Delft University of Technology
Sensibility is ground zero
Boumeester, Marc; Hauptmann, Deborah; Radman, Andrej
Publication date
2015
Document Version
Final published version
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Legacy
Citation (APA)
Boumeester, M., Hauptmann, D., & Radman, A. (2015). Sensibility is ground zero. In G. Bruyns, & J.
Schaap (Eds.), Legacy: The Delft School of Design [2002-2013] (pp. 166-172). (Delft School of Design
Series on Architecture and Urbanism). Delft University of Technology.
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Legacy.
The Delft
School of
Design
P902-2013]
Editors Gerhard Bruyns & Jasper Schaap
13th V e n i c e Biënnale of A r c h i t e c t u r e
"Common Ground" curated by David Chipperfield
Biënnale S e s s i o n s
Delft: School of Design
T U Delft, The Netherlands
Colloquium & Workshop
Delft School of Design, in collaboration with the Dessau Institute of Architecture, hosted a one-day
colloquium & two-day student workshop under the auspices of the Venice Biënnale Sessions.
Colloquium
Speakers:
Workshop
Tutors
Assistants
16 October 2012
ACAC Library
D. Hauptmann (DSD), A. Jacoby (Dessau), A. Graafland (Dessau/DSD),
M . Boumeester (DSD) and A. Radman (DSD).
17 and 18 October 2012
Tese dei Soppalchi
Marc Boumeester and Andrej Radman
Martje Rola, Willem Baalbergen,
Ellemieke van Vliet, Michela Mattioni, Dirk Huibers
SENSIBILITY IS
G R O U N D ZERO
THETECHNO-PHENOMENOLOGICAL
FIELD
i.JTH /ÈNtCE B i E N N A L tColloquium & Vhikihofi
T U T O R S •'•.n i:l..l;-..:..-,lLT [ L - J A n j | « | Kudinnii W a t i i y n , 0<sk Huibfcn 11 p.; *uii>J.fn;p « r r l i t In «rivi^tQiulv .:• ••<.- ^fOg'P.UlHJti a> O " ' "ipf'i'Hj fLot mif; .ulpii'i.iJic «.-or)d-'jl-i1f»''jii. IjLit
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r.-.-ituk.' ÜK-if cirifiTiolagiopiin: 't uf-p.'iij • (ho aiiiimbloguj. oi TMjdtmcnpc. ü'hnoscapc, ;iJuoia]p«. t e c l i n o i c a p f -cccanding ( u o sci o l obsliuclions definoü by l u k m cvury ilmc anuvi. 1" Illl- -.vuy caitogtopliy becomes
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.( I i -.nr:i5 iK" niiappirvtl üi •.l'idi Ib nol lo be (Vi'lliJ'.fi.1 willl llif fjQOritv ol •nuupiiitj. Tha parllbpunt» viill lagnch proboi mlo Ihc ImiTiiirMvo pu^' liL-riiumiJ upocc, towards llic
.^•(icv which I» lliv njijl
(viftuoi) candiliori ol poisibil.ly oi . U [uctuul) SpOCt.'. The poi^idponis WIÜ woik
. L'ui will be individually Ljiporiiiblo lor specilic « c l i o f i s •.t -j-i p ' o r i . ^ Alihough the otitcomc atid ifiu m«dium will i-.(.| ll'; iv.-iJe)«'fmirn.>d. • COncre»e ic««rfll'S«*p«cJod n e v o M h u l o i f *
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oi . r t ö H o q u i o m . liMENT i.^-.i- •••••r, --Joplptljjy . l!;iT-.i>'; i i k r dii'ttttcrtlirji. ' ••'!»-• p i y J J W r r ] . •• • - .;i[T«riithlfJi 'MmV^ Oh..ruc1.o,r;- [7003x^Z:\ I T .•iTill.-fHj-.-tl epiC^iijfcgM-^ ^•ncrari loi^i^n Lelh lo rontolic ' Ki4 l.igWy o<iiJ.rK»I *l>orl Uhrt " J l w Pi.-cr.i Hu'Tion" 0 9 6 7 ) no l c » L
«^nlofici o rww/ sot oi otwfutlionj L'.- mjluly, ;MI. pruduLt f u i u l ü
•. it-.v ooniploui vviriuridtf ol oU
:;..-!,j.-j'if, i'i.-,lw'ihLlundiny Lelii'i •uiirofv-'btliiy (or it. T h * fn/tpatv 'i'j^ugrj:: ia lO 'dd c u n c l v e ï
11 • t;r:;';d=ni wlil jon-e Qi the •jitidiltnfl ftjr tSo wor^>Uop
e porticipani'. wilJ l.-; i;k> n 'ci
Tnt; Biënnale 2 0 1 2 h m os li^-me C o m m o r i G r o u n d , us norned by ihis year's difixtor David ChippeHicld. Wilh this l i t i.ie* !o a - o d i ihtoe c b i u c l i : creating a platlorm ior shared kdoas u{juirtsl -ridividuol a n a isolatea a d e n » in (he pioiesiionol held, collcboralion wilh tlie public and oHofing a chonge in a n ongoing crisis.
