ARCHITECTURE+PHILOSOPHY
2010
FEBRUARY
Architecture+Philosophy and Experimenta present:
The
Nauru Elegies: A Portrait in Sound and Hypsographic Architecture
Annie K. Kwon
6:00pm
Tuesday, 16 February
RMIT 8.11.68 (Bldg 8, 360 Swanston St. Level 11, lecture theatre
68, to the right of the lifts)
EXHIBITION:
THE NAURU ELEGIES PROJECT
By Paul Miller (DJ Spooky) and Annie K. Kwon
Utopia Now: International Biennial of Media Art
a project of EXPERIMENTA
Blindside, Level 7, Room 14, Nicholas Building, 37 Swanston Street
from February 19 to March 6, 10am-5pm
www.experimenta.org
The Nauru Elegies
is a multi-media portrait through the approach of an architect and
composer. The Republic of Nauru is a small island in the South Pacific
Ocean. With a land surface of just 21km², it is the world's
smallest independent state and at its core, represents a place at
the most remote extreme of the planet. Its seemingly utopic geography
and landscape stages a dystopic economy and society. Investigation
is based on on-site research of the subject, the island-nation of
Nauru. The portrait reclaims a new architecture within local hypsographic
territory at a culmination of global currents and posits a deep
structural connection between digital media, landscape, and new
forms of compositional strategies based on the "de-territorialized"
aesthetics of a world economy that mirrors the geopolitical tensions
of the early 21st century.
Polyphonic issues
include matters of ecology and raw material (phosphate), geo-political
history, virtual banking and economic corruption, global climate
issues and information networks. Architectural structures and sound
compositions are formed by scripts embedded in this landscape of
erasure. The Nauru Elegies unveils a heterotopic, remote island
at the core of modern life through visual and invisible flows and
patterns.
The poet Goethe
once wrote: “architecture is nothing but frozen music.”
The Nauru Elegies asks how does one create a landscape portrait
of an island in sound, architecture, and above all – digital
information?
ANNIE
K. KWON (b. 1977, Portland, USA, lives and works New York, USA)
is an architect and artist who was a head designer with Skidmore
Owings and Merrill in New York and EMBT in Barcelona. Her most recent
projects as the founder of Kwonix are the design and construction
of James Turrell’s studio in New York City and the scenography
design for the Merce Cunningham Dance Company. Her work has been
featured in A+U: Tall Buildings and Abstract of Columbia University.
She is a professor at Pratt Institute and Parsons School of Design
and curator of contemporary architecture + performance in New York
and Seoul.
www.kwonix.com
The
Nauru Elegies: A Portrait in Sound and Hypsographic Architecture
A project of
EXPERIMENTA Utopia Now: International Biennial of Media
Art
Blindside, Level 7, Room 14, Nicholas Building, 37 Swanston Street
from February 19 to March 6, 10am-5pm
www.experimenta.org
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MARCH
Trauma
within the Walls:
Notes towards a Philosophy of the City
Prof Andrew Benjamin FAHA
6:30pm Thursday, 25 March 2010 in RMIT
8.11.68
(Building 8, 360 Swanston St. Level 11, lecture theatre
68, to the right of the lifts)
ANDREW
BENJAMIN is Professor of Critical Theory and Philosophical Aesthetics
at Monash University where he is also Director of the Research Unit
in European Philosophy. His most recent books are Of Jews and
Animals Edinburgh University Press 2010 and Writing Art
and Architecture
Re.press (2010).
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APRIL
ACTIONS
TOWARDS IMAGINARY MONUMENTS
Tom Nicholson
6:30pm Thursday, 29 April 2010 in RMIT
8.11.68
(Building 8, 360 Swanston St. Level 11, lecture theatre 68, to the
right of the lifts)
Tom Nicholson
presents a discussion about three works made over a ten-year period,
focussing on how we might activate archival material, the relations
between actions and their traces, and imaginary spaces of commemoration.
TOM
NICHOLSON is an artist who lives and works in Melbourne. He
has worked with archival material and the visual languages of politics
and propaganda, often using public actions and focusing on the relationship
between actions and their traces. He is part of the current Auckland
Triennial, Last Ride in a Hot Air Balloon, and was included
in the 2006 Biennale of Sydney, as well as group shows such as Animism,
at Extra City and MUHKA, Antwerp earlier this year; Since we
last spoke about monuments, at Stroom Den Haag in 2008; System
Error at Palazzo delle Papesse in Siena in 2007; Transversa
at Galeria Metropolitana in Santiago, Chile in 2006. Camp Pell Lecture,
his collaboration with the writer and historian Tony Birch, was
recently shown at Artspace in Sydney. His collaboration with the
NY-based composer Andrew Byrne was most recently performed in Venice
in 2009 by the Italian contemporary music ensemble L’Arsenale.
