Ifit is the interdisciplinary research and publication platform of Christopher Dell. Being a diagrammatic form, IFIT functions as a plug-in-structure. It explores various topics around the theme of improvisation as technique. Ifit’s exploration fields are created in cooperation with international institutions, artists and scholars according to specific projects. Headquarter of IFIT is located in Berlin.

IFIT has been founded in 2000. Director of IFIT is Christopher Dell. Dell earned a diploma magna cum laude in professional music from the Berklee College of Music, Boston and a MA of Human Resources/Organisational Development from the TU Kaiserslautern. He holds a Doctorate (Dr. phil.) in Organizational Psychology, earned at University Duisburg-Essen and a Habilitation in cultural studies at University Magdeburg.

Monographies →
Essays →

From 2005 to 2007 Dell was member of the advisory board of the IFG (International Design Forum) Ulm and currently is member of the advisory board of the ANCB Network Campus . From summer semester 2015 on he will hold a position as visiting professor for urban design theory at Urban Design Master, HafenCityUniversity. The same position he held at HafenCityUniversity from 2008 to 2010 and at TU Munich from 2012 to 2013.



IFIT Misson

It is the mission of IFIT to explore the field of improvisation from noumerous perspectives. The research includes modern technologies of work as well as sociological, architectural and arts-based modes of production. It is the aim to show, analyse and systemize the coherence of improvisation in organisation.

The work of IFIT concentrates on organizational improvisation. OI is the conception of improvisation, by an organization and/or its members, drawing on available material, cognitive, affective and social resources. Improvisation technology ist the structural and strategic concept behind organizational use of improvisation. It develops through the structuring of the process of action and learning.

Improvisation technology relies on the assumption that competent practicioners know more than they can say. They exhibit a kind of knowing-in-practise, much of which is tacit. Improvisation technology, though protocolling, analyzing and synthezising of actual performance tries to construct test models of knowing and thereby using the distinctive structure of reflection-in-action (Schoen). This capacity helps to cope with the unique, uncertain, and conflicted situations of practise.

↑ to the top


Research fields of IFIT

  • Improvisation Technology Research
  • Action Analysis
  • Strategic and Cooperative Improvisation
  • Organizational Learning
  • Rhythm Analysis
  • Performative Space Strategies
  • Everyday Life Analysis

↑ to the top


Project History

 

1998

Performance/Lectures
„un_folded sites, Beobachtungen des Öffentlichen“, Universität Stuttgart, Fachbereich Städtebau

↑ to the top

1999

Processional Planning
improvisational modes in performance, music and architecture
Workshop, University of Harare, Zimbabwe

↑ to the top

2000

Nowledge & Information as part of Olitical Lanscape
Workshop in collaboration with b&k+, Bergische Universität Wuppertal, MAK Köln

Osmopolis vs. Localvillage
Gründung der Akademie, Sindelfingen
Workshop with b&k+ architects, bitterman&duka, artists, katja heinecke, landscape architect

Performance/Lectures

  • „un_folded sites, Beobachtungen des Öffentlichen“, Institut Mathildenhöhe, Darmstadt
  • „Improvisation und sozialer Raum“, Symposium „Politische Landschaft“, MAK Köln
  • „Allianzen und Aliens- Strukturen des Anderen“ Architekturzentrum Wiesbaden, MAK Köln, Uni Wuppertal
  • „un_folded sites, Beobachtungen des Öffentlichen“, Universität Stuttgart, Fachbereich Städtebau

↑ to the top

1998–2001

Metazoon vs. Kölner Brett
with b&k+ architects

The development of a composition always begins by asking after the first impulse; the finding of a nucleus, from which all subsequent courses and forms spiral and unfold. In the case of metazoon (1) the module stands in the foreground. Its attributes and capacities to structure an intuitive context play a decisive role in the world of music and create an interface to the architecture of b&k+. The „wiring diagram“ of the building plans for the Cologne Brett (Kölner- Bretts) illustrates very clearly that the basic concept of the design of the module produces awide range of possible uses, the so-called „ switch- options.“

