das ist doch gemein!
under the bridge
is it even real?
oberhammer
a (siegen) learning space
ivry’s pier
kandylakia
craftmanship & production campus
split
extraordinary standards
the collected building
fiktion
documentary of spaces
ko(r)nversion
embracing uncertainty
who cares?
zwischenhaus
concrete operations
triemli+128
house of desires
leipziger allerlei
parasite
zeitdokument
data center
how many rooms you need to live?
anonynums sculture
fieldstation
neues kösk
on what a shodow falls
post auto mobile
random access memories
panorama
umbau um umbau
kosmos der dinge
superparkmarkt
archifiktion
herberge am grimselpass
kraft und licht
wandelhalle nord
reconstruct häring
upcyclinghof
hybrid
big mix
atelierhaus
revitalisierung einer werft
bauteildepot
sml
faust III
bauteil bahnhof

arch
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krach
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thilo preuß, clemens urban
kaya liffler, paula scheibke
christian sternhagen
kaya liffler, paula scheibke
matthias walbröl
h. getas, p. lambard, p. bomey
christian sternhagen
a. dardenne, m. leridee, r. kuznicki, a. correia, p. bomey, anna schmitz
mathis bergmann, jonas könig
emily bardenz, finn gredel, kian matine leander lentner
marlene koßmann
dao le
jonathan burkard, marlene koßmannpola machinskafelix schröder kaya liffler, paula scheibke, christian sternhagen, marijke kiparski, alexandra faix, mathis bergmannfinn marcelli
jonathan burkhard
lilly irmer, sophie kalwa
léopold parras 
johannes zerfass
christian sternhagen, jonathan burkard yannic kohnen
maximilian gömann, paulina kirschke jakob naujack
hannah herrmanncecelia vincent
lina etzkorn
vitus michel, levin arnold
lina etzkorn
lukas frenzel
eva beule, gerda callista, melissa enriquez, katharina glorius, franziska wilkleander lentner, marlene koßmann
malte mittelstädt
jonah burgsteiner, klara schmidt
finn marcelli
marlene koßmann
felix piel
sebastian schaafulrich kneisl, felix schröder kaya liffler, paula scheibke
mathis bergmann
lina etzkorn
felix piel, fabian jäger
jonathan burkard, yannic kohnen
jonas könig, paul stockhausen
joshua delissen
jonathan burkard
dao le, christian sternhagen
mathis bergamnn, christian sternhagen christian sternhagen

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collected works from students, friends, young architects and creatives on the subject of architecture (arch) and the noise (krach) around it. collected for other people to be inspired,
to get in contact, to research and/or to procrastinate

if you also want to submit a work, please send us an email or contact us on instagram:




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archifiktion
The house of the book protagonist Jean Floressas des Esseintes was based on the fictional architecture of Joris-Karl Huysmans' novel 'Against the Grain' written in 1884. All events such as location, typology and spatial program could be derived from the novel and freely interpreted. As a misanthrope, the protagonist 'Des Esseintes' is increasingly distancing himself from society. Lacking interest in those around him, he longs for complete and irrevocable isolation, which he finds on the roof of an existing building on a grand boulevard in Paris. In the middle of the urban context, he goes into a self-imposed quarantine that is intended to underline his otherness. Its museum-like roof structure contains many things that would set it apart from its much-hated society - the motto is: the main thing is not normal. The architectural decadence and exaggerated artificiality put him in a kind of artificial intoxication. Reality and imagination blur.

This fictional project serves as a thought experiment to get to the bottom of the architectural question of isolation. Based on the literary work but also on my own experiences in the home office, a reshaping and almost distopic-ironic representation of this emerged. At the same time, the design is the architectural interpretation of an artificial inner world, full of stories and ideas.

Against the background of the corona pandemic, one is inevitably confronted with the architectural question of socially shielded living space. This literary-inspired work offers a possible answer to what potential spaces that are consciously adapted to living in isolation could look like.








  
„Dachte er an das neue Dasein, das er sich einrichten wollte, empfand er eine so heftige Freude, weil er sich bereits zu weit weg, oben auf dem Hang sah […] und dennoch nahe genug, um sich […] in seiner Einsamkeit bestätigen zu lassen.” (S. 16)

‚Gegen den Strich‘ von Joris-Karl Huysmans (1884)