Supre:architecture Living

Page 1

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.

Print sponsored by:


BASIC sciences natural sciences

ART

Applied sciences

humanities SOCIAL sciences

CULTURAL SPACE PROGRAMME CULTRURAL CENTRE OF EUROPEAN SPACE TECHNOLOGIES Na vasi 18, 3205 Vitanje www.ksevt.eu


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.