The economy of relations is secured through the starting point of two basic modules. The compositional process of metazoon is designed that way. The two meta-blocks are comprised of a ‚group of 4 structure‘ and a ‚group of 5 structure‘. Block one has a binary character, block two is organized tenaer. The asymmetrical relation of the numbers, internal as well as external, secures in the setting of the nuclei a wide range of options of overlapping and phase shifts. Beginning with this basic model,variations of the continuing work process are diverted, to find the levels of theappropriate outlines. The planes can be the bass area (e.g. basslauf, bass drum) or the middle to high area (melody, layer, snare, hi hat). The rhythmical aspect plays into the genetic process as well. Thus, every tone-form needs its own rhythmical language. The variable finding of the melodies always stands in this context of the realization of the planes.

The parameters of sound and the sound objects are generated through experimental processes in which specific sound-colors, like percussion, take on a special role. They elucidate the rhythmical structure and establish transparency in relation to the original grids and planes. The other sounds are produced through a sampling process. Through this, according to the musical context, electronic space alienations areincorporated. They are, however, strictly tied to the harmonic structure. The dynamic of the piece remains externally rather static, yet gains immense meaning for the inner structure of the individual tone forms and tone tracks. Because in the end, a vital organic whole is only achieved through finely linked inconsistencies, through the vitality of a core, through an inward moving intensity of impulses.

The result of the extraction is a twelve plus one layer which is “encased” in the manifold variations of metazoon. A complex sound-image emerges which enables an openness of the perspectives of perception. Further pieces develop out of the original logic, out of metazoon. Zoomed details transform themselves into new nuclei, which in reaction to foreign elements produce their own peripheries. They are called co-axial objects, The individual spaces within the compositional context are achieved through the improvisation of the vibraphone. In an improvisational treatment of the co-axial objects, frictions build; the surfaces of the basic structure are torn and re-recorded, submerged in discontinuity. The subjective immediacy makes its way through the planned texture, instills crises, in order to pause briefly in the absences. „ that essential nothing, based on which everything is able to come into appearance…… only the pure absence can inspire….(Derrida)

↑ to the top

2001

Body & Norm – Improvisation & Performance
Jazzconceptions, Darmstadt

Performance/Lectures
„loox 10: vom Verhältnis Architektur und Musik“, Wacker-Kunst, Mühltal

↑ to the top

2002

1 above 0 – Wie wollen Sie leben?
How do you want to live? – Soundinstallation and Radioinstallation-in-Progress
in cooperation with WDR and Museum for Applied Art, Cologne

Concerning the normation of the everyday life, the focus of WWSL lies not so much on the regulation aspects but on the attempt to describe that, what people do in relation to the realised and the unrealised. Which imaginations of utopia play a role and which interests influence each other in the habitual field of the vectors of social practise? In WWSL the interview is not an instrument for statistical catalogisation but a tool to uncover criteria and viewpoints of a social rolebuilding und their options of action.

The documentary material opens itself up as a real situation, whithout producing ostensible unambiguousness. Mechanisms of identifikation are subverted and a multiple validity established, that makes the public speher a central topic of its own metadiscourse.
Open are the following questions: Are actions possible, that do not produce spaces of isolation? Is the social still communicable? Is sociability not constant excvession of demand for the subject? Art in this case is not represantation but reflexion of society and produces a knowledge that traverses the borders of conventional methods between mikro and makro.

Mc Kinsey bildet
Symposium, Berlin Brandenburgische Akademie, Berlin with Zygmund Baumann, Wolfgang Clement, Hark Boom, Hans Joas a.o.

Through a new orientation in the definition of knowledge, improvisation is to bedicovered as a central ressource of education. More and more the informal accumulation of knowledge combined with micdrodiversity and intervention constitute the field of contemporary practises.

