Close, Closer ı 2013 Lisbon Architecture Triennial : Reinventing architecture's agency

My apology for being very unproductive these last weeks since I am particularly busy with projects in which I'm directly or indirectly involved including the interview with Neeraj Bhatia (here and here) which, as I wrote in a previous post, may go to another platform. Again, when official, I will let you know where and when to read the interview. However, I may post not-selected questions/responses in this blog.
Another project on which I am working is my first guest-posting but again I may content merely with posting abstracts as I'm thinking of publishing them. If so, this will be by 2014.


Last week-end I was in Lisbon for the triennial whose theme is Close, Closer. This was my first-ever trip to Lisbon, a very beautiful European city with its port, its very lively streets, and colored buildings, and its famous tramway.

The Lisbon Architecture Triennial has been founded in 2007. For this third edition, the committee has elected as Artistic Director a young and notable British curator Beatrice Galilee who has co-curated the Gwangju Design Biennial 2011 with Helen Hejung Choi. For this Triennial, she teamed up with three curators Liam Young, co-founder of Tomorrow Thoughts TodayUnknown Fields Division and Under Tomorrow Sky, Mariana Pestana and José Esparza Chong Cuy, and co-curator Dani Admiss. The curatorial team's aim was to draw on a political manifesto that claims that a new form, (rather new forms), of architecture practice is emerging out. Of what? The 21st century? Multifaceted crises? As the curatorial team states, Close, Closer tackles "the political, technological, emotional, institutional, and critical forms of global spatial practice." At issue is new forms of practice. New forms of practice, still stammering but seething, still fragile but resolute (see here and here).

Close, Closer is presented as "an intense and multiple debate network on 'what architecture can be,'" says José Mateus, Chairman, also founding Director of José Mateus Arquitecto at a moment when Portugal, but many European countries a well, is struggling against a profound economic and identity crisis. Seven months or so ago, I interviewed the curatorial team for a first look at the curatorial content, strategies — even at a primary stage — and goals behind Close, Closer. Remember the website. The curatorial team regularly posted new questions about what architecture could be: What else can architecture do? When does produce architecture? What answers should architecture be giving today?, and so forth. This website, particularly dynamic since based on a participative mode, invited us to reply to these questions, be you architect or not. Beatrice Galilee said that:
The premise of this event is not to give answers, but to position questions about the condition of architectural practice today. These questions — pregnant with meaning or innocent in their simplicity — contain both a statement and a call to action. They resonate on a public stage beyond traditional discourse in order to find their way to a conversation between disciplines of culture and structures of real power.
The theme — a generation of young architects in the face of an ever-changing world— reveals architecture's position today.
This, the third Lisbon Architecture Triennale, has been commissioned and procured in the midst of the yo-yoing economic fortunes of a faltering Eurozone country where, currently, unemployment for graduates stands at 40%. This is the generation of young architects who may ask themselves if they should be designing the architecture of networks and systems, of societies or conversations, rather than buildings.
What interested me in this third edition is the curatorial function of architecture, how architecture can tackle these complex, multi-faceted issues within curating, or what position, role or function curating can play within the architectural apparatus. At stake is the potentiality that curating can offer to architecture in going out of its ivory tower, just as some of the participants of Close, Closer said, to push the architectural practice to be more engaged with the world from the smallest scale to the extra-largest scale. For that matter, I decided to focus on one of the exhibitions programmed there, namely Future Perfect. I will profit from this occasion to discuss the contingent trait of architecture.

As an evidence what is at issue, albeit partly, in this third edition, at least in accordance with my interest, is the relationship of the architect and his discipline, and, beyond this, the world. A unquestionable fact: The architect cannot content merely with the scale of building, or, to push further, the very act of building. On one hand, the architect is now extending his skillness in operating at a larger system — not necessarily the scale of the city, but that of the regional, the territory, the planetary — I'm speaking of infrastructure. On the other hand, the architect, more politically-engaged, uses other forms of practice, that is to say, curating, writing and publishing. Although many of them do not build, their influence on architecture is strong. Other build but use these extra activities as a means of leveraging their built projects. But what is common is that they aim to repurpose the architectural practice.

An example, present in Close, CloserAndrés Jaque and his firm the Office for Political Innovation, for instance, examines "the potential of post-foundational politics and symmetrical approaches to the sociology of technology to rethink architectural practices," as he states in his website. He participated in a three-day event 'Super Power of Ten' at the Triennial including two talks 'Radical Pedagogies: A conversation', and 'Phaidon Atlas Talks'. He also took part in 'Definition Series/OLD: from elderly to lateness' at Storefront IS Lisbon, a project curated by New York-Based Storefront for Art and Architecture, which was also part of Close, Closer. The list of the participants is long. And you should have been there at the opening days to profit from the program: exhibitions, talks, performances, etc.

