Calendar

AQUAMARIN.40213 | SHORT VERSION

DRESSING THE CITY AND MY HEAD IS A SHIRT - city intervention by Angie Hiesl + Roland Kaiser

Rachel Whiteread: Shedding Life - Exhibition at Tate Liverpool | Tate

De Appel is a nomadic programming platform.

De Appel

Parallel Stress | Art21 Magazine

"The Sight Station & Kaw Point Park" Finials on the Woodweather Bridge are an unique use of the art-goes-here formula -- it is an example of an "active work". In interacting with it, you are given an instance of reprieve within an overwhelming scale of surroundings. On the other side of the scopes are surprising moments of discovery as part of a history of accounts and mapping found through an extension of the structure itself, which otherwise would have been indifferent towards human interaction.

Public Art - KC Riverfront Heritage Trail

This article points out implications of modularity: "Le Corbusier’s Modulor is an updated version of this masculinist and ableist universalism. The Modulor Man is a healthy white male enhanced by mathematical proportional gimmicks ‘of nature’, such as golden ratio and Fibonacci series. He represents the normative and normalised body around which Le Corbusier conceived his designs. "

'Human, All Too Human': a Critique on the Modulor - Failed Architecture

- a palpable connection to an attempt to re-contextualize the West Bottoms' unique abstraction of vacancy, the outcome could present new precedent for de-abstracting or de-mystifying displacement and perceived vacancy in other areas of the city.
"Ruin production and mainstream-isation has been integral to the preservation of state control over the narrative of the war in Syria. The ruined urban landscapes beneath RT drones have been portrayed as abstract fields of concrete and debris, devoid of human suffering to an extent that no moral reference points of analysis and narration is possible from the perspective of those that are experiencing the ruins and horror of the war with their very own bodies." "To deconstruct and disrupt such aesthetic regimes, photographers, architects, visual artists and urban researchers are equipped with powerful methodologies of resistance. They can de-abstractify and contextualise the ruins in time and space. By tracing, narrating and exposing power relations by means of spatial analysis, contextualisation and counter representation, they have the tools to look closer at the ruins in order to establish the much needed critical, specific and less abstract gaze. Such aesthetic interventions in the space of war can not only help to redefine the ruins as material manifestations of militarised state violence, but also to reveal the state’s political strategies. This challenges the widespread perception of the ruins as ‘natural’ consequences of ‘incomprehensible’ and ‘mystic’ political conflicts in ‘far away lands’."

Aerial Imperialism: Syrian Ruinscapes and Vertical Media - Failed Architecture

Buildings Must Die - Failed Architecture

Silent Fairground

raumlabor " Terrain vague

I am pulling forward some previous blocks as they have become relevant again in relation to our conversations on 7/20/17. - In reaction to the teams resources of trucks and pallets, here are really beautiful examples of appropriation.

Truck Tracks Ruhr

(RE_PURPOSING) Works and projects by Tadashi Kawamata

Liz Glynn | Redling Fine Art

A reminder of the focus from the grant application for this project: "Activity 2: The design process will explore, capture and represent individual characteristics of each site, using more detailed 2D and 3D visualization for a comprehensive design response. The design response will investigate how art, by its own means, can seize the space’s essence and impart it with a sense of collective significance and identity. The design team, artists, and stakeholders will explore various conceptual and programmatic scenarios for the deployment of arts for each individual site across all media. This will determine the critical support infrastructures which will need to be designed to sustain such space developments. The design process will include community design charrettes, public presentation of 3D digital space simulations, and space installation mock ups." It is now imperative that the artists start to define the nature of these sites as platforms for their works.
Infrastructure and post-humanities: maybe it is Pragmatic to recognize the agency of the water (nature).

