Shift - Isobel Moy by RMIT Proof Elective

SH S H II F FT T

iii

SH I FT ISSUE 01 Edited by Isobel Moy with contribution s from:

N i c o lay Boyadjie v I so b el Moy Te miTope Adesina S a m Torre J a c k Murray R a Mart in Puh kan K e r t u Johanna Jรถeste To b y Richards on Yu c hen G ao referencing work from: Laura Grace Ford Liam Young Made in Melbourne ...from home

So, with all this in mind, how can we start understanding whatâ&#x20AC;&#x2122;s actually going on, and what is to come? Now more than ever we are asking these questions because our world is shifting week-by-week. If we can adapt to this, what else can we shift towards? Post-rona? Post-human? Post-shift?

My first suggestion is that this is because humans are reactive. Our world is full of all-talk-no-action solutions to imminent threats; climate change, inequality, privacy invasion and data mining (to name a few), which we hear about every day. However, most humans and particularly politicians are conditioned to band-aid the problems at hand with tokenistic actions rather than effectively managing the looming problems for the future. Another idea to consider, is that we may only be a product of our generation, and unfortunately, paradigm shift may never actually occur for us, in our lives. Maybe we are the generation of consistent flux and no stability, and instead it is our job to record what is going on around us, talk about it an d critique it, rather than live its long-term benefits. We must also consider that perhaps stability is never meant to occur.

This publication, and all publications act as containers for these utopian and dystopian ideas. Publications are mechanisms for idea distribution - which are accessible to a large audience, outside of the profes sion of architecture. Now more than ever, it is important to use our imaginations and distribute our ideas through online media and publication. If not to speculate on the future beyond this current Shift, then to capture environment in which we are currently living.

vii

Throughout the curation of this publication I have considered how architects have always had the tools to imagine utopias or dystopias for our future. We have speculated globalised events such as disease outbreak in our work, yet never thought it would actually occur! We have imagined hybrid digital/physical worlds and now we are completely online. Architects have the agency to evoke thought and ignite debate about what our future could be - for the individual and the collective.

I hope that this Shift publication will do just that.

Editorial - Isobel Moy

By reflecting on the theme of Shift within this publication, it seems that shifts can occur in two ways: gradually or suddenly. While technological shifts have become exponential in our society, environmental shifts and changes in the workplace have traditionally taken longer. With the outbreak of Covid-19, humans have proved that in fact we can rapidly adapt and that we are re silient to change. The workplace has moved on-line, we are more relient than ever on technology, and we have reduced our Co2 emissions. Co-vid is proof that when we share the same perspective and work towards the same goal (flattenning the curve) we can be hyper-productive and successful. However this is very optimistic. In light of all this, I ask why haven't we been adapting to other important issues sooner?

R EA D

18 Distancing Isobel Moy

LOOK

R EA D

22 Editorial Isobel Moy

Homocellular Isobel Moy

SHIF-T Temitope Adesina

26 TH IN K

LO O K

14 New Workspace Isobel Moy

Covid Shopping Isobel Moy

New Workplace

LO OK

L OO K

Sam Torre

24 READ

LOOK

simms 2020

Toby Richardson edited by Isobel Moy

viii

ehitamata ehitatud Ra Martin Puhkan Kertu Johanna Jรถeste

Interview with Nicolay Boyadjiev

THI N K

R EA D

Yuchen Gao

Liam Youngâ&#x20AC;&#x2122;s City Everywhere

LOOK

R EA D

Speed of Extinction

Hazelwood Live Stream Isobel Moy

review by Isobel Moy

Tickets Outta Here Isobel Moy

READ

TAKE

Langlands & Bell Degrees of Truth Jack Murray

LO O K

52 In our hands Temitope Adesina

L OOK

R EA D

Salvage Isobel Moy

Virtual Exhibition Isobel Moy

start start Shift Shift user_

H O M O S A P I E N

Homocellular - Isobel Moy

H O M O C E L L U L A R

New Workspace - Isobel Moy This is what the

workplace looks

right now. A

workforce

faces pressed to the

glass windows of cyberspaceâ&#x20AC;&#x2122;s cityscape. Skyscrapers looking in on each other through

the invisible noise of productivity, economy and social connectivity existing as a boundless world of ones and zeros.

1 1 1

0 1

1 0

1 1 0

0 16

0 0

0 1

1 0

0 New Workplace - Toby Richardson & Isobel Moy

1 1

D I S TA N C I N G Architects have always been designing and speculating visions for the future. We endeavour to see what is coming, before it happens; partly for our own interest but also in the hope that the world will listen. The architect is trained to ask: what if? As architects, we have always imagined apocalyptic visions of digital dystopia or utopia. We look at society’s current infatuation with and dependence on technology and pursue an advanced or exaggerated reality for humanity – both good and bad in their outcomes. Architects have the tools to illustrate and communicate to others what the future could be like, and those tools have changed over time. Drawing has always been an effective tool for communicating and visualising, but advancement in computers and digital software have given way to 3D rendering, animation software and virtual/augmented reality to make these visions even more tangible. Right now, some of those digital dystopias are coming to life. With the rapid outbreak of COVID-19, a virulent, fast-moving and invisible disease, daily life has been drastically altered for powerful populations and cities around the world. With the collective aim of ‘flattening the curve’ in the fight against this pandemic, London, New York, Melbourne and other vibrant economies around the world have become eerily quiet due to the enforcement of strict isolation rules, business closures and the new term: social distancing. Leaders around the world have described the pandemic as ‘unprecedented” and ‘unforeseen’ however this was not the case for everyone. In the midst of the deadly Ebola outbreak in 2015, Bill Gates sent a message to the general public in a TED Talk stating that ‘today the greatest risk of global catastrophe is not terrorism or war, but more likely to be a highly infectious virus that could kill over 10 million people in the next few decades. We’re not ready for an epidemic’.

Humans are good at dealing with the problems at hand because once the problem has arrived, we can understand what band-aids need to be applied in order to accomplish short- or long-term solutions. However, if the problem is not tangible, or is not an immediate threat, we might wait to solve the problem in the future – sometimes when it is already too late. So, in a world that was not ready for an epidemic, let alone a pandemic, we have had to take draconian measures in order to preserve human lives. We have gone contactless! Our contactless community has become more literally contactless than ever before. Before COVID-19, contactless technologies had reconfigured our relationship with both space and time by erasing interpersonal small-talk from our daily vocabulary and destroying social convention. People can now shop, talk, order and bank online at any time of the day, through the automation and streamlining of mundane activities that once provoked interaction with strangers. Interpersonal transactions have been reduced to a ‘tap’.

Architects have the tools to illustrate and communicate to others what the future could be like... Battling COVID-19, “contactless” has taken on a more extreme meaning. Most people now resenting the term, rather than seeing it as a positive step towards further technological advancement. Contactless means: isolation, no social interaction, no unnecessary travel, no gatherings of more than 10 people and has led to the closure of businesses, workplaces, universities and schools. But the show must go on – so everything has moved online.

Distancing - Isobel Moy

AN ESSAY BY ISOBEL MOY

Living in isolation means that the boundaries of public and private have been blurred more than ever. We are living at home, working from home, socialising from home and sleeping at home. Every household with a computer now has an un-planned, un-built new window, looking straight into their most secluded spaces. We have invited in colleges, clients, strangers and friends – without considering the damaging effect that this may have on work like balance in the future. In isolation, our computer is the only “contact” we have with other “people”. It is what we look out of to see the world, and we have everything going on in the world blaring straight back at us. Public and private spaces have been completely inverted.

We are building a digital space into the abyss and constructing a redefined community within it. Every household now has For centuries architects and urban designers have shaped an un-planed, un-built new cities using human interaction as a tool for design. window, looking straight into Historical communities (without mobile phones) focused on architecture that could bring people together to their most secluded spaces. stimulate conversation and trade. As s a result there were often three major functions considered in the design for a city: a marketplace, a meeting place and connection space. Today, cities and buildings themselves are still designed with these principles in mind. Buildings are societal structures designed to bring groups of people together (meeting place), the rooms within those buildings are designed for specific programs (marketplace), and circulation spaces are used to connect programs and users together (connection space). With our reliance on technology even more important during COVID-19, we are changing our society to be completely online with the hope that we can return to normal. Most fundamental city activities are the same as before, but in the form of Facebook, Zoom and Google. Even simple human actions of walking, talking and showing, have shifted, to scrolling, chatting and sharing. It’s the same thing, right? Just digital.

