Actually published

Marschordnungen. Das Reichsparteitagsgelände in Nürnberg / March Formations. The Nazi Party Rally Grounds in Nuremberg
Katalogband zur gleichnamigen Ausstellung / catalogue to the exhibition, hg. v. / ed. by Carolin Höfler und / and Matthias Karch, Berlin 2016, 180 S.
ISBN 978-3-00-052654-1
15,-- €
_____________________________

Carolin Höfler und Matthias Karch: „Ken Adams Modelle des Denkens - Handzeichnungen und Kopfräume“. Beitrag im Katalog BIGGER THAN LIFE. Ken Adam's Film Design. Mit einem Vorwort von Daniel Libeskind _KERBER Verlag, Dezember 2014

'Die Filmsets von Ken Adam haben meine Vorstellungskraft ganz entscheidend entfacht. Nicht, dass ich sagen würde ‚Ich baue jetzt das Set von James Bond nach… Aber die Welt von Ken Adam hat meine Erwartungen an Raum, Licht und Farbe in der Architektur ganz einfach auf ein anderes Niveau erhoben.' _Daniel Libeskind.

Order the BIGGER THAN LIFE catalogue here
_____________________________

Carolin Höfler: „Doppelte Monster, infizierte Körper. William Bateson, D'Arcy Thompson und die computerbasierte Architektur“, in: Horst Bredekamp, Matthias Bruhn, Gabriele Werner (Hrsg.): Bildwelten des Wissens. Kunsthistorisches Jahrbuch für Bildkritik. Band 9.2: Morphologie. Berlin: Akademie 2011/12.

Carolin Höfler: „Drawing without knowing. Prozess und Form in den Diagrammen von Peter Eisenman“, in: Julian Jachmann (Hrsg.): Diagrammatik der Architektur (= Morphomata). Paderborn: Fink 2011/12.

Carolin Höfler: „‚Whirls and Eddies‘. Charles Jencks’ Bubble-Diagramme zur Architekturgeschichte des 20. Jahrhunderts“, in: Wolfgang Cortjaens und Karsten Heck (Hrsg.): Stil-Linien diagrammatischer Kunstgeschichtsschreibung (= Transformationen des Visuellen, Schriftenreihe des Deutschen Dokumentationszentrums für Kunstgeschichte – Bildarchiv Foto Marburg, hrsg. v. Hubert Locher, Bd. 2). München und Berlin: Deutscher Kunstverlag 2012.

Carolin Höfler: „‚Schleimpilze sehen anders aus als alles andere.‘ Hybride Strukturen und selbstgenerierende Formen im Computational Design“, in: Anja Zimmermann (Hrsg.): Produktion von Evidenz. Biologische Metaphern und Geschlechterkonstruktion zwischen Kunst und Wissenschaft in Neuzeit und Moderne (= Ars et Scientia. Schriften zur Kunstwissenschaft). Berlin: Akademie 2012.

Carolin Höfler: “'World Wide Tahrir'. The urban space between online-theater and offline-occupation", in: kunsttexte.de. E-Journal for Art and Visual History, Issue 4: The medial penetration of the public sphere, ed. v. Katharina Eck, Annette Gilbert, Florian Leitner, 2012 (17 pages), www.kunsttexte.de.

Contrary to the often stated assertion that public space is disappearing in the age of digital communication technologies, urban spaces as sites of mass protest are currently experiencing a comeback. Moaned architects and theorists in recent decades the retreat of the consumer and crisis- weary city dweller in the private domestic life, they celebrate the year 2011 as a turning point in the relationship between city and users. The reconquest of urban space as a discussion and negotiation space between society and the authorities is pursued by digital natives of all people, who have grown up with the new technologies. For the media experienced protagonists of the Arab Spring and the Occupy movement, the urban spaces play a central role in the implementation of their goals, because they can be played as planned and staged medially. With the help of digital networks, new ways are opened up to direct when large crowds seem to gather spontaneously in town squares. In addition, the duration of persistent demonstrations provide productive images that allow existing power structures to be rejected and new orders to be imagined.
In the numerous photographs of occupied urban spaces the utopia of a global, egalitarian community should be illustrated, which won renewed importance through the digital communication. The public square, archetype for an orderly, equitable and publicly negotiated coexistence, is the striking symbol of this idea. Aiming to establish a real and medial counter-public sphere, the protesters set up a temporary 'city within a city' in front of the more powerful negative backdrop of the town square architecture including the classic elements of the ideal city images. [mehr]
_____________________________