Processing Planning – Improvisational Modes in Performance, Music & Architecture
Workshop, University of Schanghai, VR China

Shopping
Guest-critique at the colloquium – Entwurf IV, Bergische Universität Wuppertal,
Prof. Ursula Ringleben, Lba Bernd Kniess

Performance/Lectures

  • „Prinzip Improvisation“, Dokumenta 11
  • „Shopping“, Colloqium der Architekturfakultät der BGH Wuppertal

↑ to the top

2003

Markt der Märkte
with Rimini Protokoll (Haug/Wetzel)

The Bonn marketplace is a stage and all the vendors and customers are merely players…
Schauspielhaus Bonn, http://www.rimini-protokoll.de

Trope Design – Realtime Planning
Workshop an der TU Berlin, Fachbereich Architektur faculty building technology and design, Prof. Claus Steffan
process development/contextuality/performance/improvisation

Radical Architecture III – Processing Uncertainty
MAK Cologne in cooperation with Bernd Kniess Architects (Conference/Exhibition/Performative Installation).

New modes of regional planning are provoked by contemporary art practises. This exhibition and conference brings together for the first time the different approaches of alternative contemoporary city planning and urban practises in europe. It shows diversity of positions and paradigms devoted to the city which are still readily discussed and whose impulses come from a range of disciplines: architecture, town-planing, art, sociology and cultural studies to name just a few.

A variety of concepts exist beside one another. The longing for the European city is abandoned for new progressive concepts and experimental models, leading to a wide spectrum of ways to understand the city.

Planners, artists and scientists play a huge role as strategists and authors of this development. Focusing on specific problems, they develop new perspectives for designing “the city” which lead to new forms of usage and flexibility. The phenomenon of shrinking cities requires a different concept and an open standpoint, which not only defines problems but discovers new qualities and modes action such as improvisation and recycling.

with a.o.: 1990ff , An Architektur, Bureau des Arts Plastiques, DRESDENPostplatz, ErsatzStadt , Galerie für Landschaftskunst, Multiplicity, Schrumpfende Städte – Shrinking Cities, Studio Urban Catalyst, terrain, Entropy, Rosemarie Trockel

TRANSFER 0
„wave or particle-introducing the reverse competence“ – Workshop in cooperation with Akademie der Bildenden Künste in Nürnberg, Prof Arno Brandlhuber

Aim is a concept of action, that incorporates in its process of production the resolution and obstacles at the same time. Result is a state of permanent crisis. Improvisation then would be the competence to produce reversible standpoints. (which is not to misinterpret as opportunism, but to be understood as a dialectical approach to action). The normativity of an absolute improvisation implies the rejection of the reproduction of known typologies and stereotype patterns. Or: the only solution is the active production of autobiography.

Performance/Lectures

  • „Improvisation braucht Methode“, Arch+ Konferenz, Nürnberg
  • „Prinzip Improvisation“, Hochschule für Musik, Hamburg
  • „Körperliche Vernunft“, Symposium für Stadtentwicklung, Kunsthalle Wuppertal
  • „Prinzip Improvisation“, Landesmuseum Münster

↑ to the top

2004

BLUR
IFG Ulm, International September Conference with Ruedi Baur, Klaus Loenhardt, Jochen Becker a.o.

Typology & Symbol – Improvisation as matrix of action
Summeracademy Architektur shrink to fit, Magdeburg

Growth is not the paradigma of city development anymore. shrinking zones and islands of growth exist side by side. under these circumstances we have to develop new instruments and strategies to understand the city and its prcatises and vectors. http://www.shrinktofit.net

Evaluation of Design
Workshop at the Bergische Universität Wuppertal, faculty of architecture with Prof. Bernd Kniess

Mental Map – Qualitative research in regional planning
Workshop, TWTH Aachen und Berg. Univ. Wuppertal with Prof. Kunibert Wachten and Prof. Michael Koch