Our digital space is now occupying more space than our physical space ever was. What does the architect’s role become, if there is no physical space to work with? The cloud is ‘housing more overlapping social formations, turning traditional architectural space itself into a kind of displaced or vestigial technology.’ Screens have become the only way to connect the world – both a connection and disconnection device. We have become a community of contradictions –more connected than ever, yet disconnected and contactless. Isolated in the privacy of our own home, with the whole community looking in. Getting on with life without being seen or heard, in order to fight the invisible pandemic.

Dystopia or Utopia? We don’t know yet.

Distancing - Isobel Moy

What does this new hyper-digital world look like? How big is it? We are building a digital space into the abyss and constructing a redefined community within it. Shifting everyday life completely into the digital realm. While cities have become ghost towns, a parallel online world continues to grow and exist unseen, behind closed doors. It is being filled with the day’s mundane activities and practical work; business meetings, university tutorials, religious ceremonies and after-work drinks. Society continues to function, just sans physical interaction with another human, from the confines of your own home.

simon

simon has spent his days in iso making memes for his blog all-the-while sharing his podcast on why trump worked with china to develop the covid-19 virus and let it spread

beth & drew 17 kurrak ln $23,000 bethany and drew decided to use house party to keep in contact with their group of friends. drew heard rumours of the app hacking peopleâ&#x20AC;&#x2122;s bank accounts and immediately went on a social media rampage to warn people to delete their accounts.

the savoys 24 sunday creek rd $1,879,200 tobias is supposed to be studying for sixth upcoming sacs (online mode) but has spent his days in iso rewatching the last airbender and studio ghibli. jane is a nurse in the city and wary of how her job can potentially bring dangers to the household. ken is trying to keep balance between tobias, jane and their 14 year old daughter, sarah whilst working from home.

simms 2020 - Sam Torre

the stevens 8 malabar gr $829,570 after being refused a refund for her excess purchases of tp, karen was forcibly removed and banned from her local woolies. she has been spending the remainder of her days in iso trolling the comment section on facebook. meanwhile rick is preparing the bunker he built back in 2012 as john spends his days spying on his neighbour taylor through a hole in the fence...

colleen & bob 97 wattletree rd $304,700 colleen and bob havenâ&#x20AC;&#x2122;t seen their kids or grandparents for over four weeks for their own protection. whilst they tell their loved ones they miss them on the phone, they are happy and relieved to have their own space during the autumn months for their annual forage...

lucas

with the pub closed, lucas decided to host zoom conversations with the boys but it fell apart when damo threw up on his laptop. now the lads have just decided to have a break from the sesh for a few weeks.

It i s n o t fi x ed , i t i s n o t s p ecu l at i v e , i t i s n o t cl ear, i t i s n o t co n v o l u t ed , i t d e a l s wi t h t h e card s i t i s d eal t . T h e fut u r e i s m erel y mu ta ti o n s o f th e p a s t, g l e a n i n g fro m th e ru i n s , reap p ro p ri at i n g f o r t h e p res en t an d i t erat i n g p ro v ed o u t c o m e s . S h i f-t i s . It i s n o t t ab u l a raza, i t d o e s n o t p ret en d t o b e… i t i s n o t a j o i n t l e s s c i t y o r o n e res p o n d i n g to h u ma n a m b i t i o n o v er h u ma n co n d i ti o n . It l o o k s a t t h e s t at e o f t h e p res en t an d p ro p o s es a s h i f t t o ad d res s o r re-p res en t th e con d i t i o n we a re i n . It i s a s t ep i n a d i rect i o n . S h i f-t wi l l l o o k a t a n d qu e s t i o n p ro g res s i o n . To b e p ro g res s i v e w e m u s t t ak e ro o t i n t h e fam i l i ar an d i t e r a t e , t h en i t erat e ag ai n … b u t fam i l i ar i t y a n d rel ev an ce d o n ’t al way s s ee ey e to e y e . S h i f-t i s n o t a n ex erci s e i n n o s t a l g i a . S h i f-t i s n o t s earch i n g fo r a “ g a r d e n o f E d en ”, fo s s i l i s ed ag en d as , o r a n e w B ab y l o n , i n s t ead i t wi l l b e l o o k i n g a t t h e rel ev an t co n t ex t t h ro u g h K a i r o s , n o t C h ro n o s . S h i f-t i s an t h ro p o l o g i c a l m o re t h an h i s t o ri cal , refl ect i ve m o r e t h an i m p o s i n g , o b s erv a n t ra th e r t h a n obvious. Arch i t ect u ral o rd er, s o ci al o r d e r , p o l i t i cal o rd er, g eo m et ri cal o rde r . Ab o v e al l i t wi l l b e a s t u d y, a s e r i e s o f ag i t at ed o b s erv at i o n s t h at wi l l a t t a c h t o ag en d a ev en t u al l y. . . p erh aps o n l y i n h i n d s i g h t . h o wev er fo r n o w i t i s am b i g u o u s . T h e meth o d i s th e pro j e c t , th e S h i f-t i s th e o u tco me.

SHIF-T - Temitope Adesina

Shif-t is about designing the future, lik e everyt h in g should.

Covid Shopping - Isobel Moy

ehitamata ehitatud - Unbuilt Built

An image from a project by Ra Martin Puhkan and Kertu Johanna Jรถeste from the Estonian Academy of Arts (EKA). The project explored the overlaying and amalgamtion of digital technologies onto the physical landscape and how augmented reality could be used to define spatial boundaries for the planning of Tallinn's future harbour.

ehitamata ehitatud - Ra Martin Puhkan & Kertu Johanna Jรถeste

An interview with

Nicolay Boyadjiev

discussing Google Urbanism and current Covid times.

Google Urbanism is... ‘a speculative expansion strategy for Google in physical space, starting with the co-creation of a new type of “public license” within its existing digital infrastructure, and through which the “access to users” presence in public spaces could be generating financial returns for the city…’ Text excerpt taken from: http://googleurbanism.com/ Visit the website to discover more about the project!

P ro v o ca ti o n 0 2 – P a ttern ma k i n g

I M : How did y ou begin to navigat e t h e d i c hotomy of the phy sical and the dig i t a l i n G o o gle U r banism?

I M: Ho w d i d Go o g l e Ur b a n i s m ma n a g e i s s u e s t o d o w i t h d a t a a n d s u r vei l l a n ce?

N B: The G oog le Urba nism projec t was a s c a ff old to explore this ide a of the ph y s i cal a n d digital, this obsession of two c ontrad i ct i n g i d e as . O n one hand, the re wa s this ide a tha t p eo p l e s e e m to s epar ate the digital a nd physica l as i f t h e y ar e clouds - the digita l be ing som eh o w a b o v e the physic al and not connec te d t o i t . H o wever, this wa s ne ve r true bec aus e t h e c l o ud is a huge physica l construc t. O n the other hand, in the ca se of Goog l e an d F a c ebook, ther e is this a rgument that t h i n g s h a p p ening on Fa ce book or Google , d o n ’t h a p p en in r eal life. W he n you look a t Go o g l e a d v er tis ing, you ’re looking at c onte nt wi t h i n t h e p latf or m , and the pla tform isn’t in phy s i cal s p a ce - it’s s ome where else .

NB : T h ere are a l o t o f co n v ers at i o n s a b o u t t ak i n g b ack o u r d at a an d i n fo rm at i o n . I n e v e r real l y l i k ed t h at an al o g y b ecau s e i t p u t s u s v ers u s Go o g l e as ap p o s e t o t h e col l e c t i v e v ers u s Go o g l e. S o , I was t ry i n g t o t h i n k b e y o n d t h e i n d i v i d u al u s er. It s n o t ab o u t t ak i n g b a c k o u r d at a b ecau s e i t ’s n o t act u al l y ab o ut d a t a , an d i t ’s n o t ab o u t y o u - i t ’s ab o u t at te n t i o n . Go o g l e co n s u m es y o u r at t en t i o n b ec a u s e i t s el l s ad s . If at t en t i o n i s b ei n g s u ck e d i n t o t h e p l at fo rm , i t ’s n o t b ei n g s u ck ed awa y f r o m y o u , b u t fro m s o m ewh ere - t h e s p ace y o u a r e i n an d t h e s p ace we’re al l i n .