Christophe Barlieb, Carolin Höfler, Matthias Karch, Katharina Puhle, Philipp Reinfeld: inFORM. An Exhibition of the Institute for Media Design from the Technical University of Braunschweig, Braunschweig, raumLABOR at the University of Arts, 2012.

The exhibition catalogue offers insight into the institute’s conceptual and methodical principles of operation. The projects illustrated in text and images refer to visual and spatial "findings", in which systems and processes unfold. The discovered materials include graphic code structures and geographically referenced photographs in the Internet to everyday object arrangements to the sphere of urban mobility. The drawings and objects emerge from the collected information to form new worlds, which follow a specific set of rules. They have a double meaning as "in-formation": they contain information and inform them. The exhibition presents pictures and models, in which information structures are transformed into architectural spaces. This approach is aimed at the defining a dynamic architecture, complex systems, manifested in forms to be perceived by human senses. [more]
_____________________________

Philipp Reinfeld: "Location town", the online magazine from the University Chair for Architectural Theory at the Leopold Franzens University in Innsbruck, www.architekturtheorie.eu

Locations are places for professional production of photos, films, television programmes or events. The venue´s relevance ends at the edges of the location which has been booked for the pictorial production: the environment´s significance is reduced outside the illuminated part of reality to technical questions of production like accessibility for technical equipment. The specific requirements for a shooting location and the way in which a location functions as a supplier of pictures represent a suitable starting point for considering the associations between the virtual pictorial world and the real world which can be experienced. Three different strategies are compared to optimize the camera´s legitimacy for a location in the examples of “Arena Auf Schalke” (Gelsenkirchen), ZDF-Fernsehgarten (television garden Mainzer Lärchenberg) and Potsdamer Platz (Berlin). [more]
_____________________________

Carolin Höfler: „‚Seeing by doing'. Josef Albers und die Materialisierung des Digitalen“, in: kunsttexte.de. E-Journal für Kunst- und Bildgeschichte, Themenheft 1: Kunst und Design, hrsg. v. Gora Jain, 2010 (12 Seiten).

Contrary to the often projected scenarios of the vanishing material in the digital, computer-based design in architecture start with the study of the material. Here, the turn toward material is not understood as a measure against the increasing digitization of the design process, but as a necessary complement. For a paradigm shift from de- to rematerialization of the form, the German architects Michael Hensel and Achim Menges are currently promoting their concept of material systems. The fundamental difference with previous computer-based design approaches is that their creative work begins with the investigation of a real physical material. For the creation of form, material properties, joining techniques and manufacturing methods are explored and are registered as a parameter in a digital 3D model, which can then be differentiated according to local requirements. Hidden models for these material experiments are the material substance and structure exercises from the Bauhaus in the 1920s, the German school of modern art. In particular, the studies of the former Bauhaus teacher Josef Albers, who explored the structural, functional and economic possibilities of material, apply to the introduction of the analog-digital form creation process. For Albers, the form was less the work of artistic imagination, as the result of mutual wor-king relationships between material, structure and environment. His call for an activation of the intermediate spaces, rest areas and supplementary volumes becomes up-to-date once again against the background of topological computer spaces. With the paper fold, he took a central form creation process in advance of the computer-based designs. His understanding of form as effect carrier deter-mines the idea of a performative form still today, which should allow flexible adaptation to specific environmental requirements. [more]

Carolin Höfler: „Performanz der Form. Prozessorientiertes Entwerfen in der Architektur“, in: Armen Avanessian, Franck Hoffmann (Hrsg.): Raum in den Künsten. Konstruktion – Bewegung – Politik (= Transversale. Ein europäisches Jahrbuch). Paderborn: Fink 2010, S. 195–206. [more]
also published: Institute for Computational Design, Universität Stuttgart, Prof. Achim Menges

Carolin Höfler: Mediaturen. Ausstellungskatalog, Architektur Galerie Berlin, werkraum, 17.07.-16.08.2008.

