SPACE ARCHITECTURE
THE PROBLEM OF SPACE TRAVEL
SUPRE:ARCHITECTURE 7. 6. – 23. 11. 2014, PAVILION OF SLOVENIA AT THE
14TH INTERNATIONAL ARCHITECTURE EXHIBITION – LA BIENNALE DI VENEZIA
2045::
SUPRE:LIVING
Dunja Zupančič & Dragan Živadinov, 2014
AN INTRODUCTION TO THE MORPHOLOGY OF SPACE ARCHITECTURE:: Let us begin with a statement: we divide space architecture into orbital and cosmistic. For the last four decades, orbital architecture has been defined by a tubular/modular construction. The body posture within is therefore set in a levitating position. As a parallel of modular construction in space, an ongoing search for ideas to achieve the desired »second evolutionary ascent« takes place. This would enable generations to inhabit the orbital coordinate and the deep cosmos using artificial gravity. Architecture on other planets and the possible colonies belongs to the terra-formative, gravity-based reflexion in architecture, but at this point, it does not belong to our analysis. Cosmistic architecture is a complex, a sum of ideas to make the existence of life possible even in deep space. But how should we adjust the human physicality, the ability to generate it and, consequentially, the potential of generational travel to reach such conditions – that is the central motif of this existence. Cosmistic architecture is the central object of my reflexion in three gradations. I shall project the first gradation of cosmistic architecture on two historical visual conceptualizations, both produced in the painting manner of the 1920’s within the MoscowSt. Peterburg-Kiev avant-garde art pool. In the second gradation, I shall build before you a transition from cosmistic to orbital concepts of architecture. This operation will be performed by transposition. From the principles of visual art, I shall enter into the principles of architecture. From the suprematistastral position to the constructivist-rationalist-productionist position. In my second gradation, we shall observe the Trieste Constructivistic Cabinet from 1927 as “a sum and congenial résumé of a collective spirit and universal mind trying to overcome the last troublesome planetary force – the force of gravity.” We shall shift from
::MG
two-dimensional painting to three-dimensional volume of visual art and then, using transposition, come to the problems of levitational constructions in vacuum. We shall be launched to the developmental processes and problems from the beginnings
Dunja Zupančič & Dragan Živadinov, 2004
SUPRE:ARCHITECTURE
of space science – to the transition from the 19th to the 20th century. Let us speak verbatim: the transmission of this lecture will occur when we recognize, on account of parallel grounds, a morphological phenomenon of visual art as an identical phenomenon to that of the art of architecture.
There is no future
Since the early development in space technology, when vessels started to ascend from
+
the Earth’s atmosphere and enter the state of vacuum, it was equipped with urgent functional
past
solutions. With beautiful functional solutions. As much then as now, hidden morphological
»There is only the absolute now!«
forces lay within, forces destined to explode in the future and in this way arrive at the notion
There is only the construction of a process,
of orbital and cosmistic architecture, both connected to the notion of biomechanical and bio-
conceptualization of the end. Processing of the end
mechatronical produced from the human position for humans with the aid of prostheses. Of course, there are some forms of the human position that we shall leave behind
+
methodologically, even though they possess an artificial intelligence and a potential to
construction of the end.
emancipate themselves. The potential emancipatory forms are the automatons (probes, satellites), architectons (planits) and programmoids (umbots).
H
Let us enter the mental processes in the course of three gradations. The third gradation will be a manifestative and axiomatical finale!
that we recognized right at the beginning of our temporal landscape.