N B: As a r es ult of this, Google doe sn ’t p ay a n y tax because the y have the se int ri cat e, o u t dated tax s yste ms whe re the y’re b as ed e l sewher e. For example, whe n you buy a can d y b a r at a s hop, you would pay tax the n , b u t w h e n you look at a n ad on your phone , y o u ’re n o t phys ically there, you’re in digita l s p ace, a n d ther ef or e, y ou don’t ha ve to pa y ta x ? T h at s e e med r idiculo us. N B: I think that pa rt of the issue is that p eo p l e d o n ’t think about the relationship betwe en t h e p h y sical and digital in these te rms. They s t i l l t h i n k the I nter n et is in the sky and we are i n t h e wor ld. Our g eneration is still gettin g u s ed t o t he dichotomy of the physic al/digital , b u t m a y be f or the ne xt generation it will b eco m e t h e new nor mal.

NB : We s h o u l d s h i ft t h e co n v ers at i o n f r o m al l o f u s p ro t ect i n g o u r d at a an d i n s t ea d t h i n k ab o u t b et t er co l l ect i v e way s o f m ak i n g u s e o f t h i s i n fo rm at i o n fo r b et t er p u rp o s es . NB : In t h e cas e o f C o v i d ri g h t n o w, y o u c a n s ee v ery cl earl y t h at we were en co u rag e d t o b e t rack ed b ecau s e we n eed t o m ap t h es e v i r u s e s . T h e u s e o f t h i s d at a i s n o t p ers o n al , i t i s t o b en efi t s o ci et y. S o , we n eed t o t h i n k o f p r i v a c y as a d es i g n p ro b l em , b ecau s e p ro t ecti n g o u r d at a as p ro p ert y i s n o t h o w i t wo rk s .

“Our generation is still getting used to the dichotomy of the physical and digital, but maybe for the next generation it will become the new normal.”

Interview - Nicolay Boyadjiev with Isobel Moy

Provocation 01 - The dichotomy of the physical and the digital.

“It’s not just about showing an advertisement to the right person. It’s about showing the right advertisement, to the right person, at the right time, in the right space.”

N B: I think a big pa rt of it is system illi t eracy. I t h ink f or ar chite cts and designe rs, we d o n ’t re a l ly under s tand how these syste ms wo rk , a n d s o our f ir st impulse is to c riticize t h e e a s y, low hanging fruit, whic h is “ Goo g l e i s s t e aling m y data ”. That’s partly true, b u t i t i n t e r r upts the co nversa tion at a point wh ere i t d o e s not allow for you to ac tually unders t an d h o w thes e s ys tems work a nd the re fo re b e a b l e to change the m through de sign. We m u s t u n d e r s tand how these things function an d n o t i m p u ls ively cr itic ise the things tha t we are fe a rf ul of .

“I think now, due to Covid, we’re getting a crash course in systems literacy...” N B: I think now, due to C ovid, we’re g et t i n g a c ras h cour s e in syste ms lite ra cy. Every o n e u n d e r s tands the fla ttening the c urve di ag ram a n d that’s because we are fina lly looking at t h e p ro b lem, and it’s the sa me thing with Go o g l e. I fe el like we should unde rsta nd how G o o g l e m a k es m oney, h ow the Interne t func tio n s an d h o w our data is use d. Google doesn’t n eed y o u r data or my data. Inste ad it crea te s t h es e a g g regate construc ts re presenting sam p l e u se rs , w hich ar e neither you or me, b u t o u r c o l l ective pr oduc t. It’s not about you as t h e s i t e of data ex trac tion, but more abo u t t h e s o c iety as a r aw materia l for some thing el s e. I M : I t’s funny, I know partic ular people w ere s o par anoid ab out the ir ow n pe rsonal d a t a . An d yes , Google does k now a lot abou t yo u , b u t it’s tr ying to build a big pic ture. It d o es n ’t a c t ually care and it’s not coming after t o yo u i n a n y s ens e.

NB : T h i s i s wh at ’s i n t eres t i n g ab ou t t h i s co n cep t , b ecau s e a l o t o f p eo p l e h av e a l o t o f t ro u b l e wi t h t h e fact t h at act u al l y Go o gl e d o e s n o t care ab o u t t h em . We’re s o u s ed t o b e i n g s een as i n d i v i d u al s an d t h at we are s p e c i a l an d u n i q u e s o m eh o w, b u t we are act u all y v e r y p red i ct ab l e. It i s ab o u t t h e p at t ern m a k i n g m ach i n e, an d we are p at t ern m ak i n g an i m a l s . NB : S o , wh en I was l o o k i n g at t h e ad v e r t i s i n g m o d el fo r Go o g l e Urb an i s m , an d t h e w a y t h at Go o g l e’s ad ran k fo rm u l a wo r k s , I co u l d s ee t h at t h ey ’re p u t t i n g a l o t o f t h e s e t h i n g s t o g et h er. S o m e o f i t i s b as ed on y o u r p at t ern s , b u t a l o t o f i t h as t o d o wi t h y o u r co n t ex t – co n t ex t b ei n g t i m e. An d i n th e c a s e o f Go o g l e Urb an i s m , co n t ex t b ei n g s p a c e . I t ’s n o t j u s t ab o u t s h o wi n g an ad v ert i s em e n t t o t h e ri g h t p ers o n . It ’s ab o u t s h o wi n g t h e r i g h t ad v ert i s em en t , t o t h e ri g h t p ers o n , at t h e r i g h t t i m e, i n t h e ri g h t s p ace. I M: S o h o w d o yo u t h i n k co n t ext i n fl u e n c e s h o w w e res p o n d t o a d ver t i s i n g ? NB : Wel l , fo r ex am p l e, i f Go o g l e k n o w s t h a t y o u ’re i n t ran s i t , t h en i t k n o ws i t ’s a g o o d t i m e t o s h o w y o u cert ai n t y p es o f ad s. O r i f Go o g l e k n o ws t h at y o u wo rk i n t h e c i t y, i t can ex t rap o l at e t h at y o u ’re p ro b ab l y a p e r s o n wo rk i n g wi t h t h i s t y p e o f i n co m e, i n t h i s k i n d o f eco n o m i c b rack et , an d t h eref o r e t h e ad v ert i s i n g y o u s ee i s d i fferen t t o s o m e o n e el s e. C o n t ex t b eco m es a s t at e o f m i n d a n d t h e s p aces we en g ag e wi t h , i n fl u en ce h o w y o u p ercei v e i n fo rm at i o n . I M: Yea h , t h e n a t u re o f a d s es p eci a l l y recen t l y d u e t o A d ver t i s i n g h a s mo r p h ed h o me i mp ro vemen t . It ’s ext remel y t a rg et ed .

i s a l w a ys ch a n g i n g , o u r C o vi d c o n t e x t . i n t o exercis e a n d i n s t a n t a n eo u s a n d

NB : We’re al l weari n g act i v ewear. T h e o n l y co m p an i es t h at are p ro b ab l y m ak i n g m o n e y are t h o s e s el l i n g h o m e g y m eq u i p m en t !

Interview - Nicolay Boyadjiev with Isobel Moy

I M : This is an intere sting idea, be cau s e w e h a v e developed such advanc ed te chnolo g y f o r s o c iety and we should be c apitalising o n i t , b u t ins tead there is so much sce ptic ism. Ho w d o w e build tr ust in tec hnology?

‘I’m not saying Google Urbanism is the answer, but it’s thinking about how we could fund public space, because it’s important.”

