Migrating Landscapes: The Landscape Infrastructure and the Accompanying ideas will disperse across the globe
Increasingly, contemporary design is produced within a context that is globally, rather than regionally, situated. The work of emerging designers is influenced by glossy and well-presented images that blur design context and authenticity. Within this framework we ask: how might specific cultural memory be captured and rendered, informing the ways we generate design? How do divergent perspectives come together and thereby create new contextual landscapes? Can the juxtaposition of personal vernacular memories and questions of context and content provide insight into contemporary architectural production? Migrating Landscapes asks that Canadian designers from diverse backgrounds, each with their own unique ethnic and cultural memories, respond to these questions.
Migrating Landscape was selected by a national juried competition as Canada’s official entry at the 2012 Venice Biennale in Architecture.It will be presented by Winnipeg-based 5468796 Architecture and Jae-Sung Chon, who joined together for this project to form a new entity: the Migrating Landscapes Organizer (MLO).
“As a technological practice of innovation, Open Source has not quite been about cities, but about the technology. Yet it resonates with what cities have and are at ground-level, where its users are. The park is made not only with the hardware of trees and ponds, but also with the software of people’s practices. How can we forget the turnaround of New York’s Riverside Park from being a no-go zone to being a park for all those who wanted to use it in part because dog-owners started to walk their dogs in large numbers. Having a dog was itself a function of feeling insecure in a city of high murder rates and much mugging. But the city allowed people to talk back: get a dog, walk your dog, go in groups, and you recover the territory of the park. The proliferation of farmers’ markets was also not a top-down decision. It resulted from a mix of conditions, primarily the desire of city residents to have access to fresh produce. Here we see that a thousand individual decisions created a possibility for viable farmers markets.
There is much work to be done. Recovering the incompleteness of cities means recovering a space where the work of open sourcing the urban can thrive. Developing an urban Wikileaks would take cities in a very different direction from the intelligent city model—and for the better.”
TEXT: Sassen, Saskia. “Open-Source Urbanism”. Op-ed Domus. June 2011 | http://www.domusweb.it/en/op-ed/open-source-urbanism/ [accessed January 16th 2012] / IMAGE: Superstudio. “Supersurface: An Alternate Model of Life on Earth”. Still from the film with the same name, produced for the exhibition “Italy: The New Domestic Landscape”, MoMA 1972.
Josep Bohigas (Barcelona, 1967) writes, thinks and makes architecture: buildings, urban spaces, temporary structures, interiors, he doesn’t mind. For this architect, the scale of the assignment is not a factor that changes its status or treatment. The development period, from the first idea to the finished object, is the same for every creative process and therefore, for everything that can be designed, from the front door to the organization of an area of the neighbourhood. This all-encompassing approach explains his way of understanding the city and the way its components relate to each other, from micro to macro and vice versa.
“My archive now contains over 2000 hours of interviews recorded in many different places, and I am constantly attempting to discover new rules of the game, new approaches to how an interview can work. For an interview with Hans-Peter Feldmann published initially in AnOther Magazine and then in book form, I emailed him one question per day, and each of Feldmann’s responses would take the form of an image. For my interview with Louise Bourgeois, I would send a question and she would email back a drawing. When Julian came to my office with Mark and Daniel for our first meeting, we discussed the idea of a different format with questions from artists, and Julian liked this a lot, suggesting that the artists send the questions as short videos so that he could see them. We set the interview for two weeks later at 10 or 11 p.m., as we discovered that we both work late at night. Traveling more than three hours from London on Sunday, February 27, I arrived at Ellingham Hall, the Georgian mansion near the Eastern coast of England that Vaughan Smith offered Julian to use as his address for bail during his UK extradition hearings. In the living room of the picturesque home he described to me as a “golden cage” we drank many cups of coffee and spoke until 3 a.m. about his life, his nomadism, his early beginnings and the invention of WikiLeaks, his time in Egypt, Kenya, Iceland, and other places, his scientific background, and the theoretical underpinnings of WikiLeaks.”
—Hans Ulrich Obrist In conversation with Julian Assange, Part I
Recomendamos la lectura de este libro en el marco del 14o Congreso Arquine, cuyo tema este año es ESPACIO. Entre los conferencistas invitados están Hans Ulrich Obrist, Denis Scott Brown, Saskia Sassen et al.
Thomas Keenan, Eyal Weizman | Mengele’s Skull: The Advent of a Forensic Aesthetics
In 1985, the body of Josef Mengele, one of the last Nazi war criminals still at large, was unearthed in Brazil. The ensuing process of identifying the bones in question opened up what can now be seen as a third narrative in war crime investigations—not that of the document or the witness but rather the birth of aforensic approach to understanding war crimes and crimes against humanity.
Carmen works the graveyard shift in one of Tijuana’s 800 maquiladoras, the multinational factories that come to Mexico for its cheap labor. After making television components all night, Carmen goes home to a shack she built out of recycled garage doors, in a neighborhood with no sewage lines or electricity. As a single mother, she earns six dollars a day and suffers from kidney damage and lead poisoning from her exposure to toxic chemicals. But, Carmen’s optimism and strong will keep her looking for ways to organize change. In Maquilapolis, Carmen and her friends reach beyond their daily struggle for survival, using video cameras to tell their own stories while confronting labor violations, environmental devastation and urban chaos. When this small group of women takes on the impossible task of forcing the Mexican government to clean up a nearby polluted factory, the women find hope in a better future.