Die Körper und der Raum

113 beiträge zu einer sinnlichen erkenntnis


What is the state of the dimension of corporeality in the production and reception of architecture today? And to what extent has the relationship between body, space and society changed over the past year with all the measures made necessary by the Corona crisis?

The exhibition "Body and Space" was dedicated to this "intact" or "disturbed" relationship between body and space and its socio-political significance. In the run-up to the exhibition, more than 230 people were invited to contribute: architects, graphic artists, designers, artists, theorists, historians and critics who have actively contributed to the aut programme in recent years.




aut. architektur und tirol


Exhibition catalog, "Die Körper und der Raum. 113 beiträge zu einer sinnlichen erkenntnis", 2021


Theatre, Strasbourg, France, 2020 © LAN, paper, laser cut, 30*45 cm
Campus, Ljubjana, Slovenia, 2020 © LAN, paper, laser cut, 30*45 cm

Article 4
Article 1
Article 3
Article 5
Article 2


A means of representation is never indifferent or objective. Basically, it is never a means. It marks an intention, it generates a project, it is already part of it. In architecture, representation always anticipates the building to come. As Merleau-Ponty says, the artist has only one way to represent the work he is working on: he has to do it. The representation is a dialogue with the material of the architecture, that is so say the void.

Through the exercise of drawing, the use of the instrument that serves to represent the thing remains the architect’s only bodily relationship with the physical aspect of the material to which it is to give shape. For Vittorio Gregotti, this is his last “manual” and he must defend it fiercely. The body of the architect is first of all in the space of the representation.

Axonometry is a specific representation of architecture. Unlike the linear perspective it has no point of view and no target point. Orthogonal projection is a representation of pure depth, without vanishing lines. It shows space as a continuum. By freezing its limits, it represents the void as the place where transformations take place.

While architecture constructs voids, its drawn representations add matter upon matter. The smooth surface of the rectangular format forms the background, both free and limited, for an idea to come. It is the opacity of the figure which, by contrast, will define the immateriality of the support as that which is empty. We have sought here to represent the void differently, literally, and therefore to make the support disappear. By digging into the paper, by working it as concrete material, analogous to the layered material of a city in which we have come to dig.

Drawing 2
Drawing 1