NB : B u i l d i n g s are al s o ab o u t i n t eract i o n a n d t h erefo re t h e i n t eract i o n , l i k e t ech n o l o g y, IM : I ’ d like to ask you about w hat y ou t h i n k h o p efu l l y ch an g es b o t h d i rect i o n s . I f y o u t h e architect’s role is in all this, and how yo u h av e a g o o d b u i l d i n g , i t ch an g es h o w yo u f e e l t h i nk the architec t could operate if adv er t i s i n g i n t h e s p ace an d p o t en t i al l y t h e s p ace s h o u l d f u n ded a city? al s o ad ap t t o t h e u s e, ch an g i n g i n rea l t i m e , wi t h s o ci et y. N B : Bef or e do ing this proje ct at S trel k a, I h a d w r itten a piec e c alle d The Surveillan ce i s NB : M ak i n g a b u i l d i n g i s n o t t h at ex p e n s i v e . t h e New Black, which is an a rgume nt to t h i n k It ’s m ai n t ai n i n g a b u i l d i n g l i k e it ’s t h e a b o ut how could a rc hite cts operate like s o m e o p erat i o n s o f s p ace t h at are ex p en s i v e . A n d o f the big tech c ompa nies, and how co u l d t h at ’s u s u al l y wh at g et s fo rg o t t en , b e c a u s e t h e y give away their core se rvic e for free an d arch i t ect s u s u al l y o n l y care ab o u t h a v i n g a g e n er ate r evenue else where. The same prem i s e n i ce t h i n g o n t h e fi rs t d at e o r h av i n g a n i c e w h er e G oogle doesn’t charge you f o r t h e In s t ag ram p o s t . If y o u ’v e fo u n d w a y s t o se a r ch engine, but they make mone y t h ro u g h act u al l y acco u n t fo r t h e m ai n t en an ce of s p a c e , a d v er tis ing. How c ould this mode l of pract i ce t h at ’s t h e real d es i g n ch al l en g e. I’m n o t s a y i n g b e applied to profe ssiona l architec ture ? t h at Go o g l e Urb an i s m i s t h e an s wer, b u t i t s t h i n k i n g ab o u t h o w we co u l d fu n d p u b l i c N B : I n ter m s of the a rc hite ct’s role, the i d ea s p ace, b ecau s e i t s i m p o rt an t . w a s that ins tead of a rc hite cts pa ra ch u t i n g S t a rchitectur e, they would be connec t ed t o I M: Wh y d i d yo u w a n t t o u s e Go o g l e Urb a n i s m si t e s f or the long te rm. The re fore , a rc h i t ect s t o f u n d p u b l i c s p a ce, r a t h er t h a n a n y t h i n g c o u ld exper ime nt - a lmost like c ustodian s o f el s e? t h e s pace. They will be able to fully unders t an d t h e s ite they’ r e on and adapt it be ca u s e t h e In p u b l i c, a l o t o f p eo p l e en d u p l o ok i n g a t G o ogle U r banism funding structure wo u l d t h ei r p h o n e wh en t h ey ’re b o red . U s u a l l y a l l ow them to ha ve c ontinuous income th ro u g h t h ey ’re b o red an d Go o g l e k n o ws t h is w h e n t h e activities ha ppening on the site. t h ey ’re i n t ran s i t : o n t h e t rai n o r o n t h e b u s . T h erefo re, i f t h e ci t y i s ab l e t o fu n d p u b l i c i n fras t ru ct u re t h ro u g h Go o g l e Urb an i s m , t h a t “we still treat architecture a wo u l d b e a m o re i n t eres t i n g d es i g n p r o j e c t little bit like an object... whereas t h an p u t t i n g t h o s e fu n d s t o ward s d e s i g n i n g a m u s eu m . M u s eu m s are i n t eres t i n g e n o u g h al read y. P eo p l e d o n ’t l o o k at t h ei r p h o n e s I think there is some value in t h ere. We m u s t l o o k fo r t h e fo rg o t t e n p a r t s learning from the tech industry.” o f t h e ci t y, b ecau s e t h i s i s wh ere t h e d e s i g n p ro j ect s h o u l d b en efi t . N B : The pr oblem is that we still t reat a rc hitectur e a little bit like a n objec t. Wh ereas I t h ink ther e’s some va lue in lea rning fr o m t h e t e c h indus tr y. When the y de sign somethin g l i k e a n app or a phon e, it’s a syste m. The soft ware i s a ble to lear n a nd a da pt to inte ra ction .

I M: T h a t ’s a l l p a r t o f i t - a rch i t ect u re t r y i n g t o ca t ch u p a n d s u s t a i n i t s el f w i t h i n t h e r a p i d l y a d va n ci n g d i g i t a l a g e. Tr yi n g t o t h i n k a b o u t h o w w e ca n w e co mb i n e t h e t w o , b ec a u s e i t s eems t h a t i t ’s f a l l i n g b eh i n d . Ma yb e c o v i d co u l d i g n i t e a w h o l e n ew d i s cu s s i o n a b o u t h o w s o ci et y co u l d o p er a t e b et w een t h es e p h y s i c a l and digital worlds?

Interview - Nicolay Boyadjiev with Isobel Moy

P ro vocat ion 03 – T h e role of the arc h i tect.

“In a sense, the Covid situation is a revelation of how the world always was. We are beginning to understand how it works behind the scenes, beyond our populist expectations of what things are, and I think that’s actually very healthy for designers.”

Nicolay Boyadjiev is an architect, design s t rat e g i st , a n d the D esign and E duc a tion t u t o r o f T h e New N ormal programme a t S t re l k a I n st i t ute. H e has taught at ma ny acad e m i c i n st itutions including the HSE i n Mo sc o w, M cG ill S oA in Montr e a l, KA D K i n C openhagen and IA AC in Barc e l o n a , a s w ell as the internationa lly b as e d D i g i t a l E arth fellow ship f or res e a r c h a n d experim entation. Be f or e TNN a t S t r e l k a he w as a researcher in the “H y b r i d U r b a n ism” education progra mme , whe r e h i s 2 0 1 6 speculative design p r oje c t Goo g l e U r b a n ism w as featured among the fi n a l i st s o f t h e F ast C ompany 2017 “Wor ld Cha n g i n g I d e as” aw ards. Text taken from S trelka Institute.

NB : C o v i d i s i n t eres t i n g b ecau s e i t re i t e r a t e s t h i s i d ea t h at I was s t art i n g wi t h - t h at h u m a n s are al l i n d i v i d u al s . Ho wev er, s o ci et y i s m o r e t h an j u s t i n d i v i d u al s t o i n d i v i d u al s . It ’s a b o u t h u m an s as an i n fo rm at i o n l ay er t o th e c i t y i t s el f. We can t h i n k o f o u rs el v es as v e c t o r s (wh i ch i s ap p ro p ri at e t o t h e ep i d em i o l o g i c a l s i t u at i o n , wh i ch we’re cu rren t l y i n ) b u t t h i s was t ru e b efo re C o v i d . Hu m an s were a l w a y s a s en s i n g l ay er at t h e s cal e o f t h e ci t y.

“it’s about humans as an information layer to the city itself...” NB : T h erefo re, we n eed t o u n d ers t a n d t h a t t h e ci t y i s n o t j u s t b u i l d i n g s , b u t al s o p e o p l e . C i t i es are n o t j u s t ab o u t aes t h et i cs an d b u i l d i n g d es i g n , t h ey are ab o u t t h ei r m an ag eme n t a n d ci t i es b ei n g ab l e t o react i n real t i m e. We n e e d t o u n d ers t an d ci t i es fro m a s y s t em i c p o i n t o f v i ew, b ecau s e t h at ’s wh at t h ey al ready a r e j u n g l es o f m i cro b es an d h u m an s . K n o w i n g wh o ’s s i ck an d q u aran t i n i n g t h em . T h e h u m a n l ay er i s al s o u rb an d es i g n , b u t we i g n o r e i t b ecau s e we are afrai d o f s u rv ei l l an c e a n d t h at ’s wh y we act u al l y n eed a d i fferen t m o d e l . We h av e t o t h i n k ab o u t i n fo rm at i o n a n d d a t a d i fferen t l y fro m p ro p ert y an d s u rv ei l l a n c e . NB : In a s en s e, t h e C o v i d s i t u at i o n i s a rev el at i o n o f h o w t h e wo rl d al way s was . We a r e b eg i n n i n g t o u n d ers t an d h o w i t wo rk s b e h i n d t h e s cen es , b ey o n d o u r p o p u l i s t ex p ec t a t i o n s o f wh at t h i n g s are, an d I t h i n k t h at ’s a c t u a l l y v ery h eal t h y fo r d es i g n ers .

