MMXX 千禧一代视角：布鲁塞尔千禧一代广场
下载所需积分: 4
年份：2021 学校：KU Leuven 课题：MMXX Millennial Perspectives: Brussels' Square for Millennials 设计师：Justin Dirkx 指导老师：Hugo Vanneste & Carl Bourgeois 基地地址：比利时 | 布鲁塞尔 类别：文化, 宗教, 高科技, 生态, 城市, 大都市
Architectural Appetite、千禧一代建筑师的自主权和布鲁塞尔千禧一代广场
MMXX Millennial Perspectives 旨在冷静地批评当今商业化、媒体化和数字化的世界，并评论建筑师在当前背景下的角色。建筑师 Anno MMXX 失去了自主权，并将其任务缩减为服务提供商的任务。 Architectural Appetite 服务于特定的 “重新” 行动方式。支撑本论文的理论框架在布鲁塞尔的 Beursplein/Place de la Bourse 的建筑方案中得到体现。为了深入了解支持该项目的想法和命题，我们编写了一篇应用论文。同时，该项目源于通过自主 “建筑” 图像 “绘画、绘画、计划……” 进行交流的愿望，这些图像不一定需要依赖文本。 ////////////千禧一代建筑师的自治.在这样的现实中，架构师失去了自主权，并将其任务减少到服务提供商的任务。建筑师的自主权不应被解释为“全能者”、“智者”的全权委托，以重新设计和重建我们的生活环境。不，它应该被理解为在当今背景下独立采取立场的自由，并自主地解决对当今环境和社会 “或：一个人的直接环境” 的有意识的、批判的、明确的看法。这可以通过任何似乎合适的媒介中的“项目”来实现，但始终与对分配和委托的严格渴望相分离。在一个被媒体和“数字”深深触动、影响和改变的世界里，如果不知道这个领域——改变的世界——作为一个环境是如何运作的，任何对现在的理解似乎都是不可能的。换句话说;我们生活在一个商业化、媒体化和数字化的世界中——没有逃脱的余地。在与这个极端的现在 “作为一个环境” “合作”并使其场所民主化时，我看到了自主和当代建筑的一个开口——千禧一代建筑师的一个开口。 /////////布鲁塞尔：千禧一代广场////////////////////////////////////////////////////// A Square for Millennials正方形代表放大的 (x 360) iPhone 11 Pro Max；苹果最新发布的智能手机。放大将其屏幕的每个像素 “分辨率 2688 x 1242 像素” 具体化为 20 x 20 毫米的马赛克瓷砖。新广场的表面从周围的人行道略微抬升，具有比利时蓝色石灰岩的连续边界和成比例的半径下降的圆形边缘。千禧一代广场尺寸为 57 x 28 米，并在现有的城市环境中实施。这种纪念性可能使我们能够以不同的方式 “当然是以不同的规模” 看待一个如此深刻地决定了我们对空间和环境的感知的物体。 iPhone 的普遍特征——无论是作为一个物体还是一个媒介——都在我们身上不断增长。除此之外，物质性和纪念性似乎是不可避免的，以表明我们——人类世的居民——对我们的环境——地球有着深刻的物理控制。尽管论文/项目具有普遍性，千禧一代广场是布鲁塞尔的一项具体提议。地理位置位于布鲁塞尔的 Beursplein/Place de la Bourse。不仅仅是因为它是城市的中心，它一直是一个媒介化的地方，也是抗议和批评的热点。但同样重要的是，Beursplein 以及 Anspachlaan/Boulevard Anspach 一直是统治时代精神的代表。从 19 世纪的塞纳河顶部的资产阶级大道，到 1960 年代的城市高速公路，再到目前作为 21 世纪步行和商业区的外观——千禧一代广场与布鲁塞尔的城市历史和连续性密切相关。 “广场”是权力的体现，是表达的城市空间：为国王、教皇或人民服务。 Square for Millennials 旨在揭示一种我们往往会忘记，但却深受其影响的力量：iPhone 的力量——以及它的所有范式。
Architectural Appetite, The Autonomy of the Millennial Architect and Brussels' Square for Millennials
MMXX Millennial Perspectives aims to coolly criticize today’s commercialized, mediatized and digitalized world, and comments on the role of the architect within this very present context. Anno MMXX the architect has lost its autonomy and reduced its tasks to those of a service provider. Architectural Appetite serves specific ways of (re)action. The theoretical framework which backbones this thesis is materialized in an architectural proposal for Brussels’ Beursplein/Place de la Bourse. An applied essay was written in order to gain insight into the ideas and propositions underpinning the project. Simultaneously, the project grew from the desire to communicate through autonomous (architectural) images (drawings, paintings, plans, …), which don’t necessarily need to rely on text. ////////// The Autonomy of the Millennial Architect ////////// Contemporary architectural practice seems to have tumbled into a Danse Macabre – a Dance of Death – with the commercialized and standardized building industry. Within such a reality, the architect has lost its autonomy and reduced its tasks to those of a service provider. The autonomy of the architect should not be interpreted as a carte blanche for ‘the Mighty’, ‘the Wise’, to redesign and recreate our living environment. No, it should be understood as a freedom to independently take position within today’s context, and to address – autonomously – a conscious and critical, well-determined view upon today’s environment and society (or: one’s immediate surroundings). This can be achieved via ‘projects’ in whatever medium seems suitable, but always detached from a strict longing to assignment and commissioning. In a world that is deeply touched, affected and altered by media and ‘the digital’, any understanding of the present seems impossible without knowing how this realm – the altered world – works as an environment. In other words; we live in a commercialized, mediatized and digitalized world – and there is no escape. In ‘working’ with this extreme present (as an environment) and democratizing its premises, I see an opening for autonomous and contemporary architecture – an opening for the Millennial Architect. ////////// Brussels: A Square for Millennials ////////// A Square for Millennials is an autonomous proposal for and a partial redesign of Brussels’ Beursplein/Place de la Bourse. The square represents an enlarged (x 360) iPhone 11 Pro Max; Apple’s latest released smartphone. The enlargement materializes every single pixel of its screen (resolution 2688 x 1242 px) as a mosaic tile of 20 x 20 millimeters. The surface of the new square is slightly lifted from the surrounding pavement, and features a continuous border in Belgian blue limestone and a descending rounded edge in proportional radius. A Square for Millennials measures 57 x 28 meters and is implemented in the existing urban context. This monumentalization might allow us to look differently (certainly at a different scale) at an object that so deeply determines our perception of space and environment. The pervasive characteristics of the iPhone – both as an object and a medium – keep growing on us. Besides this, materiality and monumentality seem inevitable in order to signify the deep physical grip we – inhabitants of the Anthropocene – have on our environment – the Earth. Despite the universal nature of the thesis/project, a Square for Millennials is a specific proposal for Brussels. Geo-located on Brussels’ Beursplein/Place de la Bourse. Not just because it’s the heart of the city, which always has been a mediatized place and a hotspot for protest and criticism. But as much because the Beursplein, and in extend the Anspachlaan/Boulevard Anspach, always has been representative of the ruling zeitgeist. From its 19th century bourgeois boulevard on top of the covered Senne river, to the urban highway in the 1960s and its current appearance as a 21st century pedestrianized, and commercialized zone – Square for Millennials engages with Brussels’ urban history and continuity. A ‘square’ is a manifestation of power, an urban space for expression: for the king, a pope, or the people. Square for Millennials aims to reveal a power we tend to forget, but are most deeply subjected to: the power of the iPhone – and all its paradigms.