base."
Flickr-photo by Studio Roosegaarde

4. What do you think about kinetic architecture?
Daan Roosegaarde: "A lot of it remains responsive, not interactive. It should be something which creates a 22nd century 'natural' relation with the building and its visitors; something which morphes and evolves based on this interaction. Just see how the staircase updated itself within several years into the escalator- from static to motion detected installation. The technology is there but it remains the question what we want to talk about and how we give a social sense to this topic. This is the exploration of interactive architecture."

5. What are your current obsessions and preoccupations?
Daan Roosegaarde: "We just finished the first version of the Sustainable Dance Floor(Post 25.07 + Part 2); a floor which generates energy when you dance on it.
At the moment we are developing Liquid Space 6.0; an interactive space on motion and sound. It will be exhibited in public space in Japan beginning of November. After that we will be working on more larger scale architectural projects such as an interactive facade. You feel that the projects are up-scaling; something which is a very exciting exploration."

6. Any maxim you'd like to leave for our readers?
Daan Roosegaarde: "stay tuned at www.studioroosegaarde.net"

If you still can't have enought of Daan Roosegaarde. Here is also a interesting interview by Nimk.nl


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Sources:
(1) http://www.studioroosegaarde.nl/work_html.php?project_name=Flow5.0
(2) Found via http://www.interactivearchitecture.org/flow-50-daan-roosegaarde.html

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Freitag, 26. September 2008

River Gym + exclusive interview with Mitchell Joachim!

photo by Dr. Mitchell Joachim, Terreform 1

Heutzutage besuchen viele Leute regelmäßig das Fitnessstudio, wobei Sie wiederholende Bewegungen auf den Fitnessgeräten vor dem Fernseher durchführen. Ziel dabei ist viel Energie zu verbrauchen und dies jedoch nur für das eigene individuelle Wohlbefinden.
Doch warum sollte man dieses Potential nicht nutzen?
Eine aktuelle Interpretation durch den Mensch Energie selbst zu erzeugen bieten, Architekt Mitchell Joachim und Personaltrainer Douglas. Joachim. Sie haben mit erstaunlichem Stil und viel Phantasie ein futuristisches Fitnessstudio namens River Gym entworfen.

Das Konzept des River Gyms beruht auf der Idee, dass die Boote mit Hilfe von menschlich produzierter Energie bestimmte Fahrpläne im New York City abfahren können. Hierbei können die produzierenden Sportler ständig die verändernden Panoramaausblicke genießen. Die Boote bieten auch Platz für die Nichtsportler, denn die Boote dienen zur gleichen Zeit auch als Transportmittel. Ein weiterer ökologischer Aspekt wäre das Boot auch zur Wasseraufbereitung zu nutzen.(2)
photo by Dr. Mitchell Joachim, Terreform 1


Interview(English) with Mitchell Joachim:

Dr. Mitchell Joachim is an architect and urban designer, and a partner in the New York- based nonprofit philanthropic organization, Terreform, whose projects focus on integrating the science and principles of ecology into urban design. He has been involved in numerous innovative projects.(1)



1. You have been influenced by?
Mitchell Joachim: "Gaudi, Giger, Gehry, Gygax, and ArchiGram"

2. When did you actually realize that you have an inclination towards architecture?
Mitchell Joachim: "I worked as an Architect when I was 14-- Karl Hess in NY."

3. What made you come up with the River Gym concept?
Mitchell Joachim: "Working with my Brother - Doug Joachim. He is a personal Trainer: joachimstraining.com"
photo by Dr. Mitchell Joachim, Terreform 1

4. What do you think about kinetic architecture?
Mitchell Joachim: "I think kinetic architecture is a phenomenal design vector. I spend most of my time "moving" my spaces and ideations."

