TURBO ESPRIT by Agnes

TURBO ESPRIT WAALHAVEN EDITION

1. THE SITE HISTORY

COMMUNITY LOOK

2. THE MUSEUM REVOLVING DOOR / WALL

THE TRIBUNE THE STOPPER / WALL

3. THE GAME

LEVEL POSITIONS COINS CUSTOMIZE FEATURE BUILT

Stopper

Wall

Tribune

Stopper

Wall

What I want this project to be about: - - - - - -

encounter of art and local car community interrupt the straight way (an obstacle in routines) the artwork moves with you (dance) slowing down and having a closer look (deceleration) the street for the art and not for the car. immediate reaction to your movement

THE SITE

Petroleum History of Waalhaven The arrival of the first petroleum in Rotterdam was in 1862. The former tea shipping company, Pakhuismeesteren, which plays a significant role in colonial history of the Netherlands, become intensively involved in the storage of petroleum. Soon the warehouses became too small and the port expanded westward, and the Waalhaven, which had opened in 1906, would become the main petroleum hub. Tank storage and the distribution of chemicals have evolved over the years, and the river developed into a storage and later also a refining complex. Between 1935 and 1940, due to a lack of capacity, the storage and refining of petroleum and gasoline moved to Pernis. The Waalhaven basin had meanwhile been completed and the strip of land between the Sluisjesdijk and the river was given a more general commercial use. The spirit of Petroleum stayed in a way at Waalhaven, its wholeness cascades into many shapes, runs like a herd of luminous deer into the forest. Waalhaven – The last limb of the port area that is not yet under the control of the Smart Port System. A dynamic environment. It faces ever-changing challenges and demands from port activities under continually evolving economic and environmental circumstances. But it also offer a social and cultural environment.

map 1912

10.000 ton 14,15 m (current)

Illustration 21. Situation Harbour of Rotterdam 1925. Source: Author. Information from: http://topotijdreis.nl/

View of the New Maas with storage tanks of the Royal Dutch Petroleum Company (KNPM) on the Sluisjesdijk. 1906 - 1927

1925

Sluisjesdijk Waalhaven

5 km

47 | Port of Rotterdam

map 1932

Infrastructure

- Dock - Pipes - Tanks - Barrels

The area has a very clear grid and division in functions. Through the grid, the factory and storage areas are divided and have their own specific space.

How the material world influence thought, consiousness and shared social beliefs:

Different ecological localities and the historical human livelihoods adjusted to them have different conditions that do not apply universally.

natural history geology

locate

economic production

base matter

valuation

raw material

Anna Tsing's analysis of production chains in The Mushroom at the End of the World critiques and highlights that not everything is in a smooth flow in global capitalism. In fact, very different things happen in very different milieus. hapens in time and space 22

worker Attitude critical aproach

social structures

population growth

urbanisation

valuation

discourse How we live together.

idea of lifestyle

Unconcious connections When feedback loops are long enough, they disappear from human view. For instance, when carbon dioxide emissions, waste, and the production of raw materials are removed far enough from consumption, they vanish into blind spots. 23

All of these forms of expression would be impossible without oil. Also Museums are incredibly energyintensive systems, with their specific requirements for heating, cooling, and humidity controls, the custom of always repainting the walls between every show, the use of vinyl lettering, the global shipping of art, and the use of projectors and other displays all of these acts depend on fossil fuels. Art and oil cannot easily be disentangled.

Two mechanics work on the chassis of a car in the workshop of Kaiser-Frazer Fabrieken N.V. car factory on Sluisjesdijk.

Kaiser-Frazer Fabrieken N.V. car factory on Sluisjesdijk

The aesthetics of the institution.

Who is there?