For those who couldn't be present, other events were scheduled within these four months including Spatial Agency composed of Jeremy Till, Tatjana Schneider, and Nishat Awan, who curated a two-day event (17-20 October), The Institute for Radical Spatial Education, an event part of the Institute Effect. The event's ambition was to re-imagine professional and pedagogical agendas for architecture through a series of 'actions' that will alter the space within the gallery and beyond, the curators said. If you have read Jeremy Till's Architecture Depends, you certainly are familiar with the purpose of this event. In his book, he defends a new contingently educational methodology for a better — or real — engagement of architecture with the uncertainties of the world.

Not far away from Spatial Agency was Design as Politics, another two-day event (20-23 November) curated by Wouter Vanstiphout and Marta Relats. The event is declined as an exhibition "of the work undertaken at the institute and through a series of talks." The participants were invited to vote in the line of participative exhibitions.

I decided not to attend the opening week despite the fact that a large number of events were scheduled in September. I decided to go to the Triennial the last week.
Future Perfect ı Close, Closer, 2013, Image credit: ULGC, 2013
Future Perfect ı Close, Closer 2013. Image credits: ULGC 2013

Which brings me to one of the strongest points. Of great interest, indeed, was Future Perfect, an installation curated by Liam Young with a large panel of contributors, mostly scientists, technologists, designers, artists and science fiction authors, including Rachel Armstrong, Marshmallow Laser FeastBruce Sterling, Bart Hess, Tim Maly, Cohen van BalenFactory Fifteen, and Warren Ellis, among others. As the curator presents
Future Perfect ı Close, Closer, 2013. Image credit: ULGC 2013.

Emerging in the shadows of the decaying towers of a post-oil Dubai, geo-engineered by climatologists and influenced by the imminent economic boom of the Indian subcontinent it is a terraformed urban island. A city is grown rather than built, a creature, living, breathing and computing, a seething ecology that has become a new metropolitan megaform. A speculative urbanism, an exaggerated present, where we can explore the wonders and possibilities of emerging biological and technological research and envision the possible worlds we may want to build for ourselves. For the future is not something that washes over us like water, it is a place we must actively shape and define. Through fictions we share ideas and we chronicle our hopes and fears, our deepest anxieties and our wildest fantasies. Spend time in the districts, read the fictions of those who live there, meet friends and strangers, listen to their stories and share their lives. Some of us will be swept up in what the city could be, others will be reserved and look on with caution. We have not walked these streets before, what things may come, in a Future Perfect.
More explicitly,
Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013

Future Perfect is trying to present a vision of the future that is somehow ambiguous. I don't think it is completely utopian or positive, but neither is a classical dystopian vision of the future with dark skies and endless rain. It is somewhere in between. Right now we are in a really interesting moment where there are so many unknowns about the future: biotechnology, climate change, failing economies. All these things are massive issues, which as a culture we just don't know how to deal with.
We began the projects with a think tank of scientists, technologists and futurists — these individuals are actually in the process right now of making the future. They are in labs and in companies and are building the things that we are going to be faced with in the next 20 or 30 years. And I think engaging them is a really unique thing to be doing — putting them in direct collaboration with artists, designers and visualizers, to communicate those ideas broadly. We have created an entire fictional world with all the subtleties of a real city, with characters and stories that describe their lives. This is an imaginary place but it is built out of the cutting edge research that is happening right now in places such as MIT Media Lab, or in the bio labs of Michigan University, a leading proponent of biotechnology, where extraordinary world class coders, digital artists and scripters are working. These practitioners, industries, companies and universities, are really shaping what our cities are going to be.
Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013

The installation was housed in the Museu Da Electricidade (the Museum of Electricity) occupying two spaces. In the first space, two installations: a Quarantine zone composed of lightning, and a model of a speculative, terraformed, land or decaying city. In the second room a large installation composed of five zones including The Looms, The Wilds (a forest including a video installation), the Supercomputer, The Garment District (prosthetic bodies), and The Lookout (a video installation).
And Nowhere a Shadow | Cohen van Balen | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013