A New Zealand River Now Has The Legal Rights Of A Human

These bullet points are a map for the research done based on the Site Crits 7/13/17 (see adjacent 22 blocks). Moments of Incremental Urbanism - Leveraging the content of the green infrastructure project for artistic output. The act of collective thinking, reflecting, or questioning as defining or creating a public space. Acknowledging the agency of the site. In understanding the post-natural, we’ve put reference to the Anthropocene, a necessary frame of reference for best practices of urban planning and design. Brief discussion of Chin’s work using memory and physical regrowth in service to remediation of trauma. Incremental Urbanism - Leveraging Surveillance for artistic output. Urban exploration and surveillance. Scalable analogies between local and global. Opensource and public space. Poetics of re-purposed materiality.
In discussing Alexander Bagdanov and "tektology" Wark writes the following: "Rather than unconsciously using metaphors borrowed from authoritarian or exchange relations, the wager of tektology is that it might be possible to construct a kind of low theory whose purpose is to experimentally apply understandings of one process to other quite different processes to see if they can be grasped as analogous. It is a kind of detournement that works "sideways," from field to field, rather than from past to present." Philosophy is a tool to be used, not an end in itself. This lateralization applies to an idea prevalent in my practice for some time - that there is no real end state or resolution, only periodic states of rest. When the frame is around the labor involved, or the USE of the artifact, instead of the object directly, then a sort of "mis-use" is inevitable in reference to original intent. Wark's notion of "tektology" played out in a physical/sculptural langauge. This USE plays out as a system of organization, and Wark points out that this lateralization is a form of substitution, where the organization around one context can be useful for another. "Substitution is a kind of detournement, by which the formal properties of any given activity can become the experiemental template for any other."

Woodfill - Dowell

Woodfill - Dowell

The two blocks from the Review publication are tools for starting a discussion about archaeological layers and general reference for views of urban space and structure. As we continue to discuss ideas about a "platform" design process, we are looking at results seen as emergent properties of this process. These two articles/essays are part of a broader discussion between Jim Woodfill and David Dowell regarding the idea of "incremental urbanism." This stems from real-world opportunities to define and express broader planning goals through periodic, long term and incremental opportunities to build small projects.
The Stillness in Motion and Time Foam projects by Tomas Saraceno (see adjacent blocks) are examples of a conversation of curvature, or "a translation of curvature" in relation to vectors in Miranda's works.

ON SPACE TIME FOAM - Projects - Tomás Saraceno

Stillness in Motion - Cloud Cities - Projects - Tomás Saraceno

Stephanie Syjuco's FREE TEXTS: An Open Source Reading Room

When Pixels Collide

Exhausting a Crowd by Kyle Mcdonald

Terrapattern uses satellite imagery to build analogous connections between disparate sites using shapes or pattern from google maps.

Terrapattern

System Azure by Jill Magid

Both of Chin's works (see adjacent blocks) are ideas for remediation of trauma -- one using memory and the other physical re-growth.

Revival Field by Mel Chin

Ghost by Mel Chin

The Anthropocene Project

Stay Alive by Jeffrey Michael Austin

Hirschhorn's says the site isn't an interactive piece (see previous block), but "an active work whose activity never ceases...(the activity of thinking)". While he is working with creating public space inside institutional contexts, it's still experimentation with the idea of public space and possession -- like in relation to what Carmen calls the "coffee shop ideal".

Thomas Hirschhorn's flamme eternelle in paris' palais de tokyo

Urban Experimental Plumbing by Adrian Lohmueller

The Resilient-Self System by Adrian Lohmueller

11 Solar Projects Impacting the Developing World

US EPA's Green Infrastructure Elements

HNTB for Green Infrastructure

Sebastian Marbacher

Gödel's incompleteness theorems - Wikipedia

Sky Ear

Policy Link: Change through the Arts

Julie Schenkleberg

We need to talk about an injustice...