Coheerence vs. Fragment
Workshop at the university of fine arts Hamburg, faculty of architecture, cooperation with Prof. Oda Pälmke

Performance/Lectures

  • „Kohärenz des Fragmentarischen“, Hochschule für Bildende Kunst, Hamburg
  • „Spielräume des Intersubjektiven“, International School of Design, Köln
  • „Typus und Symbol – Improvisation als Handlungsmatrix“, Int. Sommerakademie für Architektur, Magdeburg

↑ to the top

2004-2005

The Activist Sounding
Performative Installation in cooperation with the Stadtmuseum Düsseldorf

The Private is Political-Performance is Political- Politics is Performance. The performing arts … have indeed a strong affinity with politics. Performing artists-dancers, play-actors, musicians and the like ¯ need an audience to show their virtuosity, just as acting man need the presence of others before whom they can appear; both need a publicly organized space for their work and both depend upon others for the performance itself. Hannah Arendt (1968). A Performance demonstrates an action. A Performance needs witnesses. A Performance existits only in the mode of second order beacues it needs the observation of others in order to realize itself. A Performance is of double nature: it is specific product of a specific actor and also quintessence of the mode of production in its entirety. PLAY!

Performance/Lectures

  • „Stille und Leiblichkeit“ Symposium des Forums für Baukommunikation, Essen
  • „improvisational processing: design and model“, Style Park, Köln, Design School Essen
  • „Raum und Performanz“ Colloqium „Stadt-Raum-Ort“ TU Darmstadt
  • „improvisation technology: minimal structure“, Design School Essen

↑ to the top

2005

Workshop Improv Technology
Design of transformative Minimal-Structures in Organisation, Int. Summerclass, Zollverein School Essen

In the mode of Open-Space the concept of improvisation is applied to the workshop itself. Focus is on the organisation of improvisation: through the implementation of minimal structures an organisational field for social and technical transformation is established. We take a dialectical approach in trying to build an improvisational model which captures the highly organic dimensions of the ‚flexible model‘ but then goes further to achieve such flexibility upon a ‚minimal structure‘. Successful product innovation combines limited structure with freedom to improvize.

Similarly, the task of balancing ‚firmness‘ and ‚flexibility‘ can be achieved through project management formality and project management autonomy and resource flexibility, respectively.

Building on these arguments, we go a step further and propose an „improvisational model“ of product innovation which accomplishes this subtle synthesis in turbulent environments. This dialectical approach implies the call for an appropriate balance between „exploration“ (search, variation, experimentation, innovation, etc.) and „exploitation“ (refinement, efficiency, implementation, etc .) in organizational adaptive processes, Similarly, in new service development, we consider the need to combine systematic modelling and fortuity – these are analogous to structure and flexibility.

SURPLUS
Schlossalast with Bernd Kniess Architects

Finding a new solution for the schlosspalast, which leaves behind ideologies and exploits the maximum capacity of a building incorporating participative structures and mixed use zones. Antagonisms are transformed into complimentary attributes of a structural model. As 3-dimensional claims they are introduced into a self-generating system. We propose a notion of building that is not based on realisation but on the real itself and as such is connected to the complexities of the circumstance. Consequently we envision a research program that includes the call for a site- and vectorspecific methodology.

X-WOHNUNGEN
Theater Hebbel am Ufer Berlinin cooperation with Ruth Hommelsheim

While traditional urban structures and the public sphere are leaving the city theperipheric pushes into the city. The city in the suburb area develops into a economically and socially autonomous structure, inner city areas are losing relevance. How are differences constituted? Do we see a loss of control concerning the city,concerning the self? How are identities constructed? In thies context it is the task of the artist to contest the structures of everyday life, with architectural and infrastructural centres of reference, the seismographic tracking of stories and biographies that are linked to this complex.