The ociuol situation at the cui'uni Biennolo doesn't i c a c h the common (jround. however. Experiences ond o>(pectalion5.5ocni not shared al all Mosi ilL'm'i a n display a r c i:.Dlu!cd m ihcit awn slQiy, the only "common" m ihij ïcn^e is thu- i p n c c j h a i c d . Collabofotion wiih the public is piesenl. but only ol o Ceitam level. Tnon the ihird gool. lite crisis. This IS verv visible a l the Biennolo, m the form o l overall cheapness a n d less as Q shored project. So w h c i c is llvs piesupposcd c o m m o n g i o u n d ?
The Biënnale shows a d e a r overview ol lhe dilluienf stiands picsuni m the Jleld ol aichitectuie. S o m e a i o driven towards pofoinctric d c i i g i i , others i-|0lng lowards Ihe opposile, lixing on <roltstncnship a n d human sensibiliiy. O l h c i s agam locus on a n Utopian pioiect or make use oi lhe crisis; •noking c h e a p nrchilcclurc. From I h t s e o l i d d a n s e s , a held v-c will coll lhe techno-phcnomenological.
O n Ihc Icchna-ph-jnomcnnlogical hold atisen i^overal fxiranieleis oi sonsois con bo ploced, fuicning lo the human sensibilily. TKi^^e ddfer in llow ihey are mierrclalcd ond how Ihey ore composeO. Thi> niuons thai dilfcieni orchitcdurcs ore diffefCnlly Bxpenenced. need • üifieieiH set v i s c n s o ' ^ in o diHe/cnt order.
Hum wo havo defined Our boundorv conditions baseo on .1 poramclers: Icchnolog'cal, phcnomcnologicol, cnsis a n d utop.on. 6ach ot Ihcm is dnvcn by sensory r-t'ceplian bo:.cc! on user experience. Here we have U S K I a net typology to mimiC ihc iield condilians prevoJmp MI Ihc sensory landscopn - ovctloppmg,
ubsliocl-ng a n d intoiweoving inio one anothei. The landscape is dynamic m nature and vanes wilh the varioble QtliüCtors which are répiesentcd by dips 111 QUI prototype. E a c h o* ihese dips d e p i c cettam sensory poicdpnoiv^ li(:e a u r a l , huplic, smell, temperature, etc ond Iheie csist inlef-relationjhlps between these percèplions and the -1 dciincd liel^l conditions. This beiovior oi the lield landseopc is sicuicd by the USC1 ciipcriencc, lor uxompic in case oi C R I S I S held, there is a sense of concealing wh.ch Incs to hide the teoiity under a plostic layer. By making this prototype wc a r a 'lying lo delmc a ihiri inemfarnne which u. plastic m naluie ond COuld be e i l e n d c d to a timil ol inileclion till the definition ot orchiioctufc Ove'shoois its limits a n d '•ps oport lo reach a vogue stele.
IVl'it Paiha Jome ïO-i der Voorn
ARGUS.CC
THE GAZE /
OBSERVER AND OBSERVED/
SEEING AND SEEN
I t H ' ' »
" T H ( CKfitnt * a IS 1ICT ttkfOK'MD s . IHI AnnsT AiONt; tMf vnciATO» htPiC; IhE WCtK tn COHtJkT .VITX TMt U H » V i l -VOBlO ET DtarHHiSC- w o IMTEWinil^ m
If^CH GrliMlftCATlOV^ AhiD IHJi *£0'- Mr, CONTWOLITlCf- TO TMf O-I/TW ACT.' M>iiciL Duci-j.'^ An Exhibiliun eïisis only with the •ntcrocr.on between 'he object a n d 'tw vievrer. The user is v-ewmg ihe oCuecl a n d lhe obiect m turn >s watching the user. This inierocJion becomes an miinite ploy, «och one in lurr otiecling the other.
tn lhe Los Meninos poinling by V c l a z q u o i , Fnucaul" describes o similor phenomenon In the pointing the relationship between the specrolor ond the goze reversed. The speclotor himse'l b e c o m e s fhe subject o* lhe po-nting. The obs«n^cf ona the observeo thus toke p o n in on endless exchange. The intcrploy between lhe twfo gozes blurs ihc boundaries between the role of the spectator a n d the object ond it becomes diflicu'.i lo durermine who is storing at who, Tli(i s p e c t a l o i ' s captured ond drown into lhe p.ece. In ih.s -way thr or: octs os a coniioHing medium which objëcliÜcs us a n d atlects our behavior. This extends to the reolm ol surveillonce os the g o i e becomes »h« controlling element m the piece, a n d o shih in ine behov.or ot the porticlpon!.