The common denominator of these speculative projects lies in the transformation of the individual body, or the collective bodies (the city) in the face of emerging technologies, climate change, ecological and economic crisis. How can human beings adapt to this transformation?
And Nowhere A shadow | Cohen van Balen | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013
For the youth tribes of Future Perfect the body is a site for adaptation, augmentation and experimentation. They celebrate the corruption of the body data by moulding within their costumery all the imperfections of a decaying scan file. Shimmering in the exhibition landscape is a network of geometric reflective pools of molten wax. Their mirrored surface is broken by a body, suspended from a robotic harness, plunging into the liquid. A crust of wax crystallises around its curves and folds, growing architectural forms, layer by layer, like a 3D printer drawing directly onto the skin. Slowly the body emerges, encased in a dripping wet readymade prosthetic. It is a physical glitch, a manifestation of corrupt data in motion, a digital artefact. They hang from hooks like a collection of strange beasts and frozen avatars. Body prints, imperfect and distorted and always utterly unique.

Chupan Chupai, a film produced by British Factory Fifteen, showed a group of children playing, running around the city. As Jonathan Gales and Paul Nichols, co-founders of Factory Fifteen, stated: "through their play the children discover how to hack the city, opening up a cavernous network of hidden and forgotten spaces, behind the scenes of everyday streets."
Chupan Chupai | Factory Fifteen | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013
One may be attracted by the color of the images: yellow, blue, red, orange, green in contrast with brownish-colored buildings unfolding the fast-urbanization of the Indian society that will absorb tradition… or human contingency.
Chupan Chupai | Factory Fifteen | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013
Watching this film, I was reminded of Zygmut Bauman's Wasted Lives: Modernity and its Outcasts, in particular this sentence "the birth of the new requires the death of the old." The children are innocently confronted with "an emerging technology and economic superpower." Put it simply, they are facing or will be swallowed by the machine, the interlinked facets of urban growth and globalization.
The Garment District | Bart Hess | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013

The Garment District | Bart Hess | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013
The Garment District | Bart Hess | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013
Another video-based installation is And Nowhere a Shadow produced by Cohen van Balen, part of Future Perfect, consisting of a woodland including metal structures whose functions are to feed blueberry plants. Cohen van Balen describes this woodland as follows:
And Nowhere a Shadow | Cohen van Balen | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013
We are wandering a new kind of wilderness, where the line between biology and technology is becoming increasingly indistinguishable. Through genetic modification, engineered meat, cosmetic surgery and geo-engineering we are remaking our world from the scale of cells to the scale of continents. The woods, wild and mysterious from afar, appear as a stage on which every element is considered. Genetically engineered plants, artificially sustained, are hanging from the trees, embedded in the ecology yet detached from it. Their scaffolding systems of gleaming steel and neon light sway in the wind, waiting. Grey wolves approach the structures during the night to scratch their body on the steel branches. In an intricate arrangement of devised symbiosis, the contraption takes on the role of host organism. The wolf's movements generate electricity for the system, while the blueberries are engineered to contain rabies vaccine in its fruit to protect the animal from self-destruction. Cameras transmit footage of the wolf's presence around the globe, adorned in invisible garlands of electric display, to be enjoyed by those whose passion for the spectacle of wilderness sustains its survival.
Again, this reminded me R&Sie(n)/New Territories's Lost in Paris, in particular this fern, a plant that grows around the house. Not surprising since R&Sie(n)/New Territories develops a speculative architecture. In this project, and just like van Balen's And Nowhere a Shadow, technology is interconnected with nature. The plant is fed with an engineered nutrient mixture combined with harvested rainwater. This system, then, is monitored by the inhabitants to prevent the fern to decay and, in doing so, to protect the building and its dwellers from externalities.
The Supercomputer/Pushing Boundaries | Marshmallow Laser Feast | Future Perfect ı Close, Closer, 2013. Image credits: ULGC 2013

A disappointment, however, was another installation, the Supercomputer/Pushing Boundaries by Marshmallow Laser Feast. Not the project on its own but its curatorial approach. It seems to me that another curatorial strategy would have been more appropriate for this installation. Indeed, I nearly missed it. It is because I noticed a visitor intrigued by a wall that I raised my head and finally saw the projection on the wall. The room likely was too dark for that installation. Such curatorial decision raises the question of grouping a complex set of micro-projects with their own context when one of them probably would have required another option. Indeed, it seems to me that the other installations have overwhelmed the Supercomputer, unless it was intentional.

Here lies the Triennial's conceptual center: architecture's agency. What position, what role can architecture play in an ever-changing world, when everything goes fast causing unpredictable, irreversible turbulence? What methodology? What is the architecture's agency in the face of this shift? Or, better, what could we do?