This interview was conducted on 28th May 2020, via zoom between Nicolay Boyadjiev (Moscow) and Isobel Moy (Melbourne).

Interview - Nicolay Boyadjiev with Isobel Moy

P ro v o ca ti o n 0 5 - Co v i d

Lia m Young is a n a rc hite c t w ho ope ra tes

Part of The Ne w N or m al show c ase , M osc ow.

a nd future s . H e runs a n M .A . in Fic tio n a nd Ente rta inme nt a t SC I-A rc in Los A nge le s a nd ha s ta ught inte rna tiona l l y inc luding the A rc hite c tura l A s s oc ia tio n a nd Princ e ton U nive rs ity. H e is a founde r of Tomorrow ’s Though t s Toda y

London-ba s e d

think

ta nk

e xploring the c ons e que nc e s of fa nta s ti c, s pe c ula tive Lia m

ha s

a nd

ima gina ry

c ons ulte d

w orks hops

te c hnologie s

urba nis m s.

a nd

c onduc ted

s pe c ula tion, a nd

future

e me rging fore c a s ting

for firms inc luding A rup- D rive rs for C ha nge , Phillips Te c hnologie s , B B C , th e film indus try a nd va rious a rts a nd s c ie nce orga nis a tions . Lia m ha s a ls o c o founde d the ‘U nknown Fie lds

D ivis ion’,

noma dic

w orks hop

a w a rd tha t

w inning

tra ve ls

a nnua l e xpe ditions to the e nds of the e a rth to inve s tiga te unre a l a nd forgotten la nds c a pe s , a lie n te rra ins a nd indus trial e c ologie s . U nknow n Fie lds ha ve de ve loped

Review of Liam You ng’s lecture “City E verywhere”

proje c ts through e xpe ditions from the

S tr e lk a Ins ti t ute .

Vis it ht t ps :/ /w w w. yo ut ube . c o m/ w at c h ?v= g_Oo- NP1YNQ t o wat c h t he le c t ure o nline .

Liam Young’s CITY EVERYWHERE

in the s pa c e s be tw e e n de s ign, fic tio n

Ec ua dora n A ma z on a nd the G a la pa gos Is la nds to fa r north A la s ka , the mining la nds c a pe s of the A us tra lia O utba c k, the C he rnobyl Exc lus ion Zone a nd B a ikon ur C os modrome in K a z a khs ta n. H e ha s be e n a c c la ime d in both ma ins tre am a nd a rc hite c tura l me dia , inc luding th e BBC,

NBC,

Wire d,

G ua rdia n,

Tim e

M a ga z ine , a nd D a z e d a nd C onfus e d a nd his w ork ha s be e n c olle c te d by ins titution s s uc h a s the M e tropolita n M us e um of Ar t a nd the Vic toria a nd A lbe rt M us e um. Liam w a s na me d by B lue print ma ga z ine a s one of 25 pe ople w ho w ill c ha nge a rc hite c tur e a nd de s ign. Te x t tak e n from Stre lk a Ins titute .

T h ro u g h ev o cat i v e, m o o d y i m ag ery, Yo u n g ai m s t o p o rt ray a ci t y t h at i s n o t f o r u s an y m o re. C reat i n g t h e i m ag es t h at al l o w t h e o u t s i d er t o b eg i n t o en v i s i o n an d i ma g i n e a ci t y th ro u g h th e ey es o f th e ma ch i ne s t h a t n o w o ccu p y i t . Yo u n g ’s fo cu s i s o n t h e v as t m ach i n e l an ds c a p e s t h at s cat t er o u r p l an et an d wh at t h ey re p r e s e n t s o ci al l y an d eco l o g i cal l y. L o o k i n g a t t h e wo rl d t h ro u g h t h e ey es o f t h e m ach i n es w e a r e p eeri n g i n t o .

Looking at the world through the eyes of the machines we are peering into.

Liam Young's City Everywhere - reviewed by Isobel Moy

Part of The Ne w N or m al show c ase , M osc ow.

L i am Yo u n g i s an Au s t ral i an b o rn fi l m d i r e c t o r an d arch i t ect . Op erat i n g b et ween d e s i g n , fi ct i o n , an d fu t u res , L i am creat es s p ec u l a t i v e arch i t ect u re t h at ex p l o res t h e u n k n o wn f u t u r e an d i m p l i cat i o n s o f t h e t ech n o l o g y o f o u r ev ery d ay l i v es . Yo u n g ’s l ect u re i s g i v en i n t h e fo rm o f a ci n em at i c n arrat i v e, wh ere h e t ak es y o u o n a j o u rn ey t h ro u g h d o cu m en t ed m o m e n t s , s t o ri es , an d v i g n et t es , fro m t h e b a ck s e a t o f a s el f-d ri v i n g ta x i , wi th th e o p era ti n g s y s t e m ri d i n g s h o tg u n . Trav el l i n g t h ro u g h t h e a t l a s o f t h e d i g i t al wo rl d fu l l o f ci t i es t h a t a r e n o t fo r u s an y m o re, wh ere s erv er ro o m s a r e rep l aci n g ro l l i n g h i l l s .

Review of Liam You ng’s lecture “City E verywhere”

NOT

T h i s i s a rev i ew o f a l ectu re g i v e n b y L i a m Yo u n g i n M o s co w J u l y 2 0 1 7 a s p a r t o f S t rel k a In s t i t u t e S h o wcas e fo r T h e N e w No rm al . T h e New No rm al i s a p ro gr a m m e fo cu s ed o n res earch an d d es i g n fo r th e c i t y an d ex p l o res t h e o p p o rt u n i t i es p os e d b y em erg i n g t ech n o l o g i es fo r i n t erd i s cip l i n a r y u rb an d es i g n p ract i ces . T h e New No r m a l is a s p ecu l at i v e u rb an i s m t h i n k -t an k , a p l a t f o r m fo r t h e i n v en t i o n an d art i cu l at i o n o f a n e w d i s co u rs e an d n ew m o d el s .

Review of Liam You ng’s lecture “City E verywhere”

Part of The Ne w N or m al show c ase , M osc ow.

What happens when the technological utopia promised to us, starts to leave us behind?

He b eg i n s wi t h t h e m ach i n e l an d s cap e f r o m ab o v e; t h ro u g h t h e ey es o f t h e s at el l i t e s w e h av e creat ed . M ach i n es s u rv ey i n g t h e w o r l d , t i l l i n g t o g et h er a d i g i t al m ap o f i t s su r f a c e , co n s i s t i n g o f t ri l l i o n s o n p i x el s l es s t h a n h a l f a m et re s cal e – m u s h i n g h u m an s a m o n g s t t h e m et ad at a. Us i n g cal i b rat i o n cro s s h a i r s , m ach i n e t arg et s an d m ach i n e v i s i o n g r a p h i c s t o t at t o o t h e g ro u n d o f E art h wi t h t h e n e w c a v e p ai n t i n g s an d p ri m i t i v e m ark i n g s o f a d i g i t a l cu l t u re o n t h e ri s e – wh ere m o re i s s t i l l t o co m e. Z o o m i n g i n , we p eer t h ro u g h t h e ey es o f t h e m ach i n es wo rk i n g o n t h e s u rface o f t h e E a r t h . L o o k i n g at t h e l an d s cap es l eft b eh i n d b y t h e p ro d u ct s o f t h e d i g i t al wo rl d . B e a u t i f u l , co l o u rfu l i m ag es o f l i t h i u m m i n es a p p e a r o n s creen – wh ere i P h o n e, t ab l et s an d t e s l a b at t eri es b eg i n t h ei r l i v es . It i s at t h i s i s t h e p o i n t i n t h e l ect u re w h e r e Yo u n g b eco m es m o re o v ert l y cri t i ca l a s h e d es cri b es E l o n M u s k as t ech ev an g el i s t a n d en t rep ren eu r, wh o am o n g s t o t h er si l i c o n e v al l ey p reach es , p ro cl ai m s a v i s i o n fo r a g r e e n fu t u re t h at i s s ed u ct i v e an d h o p efu l , w h o f a i l to men ti o n th e en v i ro n men ta l s ca r s l e f t b eh i n d b y th e ma s s p ro d u cti o n , m as s d e m a n d an d m as s eco n o m y o f t h e d i g i t al g ia n t s . A fu t u re t h at b eg i n s b u ri ed b en eat h t h e re s o u r c e fi l l ed l an d s i n o u r n at u ral en v i ro n m en t s . T h e s i l en t en v i ro n m en t al fo o t p ri n t o f o u r i nv i s i b l e d i g i t al o n e.

