Practices and Politics of Representation - Recent changes [en-gb]

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	Engaging with practices and politics of representation, [[Team\|the work of Prof. Mona Mahall and her team]] at the Bauhaus-Universität Weimar is situated in the expanding field of spatial and ~~aesthetic~~ practices, research and critical thinking. To this field, the wiki offers a slow, collective environment to share, reflect, and continue [[Main Page#Contribute\|contributions]]. It is based on the assumption that knowledge is produced collaboratively between different agencies, among others, students, researchers, places, and things.		Engaging with practices and politics of representation, [[Team\|the work of Prof. Mona Mahall and her team]] at the Bauhaus-Universität Weimar is situated in the expanding field of spatial and artistic practices, research and critical thinking. To this field, the wiki offers a slow, collective environment to share, reflect, and continue [[Main Page#Contribute\|contributions]]. It is based on the assumption that knowledge is produced collaboratively between different agencies, among others, students, researchers, places, and things.

	While representation has been associated (and neutralized) with visualization in architecture, art, and urbanism –including drawing, photography, <span class="hover-word">model making<span class="hover-pop">[[File:Model making 1.jpg\|800px]]</span></span>, video, sound, installation, and embodied techniques– we also consider its political implications as our task. For us this task means exposing and dismantling hegemonic visual regimes; those Westernized ways of depicting the world that have simultaneously served to dominate it. We advocate other(ed) modes of perceiving and constructing realities in a global present that is undergoing drastic transformations of spatial, political, societal, and environmental arrangements and forms of subjectivity.		While representation has been associated (and neutralized) with visualization in architecture, art, and urbanism –including drawing, photography, <span class="hover-word">model making<span class="hover-pop">[[File:Model making 1.jpg\|800px]]</span></span>, video, sound, installation, and embodied techniques– we also consider its political implications as our task. For us this task means exposing and dismantling hegemonic visual regimes; those Westernized ways of depicting the world that have simultaneously served to dominate it. We advocate other(ed) modes of perceiving and constructing realities in a global present that is undergoing drastic transformations of spatial, political, societal, and environmental arrangements and forms of subjectivity.


	Pragmatically using English as our common language for teaching and research, we expect –from all of us– a critical interest in the various relations of architecture, art, language, technology, and environment with colonial capitalism, social inequalities, and anti-democratic developments; a curiosity about alternative architectural and artistic knowledges; and a commitment to decolonization, the politics of care, and practices of counter-conduct.		Pragmatically using English as our common language for teaching and research, we expect –from all of us– a critical interest in the various relations of architecture, art, language, technology, and environment with colonial capitalism, social inequalities, and anti-democratic developments; a curiosity about alternative architectural and artistic knowledges; and a commitment to decolonization, the politics of care, and practices of counter-conduct.

	We engage and confront a <span class="hover-word">Bauhaus tradition<span class="hover-pop">[[File:Bauhaus-dessau.jpg\|240px]]</span></span> located between culture, technology, and the living world, crossing disciplinary boundaries as well as those between theory and practice. Our thinking and making is developed with a focus on particular cases, geographies, institutions, buildings, figures, events, or projects. Thereby, our close readings of structures, discourses, narratives, settings, and media are informed by feminist, postcolonial, and critical urban theories that allow us to evolve new methods of practice, approaches to research, and ways of seeing things and beings, as well as the alliances between them. With a strong emphasis on processuality, the work produced ranges from aesthetic and experimental project-based formats and installations to collaboratively produced <span class="hover-word">exhibitions<span class="hover-pop">[[File:TersYuz Salon 0028.jpg\|800px]]</span></span>, hosting, public event programming, as well as archival, ethnographic, and visual research publications.		Our thinking and making is developed with a focus on particular cases, geographies, institutions, buildings, figures, events, or projects. Thereby, our close readings of structures, discourses, narratives, settings, and media are informed by feminist, postcolonial, and critical urban theories that allow us to evolve new methods of practice, approaches to research, and ways of seeing things and beings, as well as the alliances between them. With a strong emphasis on processuality, the work produced ranges from aesthetic and experimental project-based formats and installations to collaboratively produced <span class="hover-word">exhibitions<span class="hover-pop">[[File:TersYuz Salon 0028.jpg\|800px]]</span></span>, hosting, public event programming, as well as archival, ethnographic, and visual research publications. We thus engage and reflect a <span class="hover-word">Bauhaus tradition<span class="hover-pop">[[File:Bauhaus-dessau.jpg\|240px]]</span></span> located between culture, technology, and the living world, crossing disciplinary boundaries as well as those between theory and practice.

	== Contribute ==		== Contribute ==

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			** 1. Kernmodul: Darstellen und Gestalten / Practices of Representation – Practices of Space\|1. Kernmodul: Darstellen und Gestalten / Practices of Representation – Practices of Space
	** Academic Year 2026\|Academic Year 2026		** Academic Year 2026\|Academic Year 2026
	** 1. Kernmodul: How do we begin with architecture?\|1. Kernmodul: How do we begin with architecture?*		** 1. Kernmodul: How do we begin with architecture?\|1. Kernmodul: How do we begin with architecture?*

Academic Year 2027

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The list of courses that were offered in 2027

== Winter 2027 ==

[[1. Kernmodul: Darstellen und Gestalten / Practices of Representation – Practices of Space]]

1. Kernmodul: Darstellen und Gestalten / Practices of Representation – Practices of Space

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How do we begin with architecture?
This question arises urgently when the university is understood as a collective and reciprocal process, when the discipline responds to profound social, ecological, and technological transformations, and when students take part in shaping foundations that are no longer—or perhaps never were—fixed.

Our first core module is structured around workshops that are designed by the participants themselves. They present and collectively practice architectural and artistic methods of working, as well as various techniques of representation. Within a collective teaching/learning structure based on rotating roles, we explore architectural techniques, multiperspectival knowledge, and critical positions—each contextualized theoretically, historically, and societally.

The aim is to foster situated spatial practices, process-based approaches, and open, critical thinking in architecture—through collective inquiry, doubt, representation, and making. In doing so, we question systems of recognition and exclusion, competition as well as the power and representational structures of the discipline and the Western academic world.

We understand architecture as a socially engaged transformative spatial practice to imagine and create a more just collective life. We see in it the potential to represent the world beyond individual buildings that exist along with various living and non-living beings, bodies, actors, times, geographies, societies, and cultures. We believe that architecture can contribute to other future worlds, and to different relationships we have with living beings, things, land, and resources. We think architecture should neither be limited nor restricted by professionalism nor neoliberal motivations.

Again: How do we begin with architecture? How do we use representations and design methods to pose spatial, social, and ecological questions? Which visual-cognitive, imaginative practices help us address the production of space and the social, material, and historical structures —the ways we inhabit the world? How do we define what is informal and formal space-making? What can we learn from architecture that is built without architects?

