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Dirty theory follows the dirt of material and conceptual relations from the midst of complex milieus. It messes with mixed disciplines, showing up in ethnography, in geography, in philosophy, and discovering a suitable habitat in architecture, design and the creative arts. Dirty theory disrupts a comfortable status quo, including our everyday modes of inhabitation and our habits of thinking. This small book argues that we must work with the dirt to develop an ethics of care and mainte- nance for our precarious environment-worlds.

CULINARY LESSONS - The Space of Food is based on a series of events, Culinary Lessons, which were hosted by the Städelschule Architecture Class and which engaged with the relation between food, art and architecture. The series addressed the enormous so- cial, economic and cultural spaces that accompany the production and consumption of food, and attempted to unravel some of these spaces'' structure and dynamics. The central ambition was to learn from culinary history and, not the least, the recent vanguard of culinary practice.No human activity is so encompassing and engenders such ef- fects on our societies and lives as the culinary. Culinary practices lay out aesthetic as much as ethical trajectories that span from century-old traditions to lifesaving experiments for the present and future. They provide for human sustenance and the highest form of bodily enjoyment while transversing the spaces that they at once produce and profoundly affect.This fourth issue of the SAC JOURNAL presents the central con- versation in Culinary Lessons, which took place in Venice, together with a series of texts and projects that chart and speculate on the relationship between architecture, art and the culinary wor- ld. Contributors to this issue include, amongst others, Charlotte Birnbaum, Daniel Birnbaum, Mike Bouchet, Sanford Kwinter, Fabrice Mazliah, Tobias Rehberger, David Ruy, Kivi Sotamaa, Carolyn Steel, Jan Åman and Johan Bettum. It also features the winning projects of the AIV Master Thesis Prize in 2015 and 2016.SAC JOURNAL is a publication series that addresses topical isues within architecture. The journal documents, critically reviews and presents theoretical discussions concerning contemporary design and research. The content of SAC JOURNAL is produced by invited contributors and students and faculty at the Städel- schule Architecture Class.

Climate change, and the inevitability of sea level rise, will require much more of us than simply pulling back from the coastline. The thesis of Weston Wright''s More Water Less Land New Architecture is that we need to start thinking in an entirely different way about the relationship of cities to waterfront sites and of the relationship of buildings to water, which means rethinking many of architecture''s implicit premises. If architecture has been confrontational with water—think bold towers erected beside the sea, as if to dare the water to challenge them—Wright''s argument is that we will need to be modest, accommodating, and accepting of the power and presence of water if our cities are to survive. He knows that nature is stronger than we are, and that best chance mankind has to build successfully will be to build with, not against, the reality of water. This is an important book, not least because its quiet, sober tone balances natural history with architectural history, and reaches across the world to show examples of architecture that accommodates to the water ranging from small vernacular houses on stilts to huge megastructures anchored like islands in the sea. Although Wright''s argument transcends aesthetics or style, his book is, in the end, a case for the strength that comes from restraint, and perhaps even for the lasting power of gentlenes

Herbert (Berry) Westenburger, 05.01.1920 in Frankfurt am Main geboren, seit März 1932 bis zum Verbot 1934 im Nerother -Wandervogel, danach in illegaler Jungenschafts-Horte. Mit jüdischen Vorfahren entfällt ein Studium. Wechsel vom Gymnasium zur Handelsschule. Danach Konditorenlehre und Hotelfachschule. Die Familie ist mütterlicherseits seit Generationen Konditorei- und Caféhausbetreiber. Er soll diese Tradition fortführen. 1938 Haft wegen "bündischer Umtriebe", Amnestie und ab September 1939 Flaksoldat. Westfront, Berlin, 1942/43 bis zur Niederlage Afrika-Korps.Verwundet, britische und amerikanische Gefangenschaft, zwei vergebliche Fluchtversuche. Rückkehr Januar 1946. Mutter als "Halbjüdin" in Auschwitz ermordet.Wiederaufbau der Nachkriegs-Jugendbewegung. Ehrung durch Verleihung der "Johanna Kirchner"-Medaille für sein standhaftes Festhalten an bündischen Idealen während der NS-Zeit. Hielt in Schulen und Fachhochschulen Frankfurts Aufklärungsvorträge über die jugendliche Verweigerungstaktik. Beruflich tätig in internationalen Büromaschinenfirmen.Verkaufsdirektion Nato-Truppen, Europa.