Architecture and the Border Wall: A Call for Collective Action

East Side Development

Border in Motion - Marcin Dudek

2014 GIA CONFERENCE: Rick Lowe and Roberto Bedoya in Conversation

Placemaking and the Politics of Belonging and Dis-belonging

Media - WonderRoot

Daniel Buren LE VENT SOUFFLE OÙ IL VEUT

The Tate Modern and the Battle for London's Soul

About the wareHOUSE- Atlanta Art Gallery

About ioby | ioby

Up Close: Buildings Seeking Art

HOW DO WE DEFINE OR ACKNOWLEDGE THE AGENCY OF THE WEST BOTTOMS? HOW DO WE SEE THE LAYERS THAT ACT ON US?
I'm reading a book titled "after nature" and this all also points to latour's compositionist manifesto. The mindset requires a bit of a voyeuristic position when operating in public space. It also suggests that we are participating in a larger system, and authorship (or composition) is in collaboration with site. And site is defined beyond just human involvement. They are talking about acknowledging the agency that the mountains have in the process of "giving our bodies back." This is precisely the idea of kinetics that involves the shifting relationship between ME as an observer and the agency of the urban environment's ability to continually re-define my status. This agency assignment requires an abstracted view of a larger consciousness or system of being - a larger composition than myself. By acknowledging that I am operating INSIDE OF a larger system, I am in fact operating outside of that system (I have to be in order to see it - see Godel's theorem).

Artist talk: Olafur Eliasson & Timothy Morton, Moderna Museet/ArkDes

Fog assembly * Artwork * Studio Olafur Eliasson

12-1-16 As we were talking today about infrastructure and the upgrades to the sewer systems that would take place, I thought of the Color jam Stockholder piece that you posted, and I added a Peter Halley painting. I am thinking of mapping systems in the West Bottoms that could indicate structural connectivity.

Jessica Stockholder's Color Jam in Houston

Peter Halley

raumlabor " Spacebuster

Pop-Up City!!!! - many blogs

How to build a better block: Jason Roberts at TEDxOU

CreativePlacemaking-Paper.pdf

Leandro-Elrich_Dalston-House.jpg

Janet Echelman, As If It Were Already Here in Boston

Station to Station

smoke-bomb-by-olaf-breuning.jpg

Fischli/Weiss: Rock on Top of Another Rock

Sebastian Marbacher

In Their Own Words: Forest Houses Residents Consider the Gramsci Monument

How to Hack an Abstraction: Google Warhol | 09.27.2014

Could you put together about a page worth of narrative about some of the smaller scale projects and how you see them interacting with the community and environment? How does scale give or limit accessibility to the work?

Union-Avenue-1.jpg

The New York City Waterfalls: Cascades, Sing the City Energetic

150601_brochure_small.pdf

Carnets de chantier

The Evolving Urban Form: The Rhine-Ruhr (Essen-Düsseldorf)

Rimini Protokoll - Call Cutta

Failed Architecture - Researching urban failure

Failed Architecture Workshop | Urban School Ruhr

Urbane Kunste Ruhr

Atelier / TRANS305 (phase 2)

marbre d'ici

Marbre d'ici - art, recycling and public space - ArtCOP21

Sans Facon website

Shabbyshabby Apartments by raumlaborberlin

a-frames.jpg

How do these blocks start to frame our discussion? Are these references direct tools of any kind?
Sandback's work is a formal example of a minimal intervention into space -- see description. Walter De Maria's piece is a good formal example of using the measurement of space as an aesthetic experience. B.wurtz's piece is an example of simple and elegant monumentalized detritus.

Fred Sandback - Untitled (Sculptural Study/Two-part Construction 1974-2013 - Lesson Gallery

Mel Bochner - Compass

Walter De Maria - Broken Kilometer 1979

B.wurtz at White Flag Gallery

Making good the gallery space

Where Do Housing Development Tax-credits Actually Go?

Blue/Presentation Imperative

This research site is being maintained by Annie Woodfill in conjunction with Union Office.

An Attempt at a "Compositionist Manifesto" by Latour