The Script and the City, Andreas Rumpfhuber in Conversation with Aristide Antonas”,
in: Ethel Barona Pohl (Ed): Archipelago of Protocols, DPR-Barcelona: 2015
The Script and the City
AR: The visual language of your projects seem very dark, sinister and sometimes even dystopia. Projects like the vertical mobile villa you propose in Hymettus in Athens, but also the Urban Hall, or your Hotel Bus project seem to have been wrested out of some 1980s science fiction novel like the Neuromancer trilogy of William Gibson. They somehow seem to tell from a world in which humans are inescapably connected to electronic machines; but your projetcts also seem to tell a story of a world whose economy has gone hyperreal, leaving its inhabitants with the debris of reality.
At the same time it seems, that your projects comment on a specific 1980s discourse in architecture. Whereas some of the 1980s architects are obsessed with the drawing and become fundamentalists by confusing the drawing, the representation, with reality, your project's drawings are different. You use the architectural drawin as an intellectual instrument of commentary and critique. Your drawings test the drawing as a tool to interpret and intervene in reality. Your drawings point to aspects of our contemporary situation. Yet I am interested in the question of how the architectonic drawing can change the world. Is the drawing already the intervention, the moment of communication?
AA: Drawings are for me starting utterances, propositions similar to phrases. I do not like to think that in the office we do beautiful drawings. Many of our friends love us for our drawings and it is true I cannot escape a certain aestheticism ...
Read the conversation in:
in: Ethel Barona Pohl (Ed): Archipelago of Protocols, DPR-Barcelona: 2015, p. 187-204.