He is represented by Anna Schwartz Gallery, and is a Lecturer in
Drawing in the Faculty of Art & Design at Monash University.
www.tomn.net
[top]
MAY
Listening
and silence in the built environment
Lauren Brown
6:30pm Thursday, 27 May 2010 in RMIT 8.11.68
(Building 8, 360 Swanston St. Level 11, lecture theatre 68, to the
right of the lifts)
Following her
Masters research into sound in the public realm, Lauren will be
discussing the act of listening, the changing spaces for quiet and
the unchanging need for contemplation in the built environment.
Looking at natural, urban and technospaces like the grotto, the
cloister, the autobahn and the set of headphones, Lauren will unpack
the nature of sound in the public realm and how we listen in contemporary
cities. Lauren’s project-based work is influenced by conceptual
and installation art practice. Based in Melbourne and (soon to be)
Berlin, she is a recent Masters graduate from the RMIT Art in Public
Space program. Lauren has recently exhibited tangled headphones
at Seventh Gallery, developed sound jewellery work for the 2010
L’Oréal Melbourne Fashion Festival, participated in
Electrofringe ’09 wearing mobile architecture and stood on
street corners listening to trams for hours. Lauren is also responsible
for the not-so-mature arts blog she
sees red.
LAUREN
BROWN is a Melbourne-based installation artist. Her MA project
Who could resist the temptation of those dainty headphones?
investigates sound in the public space. Past research projects include
Cone of silence, Emergency dance zones and Listening
and dancing to the city.
[top]
JUNE
Prof.
Jane Rendell
May Mo(u)rn
6:30pm Thursday, 10 June 2010 in RMIT 8.11.68
(Building 8, 360 Swanston St. Level 11, lecture theatre 68, to the
right of the lifts)
May Mo(u)rn
is a site-writing which takes a collection of abandoned black and
white photographs of modernist architectural icons found in a derelict
arts and crafts house called 'May Morn' as a starting point for
a discussion of the modernist project and its socialist ideals.
Morn and mourn are homonyms, one suggests a beginning, the other
an ending. Morning begins the day, while mourning – in grieving
the loss of something or someone – marks an ending. Due to
their deteriorating material states, the May Morn house and the
paper of the photographs point towards their own disintegration
– or endings, yet the buildings contained within the photographs
are shown at the beginning of their life. What does it mean, now,
to turn back and examine these icons of modernism at an early moment
– a spring time – when hope for a better future was
not viewed as a naïvely misjudged optimism. This text-image
work interweaves images, prose pieces and critical discussions of
works by artists such as Elina Brotherus's Spring (2001)
and Rut Blees' Luxemburg London: A Modernist Project (1997)
to reflect on London's post war social housing projects as lost
utopian dreams and contemporary ideals yet worth striving for, in
so doing the work explores the spatial temporality of longing –
juxtaposing not only resurgence and decay, but also the siting a
fascination with the backwards gaze of nostalgia in relation to
anticipation as a yearning forward rather than backward.
JANE RENDELL
BA (Hons), Dip Arch, MSc, PhD, is an architectural designer and
historian, art critic and writer, her work has explored various
interdisciplinary intersections: feminist theory and architectural
history, fine art and architectural design, autobiographical writing
and criticism. She is author of Site-Writing: The Architecture
of Art Criticism (forthcoming 2010), Art and Architecture
(2006), The Pursuit of Pleasure (2002) and co-editor of
Pattern (2007), Critical Architecture (2007),
Spatial Imagination (2005), The Unknown City (2001),
Intersections (2000), Gender Space Architecture
(1999) and Strangely Familiar (1995). She has been invited
to write about artists such as Jananne Al Ani, Daniel Arsham, Bik
Van Der Pol, Nathan, Tracey Moffat, Adriana Varejão, and
the Tracey Moffatt, Adriana Varejão, and the Estonian Pipe
Line project exhibited at the Venice Architecture Biennale 2008.
Her talks and texts have been commissioned by galleries such as
the Baltic, Gallerie Emmanuel Perotin, the Hayward, the Kunstmuseet
Koge Skitsesamling, Kunstmuseum Thon, the Serpentine, the Tate,
the Wapping Project and the Whitechapel.