The common denominator of these micro-installations resides in the exploration of bodies across a shifting society, technological apparatuses, connectivity, and uncertainty creating new potentials for design. Liam Young wrote in his statement that "Our familiar infrastructure of roads, buildings and public squares are giving way to ephemeral digital networks, biotechnologies and cloud computing connections." This paradigmatic shift is profoundly transforming our perception and relation with others, with space as well as time. It is also redesigning us. Transformation is going too fast to be controllable calling into question design's potentiality, say, what is design's agency in the face of this transformation? How design can tackle it? For my perspective, this is the message that this set of curatorial projects attempted to convey. What if architecture reconsiders its relationship with contingency? That architecture is bound to contingency, as Alisa Andrasek forthrightly wrote in the 25th issue (summer 2012) of Log Journal of architecture, this is an indisputable fact. And no-one will contest her statement. She, then, is right to claim that architecture, however, has not integrated contingency. In this context, this is indisputably that architecture must cope with contingency to problem-address a set of uncertainties. And no! Not everything is under control except if we, happy nihilist, continue to view our changing world as a… continuation (I am thinking of Timothy Morton's excellent essay "Same as it ever was"for the 35th issue of Volume Magazine.)

Speculative architecture allows for trials and errors to stimulate creativity. An object, for instance, is too unstable or irreversible to be finished. It must be capable of absorbing contingency to adapt and respond to uncertainties. This is one of the characterists of speculation: never allow for finite product, accept processual, becoming. Second, society, as a large, contingent and complex system, becomes a laboratory to explore, or speculate a set of scenario that could leverage new ideas, new potentiality. Neither cannot its contours be fixed. Nor cannot they be hard. So are its structures. Society must be understood as fluctuating all the time. Remember what scientist Ilya Prigogine said about fluctuations: "[T]hese fluctuations are sometimes amplified on the macroscopic level and lead to non-equilibrium structures, to biological structures, and so on." Now failure. Failure is at the core of society. Society is based on trial and errors like nature. And yes, not everything is under control, once again in that you have to deal with contingency, indeterminacy, instability, fluctuation and change. See these hyperobjects like radioactive decay, weather, biological cell, the Earth, they are some examples of irreversibility. It seems to me that Future Perfect attempts to unfold the importance of integrating this very fact that we no longer must consider our modern world (or architecture,  or nature, or city, or any object) stable, finite. It also reveals that future should not be comprehended as something too blurry or, on the contrary, too predictable. Future is fluctuant and ever-changing, consequently creative and innovative. So must be urban space. As Liam Young explains
In Future Perfect the city is being avidly redefined. For instance, I live in London and my friends live in London, but I spend most part of my time on Facebook or on my twitter network, therefore my experience of London is actually an augmented one. It is one distributed across luminous rectangles scattered around the planet. The city as a physical place is starting to disappear as a notion altogether. In this sense, the Future Perfect city isn't necessarily just about a place, but about a community, and this community is connected through technology. The Future Perfect city is an assemblage of devices, servers, proxy locations, IP addresses and of people positioned at the end of fiber optic cables and circuit boards, scattered across the world. And, in the end, the physical place that we describe is just one place. I wouldn't necessarily call it a city in the traditional sense — it is a community that is formed through technology. In general Future Perfect is interested in the idea that emerging technologies are fundamentally changing the way that we live and interact with each other. They are fundamentally changing the idea of what a community is or what a city is.
Imagining the future allow for tackling the present. Liam Young continues
We take emerging trends and we exaggerate them, we play them out in a series of different scenarios so that we can test them and access them. We can talk abstractly about something like climate change, we can see it on the news, we can hear scientists talk about how many degrees the temperature is rising or how many meters the ocean level is rising, but it is not very tangible.
Hence the critical function of speculation, or science fiction:
Science fiction has a great capacity to communicate these urgent ideas and present them in a way that generates a conversation. And that allows us to be more active in thinking about what our future is what futures we want. We can all collectively try and get to somewhere preferable, exciting and positive as opposed to just waiting for us to have the future thrust upon us by forces larger than ourselves.
Let me put these fascinating problems aside for another moment. Back to the Triennial, and more explicitly to the curatorial function of and its articulation with architecture. How does architecture articulate curating?
The reason why I have gone too far with my analysis of Future Perfect is that I wanted to stress a possible articulation of fiction, speculation, contingency and curating within the notion of potentiality. Fiction and speculation first (allow me for putting these two notions at the same level for that matter). Let me go back to Liam Young's statement about the potentiality of science fiction as a tool to "communicate these urgent ideas and present them in a way that generate conversation." Curating is a form of fiction or speculation. It lies in "critically examining the present". Curating can allow architecture for testing, experimenting as François Roche said about the role of exhibition in his design practice. I'm thinking of Une Architecture des Humeurs, this design research/exhibition for instance. For the architect, the exhibition can be "a suite of visual indices," as François Roche said, or a result of a research, this is, at least, how it seems to be articulated in R&Sie(n)/New Territories. In the case of Roche, the exhibition is part of his practice, like research, a process, or a speculation.
First, the architect extends his role into a curator. Second, the exhibition elaborates, experiments, tests a scenario-based project that deploys, a "constantly mutating sequence of possibilities", to paraphrase François Roche. An approach not very different from Future Perfect to a certain extent.
What interested me in this Triennial, beyond the theme of future practices as elaborated by Close, Closer, is the way the curator, Beatrice Galilee and her associated curators have articulated the potentiality that curatorial function can offer to architecture. Of course Future Perfect is not the only exhibition that stresses this potentiality. Other exhibitions and events have done it but differently. Galilee and her curatorial team have used curating to investigate the state of architecture practice in this new and intricate era, how the discipline of architecture is challenging this very complex mutation that is transforming architecture profoundly (and, in turn, how this mutation is challenging architecture). In this context, Close, Closer is an example of the potentiality of curatorial practices in enabling a discussion about architecture's agency in tackling these issues presented by the show.
With an evidence, this form of curating may have not seduced everyone. Some critics have complained the lack of coherence or the dizzying problematic of the edition or, worse, its puerility. To the contrary, it seems to me that these critics reveal a misunderstanding of the potentiality of curatorial practices within architecture. Such criticism, in fact, is itself too accustomed to pre-codified exhibitions — the solo show, or the mid-career survey or the group show. Or, it also is possible that the format of the biennial itself should be clarified in its distinction from the Venice Architecture Biennial model and its national pavilions. The field of art has already engaged a reflection on it. Given the growing number of exhibitions, biennials as well as other forms of curatorial practices like lecture, conversation, or even, publication, it won't be a surprising if architecture is confronted with this task of engaging a serious reflection of the potentiality of curating as an expanded field, at least to avoid such misunderstandings.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.