Mediaturen is a concept of art and consists of the words Media and architecture. The concept emphasizes the reciprocal operating relationship between design and media and refers to the process-like character of the architecture. The catalog of the exhibition Mediaturen in the Architecture Gallery Berlin provides an insight into the teaching of experimental design at the Institute of design, media and presentation at the Technical University of Brunswick and displays student work, which originated in the dialectical process between analog and digital design. In ten chapters, the work will be characterized by terms and procedures that have not been significant or not relevant in architectural theory or design. Concepts such as line, surface area and space or section cut, layer and edge are influenced by scientific and cultural ideas of modern information technology and alter its importance. Against this background, the question to be asked is how the digital has changed the discussion and design of architecture. [more]

Carolin Höfler: „Form und Feld“, in: Horst Bredekamp, Matthias Bruhn, Gabriele Werner (Hrsg.): Bildwelten des Wissens. Kunsthistorisches Jahrbuch fuer Bildkritik. Band 3,2: Digitale Form. Berlin: Akademie 2005, S. 64–73.

"Without question, the computer in the nineties of the 20th century has become the ever-present infrastructure of contemporary architectural production, but that does not mean that it has become an undisputed condition. Until now the computer has been used as a tool for efficient plan drawing, however, the design concepts being based on sketches and analog models. Also with respect for the possibility of the three-dimensional visualization of the design, which allows spatial presentations either as supplement or even replacement to model building, the use of the machine has become and will especially be seen for the acceleration of the design process. The use of the computer has reached a new phase with its instrumentalization of architectural form-finding and production.
The guided discussion of this moment over the advantages and disadvantages of handwork and technical design and presentation processes divides architects and commentators in opposition to this day. The discussions at German Architecture faculties over the subjects of drawing and painting, sculptural design and computer aided design and manufacturing remind in their polarity the debates between the different directions of modern architecture. Technical media and methods will be linked up to this meaning, which were attributed to the geometric-abstract, rectangular shape formation in the twenties and sixties of the 20th Century, whereas manual procedures with notions of the free form generation are associated. On the one hand, the critics of digital tools and products identify computer design with reduction, monotony, reproducibility and randomness while hand drawing and modeling is held as an expression of spontaneity, imagination, physicality and individual freedom. The alternative computer versus drawing debate leads to the usual pairs of opposites such as technical versus handwork product, rational versus free form, intangible versus intangible. With these additions, the technical processes and products are defined by accepted shortcomings and fixed on characteristics, which are based on prejudice. On the other hand, many computer architects are met by euphoria for the new design and manufacturing tools, which is reminiscent of the technically grounded utopias of the modern architects with regard for new building materials and procedures. With their declaration of the end of handwork and the beginning of a new academic architecture they follow the ideas of dogmatic modernism and it's principle of either-or, which has already established a naive functionalism and orthodox rationalism and for them Architecture as a sense-perception appealing art form in a special way was destroyed.
With this dichotomous classification of design media, insurmountable contrasts between the different practices and products are built, which will not play a role in the contemporary, experimental design work and the design results..." [more]

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Mentions of Carolin Höfler

Melanie Sachs: „Und noch einmal: Diagrammatik. Stil-Linien diagrammatischer Kunstgeschichtsschreibung“, in: Kunstchronik. Monatsschrift für Kunstwissenschaft, Museumswesen und Denkmalpflege, Heft 2, Februar 2012, S. 58–61.