Let us begin:: The ideal spectator of the human “optimal projection” and its central manifestation –
P o s t g r av i t y a r t
architecture – is the Sun which supplies, enlightens and propels the human volume, skeleton
:
and charisma by employing constant nuclear fission. It sheds light on the human choice of
A mere look at the building will show you a range of demanding materials
surrounding volumes so that it may, combined with the Earth’s atmospheric magnetic shield,
that the two of us have used in building it. The current material will communicate direct information to you,
keep it safe from space storms and roentgen/X-ray radioscopy. It shapes our world and illuminates it. The Sun is our kinetic light modulator, using
it will become your support.
supremacy and construction to dissemble and reassemble our integral optimality. The Sun
The conceptualization of our end will project for you a
is our energy constructor and our reflexion. In return, however, we, the world, produce our
post-informational film on the selected material. The swarm of its lines will rave through the theatre building. It will draw for you configurations
reverse vectorial projections using our vectoriality and cognition.
+ transformations of theatrical forms. The structure of the end will be of enormous dimensions. The lift in the hall will be placed on the coordinates that were already envisaged by the newspaper for the expedition of the spirit to the North Pole. When you swing yourself with the lift into the orbit + direct your gaze downwards, panoramically, on the surface you will recognize globalization!
[1]
[2]
Through the process of acclimatization you will descend into the foyer of capital. Into well prepared theatrical transitions. Into our temporal landscape,
First gradation:: Warning! Let me point out once more that we deal with cosmistic architecture.
into our year
Let us repeat:: Orbital architecture dwells on the low, middle or high Earth orbit. In this last
1995–2045.
instance, it is subject to a common movement along with planet Earth. It is always situated
We are
on the same spot above the planet. It rotates simultaneously and therefore constantly needs
a thinking muscle of the organic
to be elevated because of microgravity. The orbital architecture structure is mounted to the equatorial orbit 35.900 km away
AMORPHOUSNESS.
from the Earth. Below the orbital architecture, Earth rotates around its virtual axis. Cosmistic
There is no absolute automatism in information
architecture is mounted further away from the high equatorial orbit and is not terra-
+
formative. End of warning.
no signalling objects.
We shall focus on the visualization of Kazimir Severinovich Malevich’s optimal projection
Symbols signal to us!
entitled “Supremus No. 56” [1] from 1916. We shall make a comparative observation of the
In coalitions of principle they resist the realism + actionism of sales series +
Wassily Wassilyevich Kandinsky’s “Untitled” from 1920. We shall ponder two opposing structures of the same spiritual circuit and the same time equilibrium; applying an edited view, they both encompass the starting points and contents of space architecture.
ranges.
The language of how we reflect these visualisations is divergent, because it was shaped
Our gazes slide over our artistic satellite.
out of different historical currents. In Supremus No. 56, we can observe an operation of
They slip into a plastic comfort,
“optimal projection” aiming to install a material-cultural structure between the Earth and
our ears mechanically choose the words
Moon. This enables a third::, non-human intelligence to trace the origins of humanity and
+
also human efforts to understand their own position. A utopian structure, made of multiplied
pour them into the consciousness.
“planits”, is envisaged between the Earth and the Moon. In the conceptualization of Kazimir
This is how it was, before things died out.
Severinovich Malevich and his plan, Supremus No. 56, we recognize a great desire to
Before we transformed the reader into a viewer of shapes.
install planits on the virtual point of equilibrium between the Earth and its natural satellite.
Before we directed the reader towards a cutting, a section, a thousand sections. Manufactured for him a border composed of raw materials +
Therefore, the planit remains fixed between both masses. Kazimir Malevich’s planits are a cosmistic architecture without windows or doors. Malevich himself named them “architectons”. In the Wassily Wassilyevich Kandinsky’s painting “Untitled” [2], on the other hand, we
beautiful information.
find a process of double pathology trauma taking place. The stellar nature of the corporeal
Before we directed the reader’s consciousness
is wounded, the charisma of the body is wounded and the stellar nature itself is wounded.
into
On a star, we can observe the process of dimming and then traversing from the colour circle
nothingness.
to blackness. The “Untitled” by Wassily Wassilyevich Kandinsky generates colour in form
Only what thinks is beautiful.