Neither did I find Beatrice Galilee and her associated curators' curatorial approach to this edition the best curatorial approach architecture ever has. Nor, on the contrary, would I say another curatorial approach would have been better, or something has not been deepened enough for a better understanding of the curators' statement.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.

Beatrice Galilee is neither the first nor the only one to break with the tradition in curating architecture in this manner — I'm wondering, for instance, what curatorial methodology Think Space's curators will establish for their exhibition Money — a hint: the curators have opted for a competition-based curatorial strategy. These curators are no longer willing to merely fill up an available space. As I attempted to demonstrate, they aim to project their own ideas, their research into the space.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.

The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.

The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.
The Institute Effect ı Close, Closer, 2013, Image credit: ULGC.

Close, Closer was curated by Beatrice Galilee, and co-curators Liam Young, Mariana Esparza, José Esparza Chong Cuy, assisted by Dani Admiss as the third edition of the 2013 Lisbon Architecture Triennial, from September 12 to December 15, 2013.

All subsequent quotes by the curatorial team and architects in this blog are drawn from their writings in the triennial catalogue.

* Liam Young (ed.), Expect Everything and Nothing Else, Booklet for 2013 Lisbon Architecture Triennial/Close, Closer, 2013
* 2013 Lisbon Architecture Triennial, Close, Closer ı Os Lugares Estão Para As Passoas e Vice-Versa, Catalogue Guide, 2013.
* Thinking in Practice, Future Perfect ı An Interview with Liam Young, 2013
* Zygmunt Bauman, Wasted Lives: Modernity and its Outcasts, Polity, 2003.
* Jeremy Till, Architecture Depends, MIT Press, 2009.
* Jeremy Till, "Scarcity contra Austerity", Design Observer, 10.08. 2012
* Scott Timberg, "The architecture meltdown", Salon, 4. 02. 2012
* Alisa Andrasek, "Open synthesis// Toward a resilient fabric of architecture", in Log journal of Architecture, Issue 25, Summer 2012.
* R&Sie(n)/New Territories and Caroline Naphegyi, "Protocols & Process ı in Cahier Spécial du magazine Mouvement, pdf (in French. in English).
* Timothy Morton, "Same as it ever was", in Volume Magazine, Issue 35 "Everything is Under Control", 20-22.
* Catherine Rampell, "Want a Job? Go to College, and Don't Major in Architecture", The New York Times, 5.01.2012
* Asada Akira, Prigogine Ilya, Time and Creation ı An Interview with Ilya Prigogine (pdf).