↑ to the top

2006

Improvisation and Structure
Workshop University Montevideo, Taechings Achitecture Theory, UdK Berlin
Student Project, University of Fine Arts, Berlin, Semester 06/07

Desinging Politics – The Politics Of Design
Hearing, Internationales Forum für Gestaltung, Ulm

Workshop Improvisation und Form
Hochschule für Gestaltung, Karlsruhe

Performance/Lectures

  • „Performativität und Raum“, Doktorandencolloquium, FU Berlin, Fakultät Theaterwissenschaften
  • „Improvisation in New Product Development“, Fachbereich Produktdesign der HfG Karlsruhe
  • „Improvisation braucht Methode“, Gastvortrag an der UdK Berlin, Fakultät Gestaltung/Architektur, Prof. Susanne Hauser? In thies context it is the task of the artist to contest the structures of everyday life, with architectural and infrastructural centres of reference, the seismographic tracking of stories and biographies that are linked to this complex.

↑ to the top

2007

Hearing, International Forum for Design, Ulm
Aedes Gallery Berlin, cultural landscape china
Realoper, Eichbaumoper, Schauspielhaus Essen mit Raumlabor Berlin
Rythm, University Hannover, Faculty of Architecture
IFG, Mentoring programme, Wits Univbersity Johannesburg, architecture faculty, Southafrica
Process as Product, Teachings Achitecture Theory, UdK Berlin
15. Kongress, Städtebaulicher Denkmaschutz, Quedlinburg, Bundesministerium für Verkehr, Bau und Stadtentwicklung
documenta Kassel, Rahmenprogramm Arch+ „open space 01“

Performance/Lectures

  • „performance of space“, arch plus, documenta 12
  • „Form/Structure/Function“, WITS University Johannesburg, Südafrika
  • „klimamachine“ mit Ton Matton, Rotterdam
  • „Zeit und Struktur“, Denksalon Revitalisierender Städtebau, Technische Universität Dresden Fakultät Architektur
  • „Rhythmusanalyse“, Leibniz Universität Hannover, Fakultät Architektur
  • „Design and Public Space“, International School of Design, Köln

↑ to the top

2008

Kolkata Monodosis
monodosis goes india. Check out project webpage with info and movie: www.goethe.de/kolkata-monodosis
In collaboration with DESIGN REAKTOR, University of fine arts, Berlin. And with TON MATTON, Klimamachine.

urban condition and difference
Artist in residence project, goethe institute, Calcutta, India

Performance/Lectures

  • „Conversations on Urbanity“, Royal Institute of Architecture, London
  • „rythm and urban space“, Columbia University, New York
  • „urban condition and difference“, Goethe Institut, Kolkata, India
  • „Subjekte der Wiederverwertung“, Sonderforschungsbereich des Performativen, FU Berlin
  • „Form und Prozess“, TU Darmstadt, Architekturfakultät

↑ to the top

2007–2009

Monodosis, Berlin, Galerie Loris

Performance/Lectures

  • „Performative Diagramme“, Tagung „Structuralism reloaded“, Hochschule München
  • „Taktiken strategisch machen“, Sympsoium Innovativer Wohnungsbau, Stadtplanungsamt München
  • „open scale“, Amt für Stadtentwicklung, München
  • „Notationen“, Fachtagung „Innovation – Organisation – Musik“, Universität Duisburg-Essen
  • „Planung neu Denken“, RWTH Aachen
  • „Tacit Urbanism“, bei Ausstellung „What makes India urban?“, AEDES, Berlin
  • „Offene Konfliktkorridore“. Symposium Konflike in intelligenten Systemen, Interdisziplinäres Wolfgang Köhler Zentrum, HU Berlin
  • „Production of Space“, Summerschool UdN Hamburg, Wilhelmsburg
  • „Entwerfen“, Universität Hannover, Internationales Doktorandenkolleg „Forschungslabor Raum“
  • „Nachhaltigkeit und Handlung“, Symposium „Nachhaltigkeit“, TU Karlsruhe
  • „Situationist Space“, Academie voor Bouwkunst, Arnhem
  • Klimamachine, School for Architecture, Arnheim