„Who didn't love playing with Matchbox and Hot Wheels cars as a kid? The latter have made their way into children's rooms to this day, along with huge orange tracks full of loops, boosters and ramps that chase the iconic mini-metal cars in all shapes and colors through crazy courses.“

THE MUSEUM

CONTINUOUS MUSEUM 30

“A museum for me is something that really transcends the physical architecture” Bart van der Heide, March 12, Foyer

FOYER PASSWORD FOUNTAIN

12, 19 & 26 March 2021 Shimmer + Cookies

“Architecture still feels more obviously connected to power than art does.” Nicholas Korody, March 12, Foyer

URBAN METABOLISM built structure for

people heat

energy recycle

express charge use, eat, invent

to produce / translates into

goods

Material Flows

matter / energy / people go in and out

Urban metabolism is a model to facilitate the description and analysis of the flows of the materials and energy within cities, such as undertaken in a material flow analysis of a city. It provides researchers with a metaphorical framework to study the interactions of natural and human systems in specific regions. 33

“A splendid manuscript! The pathos (and worse) of the blockages, bureaucracies, and petty bourgeois obstacles is lucidly and calmly laid out. A major document of cultural politics and ethics today.” — Paul Rabinow

Grau useums ations with Leading Directors 83775747806 (Book) 83775748018 (eBook)

Shiff s Thoughts: n the Work of Donald Judd 83775747509 eBook available

jecantz.de

Coproduced with

Clémentine Deliss

lable

To hold and behold the powerful objects within the vaults of the museum brings tears to the eyes. To caress the objects once formed and held by one’s ancestors is knowledge transferred and embodied. This was the result of the fieldwork in the museum. — Otobong Nkanga

The Metabolic Museum

“An ardent plea by an original voice, clear and courageous, in favor of fieldwork inside the museum, open to everyone— an invitation to do imaginative research down in the stores of old ethnographic collections.” — Michael Oppitz

„I began to conceive of the museum as a complex body suffering from a severely ailing metabolism, affected organs and blocked circulation channels. Transforming this condition would require meticulous care, but also radical surgery,“ Deliss says.

The Metabolic Museum Clémentine Deliss

This is a story about what happens when you try to change a museum. In a candid narrative based on her time as director of the Welt kulturen Museum in Frankfurt, Clémentine Deliss describes the key decisions she took to transform this museum with its collections into a twenty firstcentury laboratory for new concepts and designs. Dr. Clémentine Deliss is a curator and cultural historian, working across the borders of contemporary art, cura torial practice, and cultural anthropology. As a professor and researcher at leading institutes, transdisciplinary and transcultural dialogues in contemporary art are at the forefront of her work. She is currently Associate Curator at KW Institute for Contemporary Art in Berlin and Guest Profes sor at the Academy of Fine Arts, Hamburg.

Notes on the museum Paul B. Preciado This is one of the characteristics of the neoliberal museum: to transform even the local visitor into a tourist of the history of globalized capitalism. – If we want to save the museum, perhaps we should choose public ruin over private profitability. And if that is not possible, perhaps the time has come to occupy the museum collectively, to empty it of its debts and raise barricades of meaning there. To turn out its lights so that, without any possibility of spectacle, it can function as the parliament of another sensibility. – Transform the museum into a democratic laboratory where the public sphere was being reinvented. – Art is exchanged for signs and money, no longer for experience or subjectivity. – It is a museum in which art, the public space, and the public as critical agent are all dead. Let’s stop calling it a museum and call it the “necromuseum.” An archive of our own global destruction.

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GARAGE GRANDE

In action: - - - - - -

multiole ways of turning the walls and leading the driver --> multiple ways of story telling simple gesture, conder up the world the artwork moves with you (dance) Tool to block the street with (spatial intervention to create a square) Having the option to turn it away (parallel to street) immediate reaction to your movement

INTERACTIONS

turn to pass

opens up

light on

Revolving Door

Barricade at the time of the Paris Commune, March 18, 1871

Where is the blockade? Why don‘t you go to the museum? 46

the wall - architectural minimum of the museum? - Tool to block the street with (spatial intervention to create a square)

Architectural barrier museum

Revolving door transition Zone --> marking the space

Encounter Zone / Touching Points

space for both

ART can hang

CAR can touch

enter the field of action

Materialisation

Architects are agents of culture. Museum architecture offers a possibility of encounter with artworks. The most obviouse element might be the wall. The wall, read as well as the condensed architectural minimum of the museum, merged with the idea of the revolving door, as the transitional element that makes you conscious about entering the space, but also creates a threshold which is not easy to pass for everyone, is put in front of the driving Waalhaven visitors. Suddenly stopped in the routine, one is called upon to bring an unusual, unlearned, unrehearsed reaction. The walls can be placed parallel to the street as well - to block the street like a barricade. By setting the walls in certain positions the driver can be guided through the whole of Waalhaven. Like in an open world driving game. You are on the road to explore the idyllic port part that is very honest and authentic and have to discover the way to your final destination over and over again.