Liam Young's City Everywhere - reviewed by Isobel Moy

Part of The Ne w N or m al show c ase , M osc ow.

FOR

Review of Liam You ng’s lecture “City E verywhere” 41

Looking at the landscapes left behind by the products of the digital world. Beautiful, colourful images of lithium mines - where iPhones begin their lives.

Review of Liam You ng’s lecture “City E verywhere”

Juxtaposes utopia and dystopia in the digital world. Part of The Ne w N or m al show c ase , M osc ow.

Systems that serve millions, managed by one. Wh i l e s o m e s p ecu l at o rs arg u e t h at au t o m a t e d an d m ach i n e l an d s cap es co u l d o p en u p t h e d es i g n o f t h e ci t y t o a ran g e o f c r e a t i v e s t ak eh o l ers , o p p o rt u n i t y, s p at i al o p p o r t u n i t y an d t h ei r creat i v e o u t p u t s – Yo u n g ’s l e c t u r e t o o k a d ark er ap p ro ach . Wh i l e t h e p ro m i s ed t ech n o l o g l an d i s s ed u c t i v e , s m art ers , co n n ct ed an d wi l l m ak e ev e r y t h i n g b et t er – we ri s k s m el t i n g o u r wo rl d s to g e t h e r u n t i l we can n o t t el l wh at i s real an d w h a t i s not. T h ro u g h o u t h i s t al k , Yo u n g cu ra t o r i a l l y j u x t ap o s es u t o p i a an d d y s t o p i a i n t h e d i g i t a l wo rl d . Wh at we s ee t h ro u g h t h e t ech n o l o g y we u s e, wh at we are s h o wn an d wh at w e w a n t t o s ee i n a wo rl d p erfect l y t ai l o red t o o u r l i k es , d i s l i k es , an d i m ag i n at i o n s . C o n t r a s t e d s eam l es s l y al o n g s i d e i m ag es o f a ma c h i n e wo rl d t h at we are n o t a p art o f. Dark , eery, am b i t i o u s an d ch al le n g i n g . Yo u n g ’s ap p ro ach i s i m ag i n at i v e, y et n o t s o far away fro m real i t y. W h a t h a p p en s w h e n th e tech n o l o g i ca l fu tu re p ro mi s ed t o u s , s ta rts to l ea v e u s b eh i n d ?

Liam Young's City Everywhere - reviewed by Isobel Moy

Part of The Ne w N or m al show c ase , M osc ow.

Review of Liam You ng’s lecture “City E verywhere” 43

Yo u n g mo v es o n fro m th e en v i ro n me n t a n d b eg i n s to i n terro g a te th e s o ci a l im p a c t s o f th e a rch i tectu res b eh i n d th e s cre e n . H e s h o ws a cl i p o f a co m p u t er-co n t ro l l ed con t a i n e r fl eet , wi t h t h e au t o n o m y t o n av i g at e th e s e a s – ren d eri n g o b s o l et e i t s cap t ai n an d c r e w. T h e o b s o l es cen ce o f a wo rk fo rce rep l a c e d b y m ach i n es an d t h e ‘u n m an n ed b eas t s o f g l o b a l t rad e’. Wo rk p l aces i n h ab i t ed b y h u m a n s rep u rp o s ed as m ach i n es . He i n t ro d uc e s u s t o t h e Am azo n fu l fi l m en t cen t re; rev e a l i n g a l arg e wareh o u s e an d t h en i n s i d e i t : an e m p t y s h el l t o h o u s e s h el v es o f p ro d u ct , o rg a n i s e d b as ed o n co m p l ex s o rt i n g al g o ri t h m s , b u y i n g h ab i t s an d d at a s et s t o b eco m e t h e l i b r a r y o f t h e m ach i n e ci t y. S y s t em s t h at s erv e mi l l i o n s o f p eo p l e, m an ag ed b y o n e.

* Redeemable 2021

Tickets Outta Here - Isobel Moy

A review of...

Langlands & Bell: Degrees of Truth b y J a c k M u rray v i e w e d v irtually at the S ir John Soane â&#x20AC;&#x2122;s M use um , London visit https://www.soane.org/langland s-bell-degrees-truth to see the exhibition!

Private spaces, have been opened up to the virtual world... perhaps we are now more accessible than ever.

Image Credits: 1. Burnt Interlocking Chairs, 1997 2. Traces of Living, 1986-2020 3. Model for Adjoining Rooms 1989 4. Adjoining Rooms 1989 5.The Burnt Madonna, 1985 6. Model for Interlocking Chairs 1994 7. Traces of Living, 1986-2020 8. Wind Dried Whippet, 1982 photographs by Gareth Gardner

‘the increasingly fraught relationship between the physical and digital worlds where the very notion of truth as an absolute is being contested.’

Langlands & Bell’s ideas and interests have much in common with Sir John Soane’s own conception of art and architecture, as manifested in his house-museum. This connection provides the starting point for this exhibition which is installed throughout the Museum in dialogue with Soane’s own collection and architecture. On display are works from across Langlands & Bell’s career, including several made especially for this exhibition.

I t is a unique situa tion c ur r e ntly, w h e r e we a r e a ble to visit e xhibitions ov e r s e a s by vir tue of the f a c t tha t e ve r yo n e is e qua lly una ble to visit muse ums, wh e th e r ge ogr a phic a lly ne a r or f a r. La ngla nds a nd Be ll a r e a n a r tisti c p a ir tha t’ ve be e n wor king toge the r s in c e 1978 – just be f or e the outbr e a k o f th e pa nde mic , the y ha d insta lle d a n inc r e d ib ly thoughtf ul e xhibition of the ir wor k in th e John Soa ne Muse um in London. M u c h like the de lightf ul “ Out of Cha ra c te r ” by Studio MUTT in 2018 – La n g la n d s a nd Be ll’s wor k ove r r uns the spac e s o f Sir John Soa ne s house . Ca r e f ully c r a f te d ne w pie c e s me rge with r e or ie nte d o ld e r wor ks to spe a k not only to the pa rtic u la r inte r e sts of La ngla nds a nd Be ll, bu t a ls o to the a r c hite c tur a l spa c e s of the mu s e u m.

An important point of departure for some of Langlands & Bell’s recent work is the increasingly fraught relationship between the physical and digital worlds where the very notion of truth as an absolute is being contested. However, for Langlands & Bell ‘truth crystalizes with the construction, display and interaction of buildings and artworks’ – as the exhibition and the Museum in which it is situated convey.

The e xhibition be gins with a gla ss ta b le c um displa y c a se c ontina ing a r te f ac ts o f London pr e viously use d by La n g la n d s a nd Be ll in the ir f ound obje c t wor k - th is inc lude s ‘ Wind Dr ie d W hippe t’ whi c h is a mummif ie d dog f ound inside a wa l l a f te r the de molition of a building in th e E a s t End of London. The e mbodie d na r r a tiv e of the se obje c ts br ings a gr e a t de pth to th e a lmost muse um like pr e se nta tion o f th is a r twor k. The de sign of the displa y c a s e s a nd a r twor ks, inc luding a nd e spe c ia lly th e c ha ir s spe a ks to a de lic a te unde r sta n d in g of the histor y a nd pla c e of the So a n e Muse um but a lso to the histor ic a l wo r k o f La ngla nds a nd Be ll. This c a n be s e e n in the c ha ir ba c ks r e f le c ting the ir f ligh t p a th wor k.