In the project, we aim to open up, test, learn, fail and discuss a spectrum of concrete methods to practice representation and design as spatial analysis and synthesis techniques. In addition to material experiments, cartography, drawing, and model making, we use text, photography, video, storytelling, food and machine learning. To explore the possibilities of approaches to architectural representation and image-making beyond the Eurocentric conceptualizations, we will look at historical and contemporary representation methodologies from Asia, Oceania, Africa and Latin America. Accompanied by guest lectures and workshops we will move together towards a collective and expanded understanding of the discipline of architecture.

Mona Mahall, Arijit Bhattacharyya, Yelta Köm, Lea Maria Wittich, Sabine Zierold

== Literature ==

Henri Lefebvre (1991). The Production of Space

Doreen Massey (2005). For Space

Michel de Certeau (1984). The Practice of Everyday Life

Georges Perec (1974). Espèces d'espaces (Species of Spaces and Other Pieces)

Arturo Escobar (2018). Designs for the Pluriverse

bell hooks (1990). Homeplace

Sara Ahmed (2006). Queer Phenomenology

David Harvey (2012). Rebel Cities

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	** 1. Kernmodul: How do we begin with architecture?\|1. Kernmodul: How do we begin with architecture?*		** 1. Kernmodul: How do we begin with architecture?\|1. Kernmodul: How do we begin with architecture?*
	** Politics of Exhibiting - 15 International Bauhaus Colloquiums II\|Politics of Exhibiting - 15 International Bauhaus Colloquiums II		** Politics of Exhibiting - 15 International Bauhaus Colloquiums\|Politics of Exhibiting - 15 International Bauhaus Colloquiums
	** Many worlds within more forests- a research proposition beyond temporal linearities\|Many worlds within more forests- a research proposition beyond temporal linearities		** Many worlds within more forests- a research proposition beyond temporal linearities\|Many worlds within more forests- a research proposition beyond temporal linearities
	** Engaged (urban) sketching Weimar ~~- Teil 1~~\|Engaged (urban) sketching Weimar ~~- Teil 1~~		** Engaged (urban) sketching Weimar\|Engaged (urban) sketching Weimar
	** The Promise of the Render: Representing Large Projects I\|The Promise of the Render: Representing Large Projects I		** The Promise of the Render: Representing Large Projects\|The Promise of the Render: Representing Large Projects
	** Academic Year 2025\|Academic Year 2025		** Academic Year 2025\|Academic Year 2025
	** One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction\|One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction		** One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction\|One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction

Academic Year 2026

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	== Summer 2026 ==		== Summer 2026 ==

	[[Politics of Exhibiting - 15 International Bauhaus Colloquiums II]]		[[Politics of Exhibiting - 15 International Bauhaus Colloquiums]]

	[[Many worlds within more forests- a research proposition beyond temporal linearities]]		[[Many worlds within more forests- a research proposition beyond temporal linearities]]

	[[Engaged (urban) sketching Weimar ~~- Teil 1~~]]		[[Engaged (urban) sketching Weimar]]

	[[The Promise of the Render: Representing Large Projects I]]		[[The Promise of the Render: Representing Large Projects]]

The Promise of the Render: Representing Large Projects I

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Architectural representation has served as a primary communication instrument for old and new megaprojects, including airports, dams, highways, and extensive housing developments, most of which are categorized as infrastructure. The images, maps, and renderings associated with these projects function not only as technical documents but also as promises of potential futures. Project imagery operates within a regime of expectation: it constructs visual narratives of what is to come, informs or pacifies the public, and builds consensus through the persuasive power of visual representation.

This seminar is looking at the how large-scale projects are represented through architectural media. It interrogates the content and production characteristics of promotional images, seeking to identify patterns, visual grammars, and shared logics across these representations, such as cropping, composition, lighting, surface smoothness, etc. The course further considers what is rendered visible or obscured, and analyzes how modes of architectural representation are instrumentalized to generate specific forms of imagery, through which political agendas are inscribed in space.

Over the course of the semester, students will select case studies, such as airports, dams, railways, or new cities, and develop critical analyses of their representational regimes. Through an integration of theoretical and practical approaches, participants will investigate how images function as arguments, how renderings construct notions of futurity, and how the aerial view serves as a technology of power.

The course will culminate in a collective publication: a zine that combines the semester’s investigations as both a documentation archive and a potential exhibition format. Each participant will contribute a case study in the form of a visual essay, integrating found imagery, analytical text, and critical reflection on the politics of representation. The course aims to render the dominant visual language explicit through critical deconstruction.

Yelta Köm

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Politics of Exhibiting - 15 International Bauhaus Colloquiums II

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Ausstellungen über Architektur sind selbst Architektur. Sie gehören zu einer erweiterten architektonischen Praxis, die eine kritische Reflexion und Projektion der Disziplin ermöglicht und die architektonisches Wissen nicht nur präsentiert, sondern produziert, ordnet, rahmt und gestaltet. Vor diesem Hintergrund verstehen wir das kommende XV. Internationale Bauhaus-Kolloquium unter dem Titel „Politics of Research” als Herausforderung, eine Ausstellung zur fünfzigjährigen Geschichte dieser Reihe zu entwickeln und umzusetzen.

Das Seminar findet in Verbindung mit Politics of Research: Histories of 15 International Bauhaus Colloquiums statt.

Seit dem 1. Wissenschaftlichen Kolloquium (1976) und dem 2. Bauhaus-Kolloquium (1979) sind 12 weitere Internationale Bauhaus-Kolloquien hinzugekommen, die sich Fragen der Theorie und Geschichte der Architektur mit besonderer Berücksichtigung der (Wirkungs-)Geschichte des Bauhauses gewidmet haben. Das nächste Kolloquium (XV. International Bauhaus Colloquium) findet vom 4. bis 7. November 2026 an der Bauhaus-Universität Weimar zum Thema „Politics of Research” statt und ist für alle an der Universität vertretenen Disziplinen geöffnet.