On the road to… Criticism

First, my apology for being less productive these last weeks. The reasons? A huge volume of works and… a leg in a cast due to a severe injury.
And I'll be again less productive the following months given that I'm working on projects I've already discussed here: Dziga Press, including Uncertain Territories's first volume.

I'll be visiting Close, Closer (Lisbon Architecture Triennale) early December (note that the event will close its doors December 12, or I may be wrong). I hope my left leg will recover before December. My apology for this aparté (private information).

There is also this interview with InfraNet Lab's co-director Neeraj Bhatia, and also director of The Open Workshop. The interview, I announced in previous posts, may go to another platform. Whether it goes to another platform or not, I'll let you know as soon as it will be clear and official.

And again I present my apology as I will merely propose for today another announcement. Yet, along with a previous post on Think Space's call for competition for this new edition Money, this announcement seems particularly interesting.

The 36th issue of Volume, Ways to be Critical, examined two important points in the age of social networks: 1) the value of criticism; 2) the crisis of publishing. The question this 36th issue poses is how these crises impact the discipline of architecture from practice to writing.

Critic|all will pursuing the theme with the 1st International Conference on Architectural Design & Criticism. I'm reminded of a series of conferences on the same theme but in the field of art. It was in the 1990s. Over the past two decades, a group of critics, theorists, curators and artists has examined the transformation of criticism from the scale of writing to that of the exhibition in the age of globalization, and then the Internet. To a large extent, The Exhibitionist, this excellent little journal devoted to contemporary curatorial practices and exhibition making, constitutes a very good example among others. The journal, founded in 2010, continues the discussion producing a critical platform to polemically discuss, evaluate debates , research, exhibitions and books on the topics of curating.
For those interested in this subject, I suggest to read (again) Nicolas Bourriaud's Relational Aesthetics and Postproduction, Liam Gillick: Proxemics Selected Essays, 1988-2006, Maria Lind: Selected Writing, Daniel Birnbaum's Chronology, The power of Judgement: A Debate on Aesthetic Critique co-edited by Christoph MenkeDaniel Loick, Daniel Birnbaum and Isabelle Graw, of course Hans Ulrich Obrist's essays and interviews, the unfortunately hard-to-find In the Place of the Public Sphere? edited by Simon Sheikh… The list is long. Note that these books are published by independent publishers, many of them from Germany such as (my favorite) Sternberg Press. I will include (two other favorite) American Dexter Sinister, and French Les Presses du Réel and Paraguay Press.
Back to our field. Architecture is taking the same road with a real enthusiasm as it has been unfolded in the Volume's latest issue. Below a short presentation of Critic|all:

Trying to go beyond debates between pragmatism and utopia, the conference calls for criticism and reflects on the ambiguous area where the concepts of utopian pragmatism and pragmatic utopianism cross. To do so, three main topics have been defined: what position can today' architect adopt and how have others done it before? What are their methods? What are the new formats in architecture?
These two large-scale events The Oslo Architecture Biennale and Lisbon Architecture Triennale can constitute a good basis for an evaluation of the debate on the value of criticism in the discipline of architecture. As mentioned above I'll be in Lisbon from December 7th to 10th. It will be an occasion to measure this enthusiasm as mentioned above. 

What ideas, provocative positions will arise from Critic|allIt is obvious that this conference will attempt to generate, encourage, foster the diversification of opinion, debate and, at least I hope, disagreement on criticism in architecture. I also hope that curating will be added as an important topic since curating seems to occupy a much more critical place, I would say, similar to writing and publishing. Curating architecture can no longer merely play the role of communication. It now acts as a manifesto. It must actively provide, provoke, stimulate debate, disagreement, assessment, be it positively or not, provocative or not, politically or not. 

Critic|all will be at the Escuela Tecnica Superior de Arquitectura de Madrid from June 12 to 14, 2014. Abstract submissions must be sent before November 30, 2013. Please go to Critic|all for further information. 


