SP 982_SAVE ARCHITECTURE

H UMAN NON-H UMAN

POST H UMAN

SAVE ARCHITECTU RE FROM TH E ARCHITECTS TH E W EATH ER U N DERGROU N D

GOVERNORS ISLAND IS A VERY CONSTRUCTED ENVIRONMENT WITH ITS RICH ARCHAELOGY. THE ISLAND’S FORTIFICATIONS - FORT JAY AND CASTLE WILLIAMS - SERVED AS AN EARLY OUTPOST TO PROTECT NEW YORK CITY FROM ENEMY NAVAL ATTACK AND WERE AN INTEGRAL PART OF A LARGER COASTAL DEFENSE NETWORK. MANY CLIMATE CHANGE AUTHORITIES ARE TESTED IN THIS GROUND. THE CLIMATE EMERGENCY BIENNALE IS A HAND TO OFFER TO THOSE BATTLES.

Interactive Climate Clock ●

Monumental/ Installation display - using GI prime location

●

The Display is linked with the app, When a user links through QR code and gains credits (according to each programm set up in the exhibition) it reflects on the Clock as gained time making a difference on Climate Crises

●

When you enter GI you are asked to be a part of the climate change credits to ‘help save our clock’ with the brief Information to how it works.

●

Participation in several activities, Workshops, Program, Installation, will help the user to gain credits which will keep updating on the app by scanning the QR code shared by the curator at the end of the completed task.

●

The credits gained by the users after performing the program will reflect on the clock automatically as its linked with the exhibition app.

●

There will be a timesheet set for every activity in all Exhibitions/pavilions which help gain these credits.For example, Workshop of with xxCredits = yyMins (Change on the Big Clock)

WHAT DO YOU SEE WH EN YOU LOOK AT AN OLD BUILDI NG

?

FOR STARTERS, OBVIOUSLY TH E LOCALITY OF TH E LOCATION. I NCLUDI NG LATER, TH E MATERIALS USED FOR CONSTRUCTION, TH E ARCHITECTU RAL STYLE AN D OVERALL DESIGN, AS W ELL AS ITS U PKEEP. AN OLD BUILDI NG HAS BEEN REGULARLY FILLED WITH EVENTS, TH US GIVI NG YOU ITS DATE, PROBABLY GETTI NG A HOLD OF TH E HISTORICAL SOCIETY. BUT IF YOU ASK TH E SAM E QU ESTION TO TH E ARCHITECTS, TH EY PROBABLY SEE ‘A N EED FOR RENOVATION.’

AN D WHAT DO TH EY SEE FIRST WH EN TH EY LOOK AT A TREE? I WON’T BE SU RPRISED IF TH E REPLY IS ‘A FU RN ITU RE.’

EVERY DAY, ARCHITECTU RE SU RPRISES TH E EARTH GIFTI NG A N EW RELATIVE OF H UMAN, NON-H UMAN EVEN T H E POST H UMAN. BUT THIS WORLD IS U N DOU BTEDLY MORE THAN AN ORGAN ISM. IT SU RVIVES ITS OW N WAY AN D ENCOU NTERS N EW POSSIBILITIES. SOM ETIM ES, IT OPENS TH E DOOR TO SOLVE COM PLEX PROGRESSIONS, AN D SOM ETIM ES, IT CREATES N EW APPROACH ES FOR FU NCTIONAL FABRICATION. I THI NK IT’S HIGH TIM E W E PROVIDE ‘AN EVENT’ (BIEN NALE) TO H ELP PEOPLE RETHI NK ALL TH ESE.

THIS BIEN NALE CAN SERVE AS AN EXAM PLE OF HOW W E CAN RECREATE OU R RELATIONSHIPS WITH TH E ENVIRONM ENT. HOW W E CAN DELICATELY AN D RESPECTFU LLY, I NTERACT WITH CREATU RES. CREATU RES THAT ARE OLD AN D RARE. CREATU RES THAT OU R CU RRENT M ETHODS OF PRACTISI NG ARCHITECTU RE EN DANGER.

(NOTE: H ERE, ‘TH EY’ IS USED TO REFER ‘W E’, AN D ‘W E’ IS USED TO REFER TO TH E ARCHITECTS. THIS BIENNALE IS A PROTEST WITH TH E ARCHITECTS, BY TH E ARCHITECTS, FOR TH E ARCHITECTS)

I BELIEVE, IF YOU WANT TO DISCUSS A LIVI NG CREATU RE, YOU N EED TO ADAPT TO TH E CREATU RE’S NATU RAL STATE I N FRONT OF YOU R EYES. (EVEN TH EN, YOU R U N DERSTAN DI NG OF ITS ECOSYSTEM CAN BE PARTIAL.) EVERY PARTICLE ON/I N TH E EARTH IS MORE COM PLEX THAN ALL TH E CARBON I N TH E ECOLOGY AN D TH E ATMOSPH ERE COMBI N ED. WHAT’S MORE COM PLEX, IS TH E RELATIONSHIP BETW EEN TH E PARTICLES. WHAT’S MORE DANGEROUS, IS TO SUGGEST ANOTH ER RELATIONSHIP CALLED ‘ARCHITECTU RE.’