and substance. Unlike the Supremus No. 56, basically a plan for “optimal projection”, the “Untitled” is a didactic tableau of the stellar nature of the body or even the stellar nature of a
[First call]
star. Wassily Kandinsky creates pathology in a stellar spiritual vertical. The astral corporeality in his projection is projected into the body colour. One of the colours from the colour circle
USERS!
manifests charisma to the observer (Johann Wolfgang Goethe; Theory of Colours). In the
We have placed a visual opposite
second rhythm of this process, Kandinsky dims the stellar-corporeal-physical nature with
to the digital ink,
pathology and psychopathology. This kind of colour flickering is left hanging in the dictate
a gravitationally coded. stereo-lithographic model!
of blackness. A parallel cosmistic-astral insight offers a deeper understanding of the art in form
We shall use it for vector orientations,
and structure, of space architecture and space supra-construction. Both examples give
for vector direction.
an ontological insight to the notion of human and the efforts of recognizing its position in
With it we will transform opposites, apparent opposites
cosmos. “Planits” with their semiology on one side and the light-constructed colour on the
+ erroneous information. We shall use it for photo-optical emphasis in the analysis of objectness. We shall use it for the analytics + dynamics of oscillating scenes. For engineering of senses! For engineering of fullness + Stereo-lithographics! H
[3]
[4]
For optical perfection.
other side. On one side, the cosmistic “planits” as a force to attract alien intelligence and,
Ceremonial obsession.
simultaneously, a monumental auto-reflexion. On the other side, a psychological eventuality
May there be a total enrolment of numericality. In the field of view we shall send the reflexes of electromagnetic waves + amino acids.
in architecture, bound to a cosmistic deviation. The “Untitled” by Wassily Kandinsky was scarcely ever exhibited alongside his astral paintings, he very rarely discussed the psychopathology of the “stellar”. Cosmic motivation is a common element of both structures, in terms of theme and contents. Speaking of Kazimir Malevich, we do not observe a picture but an “optimal projection”, which seems like utopia to some; whereas we observe in Kandinsky a deviation,
Let us begin! Let us enter the biomechatronic numerator!
a dimming of the cosmic conscience. A digression:: At this point we can state: we cannot discern the laws to determine
With zeal we watch the construction
a leading part of either the processes of science or art. If we look at the research of
+
past ascent forms and the forms of breaking through the Earth’s atmosphere, designed
Instalment of the artistic satellite into the orbit.
by the grandfather of space science, Konstantin Eduardovich Tsiolkovsky, in 1895,
With zeal we look at symbols,
his photography-oriented endeavour demonstrates an incredible range of advanced
models
procedures, destined to be designed and followed in art no earlier than fifteen years later,
+
in the Futurist Manifesto. On the other hand we have the “Space – the Red Circle on a Black
systems.
Surface” [3], an artwork by a student of Kazimir Malevich, Ilya Grigorevich Chashnik, at first looked upon as a suprematist abstraction, only to be seen, forty years later and with the
At forms.
help of a Sun-orientated photography [4], as a mimesis of the International Space Station (ISS). To sum up: sometimes, science is the predecessor of art. And then again, frequently,
First four pieces of information about our artistic satellite!
even mostly, art is a preliminary materialization of science. A stylistic-formative mindset of cosmistic architecture stems from a radical utopian art
First information
practice, but at the same time also from the deepest psychological conditions of the astral
:
volume. It originates in the “optimal projection” only capable of getting halfway to utopia.
The internal structure of the telecosmistic action is always osseous.
For the future implementation of cosmistic architecture we require Malevich’s analyses of
We cannot separate it from the cerebral sinews of future coincidences.
suprematist codification. We must reject the psychological contents in the notion of human
Chance directs the conceptualization! We examine the tension
as they are comprehended in the astral concepts of Wassili Kandinsky. We need to build a special volume for the notion of human to avoid arriving to an astral
+
deviation. Our code of conduct must be anti-psychological. The bodily and stellar charisma
fatigue of the material.
colours must vibrate and not dim by any means. The construction of the astral must always
To the beautiful fracture!
comply with colour. Cosmistic architecture must minimalize the effect of psychology in the
The condition for the postgravity theatrical art
notion of human. How? With architectural volumes, shrewd enough to plan this premise
is a postgravity 3D construction, a vector direction. Empty-body direction.
beforehand. A radical leap:: Orbital architecture, along with the “second evolutional ascent”, will develop within human physicality from the 21st to the 22nd century, cosmistic architecture is, however, anticipating and demanding for a change in human physicality.