Video: Drift & Drive ı The Petropolis of Tomorrow | InfraNet Lab

This video entitled Drift and Drive is part of The Petropolis of Tomorrow, a project designed by InfraNet Lab. For this project, the team is composed of principal architect Neeraj Bhatia, with Joanna Luo, Weijia Song and Alex Yuen.

I'm currently editing a very long interview with Neeraj Bhatia on The Petropolis of Tomorrow, and Recon-Figure, a project he designed with his another firm The Open Workshop. We also will be talking about other topics related to land-based urbanism, water-based urbanism, infrastructure, territorial operations, Bracket and of course InfraNet Lab and The Open Workshop.

InfraNet Lab is positioned as Lateral Office's lab. It is defined as a research collective exploring the spatial byproducts of contemporary resource logistics. I'm looking forward to knowing more about InfraNet Lab as well as The Open Workshop, in brief, about Neeraj Bhatia, who regularly collaborates with Mason White and Lola Sheppard.

For the most impatient readers, I recommend a look at Petropia the official website of The Petropolis of Tomorrow, or… more simply, the best is to wait patiently (let's say within two or three weeks).

Drift and Drive is part of the first phase of The Petropolis of Tomorrow, entitled Floating Frontiers. I won't say more.
I will merely post this video of the project Drift & Drive that explores a new method of building with water, also known as water-based urbanism adapted to resource extraction areas. The project is located in Macaé, Brazil, a shipping village-turned into a booming slick city.
As described in this video, one of The Petropolis of Tomorrow's ambitions is to reconfigure the spatial organization of Macaé by establishing an archipelago city composed of a network of floating islands to facilitate the mobility of workers and storage materials as well as the worker's living condition on site.
I'll go back to the project with the interview very soon.

 Credits: courtesy of © InfraNet Lab. The video originally appeared on Petropia.


Call for competition | Territories | Money || Think Space

Zagreb-based Think Space announced last week the new curators for the 2013/14 cycle. Barcelona-based dpr-barcelona will be in charged of the curatorial development of this year. The publishing and curatorial platform has chosen Money as main topic to this new edition. What if our cities were able to evolve without money? How economic flows reflect in the configuration of cities? How would it look like a "right of the city" initiative in a tax haven state? Can we design new territories that operate outside the traditional economic guidelines? Which is the role of the architect within this scenario (if there's one)? are a few questions that the curators will be exploring.

The whole presentation can be read on Think Space for further information.

Tonight will be the launch event and you are invited to participate in the discussion by submitting questions, or comment, to the curators, team, guests at 6:00 pm either at Think Space — if you are in Zagreb and nearby — or right in their Facebook page.

As usual, this edition is articulated around two parts: competition and call for papers. These call for submission will be examined by a jury composed of Keller Easterling, David Garcia and Pedro Gadanho.

Money 2013 Competition consists of three themes: Territories (curated by Map Architects' founder David Garcia), Culture and Society (not yet announced), and Environment (not yet announced).
Territories is the first competition to be launched earlier today. An open call for a design competition to discuss, address the economic and geopolitical future of the Arctic lands. As presented on Think Space — and I merely summarize the outline of this call for submission — Territories looks for a design proposal that tackles the present economic and territorial challenges in the present and future of the Arctic lands.

How can these seemingly antagonistic fields of action and clear political strategies be engaged via a clear design proposal? In communities where everything, except fish, has to be flown or shipped in, what alternatives can be devised to cur down on subsidy dependence? Is there a strategy that can circumnavigate natural resource exploitation, alternate sea routes to the economic advantage of each of the Arctic lands? In a land where 65% of the territory is protected, who owns the territory, polar bears, scientists or other future tenants?

About the competition general guidelines, I encourage the future participant to check out Think Space where she will find the information she needs for her submission including fees. Registration will be opened October 1 to December 3, 2013.

Any questions should be sent before September 30. Then, submission deadline is by November 4. Finally results will be announced December 3.

If you are interested or have any questions to the curators, go to Think Space's website. I will go back to this cycle in the near future, at least, when I'll have more information on the two other competitions.


Competition | San Francisco Fire Department Headquarters, a Proposal by The Open Workshop

San Francisco Fire Department Headquarters is a proposal by The Open Workshop for the Fire Department Headquarters Competition, San Francisco.

The Open Workshop is a multidisciplinary architecture firm that aims at exploring the concept of an open work, first coined by Umberto Ecco, through the intersection of architecture, urbanism and landscape design. I'm planning an email conversation with his founder Neeraj Bhatia, also founder of Petropia, member of InfraNet Lab (with Lateral Office's Lola Sheppard), author of the forthcoming book The Petropolis of Tomorrow (co-edited by Mary Casper), and co-editor (with Lola Sheppard) of the second volume Bracket.

