lundi 12 octobre 2009

# MANIFESTO /// Eduardo McIntosh


Eduardo McIntosh (picture Judith and Holofernes by Artemisia Gentileschi)

THE ARCHITECTURE OF DECEIT

Setting the scene
The Law of (-1)

There is sometimes a minuscule flame burning inside people who do Architecture. The feeling in the back of their brain that something is terribly wrong with the world. A “splinter in their minds”. For many this feeling of wrong-ness, dissatisfaction and helplessness can never be explained, for its nature is concealed by The Law of (-1).

We need to understand that life is WAR, that we all are driven by the will to power, and that the lofty ideals of the “magnanimous human spirit”: equality, justice, freedom, etc are in practical terms absent from us, for we are not human spirits, we are flesh and bone. Quoting from Nietzsche's Beyond good and Evil: "Even the body within which individuals treat each other as equals ... will have to be an incarnate will to power, it will strive to grow, spread, seize, become predominant—not from any morality or immorality but because it is living and because life simply is will to power."

We need to understand that in a WAR everything is permitted, and that deceit is the strongest weapon (the first deception is to convince us that there’s no WAR being waged) and that its power is waged against us in every aspect during every second of our everyday life...we live through a parade of constant deceit. That is how we voluntarily become slaves, how we are lazy enough to not distinguish 1 from (-1). Not acknowledging the rules of the game, not even being able to see that there’s actually a game going on (WAR) is what makes Revolutionary Architecture a naïve endeavor

Here some examples of how The Law of (-1) is so pervasively and efficiently wielded upon us, telling us a tale that actually masks an opposite reality:

-How the United States Federal Reserve is actually totally the opposite (-1) of what its name implies: the Fed is a privately governed bank which’s sole interest is not federal well being but its proprietor’s own well being. Its mission is to regulate private banks, and yet it is the biggest most powerful private bank. How in the most hypocritical way the 100, 20 and 5 notes printed by the Fed show the images of citizens who were openly against institutions like it:

Benjamin Franklin:
“The inability of the colonists to get power to issue their own money permanently out of the hands of George III and the international bankers was the PRIME reason for the Revolutionary War."

Andrew Jackson:
“Controlling our currency, receiving our public moneys, and holding thousands of our citizens in dependence... would be more formidable and dangerous than a military power of the enemy.”

Abraham Lincoln:
“The privilege of creating and issuing money is not only the supreme prerogative of Government, but it is the Government's greatest creative opportunity...The taxpayers will be saved immense sums of interest, discounts and exchanges...Money will cease to be the master and become the servant of humanity. Democracy will rise superior to the money power."

-How the 2009 Nobel Peace prize was awarded to the commander in chief of the most powerful army on earth, even after he has failed to keep his campaign promise of ending occupation in Iraq and furthermore, has started himself a new war in Afghanistan. Thus, this year the Nobel Peace prize was contradictorily (-1) awarded to the leader of the most powerful army in the world which is currently engaged in a war with one of the weakest. (Also it deserves pointing out that the deadline for submitting candidates came just 12 days after he entered the White House)

-How we feel so socially magnanimous when we design housing for the poor, but we don’t take real steps to end poverty (-1). How we want to give the poor pretty dwellings to sedate them and prevent them from uprising, but we don’t want to really end poverty, we only want to keep the poor from waking up and taking back what was stolen from them by law.

-How we make sure every project we make has a ‘green’ aspect, while we refuse (-1) to tackle the real socio political roots of the environmental problem. (Not produce more, but rather consume less and distribute more evenly)

Moving forward by seemingly moving backwards
Embracing The Law of (-1)

Nowadays generalization is a sin widely avoided because of the sovereign law of political correctness (exercising political correctness could be interpreted as following ‘the correct opinions’ which suggests that there is a fixed ‘one and only’ way of thinking. Could a Status Quo manipulated ‘political correctness’ be the (-1) of Freedom of thought?). For this reason, ‘Every’ and ‘All’ will be interchanged for ‘Some’ in the following examples of The Law of (-1)

Some priests are pedophiles
Some judges break the law
Some peace makers wage wars
Some safe keepers of your money steal it
Some people who say they want to make you smarter make you dumber
Some people who say they want to liberate you enslave you
Some people who say they want to give you democracy decide every aspect of your life

Some people say or sell themselves as exactly the opposite of what their real intentions are. So why don’t SOME OF US apply The Law of (-1) to our architectural endeavors. Let’s multiply our true desires by minus one to keep our real intentions hidden. Let’s create a façade for ourselves of being the most ardent followers of the Status Quo of our profession. Let’s strive to be socially oriented, technologically ingenious, politically correct, democratic, environmentally friendly, elegant, parametric, generative, responsive, et al….(all the jargon that actually keep us distracted from making projects that actually mean anything or have any chance to make a change) . Let’s operate under this guise within the empty carcass of our architectural profession (soon to be accompanied by the half eaten remains of architectural academia). Lets do all of this while we wage war outside of (the orthodox definition of) architecture (for the war inside has long been lost). Let’s not forget we can construct our own unorthodox clandestine operational field.