Waalhaven site visit by Chiara Catalini

Stopper & Light

shine the light on it. This interaction is inspired by the many people sitting in their cars chatting or warming up. From those who use the car interior not only while driving but in an extended way. The stopper stands in various parking spaces scattered around the site. Inspired by the cargo train stoppers you can find on this industrial site - this is the car/art encounter version. As soon as you, softer or harder, bump into the two impact surfaces the spotlights come on and illuminate the work of art. It’s about spending time with it. Sitting in the car, you have illuminated art on the horizon - even at night.

Tribune

Sit down and looking at a sculpture and remind yourself that a racing car is not necessarily more beautiful than the Nike from Samox It’s about spending time with it. Collective watching and experiencing does not necessarily need a physical place. the architectures require the driver to activate them

public collectivity

The third museum architecture that will be implemented is a tribune that opens by driving into it and remaining parked underneath. It requires a driver to stop there to keep the structure open. This is about collectivity, collaboration and looking and sharing together. Sit down and look at a sculpture andremind yourself that a racing car is not necessarily more beautiful than the Nike from Samothrace. If the situation arises, everyone will get out of their cars to experience a conversation about art our just collectively loaf around in front of it.

“A museum for me is something that really transcends the physical architecture” Bart van der Heide, March 12, Foyer

FOYER PASSWORD

THE GAME

The aim with this project - to develop prototypes for new infrastructures to exhibit art in the city today – Is presented here in the form of a game. The digital realm reveals some possible alternatives for the disintegration of art institutions in the urban fabric. Digital applications and websites can help centralize information and assist with navigation. Playing the first-person digitally navigable game, a virtual experience, you can draw back from it. In the digital many parallel worlds are possible. The boundless possibilities for the experience of culture can democratize. For a generation, forced indoors thanks to the health issues and government rules will develop a view of the future informed almost exclusively by video games and films. Friends meet up for online games and have their conversations there. This shows the breadth with which digital space can be used as a vehicle for storytelling, art, and community which has been largely missed since the pandemic accelerated a dependence on corporate platforms such as Zoom and Instagram. There we end up - Understanding a museum as something that really transcends the physical Architecture. And now go and play the videogame.

What I want this project to be about: - - - - - -

Encounter of art and local car community Interrupt the straight way (an obstacle in routines) the artwork moves with you (dance) Slowing down and having a closer look (deceleration) The street for the art and not for the car. immediate reaction to your movement

In action: - - - - - -

For a generation, forced indoors thanks to the health issues and governments rules will develop a view of the future informed almost exclusively by video games and films.

Unity - world building

Driver: Waalhaven Edition The Waalhaven Driver Edition enables a point of encounter in the daily life of the local car community and the workers that routinely drive there and use the space with the inspiring art world. The wall, read as well as the condensed architectural minimum of the museum, merged with the idea of the revolving door as the transitional element that makes you conscious about entering the space but also creates a threshold which is not always easy to pass, is put in front of the driving Waalhaven visitors. Suddenly stopped in the routine, one is called upon to bring an unusual/ unlearned/unrehearsed reaction. The walls can be placed parallel to the street as well as they can block the street like a bariccade. By setting the walls in certain positions the driver can be guided through the whole of Waalhaven. Like in an open world driving game, you are on the road to explore the idyllic port part that is very honest and authentic and have to discover the way to your final destination over and over again.

WORLD

_ environment / view _ island _ walkways _ lines street _ buildings _ fence

WORLD

Unity - world building

Level 1 - raise Score through interaction Level 2 -Find way thorug the Peer --> walls fix in a certain position

LEVEL

Unlock: - customize feature - walls

GOAL OF THE RACE IS THE TIP OF THE PEER

Wall 5 Stopper 2

Wall 4

POSITIONS

Wall 3

Wall 2 Stopper 1 Wall 1

1 The first door is placed at the entrance of the Waalhaven area. It functions as the symbolic gesture of entering the museum through the revolving door.