There is a crosso^'er between art ond reality. A veiy literal example ol Ihis IS The Void by Rinlolo Eggertsson in the Nordic povlüon, where the c b | e c l exhibited is nothing but spoce, it is o void. A loble is hanging upside down m lhe corner ol the noom. thus creoting a spoce underneath, iormed by the Iwo wolls. the ground ond the loble. It is the Viewer ol the ob.ect tho- hos to engage with the o b i c c ! to see the exhibited. In this woy the boundor, between the work ol ort ar>d the experience of the spcctoiQi blurs.
In Dorcy Thompsons Growtti a n d F o m i this is expressed as a l i d d whereby a single change doos not lust oileci one element, bul it hos o cousol efiect on lhe whole. This is depicted os
0 Set ies ol images oi tiomloi motions 01 ifih. The outlinus ol the ommols u i c lolien o n d drown ogouist a boci;ground ol a C a r i e f o n grid. The grid is ihen subiC<I I O tronsformation ond is dislcited s o rhoF its squares became ihombusus. The compoiison wiib the original imoge leveois ihcil theoulliriL-coiru-sponds closely to the shape o' another rctoled a n i m a l .
This expenment a s port ol thu workshop c i p l o i e s lhe d'^nomic ol movement und this c a u s a l elteci in Ihe exhibitions at tlie biennoie. In one seires, the poniciponls ore shown moving through the s p a c e sensing sound ond giavitating towards the perimeter. In conlnast. In the other seiries, people are shown lo be moving owoy Irom the strong sounds a n d imoges ond grovitoiing TO 'he Central l.ghl. In this c c s e the held of reio'ions provoke O diHeient pattern ol bchovior.
The space o d s a s a field wliereby o singular movement leconfiguies the lelati'on between rhe object a n d the subject, similar to rhe Las Menmas pointing where the subioct e n g o g e s wilh the painting. In lhe 3 D exhibition s p a c e the s o m e effect is achie-/ed ond this IS perhops even slrongei.
Roci CDmol.uon
Chorlo'io C^ufch.ll Juno Ting Fulok Cocu Tikvorcvkj ARGUS. C C
THE SPANDREL
How to mop the Blctinclc. without IroongS How lo show whot ll iswilhout moliing a represenlalion lllQl intvllobly tolls bock inio a folse nofrtiiiyo, on cjcpeiience thai was nol Ihe GCluol o p c r i c n c c ond c o n ncvci be thol experience? This vkioo shü^^fs llie relaiion between cxhibiiions; the interval. Ihe ironsilion, the spondrel. The spandrel is a space where Ihe quaiii.es o l tho dilfercnt exhibiltons tnergc- Tho space that hos to exisi but was never mooni to be. In rhe Sfondrel evcrvthmg intermingles. O n e c o n hcor sounds o l room A and room 8. O n e c a n see the b s l bit o( room A a n d s e c ihc liist ol loom B.
The ticnsiiivo s p a c e between liie rooms represents nothmg, lalher 'I Is something. The spondrel is hardly designed bul very pragmatic- It's Ihe acluoliiaiion of tho virtuolity ol lhe lelolion between lOom A ond B. In making this Ironsilion lhe spandrel, m opposition to Ihe exhibiiion itsell, does not ropiosent archilecli;ie- If IS aichitecture.
Bui then wtiot is this spandrel? Where docs it begin, wtjcic does it step? ll doesn't. The spandrel is not |ust the curtain between the rooms, not just the opening in the wall, noi just Ihc narrow slightly designed ollcy Irom room A to B.
T h e spandrel continues inio lhe room, beyond lhe room. Until the point where wo nolice thol 'he whale bionnale iS a spondrel with only a lew poinis ol deisigned ottcnlion.
And when we accept this, we c a n do owoy with these Icisl bits o l singuloi lepreicnlotion by iniioducing memory and cjipecialion .nsieod. For when wtf drow our attention lo a pan of fhe exhibition wo are always rememhciing the previous ond expecting the next.