Second information
Both concepts, the utopian and the psychological, must build a modular ideal which will
:
get closer to the “optimal projection”. In the last forty years, we had a tubular/modular
There are no psycho-motivations in setting up the scenes!
orbital architecture, yet in the name of long-term habitation we must urgently invent an
In our name I proclaim at the top of my voice the second piece of information
artificial gravity to comply with our physicality. Let us repeat:: We name this invention
:
the “second evolutional ascent”. As early as 1928, Herman Potočnik Noordung proposed
There is no psychoanalytical dismantling of the mind,
this in his book The Problem of Space Travel. Artificial gravity and long-term habitation
nor dismantling of the vacuum!
in orbit shall put the desire for a change in physicality to effect and consequently, in the next thousand-year cycle, make the transition from orbital architecture to cosmistic architecture.
Third information : We are aware that history is a temporary + young science. But a necessary one! History is the sequence of our bone network. We adore sciences whose conditions are, in the process of observing, unrepeatable. Fourth information : The theatre is the »absolute now«! An association of artistic enterprises G=0 has presented our forms at a postgravity manifestation of the »Association of Autonomous Astronauts - AAA« »Anarcho-cosmonaut association - AKA« We shall introduce the cosmic sum of our programmed art / formed in radical modernity / we will introduce our telecosmistic effort = a heterotopic satellite of nothingness /
Second gradation:: In 1927, in the Ljubljana-Trieste art pool, the art of two-dimensional avant-garde
we will introduce sixteen satellites intertwined with
imagery, astral abstraction and utopia makes a transition to a three-dimensional
a telecosmistic storm
constructivist cabinet, forged in the collective artistic spirit of four constructivists: Avgust
=
Černigoj, Giorgio Carmelich, Eduard Stepančič and Josip Vlah.
fourteen minds will radiate their
In his manifesto, Černigoj wrote that he understands this new style of painting as a sum
biomechanical
of the absolute sculpting:: it causes the colour, space and time to vibrate into a new sum,
bio-mechatronical
form or function. This starting point might be translated in a way that he understands art as
corporeality /
absolute architecture causing the construction, space and time to vibrate into a new sum,
fourteen levels of sub-consciousness will add up consciousness
form or function. This daring text has a meaning when we realize that within the Trieste
=
Constructivist Cabinet, three levitational constructions were installed on transparent threads,
a theatrical co-production of neuro devices
in order to produce the effect of levitation. The constructivist proto-installation from the first
+
third of the 20th century revolutionized a whole series of form-and-contents art structures,
umbots
nevertheless, the one we shall pursue is the one directly connected to the three ČernigojStepančič levitational constructions. “ … Also, the material studies were very remarkable and
in a ten-year interval //
extremely well carried out. For the first time they have not tried to exhibit
With telecosmistic projectors we will project
the objects, but they let them levitate from the ceiling on transparent
heterotopic projections
strings. With this the objects lost their Earth-bound gravity and with
of the fifty-year projectile / We will process the language of art, the internal language
this, their spiritual moment was heightened.” (Willi Nürnberg, Tank, 1927) There is no past or future in art, there is only the absolute present. As a consequence, architecture is the greatest proof that there is no death!
+ the language in the mouth of the actor / the language of the athletic figure + a pre-digital perspective //
Third gradation and transposition:: Ad 1:: Space architecture must be fulfilled in conditions of zero gravity with vectorial quantities, constructional tensions and material durability. Ad 2:: Orbital architecture must integrate into vacuum, into the pure “optimal projection”.