[top]
[top]
6:30pm
Thursday, 22 July 2010
RMIT 8.11.68 (Bldg 8, 360 Swanston St. Level 11, lecture theatre
68, to the right of the lifts)
Every day you
change your city in the ways you traverse, occupy, engage with or
otherwise ignore its various spaces. Architecture+Philosophy presents
a panel of practitioners who have designed ways in which to engage
with your own city as though for the first time. Come and play.
Facilitated
by Esther Anatolitis, the presentation and discussion session will
include:
- Jason
Maling: Jason has guided people towards publicly spanking
each other on the original site of Lords Cricket Ground, bloodied
his knees in penance on the streets of London and used sharp sticks
to remap cities in France. He once ranted his way through most
of the ruined Abbeys of rural England, and harnessed artists for
public transport in Melbourne. Jason designs systems for shifting
locations and social settings where the work becomes a collaboratively
mediated tool. Often using the structure of games, the roles of
players and the rules of play continually evolve through individual
and collective expressions of what is ‘allowed’. People
enter and exit the systems as they choose, some becoming involved
with projects over long periods of time. For Maling the live experience
is a negotiation over the public necessity of each work. Can it
exist here? Who wants it? What does it mean to them? When is it
time to leave?
- Ian
Woodcock,
Research Fellow in Urban Design at the University of Melbourne,
will be speaking about en route, a pedestrian-based
live art event on the streets of your city in which the private
and the public, imaginal and concrete, intersect and overlap.
Setting out on foot with an ipod and mobile phone, participants
are guided through laneways, streets, shops, cafés, listening
to audio-snatches – musings, narratives, playlists –
that intertwine with wandering, observation and (found) experiences.
en route engages with the spontaneous choreography of the city
as streetscapes and passers-by become the site onto which participants’
own personal cinema is projected. Winner of the 2009 Melbourne
Fringe Festival Best Live Art Award, the 2010 Adelaide Fringe
Festival Touring Award, and two 2010 Green Room Awards. By the
Betty Booke. Conceived by Julian Rickert, with artists Suzanne
Kersten, Clair Korobacz and Paul Moir.
[top]
AUGUST
The
look of the architect
Naomi Stead
6:30pm
Thursday, 19 August
RMIT 8.11.68 (Bldg 8, 360 Swanston St. Level 11, lecture theatre
68, to the right of the lifts)
Do architects
really wear black? This was one of the questions that Dr Sandra
Kaji-O’Grady, Dr Kate Sweetapple and myself set out to answer
with our visual research project Documentation: The Visual Sociology
of Architects. Partly we were working in response to the 2009
exhibition Portraits and Architecture at the National Portrait
Gallery in Canberra, which raised many questions about the construction
and maintenance of the creative persona and the ‘look’
of the architect. We were also interested in the professional status
of women in Australian architecture – the fact that, though
numerous and highly successful, women architects tend to be less
‘visible’ in the public domain than their male counterparts.
And we were interested in how the architectural persona is reflected
in narrative film – that parade of glamorous, sensitive and
well-dressed (usually male) romantic leads who never seem to do
any actual work. The various myths and stereotypes that surround
the persona of the architect are often comical. They are also almost
always exclusionary. But they are valid objects of cultural analysis
in themselves, as the scholarly fields of sociology and cultural
studies clearly show. Even as architectural theorists might work
to deconstruct the pervasive myths of architectural authorship,
the world at large is loath to let them go. It is clear that representations
of architects in popular culture provide a barometer of what the
world wants to believe about architects and architecture, regardless
of the actualities of the discipline and the profession.
The growing
field of visual studies has often been criticised for its apparent
superficiality. But architects, of all people, should understand
the value and meaning of the façade and, as Oscar Wilde wrote,
“it is only shallow people who do not judge by appearances.”
Even in the early stages of analysing the image archive collected
through the Documentation project, it is clear that the
vast majority of people photographed were not wearing black, just
as the group was strikingly diverse in age, ethnicity, gender and
fashion expression.
In this presentation
I will draw upon the Documentation project, as well as
my earlier work on the representation of architectural authorship
in documentary film, to examine the image construction of the creative
professional, as amplified through popular culture.
DR NAOMI STEAD
is a Research Fellow in the ATCH (Architecture | Theory | Criticism
| History) Research Group in the School of Architecture at the University
of Queensland. Her scholarly work has been published in anthologies
such as Critical Architecture (Jane Rendell et al. eds,
Routledge, London, 2007), Architecture and Authorship (Katja
Grillner et al. eds, Black Dog, London, 2007) and Architecture,
Disciplinarity and Art (Andrew Leach and John Macarthur eds,
A & S Books, Ghent, 2009). She has been published in journals
including the Journal of Architecture, OASE, Performance
Research, and JAS: the Journal of Australian Studies.
