Selam Bauhaus | Exhibition Design & Media Architecture

SELAM BAUHAUS (VOLUME THREE)

exhibition design

ONE PROJECT - FOUR VOLUMES

VOLUME ONE VOLUME TWO VOLUME THREE VOLUME FOUR

concept

M. Manzuoli, M. Reusch, K. Modrei

architecture

M. Reusch, K. Modrei

exhibition design

M. Manzuoli

setup

M. Manzuoli, M. Reusch, K. Modrei

TABLE OF CONTENTS SELAM BAUHAUS

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> Exhibition Design > MediaArchitecture > Selam (why) Bauhaus

CONCEPT DESIGN

_ bamboo _ scaffolding

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> displaying design _holding structures _fabric screens

> space affordances

_ exhibiting a network _ creating a network _ buliding a network _ moving in a network

_feedback from visitors _book corner

SOUNDS OF ADDIS

> nature vs. urban environment

> about the urban environment

_ materiality _ setup _ to each content, its displaying

_expectations _experience (through the senses)

COMMUNICATION AND SPACE > spatial layout > storyline

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> space design

> unveil the ECL-AA > weaving a Network

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INTERIOR DESIGN

> experience as media of the senses

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_creation of a narrative _building an experience

> materiality _conductive materials _soft circuits

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> sounds > design _ space _ graphic interface _ physical interface

> sketching & prototyping _ storyboard _ playing sounds with Arduino _ soft circuit: capacitive sensor

BIBLIOGRAPHY

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WEBLIOGRAPHY

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IMAGE CREDITS

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ACKNOWLEDGEMENTS

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STATEMENT OF AUTHORSHIP

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100 5. 7. – 14. 7. 2019 10 a.m. – 6 p.m.

Bauhaus Weimar 1919 / 2019 Exhibition

SELAM BAUHAUS Opening, 5.7. – 5 p.m.

Closing, 14.7. – 5 p.m.

»ሠላም bauhaus« means »hello bauhaus« in Ethiopia. Together with the visitor, this exhibition explores past, present, and future of the intensive international university cooperation between Bauhaus-Universität Weimar and the EiABC in Ethiopia, and the phenomenon of rapidly growing cities in Africa.

Bauhaus-Universität Weimar Belvederer Allee 1a, ground floor 99423 Weimar

bauhaus ifex ከ1947 ዓ.ም ጀምሮ ኢትዮጵያን በመገንባት ላይ

Building Ethiopia Since 1954

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projects and research, through their academic approaches and philosophy2.

SELAM BAUHAUS Selam Bauhaus is an international and multidisciplinary project, initiated by the Emerging City Lab - Addis Ababa, a research group that exists between Weimar and Addis Ababa, born within the collaboration between the Informatik für Architektur Chair of the Bauhaus-Universität Weimar and the Ethiopian Institute of Architecture and Building Construction in the Ethiopian capital city.

The research group works toward an innovative and sustainable urban development to apply in the recent urban growth of Addis Ababa1.

The ECL-AA group decided to take advantage of the platform offered by the b100 and the 65th anniversary of the Ethiopian University to open up their work to a bigger public to start a collective reflection about the accomplishments they reached so far and, at the same time, to define a group-identity that might set a stable path leading to their future work and to the future of the association itself.

The project the ECL-AA required attend a bold exhibition that presents the multifaceted reality of the group, the dynamics of the peculiar inter-continental and multidisciplinary collaboration and that display the outstanding

The exhibition will take place in the two cities, where ECL-AA is located. It was decided to host the two exhibitions within the universities’ campus: Selam Bauhaus will open on July 2019 in Weimar and will travel to Addis Ababa in October.

Therefore, the main guidelines of the concept behind the exhibition design were set in collaboration with a group of students of the EiABC, making an internship at the Ethiopian offices of the ECL-AA, that afterwards designed a complementary exhibition to the one that will be realised in Weimar. In front of the exhibition, indoor space will stand an open-air pavilion that will function as threshold space.

The pavilion is the result of the work of Karen Modrei and Marco Lucas Reusch, two Architecture students of the Bauhaus-Universität Weimar that realized the project as their Bachelor Thesis and collaborated to the concept development and the exhibition architecture.

the exhibition. Sounds of Addis is a personal acoustic representation of what it sounds like to be in the Ethiopian capital city.

To collaborate with the EiABC’s students, we travelled two weeks to Addis Ababa and together with the design development we got to explore the city and explore in first person the main thematics treated by the ECL-AA. The installation was inspired by my own experience of being for the first time in such an immense city and another continent: I translated the perception feelings I had when I was there in the installation. Personally, one of the aspects that carved me the most about the city was the acoustic environment: not only the loudness of the traffic and the crowd, but I also discovered some sounds that to me represented a whole new world as the one I’m used to.

The sound installation aims to share my impressions and thoughts with the visitors, offering them to recount my experience and offering them an insight into the urban reality of Addis Ababa.

The exhibition was designed to exist in a characterized space that can, already, at first sight, illustrate the core themes that build up the identity of the research group. Concurrently, the exhibition was designed to be open and interesting at various levels, keeping the target wide and offering different perspectives on the many realities of the ECL-AA. Visitors are required to be an active part of the exhibition, invited to relate to the contents with a critical approach and encouraged to get personally in touch the multifaceted reality of the research group.

Alongside the exhibition concept and design, I realised a sound installation to be part of SELAM BAUHAUS - EX HIBITION DESIGN

/1 Cf. Emerging City Lab, Bauhaus-Universität Weimar, website https://www.uni-weimar.de/en/architecture-and-urbanism/institutes/bauhaus-ifex-english/emerging-city-lab/welcome/

/2 Cf. Selam Bauhaus Exhibition 2019, Bauhaus-Universität Weimar, website https://www.uni-weimar.de/en/architecture-and-urbanism/ institutes/bauhaus-ifex-english/emerging-city-lab/exhibition-2019/ 7

Exhibition Design

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The challenge of the exhibition design was to create a context for the contents and to structure the storyline through and by the space.

The interior design is considered here not only as a matter of spatial organisation, but also as a determination of the storytelling within the space: the design follows both functional and exhibiting purposes, always keeping in mind a communication line that aims to create room to the contents.

Also to face was the challenge thrown by the space and time coordinates decided for the opening days of the Weimar exhibition: it was decided to realise the project at the Bauhaus campus from the 5th of July until the end of the Summaery 2019, the annual exhibition of the student projects of all the faculties of the Bauhaus-Universität Weimar.

The exhibition will be realised inside the building that is iconically related to the Chair of Informatic for Architecture, the glass cube. The building is placed right in the hearth of the campus, within the Architecture department.

The exhibition room is at the ground floor of 8

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>1 b100 mockup poster for the Weimar exhibition in July 2019 >2 Summaery Bauhaus-Universit채t Weimar 2019 logo >3 B100 Bauhaus-Universit채t Weimar 1919-2019 logo >4 Exhibition location, Bauhaus-Universit채t Weimar, Addresse, 123, photo >5 Exhibition location, Bauhaus-Universit채t Weimar campus, site plan, 1:1000, technical drawing SELAM BAUHAUS - EX HIBITION DESIGN

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>6 Bauhaus Summaery 2011, Main Building atrium, photo >7 Bauhaus Summaery 2014, front courtyard, photo >8 Bauhaus Summaery 2018, back courtyard, photo

the cube, and hosts already a computer pool for the students of architecture, therefore has to remain accessible to the students. Here, the first challenge to the interior design: planning the exhibition and creating a proper space ad hoc; cutting, defining and organising the room to display clearly the contents and give them the due dignity.

Opening the exhibition during the Summaery was a suitable and convenient choice, if considered the wider flow and the variety of provenience of the visitors that might come to see the exhibition.

Every year people from everywhere and with different backgrounds come to Weimar to give a look on the students’ projects, more than ever are expected the coming year because of the Bauhaus centenary. This is indeed a positive factor for the exhibition and for the ECL-AA itself, since it will in facts give the possibility to show off the work to a really wide and multifaceted audience.

At the same time, the situation puts Selam Bauhaus in a more competitive surrounding: the exhibition will have to share the visitors’ interest with a lot of other student projects, which might jeopardize the unique character of the project and the beyond-academic aspects of the research group’s work.

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To take in consideration those challenges, the project will design a space that is functional to the exhibiting purpose and sets a strong project identity and characterisation, serving the flow of the timeline and being open and available to an active, multifaceted flow of visitors.

The design will be natural, easy and functional: the interior architecture will shape the exhibition space to offer visitors the possibility to explore it freely, but with awareness.

