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Public Participation

Article: The Big Art Project A place to sort A place to work

Social engagement

Where is public space? Is it in designated areas, like main streets, squares and public buildings? Is it in marginal, leftover spaces like abandoned lots, or even at the boundaries of legal accessibility? Perhaps public space is not a place, but situations for engagement. Urban fictions with the office for subversive architecture Alexandra Stara Curating Architecture and the City pg. 233 Approach taken in Belfast, arq . vol13 . no2 . 2009 ' securing public spaces for universal use, opening up information technologies for wider access, providing different types of building responses to different needs, and decommissioning and recycling ideological symbols and spaces'

Nature of Public Space

A place to view

'Simply putting a poem into a public place, says Sue, like putting poems on the underground, does not amount to poetry as public art. "its nice, but there's no relationship with the architecture, the space or the ambience". For poetry to become public art, she says in Opening Spaces, "the work needs to grow out of and engage with the space in which it is to be situated rather than be imposed on it". Vivienne Rosch | When the walls start to speak | Art & Architecture journal 71

When we think of the verb ‘to use’, we think of the thing we use as being reduced through the using of it. Therefore, to use = to consume, and to spend = to use up. When we conserve something, whether it is nature or a building, we refrain from ‘using’ it . . . and try to keep people away from it. Buildings, however, decline to ruins when they are not used. Of course, if we use them in the sense of consuming them [reuse the materials of which they are made] then their ruin is hastened, but if they are used and maintained, then use = conservation.8 [Expanding the public realm through curated collaborative action The Echigo Tsumari abandoned house project Carol Mancke Pg 181 Curating Architecture and the City

Public Art

Nature of art in the public realm

'research shows that art does not have to be placed within an art gallery to have a profound effect on people.' arq . vol 12 . no 3/4 . 2008 pg217

‘how shall we respond to man and his objects affixed to the surface of the earth?’, as he introduces the idea of a second horizon. Fenn’s museum at Hamar [1969-1973] explores historic layering through manipulation of horizon. Amidst a constructed landscape, Fenn uncovers the artifact, bringing it into the light, placing them above and below the viewers horizon. This becomes a tool in order to understand spacial conceptions throughout the building, where ramps rise over the almost untouched ground, forming a sequence of spaces. Per Olaf Fjeld (2009). Sverre Fehn: The Pattern of Thoughts. Monacelli Press. p 108.

John Toumey in his book, Architecture Craft and Culture explains that ‘if we want things to stay as they are, things will have to change,’ he introduces the idea of permanence as ‘creative reinterpretation of existing forms.’ John Toumey describes the idea of change as a fundamental necessity for a buildings survival, and it is this attitude of reinterpretation that will drive my intention to further layer on the redundant forms.


The artifact

Layering [attitude towards the new] identity

Re modeling of Shinkel's Neue Wache Berlin Pg 196 Curating Architecture and the City

"Poetry and text-based art can give identity to our public spaces and humanize our urban environment. It can forge a strong connection between a new building or public space and the history and diversity of the community living in or around it. As such the appetite for exciting new work of this sort is set to grow." Vivienne Rosch | When the walls start to speak | Art & Architecture journal 71

Tuomey proposes the process by which we could begin to change a place as ‘thinking like archaeologist might do,’throughout the process of finding, I will search for traces of what made the found spaces the way they are, in order to seek pointers toward the further transformation of the site. Archaeology of the mind sets out to explore how these things - in the sanctuary of an institution - can find their voice again... we imagined we were archaeologists from the future.' Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 36

Attitude of Curation


Archaeology [attitude towards the old]

'It is only by understanding and reflecting on the past that architecture can continue to be a relevant social and artistic discipline.' Adam Caruso The feeling of things p25

'Architecture also, however, has another role to play, this time in a more dispersed yet equally pervasive manner. This is architecture as it engages with the wider context of other creative arts, design practices and cultural activities' arq . vol 12 . no 3/4 . 2008 pg 219 architecture and all of the creative arts and industries are able to learn from each other arq . vol 12 . no 3/4 . 2008 pg 222

Dialogue between art object/space/viewer

‘All buildings are capable of good design. Good architecture should not just be reserved for signature buildings’ arq . vol 12 . no 3/4 . 2008 pg217 Herzog & de Muron's architecture 'does not function as a stage set for an aging praxis of representation but operates rather as though the buildings themselves were exhibits in a larger unfinished exhibition - part of a "city in the making" Philip Ursprung (2009) Caruso St. John :Almost Everything. Ediciones Poligrafa, Barcelona. Pg28 (architecture hanging on the wall- reference on pg 28)