Das Bauhaus-Kolloquium folgte einer konzeptionellen Kontinuität, die in die Vergangenheit blickt, um die Gegenwart zu konstituieren. Ausgehend von den umfangreichen Materialien, die in verschiedenen Archiven überliefert sind, befragen wir das ambivalente Verhältnis zwischen der Konstruktion einer Vergangenheit, der gelebten Gegenwart und imaginierten Zukünften. Die Künstlerin Hito Steyerl, die beim Kolloquium im November sprechen wird, beschreibt das Archiv als eine „realist machine, a body of power and knowledge”, die sich durch die eigene Wiederholung zeitlich erhält (Steyerl, 2008). Jacques Derrida betont, dass sich das Archiv zugleich verräumlicht. Etymologisch verweist der Begriff auf das Domizil, das Haus (Derrida, 1996). Dieses Bedürfnis nach einem Ort teilt das Archiv mit der Ausstellung. Beide besitzen eine „thing-power” (Bennett, 2010), die unseren sprachzentrierten Zugang zu Forschung und ihrer Präsentation unterlaufen kann. Vor diesem Hintergrund verstehen wir die Ausstellung als räumliche, materielle und performative Vermittlerin von Forschung. Als kritische Auseinandersetzung mit der Geschichte des Kolloquiums wird das Seminar die verkörperte Erfahrung von Archiv und Ausstellung nutzen, um die Politik des Ausstellens von Forschung – als Forschung selbst – zu untersuchen.

Der Kurs steht Studierenden aller Fakultäten offen. Es ist nicht erforderlich, Deutsch zu sprechen oder über perfekte Englischkenntnisse zu verfügen.

Das Kolloquium findet vom 4.–7. November 2026 statt. Dennoch werden wir versuchen, auch Studierende einzubeziehen, die sich nur im Sommersemester in Weimar aufhalten.

Mona Mahall, Lea Maria Wittich

== Literatur ==

Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Durham, NC and London: Duke University Press, 2010.

Derrida, Jacques. Archive Fever: A Freudian Impression. Translated by Eric Prenowitz. Chicago: University of Chicago Press, 1996 (original French edition 1995).

Hennessy, Kate, and Trudi Lynn Smith. 2018. ”Fugitives: Anarchival Materiality in Archives.” Public 29 (57): 128–144. https://doi.org/10.1386/public.29.57.128_1

Steyerl, Hito. 2008. ”Politics of the Archive: Translations in Film.” Transversal: Borders, Nations, Translations (March 2008). Published by the European Institute for Progressive Cultural Policies (EIPCP). https://transversal.at/transversal/0608/steyerl/en

[[index.php?title=Category:Course]]

Engaged (urban) sketching Weimar - Teil 1

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Based on and critically developing “engaged art,” such as that of the 1960s, drawing can be understood as a practice that not only depicts spatial and social contexts, but also actively questions them. Starting from close observation, we will sketch specific locations in Weimar's urban space and interiors, thereby refining and changing our personal perceptions by revealing potential conflicts and exposing existing power relations through drawing. We observe everyday situations in which social spaces arise between different groups of people. These can be communal activities of care, nursing, value creation, or protest.

Similar to a reportage, we visually recount the interactions and behaviors of people in specific situations or events. The aim of the reportage is not only creative—it is a form of drawn journalism that serves as a record of topics and motifs on site. The subject of a reportage is often political, but does not have to be. You can capture interactions in any environment where something worth recording is happening. There are no mistakes, only personal commitment and your own individual style with different stylistic devices. The choice of suitable analog tools such as pencil, ink pen, marker, chalk, brush, and sketchbook, or digital tools such as a tablet, aims at graphic and colorful expression that can add tension, contrast, and emphasis to spontaneous drawing.

After a theoretical and practical introduction, we sketch spatial situations, buildings, people, and activities that we encounter in Weimar. We get to know Weimar from different angles, with numerous details and visual stories.

Each exercise unit is guided by task sheets and commented on if there are any questions. At the end of the course, the personal A4 sketchbook is handed in and selected works are digitized. Regular attendance is required for successful completion.

Sabine Zierold

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	** 1. Kernmodul: How do we begin with architecture?\|1. Kernmodul: How do we begin with architecture?*		** 1. Kernmodul: How do we begin with architecture?\|1. Kernmodul: How do we begin with architecture?*
			** Politics of Exhibiting - 15 International Bauhaus Colloquiums II\|Politics of Exhibiting - 15 International Bauhaus Colloquiums II
			** Many worlds within more forests- a research proposition beyond temporal linearities\|Many worlds within more forests- a research proposition beyond temporal linearities
			** Engaged (urban) sketching Weimar - Teil 1\|Engaged (urban) sketching Weimar - Teil 1
			** The Promise of the Render: Representing Large Projects I\|The Promise of the Render: Representing Large Projects I
	** Academic Year 2025\|Academic Year 2025		** Academic Year 2025\|Academic Year 2025
	** One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction\|One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction		** One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction\|One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction

Academic Year 2026

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	== Summer 2026 ==		== Summer 2026 ==

	[[~~The Promise~~ of ~~the Render: Representing Large Projects I~~]]		[[Politics of Exhibiting - 15 International Bauhaus Colloquiums II]]

	[[Many worlds within more forests- a research proposition beyond temporal linearities]]		[[Many worlds within more forests- a research proposition beyond temporal linearities]]

	[[~~Politics~~ of ~~Exhibiting - 15 International Bauhaus Colloquiums II~~]]		[[Engaged (urban) sketching Weimar - Teil 1]]

			[[The Promise of the Render: Representing Large Projects I]]

Engaged (urban) sketching Weimar - Teil 1

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Academic Year 2026

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	[[Politics of Exhibiting - 15 International Bauhaus Colloquiums II]]		[[Politics of Exhibiting - 15 International Bauhaus Colloquiums II]]

	~~[[Politics of Research: Histories of 15 International Bauhaus Colloquiums]]~~

The Promise of the Render: Representing Large Projects I

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	Yelta Köm		Yelta Köm

	~~== Target Group ==~~

	The course is open to all Bachelor and Master students of the faculties of Architecture and Urbanism, Civil and Environmental Engineering, Art and Design, and Media as part of the ”Interdisciplinary Study Program”. Before registering, please consult your academic advisor and clarify whether this course can be credited to your curriculum. If required, you can conclude a learning agreement (DE/EN) before the start of the course.

	[[index.php?title=Category:Course]]		[[index.php?title=Category:Course]]

Politics of Exhibiting - 15 International Bauhaus Colloquiums II

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	Ausstellungen über Architektur sind selbst Architektur. Sie gehören zu einer erweiterten architektonischen Praxis, die eine kritische Reflexion und Projektion der Disziplin ermöglicht und die architektonisches Wissen nicht nur präsentiert, sondern produziert, ordnet, rahmt und gestaltet. Vor diesem Hintergrund verstehen wir das kommende XV. Internationale Bauhaus-Kolloquium unter dem Titel „Politics of Research” als Herausforderung, eine Ausstellung zur fünfzigjährigen Geschichte dieser Reihe zu entwickeln und umzusetzen.		Ausstellungen über Architektur sind selbst Architektur. Sie gehören zu einer erweiterten architektonischen Praxis, die eine kritische Reflexion und Projektion der Disziplin ermöglicht und die architektonisches Wissen nicht nur präsentiert, sondern produziert, ordnet, rahmt und gestaltet. Vor diesem Hintergrund verstehen wir das kommende XV. Internationale Bauhaus-Kolloquium unter dem Titel „Politics of Research” als Herausforderung, eine Ausstellung zur fünfzigjährigen Geschichte dieser Reihe zu entwickeln und umzusetzen.