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path(s) that will be offered within the space.

Media Architecture Setting as goal of the design the realisation of an exhibition space that creates a context means to consider the space itself as a media, the first media of the exhibition that is going to be seen by the visitors, the one that will follow them throughout the whole visit.

Message related to ECL-AA, sustainability.

It was clear from the very beginning that the materials shouldn’t have been only functional to the cause, but also ambassadors of a message of sustainability and pursuit for a fairer world, where the urban development doesn’t necessarily destroys, but build up.

To reconnect to the ECL-AA, it was decided to build and define the space only natural and recycled materials: different typologies of bamboo, natural fabric and recycled bike tubes.

Such a choice will show sustainable options in architecture, saving from wastes of materials and applaud and promote the recycling.

The design goal is to set an environment that will put the visitors in connection to the themes and the contents that will be exposed within the space: the connection will be related both to the choice of the materials and to the

The definition of the space and its layout it was strongly related to the creation of a freedom of paths within the exhibition, to allow the visitors to get in touch with the contents in a very personalized way: different spaces, for different contents in one coherent concept.

The space will shape itself around the contents, in order to offer itself for the visitors’ interaction with the exhibited themes, along the exhibition’s storyline. It will bend to serve the contents and will merge with the design of the details, the structural and the conceptual ones. Contents won’t be simply exhibited in the space with usual and common tools: it was decided to avoid a classic paper poster, and an impersonal display of other media.

the exhibition will maintain a coherency and balance between space and contents.

The interior design will have to be interdependent with the aesthetic image of the whole exhibition, creating a coherent imagery of exhibition and space, media and architecture.

The exhibition design will contribute to build the imagery of the project and will give the visitors a first impression and insight on the topics, suggesting and inviting a personal commitment to the topics, being personally and physically involved.

The displaying of contents is considered as the latest function of the space, which means that the structures that will concretely exhibit the contents will be considered as one functional part or extension of the space itself.

Once again, the common denominator that was chosen to create one coherent display design was the materiality. Fabric was the chosen material to create the display-system for the contents, belonging to different typologies of media. All written information will be printed on fabric screens, which doesn’t only create a more personal and characterised atmosphere, it also leave all the poster reusable for the exhibition in Ethiopia and other ECL-AA events to come, bringing up once again the concept of sustainability and avoid of wastes.

The policy line of the display design was followed to exhibit other kinds of media, too: architectural models will be exposed in an hanging structure made out of fabric and tablets will be sewed in fabric screens, too. In this way SELAM BAUHAUS - EX HIBITION DESIGN

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Designing the exhibition space, it was given particular attention to the relation between the visitor and the content, that will be shaped by the spatial configuration and design.

and comprehensible from those that don’t have a technical background, but stay interesting and enriching for the professionals, too.

The space will be the media between visitors and contents, offering itself as an inclusive room the visitors are attracted to explore with active criticism.

The exhibition design needs to consider the interaction that will happen in the space from different perspectives: visitors are of course the subject of the interaction, but it is important to consider the relative object. Visitors will have to interact with the space that needs to offer itself to the audience inclusively and comprehensible way. Within the space, visitors interact with contents, too: this is the main goal of the exhibition.

Contents will have to be catchy and clear to attract the audience attention, raise in them curiosity and provide them new and high quality information.

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Interaction and personal engagement are also the basis of the sound installation that features the exhibition: the installation requires an active action from the visitor to start. On four different fabric screens there will be build soft circuits that, if touched, play sounds from the city to give the visitors a sensorial and therefore very personal impression of what it sounded like to me, being in Addis.

The sound installation offer the visitor a first-person experience through which they can feel advocated to take part to the conversation and invited to build their own impression and thought about the topic.

To be directed to the wide target the exhibition is designed for, contents will have to be clear 12

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>9 Illustrated relation between visitors, space configuration, design and contents, diagram > 10 Illustrated interaction between visitor and designed space, diagram > 11 Illustrated interaction between content and designed space, diagram > 12 Illustrated interaction between visitor and content within the designed space, diagram

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Selam | why B a u h a u s Languages are one of the main media used to communicate, to exchange information and ideas, to start relationships, to get to know each other. Language is the basis of every collaboration project, it defines the identity of the group, it shapes the process and affects the final outcome. They become even more relevant and important in an international context, such as the one that our project was born into.

The collaboration we entered in, designing an exhibition for the ECL-AA, goes through Ethiopia and Germany. Two countries, two continents: what we decided to start our design process from was to disclose and enlight the internationality that so strongly characterises our concept development. By combining Amharic and German, we create a name that reflects the multi-national identity of the project.

It came to our attention, that by learning a new language, one of the first thing that is learned is to greet, to say hello. As the greeting is the key element that starts the interaction we decided that we want to use this in order to name our exhibition project.

We wanted this greeting to be significant to

>13 Selam Bauhaus logo, black and white. Designed in collaboration with the international Exhibition Team SELAM BAUHAUS - EX HIBITION DESIGN

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the aim of the exhibition, to open up the researches and the innovation to a wide public.

The exhibition is meant to refer to the social engagement of the historical Bauhaus, adapting the theme to the nowadays urbanisation.

That’s how we decided to greet an universal Bauhaus in Amharic - not explicitly the historical one, neither the nowadays Bauhaus-Universität Weimar.After this first step it came out that the wonderful Amharic language is offering us the possibility to distort and twist the meaning of the greeting.

We decided to use the "selam" phonic script that comes from the ge’ez ancient Amharic3, that has a high meaning, since usually used in regal or holy contexts. Compared to the more actual and common version, it changes only the first letter. Therefore it remains comprehensible to read for everybody who speaks and reads Amharic. In fact, when we were asking around in Addis Ababa, we learned that not only everyone would have understood, but also, that especially among the youngest, no difference between both types of spelling was perceived. For those that would get the spell-difference, the meaning of the greeting gets a shade of meaning that is more a wish of peace to the spokesperson.

Moreover, while discussing which “selam” would be better framing our project, we noticed that the version using the ge’ez character actually looked like a fancy variation of a latin-script “why”.

Here we started to see the bigger picture: the exhibition is about a collaboration of two different cultures, but it is also an union and a comparison of those two worlds that faces each other while dealing with their own problems, with their own points of views and prior14

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ities. The mission is not easy and should not be presented as if it would. It is complicated and multifaceted, with different shades, different perspectives and sub-topics; there are million questions with just as many answers and everyone should be part of it.

Therefore, having a name and the whole identity of the project being so multifaceted, raising questions and criticism was inalienable to us.

Selam Bauhaus offers a bold, young, cheeky, open and catchy context for the exhibition to show off the projects of the ECL-AA, for everyone.

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> 14 International Exhibition Team, group photo in Addis Ababa, November 2018 > 15 Addis Ababa, view from Lideta Mercato, November 2018 > 16 Addis Ababa, street view, Ayat, November 2018 > 17 Addis Ababa, rooftop view from Gerji, December 2018

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CONCEPT DESIGN To build the context within the space, the concept design took inspiration directly from the themes of the exhibition, the rural-urban contrast, the urban development and the research going on to make it sustainable.

Translating to a visual and spatial scale, the themes and the concept of the exhibition sets the basis to create a project identity and give a first insight on the intentions.

At the same time, a first profound visual impact will trigger visitors’ focused attention, driving them to want to know better about why space has such a different room set-up as usual, what it signifies and what is more to discover. /3 Cf. Ethiopian script, wikipedia, webpage https://de.wikipedia.org/wiki/%C3%84thiopische_ Schrift

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unveil the ECL-AA considering a wide target

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The need to attract people’s attention comes from the goal of opening up the visitors’ target: it is important for the aim of the project to expand the usual niche audience to start a new kind of conversation about the topic that becomes inclusive and participative. In this way will be possible to explore the research themes from new and outer perspectives that might lead to new paths for the ECL-AA future.

On the other hand, it is important to keep in mind that opening up the audience and looking for outside perspectives doesn’t mean to simplify or diminish the quality and complexity of the contents: the challenge of the storytelling here is to display the contents clearly, always inserted in a likewise comprehensible context, following a readable line that will lead the visitors through the exhibition.

The route exploring the exhibition will be linear, but customisable: the path will be clear and start with an introduction at the entrance that will give some first information about the ECLAA and the context of the exhibition. Following, the rest of the contents are organised in thematic groups, each one of those represents and describes one main aspect or thematic

that distinguish the character of the ECL-AA. Each area will be visually and spatially highlighted and differentiated from the others, offering an introduction that will put in context the exhibited contents, making it accessible to everyone; at the same time, the information will be elaborated to be interesting and appealing from an audience with previous knowledge, too.