↑ to the top

2009

Tacit Urbanism with Patrick Ghose, AEDES, Berlin
What makes India urban?, Exhibition, AEDES, Berlin
AA London, Summer School, Aedes Network Campus Berlin
Production of Space, Summer School UdN, HCU Hamburg, Wilhelmsburg
open scale München, www.openscale-muenchen.de
Transdisciplinary Studio, HGKZ Zürich/AEDES Network Campus Berlin
Workshop, University of Fine Arts, Arnhem

↑ to the top

2010

Gastprofessur (2008-2010) Urban Design/Theorie HafenCityUniversität Hamburg
am UD, Angewandte Stadtforschung an der HafenCity Universität Hamburg, mit Bernd Kniess
Universität der Nachbarschaften, Exzellenzprojekt der IBA Hamburg in Kooperation mit
HCU Hamburg, Kampnagel, Bernd Kniess, Michael Koch (2008-2013)
Städtebaulicher Ideenwettbewerb, „Wohnen in Friedenstal“, Bernau, mit Mario Abel, Ton Matton, Bernd Kniess, 1. Preis
„Architectural Behaviourology“ Moderation mit – Yoshiharu Tsukamoto, Atelier Bow Wow, Matthias Sauerbruch
Workshop „Minimal Structure“, TU Graz
Wissenschaftliches Programm der Studienstiftung des deutschen Volkes
Summerschool Lingenzegen, Academie voor Bouwkunst, Arnhem
Aedes Network Campus, executive board

Performance/Lectures

  • „Organisation & Zeit – Musikalischer Zugang zum Interaktionsfeld von Organisationsprozessen und Organisationskultur“, Symposium „Kulturmuster und der ‚Sound of Organizing‘„,, Universität Duisburg-Essen
  • „Iterative Practise – Patterns in Jazz“, Symposium: „The Patterns of Patterns Pattern Language and beyond“,
    Universität Duisburg-Essen
  • „Tuning in to Organizational Innovation“, International Conference on Management Learning, MOT, Wien
  • „Motivic Playing“, Musikakademie Wiesbaden
  • „Prinzip Improvisation“, Fränkische Gesellschaft für Philosophie, Universität Bamberg
  • „Experimentelle Praxisformen“, ZHDK Zürich
  • „Tuning in to Organizational Innovation – Music as a Metaphor to Understand the Improvisational Field in Organizations: A Performative Discourse on Improvisation, Management, and Music“, Symposium „Managing Directions in the Era of Creativity. Implications for Business and Policy-Making“, Fraunhofer Institut, Karlsruhe
  • „Form und Handlung“, Kunstverein hub:kunst.diskurs e.V. in Hannover.
  • Tuning in to Organizational Innovation – Music as a Metaphor to Understand the Improvisational Field in Organizations:,
    Universität Lissabon
  • Tuning in to Organizational Innovation – Music as a Metaphor to Understand the Improvisational Field in Organizations:,
    Universität Coimbra
  • „Improvisations on Urrbanity“, Akademie Arnhem
  • Henri Lefebvre, The Right to the City and Critical Urban Theory, HCU Hamburg, UdN Summerschool
  • „Tacit Urbanism and the Right to the City“, TU Graz
  • „motif strategique“, AEDES, Berlin
  • „Improvisation als Technologie“, Symposium Tanzplan, Zollverein Essen

↑ to the top

2011

MICC (Music – Innovation – Corporate Culture)
Forschungsprojekt mit dem OrgLab der Universität Duisburg-Essen (2008-2011). Gefördert vom Bundesministerium für Bildung und Forschung, Europäische Union (www.micc-project.org)