Waalhaven site visit by Chiara Catalini

GOAL OF THE RACE IS THE TIP OF THE PEER

Stopper 2 Wall 4

Wall 5

Wall 1

Wall 2 Stopper 1

Wall 3

Wall 1

2 The, position of the 2nd door leads you, when blocked, into the small street with all the carwash and car repair shops.

Waalhaven site visit by Chiara Catalini

GOAL OF THE RACE IS THE TIP OF THE PEER

Stopper 2 Wall 4

Wall 5

Wall 2

Wall 2 Stopper 1

Wall 3

Wall 1

Waalhaven site visit by Chiara Catalini 86

GOAL OF THE RACE IS THE TIP OF THE PEER

Wall 4

Wall 5

Stopper 2

Stopper

Wall 2

Wall 2 Stopper 1

Wall 3

Wall 1

Waalhaven site visit by Chiara Catalini

3 The third encounter marks the end of the street – together they function as barricades to close the space and make it a very long version square that can be used by the community to have feasts or to play football on.

GOAL OF THE RACE IS THE TIP OF THE PEER

Stopper 2 Wall 4

Wall 5

Wall 3

Wall 2 Stopper 1

Wall 3

Wall 1

Waalhaven site visit by Chiara Catalini

4 The fourth wall is located in the middle of a long corridor of industrial sheet metal walls. It should break open the simplicity.

GOAL OF THE RACE IS THE TIP OF THE PEER

Stopper 2 Wall 4

Wall 5

Wall 4

Wall 2 Stopper 1

Wall 3

Wall 1

5 This as well happens on the other side where the wall interrupts the infinite length of a brick wall.

Waalhaven site visit by Chiara Catalini

GOAL OF THE RACE IS THE TIP OF THE PEER

Stopper 2 Wall 4

Wall 5

Wall 2 Stopper 1

Wall 3

Wall 1

POSITIONS

The stopper: 1 There are 2 stoppers located next to each other at the end of train tracks. 2 Another offers a nice view to a long row of cars parked parallel to the road. 3 When you drive through the small car repair shop street, you will be invited to stop by the 3rd stopper, just at the exit on the left. 4 The fourth is located a whole block further. Where, parked at an angle to the road, there is room for even more cars. 5 The fifth is on the other side of the hall of the second. - you approach it exactly as if you were parking in one of the parallel parking spaces.

POSITIONS

The tribune: 1 You can activate the first tribune immediately on the right at the first car park. 2 and 3 The second and the third one follow directly on the same straight street - which has plenty of parking space. 4 Tribune number four is located at the entrance to the head of the harbour area. Sitting on the open tribune, you look at the sculpture and have the river in the background. 5 The final tribune you can encounter with is placed in the middle of the huge parking space. You can feel free to drift around it before you activate it.

1. Congratulations! You just took advantage of the digital possibilities. 2. The paywall of the museum just dissolved. Enter through the revolving door. 1. You just got started? Don’t worry – this is not a museum that closes at that locks up in the evening. Take all the time you need – watch in your speed. 2. The encounter with the next Interactable will give you a chance to see a beautiful piece of art. 3. Drive on to get all the artworks from the storage. Five more coins to hang Salvador Dalis Espagne. 4. TRIBUNE – Did you ever think about what public means nowadays? 5. You can follow the straight road – but you might find more coins if you navigate to the smaller more hidden roads. 6. The museum interactables require you to activate them. Don´t let them wait. You can see more. 7. STOPPER We have to stop and have a closer look to engage with a topic 8. This is about you and the artwork. A first person digital experience. Enjoy. 9. Nice, spend more time here to raise your score. 10. Drive to the garage to customize the artworks. 11. Ask me any question about the artwork 12. No Masters. Never let the rich have the street. 96

COINS

bring the walls from the storage

CUSTOMIZE

100

BUILT

101

102

103

BUILT

104

105

BUILT

106

107

BUILT

Tribune

Stopper

Wall

108

109

BUILT