Bui the spondrel does noi only occur berwCen whol we used lo call room A and B. The spandrel
IS cvcfvvhcro. Between exhibition ond building, povilion ond grccncny, conicni a n d context. Tho spandrel thus connects not only rooms. Bui olso II connects the backstage of fhe Biënnale to Ihc exhibition itsell, the exhibiiion to it's venue a n d the Arsonole to the Giordini. From Ihis w/c could po o n a n d oven state thot Venice is tht spondicl lor lhe cnt'ro Biënnale, whoi w c s Hisi G i o i d i m a n d Arsonole. Nothing c v c exists withoul reloiing to something else, thus the Biënnale couldn't exist Without the spandrel. The spandrel is whol makes Ihe blcnnoJo exist.
So the Bicnnofc is not o sialic narfoiive, il is conslontly being consttecled. To stay the s a m e it must olwoys become in order to be. S o one suos the Biennolo not being eilher rjpon or closed but the oiennolc becoming cpoiied ond becoming closed. It's ihc Biënnale in continuous becoming: the greenery swiped c l e a n , the Russian pavilion being o p e n e d , the boots boing tied and gelling loose.
The biennolo ' i o n enormous cllorl lo reprcsonl what was 'now'. But •1 Can never [usI be, because tt olreody inspired us before it even opened montlis a g o , ond while Ihc 'now' ol the common ground is tried to be lopresfinted. has alioody leamed us s o much. Which we will o l course start to UM; belore the official closing, And w e don'l think they will mind us doing so.
Thorn Van Moajt'igl Koim Hooid Will cm B o o i b c i s c Tviinwn Yuen Thomoi Bfoos
ARGUS. C C
DOWN THE RABBITHOLE
m\ nm \m
Dunng the mtroduaion session we discussed the posl-humon way oi thinking. Post humonism hos proposed thot obiects con not be connected fo spccitic meanings. In o'her words, obiects or conditions con gencroie venous unprediooble leociions.
O u t interest is in a certain lension thot orises Irom specific conditions. 'vVoking through lhe vonous spaces of the exhibition, our group eni;ounlered s e w r a i of such conditions.
in the moinmg J a n M o o n e n siood m front o l o lorge book. This book intrigued him. He walked towards it a n d leoched lor ihe lirsi page. At ihis vei7 moment, he possed, Storlled by lhe site or two corefuHy pieced hond gloves. This sight creofed o certom tension. It h o i e him for on mslonl. Al the some moment onother person lushed possi'd Jon Moortcn. V/lthoul thinking, this man «eochcd tor lhe same book. The mon slorted Hipping trough the poges wilh his Oore honds.,..
This witole event got lhe group thinking. Why did Jon f-looiten sense this tension? The olhei man did not c^ponencc the supposed delicocy o l ihoi some book. In retiospccl, lhe -nterpietation ol the siluallon wos highly subiBCiivo.
later tfiot day, our group walked
mlo o smoll square. Al this squore one could enter several cxhibiiions. V/alking lowords the d e a d end side o l fhis squorc, one could witneis c holl Opened curiQin. Coming closer fo this curtoin o sign beconw visible.
D O N O T ENTER
These exoct words, combined with lhe hall opened stoic of the cuiloin created o myslcry. V/hat could be 'ound behind ihis cunomf .Agoin ihis
liituütion tjenerofed o cerToin 1en>ion ot 0 subiective noture.
At the e n d of lhe doy our g<oup •wolked into o smoU lobi-rinth. This semi-enclcsed space ot high v*olls crcoted o peocelul ono silent sethng. .•Vound o corner ol the lo'oynnth, we noticed o small hole of the fool of one 01 the large walls. This wall intrigued Sophie, who chose to enter the small gop a n d o covity.
Again this wos a tension, which we were inleresfed in. The function ot the hole was unclear, but Sophie chose to investigolB if. The unknown evokes diflcienl reactions. For us ihe most Inlerosttng port wos the consequence oi her ocfion. By entering the holt she provoited the i n t e i « f oi onother visiter Her oction creo'es o new tension for onolher.