5. What are the main determinants in the design process for you?
Mitchell Joachim:"Ecology and Image"

6. What are your current obsessions and preoccupations?
Mitchell Joachim: "hm...tired of the same old "litany" of doom saying environmentalists. Yes the sky is falling, we have been saying this since the 1960s'
I love reading past eco-literature from decades ago. Its still completely relevant to our current world climate crisis, and better written. Reading; Ivan Illich, and Murray Bookchin"

7. Any maxim you would like to leave for our readers?
Mitchell Joachim: "Make ecology visible."



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Sources:
(1) Mitchell Joachim Bio http://www.archinode.com/bio.html

(2) Entry for New York Magazine
http://www.archinode.com/gym.html

(3) Found via http://thefutureofthings.com/pod/1235/river-gym-propelled-by-a-workout.html

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Montag, 25. August 2008

Theo Jansen und seine Skulpturen

Am 13.8.2008 machte 3Sat einen Beitrag über Theo Jansen
"Kann man den Wind einfangen? Theo Jansen kann, der niederländische Künstler und Physiker will sich einschreiben in das Tagebuch der Evolution. Sein Lebenswerk sind mächtige Kreaturen: nur vom Wind gespeist, komplexe Rohrkonstruktionen, wie Fabelwesen anmutende Geschöpfe. Ist Jansen ein moderner Da Vinci? Er ist ähnlich genial, ähnlich obsessiv: "Plastikrohre tauchten in meinem Leben auf an einem schönen Septembertag 1990", erinnert sich der Künstler."






Quelle: http://www.3sat.de/kulturzeit/tips/125061/index.html

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Freitag, 15. August 2008

Berhard Franken - Dynamic Architecture

"In der wissenschaftlichen Gemeinschaft sind wir Zeuge der Schwelle des neuen Wissenschaften von Komplexität als eine der wichtigsten Entwicklungen der heutigen Zeit. Chaos und nichtlineare Systeme in den Sozialwissenschaften, seltsame Attraktoren in Wettervorhersage und neuronale Netze in den Bereichen künstliche Intelligenz sind nur einige Beispiele zu nennen. Ein wichtiger Teil der Komplexität ist der dynamische Aspekt des Verhaltens eines Systems über einen bestimmten Zeitraum. Aufzugeben, die Klassifikationen der Architektur durch ihre formale statische Erscheinung, sondern konzentrieren sich auf den dynamischen Prozess der Gestaltung der Architektur und deren Existenz in der Zeit könnte eine Möglichkeit zur Einbeziehung von Strategien, die von den Wissenschaften von Komplexität in den architektonischen Diskurs.

Dynamik
Dynamik ist Veränderung in Zeit. Ohne Veränderung gibt es keine Zeit. Das Konzept der Gestaltung von Architektur nach den Bedürfnissen der statische (Gravitation) und Funktion (Programm) wird leugnen, das Grundprinzip der leben, ist der Wandel. Eine dynamische Architektur ist flexibel und hängt von seiner Umgebung, die Anpassung an den Bedürfnissen seiner Nutzer, die sich verändernden Rahmenbedingungen ihrer physischen Umgebung sowie auf informationelle Input. Die Notwendigkeit des Benutzers kann so allgemein, dass sie Licht, wo immer er geht oder so individuell wie er seine persönliche Raumtemperatur, wo er bleibt. Die physische Umgebung kann das Sonnenlicht die Kontrolle der Trübung der Fenster zu regulieren den Gebäuden Klima. Informationen werden nicht mehr unsichtbar in Kabeln oder raffiniert auf Bildschirmen, sondern materialisieren in dem Gebäude. Wir haben hybride Umgebungen mit einer Mischung aus Information und physischen Raum.

Der Begriff Dynamische Architektur bezieht sich auf den Prozess der Planung und zu einer tatsächlichen Gebäude. Computerprogramme und Informationsnetze werden für den Design-Prozess. Bis jetzt Programme von Animation Branchen oder physikalischen Wissenschaft, simulieren kann, dass Prozesse sind besser geeignet für das Design, dann klassische CAAD-Programme. Aber Tools, die in Übereinstimmung Umweltbedingungen noch entwickelt werden. Ein Beispiel für einen solchen dynamischen Architektur..."

Das Beispiel kommt nächste Woche!
Quelle:http://architettura.supereva.com/extended/19990401/index_en.htm#nota%20del%20traduttore

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Montag, 26. Mai 2008

Interview Micheal Jantzen

Hier ein Auszug aus dem englischen Interview mit Micheal Jantzen, der den „Wind-Shaped-Pavillion entworfen hat. Siehe Beitrag 08.05

Nun hier die deutsche Übersetzung…orginal Interview gibt es hier.


photo by ecofriend.org

Zur Dynamische Architektur:

„Michael: Mir gefällt sehr die Ästhetik der dynamischen Wandel in der Architektur. Auch sehe ich dies als eine sehr effiziente Art und Weise eine Struktur zu entwerfen, damit sie an die ändernden Bedürfnisse der Bewohner anpasst.