Because of the spatial conformation of the room and the design, it will be possible to jump from one topic to the other freely and easily, according to the personal commitment to the particular topic, offering a customizable experience and exploration of the exhibition.

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> 18 Contents considerations in relation to target groups, diagram > 19 Visitors‘ movements in the space, diagram SELAM BAUHAUS - EX HIBITION DESIGN

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weaving a Network Developing a design that refers to and contextualises the exhibition topics, means to deeply understand the ECL-AA work and structural organisation.

The research group owns a multifaceted character that seamlessly connects the academic world to the research one, passing by the testing of all of the outcomes by the industrial world, operating in fact within an ever-developing network.

A network is a large system consisting of many similar parts connected to allow movement or communication between or along with the parts, or between the parts and a control centre4. If we apply this key concept to the exhibition, it comes out that such a construct helps profoundly the development of a dynamic storyline that, although it is led toward common goals developed within the same large system, it takes different paths to get there, moving and communicating from one part to the other.

The iconic imagery of the network and all the different elements connected within this structure became the very initial conceptual inspiration Selam Bauhaus was born onto: a 18

network-like structure allows a development of a storyline that differs from a linear and chronological storyline, that might result in pretentious and inappropriate to show off a research group that exists for less than twenty years now.

The goal of the exhibition is to display and share the research group’s aims and goals, their approach to a concrete problem that concerns everyone, everywhere in the world. The work that they have done so far and most of the contents have to be read as a media through which visitors can concretely get in touch with the modus operandi of the research group and observe the outcomes of their experimentation in the various fields they explored.

Therefore, is convenient and poetic to include a storyline that can show simultaneously and the same level the various faces and various examples of how the ECL-AA works.

Setting up the exhibition on a network-like basis means to be able to provide the contents with a specific position and space, conferring all of them the same relevance and thus offering visitors different insights on the complexiSELAM BAUHAUS - VOLUME THR EE

ty of the work: the contents will be grouped per thematic affinities and displayed by implementing different typologies of media.

Throughout the entire network, visitors will be able to customise their path within the exhibition space, according to their interests and previous knowledge about the thematic areas.

/4 Cf. Network, Cambridge Dictionary online https://dictionary.cambridge.org/ dictionary/english/network

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exhibiting a network connections and imagery

as well as to the more human aspect, the students and their personal experiences within their collaboration with the ECL-AA. We wanted to set up the exhibition proposing a dynamic and non-linear storyline that would give the visitors a very first impression of how complex, but at the same time human and personal, the ECL-AA work is.

From one individual to another, we want to prove how one idea leads to another and how a heterogeneous group of people with disparate backgrounds can come together and collaborate within a broader network of persons, knowledge, disciplines and cultures.

To accurately translate the imagery of the network to an exhibition concept requires a mindful and structured deep understanding of the contents: the exhibition should adequately inform the visitors not only regarding the income and outcome of the ECL-AA but also about how the key protagonists are linked and who those protagonists are.

ECL-AA is a research group that comes out a collaboration intra-university. The academic aspect of all of the work stays strong: student projects and academic high-level researches coexist in one unique heterogeneous context.

Those involved in the process are different from provenience, culture, academic background and personal mission, but together they work as part of a group with the one goal to contribute to an innovative and sustainable design-system that is going to be able to serve the urban development in Ethiopia and Africa.

The network structure will confer the exhibition a multifaceted and dynamic environment that fits into an innovative and on-going set of researches that are focused on participation, exchange and interculturality. We want to provide a place in the spotlights to the researches 20

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building a network

storyline and spatial adaptations Once decided the conceptual structure, we had to translate it in a spatial solution, where the various topics will be linked to each other in a fluid and dynamic way. Having given the dynamicity and the human aspect the considerable importance we had once we decided to set up the whole exhibition up as a network, it was significant to engage in the communication with the visitors, the user of our space, the final and most important aim.

To us, it was extremely important that the visitor could enjoy the space, having the chance to take part in the discussion about the urban development regardless of their previous level of knowledge about the topic: many of the ECL-AA researches are based on participation and the exhibition itself is an attempt to expand up the discussion, spread and unfasten the dialogue.

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> 20 Weaving Experiment, Selem‘s Ethiopia, Bole, Addis Ababa, November 2018, photo. >21 Exhibition space contains a network, diagram > 22 Exhibition spacen with network connections, diagram

The network structure helped us to offer an exhibition layout that will allow the visitors to join the discussion where they feel most comfortable with.

This became possible by giving the freedom to jump from one topic to another.

Moreover, both visually and thematically, the exhibition space would have benefit an informal and dynamic spatial layout in which the visitors are not forced to follow a linear, bidimensional structure.

Here they rather can decide to jump from one topic to another, according to their interests and previous knowledge, yet retaining an universal idea of all of the various shades that altogether define the ECL-AA identity.

want to gather.

The exhibition should be able to give an external perspective of the collaborations condition, not only to outsiders but also to those that are already deeply involved.

Along with it, it is our intent to organise a framework program to be used to raise questions and criticisms around the exhibition topics, encourage discussion and give voice to those who want to share their impression, implementing the ECL-AA work with broader positions about the themes.

The idea is to exploit this figurative space to impart people a taste of what it means to live, work and cooperate in an inter-continental environment from a personal and cultural point of view by presenting the cultural exchange that comes together with the cooperation.

creating a network

figurative space as dialogue platform We considered the exhibition as a platform of dialogue about the development of a new and sustainable form of urbanisation, rather than a mere static display of contents, where the researches are shared to the public: therefore, active interaction with the audience is fundamental to happen.

moving in a network travelling exhibition The network represents a collaboration that depends on the contents, the research themes and the persons that are involved: specifically, since the ECL-AA is a double located group, so will be our exhibition. Selam Bauhaus will first be mounted in Weimar and then will travel to the EiABC campus in Addis Ababa.

The project was designed to be suitable for this travelling purpose, making in facts the nomadic feature one of the key formal inspiration: all the elements of the design are determined to be convenient and adaptable to be set-up in Weimar, serve the exhibition purposes there and then be unbuilt, transported to Addis Ababa and be mounted up again for and at the second exhibition’s site.

Besides the travelling reasons, we considered the design to be reusable, also thinking about the sustainability theme and to prevent a waste of resources.

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Within a network-like designed space, we want to display the contents in a dynamic way that arouses a critical curiosity about the researches and that calls the visitors personally to take part in the conversation.

By doing this we want to raise a broad dialogue about a common topic that follows the different registers taken in by the various target we

> 23 Exhibition space considered as communication and dialog platform, diagram SELAM BAUHAUS - EX HIBITION DESIGN

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nature vs. urban environment

> 24 Cube building, exhibition location, photo > 25 Bamboo Experimental Building System, EiABC, Addis Ababa, November 2018, photo > 26 Cube‘s materiality: concrete, glass and steel, photo

The exhibition space that was given to the designer team belongs to a building with a remarkably strong style and unique character.

The building is principally constructed of concrete, glass and steel; the room that will be hosting the exhibition is at the ground floor and consists of two continuous walls, the longitudinal ones, made of glass and facing the exterior. Internal walls, floor and ceiling are all made of concrete.

The cube is an accurate representation of a typical western European urban architecture.

A significant contrast to the sustainable, natural and participative action that the ECL-AA is trying to help develop in Ethiopia.

It was clear we could have easily used this juxtaposition of materiality in the realisation of the interior design: we decided to exaggerate the antithesis of the materiality of the room itself and the design.

It was decided to deal with the industrial character of the building with the imagery of a bamboo forest. Ethiopia is the leading bamboo producers in Africa5 and a promise for the economy and a sustainable future of the country6.

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/5 Cf. Belay E., 2015: p 5f /6 Cf. The Guardian, 2013, Ethiopia leads the bamboo revolution, https://www.theguardian.com/environment/2013/ apr/10/ethopia-bamboo

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Bamboo is an innovative, sustainable and promising building material that has already been used to realise architecture projects worldwide7 and, also, it will be used as building material for the realization of the Selam Bauhaus outside pavilion8. > 27 Bamboo forest in Ethiopia, photo > 28 Bamboo used as definer of the space, diagram > 29 Space definition: clearings vs. scaffoldings, diagram

The forest-like imagery represents a symbol of a possible, more sustainable urban development, as much as a condemnation to the lack of respect to nature served by the latest Ethiopian urbanisation.

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Bamboo poles will at the same time function as creators and definers of space, while also creating the proper atmosphere and context for the exhibition.