What con we learn from these p c ' c c i v c d tensions? C o n we evoke tensions with specific oichlteclufol elements? Probably not, Tlie work oi Teinagni seems to be lor owoy from the work of 2oho Hodid. However ihoy inighl evoke a similar tension using O completely dilfercnt orchitccturol longuage. Based on out experiences we might be able lo conclude one ihing. Short moments, combined vvilh specific oclioris, c a n c e o i e new tensions. Jcwioihon do V«on JoTi.'^toorfa'iMLldci Dirk Hulbors Sopt»* Moc<enrie fAjrl^ondunOuO-.-«RGU5.CC
CURATING CREATION
1
10 iHt unULNIUL
The Biennoie of Venice sho'^rs works, inslallatlons a n d images by orcnilccts f r o m o i l over ihe w o i l d , «ach v/tlh O dificrenl style o n d b o c l t g f o u n d . This c o l l o d i o n o i orchitcclure is c u r o l e d by o curolor, m iho 2 0 1 2 Venice Bicnnolc by D o v i d C h i p p c d i e t d . As WC n o v i g o l c d ' l i e Biennolo, the question w e were c o n t r o n l e d w.ih a n d Qskcd ourselves wos; H o w c a n o r c h i l c c i u i o be exhibited?
A r d l i l e c i u r o by .(s vor-/ n o l u i o exists b e y o n d the boundaries o i its purely physical i m p l e m e n l a l i o n . This means t l i a i any attempt to exhibit it, IS inherently i l o w e d . You l e n d lo
be c o n h o n i c d wilh the d i c h o t o m y
o l Irying l o lepfosont Ofch'ieclure in o n exhibition or o futile u n d e r t a k i n g o l exhifciiling a ' c h i l e c l u i e . It hos so for been impossiblo l o tiansposo o n existing o i c h i i e c i u r o into a n exhibition, vailhout using representoiion. T h e c o m m o n l y a c c e p t e d olternotive is l o Ity a n d constiuct orchiteciuro itself in iho QMifiCial o n v i r o n m o n l of the Biennolo. which iS equally p r o b l c m o H c .
V ^ o t i e i n p t c d lo navigate a n d a p p r o a c h this p r o b l e m by s a m p l i n g a n d assembling oudio o n d visuol slices of the Biennuic. By o d d i n g a n d subtracting contrasting spuccs and i m o g e i . w e have tried l o Creole a d i a l o g u e b C w e e n represenlolion o n d experience.
There is n o narrative (o o u r p i o p o s o l , it iS purely a series o l m o v i n g images which fillei n n d synlhesiso experience.
In many w o y i lhe role ot the curotor is voiy similar l o t h a i o i the o r c h i t e c l . In t h a i ihoy b o t h synlhesiso i n f o r m o i i o n . However w e tend to o p p r o a c h ihis I r c m very different directions.
The theme of the Blcnnole is
C o m m o n G r o u n d ' a n d lor many ot
llie works wilhin ihe exhibition, Ihis
wQs llic starling poinl o r a point of
exploration. W h e r e o s . we Oegan ol Ihc end or ot leosl the m i d d l e ol the
Biënnale: ihc exhibition itsoli. From
lierc we were able to move Irom curotois lo croolors. By distorting on image, a model or on instollotion of lopresontation bocomos an experiential moving image, created through ihu dialogue tielweon the imogos ond o u r 'epresoniolion of it.
V/hot a r c the pre-perceptions oi Cl represented s p a c e o n d t i c w con those be distorted in order lo Creole a new o n d more expencnlioi •mage? O u r solution wcs, n o t 10 Curate our perceived highlights oi Ihe
Biennolo, instead v.v decided lo invert
OUI perceptions. By manipulaling represent a tions of s p a c e we c a n exploit a n d reveal the precepts o i the exhibiiion. By editing o u r persoiKil cuiolions WC created o new, ond previously impossible, experience osscmbtoge o l the 6ieni>ale. T h r o u g h
the process o l our collage e n d
layering, wo hope 10 cteoie u diologuc that c a n revcol the oxpetieniial .n ihc 'opresentotional. Elw SnyO«r Hor^h KoiTiaktishnaii N.d: Schoenmakers Tcsar FHam keU.n fclmei AROUS.CC
OUT OF THE BOX - IN A BOX
Todoy w e will present you the ' O u t o l tfie box • in a box '.
Long, l o n g hme o g o W o r c o Polo was trovel.ng i n the ietT>otc port of the n o i l h . e o s l of t f w soulh.west part o l Asia, w h e n he h o d o s p c c i o l encounter wilh a l o c a l mtidicino m a n . Tliis m a n introduced tVtorco to our hvo s u n i c s , ho luurnod h.m to iiuly toste, t o u c h , sou, smoll a n d hoar. But o n his t n p bock lo Venice, (Viorco complelely i o r g o t .
2 0 1 2 Biennolo 15 o n ovorv^hclmmg expenence, I n g g e n n g every ïiensolion, rwsulrmg i n Q Wur. Visitors ore not aware of the iuH polentiol o i their senses a n d whot that does t o the body. W e d o not k n o w what a b o d y c o n d o .