W E SHOU LD STOP DESIGN I NG NATU RE AN D AGREE TO TH E POI NT THAT, ON LY NATU RE CAN DESIGN NATU RE. AN D WH EN THAT HAPPENS, TH E BEST FORM OF ARCHITECTU RE HAPPENS.

LET’S SAVE ARCHITECTU RE FROM TH E ARCHITECTS

!

AREA OF I NFLU ENCE *ARCHITECT WITHOUT ARCHITECTS

NOV 11, 1964 - FEB 7, 1965 MOMA

WHO BERNARD RUDOFSKY

WHAT ARCHITECTU RE WITHOUT ARCHITECTS: A SHORT I NTRODUCTION TO NONPEDIGREED ARCHITECTU RE IS A BOOK BASED ON TH E NYC MOMA EXHIBITION OF TH E SAM E NAM E BY BERNARD RUDOFSKY ORIGI NALLY PU BLISH ED I N 1964.

IT PROVIDES A DEMONSTRATION OF TH E ARTISTIC, FU NCTIONAL, AN D CU LTU RAL RICHN ESS OF VERNACU LAR ARCHITECTU RE.

WHY RUDOFSKY HAD LONG BEEN I NTERESTED I N VERNACU LAR ARCHITECTU RE. I N 1931 H E COM PLETED HIS DISSERTATION ON VERNACU LAR CONCRETE ARCHITECTU RE ON TH E GREEK CYCLADES ISLAN DS. H E WAS CONVI NCED THAT MODERN ISM, BUT ESPECIALLY MODERN ARCHITECTU RE GOT OUT OF TOUCH WITH TH E N EEDS, AN D SENSUALITY OF MANKI N D.

AREA OF I NFLU ENCE *ECO-VISIONARIES

ECO-VISIONARIES: ART FOR TH E PLAN ET

WHO PEDRO GADANHO & MARIANA PESTANA.

WHAT IT IS A MAN IFEST-EXHIBITION AN D TH EREFORE SEEKS TO PLAY AN ACTIVE ROLE I N SOCIETY, CONVEYI NG SEVERAL M ESSAGES ABOUT A PRESSI NG ISSU E - TH E DESTRUCTION OF TH E PLAN ET BY MANKI N D.

WHY “W E N EED TO RETHI NK OU R RELATIONSHIP WITH NATU RE, AN D AT M USEUMS W E HAVE A RESPONSIBILITY TO MAKE ARTISTS AN D ARCHITECTS’ VOICES H EARD, NOT N ECESSARILY TO A SPECIALIST AUDIENCE.”

PARTICIPANTS / TH E FIGHTERS

EVERYTHI NG DAVID O’REILLY – 2017

DAVID OREILLY IS AN ARTIST, FILM-MAKER AN D GAM E DESIGN ER WHOSE DIS TI NCTIVE STYLE HAS MADE HIM ON E OF TH E MOST RESPECTED AN D I NFLUENTIAL CREATIVE VOICES OF TH E CONTEM PORARY SCEN E. OREILLY’S WORK IS OFTEN CHARACTERISED BY TH E USE OF I NTENTIONALLY STRIPPED DOW N 3D GRAPHICS. H E IS KNOW N FOR POPU LARISI NG TH E USE OF LOW-POLY 3D AN D TH E USE OF 3D SOFTWARE AS A PERSONAL AN D ARTISTIC TOO. AN D I THI NK H E ALMOST H E DECONSTRUCTED 3D TO TH E POI NT OF ABSU RDITY.

ORIGI NAL PLAYERS BEGI N TH EIR JOU RN EY AS A RAN DOMLY SELECTED MAMMAL AN D CAN TH EN SLIP I NTO TH E ROLE OF OTH ER OBJ ECTS. EVERYTHI NG I N TH E WORLD OBEYS TH E SAM E RU LES, BUT DIFFER I N TH EIR PERCEPTION, TH EIR THI NKI NG, AN D TH EIR ACTIONS. TH ERE IS NO RIGHT OR WRONG WAY TO PLAY.

ADAPTATION TO CREATE A PHILOSOPHICAL JOU RN EY THAT ALLOWS US TO SEE TH E U N IVERSE FROM TH E DIFFERENT PERSPECTIVES OF LIVI NG ORGAN ISMS, PLANTS, AN D I NAN IMATE MATTER.