Naomi also maintains a number of 'para-academic' writing, exhibition,
and art projects. These include the 2009 exhibition Mapping
Sydney: Experimental Cartography and the Imagined City and
its accompanying catalogue; a Visual Sociology of the Australian
architecture profession; and an ongoing writing collaboration with
Katrina Schlunke. She is widely published as an art and architectural
critic, writing regularly for Architecture Australia (of
which she is a contributing editor), Architectural Review Australia,
Monument, Artichoke, and [Inside]. In 2008 she
was awarded the Adrian Ashton Prize for architectural writing by
the NSW chapter of the Australian Institute of Architects.
[top]
SEPTEMBER
AUS
– MX2010 Mexican Contemporary Architecture
Luby Springall
6:30pm Friday, 10 September 2010 in RMIT
8.11.68
Note that this session is scheduled
for Friday, not Thursday
(Building 8, 360 Swanston St. Level 11, lecture theatre 68, to the
right of the lifts)
In
this year Mexico is celebrating 200 years of independence. Many
exhibitions and celebrations are taking place, both in Mexico and
abroad. These events are very important because they open the space
for reflection and make us think about what we have been doing in
the last years. This exhibition and lecture shows the work of 20
young and middle-aged architects working in different scales and
programmes, from small houses to urban planning in different cities
of the country. Many questions rise after analyzing these projects:
have we found our own specificity?; until which point Architecture
and Urban Planning can rescue cities like Ciudad Juarez where political,
social and economical issues have taken the city to the limit of
inhabitability; how should places like Xochimilco be rescued and
recovered from invasive settlements that are destroying the site?
LUBY SPRINGALL is a Mexican architect by the Iberoamericana University,
Mexico 1982; she obtained two certifications in Painting by the
Royal College of Art, London, 1995 and 1999; and obtained a diploma
by the ITAM of Development and Finance of Real State, 2000. From
1990 to 2003 she was partner of Springall + Lira and in 1998 was
awarded with the Silver Medal at the V Biennale of Mexican Architecture.
In 2003 she and Julio Gaeta founded the firm Gaeta Springall arquitectos
and since then it has been working in the design of public and private
projects in housing, health, education, culture, landscape and master
plan. During the last five years the firm has participated in fifteen
architectural and urban competitions and has won seven first positions.
In the 2004 and 2008 editions of Mexican Biennale of Architecture
obtained honor mentions for the Casa-Taller GS and 4 Houses. Their
projects have been published in different architectural magazines
and books in America as well as in Europe and have been part of
several exhibitions: Sao Paolo Biennale of Architecture in 2005;
Biennale of Venice in 2008; Panoramic of Uruguayan Architecture,
Sao Paolo-Montevideo 2009; Contemporary Uruguayan Architecture,
Barcelona – Montevideo 2010; and the Mexican Contemporary
Architecture in Melbourne 2010. Since 2007 she runs a design workshop
at the Iberoamericana University. As an artist she has had five
individual and eight collective exhibitions in Mexico, London and
Canada.
In 2003 she received the grant by FONCA – CONACULTA for the
Artistic Residency at the Banff Center for the Arts, Banff, Canada.
OCTOBER
Quilting
the striated
Dr Janet McGraw and Naomi Tootell
6:30pm
Thursday, 14 October
RMIT 8.11.68 (Bldg 8, 360 Swanston St. Level 11, lecture theatre
68, to the right of the lifts)
Early colonial
settlement of Australia was predicated on a belief that the continent
was a “terra nullius” – a land belonging to no-one.
Although Aboriginal people populated the land, their apparently
fluid and nomadic ways and lack of obvious building practice suggested
no fixed ties to place to European colonisers familiar with gridded
cities, property boundaries and western building practices. In his
spatial history of early Melbourne, Frank Vitelli argues that Hoddle’s
grid was “the means by which the settler colonial society
established, legitimised and grounded their presence and simultaneously
masked and concealed an earlier presence.” Striation of the
land, regardless of topography and geology, into a grid of streets
and property boundaries proceeded first, quickly followed by the
erection of monuments to a foreign imperial presence. But, he argues
through careful research, “White man’s monumental, epic
sacred site was already someone else’s sacred site.”
It wasn’t
until Norman Tindale mapped the Aboriginal language group boundaries
in 1974, that this myth of terra nullius was first challenged and
not until 1992, with Mabo, that it was overturned in the courts.