Text taken from Soane Museum website

Langlands & Bell: Degrees of Truth - Jack Murray

Langlands and bell: The work of artists Ben Langlands and Nikki Bell has long been concerned with the relationships that exist between people, objects and buildings. Across film, video, digital media, sculpture, installation, and full-scale architecture, they have consistently explored the ways we live and interact in a fast-changing technological world and how this is expressed in the structures we build and inhabit.

I n his se mina l e ssa y on Soa ne ’s w o r k , Le on Va n Sc ha ik ide ntif ie s thr e e e leme n ts tha t c ha r a c te r ise the a r c hite c tur e o f J o h n Soa ne , na me ly - the la ye r e d str uctu r in g wa ll, toy- bloc k a r tic ula tion, a n d th e inse r tion of the “ ide a l r oom” into alr e a d y e xisting spa c e s. All thr e e of the se ge s tu r a l str a te gie s a r e a t pla y in the Soa ne H o u s e , e spe c ia lly in the Br e a kf a st Room, w ith it’s inse r tion a s a ge ome tr ic volume in to th e e xisting house s tha t Soa ne ha d pur c h a s e d . The point I wish to ma ke in this r e v ie w is tha t the se str a te gie s c a n a lso be se e n in th e e xhibition de sign e xe c ute d by La n g la n d s a nd Be ll. The la ye r e d str uc tur ing wa ll is de s c r ib e d by Va n Sc ha ik a s a tool f or “ dissolvi n g th e wa ll sur f a c e s of the r oom” a s in the So a n e House , it’s “ r e ta ine d str uc tur e m a s k e d the e nc losur e be yond” with the e n c lo s e d loggia . I n the use of c ha ir s on the g r o u n d f loor ( se e n to the le f t) the ves tig ia l a r c hwa ys a bove c r e a te a “ thic ke ne d ” w a ll to the r oom, into whic h the la rge w a ll bookshe lf sits. The c ha ir s oc c up y th is le f tove r spa c e unde r the a r c hie s c olo n is in g this thic ke ne d wa ll - a nd r e la ting d ir e c tly to tha t a r c hing r oom divide r a bove th e m. The toy bloc k spa c e s, individua lly c r a f te d a nd f itte d toge the r - a r e de sc r ibe d b y Va n Sc ha ik a s “ bloc k- to- bloc k r e la tion s h ip s ” be twe e n “free sta nding ge ome tr ic a l f or ms” .

Langlands & Bell: Degrees of Truth - Jack Murray

W hile e a c h e le me nt of the e xhibition c o u ld be individua lly e xa mine d a nd pulle d a p a r t to show La ngla nds a nd Be lls sk ills a s a n a r tist. I wa nt to ta ke this oppor tu n ity to e xa mine the ide a of f ound s p a c e insta lla tion a r t a s a c ur a tor ia l pr a c tic e . The siting of the se insta lle d wor ks is s o spe c if ic to the Soa ne Muse um, a nd r e la te s so str ongly to the a r c hite c tur a l pr a ctic e o f Sir John Soa ne , tha t it a c ts a s a n o b je c t le sson in c ur a tor ia l de sign. The pla c e me n t of wor ks is notic e a ble , the y don’t f a d e into the e ighte e nth c e ntur y ba c kd r o p o f the imma c ula te ly pr e se r ve d muse um - b u t the y don’t f e e l out of pla c e in the s c h e me of Soa ne ’s r a bid c olle c tion. Ma ny o f th e insta lla tions f e e l a s if Soa ne himse l f w e r e still c olle c ting a nd ha d pur c ha sed th e pie c e s to sit inside his home .

The la st ite m, the c r e a tion of the “ id e a l r oom” - is se e n in wha t Va n Sc h a ik c onside r s the pina c le of the Linc o n s I n n Fie lds house , the Br e a kf a st Room - th e insta lla tion in this spa c e is sma ll - b u t e xtr e me ly c le a r ly e xe c ute d - a glob e in a c ir c ula r ta ble , positione d dir e c tly u n d e r the la nte r n, dime nsions de r ive d f r o m those of Soa ne ’s own br e a kf a st ta b le dr a ws a r e la tionship both to the cir c u la r spa c e of the ha ndke r c hie f dome , b u t a lso to the a r c he d e dge s le a ding in to th e na tur a lly lid side va ults of the br e a k f a s t r oom. I t is a distinc t white inse r tio n , th a t doe s not f e e l like it is a c opy of the s p a c e , but r e ta ins the se nse of be ing a r e sp e c tf u l c onte mpor a r y a ddition. The wor k a ls o spe a ks to La ngla nds a nd Be lls own w o r k - be ing a globe showing the a ir r ou te s o f the wor ld, like the c ha ir ba c ks e a r lie r.

La ngla nds a nd Be ll ha ve e xe c ut e d a n e xhibition of gr e a t de pth a nd qua lit y, th a t ma na ge s to showc a se not only the ir o w n inimita ble ta le nts a s de signe r s a nd a r tis ts - but a lso to r e c onte xtua lise the im me n s e a r c hite c tur a l be a uty of the Soa ne Mu s e u m. I would r e c omme nd a nyone r e a din g th is to ta ke the time to go thr ough the o n lin e e xhibition a nd e xpe r ie nc e it f or the ms e lv e s ( a lbe it vir tua lly) .

Langlands & Bell: Degrees of Truth - Jack Murray

I would sa y tha t La ngla nds a nd Be lls pie c e in the Fir st Floor e xhibition s p a c e , “ Adjoining Rooms” ( se e n to the r ig h t) doe s e xa c tly this - muc h like the Li b r a r y Dining Room a nd the Dome - Colo n n a d e , the r e a r e thr e e “ toy bloc k” ta ble d is p la y c a se spa c e s tha t a r e a djoine d e nd to e n d , a s ge ome tr ic a lly pur e r e la tionship s th e y a r e in ma ny wa ys a Soa ne a n nod - a n d the inc lusion of the m towa r ds th e e n d of the e xhibition, a f te r e xpe r i e n c in g this a r c hite c tur a l te c hnique thr ou g h th e e xc e ptiona l dome a nd libr a r y spa c e s, s h o w s a de e p unde r sta nding of the r e la tio n s h ip s the y a r e dr a wing upon be twe e n the ir o w n wor k a nd Soa ne s.

We give w ith one h a nd a nd we ta ke with the othe r...

In our hands - Temitope Adesina

...the wor ld is sinking.

Tu rt l es h av e a l o n g er l i fe s p an wi t h s l o w LIFE SPAN WITH SLOW m o vTURTLES em en t s anHAVE d m etA abLONGER olism

In s t an t g rat i fi cat i o n i m p ai rs b o t h t h e BOTH THE m i cro an dINSTANT m acro , tGRATIFICATION h e i n d i v d u al anIMPAIRS d the AND MACRO, THE INDIVIDUAL AND THE co l l ect MICRO i v e.

COLLECTIVE. In d i g en o u s arg ri cu l t u re reco n i s es t h e AGRICULTURE THE s i g n i fi INDIGENOUS can ce o f n o m ad i c l i fes t y l e i nRECOGNIZES o rd er t o al l o w t i m e fo r t OF h e lNOMADIC an d t o rev LIFESTYLE i v e. SIGNIFICANCE IN ORDER

TO ALLOW TIME FOR THE LAND TO REVIVE. L an d s are d rai n ed fro m t h e crav i n g t o b u i l d .

LANDS ARE DRAINED FROM THE CRAVING TO BUILD.

M at eri al s an d d ep l et ed t o creat e m ach i n es t h at p ro m i s e s p eed o f t h e d i v i n e?

MATERIALS ARE DEPLETED TO CREATE MACHINES THAT PROMISE SPEED OF THE DIVINE?

Tech n o l o g y i s b o rn fro m o u r n eed o f i m me d i a t e ad v an cem en t .

TECHNOLOGY IS BORN FROM OUR NEED OF IMMEDIATE ADVANCEMENT.

Gl o b al warm i n g i s t h e res u l t o f res o u rce d ep ri v at i o n ?