=
It must focus on new aesthetics, derived from the notion of utilitarian in zero gravity
you with mechatronic portals
environment. It must organize the construction site with an artistic clarity, so that we may
:
build an artificial gravity for humans, originating in the technological establishing of the
mechanical statues of various conflicts / digital slots /
second evolutional ascent. Ad 3:: Cosmistic architecture must be fulfilled in an artistically shaped reality. The
lamella layers with inserted vacuums /
morphology of it must be immersed into the categorical:: new. It must seek a historical
For our future appliances /
support in the supra-modernist strategies and enlightenments of the previous 20th century.
=
Cosmistic architecture must, applying its totality, build anew the inner surroundings in order
I with the meta-strategy of the attractor /
to change human physicality. It is a space to welcome new entanglements of events in the future. After technological building processes, it will manifest itself through interactive info-
We will introduce a sentence
patterns and Earth’s sonority. Therefore:: Into the mind out of the mind into the overmind.
: »the product portal generates antennae on our bodies + on the body of the cosmic tool shop.«
Let us conclude:: The organic covenant of development in architectural forms is currently being developed from the terra-formative historical context of modernism and postmodernism and is at this moment completely isolated from other art forms. And so, following the dictate of
It is easy to direct the living,
axiomatical laws, it will have to stem from a synthetical, stabilizing and systematically
it is easy to direct the dead.
modular postgravity art. To research and understand the “multi-isms” of the 20th century
It is the most difficult to direct those
will enable us to organize a future world of stabilism in architecture in direct connection to all
who do not yet exist. Our artistic satellite will generate the inner plan of our
the methods provided by the magnificent 20th century, a century of the abstract:: “This conclusion subsequently requires a derivate: an announcement
complexity.
to all states and religions to immediately join in forming a World
There will be no abstract artistic work,
Confederation of state and religion representatives on one side and
until we divest it of all elements of mimesis.
art representatives on the other side. They should reach an agreement
Without exception!
regarding the question of the transfer of all museums’ and monuments’
Until then our
copyrights to an agency of artists and, moreover, the secession of
telecosmistic method
art into an independent form of administration. World artists of all
will form theatrical mechatronic abstracts,
orientations and with no exception should unite and establish artistic
which will allocate beautiful information to the eye,
states.” (Kazimir S. Malevich, a draft for the article “Suprematist architecture”, 1928-29,
kinetic information with narrow transitions + sharp irregularities. It will shape our amorph. The mind is organized energy! It shapes for us our deepest space.
Ukraine)
It prepares for us
ŠPELA PETRIČ & MIHA TURŠIČ, 2014
levitational building forms.
Elements of habitation
ANARCH Association
TE
ISS.
which has materialized in the tubular form of the International Space Station, ISS.
POTENTIAL
APPROPRIATION
DWELLING
E
We are critical of the dictate of the historical constructivist functionalism,
ER
Telecosmism. Postgravity art.
ON
In it resides
PH
We have added together our bodies in our first experience of levitation.
ITA
ST
IAL
-B
LL
RA
BIT
thoughts about stylistic formations.
AB
ÖS
+
DIG
NO
NO
experience
CONSTRUCTION
We are accelerated with the extracts of knowledge,
CH
TR
IOL
IVI
LIV OG
ING
ICA
NG
LL
ME
NT
The tubular form is not the only object of our criticism.
NG
CT
Tubular constructivism deconcentrates us. We accept modularity because it soothes us.
IVI
ON
into the tubular infrastructure of the International Space Station,
ES
G
VIR
We accelerate our bodies full of injected responsibilities
RR
VIN
EN
TE
-LI
OIC
AKA.