The metaphorical forest develops progressively itself opposing to the one longitudinal concrete wall that delimits the exhibition room on the right, in relation to the entrance door.

The two metaphorical worlds are facing and fighting each other, as to symbolise the contrast between two alternative ways to confront, support and develop a new kind of urban development.

How do we want to forge our future? What decisions have to be taken? And by whom? How do we want our development to be? Profitable or sustainable? Fast or long lasting?

/7 The Potential of Bamboo as Building Material in Organic Shaped Buildings - Esti Asih Nurdiah Department of Architecture, Petra Christian University, Siwalankerto, Indonesia

/8 K. Modrei, M. L. Reusch - Selam Bauhaus II, Architecture, p.6 29

The space that remains between the two symbolic extremities will remain the proper exhibition space: the key areas are dedicated to the contents that in the surrounding symbolic world represent the intersection between the two realities, a compromise, a solution to the problem.

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> 30 Addis Ababa, urban environment meets the suburbian nature, December 2018, photo > 31 Bamboo forest imagery, concept and studio model, photo

materiality Concept design is basically based on a marked contrast between two worlds that gets to encounter each other through the exhibition and its topics.

The imagery that comes out from this duality contains already reliable references to one specific materiality. Same for the architecture of the building that will host the exhibition.

Therefore, we decided to use a few materials to address the functionality required to the displaying, still maintaining a coherent but evocative aesthetic.

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Inspired by the forest imagery, it was impossible to not decide to use bamboo in the ultimate realization of the project. Bamboo suits good for temporary and sustainable structures.

The idea is to prevent any kind of harm to the material, so to be able to utilize it again for other purposes or to forward it back to the supplier.

In combination with it, we included linen fabric in the category of natural materials. Textiles are suitable for temporary and nomadic projects, such ours.

Employing fabric in our design has allowed us to re-use it for the realization of the exhibition in Ethiopia and any further ECL-AA event that may happen in the coming future, too.

On the other side of the conceptual metaphor that illustrates the project, it was decided to adopt an industrial aesthetic, founding inspiration both in the content-based centrality of SELAM BAUHAUS - EX HIBITION DESIGN

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> 32 Exhibition space‘s architectural feature detail, concrete floor, photo > 33 Open bike‘s air chambers to realize connections for the hanging system, photo >34 Exhibition space‘s architectural feature detail, steel shading system, photo

the topic of urbanization and in the architectural character of the exhibition space itself.

Concrete, steel and glass are already offered by the architecture.

To extend the vibe to the room and to produce displaying surfaces, it was decided to resort to scaffolding modules.

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the exhibition, but relates to the ECL-AA, as well. The research group is active for few more than ten years and, even if has already accomplished some successful attainments, the current situation is watching at the coming future, ready to go further and accomplish new goals. Therefore, is not inappropriate to define the current status of the ECL-AA as a work in progress, too.

Moreover, during the excursion in Ethiopia, we noticed that there it is not uncommon to use scaffolding made of bamboo: the structures may seem extremely dangerous and not safe to a not-used eye, but they’re in fact to see everywhere in Addis Ababa. That confers an extra strength to the duality between the two realities we’re considering.

> 35 Scaffolding structure exemplification, photo > 36 Addis Ababa bamboo scaffolding, photo 35

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Sustainability is a core character in the whole project, both for the references to nature, as to the identity and goal of the research group.

During the excursion, we noticed that students at the EiABC were exploring innovative and experimenting building materials to realize architectural structures. We thought it was noteworthy to include creative and alternative usages of recycled materials in the exhibition design, too. In this way, we’re at the same time encouraging recycling elements and reciting the experimental work of the students at the EiABC. While in Ethiopia they’re recycling plastic bottles, in Weimar we decided for old bicycle’s air chambers as connectors and finishing touch.

Materiality strengthens the symbolic representation of the two contrasting worlds, but, at the same time, depict the meeting point where the two worlds merge.

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so rapidly that it might become the leading sector in Africa and make the country’s vision of becoming continental textile hub. 9 The historical Bauhaus, already in the very first Weimar settlment that we’re celebrating the centenary this year, had a relevant textile workshop, too. The weaving workshop was an encounter between craft and industry, attended by talented (mostly) women that joint the conceptuality of other classes to a practical realization of those today we call Bauhaus textiles.

Besides the naturality of the material, fabric offers the project more than just a surface and becomes a symbolic union of the two divergent worlds.

> 37 Natural textile production phase in Sabahar, Addis Ababa, November 2018, photo

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>38 Dynamic circle of movement in the exhibition space, diagram > 39 Exhibition Design, spatial layout, 1:100 diagram

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The exhibition space serves to display the themes that describe ECL-AA. It was decided to clear the complexity and the ramification own of the subject by representing the various realities and entities as an individual theme in under the plot: each section within the space corresponds to a branch of the ECL-AA. Areas within the exhibit space accompany the main logic narration that develops itself all around the exhibition location, going on in a dynamic circle that from the outside leads the visitors inside the exhibition, directly to the specific topics, as a vortex.

Outside, the pavilion attracts the main attention to the exhibition, that from the outside structure they can glimpse from the glass facade. Also outdoors, sprayed on the floor coming from the backyard of the building, the Selam Bauhaus logo alternates with quotes from the ECL-AA members.

Displaying the future, they imagine and aspire for the research group, are outlined a multifaceted and dynamic reality that introduces themes and subject of the exhibition, triggers the criticism in the visitors and brings them to the inside.

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The description of the techniques is here interchanged by the portrayal of the exchange experiences, a more human aspect that characterises the research group and also a connection point between the academic face and the research one.

The cultural exchange is represented by images and quotes from the students that took part in such projects with the excursions and various members of the ECL-AA themselves.

Spatial layout and storyline The exhibition is designed to offer a progressive insight into the various aspects that, on different levels and by implementing various typologies of media, define the ECL-AA identity.

As the first step, an introduction text written by the exhibition team welcomes the visitors, setting up the leading character and intentions of the project itself.

To properly complete the introduction, some screens describe the subject of the whole exhibition, the ECL-AA, and state the aim and mission of the research group itself.

Complementary, Sounds of Addis, the sound installation I designed, gives a first instinctive sensation and gut feeling about the controversy of the Ethiopian urban development, focusing on a personal and sensorial perception of the capital city.

Following, space unravels itself to a first dive into the ECL-AA academic educational theme: the academic approach is explained and the experimental building projects — mainly example of the philosophy behind the teaching — are displayed. Other students projects follow.

Ensuring the adjacent area presents an insight on the state-of-the-art of the rural-urban development in Ethiopia, focusing on Addis Ababa: 360 degrees videos present a rural environment in the rural suburbs of Addis and a progressive approach to the city.

Here, featuring the exhibition, an artistic contribution from Nafiseh, an Ethiopian photographer that coordinated a collaborative project about the rural area around Addis Ababa.

A choice selection of the project will be presented.

This latter section works as an introduction to another crucial part of the exhibition about the academic research projects: on this spot, some of the most significant projects are displayed and explained.

Particularly relevant to mention remains the link to the industrial world, by the pivotal figure of Flinstone, an Ethiopian industry that teams up with the ECL-AA to test some of the researches, realised in a 1:1 scale, applied to the real world. One of the principal protagonists of the research work is the IN3, an internal group that is developing an interactive tool to test the urban development, whose prototype will feature the exhibition, providing them with the opportunity to test in the first person the designing and development of a city at an urban scale.

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The exhibition ends up with a reflection about the future of the Emerging City Lab - Addis Ababa, that is first introduced by the members of the research group and then, going back outside, produces an informal space to the visitors, where they can frankly and willingly share their reflection about the exhibition and its themes.

An exterior space, arranged in a scaffolding behind the building, hosts a book corner, where the visitors are free to keep on diving in the ECL-AA topics by reading a selection of projects, researches and academic thesis, together with a comprehensive description of Selam Bauhaus.

From the outside scaffolding, signs and quotes sprayed on the floor will lead visitors back to the pavilion.

> 40 Exhibition Design, content map, 1:100 diagram 33

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CONTENT MAP, legend 00 exhibition identity _ Selam Bauhaus logo + sponsor partners, pavilion 1. Selam Bauhaus | logo + introduction in English, German, Aramaic 2. ECL-AA | introduction 3. intro BUW, ifex and EiABC 4_5_6 ECL-AA timeline | teaching, research, education 7 Sounds of Addis | introduction text 8 Sounds of Addis | interactive space 9 Academic Education | introdutction 10 Sandbag dome + text 11 Experimental Building area 12 Haus am Horn text | Bauhaus references 13 Haus am Horn technical drawings 14 Haus am Horn | model 15 SICU_SECU_MACU construction video + indtroduction text 16 SECU | model 16.1 SECU| photos and technical drawings 17 SECU | description + industrial linkages (text + tablet) 18 SICU | model 18.1 SICU| photos and technical drawings 19 SICU | description + MACU | description + industrial linkages (text + tablet?)