What is Inflection? On a prosaic level, Inflection is the new student-run journal of architecture and the built environment from the Melbourne School of Design and published by AADR – Art Architecture Design Research.Inflection is a themed journal, to be published annually and features work from students, academics and practitioners. Crucially, Inflection is also a physical object – an artefact to be touched, handled and read in depth. At a time when our engagement with architectural ideas is increasingly digital and transient, Inflection offers a different, slower form of discourse and in doing so, hopes to facilitate and engage in conversations about the built environment both locally and internationally. In this issue, the word ''inflection'' serves as our point of departure. The authors featured here enter into conversations on edge conditions, ambiguous boundaries and the role and nature of transitions.Individually, the pieces collected here stand as insightful variations on a theme. Taken together, they form something much richer: a constellation of ideas to be parsed, discussed, compared and expanded upon. INFLECTION is a space to gather and share ideas.INFLECTION is a home for provocative thought.INFLECTION asserts the value of the printed word.INFLECTION values the discursive voice of students, academics and professionals. Like all journals, all change starts somewhere.INFLECTION starts here: we leave the change to you. Features:Bernard CacheJohn Wardle Architects + NADAAAPeter Malatt of 6° ArchitectsAlex SelenitschRCR Architects

Our built environment exists in a perpetual state of becoming, caught in a process of creation that is continuous and unending. If we wish to understand architecture today, we must engage with the state of flux that defines it. In 2015, Inflection Volume 02 considers the idea of projection, interrogating its meaning in architecture and the built environment. Bringing together the work of students, academics and practitioners from Australia and around the world, this issue addresses the trajectories of the architectural design process, the changing role of architects in society, and the continuing state of becoming that defines our cities. Includes contributions by Studio Gang, dNA Architecture, Pérez-Gomèz and Studio Sioli, Fender Katsalidis Architects, and others...Inflection is a student-run design journal based at the Melbourne School of Design, Melbourne University. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners. Founded in 2013, Inflection is a home for provocative writing – a place to share ideas and engage with contemporary discourse.Inflection is fundamentally a printed journal. The physicality of the object: its weight, texture and smell all contribute to the experience of the reader.Inflection asserts that criticality is possible in any mode of expression – written or drawn, prose or poetry.Inflection is themed and encourages a plurality of opinions.

In the context of recent global political and economic disruption, architecture seems no longer equipped to address the demands of contem- porary society as an isolated discipline. One solution offered in this crisis of relevance is the notion of transdisciplinarity characterised by the hybridisa- tion of distinct disciplines. Transdisciplinarity is the New Order. In ection Volume 3 explores the achievements, limitations and future implications of this transdisciplinary age, weaving together a fragment of the tapestry that is expanded architectural practice. In tracing the trajectory of this New Order, this issue uncovers the matter that binds architecture together in this fragmented, yet hyperconnected epoch.Wir contributions by Forensic Architecture, Lateral Office, Rory Hyde, Breathe Architecture and many more...In ection is a student-run design journal based at the Melbourne School of Design, Melbourne University. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners. Founded in 2013, In ection is a home for provocative writing – a place to share ideas and engage with contemporary discourse.