So w e l o o k e d for o m c d i o n c t o trigger our lull potentiol. Todoy w c c o n a n n o u n c e we h o v e d c \ ' c l o p e d a t o o l thot IS a c o n t i n u a t i o n o l ihö ancient Iradition of rhe o l d medicine m o n , ' O u t of the box - in a box" will prepare you lor the ultimalo Venice Biennolo experionco.
N o w we will p r e s w i l live p.lls to enter o new reality We invite y a u t o o p e n u p your senses a n d we will g u i d e y o u i h f o o g h a new d i m e n j i o n o l experience ot s p o c e - I i m e .
Cl lose your eyes...
Coiilin Wiili-Sheeny Riirvwe Mono o n Dom Imre van oer Goog Ruiger Krcol laurien Anne Kors'
DECODIFICATION OF THE
UNIDENTIFIED CODE
Id ihis s h o d prüjcö we decided lo use children os a channel !o iden'liy aHordances ihot a r c lett out bv codificalion. It seemed to us thol Ihf- Venice Biënnale presents itself to Ihe vtsilors OS an extremoly codified enviromnenl. Each pavilion l e p r o e n l s o sejiarate couniry a n d the visitor tends to lollow O specific route in order to manage to visil all ihc ' c o u n l i i e s ' , However Ihis Ictnd of codificalion is nol recogni/ed by children. Theretorc. in order to suggest othei possible ways lo eiperienCB ific Biënnale apurt from ccdificotion, we chose lo provide o ' g u ' d e d l o u r ' ot the Biënnale vlo the eicpericnce of o child.
V/e could m fact recogniic cases in which children or young odulis decoded new sels ol allordonccs. In the tiisl set cf images we wont to show the interacllon with lhe coding otierecl by Ü group of students creating their own spot lo rosi ot Ihe US Pavilion. In llle Denmark Pavilion they ncglecled tfie Sign " D o not touch' while ihey immediolely imposed lo get some ol lhe papers given owoy. Finolly, on liie last image two bugs ate shown lying outside the Gteenlond pavilion. Ii seemed lo us os it a new offordoncu was created. It seemed tjiat nobody else could leove their bags m sucfi o spot, eitlK-r due to inipononcc, or duu lo the fact ihül it was the enlionce o) the poviiioii, However, the children recogmied on aEloidonce not inought by an odult.
O n ttie second set we look ol ifiose spoces which provided loi the a pre-dchned concepnon ol whol
something is or c a n be ioi ihose who look ot rhem through the l u l e s o t codificotion. However here w c « o n i to leject this pre-csloblislied a n d limited sel of possibilities ond sliow that odulls could still ' a c t OS children', trying to find differeni affo'doiices. Tlic game became really exciting a s we found Oul ihoi the sculpture at lhe Ar.senolc oHured on oltornotivc route to the silo bul also a spot to relax and e n p y lhe view. Al Ihr Swiss pavilion, one con sil o n Ihe chairs ond expenence lhe s p a c e , or one c o n r e - e n o d o whole sorios oi difiereni occurrence*, such OS loymg down a n d pondering at lhe drawn focodos.
Finally, on the Bmish pavilion one c a n consider iiii> spoces QS hiding spots, or even opportunities lo reiox, however due to weighl icstncfions wO decided not 'o endanger that.
Overoll, il became mleresling lo tecogni/e aHordances wilhin o s p a t e Ihoi is s o tiighly codiiicd. In
a way, wo tried to find a ' c o m m o n
ground" betweon the unmedialed child's opproach a n d the oduli's coded o n e . That ' c o m m o n ground", wc might conclude, is Ihc infinite set ol ofiorduncos winch both children a n d adulls c a n
expeiience.
Momco AusoitVte Virginia Cfli».i..iM.lW
Jonoihar von der Stel Abdul Wahid
i h i o u g h
MAPPING THE
EXHIBITION
GIARDINi
T w oi^*r»ENCl flrr,v!riv Txr PcMnnxi *.so tHc A a u * i I^TI^il^l
I a m ot ilw Stan, wlioie i a m not alonia bu' neither togethei, I'm excited obouf lhe journey I v.ill experience today. Where i start empiy ond will change a n d leam. I'm seeking ior things itwl I will loter understand. There Is o polh before me, wiih differeni smells, ditferen* colours, different sounds, different people ond ditierent experiences.