20 MACU | model 20.1 MACU| photos and technical drawings

21 MAEN | academic project description 22 A500 | academic project description 23 Vertical Addis | academic project description 24 Urban Metabolism | academic project description 25 Syn City | academic project description 26 Syn City | model 27 Syn City | screencast 28 Student project text 29 Student project model

45 outdoor common space, book corner with references about the exhibition topics and project documentation 46 blank surfaces intended to collect feedback from visitors about the exhibition and its general topics 47 outdoor space, reconnecting the fron and back outside exhibition areas, insights about ECL-AA future, quotes

30 Exchange Experience | introduction text 30.1 Exchange Experience | picture and quotes 31 Urbanization in Ethiopia | text 32 360 degrees rural Ethiopia 33 Academic Research | introdcution text 34 Urban Water | project description 35 planning table theory, collaboration with Schwebische Universität 36 IN3 | project description 37 industry link | flinstone 38 VIN3 | project description 39 Planning table | project description 40 Planning table system + printer 41 Planning table | feedback surface 42 ECL-AA future | introduction text 43 ECL-AA screen casts, on tablet 44 Addis Ababa, rural-urbanscape, artistic collaboration with Ethiopian Photographer Nafiseh SELAM BAUHAUS - EX HIBITION DESIGN

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INTERIOR DESIGN The exhibition area is defined by the visible presence of strong materiality that recurs throughout the entire project: the design disposes of a few materials that are repeating and alternate in the room, evoking a specific atmosphere.

Materials can be clearly described as if belonging to two distinct categories: there are primary natural materials and urban-industrial or recycled materials.

Outside the exhibition space will be placed the pavilion Karen and Marco designed.

The structure is entirely retained of bamboo, hold together by innovative textile connection system, designed and realised ad hoc for the project and is completed by fabric screens hanging in the bamboo structure.

The pavilion will be the first contact visitors will have with the natural category of materials that will characterise the space.

Once entering the proper exhibition space, the set-up of the bamboo forest will be alternated with scaffolding systems that will create a dynamic conceptual contrast throughout the room.

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The established aesthetic and conceptual line of the exhibition will be the displaying of contents printed on fabric screens, both in the forest and in the scaffoldings.

This will be the common point where the contents come actually in touch with the exhibition concept and design.

The strong characterisation of the space is also aiming to promote an identity for the project that might overlook the strong individuality and humble spirit of adaptation of the room that was given us as exhibition area.

The space is not much big and divided into two areas, one of which will have to keep hosting the tables and computers, there to be available to the students.

The full and hard concrete wall didn’t help to create exhibition surfaces that might have left room for visitors to come and explore. Moreover, two of the three walls are made completely out of glass framed in aluminium.

The layout of the space itself is hostile to define and organise for a dynamic display of the topics on the network-structured storyline: typSELAM BAUHAUS - VOLUME THR EE

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> 41 Exhibition space identity, computer pool, students working, photo > 42 Exhibition space identity, window view on the Main Building, photo > 43 Exhibition space identity, detail on concrete wall, photo

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ically, exhibition spaces are big unfurnished rooms that can adapt on to the topics and create different atmospheres for each event. Ours is in facts, half of a big room that goes straight between two glass-walls framed by an aluminium structure, that goes on and finishes in one second, smaller room cornered from the main one by a plain glass wall.

On one hand, it was required to separate the exhibition from the computer pool-room, on the other one the exhibition space should appear as one unique area, even if physically split in two.

In the first place, it was decided to think about the separation more as a coexistence, rather than a division: it is unimportant if visitors will see through, as long as they don’t feel as on the other side.

Using ceiling-high bamboo poles to delimit the exhibition space means to define the space and recreate an atmosphere.

At the same time, the poles can be spread throughout the whole space, and by putting them in different spatial combination, it is possible to adapt and create areas or clearings, to adapt themselves to host the contents.

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> 44 Exhibitio space identity, view on the second room through the glass wall, photo > 45 Exhibition room, spatial configuration, 1:200 floorplan > 45 Exhibition area definition, 1:100, floorplan

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Bamboo poles that from the floor go up to the ceiling constitute an element strong enough to characterize two adjacent rooms.

Within and in contrast with the space defined and created by the imagery of the bamboo forest, it was decided to add antithetical elements that would take the industrial spirit of the hosting building inside the exhibition.

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Scaffoldings offer the chance to create spaces-within-the-space, a somewhat alternative, artificial and urban version of the clearings in the bamboo forest. Those sub areas created by the scaffoldings contrast the configuration of the room.

Complementary opposite to the bamboo poles that run from the floor to the ceiling, the scaffoldings are placed in the room following a horizontal spatial development.

This formal conflict sharpens, even more, the relation between the virgin nature and the urban environment.

At the same time devises a formal, environmental and sensational dynamicity to show off the multifaceted reality that characterizes the research group, subject of the exhibition.

Besides the materiality, the choice of using scaffolding as exhibition displayer aims to collaborate in generating a tensed and contrasting atmosphere. They will be used, together with bamboo itself, as displaying surfaces.

Also, it will be holding the various structures or systems that will hold up and display the different media selected for the exhibition.

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> 47 Room ambience, bamboo forest, sketch > 48 Room ambience, urban environment/building construction, sketch

The second exhibition room goes along with the whole width of the building.

It has one whole glass facade that hosts a long rastered series of French doors, that access to a second back-yard outside-area. Since the soil there is probably lower than on the front, the building retains a sort of external area that levels it straight and develops a sort of outside corridor, defined externally by some aluminium shading system.

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To open up the exhibition space, we went bold, colouring out of the lines: it was decided to expand at its maximum the exhibition space, a little bit beyond a regular architectural delimitation line that defines the boundary lines.

It was decided to have one of the French doors from the exhibition left open, so to continue the exhibition path outside.

On the outside shading system will be hanging some artistic pictures that represent the urban development in Addis Ababa: one descriptive text will introduce the outcome from a workshop organised in Addis from Nafiseh, a local photographer.

In conclusion, the outside corridor opens up to offer visitors a 3 x 3 meters cubic scaffolding structure: here, there will be hosted the exhibition book-corner, a feedback surface and space where to chill and eventually get together and confront within each other.

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> 49 Inside the interior exhibition space, there will be a pattern taped on the floor, in correspondance with the exhibition aresa. This will help visitors with the wayfinding, indicating a direction to follow and, at the same time, it wil emphasize the strenght of the organization of contents in indipendent areas.

Sketch > 50 Exhibition space, movements and directions throughout and beyond, diagram

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> 51 Detail of the recycled gum that will be used to augment the friction, photo > 52 Testing the stability of the design solution with Marco Luca Reusch, February 2019, photo

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Within the exhibition space, bamboo poles will be spanned between the ceiling and the floor. To increase the friction and stabilize and properly secure the poles, recycled gum will be applied at the two extremities.

Poles will be cut at 3 meters, and they’ll have some extra material between the actual bamboo stick and the gum, so to arrive at room height (3,05 meters).

In the end, for budget reasons, it was decided to use two different sizes of bamboo: one thicker and one smaller.

The thicker one measures around 50/70 millimetre of diameter. This one is the same that will be used for the realization of the outside pavilion and is declared suitable for building purposes. The other bamboo has a diameter that measures between the 30 and the 50 millimetres.

The more robust bamboo will be used to hold the fabric screens and structures, the smaller will be used as a spatial definition feature and to evoke the forest ambience.

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> 53 Scaffolding structure: modules are built with two side-frames (70 cm deep) supported by feet about 20 cm long. To stablize the structure, a diagonal will be spanned within the long parts, sketch > 54 Scaffolding layout within the exhibition space, technical drawing

scaffolding structures 53 The interior space will host six modules of scaffolding: in the first room, each module will have a different dimension, to adapt to the exhibition displaying needs.

Each single module will be 70 cm deep and covered by two wood boards, each 35 cm deep.

The scaffolding will define the space and create display affordances.

Contents will be shown by textile structures that will be hung on the scaffolding.

Fabric will be fixed with clamps to the wood bread standing on the top of the metallic arrangement.

In the second room, the structures are deeper, to carry the interactive contents from the ECL-AA. On the outside, in the backyard, a more-module-conformation will be the only one that is going to be accessible by visitors. The external structure is going to be 3 x 3 metres and will have an upper cover, too.