	Das Seminar findet in Verbindung mit [[Politics of Research: Histories of 15 International Bauhaus Colloquiums]] statt.		Das Seminar findet in Verbindung mit Politics of Research: Histories of 15 International Bauhaus Colloquiums statt.

	Seit dem 1. Wissenschaftlichen Kolloquium (1976) und dem 2. Bauhaus-Kolloquium (1979) sind 12 weitere Internationale Bauhaus-Kolloquien hinzugekommen, die sich Fragen der Theorie und Geschichte der Architektur mit besonderer Berücksichtigung der (Wirkungs-)Geschichte des Bauhauses gewidmet haben. Das nächste Kolloquium (XV. International Bauhaus Colloquium) findet vom 4. bis 7. November 2026 an der Bauhaus-Universität Weimar zum Thema „Politics of Research” statt und ist für alle an der Universität vertretenen Disziplinen geöffnet.		Seit dem 1. Wissenschaftlichen Kolloquium (1976) und dem 2. Bauhaus-Kolloquium (1979) sind 12 weitere Internationale Bauhaus-Kolloquien hinzugekommen, die sich Fragen der Theorie und Geschichte der Architektur mit besonderer Berücksichtigung der (Wirkungs-)Geschichte des Bauhauses gewidmet haben. Das nächste Kolloquium (XV. International Bauhaus Colloquium) findet vom 4. bis 7. November 2026 an der Bauhaus-Universität Weimar zum Thema „Politics of Research” statt und ist für alle an der Universität vertretenen Disziplinen geöffnet.
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	Steyerl, Hito. 2008. ”Politics of the Archive: Translations in Film.” Transversal: Borders, Nations, Translations (March 2008). Published by the European Institute for Progressive Cultural Policies (EIPCP). https://transversal.at/transversal/0608/steyerl/en		Steyerl, Hito. 2008. ”Politics of the Archive: Translations in Film.” Transversal: Borders, Nations, Translations (March 2008). Published by the European Institute for Progressive Cultural Policies (EIPCP). https://transversal.at/transversal/0608/steyerl/en

	~~== Zielgruppe ==~~

	Die Veranstaltung steht als »Geöffneten Lehrveranstaltungen« allen Bachelor der Fakultäten Architektur und Urbanistik, Bau- und Umweltingenieurwissenschaften, Kunst und Gestaltung sowie Medien im Rahmen des »Interdisziplinären Lehrangebots« offen. Bitte halten Sie vor der Anmeldung Rücksprache mit Ihrer Fachstudienberatung und klären Sie, ob diese Veranstaltung in ihrem Curriculum anerkannt werden kann. Bei Bedarf schließen Sie vor Veranstaltungsbeginn ein Learning Agreement (DE/EN) ab.

	[[index.php?title=Category:Course]]		[[index.php?title=Category:Course]]

Politics of Research: Histories of 15 International Bauhaus Colloquiums

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Academic Year 2026

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	The list of courses that were offered in 2026		The list of courses that were offered in 2026

	Winter 2026		== Winter 2026 ==

	<span class="hover-word">[[1. Kernmodul: How do we begin with architecture?]]<span class="hover-pop below">[[File:478847453 18055433513116785 5153290247221409688 n 18145689211367493.jpg\|220px]]</span></span>		<span class="hover-word">[[1. Kernmodul: How do we begin with architecture?]]<span class="hover-pop below">[[File:478847453 18055433513116785 5153290247221409688 n 18145689211367493.jpg\|220px]]</span></span>

			== Summer 2026 ==

			[[The Promise of the Render: Representing Large Projects I]]

			[[Many worlds within more forests- a research proposition beyond temporal linearities]]

			[[Politics of Exhibiting - 15 International Bauhaus Colloquiums II]]

			[[Politics of Research: Histories of 15 International Bauhaus Colloquiums]]

Many worlds within more forests- a research proposition beyond temporal linearities

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The seminar combines a research-based course in Weimar with a proposed research excursion to India (May 14–25, 2026). It prepares contributions to the XV International Bauhaus Colloquium (November 4–7, 2026) titled "Politics of Research” and connects to the Second Bengal Biennale, “Banalata” (a vine of the forest), curated by Chander Haat and Ritika Biswas, opening November 25, 2026.

'Many worlds within more forests- a research proposition beyond temporal linearities' explores modernity and modernism as an ongoing project of European provinciality within the global imagination. It proposes the recognition of a global imagination of plural space-making, highlighting the confusion, inconsistency, and ambivalence in human attitudes, behaviours, and information regarding environmental catastrophes, social collapses, political conservatism and especially in times of renewed normalisation of global wars. Karen Laura Thornber's 'Ecoambiguity' and poet Jibanananda Das's exploration of the natural world as refuge and existential pause are two important references.

The seminar aims at a critical engagement with the history of the International Bauhaus Colloquium, the historical Bauhaus exhibition in Kolkata1922, especially questioning the celebration of selected histories. We will draw on the embodied experience of archive and exhibition to investigate the politics of exhibiting research, as research itself. Through our 7 input sessions over two months (April 1st, 8th, 22nd, 29th; in May, the 6th, 20th, 27th) and the working period of one month, including feedback sessions on work (Online on June 3rd and the 17th), we prepare for discursive outcomes in the form of lectures, workshops, essays, image-text works, videos, performances, design interventions, installations etc.

The course is open to students from all faculties. It is not necessary to speak German or to have perfect English language skills.

The colloquium will take place from November 4–7, 2026, and the Second Bengal Biennale will be inaugurated on the 25th of November 2026. Nevertheless, we will try to include students who are only in Weimar during the summer semester.

Interested students are asked to send an email by 10th March 2026 with their name, matriculation number, field of study, and a brief statement as to why they are interested in this course and the associated excursion to India.

Arijit Bhattacharyya, Mona Mahall

[[index.php?title=Category:Course]]

The Promise of the Render: Representing Large Projects I

Admin — Fri, 11 Sep 2026 12:08:48 GMT

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Politics of Exhibiting - 15 International Bauhaus Colloquiums II

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Ausstellungen über Architektur sind selbst Architektur. Sie gehören zu einer erweiterten architektonischen Praxis, die eine kritische Reflexion und Projektion der Disziplin ermöglicht und die architektonisches Wissen nicht nur präsentiert, sondern produziert, ordnet, rahmt und gestaltet. Vor diesem Hintergrund verstehen wir das kommende XV. Internationale Bauhaus-Kolloquium unter dem Titel „Politics of Research” als Herausforderung, eine Ausstellung zur fünfzigjährigen Geschichte dieser Reihe zu entwickeln und umzusetzen.

