Housing the ‘Me’ and ‘We’

Abstract In summer 1934, a significant transformation in the work of the German modern architect Hans Scharoun (1893–1972) can be observed. First, there is a sudden formal spatial explosion noticeable in the design process of Baensch house. Second, in the context of Mattern house, a specific architectural photography emerges: The visual emphasis on architecture and space is complemented with the focus on the individual human being.

So how does this paradigm shift come about? What role does the human being play within this spatial concept? What meaning lies beneath this medial act of communication? And how are these “materials” such as architecture and photography entangled with the political framework of the time?

The thesis is that Scharoun’s design underwent a significant transformation due to the ever-worsening oppressions of the ruling Nazi party. To counteract this, Scharoun explores a radically new spatial expression. Herein, the specific architectural photography takes a pivotal role not only in uttering this transformed socio-spatial concept – hence, coined as “performative” architectural photography – but in further developing Scharoun’s understanding of space as well. Eventually, Scharoun’s “built and maintained” network of friends and acquaintances for whom he designs houses become another crucial aspect. In order to address appropriately this complex, the thesis brings together a set of different methods such as phenomenological re-enactments, archival research, performativity-theoretical and hermeneutical approaches.

Supervisors are Professor Angelika Schnell, Academy of Fine Arts Vienna (main), and Associate Professor Daniel Gethmann, University of Technology Graz.