I am curious about Bhatia's practice within these structures and his research on infrastructure, more specifically on social infrastructure, and related topics. As we will see, Neeraj Bhatia elaborates a new form of practice based on the integration of architecture, landscape, infrastructure and urbanism. In addition, he addresses the interrelations of the human system and the ecological system, the local and the global, the transformation of territories for industrial purposes. The conversation will be focusing on two projects among his growing projects within respectively Petropia and The Open Workshop: Oil Endpires and Recon-Figure.

Below The Open Workshop's entry he just shared on archinect for the San Francisco Fire Department Headquarters Competition:

Inflected Frontality
A fire station typically has two distinct zones — one that reaches outwards to the city and acts as a monumental symbol of protection, and one that contains the hidden inner workings of the station. In a large headquarters, with a diverse set of programs each with their own unique spatial requirements, such a strategy untenable. Instead this proposal divides select components of the fire station and arrays them onto the pier to activate two zones — a surface and a voided room. Seeking definition in an expansive site, the pier's rectangular depression, which was originally a slip, offers a formal and organizational axis around which all built form oscillates. These zones are separated by a manifold façade that inflects its form to establish an understanding of the site as always in the bound to the center, reaching both outwardly and inwardly, and challenging a clear understanding of a 'front' façade. Instead, our proposed façade inflects to reveal the inner workings of the fire station as well as its monumental civic image the create a multifaceted headquarters that involves the city's residents into the life of the station.

And a few images of The Open Workshop's entry:
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Rendering of the Station from Embarcadero
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Birdseye/ Wormseye Axonometric
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Building Plan
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Inflected Space vs. Form
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Pier Plan
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Program vs. Facade Diagram
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Rendering of Interior inscribed zone
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> View looking North
Image initially appeared on archinect
San Francisco Fire Department Headquarters, Competition, 2013 | Courtesy of © The Open Workshop
> Concept Diagram
Image initially appeared on archinect

Source: archinect

Exhibition: Airport Landscape: Urban Ecologies in the Aerial Age

An exhibition among a long list of events for this fall: Airport Landscape: Urban Ecologies in the Aerial Age at Harvard University Graduate School of Design.

Below a few examples of research projects by the architects selected for this exhibition.
Health Hangars, Nunavut, Canada, 2010 | Courtesy of © Lateral Office
> Proposed new network of air travel and airports for medical care in these Nunavut communities with no roads and insufficient health clinics.
Health Hangars, Nunavut, Canada, 2010 | Courtesy of © Lateral Office
> Axonometric showing relationship of roof to 'ice courtyards' as well as separation of airport and health clinic.
Casablanca ANFA Airport, Casablanca, Morocco | Courtesy of © Agence Ter

Curated by Charles Waldheim and Sonja Dümpelman, the exhibition will be displaying research projects by Agence Ter, Gross. Max., Hargreaves Associates, James Corner Field Operations, Lateral Office, LCLA, Mosbach Paysagistes, Office of Landscape Morphology, OpSys, Stoss Landscape Urbanism, Topotek 1, West 8, and Workshop: Ken Smith Landscape Architect:

Airport Landscape claims the airport as a site of and for landscape. Airports have never been more central to the life of cities, yet they remain peripheral in design discourse. In spite of this, landscape architects have recently reasserted their historic claims on the airfield as a site of design through a range of practices. Airport Landscape presents these practices through projects for the ecological enhancement of operating airfields and the conversion of abandoned airfields.
In addition to the exhibition is a two-day conference on the airport as landscape, on November 14 and 15, 2013. The discussion will feature sessions on airport cultures, infrastructures, and ecologies. Participants include Peter Galison, Adriaan Geuze, Christophe Girot, David Pascoe, Henri Bava, Philippe Coignet, Eelco Hooftman, Mary Margaret Jones, and Ken Smith.
Quito 3Km Airport Park, Quito, Ecuador, 2008 | Courtesy of © LCLA
> Lake park international competition to transform Mariscal Sucre airport in a Metropolitan Park.
Caracas Airport Park, Caracas, Colombia, 2012 | Courtesy of © LCLA
> Competition La Carlota. Transformation of an aerial platform into a metropolitan park

If you're around Harvard University, visit this exhibition. Airport Landscape starts on October 30 to December 19, 2013 at Harvard GSD
More information on Airport Landscape: here.

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