KONIGS ARCHITEKTEN

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(D)

Ulrich Königs (*1964)
Ilse Maria Königs (*1962)

 

 

 
Presentation
       
 
     
Ulrich König established his agency in 1994. He became known following the competition for the Chemnitz stadium (1997) where, with Peter Kulka, he submitted an enormous topological ring which disrupted not only spatial and territorial understanding, but also engineering convictions as revealed in his work with Cecil Balmond. "How is a building's cohesion determined?" or "How is space determined" Ñ Ulrich König invents new methodologies such as using a drawing which attempts, at practical level, to reconstruct the major network lines in order to define the entire topography of the Erfurt station (1995). This personal reappropriation of the project's time-space considerationsÑ on a human scale defined by the architect, as opposed to an industrial scale Ñ appears again in his work for the Dusseldorf Port programme (1998) in which he integrates a heterogeneous object enabling him to "overdetermine" the project and thus retain the architect's experimental autonomy. A church currently under construction is arbitrarily defined as a parallelepiped and the slow work on its interior will ultimately give rise to a few stigmata on the external facades. He creates in this way a critical architecture that defines itself negatively in relation to rigorous formalisms.
   
       
       
       
     
         
 
       
 
Exhibition
       
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KÖNIGS ARCHITEKTEN
   
           
     

The focus of our work, from the very beginning, is to find a powerful combination between architectural theory and practice, because the architectural practice in Germany generally lacks of any theoretical background and on the other hand architectural theory very often lost contact to the practice. Therefore our projects seemed to be not theoretical enough for a theorist and much to theoretical for a practist, but we still think our strategy is very promising. In the 21th Century other disciplins like biotechnologie or computer technologie will influence our life radically, while architecture seems to have no impact at all. Just architects still think that architecture is important. The only interesting thing about architecture in comparison to these other disciplins is the strong connection to the physic of our body and the human scale. So there is still to hope that as long we have something like a body, there will be something like architecture. There is a lot to learn from the other science disciplines like biotech, computech or chemistry.
First of all it is important to understand, that this is a question of methodology. It is not so important to control the result of this upgrade but to find a methodological strategy. Architects must retain their experimental autonomy in order to find answers to questions of the future. Our office for example sometimes develops a project by taking two different competitions. In the Düsseldorf competition we shaped a form of a building by using lots of contextual references. In a second step we took this form an implanted a program of a Stuttgart competition into it. The building with the Düsseldorf form looks brilliant on the Stuttgart site. Probably somebody will built this idea in Seoul or Kopenhagen. This strategy sounds very funny, but it has a serious background. This methodology allows us to design a visionary building very slowly with an informational input of the present. Designing the form in Düsseldorf is not a question of contextualism. We just used the context to get to the form. Taking the program of Stuttgart is not a question of fulfilling a service demand. We just used the program to get to a project. The real project has nothing to do with Düsseldorf or Stuttgart. But we submitted both competitions with our proposal. This is very important to our strategy, because doing so we have something like a test run in reality for our visionary prototype. This prototype will get better and better and more and more complex in future. The first time we invented this methodology was by using the building prototype of our Yokohama Terminal and transformed it to a School of Architecture in Weimar. At the very beginning of each project we put much emphasis on finding a design strategy. Sometimes we continue working on projects like Düsseldorf to Stuttgart or Yokohama to Weimar. Sometimes we try to define the project with a drawing technic like in Erfurt. The design methodology is the key to a successful project: designing the process instead of designing the project.

   
       
     
     
     
           
     
ICE-STATION - Erfurt, Allemagne, Competition 1995
   
           
     

To Ulrich and Ilse Maria Königs it has become apparent that the future of high-performance computing lies with massively "parallel" architectures. There already exist a variety of parallel hardware platforms, but, according to them, the ability of the architects to utilize fully the potential of these machines is constrained by their inability to write software of a sufficient complexity. There does not exist an art for writing this kind of software, at least not on a scale involving more than a few parallel processes. In fact, it seems unlikely that human programmers will ever be capable of actually writing software of such complexity. Therefore, the evolutionary system of the ICE-Station is represented by handdrawn chromatographic plans as a twodimensional parallel network. The slowness and stability of handdrawings acts like an adequate substitute to the unefficient software for parallel computing.