MEDIATED ARCHITECTURE: Vivid, Effervescent and Nervous, the second issue of the SAC JOURNAL, presents three projects de- signed at SAC during the last eight years. The three projects are: The Theatre of Immanence (2007), an installation and exhibition project in Städelschule''s Portikus gallery; Digital Bodies (2013-14), an experimental research project; and Orkhēstra (2014), which was an installation on a large, public square in Frankfurt and part of Luminale, ''Biennale of Lighting Culture''. The projects vary in scale and nature from gallery installation via laboratory-style modelling experiment to an urban intervention. They span a period in which architecture''s contribution to the production of space has become increasingly me- diated by technology. Each in their own way, the three projects probe this condition and explore new design opportunities given to archi- tecture. The results are vivid, effervescent and nervous – and always a mediated architecture. Accompanying extensive portfolios of drawi- ngs and pictures that document the respective design processes and their results, are texts that expound on the theoretical and practical implications of each project

GARDEN STATE - Cinematic Space and Choreographic Timeis the third issue of the SAC JOURNAL and explores the garden as a utopia wherein time and space may be thought of in archi- tectural terms yet not easily deciphered against architecture''s traditions and practices. The garden herein is a changeable and vulnerable condition, embodying the ephemerality of life, which in turn contrasts with the customary expectations of architec- ture''s longevity. However, Garden State also engages with the contemporary arts, specifically video, cinema and ballet, and with it time and space open up with new, fragile dimensions. A choreographic framework emerges which is at once more precise yet loose, more responsive yet open, than that space architecture normally engenders. Choreographed movement differs from that prescribed by the calculable paths so often invoked in the spatial syntax of latter-day architecture. The garden emerges as a state, in all its social glory, a realm that we already occupy but perhaps never can own?Contributors to this issue include: Daniel Birnbaum, Horst Bredekamp, William Forsythe, Hu Fang, Douglas Gordon, Damjan Jovanovic, Sanford Kwinter, Philippe Pirotte, Louise Neri, Tobias Rehberger, Julia Voss, Mark Wigley and Johan Bettum. Also included are the three finalist projects for 2014 SAC AIV Master Thesis Prize.

If architecture is a design-centred discipline which proceeds by suggesting propositional constructions then, Zambelli argues, archaeology also designs, but in the form of reconstructions. He proposes that whilst practitioners of architecture and archaeology generally purport to practice in future-facing and past-facing-modes respectively, elements of these disciplines also resemble one another. Zambelli speculates that whilst some of these resemblances have remained explicit and revealed, others have become occluded with time, but that all such resemblances share homological similarities of interconnected disciplinary origin making available in the scandalous space between them a logically underpinned, visually analogical form of practice.

Koolhaas pronounced urbanism dead in 1995. Since then, urban design has struggled to come to terms with this and other losses including environmental stability, af- fordable housing, design control, and urban amenity. This book explores urban design paradigms transitioning through a misappropriation of Kübler-Ross'' "five stages of grief" – from pro-sprawl ''denial'', NIMBY ''anger'', revisionist NewUrban, ''bargaining'', ''depressed'' starchitects, through to an optimistic manifesto of ''acceptance''.

Architects are expected to create original ideas resulting in a unique, bespoke design. With the rise of Modern Architecture, originality became ingrained in perceptions of good design. As a result, originality has become a barometer against which we measure the value of design. However technology today allows for ease of replication and copies, thus originality in design has become an ostensibly hollow prospect. Originals gathers a wide range of responses, varied in their opinions and approaches to originality and authorship in design and architecture.Inflection is a student-run design journal based at the Melbourne School of Design, University of Melbourne. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners. Founded in 2013, Inflection is a home for provocative writing—a place to share ideas and engage with contemporary discourse.

Permanence as an architectural concept is no longer restricted to the Vitruvian virtueof firmitas. To think about it in this sense today produces a schism: absolutism in aworld of relativism. The fourth volume of Inflection extrapolates the permanent andthe temporary not as opposing forces, but as a spectrum to be navigated at each stage of architecture''s unfolding narrative. Through each of the responses presented in this year''s edition, Permanence provides a critical voice as architecture and design continually seek an enduring foothold in an inherently evolving landscape, physical or otherwise.Inflection is a student-run design journal based at the Melbourne School of Design, University of Melbourne. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners. Founded in 2013, Inflection is a home for provocative writing—a place to share ideas and engage with contemporary discourse.