MI
Y
AZ
SE
AAA, the Anarcho-Cosmonaut Association /
TIT
AT BIT
Association of Autonomous Astronauts /
HA
EN
We belong to the
HA
::
We also reject the historical futurist formation, as we experience it as temporary. We have been united by a conceptualized chance. A fixer of solar energy + black humour. We wrote the cries in our faces, which still preserve them. We arrange our bodies in order to push them into the suprematist cosmos of all possibilities. At this point our architecture begins. AAA Your body illuminates our action in the cosmos. It forms all future spaces constructed from the light with your stylistic formation. My natural adversary, literary theatre,
1. ENTITY (MODE OF BEING)
bears in its essence the expression of time.
Human physiology is adapted to the mild and narrow physical and chemical conditions
Levitation is an expression that pierces time
characteristic of Earth. To understand the modes of being better suited for outer space,
and goes through time,
we expand the notion of the dweller (i.e. the agent-in-its-environment) from an organic
when the body becomes
living organism to several types of entities matching the criteria for ‘being alive’ to
space.
varying degrees. An entity, whether concrete or conceptual, dynamic or static, exists in a
Anaracho-Cosmonaut Association.
given environment if it consists of processes that delimit it from the background, and is
Cosmistic architecture.
characterized by the properties of its processes (H. Maturana). Within this broad definition
Your body illuminates scientific principles,
of an entity we identify terrestrial living (animals, plants, microbes); techno-
it observes us
biological living (humans); semi-living (viruses, prions, protocells, proto-life,
+
incomplete autopoietic chemical systems); digital living (artificial intelligence, life-like
directs us simultaneously.
algorithms); and abstract entities (suprematic subjects, hypothetical autopoietic systems).
Light is full of energy ready for building. All it needs is to organize the building site! Light is a material for building in zero gravity. The art of designing in zero gravity will be a dimensional mixture of the digital + light.
2. DWELLING (SHELL OF AN ENTITY) A dwelling is the immediate environment of an entity within which it exists and to which There are currently ten dimensions.
it relates to. Structures in this domain emerge as articulations of the entity’s Umwelt (i.e.
Light is at the same time the object of building!
the combination of its perceptual and effector worlds, J. Uexküll). These structures, whether
Let us illuminate its tension
in the imagination or in materiality, arise within the entities’ involved activity, in the specific
+
relational contexts of their engagement with the surroundings (T. Ingold). A dwelling does
statics.
not, however, equate a building; dwellings can result through the appropriation of
We shall send the pure to the Earth,
existing structures, both of human and non-human origin, or they can be constructed
the impure to the Sun.
anew. In both cases dwellings emerge from their potential existence within the Umwelt
May it be smashed to pieces in energy!
of the entity. As long as they are inhabited, dwellings are continually under construction
Everything has become asymmetric.
and have histories of involvement with both their intended and coincidental inhabitants. Consequently, in relation to man-made structures, this perspective dismisses an absolute distinction between ‘natural’ and ‘artificial’ structures, which are hence (in)formed as
I keep repeating to myself :
dwellings by the agents residing in them, not their constructors. Architecture is the articulation of dwellings envisioned, constructed and sometimes
teleology is
re-appropriated by the human. It is the result of the continuous technological and cultural
:
development in terrestrial conditions. Since mankind is the only species on Earth capable of
machine - art!
intentionally leaving the home planet, all systems of dwellings, human and non-human, are
The following is a form for experts, users:
the result of human engagement, and should therefore be referred to as space habitons.
Machine – Art – Automaton : The machine that contains the negative of a product and makes products
=
Culture
Products
=
Culture
Product advertising
=
Culture
Civili-zation : Icon The sum of icons = fresco
3. ENVIRONMENT (UN/INHABITED SPACE) The environment represents the spatioscape within which dwellings are absent or
Emancipated, autonomous image
actualized, depending on the presence of entities that form them. Because unmediated
Entry into the image = ambience
human experience of surroundings is (mostly) limited to terrestrial environments,
Digital image
contemplating dwellings in the multiplicity of possible spatioscapes of the Universe requires a methodological abstraction of knowledge facilitated by art, science and the humanities.