Julie Freudiger: „Vom ‚materiellen Lichtbild‘ zum ‚immateriellen Bildlicht‘? Josef Albers und James Turrell im Fokus eines wahrnehmungs- und erkenntnistheoretischen Diskurses. Eine vergleichende Werkbetrachtung“, in: kunsttexte.de. E-Journal für Kunst- und Bildgeschichte, Themenheft 4: Sehen, Entwerfen, Erkennen. Wahrnehmungsmodelle der Kunst, Wissenschaft und Kultur, 2010 (16 Seiten). www.kunsttexte.de

Actually published

Marschordnungen. Das Reichsparteitagsgelände in Nürnberg / March Formations. The Nazi Party Rally Grounds in Nuremberg
Katalogband zur gleichnamigen Ausstellung / catalogue to the exhibition, hg. v. / ed. by Carolin Höfler und / and Matthias Karch, Berlin 2016, 180 S.
ISBN 978-3-00-052654-1
15,-- €
_____________________________

Carolin Höfler und Matthias Karch: „Ken Adams Modelle des Denkens - Handzeichnungen und Kopfräume“. Beitrag im Katalog BIGGER THAN LIFE. Ken Adam's Film Design. Mit einem Vorwort von Daniel Libeskind _KERBER Verlag, Dezember 2014

'Die Filmsets von Ken Adam haben meine Vorstellungskraft ganz entscheidend entfacht. Nicht, dass ich sagen würde ‚Ich baue jetzt das Set von James Bond nach… Aber die Welt von Ken Adam hat meine Erwartungen an Raum, Licht und Farbe in der Architektur ganz einfach auf ein anderes Niveau erhoben.' _Daniel Libeskind.

Order the BIGGER THAN LIFE catalogue here
_____________________________

Carolin Höfler: „Doppelte Monster, infizierte Körper. William Bateson, D'Arcy Thompson und die computerbasierte Architektur“, in: Horst Bredekamp, Matthias Bruhn, Gabriele Werner (Hrsg.): Bildwelten des Wissens. Kunsthistorisches Jahrbuch für Bildkritik. Band 9.2: Morphologie. Berlin: Akademie 2011/12.

Carolin Höfler: „Drawing without knowing. Prozess und Form in den Diagrammen von Peter Eisenman“, in: Julian Jachmann (Hrsg.): Diagrammatik der Architektur (= Morphomata). Paderborn: Fink 2011/12.

Carolin Höfler: „‚Whirls and Eddies‘. Charles Jencks’ Bubble-Diagramme zur Architekturgeschichte des 20. Jahrhunderts“, in: Wolfgang Cortjaens und Karsten Heck (Hrsg.): Stil-Linien diagrammatischer Kunstgeschichtsschreibung (= Transformationen des Visuellen, Schriftenreihe des Deutschen Dokumentationszentrums für Kunstgeschichte – Bildarchiv Foto Marburg, hrsg. v. Hubert Locher, Bd. 2). München und Berlin: Deutscher Kunstverlag 2012.

Carolin Höfler: „‚Schleimpilze sehen anders aus als alles andere.‘ Hybride Strukturen und selbstgenerierende Formen im Computational Design“, in: Anja Zimmermann (Hrsg.): Produktion von Evidenz. Biologische Metaphern und Geschlechterkonstruktion zwischen Kunst und Wissenschaft in Neuzeit und Moderne (= Ars et Scientia. Schriften zur Kunstwissenschaft). Berlin: Akademie 2012.

Carolin Höfler: “'World Wide Tahrir'. The urban space between online-theater and offline-occupation", in: kunsttexte.de. E-Journal for Art and Visual History, Issue 4: The medial penetration of the public sphere, ed. v. Katharina Eck, Annette Gilbert, Florian Leitner, 2012 (17 pages), www.kunsttexte.de.

Contrary to the often stated assertion that public space is disappearing in the age of digital communication technologies, urban spaces as sites of mass protest are currently experiencing a comeback. Moaned architects and theorists in recent decades the retreat of the consumer and crisis- weary city dweller in the private domestic life, they celebrate the year 2011 as a turning point in the relationship between city and users. The reconquest of urban space as a discussion and negotiation space between society and the authorities is pursued by digital natives of all people, who have grown up with the new technologies. For the media experienced protagonists of the Arab Spring and the Occupy movement, the urban spaces play a central role in the implementation of their goals, because they can be played as planned and staged medially. With the help of digital networks, new ways are opened up to direct when large crowds seem to gather spontaneously in town squares. In addition, the duration of persistent demonstrations provide productive images that allow existing power structures to be rejected and new orders to be imagined.
In the numerous photographs of occupied urban spaces the utopia of a global, egalitarian community should be illustrated, which won renewed importance through the digital communication. The public square, archetype for an orderly, equitable and publicly negotiated coexistence, is the striking symbol of this idea. Aiming to establish a real and medial counter-public sphere, the protesters set up a temporary 'city within a city' in front of the more powerful negative backdrop of the town square architecture including the classic elements of the ideal city images. [mehr]
_____________________________