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> 55 Detail of the wooden board on the top of the structures, sketch > 54 Scaffolding as content displayer, sketch

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Fabric screens As already broad explained, sustainability and the related importance of materials represent a particular strength in the SelamBauhaus exhibition design: natural, industrial or recycled, it goes beyond the pure being. The material becomes a media to tell a story, too.

Deciding to print all of the exhibition text on textiles, instead of the usual paper poster, gave the design the opportunity to use the contents of the exhibition themselves both as media and definers of space.

The material that was chosen to adopt is a natural linen fabric that we were able to print on but to order blanks as well.

The textile is not anymore a mere displayer, but is considered as a building material, too: by displaying contents, the fabric is also fostering an atmosphere with the materiality and defining the exhibition space.

Needless to say, since the definition of the space has become directly affected by the posters, the design of the displaying system has to take care of it and design it well. The whole design needs to consider that in the end, within the space a visual coherency will be required: the design of the elements has to work effectively in the proper environment, too. T he space, in the end, has to result calm and easy to be understood and explored by the visitors.

The formal solution will consist of two different standardized categories of posters, that differ them48

selves according to dimensions and are profoundly related to the contents they will display.

A tight and long format will present everything that is related to the academic and research-related contents: that is the more rational and professional category. The size is the usual summaery dimensions so that to formally include the exhibition within the index of the events. Here text will be mainly placed side by side with pictures and/or diagrams that will serve visitors to completely comprehend the meaning.

The other category was thought to be more direct and informal, to get to the heart of the visitors: ECLAA and urban development include and influence, indeed, many people’s lives.

By having a second format, the intention is to open up the conversation to them, too. Utilizing another format will also give at first sight the idea of being up to listen to different voices and to see one story through different points of view. The second format offers a series of squared fabric screens, that will predominantly be about the more-human faces of the ECL-AA, such as the exchange experiences that happen within and around the research group.

The squared shape should be perceived as more relatable and inclusive to a non-professional audience.

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All of the screens that will be hung in the bamboo wood will have two small fabric stripes at each corner, to be tied up to a recycled gum stripe tied to the bamboo.

The cloth that will be displayed within the scaffolding structures will include an extra piece of fabric sewed on to the upper side of the screen, so to be able to be attached with a clamp to the board that will be placed on the top of the scaffoldings.

> 57 Squared banners will be used for the sound installation and to show the exchange experiences happened within the ECL-AA projects.

Here a representation of the configuration that will be applied to show the experiences. The displaying layout is inspired by the framework structure of the outside pavilion. Pictures will be printed on the smaller screens (25 x 25 cm); on bigger banners will be printed quotes extracted from interviews we conducted among the participants.

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> 58 Rough prototype of one displaying option: fabric spanned between two bamboo poles, photo > 59 Printing test: mock-up Selam Bauhaus logo, photo SELAM BAUHAUS - EX HIBITION DESIGN

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tablets-holding system It was decided to show all of the videos on tablets and to add headphones in case audio was required, too.

Exhibited videos will be about academic and experimental projects, sometimes featuring interviews to ECL-AA members or students and collaborators.

The graphics definition quality of the videos is not going to represent the focus of the exhibition, neither particularly extraordinary since videos were realised for academic purposes.

Each video is providing a specific and theoretical retrospective about topic areas of the exhibition.

Therefore, it was worked out to use tablets, that are functional and practical without occupying overmuch space, nor require extraordinary maintenance during the opening of the exhibition.

Tablets are going to be held inside fabric structures with a cut-out hole in it, to expose the screen.

The device will be properly secured in the structure being sewn inside of it.

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> 60 Section detail on seam, sketch > 61 Section detail on pouch, sketch > 62 Fabric banner holding a tablet, sketch 52

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models-holding system The primary models that are going to be shown in the exhibition are part of a so-called trilogy of experimental buildings. Those architectural projects belong to research about innovative or alternative materials or architectural techniques. All the three projects were realised in 1:1 scale in the campus of the EiABC: students, professors and collaborators worked together on a real construction site to test the projects in the real world.

Experimental buildings will be introduced by a brief explanation text, exhibited on a fabric screen hanging on bamboo. Together with the text, it will be shown a looped timelapse video of the realisation of all of the projects.

Following in the room the details of the three projects (SICU, SECU, MACU) are going to be displayed and explained in one line: inside of scaffoldings there will be hung three hammock-structures that will hold the models suspended from the scaffolding roof.

The hanging structures are realised in linen, the same typology of fabric as the screens’: coming down from above, from right to left, they hold and at the same time frame the single project. In-depth, behind the models, will be hanging the third piece of fabric that will have pictures and/or drawings printed on that. These back-side screens come down from the scaffolding, following the length of the structures that support the models.

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> 64 Clamps keep the wooden support attached to the board with clamps, section sketch > 65 Textile structures will be kept fixed and stable between the two wooden pieces, sketch

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Next to the fabric hanging structures that hold models and pictures of each project, always coming down from the scaffolding, is hanging a standard-sized fabric screen with the information and description of each project.

Visitors, in this way, will have a first direct and visual overlook upon the project by identifying the model with the relative pictures of the 1:1 test, and, separately, they can read more about it.

Both the back-side screens and the depth of the models-hammocks follow the width set down for the standard fabric screen, so to maintain an aesthetic balance and calm of proportions.

Later on in the process of exhibition realisation, it was decided to exhibit a couple of models more. A 1:33 model of Haus am Horn, will stand as a reference to the historical Bauhaus and its academic heuristic methods, source of inspiration for such an experimental building test. Two other models of students’ academic projects will be exhibited, too.

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> 66 Clamps will hold the supporting wooden piece to the scaffolding board, sketch > 67 The fabric piece will have an extention to contain a thin but solid piece of MDF or cartboard.

It will be a light addition to the structure, zbut will contribute to hold models stable on the textile design, sketch > 68 Model holding structure, sketch SELAM BAUHAUS - EX HIBITION DESIGN

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feedback surfaces Visitors are to be considered not only as a passive audience but as actual spokesperson: they’re at the same time, the interlocutors and the subject of the exhibition which means that the exhibition should keep them active throughout the whole path.

In the end, the idea was to leave a free surface, alike to the displaying surfaces, that is totally made available to visitors as space where to leave back their impressions, criticism, thoughts about the topics and the exhibition.

At certain points, it was clear that it was needed a specific space where visitors could have left behind them track of their passage and insight on their impressions or personal experiences about the exhibition topic.

A sort of a 3d guest book, implemented in the exhibition design concept, materiality and forms.

This area has been placed outside, together with the book corner.

ECL-AA has developed a prototype version of an interactive tool that they mean to use to communicate research projects of urban development for areas in Africa, the planning table: adjusting some parameters the outlook of the hypothetical city changes.

They decided to place the prototype in the exhibition, in order to share the research ideas and try out the technology.

In the current phase of the prototyping, the system creates the urban mock-ups and then, instead of saving, the research group would like to print the various output of visitors’ experiments and hang them out.

The solution that was proposed, was to simply hang each output with unharming tape-system to a bamboo wood area that will be placed near to the planning table itself.

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book corner To conclude the exhibition, the idea was to open it up again and somehow direct it back to the front to start newly.

The second exterior space (after the threshold pavilion) was realised with a scaffolding structure that recalls to those that in the interior hold up the exhibition contents.

Going through the exhibition, the storyline suggests a reflection about the future of the ECL-AA as academic research group, which represent the goals that will be achieved, and which those to still reach: the atmosphere is like a work-in-progress, therefore the building construction vibes that, once again, give hope to the foreseeable future of such an ambitious project.

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Outside, the scaffolding is bigger — 3 x 3 meters — and offers itself to welcome visitors.

Hither, visitors can find the feedback surface and the book corner, where they can get deeper in the contents, gaining a deeper insight into the research group’s work. In the book corner, visitors will be able to consult books about the exhibition design itself.

Being outside with still a footstep inside represents a sincere wish that visitors might bring the contents alongside their future appropriation of the urban environment, wherever it will be.

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> 69 The outside scaffolding module will host both book corner and some blank fabric banners for visitos to leave feedback, reflections and criticisms about the exhibition and the ECL-AA work, sketch SELAM BAUHAUS - EX HIBITION DESIGN

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The only true voyage of discovery is not to go to new places, but to have other eyes9 58

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> 70 Rooftop view on Addis Ababa from Lideta Mercato, November 2018, photo

S O U N D S O F A D D I S urban environment Addis Ababa is the largest and most chaotic city I ever visited and it overwhelmed me in many ways.