   
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DÜSSELDORF PORT, Düsseldorf, Allemagne, 1998
   
           
     

Complexity may arise as a side effect of the operation of simpler mechanisms, but they do not indicate how there could be a progressive build up of more complexity. The only way this can happen is by the formation of new behaviour systems. In this project, Ulrich and Ilse Maria Königs pointed out the need to find mechanisms that do not strain the limited resources of the agent and let the agent remain viable in the environment as it builds up more complexity. The spatial indication of the site in Düsseldorf was combined with the functional limitation of a programm already elaborated within the context of another competition, for Stuttgart. The emergent functionality increases by grafting the project on the Stuttgart site. (See: Luc Steels: The Artificial Life Roots of Artificial Intelligence)

   
       
     
     
     
           
     
CENTRE PAROISSIAL ST FRANZISKUS, Regensburg, Allemagne, Competition 1998 (1st price)
   
           
     

Ulrich and Ilse Maria Königs have summarized themselves their proposal with these words : "take a shoebox and place an elliptic volume slightly shifting inside." This simple baroque organisation of the space gives way to a dynamic relationship between time, space, walking and looking. The spatial potential of the project is focused to the question of boundaries: The inside and the outside, the real space and the transcendent space interact in a complex field of effects. The impossibility of controlling the space is essential for these effects. Between the rectilinear geometry of the external limits and the curvilinear liturgical space, the project proposes a borrominian play. The deep limit between the inside and the outside, this kind of baroque "open poché", is occupied by a complex ramification of little spaces (chapels, choir,...) with particular light systems. In the principal space of the church, the form and the position of the openings result from the chancy tangency or contamination between the two geometries.

   
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SPORTSTADIUM CHEMNITZ 2002 - Chemnitz, Allemagne, Competition 1995 (1st price)
   
           
     

Designed in association with Peter Kulka and Ove Arup, this proposal for a 50.000 seats stadium rejects the modernist idea of unity. Each element (the track, the tier, the grandstand, the roof), subjected to its particular needs, forms an independant topological ring. The project is the result of their overlaying.The erosion of customary modes of organisation provided to Königs the occasion to test models perhaps more appropriate to needs of future developments than current linear systems ; to locate systems that can produce, although starting with a finite number of elements, something new and unpredictable. For the stadium this meant redefining the operative parameters that effectively steer the design process.Typical parameters of hierarchical design methods (controllability, optimization, predictability, comprehensibility) gave way to parameters inherent to the complex behavior of swarm systems : adaptability, evolvability, resilence, boundlessness, novelty.

   
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Resources
       
 
 
Biography
       
     
Ulrich KÖNIGS (1964)
Ilse Maria KÖNIGS (1962)

Diplomés de l'AA, Londres, de l'Université d'Innsbruck et du RWTH, Aachen.

Enseignement :
1999 - RWTH Aachen

1994 - Fondent l'Agence Königs Architectes
Principaux projets et réalisations :
1998 - Pfarrzentrum St Franziskus, Regensburg, Allemagne (concours - lauréat)
1997 - Haus des Deutschen Beamtenbundes, Berlin, Allemagne ; l'Industriemuseum, Chemnitz, Allemagne (concours) ; Thüringer Landtag, Erfurt, Allemagne (concours) ; Eglise St Theodor, Köln, Allemagne (concours).
1996 - Musée Wallraf-Richard, Köln, Allemagne (concours) ; Hochschule für Architektur, Weimar, Allemagne (concours - 2ème prix).
1995 - Stade de Chemnitz, Allemagne (concours - lauréat) ; Terminal du Port International de Yokohama, Japon (concours - mention honorable).
Expositions récentes :
1996 - Galerie Aedes East, Berlin ; XIXème Mailänder Triennale, Mailand ;
Architectural Association, London

Conférences :
1999 - GH Kassel, Kassel
1998 - Neuer Aachener Kunstverein, Aachen ; ETH, Zürich.
1997 - Universität, Stuttgart ; Leopold Franzens Universität, Innsbruck.
1996 - Technische Universität, Graz ; Ohio State University, Columbus ; Columbia University, New York ; Architectural Association, London.
   
           
 
Bibliography
       
     
Bibliographie sélective:

1997 - Arch+, n°138,10/97
Assemblage, n° 33, 8/97
1996 - L'Architecture d'Aujourd'hui, n°306, 9/96
Architectural Review, 3/96
Arch+, n°131, 4/96
Stadtbauwelt, n°129, 4/96
Der Architekt, 1/96