Christophe Barlieb, Carolin Höfler, Matthias Karch, Katharina Puhle, Philipp Reinfeld: inFORM. An Exhibition of the Institute for Media Design from the Technical University of Braunschweig, Braunschweig, raumLABOR at the University of Arts, 2012.

The exhibition catalogue offers insight into the institute’s conceptual and methodical principles of operation. The projects illustrated in text and images refer to visual and spatial "findings", in which systems and processes unfold. The discovered materials include graphic code structures and geographically referenced photographs in the Internet to everyday object arrangements to the sphere of urban mobility. The drawings and objects emerge from the collected information to form new worlds, which follow a specific set of rules. They have a double meaning as "in-formation": they contain information and inform them. The exhibition presents pictures and models, in which information structures are transformed into architectural spaces. This approach is aimed at the defining a dynamic architecture, complex systems, manifested in forms to be perceived by human senses. [more]
_____________________________

Philipp Reinfeld: "Location town", the online magazine from the University Chair for Architectural Theory at the Leopold Franzens University in Innsbruck, www.architekturtheorie.eu

Locations are places for professional production of photos, films, television programmes or events. The venue´s relevance ends at the edges of the location which has been booked for the pictorial production: the environment´s significance is reduced outside the illuminated part of reality to technical questions of production like accessibility for technical equipment. The specific requirements for a shooting location and the way in which a location functions as a supplier of pictures represent a suitable starting point for considering the associations between the virtual pictorial world and the real world which can be experienced. Three different strategies are compared to optimize the camera´s legitimacy for a location in the examples of “Arena Auf Schalke” (Gelsenkirchen), ZDF-Fernsehgarten (television garden Mainzer Lärchenberg) and Potsdamer Platz (Berlin). [more]
_____________________________

Carolin Höfler: „‚Seeing by doing'. Josef Albers und die Materialisierung des Digitalen“, in: kunsttexte.de. E-Journal für Kunst- und Bildgeschichte, Themenheft 1: Kunst und Design, hrsg. v. Gora Jain, 2010 (12 Seiten).

Contrary to the often projected scenarios of the vanishing material in the digital, computer-based design in architecture start with the study of the material. Here, the turn toward material is not understood as a measure against the increasing digitization of the design process, but as a necessary complement. For a paradigm shift from de- to rematerialization of the form, the German architects Michael Hensel and Achim Menges are currently promoting their concept of material systems. The fundamental difference with previous computer-based design approaches is that their creative work begins with the investigation of a real physical material. For the creation of form, material properties, joining techniques and manufacturing methods are explored and are registered as a parameter in a digital 3D model, which can then be differentiated according to local requirements. Hidden models for these material experiments are the material substance and structure exercises from the Bauhaus in the 1920s, the German school of modern art. In particular, the studies of the former Bauhaus teacher Josef Albers, who explored the structural, functional and economic possibilities of material, apply to the introduction of the analog-digital form creation process. For Albers, the form was less the work of artistic imagination, as the result of mutual wor-king relationships between material, structure and environment. His call for an activation of the intermediate spaces, rest areas and supplementary volumes becomes up-to-date once again against the background of topological computer spaces. With the paper fold, he took a central form creation process in advance of the computer-based designs. His understanding of form as effect carrier deter-mines the idea of a performative form still today, which should allow flexible adaptation to specific environmental requirements. [more]

Carolin Höfler: „Performanz der Form. Prozessorientiertes Entwerfen in der Architektur“, in: Armen Avanessian, Franck Hoffmann (Hrsg.): Raum in den Künsten. Konstruktion – Bewegung – Politik (= Transversale. Ein europäisches Jahrbuch). Paderborn: Fink 2010, S. 195–206. [more]
also published: Institute for Computational Design, Universität Stuttgart, Prof. Achim Menges

Carolin Höfler: Mediaturen. Ausstellungskatalog, Architektur Galerie Berlin, werkraum, 17.07.-16.08.2008.