Das Seminar findet in Verbindung mit [[Politics of Research: Histories of 15 International Bauhaus Colloquiums]] statt.

Seit dem 1. Wissenschaftlichen Kolloquium (1976) und dem 2. Bauhaus-Kolloquium (1979) sind 12 weitere Internationale Bauhaus-Kolloquien hinzugekommen, die sich Fragen der Theorie und Geschichte der Architektur mit besonderer Berücksichtigung der (Wirkungs-)Geschichte des Bauhauses gewidmet haben. Das nächste Kolloquium (XV. International Bauhaus Colloquium) findet vom 4. bis 7. November 2026 an der Bauhaus-Universität Weimar zum Thema „Politics of Research” statt und ist für alle an der Universität vertretenen Disziplinen geöffnet.

Das Bauhaus-Kolloquium folgte einer konzeptionellen Kontinuität, die in die Vergangenheit blickt, um die Gegenwart zu konstituieren. Ausgehend von den umfangreichen Materialien, die in verschiedenen Archiven überliefert sind, befragen wir das ambivalente Verhältnis zwischen der Konstruktion einer Vergangenheit, der gelebten Gegenwart und imaginierten Zukünften. Die Künstlerin Hito Steyerl, die beim Kolloquium im November sprechen wird, beschreibt das Archiv als eine „realist machine, a body of power and knowledge”, die sich durch die eigene Wiederholung zeitlich erhält (Steyerl, 2008). Jacques Derrida betont, dass sich das Archiv zugleich verräumlicht. Etymologisch verweist der Begriff auf das Domizil, das Haus (Derrida, 1996). Dieses Bedürfnis nach einem Ort teilt das Archiv mit der Ausstellung. Beide besitzen eine „thing-power” (Bennett, 2010), die unseren sprachzentrierten Zugang zu Forschung und ihrer Präsentation unterlaufen kann. Vor diesem Hintergrund verstehen wir die Ausstellung als räumliche, materielle und performative Vermittlerin von Forschung. Als kritische Auseinandersetzung mit der Geschichte des Kolloquiums wird das Seminar die verkörperte Erfahrung von Archiv und Ausstellung nutzen, um die Politik des Ausstellens von Forschung – als Forschung selbst – zu untersuchen.

Der Kurs steht Studierenden aller Fakultäten offen. Es ist nicht erforderlich, Deutsch zu sprechen oder über perfekte Englischkenntnisse zu verfügen.

Das Kolloquium findet vom 4.–7. November 2026 statt. Dennoch werden wir versuchen, auch Studierende einzubeziehen, die sich nur im Sommersemester in Weimar aufhalten.

Mona Mahall, Lea Maria Wittich

== Literatur ==

Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Durham, NC and London: Duke University Press, 2010.

Derrida, Jacques. Archive Fever: A Freudian Impression. Translated by Eric Prenowitz. Chicago: University of Chicago Press, 1996 (original French edition 1995).

Hennessy, Kate, and Trudi Lynn Smith. 2018. ”Fugitives: Anarchival Materiality in Archives.” Public 29 (57): 128–144. https://doi.org/10.1386/public.29.57.128_1

Steyerl, Hito. 2008. ”Politics of the Archive: Translations in Film.” Transversal: Borders, Nations, Translations (March 2008). Published by the European Institute for Progressive Cultural Policies (EIPCP). https://transversal.at/transversal/0608/steyerl/en

== Zielgruppe ==

Die Veranstaltung steht als »Geöffneten Lehrveranstaltungen« allen Bachelor der Fakultäten Architektur und Urbanistik, Bau- und Umweltingenieurwissenschaften, Kunst und Gestaltung sowie Medien im Rahmen des »Interdisziplinären Lehrangebots« offen. Bitte halten Sie vor der Anmeldung Rücksprache mit Ihrer Fachstudienberatung und klären Sie, ob diese Veranstaltung in ihrem Curriculum anerkannt werden kann. Bei Bedarf schließen Sie vor Veranstaltungsbeginn ein Learning Agreement (DE/EN) ab.

[[index.php?title=Category:Course]]

Skill/sharing

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	Set up as a collective and collaborative format, the seminar is about sharing and exchanging the various skills, experiences, and knowledge forms present among the participants. Through workshops we learn/teach about film, photography, coding, <span class="hover-word">model making<span class="hover-pop">[[File:Model making 1.jpg\|200px]]</span></span>, spirituality, and ~~<span class="hover-word">~~tacos~~<span class="hover-pop">[[File:Taco.jpg\|180px]]</span></span>~~, etc. The aim is to construct the fundaments for media practices in space and time, not by starting from given disciplinary or technological knowledge, but by engaging with those bodies of material, knowledge, and affect that we are continuously becoming. In relation to our questions and conditions, we not only share skills but also care for and ultimately scare up skills.		Set up as a collective and collaborative format, the seminar is about sharing and exchanging the various skills, experiences, and knowledge forms present among the participants. Through workshops we learn/teach about film, photography, coding, <span class="hover-word">model making<span class="hover-pop">[[File:Model making 1.jpg\|200px]]</span></span>, spirituality, and tacos, etc. The aim is to construct the fundaments for media practices in space and time, not by starting from given disciplinary or technological knowledge, but by engaging with those bodies of material, knowledge, and affect that we are continuously becoming. In relation to our questions and conditions, we not only share skills but also care for and ultimately scare up skills.

	Mona Mahall		Mona Mahall
			*

	~~== See also ==~~		[[index.php?title=Category:Course]]

	* [[~~Link 1]]~~
	* [[Link 2]]
	* [[Link 3]]

	== ~~External Links ==~~
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]


	[[Category:Course]]

Academic Year 2025

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	== Summer 2025 ==		== Summer 2025 ==
	<span class="hover-word">[[One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction]]<span class="hover-pop below">~~[[File:Sunra.jpg\|200px]]~~</span></span>		<span class="hover-word">[[One Forest, Many Species: Understanding Spatial Imaginations in Postcolonial Science Fiction]]<span class="hover-pop below"></span></span>

	<span class="hover-word">[[Open Threads (practice-based research and project discussion)]]<span class="hover-pop">[[File:Webereiklasse.jpg\|220px]]</span></span>		<span class="hover-word">[[Open Threads (practice-based research and project discussion)]]<span class="hover-pop">[[File:Webereiklasse.jpg\|220px]]</span></span>

1. Kernmodul: Darstellen und Gestalten

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	== External Links ==		== External Links ==
	~~== [https://www.uni-weimar.de/de/universitaet/start/ 1KM Magazin] ==~~