Performance/Lectures

  • „Organization in Real-Time“, Ensembleperformancelecture, Internationale Fachtagung Innovation und Improvisation in Organisationen, Universität Duisburg-Essen
  • „Materiality, Form and Civic Agency“, Civic City, Haute Ecole d’Art et Design, Genf
  • „Transparent Grid“, Symposium „Mies neu denken“, RWTH, Aachen
  • Ciudades Paralelas, „Re/Okkupation“, Schaupielhaus Zürich
  • „Prozess und Form“, Universität Hildesheim, Doktorandenkolleg „just do it“
  • „Improvisation und Struktur“, Hochschule der Künste, Bern
  • „Design Discussion“, Hochschule Niederrhein, FB Design
  • „Tacit Urbanism“, „Music as a Medium of Urban Transformations. International symposium at Goethe- Institut, Kolkata, TransCoop Program of Alexander von Humboldt-Foundation (Bonn/Germany)
  • „Organisation musikalisch denken“, Zukunftsforum des Bundesministerium für Bildung und Forschung
  • „Recht auf Produktion“, made in… Lokale Praktiken Urbaner Produktion, HCU Hamburg/ ZHdK Zürich

↑ to the top

2012

Avantgarde without Manifest
Film für „The Avant/Garde Diaries“, Mercedes-Benz. and K-MB, Creative Network NY, Inc, New York

Performance/Lectures

  • „Improvisation als Basis für Organisationsformen“, Symposium „Kunst fördert Wissenschaft“, ID Factory, TU Dortmund
  • „Neighbourhood and Transformation“, Hafen City Universität Hamburg, Summer School
  • „Recht auf Stadt. Liebe Deine Stadt wie Dein Symptom!“, BWM Guggenheim Lab, Berlin
  • „Performanz und Raum“, FH Düsseldorf
  • „Prinzip Improvisation“, Debattenort Kreativquartier Lohbeck, Dinslaken
  • „Improvisation als Technologie“, interPM – Konferenz zur Zukunft im Projektmanagement, Glashütten
  • „Play and Structure“, ArtEZ Zwolle Netherlands
  • „Stadt Orchestrieren“, Universität Magdeburg
  • „Replaycity. Stadt neu denken“, BDA Stadtsalon Berlin
  • „Rethinking Agency“, Graduiertenschule der Universität der Künste Berlin
  • „Improvisation als Zukunftstechnologie“, z-punkt future lounge, Köln
  • „Replaycity. Stadt neu denken“, TU München Fakultät Städtebau

↑ to the top

2012–2013

AEDES Dialuge series
Lecture/Perfomances contesting the interface betwen musical thinking and architectural conception.

↑ to the top

2013

Performance/Lectures

  • „Reflective Practise and Organization“, Symposium „The Future of Content ist Context“, Universität St. Gallen
  • „Improvisation und Heterotopie“, Folkwang Universität der Künste, Essen
  • „Das Urbane als Prozess“, BDA Darmstadt

↑ to the top

2014

a100 Landscape of Desire
with Raumlabor

Performance/Lectures

  • The »Neighbourhood University« – Programme, Action and Form. Symposium University Sheffield
  • „Stadtpartitur“. Symposium Stadt der Räume. Interdisziplinäre Gespräche über die Räume der Stadt, RWTH Aachen
  • „Recht auf Stadt. Fragestellungen zu öffentlichem Raum und Infrastruktur.“
    Europan 12 Abschlussforum, Akademie der Künste in Berlin
  • „Das Urbane“. Universität der Künste Berlin
  • „Improvisation“, Symposium „Machen. Verstehen. Vermitteln. Performance in der Schule“, TU Dresden
  • „Welt als Übungsraum“ Edmund Husserls Konzeption der Epoché“. HCU Hamburg

↑ to the top

2014–today


Latest Activities …

… are documented in the Journal →, the Work archive → and also may be placed on the Featured-Project-Page →

Stay in touch! Subcribe to the Email Newsletter →

↑ to the top


Buy IFIT publications

IFIT books and papers are availible online at Amazon → and of course in your local Bookstore.

↑ to the top

Pin It on Pinterest