The iirM entrance is where I slorl. Sound coming Irom everywhere, it's all around me. There Is music, Ijeaut'lul a n d poetic, there oie voices, loudly tolking lo c o c h other, I c e n t understand them. iVloie sounds surround m c . Not delmed, not uTider>iandab!e, ii's not music, ihoro ore not voices, and there is something 1 con'l uiiderstond Sounds ore c c m m g from tho left ond lhe righl, they're hard e n d ihoy oie soil. They ore loudly ond slleni. I drown in lhe sounds, I drown in the thoughts the sounds moke me thmk of. The ossociotions, the expenences I stort ro dnft owoy, I drift Ot Ihe sounds to onother ploce. I drown ond I smk. I'm not where i wo5. Where am i?
I Pause I
Suddenly I am bocl(, where I con remember being. Somclhirvg rracks my Ollenlion, I a m walking lowords >t while tho rest of the spoCe becomes vague, it is not OS important os il wos ijelore. I om drone by a bnght and clear light, which IS also worm a n d comfortoble. Under lhe lighl there is on object, by which I am foscmoied becouse it is what it IS. ll is rxjt pretending ro be something else, it con'l be something else, it's clear and rcodoblc. I understand the object, and iherefore I'm not feeling overwhelmed. Another object ottrocn my oneniion, becouse H is differeni from this one. This is mystic, I cannoi understand ii al o n c e , I iiovo to look closer ol it. S o I move, a n d slort to s e c more details. I start to s e c what il is modo of, but that is different Irom what u expecled to be. 1 hove to
keep kwkirig to understand ond evciy second I look ot il I understand less. Fncm suddenly a movoment, a n d a smell oppears. It does not belong lo lhe mystei.ous object, becowso I know Ihis smell. This smell belongs to someihing specihc. something tangible I see wiial I expect, but a l s o notice something unexpected, a surprise, a controst,
The sound IS using. There oto voices, loudly talking to eoch other, I con'l understand them...
1 see a reiledion in lhe corner ol my eye. When I follow i1, It's gone because Ihere ore mote. I s e c light, 1 see objects all reflecting to eoch Other. Ali the reileciions Creole o new woild, vvhich IS not real ond not vmuol, < see things twice, but when I look closer, Ihey ore not the some. I also see mcvement and shapes lefioding lo colours. I only look, lhe rest is not impcirtonl. Experiencing is looking.
Tliero ate voices, loudlyiolking lo eoch other, I can't understand them..
1 om not alone. The people 1
noticed being there ore now suddenly existing. They're all different people. There big ond smoll, loud ond silent, present ond not, colouriul and block. They're diifcrcnt a n d they're the some. I om not c l o n e .
We ore experiencing logeiher. V / e interoD a n d we strengthen e a c h other Togcthor i.ve go iurlhor, together we expononce more, the miensity becomes bigger.
Ellemio-:* von Vl.at Adr^oon Tfouwur Doiho Ean^aTamason Anne Scholul
THE VENICE ARCHITECTURE
BIËNNALE 2012 AS
" C O M M O N GROUND"?
Wiiilu (iximing oiound the grounds ot ihc GkirdinI a n d i l ^ A>sona1o, on enomious a m o u n l of infofmoiion is irymg lo find ils way mtu our bioin.
All this informalion i s g o l h c r c d by Chippcrfiold's ificmc " C o m m o n G r o u n d " . Altliough there wos this Itieme and ihcfcforc a fillet, wc come lo Ihe conclusion that lhe ihcmc wasn't enough ot a fwillcr lo understand lhe fragments a n d its whole. Is -was more 0 bollle belwuun ihvm, where even the frogmcntj. in itsell were Iragmenlcd. This consionl batile, where lhe fragments wctc also irying lo become o v;hole, ultimately ted lo the experience 01 overkill of iniormolion,
Thcrclore 'he ncccssily arose to Hlier in order lo odually understand che onvironmeni. Uninientionolly. Ihis lod lo some sort of a super filter, which ignored oil infotmaticn Ihot didn't socm fining al first glance a n d made us only oxporioncc what seemed voluoole al lhal moment tiscH.
This super filloi led to Q strong abslroction of things^ m which this abstroction become out own lealily.
By obsirocling our framed experience m imogc wiihoul sound a n d sound without image, the obstioction was getting to tine «moHonal underpinning wo all share, There was o senso of recognition "hat's mdclinlto yet ecslotic at Iho s a m e time.
If reaches o place without predefining Itiot ploce, the fromc of Iho imogo * lhe lolol of framed images/sounds of diffeieni people.
It becomes a new slorimg point for ttie beholder. The obstroctod unoges/ sounds conncci lo tMrlicr itagments, drooms. imogeS ol lhe beholder ond ihus i* able to create a whoio new story of ils own.
l! continually remakes itscll.
