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Considering the unusual nature of current times, we hope all of you are well and healthy.

We spent most of August traveling - interviewing, documenting and meeting inspiring PIONIRA personalities around Germany and Austria and are excited to begin the post-production of our raw material in October. Stay tuned for new posts coming soon. We would like to use this current month to outline the framework our project situates itself in, to contextualise our aims more clearly.

As you can read in our Manifesto, our project is based on various pillars. For one, we situate our findings and research in the context of an architecture history that is worth mentioning and displaying. We will begin to do so by sharing some of our architecture favourites, which subjectively demonstrate a pioneering spirit, given their time and context, and which have taught us along the way of building this project. Along with historical and contemporary architecture, literature, videos, agriculture and arts form the intellectual context of PIONIRA today. 

On another note, we strongly believe in the beauty and necessity of a borderless Europe. As two young architecture students of our time, we value the freedom of being able to cross borders, languages and cultures with a fluidity that was hardly possible, even some decades ago. We strongly believe in personal encounters to learn from others and we are trying out new formats, showcasing analogue ideas digitally. Covid-19 is not making it easier for us to reach out in person at the moment, but allowed us to understand this summer what our closest vicinity has to offer.

Books 
Green Architecture and the Agrarian Garden, Barbara Stauffacher Solomon. Rizzoli, 1989.

"Common ground is somewhere between closed privacy and open exposure. (...) On common ground there is an ambiguity between public and private, real and fantastic, outdoors and indoors, nature and technology, and most other things." (p. 85). Stauffacher Solomon not only designed all the Sea Ranch (see below) graphics, but worked on various bold projects throughout her career as a graphic designer and landscape architect.

The World of Yesterday. Memoirs of a European, Stefan Zweig. Originally published in German posthumously in 1942.
Zweig's autobiographical novel paints an image of a golden era of intellectual and cultural Europe, rapidly spreading from a nucleus in Vienna to other countries. Various passages comment on a thriving art scene and a vibrant literature movement and Zweig thereby beautifully portrays how thankful one can be for the joint inspiration of neighbouring countries and people - raising questions as relevant today, as they were back then. 

Podcasts 

At a Distance talk with Amanda Ravenhill on Buckminster Fuller's lasting relevance. How can we use the best of design, nature's and science's principles to make the world work for "one hundred percent of humanity"? How to create spontaneous cooperative mechanisms, so that society can act across all scales? Ravenhill describes Buckminster Fuller's role as an "expert generalist", interested in many different traits and propagating a cross-disciplinary approach. PIONIRA strongly believes in exactly this - a podcast worth listening to. 

A PHOTOGRAPH FROM THE SEA RANCH, BUILT BY CHARLES MOORE AND THE MLTW ARCHITECTURE PARTNERSHIP IN CALIFORNIA IN 1963. THE MASTER PLAN WAS DEVELOPED ALONG THE RUGGED COASTLINE, WITH GUIDELINES FOR DEVELOPING THE PROPERTIES IN LINE WITH NATURE AND COMMON SOCIAL RULES.
Scanned from "GA Residential Masterpieces 29 MLTW, Sea Ranch", GA. Edita Tokyo, 2019.

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A DRAWING OF AN AGRARIAN GARDEN BY BARBARA STAUFFACHER SOLOMON.
Scanned from "Green Architecture and the Agrarian Garden", Barabara Stauffacher Solomon. Rizzoli, 1989.

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NICOLE DE VESIAN'S HOME IN LUBERON, FRANCE. "THE HOUSE, ISSUE OF THE STONE ITSELF, WAS CONVERTED FROM TWO RUINED COTTAGES AND THE COVERED LANE THAT RAN BETWEEN THEM. (...) THE DIFFERENCE BETWEEN THE GARDEN AND ITS PEBBLED PATHS AND THE STONE WALLED INTERIOR WITH ITS BOUQUETS OF DRIED FLOWERS AND BUDDING PLANTS SEEMS MINIMAL."
Scanned from "Provence Interiors", Lisa Lovatt-Smith, 1997.

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A PHOTOGRAPH OF THE VIEW FROM VILLA E.1027, BUILT BY EILEEN GRAY IN 1929 IN ROQUEBRUNE-CAP-MATIN, FRANCE. "EILEEN'S GARDEN AND THE ARRANGEMENT OF THE TERRACES MAKE THEM AN EXTENSION OF THE BUILDING. THEY ARE OFTEN ORGANISED LIKE THE INSIDE OF A HOUSE. THE STRUCTURE FLOWS INTO THE GARDEN, AND OUTSIDE AND INSIDE BECOME ONE".
Scanned from "Eileen Gray. Architect/Designer", Adam Peter, 1987.

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DINING ROOM TABLE OF THE VILLA E.1027 BY EILEEN GRAY. "THE DINING ROOM TABLE IS MADE OF CORK TO ELIMINATE THE NOISE OF DISHES AND SILVERWARE. THE TABLE IS LIGHT SO THAT IT CAN EASILY BE MOVED ONTO THE TERRACE, AS HERE. THE FLOOR OF THE TERRACE IS TREATED LIKE AN EXTENSION OF THE INTERIOR, WITH A RUG ON IT.
Scanned from "Eileen Gray. Architect/Designer", Adam Peter, 1987. 

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