	[[index.php?title=Category:Course]]		[[index.php?title=Category:Course]]

Academic Year 2023

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	<span class="hover-word">[[Open Studio]]<span class="hover-pop below">[[File:A1.jpg\|220px]]</span></span>		<span class="hover-word">[[Open Studio]]<span class="hover-pop below">[[File:A1.jpg\|220px]]</span></span>

	<span class="hover-word">[[~~Pera Reverse\|~~Pera Reverse Exhibition]]<span class="hover-pop">[[File:TersYuz Salon 0028.jpg\|220px]]</span></span>		<span class="hover-word">[[Pera Reverse Exhibition]]<span class="hover-pop">[[File:TersYuz Salon 0028.jpg\|220px]]</span></span>

	<span class="hover-word">[[Transcience]]<span class="hover-pop">[[File:351776797 807193707299896 3079016624850189791 n 18285636535139075.jpg\|220px]]</span></span>		<span class="hover-word">[[Transcience]]<span class="hover-pop">[[File:351776797 807193707299896 3079016624850189791 n 18285636535139075.jpg\|220px]]</span></span>

Pera reverse exhibition

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	#REDIRECT [[Pera Reverse]]		#REDIRECT [[Pera Reverse Exhibition]]

Pera Reverse Exhibition

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	~~#REDIRECT~~ [[Pera Reverse]]		Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.
			PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
			* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

			Mona Mahall, Asli Serbest, Yelta Köm

			[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]

			== See also ==

			* [[Link 1]]
			* [[Link 2]]
			* [[Link 3]]

			== External Links ==
			*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
			*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
			*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]

			[[index.php?title=Category:Exhibition]]

Pera Reverse

Admin — Mon, 07 Sep 2026 12:41:05 GMT

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	Mona Mahall, Asli Serbest, Yelta Köm		Mona Mahall, Asli Serbest, Yelta Köm

	~~== Exhibition ==~~

	Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.
	PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
	* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

	~~[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]~~

	== External Links ==		== External Links ==
Line 19:		Line 11:
	*[https://www.uni-weimar.de/projekte/representation/contact_zine/ Contact Zone Archive]		*[https://www.uni-weimar.de/projekte/representation/contact_zine/ Contact Zone Archive]
	[[index.php?title=Category:Course]]		[[index.php?title=Category:Course]]
	~~[[index.php?title=Category:Exhibition]]~~

Academic Year 2023

Admin — Mon, 07 Sep 2026 12:39:10 GMT

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	<span class="hover-word">[[Open Studio]]<span class="hover-pop below">[[File:A1.jpg\|220px]]</span></span>		<span class="hover-word">[[Open Studio]]<span class="hover-pop below">[[File:A1.jpg\|220px]]</span></span>

	<span class="hover-word">[[Pera Reverse Exhibition]]<span class="hover-pop">[[File:TersYuz Salon 0028.jpg\|220px]]</span></span>		<span class="hover-word">[[Pera Reverse\|Pera Reverse Exhibition]]<span class="hover-pop">[[File:TersYuz Salon 0028.jpg\|220px]]</span></span>

	<span class="hover-word">[[Transcience]]<span class="hover-pop">[[File:351776797 807193707299896 3079016624850189791 n 18285636535139075.jpg\|220px]]</span></span>		<span class="hover-word">[[Transcience]]<span class="hover-pop">[[File:351776797 807193707299896 3079016624850189791 n 18285636535139075.jpg\|220px]]</span></span>

Pera reverse exhibition

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	#REDIRECT [[Pera Reverse ~~Exhibition~~]]		#REDIRECT [[Pera Reverse]]

Pera Reverse Exhibition

Admin — Mon, 07 Sep 2026 12:38:32 GMT

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	Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.		#REDIRECT [[Pera Reverse]]
	PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[~~[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the~~ Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
	* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

	~~Mona Mahall, Asli Serbest, Yelta Köm~~

	~~[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]~~

	~~== See also ==~~

	* [[Link 1]]
	* [[Link 2]]
	* [[Link 3]]

	~~== External Links ==~~
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]

	~~[[index.php?title=Category:Exhibition~~]]

Pera Reverse

Admin — Mon, 07 Sep 2026 12:38:07 GMT

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← Older revision		Revision as of 12:38, 7 September 2026
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	Mona Mahall, Asli Serbest, Yelta Köm		Mona Mahall, Asli Serbest, Yelta Köm

			== Exhibition ==

			Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.
			PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
			* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

			[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]

	== External Links ==		== External Links ==
	*[https://www.peramuseum.org/exhibition/p%C7%9Dr%C9%90-reverse/1303 Exhibition Website Pera Museum]		*[https://www.peramuseum.org/exhibition/p%C7%9Dr%C9%90-reverse/1303 Exhibition Website Pera Museum]
			*[https://www.uni-weimar.de/projekte/representation/contact_zine/ Contact Zone Archive]
	[[index.php?title=Category:Course]]		[[index.php?title=Category:Course]]
			[[index.php?title=Category:Exhibition]]

TIME CAPSULE FOUND ON THE DEAD PLANET

Admin — Mon, 07 Sep 2026 12:33:56 GMT

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	The environment is woven into the architecture and vice versa; one changes with the other. We read a story about five ages of a changing planet, reported on the last day of its existence through a <span class="hover-word">time capsule<span class="hover-pop">[[File:Goldenrecord.jpg\|200px]]</span></span>. From age to age, increasing destruction has characterized the relation between the inhabitants and their planetary world. <span class="hover-word">Margaret Atwood<span class="hover-pop">[[File:Atwood.jpg\|170px]]</span></span> tells this mini-science-fiction that will inform and structure our project, and we follow her when she asserts that ”this isn’t climate change – it’s everything change.”		#REDIRECT [[Time Capsule Found On The Dead Planet]]
	~~Margaret Atwood: "~~Time ~~capsule found on the dead planet", https://www.theguardian.com/books/2009/sep/26/margaret-atwood-mini-science-fiction (published September 26, 2009, last accessed August 5, 2024)~~
	We understand architecture as a socially engaged transformative spatial practice to imagine and create a more just collective life. We see in it the potential to represent the world beyond individual buildings that exist along with various living and non-living beings, bodies, actors, times, geographies, societies, and cultures. We believe that architecture can contribute to other future worlds, and to different relationships we have with living beings, things, land, and resources. We think architecture should neither be limited nor restricted by professionalism nor neoliberal motivations.
	How do we thus begin with architecture? How do we use representations and design methods to pose spatial, social, and ecological questions? Which visual-cognitive, imaginative practices help us address the production of space and the social, material, and historical structures —the ways we inhabit the world? How do we define what is informal and formal space-making? What can we learn from architecture that is <span class="hover-word">built without architects<span class="hover-pop">[[File:Maison-obus.jpg\|220px]]</span></span>?
	In the project, we aim to open up, test, learn, fail and discuss a spectrum of concrete methods to practice representation and design as spatial analysis and synthesis techniques. In addition to material experiments, cartography, drawing, and <span class="hover-word">model making<span class="hover-pop">[[File:Model making 2.jpg\|200px]]</span></span>, we use text, photography, video, storytelling, food and <span class="hover-word">machine learning<span class="hover-pop">[[File:ChatGPT Image 2. Apr. 2025, 20 40 53.png\|200px]]</span></span>. To explore the possibilities of approaches to architectural representation and image-making beyond the Eurocentric conceptualizations, we will look at historical and contemporary representation methodologies from Asia, <span class="hover-word">Oceania<span class="hover-pop">[[File:Stickchart.jpg\|220px]]</span></span>, Africa and <span class="hover-word">Latin America<span class="hover-pop">[[File:Codex.jpg\|240px]]</span></span>. Accompanied by guest lectures and workshops we will move together towards a collective and expanded understanding of the discipline of architecture.