The term ''big data'' is virtually ubiquitous in both cultural and technical contexts.The fifth volume of Inflection is an open-ended investigation into how designers are interpreting and countering the prevailing narrative that pushes for greater efficiency and automation using sophisticated data analytics. Feedback gathers a wide range of responses, united by their collective advocacy for a sophisticated understanding of processes, frameworks and ethics.Inflection is a student-run design journal based at the Melbourne School of Design, University of Melbourne. Born from a desire to stimulate debate and generate ideas,it advocates the discursive voice of students, academics and practitioners. Founded in 2013, Inflection is a home for provocative writing—a place to share ideas and engage with contemporary discourse.

This book offers a vision of the London Underground written in the form of a ficto-historical narrative, which combines history and fiction in the creation of a set of theoretical propositions for London''s subterranean transportation network. Its amateur-scholar protagonist takes the reader on a labyrinthine journey into the world of research, with sources personified and their works appropriated and subverted. The book offers a model for practising writing and research in the context of architectural history and theory.

Herbert (Berry) Westenburger, 05.01.1920 in Frankfurt am Main geboren, seit März 1932 bis zum Verbot 1934 im Nerother -Wandervogel, danach in illegaler Jungenschafts-Horte. Mit jüdischen Vorfahren entfällt ein Studium. Wechsel vom Gymnasium zur Handelsschule. Danach Konditorenlehre und Hotelfachschule. Die Familie ist mütterlicherseits seit Generationen Konditorei- und Caféhausbetreiber. Er soll diese Tradition fortführen. 1938 Haft wegen "bündischer Umtriebe", Amnestie und ab September 1939 Flaksoldat. Westfront, Berlin, 1942/43 bis zur Niederlage Afrika-Korps.Verwundet, britische und amerikanische Gefangenschaft, zwei vergebliche Fluchtversuche. Rückkehr Januar 1946. Mutter als "Halbjüdin" in Auschwitz ermordet.Wiederaufbau der Nachkriegs-Jugendbewegung. Ehrung durch Verleihung der "Johanna Kirchner"-Medaille für sein standhaftes Festhalten an bündischen Idealen während der NS-Zeit. Hielt in Schulen und Fachhochschulen Frankfurts Aufklärungsvorträge über die jugendliche Verweigerungstaktik. Beruflich tätig in internationalen Büromaschinenfirmen.Verkaufsdirektion Nato-Truppen, Europa.

ZERO PIRANESIGiovanni Battista Piranesi''s engravings, Campo Marzio dell''antica Roma of 1762, have a peculiar position within the discipline of ar- chitecture. With their dissemination, the folio collection of six etch- ings have till this day nurtured architects'' speculations on the city. Since the Enlightenment, they - and in particular the Campo Marzio plan - have fuelled research, discussions and visions for the future of architecture. These engravings are also some of the most beau- tiful documents in Western architectural history. Zero Piranesi, is guest-edited by Peter Trummer. It celebrates Piranesi''s vision of ancient Rome and the disciplinary search of the endless realities within his Campo Marzio plan of Rome. For Trummer, Zero Piranesi suggests an ar- chitectural methodology based on a theory of replacement. With it, Piranesi''s plan of Rome is transformed into an "Object Plan" - a plan where multiple authors'' various positions are absorbed. Thus, the "Object Plan" contains a kaleidoscope of ideas which form a crust of architectural speculations accumulated within.Zero Piranesi presents the seminal projects of Peter Eisenman and 􏰎􏰉􏰕􏰖􏰉􏰗 􏰘􏰂􏰙􏰚amongst others, Michael Young and Marrikka Trotter. Trummer''s own version of Campo Marzio comprises of drawings and a text that together construct Zero Piranesi.Finally, the journal features the award winning projects of Städel- 􏰃􏰝􏰁􏰈􏰟􏰉 􏰌􏰖􏰝􏰁􏰂􏰇􏰉􏰝􏰇􏰈􏰖􏰉 􏰍􏰟􏰛􏰃􏰃􏰦 􏰌􏰧􏰜 􏰨􏰛􏰃􏰇􏰉􏰖 􏰀􏰁􏰉􏰃􏰂􏰃 􏰩􏰖􏰂􏰪􏰉 􏰠􏰡􏰢􏰫 􏰛􏰚􏰬 􏰠􏰡􏰢􏰭􏰮