The most surprising one was the constant variety of sounds that hovered in the different areas of the city. Of course, the city centre was more congested and lively than the suburbs, where nature was louder than traffic but overall I could hear a jumble and rabble of noises that took me a while to decode and classify.

The traffic congestion was huge itself and its sounds were amplified by the voices of the people trying to overcome the rumble of the cars, the churches and mosques with their ringing bells and yelling sirens irregularly but constant nonetheless. During the day, different animals like goats and dogs and chicken were constantly rummaging around in the streets, while commuters were waiting for busses and cabs.

Building construction everywhere.

The installation aims at giving visitors the opportunity to explore the city by experiencing the deciphered sounds that represent my Addis Ababa.10

expectations There’s a theory elaborated around the 50s that affirms the geographical environment affects the emotions and behaviour of individuals: it’s an encounter between space and its perception and it’s called psychogeography. The term was coined by a French Marxist theorist, Guy Debord and already inspired numerous pieces of art. Most of them consist of walking through the city and actively delving into it.

How do we perceive cities? How do we behave in there? Exploring a city, we get in touch with its various aspects: it’s a mixed result of sights, sounds, smells, textures, tastes and thermal conditions11 that resonate with our individual and collective memory and altogether build our general perception of the environment.

Most of us have already experienced the urban environment and created patterns to define it, that also lead to a collection of expectations about cities: there will be cars, buses, trains, people working and moving all around.

spread in the environment, then you realize that it’s the specific conformation of the urban environment you’re specifically in that affects you.

Once we have a drastic change of conformation, timing and dynamics of the city we perceive them differently.

Addis was still a city as all of the other I’ve visited before, with mostly the same elements: at first, I didn’t catch the peculiarity of the context.

After a while, I came in touch with a comparison between my expectations and experiences and I understood that I didn’t understand.

The city was a tangle of information that I couldn’t sort out, that I couldn’ name nor list.

When I first arrived in Addis Ababa, I didn’t immediately felt in an uncommon urban environment: of course, I noticed cultural differences, but I was that was all.

After a while I understood it was not like that: beyond the traffic and the crowd in the street, the information I was sensing was different from what I was used to perceiving in a city. Everything seemed to me like a tangle of elements I was not able to recognize.

Most of those elements are easily repeating themselves in most of the cities one is in: traffic is cars and busses, the crowd is people. But if you’re really sensing, with all the senses, all of the elements SELAM BAUHAUS - EX HIBITION DESIGN

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/9 Cf. Marcel Proust, 1913 La Prisonnière, In Search of Lost Time /10 Cf. Marta Manzuoli for Selam Bauhaus exhibition, introduction to the sound installation /11 Cf. Thibaud, 2011, p. 204 /12 Cf. World Population On Review, Addis Ababa http://worldpopulationreview.com/world-cities/ addis-ababa-population/ /13 Cf. Addis Ababa, Wikipedia https://en.wikipedia.org/wiki/Addis_Ababa

experience Before starting the whole project, I researched a little about ECL-AA: who are they? What they do exactly? How? Where? Being in an academic environment and hearing about urban growth and innovative architecture sounds great but still very theoretical.

The amazing part of having gotten in touch with this research group is the marked connection their work has with the real world. Not only about the academic researches they lead, but the mode they do it: they are in constant touch with the reality. They test out the researches on the field and collaborate with the final users of their projects in a participative way.

In any case, I properly understood the proper meaning of rapid urbanization and its tangible consequences once I went to Addis and had the chance to see, smell and experience myself the city.

Being there, rapid urban growth and development were talking to me. Addis has 3,384,569 inhabitants12 and almost one-quarter of all people in Ethiopia that live in urban areas are in the capital city: the population density is estimated to be more than five individuals per square kilometre available13. In Addis, there are many people everywhere and due to the velocity of growth and its not-fully well-thought organisation, this is a problem. There are no appropriate services to fulfil the crowd’s pragmatic needs: there are not enough buses or trains, it’s getting harder to get a job, the roads are constantly under construction and the smouldering rubble coming from the building sites often lays on the sidewalk.

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places that most impressed me and that I still remember vividly are not specific landmarks, but zones of the city related to transportation. When I was there I was hosted by a student that was finishing her internship at the Ethiopian office of the ECLAA. Every morning we had to travel four to six hours to arrive from Ayat 5, at the eastern extremities of the city, to the university campus, in the north-west.

Every morning we would have changed two to three busses and the changes were in incredibly vast areas with about ten streets crossings and tons of different directions.

The hub was crowded and congested, it was loud and crammed, but people were patiently waiting in line, under the warming sun, while cars, coming and going, were saturating with smoggy fog the air all around. Memories are outright about feelings.

A feeling that was constantly hitting on me was being overwhelmed with noises resonating all around: besides the usual urban blast expected from a big city, there were other many things to hear that I couldn’t really untangle for a while. Apart from traffic and crowd, there were noises of tracks of lives happening on the streets in a way I never observed or lived before. Altogether was hard to decipher.

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ex p e r i e n c e media of the senses narrating experiences The first-person experience and the overwhelming sensation I had when I was in Addis Ababa really made me understand the complexity of the researches conducted by the ECL-AA and of the urban environment thematic more in general, too.

Behind the technical urbanistic and architectural reality, social context and consequences of certain parameters concern everyone has ever been in contact with an urban reality, everyone that lives in it every day.

I wanted to share my impressions with the visitors that will hit the exhibition, so to offer my point of view about the topic and a more emotional to it.

To incorporate the experience in the exhibition, initially, I had to decode the knot of emotions I went through, being in the urban area. I first needed to recognize and structure it in a compelling storyline that could sum up the experience I want to offer.

I decided to focus on the continuous noises I perceived hovering on the city and to build the narrative onto them.

If Addis was a confused tangle and complex mixture of peculiar sounds, with my installation I wanted to separate them in the categories I generated to comprehend them, so to give each of the sounds a meaning.

Alongside each other, it was significant to me that the categorization still kept an outcome that might have demonstrated the complexity and convoluted character of the city.

Furthermore, I needed the relation to the city or its areas to be clear and conceptual and visually part of the installation.

I decided to design an enclosed space within the exhibition area, where to insert four prints of the city map. Each print would have hosted one sound category, representing one characteristic of the Addis Ababa I got to know.

By actively touching the highlighted parts of the fabric the map is print onto, the visitor will turn on the sound, getting to discover the city. Following the path I laid out, visitors will listen to the storyline I am telling through the hearing.

and most important reason for realizing the installation. Once they are triggered and called to be part of the exhibition, they will explore the exhibition with a more critical approach and a more personal engagement.

Besides the active gesture of consciously touching the installation to make it work, it is important that guests can get in touch with the materiality of the design, too.

Using mostly raw and organic elements to define the space should evoke a welcoming atmosphere, with the aim, once again, to have the visitor comfortable enough to be critical and questioning about the contents and the foreseeable future of the ECLAA, as the world’s, too.

Through the selection and sharing of my auditive experience, visitors can gather the message and make it theirs.

designing an experience The key reason for the installation to be part of the project is to use a sensorial experience as a media to communicate feelings, together with pertinent information.

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> 71 Conductive Thread sample, photo > 72 Conductive Fabric sample, photo

materiality

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The installation has been thought to be integrated to the exhibition design project: a personal voice to comment the topic and offer an intimate and peculiar point of view that might involve visitors, addressing them solely and directly.

Therefore, it was important that the realisation of the installation was in line with the main concept of the exhibition: natural materials, such as fabric, and sustainability.

Also important to me was to have visitors being directly involved in the functioning system of the installation: I wanted that the installation straightforwardly attended the inputs coming from the user’s actions. Drawing visitors in an interactive environment where they are able to start their own sensorial experience will initiate engagement and raise criticism relative to the exhibition’s topic.

To respond to those needs, I decided to try out conductive fabric to develop a soft circuit that recognises the visitor’s touch and outputs the sound relative to the area he or she selected.

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conductive fabric Conductive fabric will be used here as a capacitive sensor, a switch that detects a user’s touch and declares it as an input in the circuit. The material looks just like normal fabric but is realised with metal strands woven or conductive yarns that make the textile able to conduct electricity. ‘Smart textiles are not passive in their function: They can sense and respond to stimuli such as touch, temperature or heartbeat. [...] The conductive yarns can look, feel and behave like traditional fabric.’14 Conductive fabric pieces will be sewed and embedded to a white linen fabric banner with a graphic print representing the city.

Underneath some specific areas of the city, it will be sewed a piece of conductive fabric, highlighted by some embroideries and accompanied by small speakers.