Für viele meiner Strukturen, plane ich mit Teilen, die auf viele verschiedene Weisen verwendet werden können. Auf diese Weise wird ein relativ wenige Anzahl von Komponenten viele verschiedene Funktionen für viele unterschiedliche Menschen dienen. Diese Strukturen lassen sich in verschiedene Größen und Formen, und in der Zeit veränderen, um sich so die verändernden Bedürfnisse anzupassen. Außerdem, wann es Zeit ist, die Strukturen zu recyceln, lassen sie sich leicht auseinander nehmen und wieder in verschiedene Arten von Räumen zusammensetzen.“

Zur Wind Shaped Pavillon:

„Michael: Die Form meines durch wind geformte Pavillon soll zufällig durch den Wind geändert werden, und der zentrale Kern des Raumes bewegt sich nicht. Es kann für viele verschiedene Arten von Tätigkeiten benutzt werden, auch die einzelnen bewegenden Segmente würden Strom erzeugen, wenn sie im Wind bewegen….“

Interviewer: „Sie sich nicht der Meinung, dass die Konkretisierung des Windes Shaped Pavillon wäre fast unmöglich, vor allem aus dem technischen Aspekt?...“

„Michael: Dieses Design wird oft missverstanden. Wie ich bereits sagte, nur die Fassade des Bauwerks (das wäre aus Leichtbeton Stahl und Stoff) bewegt sich im Wind. Alle der Funktionsräume befinden sich in den zentralen Kernbereich, und kann mit verschiedenen Ebenen, Aufzüge oder was auch immer notwendig ist vorgesehen werden, um den Bedürfnissen seiner Bewohner zu entsprechen.“

Motto:
“Michael: Haben Sie keine Angst vor Innovation, umarme es!“


Quelle: http://www.ecofriend.org/

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Montag, 12. Mai 2008

Coop Himmelb(l)au Interview

Hier ein Auszug aus den Interview "Die Stadt ist ein Wolkenfeld"

"Sie sprachen davon, die Stadt als ein Wolkenfeld zu verstehen. Wolkenfelder bewegen sich, sind dynamisch und verändern sich fortlaufend...Wie kann man sich eine liquide Architektur als gebaute überhaupt vorstellen?"

Coop Himmelb(l)au Wolf Prix :
"Das ist eine Architektur, die auf Bewegungen und Aktionen der Benutzer reagiert. Das kann durch den Transport des Gefühlslebens über die Fassade nach außen gehen. Es können auch Bewegungen an einer Fassade ablesbar sein. Wir arbeiten beispielsweise gerade an einem entsprechenden Projekt in Wien. Der Bauplatz ist gekennzeichnet durch Energiefelder und -linien. Werden diese Linien beim Betreten durchbrochen, verändert die Fassade des geplanten Baukörpers - ein Turm - an einem kongruenten Stück die Farbe. Architektur, die reagiert, ist die Architektur eines Wolkenfeldes. Architektur agiert, wenn sie statisch ist. Dann klotzt sie. Wenn sie reagiert, dann verändert sie sich direkt bemerkbar durch die Bewegungen und Bedürfnisse der Menschen."

Wolf Prix:
"... Unsere Zeit ist die Zeit des Sowohl-Als Auch, nicht die des Entweder-Oder. Es wird sowohl eine statische als auch eine dynamische Architektur geben müssen. Zum Teil ist dies ja schon vorhanden. Zusätzlich werden neue Bautechnologien entwickelt werden müssen. Ansätze sieht man schon bei den "intelligenten" Fassaden. Ich verwende diesen Ausdruck nicht gerne, weil der Architekt und die Benutzer intelligent sind, und nicht die Fassaden. Auch die Experimente mit Medienfassaden werden diesem Anspruch gerecht..."

Den kompletten Artikel gibts hier.

Das "Projekt in Wien" könnte meiner Meinung nach der SEG Tower sein.

Auch nennenswert ist das Projekt "Cloud #9", denn es ist ein Ausdruck ihrer Utopie um eine dynamische Architektur wie Wolken zu erreichen. Nun bin ich sehr gespannt, wann man den Schritt von Dekonstruktivismuss eindeutig zur Dynamische Architektur macht.

Link Coop Himmelb(l)au

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