Diagrams: Tropes, Tools and Abstract Machines examines the pervasive roles of diagrams as analytical, generative, narrative and critical devices manifest in design practices by architects and non-architects that draw on thick cultural milieus and that operate at personal, architectural and urban scales. What are potentials of diagrams beyond representation, as situated cultural practices, corporeal engagement and choreographic script, as instruments of speculation and invention, as manifestation of ideas and incrimination of ideology, as abstract machines in scenarios of allopoïesis, autopoïesis and cosmopoïesis?

Interior Technicity: Unplugged and/ or Switched On invites reflection on how interiors have always been augmenting entities and how they continue to be so—in other words, extending, facilitating and consolidating bodies within socio-cultural environments. Rather than seeing an interior as an ''inside'' in opposition to a world beyond, it asks what modes of ''folding inward'' have equipped and enabled the spatial environment? Technicity—the world of tools and technical objects that extend and mediate memory, as Bernard Steigler (1998) describes it—has never been what inside-ness, in its sheltering of life, keeps at bay; mediation is from the start technical, indexed to inscribing practices rich in temporal and embodied implications. By this reading, interiors have always been augmented and augmenting (in the sense of the Latin"augmentare": to increase, enlarge, or enrich).This IDEA Journal issue considers this mode of ''folding inward'' as a condition of an interior''sspecificity. Whether it be a small structure such as a tramping hut or a tiny house, a large complex interior environment such as an airport or shopping mall, handmade with local materials such as Samoan fale, or the result of manufacturing processes assembling artificial and prefabricated elements as in the case of a spacecraft, boat or train, interiors are augmented, mediated, generated or embellished by technologies. The effect of these technologies is not neutral; one''s experience of an interior is significantly influenced by the affective resonance of its technologies.

A NEW MANIFOLD, the inaugural issue of SAC JOURNAL, addres- ses the increased specialisation and possible fragmentation of ex- pertise within architecture. Whilst historically always an amalgam of numerous forms of input, architecture is currently facing the necessi- ty to assimilate and process hitherto unknown amounts and rates of information flow. How can architecture relate to the emerging forms of specialisation within the discipline - not the least in its pedagogy and academic programmes? The issue uses the academic programme of the Städelschule Architecture Class to reflect on these questions. The work presented comprises the finalists for the AIV Master Thesis Prize 2013.

This special guest-edited issue extends the current discussions of art (inclusive of interior/ spatial design and architecture) as a process of social cognition and to address the gap between descriptions of embodied cognition and the co-construction of lived experience. Papers and exhibitions presented at the 2019 Bodies of Knowledge Conference have been advanced significantly as research articles and visual essays to focus on interdisciplinary connections across research practices that involve art and theories of cognition. These contributions emphasise how spatial art and design research approaches have enabled the articulation of a complex understanding of environments, spaces and experiences, including the spatial distribution of cultural, organizational and conceptual structures and relationships, as well as surrounding design features. Contributions address the following questions:• How do art and spatial practices increase the potential for knowledge transfer and celebrate diverse forms of embodied expertise? • How the examination of cultures of practice, Indigenous knowledges and cultural practices offer perspectives on inclusion, diversity, neurodiversity, disability and social justice issues? • How the art and spatial practices may contribute to research perspectives from contemporary cognitive neuroscience and the philosophy of mind? • The dynamic between an organism and its surroundings for example: How does art and design shift the way knowledge and thinking processes are acquired, extended and distributed? • How do art and design practices demonstrate the ways different forms of acquiring and producing knowledge intersect?