Artistic methods of the 20th century
In the context of outer space the environment may be ‘empty’ interstellar space (radiation,
:
particles, dark matter), planets (solid, liquid, gaseous), or smaller celestial bodies (e.g.
That which you proclaim to be a work of art is a work of art
asteroids). Functionally, the prevital spatioscape (without entities inhabiting it) is dubbed
That which you touch in the process is a work of art
an azoic environment. A habitat is the natural, physical environment in which entities
You may not touch a work of art
exist; the habitat is not, however, limited to geographical areas, as entities can dwell within
Everything is potentially digital
other organisms, in different states of matter, or in small pockets of chemo-physically suitable conditions. In reference to man-made structures we also introduce a new term,
Artistic product
the habiton, to indicate environments that have been significantly altered by human
:
engagement. The final category in the topology of possible environments acknowledges the
Material
abstract realm of the adjacent possible formed in the consciousness of living entities. The
Process
noösphere, a term coined by Vladimir Ivanovich Vernadsky and Pierre Teilhard de Chardin,
Distribution
represents the sphere of human thought and is the immaterial primary site of conception of
Marketing
potential dwellings.
In the production of artistic products we can, through the Method,
The cartography of space habitation
re-evaluate any of the above-mentioned machine elements into art.
1. HUMANS IN SPACE [Last call]
Humans are the only beings on Earth capable of exiting their home planet, yet their biological predisposition prevents them to dwell, reproduce, and culturally develop in
The symbols in books are the class war of the sexes!
outer space without heavily relying on technology. Unlike habitons built on Earth, which
Symbols, words and sentences will never avoid kinetic research.
provide relatively thin interfaces between the humans and their native habitats, outer
With an increase in speed sex disappears,
space demands the construction of complex, self-enclosed artificial ecologies to facilitate
and so does class war.
habitation in the azoic environment. Thus space habitons are hyperfunctional
There is no sentence more beautiful
extensions of human biological and technological resilience. They allow the
than the one written amidst the highest possible speed.
selective, modulated exchange of energy and substance between the human dwellers and
When a sentence disappears,
their environment, but the essentials such as food, water, and air, as well as manufactured
when together with it we break in two in an altered reality
devices all originate from Earth. For a human to dwell in space, he or she needs to remain
+
tethered to the home planet. Beside the detrimental effects of the physical conditions
changed sex.
of space (radiation, zero gravity), the lack of replenishable resources in the immediate environment is the reason why the human can, at best, survive in outer space only close
Perhaps this is how it is going to be!
to the habitable zone, presently no further than the orbit around Earth. The currently
Get connected!
popularized colonization of Mars by humans, for example, is unfeasible using current technology, because the aforementioned material exchange with Earth is too inefficient at
Exercise for getting connected : H
these distances.
2. NON-HUMAN ENTITIES IN SPACE Broadly speaking, non-human space habitons are techno-biological systems,
Exercise for getting connected
designed to sustain entities in unfavorable surroundings that lack pre-existing ecologies.
:
Consequently, they must substitute the networks of physical and biological
The process of emancipation of artistic products
processes of matter and energy cycling necessary to maintain the disequilibrium states
continues
of entities. As such, space habitons represent distinctly active architecture, in which
in the
the structures take on the role attributed to networks of living organisms on Earth. They act
21st century.
as a buffer for the fluctuating outer conditions and form a milder, homeostatic environment
All,
inside, shielding the entity and maintaining it within its zone of tolerance. In outer space the
absolutely all,
entity is so fundamentally dependent on its habiton that the boundary between the two
lobby with wicked teeth for their little piece
begins to fade. Resilience is the measure of an entity’s ability to survive under unfavorable or extreme
of the 21st
conditions and is a property of its internal constitution independent of its complexity.
century.
