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Lecture Summary #5 Reorientations
 

Lecture Summary #5 Reorientations

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    Lecture Summary #5 Reorientations Lecture Summary #5 Reorientations Presentation Transcript

    • tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations THERE ARE NO MAPS FOR THESE TERRITORIES “And yet it is important to emphasize that the or big, embed the qualities that we have argued for and workede l e m e n t o f s u r p r i s e , t h e u n e x p e c t e d , t h e o t h e r, i s towards throughout the studio?crucial to what space gives us.” R e o r i e n t a t i o n s m e a n s t o ‘ f i n d o n e ’s p o s i t i o n a g a i n a n d a g a i n i n o n e ’s r e l a t i o n t o o n e ’s s u r r o u n d i n g s . ’ ( t h e f r e e d i c t i o n a r y. c o m ) ( D o r e e n M a s s e y, F o r S p a c e . 2 0 0 5 / 2 0 11 , p . 11 2 ) When Doreen Massey under the label ‘reorientations ‘ gives us some hints towards projects that evokes interest in this specific regard she mentions some projects that have an element of c h a n c e i n t h e m : A l d o v a n E y c k , A m s t e r d a m C h i l d r e n ’s H o m e a n d S c u l p t u r e p a r k i n A r n h e m a n d B e r n h a r d Ts c h u m i , P a r c d e l a Vi l l e t t e . I w i l l n o t g o s o m u c h i n t o t h e s e p r o j e c t s , b u t s p e n d some more time reflecting upon a piece of art which certainly h a s c a p t u r e d m a n y o f i t ’s a u d i e n c e , i n c l u d i n g D o r e e n M a s s e y. S h e w r i t e s a b o u t O l a f u r E l i a s s o n ’s T h e We a t h e r P r o j e c t : ‘ I t i sThrough the reading of Doreen Massey this studio has challenged impossible to encounter something with no preconceptions at( m i s ) c o n c e p t i o n s a b o u t s p a c e a n d i t ’s i n e v i t a b l e i n t e r c o n n e c t i o n all, but the full recognition that the encountered is also movingwith time: ‘Space is an open ongoing production’ (D.M, For o n a t l e a s t s l i g h t l y d i s t u r b s o n e ’s c o n f i d e n c e i n t h e f a c t t h a tSpace. 2005/2011, p. 55.) Through readings of Allen/Sauter these expectations will be met. An encounter is always withthe concept of vulnerability was introduced an along with something ‘on the move’. The voyager is not the only active one.the concepts of Flexibility (G. Bateson) and New Hierarchies Origin and destination have lives of their own. This project of(Deleuze&Guattari) strong theoretical tools for developing a undoing that traditional counterposition of active subject and‘thinking that is every bit as fluent as the system you are p a s s i v e o b j e c t i s a n e l e m e n t i n O l a f u r E l i a s s o n ’s p r a c t i c e . H et h i n k i n g a b o u t ’ , h a s b e e n f o u n d e d f o r. I n F o r S p a c e D o r e e n challenges the static, given, implacable ‘objecthood’ of art.’Massey accentuates that one way chance has become integral to ( D o r e e n M a s s e y, S o m e T i m e s o f S p a c e / T h e We a t h e r P r o j e c t .thinking about space is through architecture (d.M,For Space. 2003, p.107-118.)2005/2011, p. 112). T h e We a t h e r P r o j e c t f u l f i l l s t h e p o t e n t i a l o f b e i n g s o m e t h i n gI t w a s Ts c h u m i w h o s a i d t h a t t h e o n e t h i n g t h a t m a k e s t h e w o r k larger than itself. It deals with a topic that everyone has aof architects ultimately different from the work of philosophers r e l a t i o n t o - t h e w e a t h e r. I n f r o n t o f t h e r i c h l i g h t i n g t h e a u d i e n c ei s m a t e r i a l i t y. E v e n t h o u g h t h i s s t a t e m e n t c a n u n d o u b t e d l y b e becomes a part of the scene. ‘Eliasson has sought to bring adiscussed -how can architecture, constant or ephemeral, small part of London into the building, and through the experience
    • tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientationsand memory of the work, a part of it is taken back out into the Such cartographies are challenges to handle, and at certainc i t y b y t h e v i e w e r. ( t a t e . o rg . u k / e x h i b i t i o n s / m o d e r n / e l i a s s o n / scales they are inevitably becoming massive -the possibilitiesunderstanding). The piece is not limited to the memories and and challenges that come with globalization are immense. Kellerthe experience in the turbine hall. It is informed by members E a s t e r l i n g i s a n a s s o c i a t e p r o f e s s o r a t Ya l e , a r c h i t e c t a n d w r i t e rof the staff at the museum, and it contains a survey of peoples who often deals with these scales, ‘so massive it is sometimesa t