Meitu Rot> iMaiiamc Noiji Ar.ton Zoe'Tiulder Jonothor lelkomp Araici fHcihev»l.i AftGUS.CC
THIS IS N O T A N EXHIBITION
This is noi an exhibition; i' is ashipyard. This is noi a shipyard; it is an exhibiiion. Wo do noi oim lo
Synchronue them; wo do not aim to rrrulliply the osymmctncs ol such on effort. In the consionl exchange of signiliors ond signillcd we stond as the tiiongulor edge ol Iho parcsile irlpod, the Jdislhormomc noise of omplificd spofiolcmporol perception. Multiple points ol interest os seen by multiple points ol wOw, all cxpondlnp hotiionlally, all -n o conglometolion of polontialitics, not of roulcs or narrations, bul ol on inlcrnol cohesion, open in o consionl Ironslormotion a s long OS Ihc assembled elementi are reconsidered under new peisocclivos, spotiol or tcmporol. An assemblage of lepcoled minorities, of hidden or disguised objects, ol poicntialllics, ol lhe very inhabilonce in ils simultaneous piesonce a n d obsencc. E a c h ol lhe narratives unfolds sepoiotod, while ol ihc some moment merges m itj dissolulion, a s prcscniod into on one-lime only cllort ol combining with the o l h c 5 - K o n a i i v c s which vor, Irom one onoifie' in all possible senses, m all sensual potenliols.
A disoilcnied shine Irom tf io spotiol siruciure by iho very foctois which form honione spatial poicepMon, lights, daikness. viv.d colors, icons a n d loxi. Factots which become llio points ol inieresl. iaciots which ihemselves Creole spuces in s p a c e , vanislung ifio limits ol OUI peiceplion, disanentalmg us. A scolo in lis u u i o , absent of typical spat.ol elements a n d distincr.ye obiecis. evolving on our unconscious reactions, on memories w h i d i ore created by tho very mopping oi Iheir emergence.
A n expanded interpioloiion of s p a c e OS on iiidusivo condihon, in which diiieionitalicns of its characteristics aro imposed by our porceptionol onitude. A noirative wliiCh is born a s an unrcxatod unlolding, groduolly oscoloting in visions oi o Spcce lomporoUy inhabited by non-mhabiioflts, ol o cominon ground lor larms of unstable slabili'iuS. Bui above all, o spaiial porceplion whidi intends lo witness time a s a n in s p o c e action. Curved on ihe very surioces ihoi perceives.
Spaces which interrupt ifie norm ol ihcir tliyihmic. spaces which deline iheir exislcncc a s conditions oi exclusion. Corporeal potentials wtih thu capociiy to slow down tlie moment. Peop'e seoted ilioiing o slowei mamonl. spaces wlvro olhors ioel unwilling to mvodc, foroigiieni creating invisible limils. S p a c e s which merge s c o l e i , defining Ihcir visual a n d sensuol geogrophy.
Walking, slopping, turning, walking a n d slopping, polhs wlridi evolve. Hinii on s p a c e or momcnis of dlsuppeuionce. Tendencies are lecoided, attractions which exist in non-spatial teims bul ore expressed through iheit copiunng in lime, as conditions oi lopotllion and exclusion. Field of ottrocilon, ol tniciociion, recorded os on oliorl oi exposing, ll any, b<?hoviorol potteins oi a conditional inh obit oncy.
S p a c e OS seen not bencclh ihc
gloisos of distinction, bul as o unllied. uiiictuc, in-lime experience. S p a c e m lis prosonce. m iis post a n d 'uluie, merging tempcioliiies ond o b j o d s , spoliol olcmcnls oi hidden hme tracks which iormulolö o u ' perception. A n ompliiicd aiiiliolion. which forces movoment, imposes speed a n d routes, iolds in memory, seeks memories in ils b i d i n g , destroys a n d creates all whot is lo be scon, embraces oil what is lo be loll.
All five noiiolions stanti out OS lonely fibr<lialions o n a plonc ol immononcc. They exist hoie o r d nuw, Ihey con exist eveivwhcre, lorevei, OS long OS ihcy ore r c - a s s c m b l c d , positioned in now angles, shapes, pulhs, nolions a n d peispeclives They QIC memones ol on inhobilonce intending to liock ond loconsJiuCl lhe memory ol ihoii very execution a n d existence ilsell. Small lights or block holes, exposed m their slmiloiiiios ond differences, on oci ol mopping which is o p e n to any new mput. and therefore oble lo evolve into conslonlly rcnewoblc Outputs. The memory oi space IS lhe s p a c e oi memory, in which spoliol consinjction is the genealogical byproduct ot prospccicd memory, ol formulated pollorns a n d predispositions.
II is neither a shipyord nor a n exhibition.