	~~Mona Mahall, Yelta Köm, Arijit Bhattacharyya, Lea Maria Wittich, Sabine Zierold~~

	[[File:477443096 18055433519116785 8512814735769838416 n 18070568290834051.jpg\|frameless\|356x356px]] [[File:477553942 18055433540116785 3084576104414981045 n 18055371503084119.jpg\|frameless\|355x355px]] [[File:477954336 18055433537116785 7510052733690404010 n 18147467182365930.jpg\|frameless\|355x355px]] [[File:478847453 18055433513116785 5153290247221409688 n 18145689211367493.jpg\|frameless\|356x356px]]

	~~== Magazin ==~~

	~~''Time capsule found on the dead planet'' — 1. Kernmodul BA Architektur, Magazin 24/25 (40 pages). Click any page to enlarge.~~

	~~'''[https://www.uni-weimar.de/projekte/representation/files/Magazin_24_25%20_web.pdf Download the magazine as PDF]''' (40 pages, 20 MB)~~

	[[File:Magazin-2425-01.jpg\|frameless\|180x180px]] [[File:Magazin-2425-02.jpg\|frameless\|180x180px]] [[File:Magazin-2425-03.jpg\|frameless\|180x180px]] [[File:Magazin-2425-04.jpg\|frameless\|180x180px]] [[File:Magazin-2425-05.jpg\|frameless\|180x180px]] [[File:Magazin-2425-06.jpg\|frameless\|180x180px]] [[File:Magazin-2425-07.jpg\|frameless\|180x180px]] [[File:Magazin-2425-08.jpg\|frameless\|180x180px]] [[File:Magazin-2425-09.jpg\|frameless\|180x180px]] [[File:Magazin-2425-10.jpg\|frameless\|180x180px]] [[File:Magazin-2425-11.jpg\|frameless\|180x180px]] [[File:Magazin-2425-12.jpg\|frameless\|180x180px]] [[File:Magazin-2425-13.jpg\|frameless\|180x180px]] [[File:Magazin-2425-14.jpg\|frameless\|180x180px]] [[File:Magazin-2425-15.jpg\|frameless\|180x180px]] [[File:Magazin-2425-16.jpg\|frameless\|180x180px]] [[File:Magazin-2425-17.jpg\|frameless\|180x180px]] [[File:Magazin-2425-18.jpg\|frameless\|180x180px]] [[File:Magazin-2425-19.jpg\|frameless\|180x180px]] [[File:Magazin-2425-20.jpg\|frameless\|180x180px]] [[File:Magazin-2425-21.jpg\|frameless\|180x180px]] [[File:Magazin-2425-22.jpg\|frameless\|180x180px]] [[File:Magazin-2425-23.jpg\|frameless\|180x180px]] [[File:Magazin-2425-24.jpg\|frameless\|180x180px]] [[File:Magazin-2425-25.jpg\|frameless\|180x180px]] [[File:Magazin-2425-26.jpg\|frameless\|180x180px]] [[File:Magazin-2425-27.jpg\|frameless\|180x180px]] [[File:Magazin-2425-28.jpg\|frameless\|180x180px]] [[File:Magazin-2425-29.jpg\|frameless\|180x180px]] [[File:Magazin-2425-30.jpg\|frameless\|180x180px]] [[File:Magazin-2425-31.jpg\|frameless\|180x180px]] [[File:Magazin-2425-32.jpg\|frameless\|180x180px]] [[File:Magazin-2425-33.jpg\|frameless\|180x180px]] [[File:Magazin-2425-34.jpg\|frameless\|180x180px]] [[File:Magazin-2425-35.jpg\|frameless\|180x180px]] [[File:Magazin-2425-36.jpg\|frameless\|180x180px]] [[File:Magazin-2425-37.jpg\|frameless\|180x180px]] [[File:Magazin-2425-38.jpg\|frameless\|180x180px]] [[File:Magazin-2425-39.jpg\|frameless\|180x180px]] [[File:Magazin-2425-40.jpg\|frameless\|180x180px]]

	* [[Link 1]]
	* [[Link 2]]
	* [[Link 3]]

	~~== External Links ==~~
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]

	~~[[index.php?title=Category:Course~~]]

Academic Year 2024

Admin — Mon, 07 Sep 2026 12:33:56 GMT

Point to the canonical Time Capsule page

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	== Winter 2024 ==		== Winter 2024 ==
	<span class="hover-word">[[~~TIME CAPSULE FOUND ON THE DEAD PLANET~~]]<span class="hover-pop below">[[File:477443096 18055433519116785 8512814735769838416 n 18070568290834051.jpg\|220px]]</span></span>		<span class="hover-word">[[Time Capsule Found On The Dead Planet]]<span class="hover-pop below">[[File:477443096 18055433519116785 8512814735769838416 n 18070568290834051.jpg\|220px]]</span></span>

	<span class="hover-word">[[Open cases]]<span class="hover-pop">[[File:General.jpg\|220px]]</span></span>		<span class="hover-word">[[Open cases]]<span class="hover-pop">[[File:General.jpg\|220px]]</span></span>

Time Capsule Found On The Dead Planet

Admin — Mon, 07 Sep 2026 12:31:53 GMT

Add magazine PDF link

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	The participants from the first semester evolved time capsules in several steps using critical reflection, material experiments, cartography, drawing, and <span class="hover-word">model making<span class="hover-pop">[[File:Model making 4.jpg\|200px]]</span></span>, photography, video, storytelling, food and machine learning. We also explored the possibilities of approaches to architectural representation and image-making beyond the Eurocentric conceptualizations, looking at examples from Asia, Africa and <span class="hover-word">Latin America<span class="hover-pop">[[File:Codex.jpg\|240px]]</span></span>.		The participants from the first semester evolved time capsules in several steps using critical reflection, material experiments, cartography, drawing, and <span class="hover-word">model making<span class="hover-pop">[[File:Model making 4.jpg\|200px]]</span></span>, photography, video, storytelling, food and machine learning. We also explored the possibilities of approaches to architectural representation and image-making beyond the Eurocentric conceptualizations, looking at examples from Asia, Africa and <span class="hover-word">Latin America<span class="hover-pop">[[File:Codex.jpg\|240px]]</span></span>.