The danger of hope and the illusion of choice
Seen the un-see-able and becoming ourselves un-see-able

Let’s not forget either that the cause of Revolutionary Architecture is a lost battle. Let’s not covertly fight in order to have hope, let’s not covertly fight trying to have a choice, for no hope or choice really exist, only the illusion of them. Let’s covertly fight because even though there’s no escape, at least this way we know of our condition of slaves and we are aware that we are being raped mercilessly by the same custodians who we appointed to guard us... Quis custodiet ipsos custodes?

This manifesto Is not written in allegiance to the Left or the Right, the Capitalist or the Socialist, Republicans or Democrats, for these factions are within themselves neither left or right, capitalist or socialist, republican or democrat…they are always the smoke screen puppet show put in front of us to keep us from seeing the ever present invisible third parties. This manifesto could actually be summarized as a wake up call to learn to see the un-see-able and to learn the art of becoming our selves un-see-able.

Revolutionary Architecture is ineffective when it’s visible. It itself becomes part of the problem, for it gives hope, and hope makes the masses think: “don’t worry somebody is out there doing something about it” plunging us all into inaction.

The true Revolutionary Architecture should be an architecture of sedition. It’s not carpet bombing, it’s smart bombing. It’s not broad strokes, it’s surgical intervention. It’s not diluted in a building, it’s concrete in an idea. For, as Aldo Rossi states “In a certain sense, there is no such thing as buildings that are politically ‘opposed’, since the ones that are realized are always those of the dominant class” (The Architecture of the City)

That is why, if the aim of some of us is to see architecture having real power to influence society in a positive way (again for some others this might not be an aim), Just imagining the future is useless because 99% of the time these ‘new futures’ are just personal interpretations of ‘what smell is floating in the air’ thus the most talented ‘imaginers’ are just the ones who have honed their olfactory organs the best, meaning that what we think of avant-garde and innovative and revolutionary is just a projection of the Debordian Spectacle. Then, the remaining 1%, which manage to escape from the traps of trying to find ‘the new’ and really develop projects which tackle issues at the root, (and not as a band aids) still fail to achieve any real revolutionary power in the end, for this 1% only create hope and the false illusion of choice (actually becoming the (-1) of revolution). Thus, the desirable scenario would be that that 1% which is lucid enough to work outside the pressures that homogenize us (even though we might think nowadays architectural production is incredibly heterogeneous) does so undercover.

And more importantly this 1% of truly alternative visions of the future should be delivered riddled and tangled in a shell that seemingly fits the smell of the other 99% to pass undetected, to grab the fluttering attention of the masses. But once the bait has been taken, this 1% should not give hope for free. (It should not give hope at all) it should compel its viewers to go through the tedious task of un tangling its true meaning…just to show then that there’s no hope. For hope is the drug that keeps us inanimate. Furthermore there’s no way to make any person interiorize this due to the fact that since our early childhood the word HOPE has been imbued with the most sensual connotations. For this reason a momentary glance at a project is not enough. Successful Revolutionary Architecture should be a journey, an undercover deceitful journey, which pretends to comply but actually lays the seeds of dissent.


see previous posts

# "We shall destroy your morbid world !"

This picture was taken after Saturday's action in Poitiers (a town in west of France) by an anti-incarceration collective's minority which destroyed several urban furniture and storefronts in a very organized way. Newspapers are sufficiently speaking about the damages without looking for the message for me not to do the same way...I am actually more interested by the message left by graffiti which differs from usual ones: "Nous detruirons votre monde morbide ! "(We shall destroy your morbid world !). Introduced like an inexorable prophecy, this sentence gives an unusual attribute to the world, morbid. The message is an obvious invitation to be part of the "you" it is addressed on or the "we" it is addressed by. The two other graffiti are completing the messages with "game over" and "guerre sociale" (social war). That is quite a shame that French newspapers did not take this issue seriously and prefer to talk once more about repression and the arrival of one more President's men on the field (Brice Hortefeux, the internal affairs minister). I am not even talking about French politicians who decided a long time ago that some topics should not be tackled...