GLOBAL WARMING IS THE RESULT OF RESOURCE DEPRAVATION?

Qu al i t y o f p ro d u ct s are v al u ed u n d er “h o w fa s t , h o w s oQUALITY o n an d h oOF w PRODUCTS q u i ck . ” ARE VALUED UNDER “HOW

FAST, HOW SOON AND HOW QUICK”. T h e An t h ro p o cen e accel erat es t h e s p eed o f ex t i n ct ion. THE ANTHROPOCENE ACCELERATES THE SPEED

OF EXTINCTION. Hal f o f u s o n o u r k n ees p ray i n g fo r an an s wer.HALF OF US ON OUR KNEES PRAYING FOR AN

ANSWER. T h e o t h er o n t h ei r k n ees s cav en g i n g fo r d i rt . THE OTHER ON THEIR KNEES SCAVENGING FOR

DIRT. P at i en ce i s a d ecl i n i n g v i rt u e. VIRTUE. In o rd er fo r u s t o sPATIENCE u rv i v e, weIS mA u sDECLINING t ret race o uIN r sORDER t ep s t o FOR a t i mUS e oTO f foSURVIVE, g o t t en p atWE i en ce. MUST RETRACE

OUR STEPS TO A TIME OF FORGOTTEN PATIENCE. Tu rt l es k n o w wh at we d o n ’t . T h ey l i v e l o n g er be c a u s e WE DON’T. THEY LIVE t h ey t ak eTURTLES t h ei r t i m eKNOW l i v i n gWHAT .

LONGER BECAUSE THEY TAKE THEIR TIME LIVING.

Speed of Extinction - Yuchen Gao

MOVEMENTS AND METABOLISM.

Hazelwood Live Stream - Isobel Moy

p ro pos ed tr ansformation

d e m olition of exi s t i ng

de molishe d 60

A revision of an adaptive re-use project through the eyes of Laura Grace Ford’s ‘Savage Messiah’ and the current climate. Wi t h an apocal ypt i c backdr op, S avag e M es s i ah , a col l aged j our nal by L au ra Grac e F ord expl or es t he i dea of s al vage and s pac e r eoccur r i ng on i t s el f i n ci t i es as t hey becom e i ncr eas i ngl y mor e gent r i f i ed and i ndus t r i a l r el i cs become di s pos s es s ed. T he publ i cat i o n i s pr es ent ed del i ber at el y as an i nf or mal an d cl ut t er ed as s embl age of pr i nt s cr aps , pos t e r cut t i ngs , i mages and t ext w hi ch s et s out t o ‘ capt ure t he i dent i t y of t he ci t y w i t hi n t h e non- s paces ’ ( 1) .

...to capture the identity of the city within the non-spaces. F or d at t empt s t o hi ghl i ght t he pr oduct i v e r es i s t ance t o or der t hat occur s when r ui ne d s paces ar e i nhabi t ed and gi ven back t o communi t i es i n a movement of ‘produc t i vi s m i n w hi ch not hi ng i s phys i cal l y produced’ ( 2) . T he publ i cat i on exami nes t h e i dea of ci t y s al vage, t hr ough i t s pr es ent at i o n and cont ent s by capt ur i ng t he r enai s s ance o f obs ol et e and decayed s paces i n t he ci t y a s t hey ar e s al vaged over t i me by i nf or mat i o n occupat i on, s quat t i ng and pr ogr ammat i c chaos .

Salvage - Isobel Moy

SALVAGE

I NT

A TI

S RK

AL BA

STUDIOS

62 KITCHEN

Seeing the existing not as an obstacle to be demolished but a foundation for continuted action. It is interes ting to reflect on Savage M es s iah’s concept of s alvage in in relatio n to architecture and this completed project – es pecially in the current environmenta l , s ocial and political climate. In a s ociety that moves fas ter than its architecture and infras tructure can s us tain, buildings des igned to perform a unique function are becoming increas ingly obs olete, outgrown, abandoned or demolis hed due to cultural s hifts , advancements in technolog y and changing s ocial values in a time where cons umeris m, capitalis m, neo-liberalis m and fas t-paced productivity are at the forefront. C ovid-19 has left our cities empty and un-us ed as s ociety trans gres s es into th e pos t-apocalyptic digital realm.

Salvage - Isobel Moy

Th i s p r o j e c t c o mp l e t e d i n 2 0 1 9 a t t h e Aa r h us Sc h o o l o f Ar c h i t e c t u r e t r a n sf o r me d a mi x ed u se r e si d e n t i a l / c o mme r c i a l b l o c k i n B e r l i n, i n t o a mu l t i - c u l t u r a l a r t s c e n t r e ; a mi x i ng c h a mb e r o f a r t , mu si c , c i n e ma , p e r f o r ma n c e, wo r k sh o p s a n d e x h i b i t i o n sp a c e . An a d a p t i ve r e - u se p r o j e c t t h a t so u g h t t o c a p i t a l i se on t h e e x i st i n g sp a c e , b u i l t f a b r i c a v a i l a b l e a nd e st a b l i sh a c o n si st e n t sp a t i a l se q u e n c e a c r o s s t h e si t e t h r o u g h t h e su p e r i mp o si t i o n o f a n e w p r o g r a mme o n t o o r i n t o e x i st i n g sp a c e . I t is a d i a l o g u e b e t we e n n e w a n d o l d , d e mo l i t i on a n d sa l a v g e , wa st e a n d r e - u se . Se e i n g t he e x i st i n g n o t a s a n o b st a c l e t o b e d e mo l i sh e d, b u t ‘ a f o u n d a t i o n f o r c o n t i n u e d a c t i o n ’ ( 4 ).

STUDIO

CLASS

CINEMA

LIBRARY AUDITORIUM

CLOAK

EXIBITION

INFO

It therefore s eems fitting that L aura Grace Fordâ&#x20AC;&#x2122;s Savage Mes s iah is als o s et in a pos t-apocalyptic world as the ruined city i s given back to the community left -behind. It reveals how community agency leads to the renais s ance of informal obs olete s pace â&#x20AC;&#x201C; however its dis organization and derelict nature is detrimental to its perceived value in s ociety.

Architects have the agency to be the curators of the obsolete. We have the design tools and technology to positiveyy influence the discussion around salvage... Architects have the agency to be the curators of the obs olete. We have the des ign tools and technology to pos itively influence th e dis cus s ion around s alvage by encouraging a paradigm s hift towards the adaptive re-use of our exis ting architecture. One that is not corrupted by the idea of collaps e, neglect and dilapidation.

SHOP

WORKSHOP

Salvage - Isobel Moy

What happens to our cities if they become obs olete? Obs oles cence and Apocalypse evoke a s imilar feeling â&#x20AC;&#x201C; an indes tructibl e mammoth s tructure (like a powerplant or s oviet monument) un-us ed and left to ruin.

However, it is s till not enough. Our res ponse to the covid-19 pandemic has highlighted our â&#x20AC;&#x153;make-doâ&#x20AC;? afterthought approach to cris is and the urgency for a preventative s trategy. Perhaps we s hould cons ider this analogou s to architecture. If architecture can learn to adapt as our s ociety s hifts , become flexible or des igned for dis as s embly, then perhap s a utopia exis ts where the idea of s alvage becomes an alien concept.

If architecture can learn to adapt as our society shifts, become flexible or designed for disassembly, then perhaps a utopia exists where the idea of salvage becomes an alien concept.

P r oj ect r evi s i on by I s obel M oy. Project completed at the Aarhus School of Architecture. Quotes reference: (1,2,3,4,5) Ford, Laura G. Savage Messiah. London: Verso, 2011.

Salvage - Isobel Moy

We can trans form an eye-s ore into valuabl e public s pace. Salvaging what we have i s extremely beneficial to les s en our impact on the environment. T he building indus try contributes dis proportionally to the amoun t of was te each year due to demolition.

Virtual Exhiition - Isobel Moy

machine_compute r _05

c lima te wa r r ior 01

w ork-a-holic

pandemic 019

post-Shift? post-Shift? use r _

google_surveilla nc e

te c hnology_a ddic t_