THE SITE
‘THE BOAT’
‘A TABLE FOR CHESS’
‘THE FOUNTAIN’
‘THE GAME’
Situated in a region steeped in history with its once-famed roof-tile factory, an intention unfolded that bridged the gap between the community’s heritage and contemporary art practices. Inspired by the rich natural clay resources of the area, the project centered on ceramics classes and pottery making on the wheel.
In this rural setting, the lines between public, private, and commons spaces are uniquely intertwined, reflecting a cultural landscape where collective endeavors often take precedence over individual pursuits. Here, the community thrives on shared resources and collaborative efforts, blurring the boundaries between what is owned by individuals and what is accessible to all.
Amidst this dynamic social fabric, the idea of a public game crafted from clay became a focal point in the village’s meeting point. A common object that represents the fusion of tradition and innovation, community engagement, and artistic exploration. Moreover, the choice of clay as the primary medium for the public game underscored its accessibility and
6 plaster molds, one for each chess piece are made and placed in the community center of the village. For the casting are used ceramic parts, made on wheel by the participants.
Press molding technique is the most effective way for reproducing shapes multiple times, and it is easy to use. The mold is used by lining a slab of fresh clay on it, pressing the clay gently and evenly with your hands, and waiting for the clay to firm up before detaching it from the mold.
‘Surb Nshan’
sustainability. With clay readily available in the region and techniques easily replicable, the project empowered the community to continue its artistic journey long after the residency concluded. By creating a public game that could be reproduced and recreated by the villagers themselves, the project fostered a sense of ownership and pride. By engaging in ceramics classes and pottery making, the residents of Vardablur not only preserved their cultural legacy but also reimagined it for generations to come, leaving an indelible mark on the rural landscape and enriching the fabric of communal life.
CHESS AS A PUBLIC GAME
Chess has been a part of Armenian culture for centuries, with a rich tradition of the game being passed down through generations. It is often played and enjoyed in Armenian households, contributing to its widespread popularity. During the Soviet era, chess was highly promoted and supported b y the government. Armenia, as part of the Soviet Union, benefited from this emphasis on chess education and training. Many Armenian players honed their skills in the Soviet chess system, which had a profound influence on the development of the game in the country.
The relationship between Armenians and chess is deeply intertwined. Chess is immensely popular in Armenia, with the game being widely played and celebrated throughout the country. Armenians have produced numerous talented chess players who have achieved great success on the international stage. Chess is not only seen as a game but also as a part of Armenian culture and heritage, with many chess schools, clubs, and tournaments existing across the country. Additionally, Armenia has won multiple Chess Olympiads and has a strong presence in youth chess competitions, reflecting the nation’s deep connection to the game.
Since 2011, chess has become a mandatory school subject across Armenia -along with such standards as math and history- for every child over the age of 6. Chess is compulsory for second, third and fourth graders. More than 40,000 children in about 1,500 Armenian schools already have received chess textbooks and chess pieces. They are now receiving formal lessons twice a week from 1,200 specially trained and selected teachers.
‘ATLAS