Mediaturen is a concept of art and consists of the words Media and architecture. The concept emphasizes the reciprocal operating relationship between design and media and refers to the process-like character of the architecture. The catalog of the exhibition Mediaturen in the Architecture Gallery Berlin provides an insight into the teaching of experimental design at the Institute of design, media and presentation at the Technical University of Brunswick and displays student work, which originated in the dialectical process between analog and digital design. In ten chapters, the work will be characterized by terms and procedures that have not been significant or not relevant in architectural theory or design. Concepts such as line, surface area and space or section cut, layer and edge are influenced by scientific and cultural ideas of modern information technology and alter its importance. Against this background, the question to be asked is how the digital has changed the discussion and design of architecture. [more]

Carolin Höfler: „Form und Feld“, in: Horst Bredekamp, Matthias Bruhn, Gabriele Werner (Hrsg.): Bildwelten des Wissens. Kunsthistorisches Jahrbuch fuer Bildkritik. Band 3,2: Digitale Form. Berlin: Akademie 2005, S. 64–73.

"Without question, the computer in the nineties of the 20th century has become the ever-present infrastructure of contemporary architectural production, but that does not mean that it has become an undisputed condition. Until now the computer has been used as a tool for efficient plan drawing, however, the design concepts being based on sketches and analog models. Also with respect for the possibility of the three-dimensional visualization of the design, which allows spatial presentations either as supplement or even replacement to model building, the use of the machine has become and will especially be seen for the acceleration of the design process. The use of the computer has reached a new phase with its instrumentalization of architectural form-finding and production.
The guided discussion of this moment over the advantages and disadvantages of handwork and technical design and presentation processes divides architects and commentators in opposition to this day. The discussions at German Architecture faculties over the subjects of drawing and painting, sculptural design and computer aided design and manufacturing remind in their polarity the debates between the different directions of modern architecture. Technical media and methods will be linked up to this meaning, which were attributed to the geometric-abstract, rectangular shape formation in the twenties and sixties of the 20th Century, whereas manual procedures with notions of the free form generation are associated. On the one hand, the critics of digital tools and products identify computer design with reduction, monotony, reproducibility and randomness while hand drawing and modeling is held as an expression of spontaneity, imagination, physicality and individual freedom. The alternative computer versus drawing debate leads to the usual pairs of opposites such as technical versus handwork product, rational versus free form, intangible versus intangible. With these additions, the technical processes and products are defined by accepted shortcomings and fixed on characteristics, which are based on prejudice. On the other hand, many computer architects are met by euphoria for the new design and manufacturing tools, which is reminiscent of the technically grounded utopias of the modern architects with regard for new building materials and procedures. With their declaration of the end of handwork and the beginning of a new academic architecture they follow the ideas of dogmatic modernism and it's principle of either-or, which has already established a naive functionalism and orthodox rationalism and for them Architecture as a sense-perception appealing art form in a special way was destroyed.
With this dichotomous classification of design media, insurmountable contrasts between the different practices and products are built, which will not play a role in the contemporary, experimental design work and the design results..." [more]

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Mentions of Carolin Höfler

Melanie Sachs: „Und noch einmal: Diagrammatik. Stil-Linien diagrammatischer Kunstgeschichtsschreibung“, in: Kunstchronik. Monatsschrift für Kunstwissenschaft, Museumswesen und Denkmalpflege, Heft 2, Februar 2012, S. 58–61.

Julie Freudiger: „Vom ‚materiellen Lichtbild‘ zum ‚immateriellen Bildlicht‘? Josef Albers und James Turrell im Fokus eines wahrnehmungs- und erkenntnistheoretischen Diskurses. Eine vergleichende Werkbetrachtung“, in: kunsttexte.de. E-Journal für Kunst- und Bildgeschichte, Themenheft 4: Sehen, Entwerfen, Erkennen. Wahrnehmungsmodelle der Kunst, Wissenschaft und Kultur, 2010 (16 Seiten). www.kunsttexte.de