What futures are we designing by default? What collaborations are we complicit in? How can we incorporate an active civic engagement into our professional and creative practice – into our everyday lives? Esther Anatolitis presents a dynamic snapshot of her own practice from a distinctly Australian context but with a global perspective, offering tools and techniques for integrating civic engagement into daily practice. Taking leaps across spatial, creative, professional and political work, this is an unsettling text.

Sonic Wilderness accesses the critical value of unusual vinyl records that concern our relationship with nature. These wild records reveal unconventional perspectives on the entanglements of human life with animals, gardens and plants. They form a lyrical unconscious exposing the conventions and ideologies of popular music, their warped perspectives and acoustic radioactivity comprising a resistance to enduring social, psychological and political conditions.

(Extra) Ordinary Interiors features research articles and visual essays by academics, research students and practitioners that demonstrate contemporary modes of criticality and reflection on specific interior environments in ways that expand upon that which is ordinary (of the everyday, common, banal, or taken for granted).

Lord Robert Baden-Powell, Founder of World Scouting, was a genius inventor of imagination and impressive Symbols.With the Fleur-de-Lis he choose an identification sign for the worldwide Scout Movement - apart from the youth educational elements and many outdoor activities he introduced.With the phenomenon "JAMBOREE" he created an unique event, today worldwide known trademark and a forward oriented symbol of peace for world youth. Since 1920 twentyfour of such great international meetings took place.

Impeesa – The Wolf that Never SleepsThis was one of the respectful nicknames of an extraordinary manwhose ideas became the cornerstone for a worldwide movement.A love of peace, a willingness to lend a hand, a sense of duty anda bond with nature are the mainstays of the Scout Movement,"whose remarkable growth has surprised its promoters as muchas its outside sympathisers," said its founder, Lord Baden-Powell.This modern biography tells the impressive story of the adventurous lifeof this astonishing man.scouting

THE BOY FROM AUSCHWITZPETER HÖUENBEINER- THE SINTO WHO WAS ALSO A JEWThis is the obituary written for a man who first had his concentration camp number removed and decades ater had it tattooed back in - with an apparentiv small but in terms of meaning huge change: instead of the letter Z, which was burned into the fourvearold boy in the Auschwitz concentration camp be bad an artfully curved " j endraved into his left forearm in Januarv 2015.According to the orally transmitted family narrative, Peter''s mother''s grandmother was Jewish, a born "Levi". This was also reported by his siblings. Peter Höllenreinerhad survived the concentration cams Auschwitz Ravensbrick Mauthausen andBergen-Belsen. Having escaped hell. he returned to his native cit of Munich in 1945 at the age of six. His school vears beain and the world meets him as if nothing had happened "In the back in the last rewI'' was the school motto The eyclusion continued Peter Höllenreiner and his family had been subiected to National Socialist persecution as so-called "Gvosies" Despite democracv, a new form of government and the declaration of human rights - the old preiudices remained. And Peter lived in the country of the former perpetrators. it is his home!

Epistemic ArtefactsA Dialogical Reflectionon Design Research inArchitectureEdited byMatthias Ballestremand Lidia GasperoniArchitectural artefacts are negotiated as epistemic objects, an autonomous and innovative form of knowledge capable of inaugurating and institutionalising architectural research. The backbone of this publication is a dialogue between the architect Matthias Ballestrem and the philosopher and architectural theorist Lidia Gasperoni. In a vibrant discussion, they consider the epistemic value of the architectural artefact, the role of research practices in making this knowledge explicit and accessible, and the criteria for qualifying as design-based research. Alex Arteaga, Fabrizia Berlingieri, Peter Bertram, Helga Blocksdorf, Anđelka Bnin-Bninski, Marta Fernández Guardado, Joerg Fingerhut, Anke Haarmann, Rolf Hughes, Rachel Hurst, Daniel Norell, Tomas Ooms, Claus Peder Pedersen, Tim Simon-Meyer, and Philip Ursprung have added short comments and images to enrich the arguments with criticism, extensions, associations, and references. An afterword by Marcelo Stamm provides a theoretical reflection on a possible taxonomy of epistemic artefacts.