t i t u d e s / e x p e c t a t i o n s t o t h e w e a t h e r. T h e s i g n i f i c a n t s i d e o f invisible’ (M. White, Urban Slot Machine, Archinet Features,the project in our regard is how it communicates the dynamic 2006) In Organization Space (1999) and Enduring Innocencef r a m e o f o u r e v e r y d a y l i v e s . T h e w e a t h e r m e d i a t e s t h e c i t y. (2005) Easterling handles geopolitical questions. She worksT h e c i t y m e d i a t e s t h e w e a t h e r. at the nexus between architecture, logistics and organization and there is a clear a political mode of analysis in her way ofT h e t i t l e o f t h i s l e c t u r e i s i n s p i r e d b y Wi l l i a m G i b s o n ’s N o w o r k i n g w i t h a r c h i t e c t u r e . O n e o f E a s t e r l i n g ’s c h a r a c t e r i s t i c sM a p s F o r T h e s e Te r r i t o r i e s , 2 0 0 0 . ‘ Wi t h q u i c k - c u t i m a g e s a n d is how she uses an elegant and inventive vocabulary as a mean toreflections upon the globalized world Gibson sets out en route map spatial qualities in structures/systems that are not usuallyAmerica, and points out that Maps are truly good reminders of considered within the realm of architecture. ‘This way she forgesof how profound the changes have been in the world the last n e w c o n c e p t s a n d w i t h t h e m n e w p o s s i b l e s t r a t e g i e s . ’ ( F. S c o t t ,decades, and these changes tells a great deal about how it is to ‘ D i s p o s i t i o n ’ b y K e l l e r E a s t e r l i n g a t Av e r y H a l l , 2 0 1 0 . ) Wi t hbe human -the only animals that make maps after all.’ (imdb. definitions such as ‘spatial products’ and ‘techniques of power’com) and repositioning infrastructure not merely as some structure between nodes in our lives, but as the underlying techniqueA m o n g s t p o s s i b l e r e f e r e n c e s t o G i b s o n ’s s c r e e n I w a n t t o b r i n g for political organization Easterling works with geopoliticalsome attention to the notion of globalization and the notion questions -ethical and political questions becomes the core ofo f m a p s . To b e c r i t i c a l t o w a r d s t h e m a k i n g o f m a p s i s c r u c i a l what the architect does.for many reasons and we have discussed them throughout thes e m e s t e r. F o r o n e , t h e w a y w e m a k e m a p s d e c i d e h o w w e l o o k u p o n The way of means are countless, so are also the levels ofthe world, and for another, the way we make maps decide which approach.Either way Doreen Massey challenges us to ‘re-alterations we can do to the spaces we have mapped (Catharina imagine spaces for these times and face up to their challenge.’Gabrielsson). One example that elucidates how networking,both in technological terms and as human relations results in adynamic mapping process is Ecosistema Urbano with Stortorgeti n H a m a r. T h e y d e m o n s t r a t e a n o p e n a n d i n c l u d i n g s t r a t e g y f o rthe design of the town square. Through an elaborate networkdesign process common knowledge and interests are constantlybeing remapped and the site has been relocated in the sense thatit is now a hotspot for discussions and engagement possiblyfrom all over the world. The complexity of the network thatembeds the Hamar process is truly a ‘cartography with looseends and ongoing stories.’(D.M, For Space. 20005/2011, p.107)
    • tone megrunn bergetone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations emergingarcticlandscapes.blogspot.com #5 - reorientations NO MAPS FOR THESE TERRITORIES William Gibson, No Maps for t h e s e Te r r i t o r i e s image courtesy: Yo u t u b e
    • tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations THERE ARE NO MAPS FOR THESE TERRRITORIES list of templates clip from documentary film there are no maps for these terrirories Gibson Williams bp3.blogspot, ‘Brenselstaver’ in gallery Mikkel Macalinden, Brenselstaver the sun and the reflective ceiling, the mist and t h e r e a r s i d e o f t h e i n s t a l l a t i o n O a l f u r E l i a s s o n , T h e W e a t h e r P r o j e c t , T AT E Promotional campaign for the weather Project, Practice, UK Pirates, Mikkel Maclinden F o l i e , B e r n a r d Ts c h u m i adiscontinuous building, but a single structure never the less, B e r n h a r d Ts c h u m i s p a t i a l j u x t a p o s i t i o n , B e r n a r d Ts c h u m i p o i n t , l i n e , s u r f a c e , B e r n a r d Ts c h u m i l a b y r i n t h c l a r i t y, A l d o v a n E y c k A quiet night in, Mikkel MAcalinden Improv everywhere, Frozen grand central Keller Easterling, The Double, 1997 Keller Easterling, Sarajevo 2000 Air Tree, Ecosistema Urbano Dream Hamar, Ecosistema Urbano