# Jerusalem's Eruv analyzed by Eyal Weizman


In this extract of a text called The Subversion of Jerusalem's Sacred Vernaculars (which is part of Michael Sorkin's book The Next Jerusalem), Eyal Weizman describes what I interpret as the flexibility of Israeli Jewish's districts' boundaries which demarcate their territory with a wire calls the Eruv.

Besides its complex political edges, Jerusalem is surrounded by a boundary that defines not its municipal border, but the geographical limits of one of its religions. The Eruv - a metal wire stretched over high poles - encapsulates the Jewish parts of the city, and prescribes a different religious use mode within it.
[...]
The Eruv is a mobile frontier that is always rerouted to encapsulate every newly built Jewish neighborhood in the city. The path of the Eruv marks therefore the momentary state of the city's Jewish neighborhoods. The Eruv of Jerusalem is about 100km long, but its metal wire, the only necessary element of its construction, weighs no more than 80kg.
Along its path the Eruv boundary manifest itself in different ways. Beyond its presence as a series of poles strung with wire, the Eruv, like a giant-scale act of urban bricolage, incorporates and uses the existing boundaries and urban scars of Jerusalem: fences, walls, concrete decks, metal handrails, rock faces, houses facades, a water reservoir, a railway line, a deep valley to mark its boundary, saving the use of poles and string. These elements could be considered parts of an Eruv boundary, according to lwas described in the Talmud, on the single condition that hey be higher or deeper than one meter. Seeing the city as an object, the Eruv reinterpres and reuses its props and imbues them with another meaning.

Eyal Weizman for The Next Jerusalem by Michael Sorkin, The Monacelli Press 2002

see previous articles (1&2)

dimanche 11 octobre 2009

# MANIFESTO /// Emmanuel Dupont & Colin Priest


Emmanuel Dupont & Colin Priest
(picture The rise of Neptune Colin Priest/Greg Andrews -Nuit sans Opéra)


The Event MANIFESTO

In a world accented by youth and speed, edges rather than content are the physical reality.
Within those, human relationships make and un-make. Collaborating is the issue. Knowing and arguing your position is another.

Hard and soft matters as well as nothingness may hook, plant and position a place but the challenge of contemporary architecture is to get up close and personal to people not conceptually or physically but in a way to sustain opportunity across generations.

Why care about form that will suit no-body? Slow down, be selective. Forget the single function if everything else is multi-platform. Reconsider a sensitive adventure beyond efficient manufacture and towards an agile assembly evolution.

What if we cared more about time? Working the instant, the long term, the short term and the structure that makes any event magical (or any other basic terms that enhance everyday life).

Let us construct moments to remember and everything in-between.

# David Crobenberg's eXistenZ

In 1999, David Cronenberg releases a movie which almost reach the limits of imagination by designing what Marcos Cruz calls neoplasmatic objects. eXistenZ's pods are embodies in fact a perfect hybridization of manufactured object and biological organisms. Those pods allowing connected people to penetrate into a parallel game world are created by surgeons thanks to mutant organisms. Those pods as biological creation are subjected to infection and physically evolves when being contaminated (see the two last illustrations).
The whole vocabulary of those objects in the movie introduces a new technological language far from the one we currently know which is directly influenced by the 60's vision of the future.




samedi 10 octobre 2009

# 風の谷のナウシカ Nausicaa by Hayao Miyazaki

Nausicaa of the valley of the wind, after being a manga is a movie designed and directed by Hayao Miyazaki in 1984. It dramatizes a post-apocalyptic world suffering from a spreading toxic forest where some disproportionate insects are living. The drawings of this forest are absolutely marvelous and the ambiguity that the plot makes little by little appearing, revealing that the forest is actually sucking up the pollution from the ground and therefore protecting the earth is brilliant.
To be watched and rewatched !




vendredi 9 octobre 2009

# 他人の顔 Tanin No Kao by Hiroshi Teshigahara

After Faust and Balzac's Peau de Chagrin (Wild ass's skin), here is another ambiguous and dangerous contract. This movie is called Tanin No Kao (The face of another) and it was directed in 1966 by Hiroshi Teshigahara. Just like the wonderful Suna no onna (see former post), the scenario is largely based on a Kōbō Abe's novel. It dramatize the story of a disfigured man who is wearing a mask taking over him little by little. The direction is fantastic and the atmosphere of ambiguity is fascinating...

# The art of Chris Johanson

The Californian born artist Chris Johanson is a new incontestable figure of contemporary art.
Coming from the worlds of street art and skateboarding, he is evolving between graphic and sculpture. He was close to contemporary artists escaped from street art like Barry McGee or Dash Snow. He is doing really interesting colorful installation like the following ones.



