For a long time, the theme of soil –
as matter, not as territory – has been the quasi exclusive subject of
agriculture, geography and soil science. Only in the last few decades,
due to a rapidly growing awareness of climate change, has soil
increasingly come into focus in urban design, in particular as a matter
that can also provide ecosystem services in urban environments.
The editors of OASE 110 believe that soils, although degraded and fragmented, call to be looked upon with a new gaze. They should be rearticulated in a new project aimed at the construction of a shared, productive and inhabited nature, containing different elements of urbanity and offering – at the same time – a more resilient and sustainable environment for all.
Inspired by Bernardo Secchi’s 1986 text ‘Progetto di Suolo’, this issue of OASE makes a critical analysis of how soil – as an intermediary package that connects surface and subsurface – can further connect to the practices of urbanism and urban design, and how it can guide those practices in exploring new agendas.
does the author’s ‘owning’ of a project mean? And does this sense of
ownership still prevail in contemporary architecture culture? Other more
open forms of cooperation and co-creation are emerging alongside the
concept of individual singular authorship.
series of concrete projects, the contributions in this issue explore the
field of tension between architectural aesthetics and issues of energy,
technology and materiality. Ecological practices in architecture must
not only be effective in providing solutions, but inevitably raise
questions of beauty, affection and perception as well.
Call for Abstracts OASE #115 about “Interferences: Migrating Practices in Europe”, written by Justin Agyin, Kornelia Dimitrova,
Christoph Grafe and Bernard Colenbrander. Deadline is June 19, 2022. Read the full text of the OASE #115 Call for Abstracts in the PDF.
Museums stage public encounters between visitors, objects and
stories. This is not limited to a tour through the exhibition spaces, it
starts already with monumental or ‘tresholdless’ entrances.