FERAL ATLAS

FERAL ATLAS I NVITES YOU TO EXPLORE TH E ECOLOGICAL WORLDS CREATED WH EN NONH UMAN ENTITIES BECOM E TANGLED U P WITH H UMAN I NFRASTRUCTU RE PROJ ECTS. SEVENTY-N I N E FIELD REPORTS FROM SCIENTISTS, H UMAN ISTS, AN D ARTISTS SHOW YOU HOW TO RECOGN IZE “FERAL” ECOLOGIES, THAT IS, ECOLOGIES THAT HAVE BEEN ENCOU RAGED BY H UMAN-BUILT I NFRASTRUCTU RES, BUT WHICH HAVE DEVELOPED AN D SPREAD BEYON D H UMAN CONTROL. TH ESE I NFRASTRUCTU RAL EFFECTS, FERAL ATLAS ARGU ES, ARE TH E ANTH ROPOCEN E.

STYLE OTH ER SPECIES, AS W ELL AS NON LIVI NG THI NGS, MAKE IT POSSIBLE TO BE H UMAN. THAT THIS STATEM ENT IS NOT OBVIOUS TO MANY H UMANS AT THIS MOM ENT I N TIM E IS ON LY BECAUSE OF HABITS OF THOUGHT THAT HAVE BECOM E POW ERFU L OVER TH E LAST FEW H U N DRED YEARS. I N THIS MODERNIST MODE OF THI NKI NG, H UMANS PRESUM E TO TRANSCEN D AN D MASTER NATU RE, RATH ER THAN FORMI NG WORLDS TOGETH ER WITH NONH UMANS.

ADAPTATION EXPOSI NG U N DERGROU N D WORLD BREAKI NG CLOSU RES.

MICHAEL WANG

I N AN EFFORT TO ARTIFICIALLY REI NTRODUCE SOM E OF TH ESE EXTI NCT PLANTS BACK I NTO N EW YORK’S LAN DSCAPE, ARTIST MICHAEL WANG HAS CREATED AN I NSTALLATION OF GREENHOUSES FOR AN I NAUGU RAL EXHIBIT AT TH E LOW ER MANHATTAN CU LTU RAL COU NCIL’S ARTS CENTER AT GOVERNORS ISLAN D.A COLLABORATION BETW EEN LMCC AN D SWISS I NSTITUTE, EXTI NCT I N N EW YORK FEATU RES FOU R GREENHOUSES LI N ED U P I N A ROW LIKE RESIDENCES ON A STREET AN D FILLED WITH 46 DIFFERENT PLANT, LICH EN, AN D ALGAE SPECIES.

STYLE EXTI NCT I N N EW YORK IS A PROJ ECT TO NU RTU RE A SELECTION OF PLANT, ALGAE, AN D LICH EN SPECIES THAT ARE KNOW N HISTORICALLY FROM N EW YORK CITY BUT ARE NO LONGER FOU N D GROWI NG WILD I N ANY OF TH E CITY’S FIVE BOROUGHS.

ADAPTATION ROBOTS I N BOOTH, ARTIFICIAL I NTELLIGENCE CREATI NG RELATION WITH H UMAN.

CONTEXT / STAGE GOVERNORS ISLAND LIES A FEW HUNDRED YARDS OFF THE SOUTHERN TIP OF MANHATTAN, AT THE CONFLUENCE OF THE HUDSON AND EAST RIVERS IN NEW YORK HARBOR. THE ISLAND’S FORTIFICATIONS - FORT JAY AND CASTLE WILLIAMS - SERVED AS AN EARLY OUTPOST TO PROTECT NEW YORK CITY FROM ENEMY NAVAL ATTACK AND WERE AN INTEGRAL PART OF A LARGER COASTAL DEFENSE NETWORK.

YEAR 2021

YEAR 2030

YEAR 2050

AN OLD SCHOOL IDEA OF A BUS QUOTING THE BIENNALE (BEFORE SHOW) LINKING BIENNALE TO THE PEOPLE

A BUS QUOTING WITH THE COMMENTS OF THE BIENNALE (AFTER SHOW) LINKING PEOPLE TO THE BIENNALE

ARRANGING A DEBATE BETWEEN A LOCAL WITH A MASTER ARCHITECT REM WITH THE FOOD SHOP OWNER IN GI

A TOWN HALL ON WAY BACK TO NY A SEPARATE FERRY FOR THE AUDIENCE

A PAUSE RETHI NK. RE DESIGN. RE CREATE LET NATU RE DESIGN TH E NATU RE BACK TO TH E CREATU RE’S NATU RAL STATE

#QU ESTION I NG TH E USUAL PRACTICE.

?