The more resilient an entity is to outer space conditions, the less functionality has to be
Let us renew THE INTERNATIONAL SPACE STATION
incorporated into the structure in which it dwells. Though humans are culturally and biologically intricate organisms, they have low
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA
physiological resilience and are intrinsically inapt for dwelling in outer space. Other less
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA
habitat-dependent entities should be considered as more suitable pioneer
Let us proclaim it
species for the primary colonization of azoic environments. These include digital living, simple and highly resilient terrestrial organisms, semi-living systems and
A WORK OF ART!
abstract entities (who endow the space with thought). Under this premise, we must wholly
:
re-think space habitation from an enticentric perspective (pertaining to entities) by
:
employing the methods of abstraction and projection. As a result and beyond their functional
:
manifestation, space habitons are discursive elements pointing to aspects
:
otherwise seamlessly and unquestionably integrated into terrestrial architecture.
140AU
While the closer reaches of space are quite populated already, the conditions for
THE PROBLEM OF SPACE TRAVEL – SUPRE:ARCHITECTURE | 14th International
human life there remain unsuitable, and without adequate devices and objects even
Architecture Exhibition – la Biennale di Venezia, the Slovenian Pavilion | 7. 6. – 23. 11. 2014
deadly. The material manifestation of human presence in space is architecture at its most
| Created by: Miha Turšič, Dragan Živadinov | Co-creators: Dunja Zupančič, Špela
fundamental: as an articulation of surroundings and as a functional form of habitation in
Petrič, Peter Krečič, Tanya N. Zhelnina | Curator: Jurij Krpan | Commissioners:
weightlessness.
Miha Turšič (KSEVT), Maja Ivanič (DESSA Gallery) | Assistance: Vera Vilardebo Sacchetti, Robertina Šebjanič, Jerneja Rebernak | Cooperators: Bevk-Perović
The history of appropriating space has always been a history of architecture, too,
Architects, Dekleva-Gregorič Architects, Ofis Architects, Sadar+Vuga
most prominently in connection with scientific and technological achievements. One
Architects, Blaž Šef, Gregor Novaković (3Data) | Exhibition construction: OPL,
of the pioneers of space architecture was the Slovenian engineer HERMAN POTOČNIK
Altos | Production: KSEVT | Co-production: DESSA Gallery, Ljubljana Architects
NOORDUNG, who in his 1928 book THE PROBLEM OF SPACE TRAVEL offered a series of
Association | Project supported by: Ministry of Culture of the Republic of
technological solutions for human survival in orbit. Noordung’s quest echoes that of the
Slovenia; Gagarin Cosmonaut Training Centre, Star City; La Biennale Di
modernists and avant-gardists of the early 20th century – the search for a new artistic
Venezia | Sponsors: AplusA Gallery, Pinacoteca ManfrediNIana, Municipality
expression, which coincided with the invention of a new social order and a new man
of Vitanje, SPIRIT Slovenia, Casino and Hotels HIT, Zlati Grič, GoOpti
altogether. In this context, space enables a whole new view of art and society. For any additional information please contact us at PR@KSEVT.EU. If at first it seemed as if these artistic breakthroughs and their utopianism were aiming for the future, today – with space exploration in full swing – they can be seen as contemporary. At the 14th International Architecture Exhibition – la Biennale di Venezia, THE SLOVENIAN PAVILION, curated by the CULTURAL CENTRE OF EUROPEAN SPACE TECHNOLOGIES (KSEVT), looks at past scientific and artistic space research as diverse preliminary efforts of space culturalization. While considering the architectural, artistic and scientific pioneers of space culturalization, the Pavilion defines a course for the next epoch of life outside the Earth – an expansion of life in space to all dimensions that befit a civilization in terms of concept and experience. Architecture for space – SUPRE:HUMAN, SUPRE:LIVING and SUPRE:COMPOSITE – is that very civilization’s first material harbinger.
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CULTURAL SPACE PROGRAMME CULTRURAL CENTRE OF EUROPEAN SPACE TECHNOLOGIES Na vasi 18, 3205 Vitanje www.ksevt.eu