Frederick romberg alphabet

Filling Stations - Studies on Types

While the function of a building may change over time, its architecture remains. In lessons, EAST
examines the aspects of construction that determine the use, morphology, and spatial structure of
buildings. The history and change of these aspects serve as a basis for analyzing the design of
new buildings as well as for reusing and transforming existing buildings. Urban settlements are
thus a laboratory for architectural ideas, which are further developed using the technical means
and spatial concepts of our time. The joint project work in the studio spacefacilitates a continuous
discussion of different design approaches and helps the students to develop their own ideas.

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 ARCHITECTURE

Tender and Toxic Tales

Juri Velt explores potential scenarios emerging with the disappearance of a segment of society in
a mountain town. Three tales unfold in the voids left by its departure, unravelling the social and
architectural repercussions of its absence. The stories bear witness to the use of the landscape
and its consequences, with interjections by tongues both ancient and new, offering fragments of
forgotten narratives and glimpses of alternatives perspectives. Trained as an architect and
photographer, Velt moves between rural regions and cities to address in their work the question
of how to live together, with a particular focus on companionship and other forms of resistance.

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 ARCHITECTURE

Curating Ecologies on Architecture

Throughout their history, architecture exhibitions have embraced different approaches and
constructed other modes of action within the discipline, playing a p

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In November 1955 the twenty-six year old Bruce, now studying in London, wrote to his mother requesting she commission Max Dupain to photograph his Trelorno and Dickinson houses for possible inclusion in the up-coming Architecture in Australia exhibition at the RIBA headquarters in London in February-March 1956. 3 Rickard had seen how Dupain captured Syd Ancher's early modernist houses, their pared-back white forms seen though the eucalypts, with unexpected reciprocities between the new architectural forms and visible elements in the landscape, such as tree trunks. Presumably Rickard recognised the photographer's expanded field of vision that brought the landscape into consciousness, as much as the play of forms and textured surfaces between architecture and the remnant bush. By the mid-50s Dupain was recognised by architects as bringing an architectural intelligence to his work whereby, as he later explained to Geraldine O'Brien, "I go at a building with the architect's solution to the problem in mind. You can see the limitations he's [sic] been put to. " 4 Although Rickard's request was issued too late for inclusion in the 1956 exhibition, his desire to have Dupain record his work never wavered. 5 What was it that attracted him to Dupain? The Bruce Rickard visual archive provides an opportunity to reconsider Dupain's contribution to architectural photography and to identify reciprocities between the goals of Rickard and Dupain.

Yet, the mature Dupain knew there was more to photography than technical and formal prowess. 19 As a prolific author and critic he was well able to articulate his thoughts on photography. 20 Coupled with the idea that he was 'a still life man, basically, into architecture and other things' , is his insistence on the subjective: 'You do it because you have to. …You've got an inward propulsion, a compell