Paul Memmott’s seminal book Gunya Goondie and Wurley, published
as recently as 2007, is the first to document the rich and varied
system of territorial occupation by Aboriginal people around the
continent. Defined territorial boundaries to the ‘country’
of different clans, archaeological evidence of heritage sites, such
as the Lake Condah stone huts and fish traps in Western Victoria,
and traditional practices of possum skin cloak making (a kind of
territorial mapping), suggest that prior to colonisation, Aboriginal
people had their own systems of striation of the land.
Deleuze and
Guattari suggest that a complex relationship exists between operations
that “striate” space and those that “smooth”
it, the former seeking control and order, the latter acting to deterritorialise.
The smooth is the space of the Nomad, fluid, a line of flight, they
argue, while "the city is the striated par excellence".
In the case of Melbourne, however, it could be argued that it is
the act of physical striation by settlers that deterritorialises
Aboriginal presence. Furthermore, Aboriginal placemaking operations
were not simply smooth; their striations were less visible but equally
organising.
Although interested
in multiplicities and complexities rather than
binary distinctions, Deleuze and Guattari focus on comparing these
opposites rather than the “defacto mixes, the passages from
one to the other” that they assert more accurately reflect
reality. This paper will interrogate the complex interrelations
of the smooth and striated in Aboriginal place-making practices
in light of new knowledge of ancient Aboriginal occupation of the
land, post-colonial acts of resistance and traditional cultural
practices, such as the quilting and inscription of possum skins,
that seem to be both striated and smooth operations. This research
is part of a current body of work underway on an ARC Linkage Grant,
Indigenous Placemaking in Melbourne, with Melbourne City Council
Indigenous Arts Program, the Victorian Traditional Owners Land Justice
Group and Reconciliation Victoria. Its aim is to advance the concept
of a gathering place and cultural centre in Melbourne for Aboriginals
from around the state and to research the placemaking practices
that might inform it.
JANET McGRAW
and NAOMI TOOTELL will be presenting this research. Janet is a senior
lecturer in architectural design and practice at the University
of Melbourne is a chief investigator practicing architect and creative
researcher. Naomi Tootell, currently doing a PhD on the role of
the non-indigenous collaborator on creative projects with Aboriginal
people, is a Research Assistant on the grant. The research team
includes Emily Potter, a cultural theorist at Deakin University,
Anoma Pieris, an architectural historian at the University of Melbourne,
and Graham Brawn, Emeritus Professor and architectural practitioner.
Research assistant Carolynne Baker, currently working on a PhD on
Indigenous Cultural Centres, adds further depth. Our methodologies
are therefore multiple and dialogic, taking in history, cultural
theory and creative collaborative research.
[top]
OCTOBER
How
to gesture like an architect
Inger Mewburn
6:30pm
Thursday, 28 October
RMIT 8.11.68 (Bldg 8, 360 Swanston St. Level 11, lecture theatre
68, to the right of the lifts)
Inger will
present findings from a 3-year observational study of architectural
design teachers and students in action. The study set out to replicate
Schon's seminal architectural education from the 1980s. It became
clear as the work progressed that gesture was playing a pivotal
role in design activity.
Gesture has
been largely ignored by design studio researchers, perhaps because
it seems to operate below the threshold of conscious awareness.
When studied in detail, however, ongoing design studio activity
is found to rely on the intelligibility of gesture done in ‘architectural
ways.’ This presentation will tease out these architectural
ways of gesturing and ponder on the implications.
Despite the
fact that most of the data collected explored facets of
human behaviour, the findings trouble the idea of the human as being
at the centre of the action by putting the bodies of teachers and
students amongst a crowd of non human others who make design knowledge
– and design knowing – together.
INGER MEWBURN
holds a PhD from the University of Melbourne (2009), a Masters of
Architecture (by research thesis) from RMIT (2005), a Bachelor of
Architecture (Hons) (1997) from RMIT University. She
worked in architectural practice for 8 years before becoming a full
time academic, working in diverse areas including architectural
design, theory, communications and research methods. Her architectural
rendering and interactive digital art work has appeared in magazines
and exhibitions around the world. Currently
Inger is a Research Fellow in the School of Graduate Research (SGR)
where she co-ordinates the On Track workshop program for research
candidates, conducts research in the field of doctoral education
and authors the Thesis Whisperer blog.
[top]
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ARCHITECTURE+PHILOSOPHY
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issues in the productive overlap between the two disciplines.
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