Interdisciplinary collaborative approach

Herzog & De Meuron - 'Some of their buildings have involved close collaboration with artists and some have names that could equally well be given to works of art. Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 13


Curated City

The urban scale

Cities can be understood as the sites where citizens benefit from the pooling and sharing of resources in the form of spaces, buildings and services. arq . vol13 . no2 . 2009 pg 152

As this last area of research suggests, architecture is about far more than just individual buildings or even important building types such as houses, schools or museums, because we must also appreciate and understand the relevance of architecture on a much larger, urban scale. In particular, some of the most important architectural research is now concerned with how architecture can contribute to the development of cities and urban forms. arq . vol 12 . no 3/4 . 2008 pg219 Approaching the city as a collection to be curated, whether through representations or in situ, opens up new possibilities for exploring and enriching the urban fabric and the urban condition as a whole. The architectural exhibition, the public gallery, the regeneration project, as well as the city tour, the heritage archive and the urban art installation, can reveal unexpected aspects of the city and ways of inhabiting it. Curating Architecture and the City p 2 Temporary nature of the exhibition | Permanence of building? 'Our concept aims at a Kunsthalle whose architecture is interpreted as a material cycle....we created a spatial inventory for such diverse sites as cal-shops, banks or gyms, on the basis on what you have named post-public space....the spacial strategy was to create coherence within the idea of temporariness and fragmentation.' European Kunsthall pp 36-37 'time-based growing institution...that is built collectively from individual segments, a network of routes from one beginning to many possible endings...the architecture becomes the exhibition, but under conditions set by the curators and artists. European Kunsthall pp 38-39

Urban Scale

Judd/Herzog & de Muron

City care

Differing positions in reference to art and architecture. Judd 'sees both art and architecture as part of one all-embracing aesthetic system' Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 20

Nicolaus Schafhausen: 'I think architecture is a form of art; one that is deeply and problematically involved in pragmatism...the threat posed by other realities is what makes architecture so specific. ..I see it as a potential. European Kunsthall pp 44

The role of architecture Architecture is no necessary for the display of art, but sometimes it contributes to an additional reflection on the exhibition much architecture is required? Each architectural intervention should have a certain necessity.' European Kunsthall pp 43

How much architecture

Permanent / temporary

‘history can only be represented in the guise of fragments or ruins, but there are innumerable links that run between past and present. Philip Ursprung (2009) Caruso St. John :Almost Everything. Ediciones Poligrafa, Barcelona. Pg166


'Herzog & de Meuron's buildings do not simply reflect and absorb their surroundings in a naturalistic way...but rather differ from their surroundings, comment on them, remember them, even transform them in such a way that they will never be the same.' Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 31

'Spaces for Daydreaming (Sue Hubbard) "Poetry, as public art, particularly when conceived as site-specific work in conversation with its milieu, has particular role to play in reshaping the public spaces of the twentieth century" (spaces for Daydreaming). Into the dialogue between "maker, commissioning agency and community" , which she believes is crucial for all genuinely public art in contemporary democratic society, enters another, between poet and artist'

Lefebvre 'empty space' 'substance is hard to grasp and yet omnipresent' Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 30 'perceived space' Space, difference, everyday life: reading Henri Lefebvre By Henri Lefebvre, Kanishka Goonewardena p 39

Fragmented nature of the Soane Museum + Arthur Watsons Working practice [singing for dead singers]

Immaterial Existence Totality?

The reality of architecture is not built architecture: an architecture creates its own reality outside the state of built or unbuilt and is comparable to the autonomous reality of a painting and a sculpture. Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 35

Existing Fabric

Walter Benjamin, The arcades project. To construct the city topographically -tenfold and a hundredfold - from out of its arcades and its gateways, its cemeteries and cordellos, its railroad stations and its ..., just as formerly it was defined by its churches and its markets. And the more secret, more deeply embedded figures of the city: murders and rebellions, the bloody knots in the notwork of the streets, lairs of love, and conflagrations.' Philip Ursprung (2002) Herzog & De Meuron : Natural History. Canadian Centre for Architecture. Lars Muller Publishers p 269

Current position

City as Museum

Alternative position Redundancy

Gaps [the space between]

Reaction against the current attitude taken towards current public exhibition

Curated City mind map 17.01.11  
Curated City mind map 17.01.11  

Mapping of current thesis positioning