More here & here.

jeudi 8 octobre 2009

# MANIFESTO /// Vito Acconci

Justify Full
Vito Acconci
(for Iconeye)

A tale of two or more architectures
(An architecture of fairy tales)

It is the best of architectural times, it is the worst of architectural times. It’s the age of lightness, of fluid architecture; it’s the age of architecture that’s only constructed into forms of fluidity and lightness that themselves remain solid and heavy. It’s the epoch of architecture that emerges and grows as a living creature; it’s the epoch of architecture that only looks as if it emerges and grows, that only looks like a living creature. It’s the era of sensual architecture; it’s the era of an architecture of visual affects. It’s the season of virtual architecture, science-fiction architecture; it’s the season of architecture that, when built, comes tumbling back down to earth. It’s the spring of code-writing and computational architecture; it’s the winter of generic architecture generated by and justified by numbers. We architects and designers practice operations now that will make architects ultimately unnecessary, we anticipate architecture that designs itself; in the meantime, we’re narrowed down to the chosen few starchitects. We architects and designers harness multiple complexities; all the while we refine complication into elegance, we revive aesthetics, we do something that smells like art, we resort to taste and sophistication, we tag onto an ‘upper class.’ We architects and designers make places for people; but the more parameters we use to design, the less our design-process can be read in the places we build – if people can’t ‘get’ the buildings we make, then those buildings are meant to appear as a force of nature, and we expect from people only belief.

# Paranoid security as the new paradigm

In our section "How the hell did we arrive here ?", this is another good example. An English company, Internet Eyes, proposes to its clients to open the access of their CCTV system in order to anybody on the internet. People noticing suspect activities are being rewarded.
The text on the official site is written as everybody was not seeing any problem in the systematic denunciation:

Earn reward money
Have a chance at reducing crime
Potentially become a hero and save live
Simply sign up for FREE, watch and report crime

and then to ask:
How does a reward of £1000 a month sound?

So now, denunciation can become a wage ! What if somebody can not find anything suspect for one month and he needs his reward of 1000 pounds ? Dystopia has definitely catched up with us...I mean can you even believe those sentences are real ?
Let's keep on exploring the first page of this website. It is interesting to see the discrepancy of speech between what is addressed to "normal people" and what is to companies.
"Normal people" are being proposed to save lives (yes !) whereas in the companies section you find this:

Increased crime detection
=
Greater deterrent
=
Reduction in stock loss

There we go ! Paranoid security has been directly invented by the system to constitute the easiest way to control people/electors for politics and to avoid any blow for the economic system in its unbridled race to create capital.
I hate doing what I call eracentrism but I feel we should be very alerted and active in this period which is drifting us slowly but surely in a new form of totalitarianism which does not need any gulag because it succeed to superimpose this dimension on territory we are experiencing...

mercredi 7 octobre 2009

# MANIFESTO /// Marcos Cruz


Marcos Cruz

NEOPLASMATIC DESIGN

The rapid development of innovative technological approaches in the realms of biology, microbiology, bio-technology, medicine and surgery are becoming of immense significance to architecture, demanding our attention due to their inevitable cultural, aesthetic and technical implications. Marcos Cruz investigates with students of Unit 20 at the Bartlett School of Architecture the impact of these emerging and progressive biological advances upon architectural and design practice. The unit has been looking at the current groundswell of experiments and creations that utilise digital design as a method to explore and manipulate actual biological material. A notion of design is emerging in which interdisciplinary work methodologies, traded between physicians, biologists and engineers, as well as artists and designers are increasingly occurring, giving rise to hybrid technologies, new materiality and hitherto unimaginable potentially living forms. The results of these conditions, defined as neoplasmatic, are partly designed object and partly living material. The line between the natural and the artificial is progressively blurred. More than derived from scaled-up analogies between biological conditions (cellular structures) and larger scale constructs (architecture), as commonly expressed in much contemporary bio-architectural work, Neoplasmatic Design implies ‘semi-living’ entities that require completely new definitions.

Caption:
Work featured by Marcos Cruz and Unit 20 students Samuel White, Jens Ritter, Hannes Mayer, Yousef Al-Mehdari and Steve Pike.

previous post

# Diving in Strépy-Thieu boat lift

Here is a impressive video of Alain Kohl and Orlando Duque diving from the top level of Strépy-Thieu boat lift into a pool 25m lower (being a lift it can be adjusted). The appropriation of a background which has nothing to do with the activity proposed here makes the whole beauty of the scene.