			== Magazin ==

			''Time capsule found on the dead planet'' — 1. Kernmodul BA Architektur, Magazin 24/25, 40 pages.

			'''[https://www.uni-weimar.de/projekte/representation/files/Magazin_24_25%20_web.pdf Download the magazine as PDF (20 MB)]'''

MediaWiki:Common.css

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	}		}

	~~/* ============================================================~~
	/* ============================================================		/* ============================================================
	14. ALIGN TOP TABS + FOOTER WITH THE HEADING		14. ALIGN TOP TABS + FOOTER WITH THE HEADING

MediaWiki:Monobook.css

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	/* ~~Başlıklar~~ */		/* Headings */
	h1, h2, h3, h4, h5, h6,		h1, h2, h3, h4, h5, h6,
	.firstHeading {		.firstHeading {
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	/* ~~Bağlantılar~~ */		/* Links */
	a, a:link {		a, a:link {
	color: #80d8ff !important;		color: #80d8ff !important;
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	/* ~~Menü~~, ~~yan panel ve alt bilgi~~ */		/* Menu, sidebar and footer */
	#p-logo,		#p-logo,
	.portlet,		.portlet,
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	/* ~~Arama kutusu ve~~ input ~~alanları~~ */		/* Search box and input fields */
	input, select, textarea, button {		input, select, textarea, button {
	background-color: #2b2b2b !important;		background-color: #2b2b2b !important;
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	/* ~~Kod blokları~~ */		/* Code blocks */
	pre, code {		pre, code {
	background-color: #222 !important;		background-color: #222 !important;
	color: #ccc !important;		color: #ccc !important;
	}		}

MediaWiki:Vector-2022.css

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	/* ~~GENEL ARKA PLAN VE METİN~~ */		/* GENERAL BACKGROUND AND TEXT */
	body,		body,
	.vector-body,		.vector-body,
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	}		}

	/* ~~İÇERİK ALANI~~ */		/* CONTENT AREA */
	#content,		#content,
	.vector-body,		.vector-body,
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	}		}

	/* ~~SOL MENÜ~~ & ~~SAĞ~~ PANEL */		/* LEFT MENU & RIGHT PANEL */
	.vector-sidebar,		.vector-sidebar,
	.vector-toc,		.vector-toc,
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	/* ~~LİNKLER~~ */		/* LINKS */
	a,		a,
	a:link {		a:link {
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	/* ~~SEÇİCİLER~~, ~~DROPDOWNLAR~~, SETTINGS ~~PANELİ~~ */		/* SELECTORS, DROPDOWNS, SETTINGS PANEL */
	.vector-settings,		.vector-settings,
	.vector-settings * {		.vector-settings * {

MediaWiki:Timeless.css

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	/* All CSS here will be loaded for users of the Timeless skin */		/* All CSS here will be loaded for users of the Timeless skin */
	/* Timeless dark mode ~~başlangıç~~ */		/* Timeless dark mode - start */

	body {		body {
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	/* Timeless dark mode ~~bitiş~~ */		/* Timeless dark mode - end */

MediaWiki:Common.css

Admin — Mon, 07 Sep 2026 12:17:46 GMT

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	/* ~~Shadow kaldır~~ */		/* Remove shadow */
	* {		* {
	box-shadow: none !important;		box-shadow: none !important;
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	/* ~~Tüm borderları beyaz yap~~ (~~görünmez~~) */		/* Make all borders white (invisible) */
	*:not(img) {		*:not(img) {
	border-color: rgb(255, 255, 255) !important;		border-color: rgb(255, 255, 255) !important;
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	/* ~~Üst menüyü~~ content ~~ile hizala~~ */		/* Align the top menu with the content */
	#left-navigation {		#left-navigation {
	/* margin-left: 10em !important;*/		/* margin-left: 10em !important;*/
	}		}

	/* ~~Login kısmını içeri al~~ */		/* Pull the login area inwards */
	#p-personal {		#p-personal {
	/* margin-right: 1em !important; */		/* margin-right: 1em !important; */
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	/* ~~Tab~~ underline ~~kaldır~~ */		/* Remove tab underline */
	#p-namespaces li.selected a::after,		#p-namespaces li.selected a::after,
	#p-views li.selected a::after,		#p-views li.selected a::after,
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	/*----------------------------------------------------------		/*----------------------------------------------------------
	12. DROPDOWN ~~MENÜLER~~		12. DROPDOWN MENUS
	----------------------------------------------------------*/		----------------------------------------------------------*/

File:Fenster.jpg

Admin — Mon, 07 Sep 2026 12:14:44 GMT

English description

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	~~Kaynak~~: https://commons.wikimedia.org/wiki/File:Caspar_David_Friedrich_-_Frau_am_Fenster_-_Google_Art_Project.jpg		Source: https://commons.wikimedia.org/wiki/File:Caspar_David_Friedrich_-_Frau_am_Fenster_-_Google_Art_Project.jpg
	~~Yazar /~~ Author: Caspar David Friedrich		Author: Caspar David Friedrich
	~~Lisans /~~ License: Public domain		License: Public domain

	Wikimedia Commons ~~üzerinden alınmıştır~~. Bu wiki~~'de hover görseli olarak kullanılır~~.		Taken from Wikimedia Commons. Used as a hover image on this wiki.

File:Goethe-schiller.jpg

Admin — Mon, 07 Sep 2026 12:14:44 GMT

English description

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	~~Kaynak~~: https://commons.wikimedia.org/wiki/File:Goethe-Schiller-Denkmal_Weimar_1.JPG		Source: https://commons.wikimedia.org/wiki/File:Goethe-Schiller-Denkmal_Weimar_1.JPG
	~~Yazar /~~ Author: Dr. Bernd Gross		Author: Dr. Bernd Gross
	~~Lisans /~~ License: CC BY-SA 3.0 de		License: CC BY-SA 3.0 de

	Wikimedia Commons ~~üzerinden alınmıştır~~. Bu wiki~~'de hover görseli olarak kullanılır~~.		Taken from Wikimedia Commons. Used as a hover image on this wiki.

File:Herderplatz.jpg