By touching the embroidery sewed to the fabric the circuit will play the sound relative to the area that had been touched.

/14 Cf. L. Thomas, in Smart Clothes and Wearable Technology, 2009, Woven structures and their impact on the function and performance of smart clothing SELAM BAUHAUS - EX HIBITION DESIGN

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> 73 Soft circuit with conductive fabric and thread sample, photo > 74 Conceptual spatial conformation for the installation, sketch > 75 Sounds of Addis, spatial conformation planned for the exhibition in Weimar, technical drawing, detail

soft circuit 73 For the realisation of the soft circuit, the common board, the basis for the circuit, will be the fabric itself, and the conductive thread will be used to connect the various elements of the circuit.

The realisation of a soft circuit can be considered sustainable: even if realised by polyester, that is not really natural, the fabric’s life duration expectation is very high, it resists to water and high temperature and is easy to transport and extremely flexible.

Nonetheless, according to the datasheet of the product, the conductive fabric I disposed of for the project’s realisation, is recyclable.

Conceptually, the whole soft circuit idea supports also the nomadic character of the exhibition: once it will be sewed on to the cloth, it will be extremely easy to move to be built up again once in Africa.

Circuits are run by Arduino Nano, a particularly tiny microcontroller that is directly sewed to the fabric.

Speakers are stitched to the fabric, too, as well as a pocket for the battery. To cover the hardware of the circuit, a blank white linen fabric will be sewed on the back, leaving an opening to change the battery, when needed. In facts, changing the battery will be the only maintenance required during the exhibition’s opening time.

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design_space The installation is strongly related to its spatial configuration: through the space is explained and developed the sound representation of the city.

Sounds follow each other through the space following the narrative and creating a symbolical room for the sensorial experience.

Space needs to enclose the sounds and create a setting for the narrative of the installation.

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d e s i g n _ graphic interface The fabric banners conceptually and physically connect the sound installation to the exhibition design.

Initially, the idea was to print four to six selected pictures of Addis Ababa on the fabric, to visually connect the sounds to an explicit image.

Ultimately, it was rather decided to the same templates for every sound, to the unit and complex character of the hearing environment.

To reconnect to the urban environment topic, I drawn a map of Addis Ababa: I used as reference Google Earth, but I also made it graphics, using patterns and lines to design a friendly and relatable graphic.

The design will be printed on 50 x 50 cm fabric banners and will be hanging from bamboo poles.

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> 76 Graphics of Sounds of Addis, original drawing > 77 Example of physical interface design that will be sewn on the graphics, sketch

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d e s i g n _ physical interface Underneath the fabric with the graphics a soft circuit will make the screen interactive.

For each sound I selected an area that, wether for my experience or for geographical reasons, is related to the sound the circuit will play.

Speakers will be stitched on to the front banner, within the graphic, so to let users know that sound is to be expected.

On the backside, conductive fabric will be used as capacitive sensor and will be embroidered to the front fabric. The embroidery will indicate visitors the interactive area they’ll need to touch to play sounds.

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> 78 Goats in Addis Ababa, November 2018, photo > 79 Building Construction in Addis Ababa, November 2018, photo

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To start to decipher and categorize the complexity of my auditive experience of being in Addis Ababa, I first had to distinguish the various noises and turning them into legible sounds.

I led the process always keeping in mind the geographical configuration of the city, trying to reconnect the sounds to the places I had been to.

Among all of my memories of the noises I was hearing every day, I tried to extract those that somehow made me ask myself what I was hearing and why, those that sounded most weird. Those I never had reconnect to an urban environment before.

There are some cliches about the urban environment that set wide expectations about what it has to be like: mainly, it’s about having traffic, movement, business. It’s about cars, buses, trains and a loud crowd that never stops.

Of course, Addis Ababa sounded like that, too. But there was something more.

The first thing I remember impressed me was to hear churches’ and mosques’ bells and horns going on for a long time, never stopping, ever repeating without an apparent matrix of repetition.

Sometimes, from the street, I was hearing people talking, like coming out some loudspeakers. When I asked what they were saying and from where was it coming from, my companions told me that it was a

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religious speech, a teaching session about the Holy Scriptures somewhere in front of a church, often hidden in a secondary street. It was just so loud that everyone in the area might have heard it.

Moving around the city had its typical sounds, too.

There are some so-called buses that connect the various areas of the city.

Those are in fact, mini-vans, rigorously blue vintage Toyota, that pick up people on slightly defined routes through the city, without fixed bus-stops, nor a written target indicating the direction.

The destination is yelled out from the man that lets people in and cashes in the cost of the ride, while

the route is approximately arranged, based on commuters’ needs.

streets. Dogs and donkeys are to find everywhere, too.

The city centre, where most of the services and workplaces are, is extremely busy and crowded.

All day long every sidewalk is constantly crowded: people moving around the city, trying to get from A to B, people coming from the countryside to sell organic products they grow, or other goods.

On most of the streets, there are a lot of bars, too, where women prepare coffee for the ceremony or where you can eat injera.

Here is not uncommon to walk through a flock of goats or to see chickens going around freely on the

The real distinction between the city centre and the suburb is the silence: although the traffic doesn’t get better, houses in the suburbs are mostly organized in condominiums, blocks of housing complexes that are relatively away from the main streets.

Here the sounds of nature take advantage and crickets and birds almost overcome the far rumble of the city.

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> 80 Each of the four screens (1, 2, 3, 4) represent one sound category. Sounds recorded in Addis Ababa were mixed to obtain four sounds: 1. Suburb and rural 2. Infrastructures and transportation 3. Religion 4. Crowded city centre.

80 The narrative develops within the space and the direction of exploring.

Next to the entrance/exit sounds represent the general constitution of the city, with a crowded centre and a quiet, more rural suburb.

In the middle, right inside the installation, sounds are descriptive of a more peculiar soul of the city.

Voices of the men yelling city areas‘ names to announce the taxi‘s direction and cantillate voices of devotees praying and studying Holy Scriptures.

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s k e t c h e s & p ro t o t y p e s To realize the installation, I divided the whole process into two main steps - make a capacitive sensor out of a piece of conductive fabric, make a circuit play sounds, and afterwards I joint them.

According to my technical knowledge and previous experiences in prototyping and realizing interactive spaces, I decided to realize one circuit for each thematic.

The installation will consist of four separated fabric banner, all with the same graphic, but each one with its own sound and interface.

The final circuit will be run by Arduino Nano. I realized my initial prototypes with Arduino Uno, the microcontroller I habitually have used so far, thinking that later on, I would have switched to a circuit run by a Raspberry Pi 0 (flatter than the Arduino Uno and with the chance to manage all of the input stations from one microcontroller, using a Bluetooth or wifi connection.

In the end, I opted, as said, for four separate circuits, each one run by an Arduino Nano, similar for flatness and size to the Raspberry Pi 0.

This will provide visitors a hint about the aim of the installation: recognizing a speaker, they’ll aspect some sounds to be heard and look for interaction.

The physical interface that visitors will interact with is basically the cloth, on the bottom of which is sewn the conductive material. Visitors will be able to recognize where the conductive textile is, and therefore where to touch to activate the sound, by the stitching marks.

The choice to stitch the conductive fabric underneath the front side is both functional and aesthetical: fabric needs to be protected in order to have a smoother capacitive sensibility and the stitches will confer a customized aesthetic to each banner (and sound).

> 81 Storyboard of Interaction within the installation.

Visitors will first notice the graphics with an embroidery. At the same time, they‘ll recognize speakers sewn on top of the fabric. At this point they‘ll expect some sound and will start to look for interaction.

Embroideries highlight specific areas on the maps and trigger a touching action.

Once the patch has been pressed the sound gets played. Visitors can listen to and then go further to the next stop of the journey.

Arduinos will play sounds from an SD reader module and an SPI connection.

Connected to the speaker I added some PAM8302A amplifier that will smoothen the sound.

The cone of the speaker will pop up from the fabric, attached from behind to the backside of the cloth.

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> 82 Creating a capacitive sensor with conductive fabric and thread, prototyping phase, photo > 83 Conductive thread joints pieces of fabric together and connects the sensor to the circuit, prototyping phase, photo SELAM BAUHAUS - EX HIBITION DESIGN

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> 84 Conductive fabric connected to the circuit with soldering iron and wire, prototyping phase, photo > 83 Conductive fabric sewn to the circuit with conductive thread and wire, prototyping phase, photo > 86 Arduino Uno circuit with SD card reader, amplifier and 86 speaker, prototyping phase, photo 74

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> 87 PAM8302A, amplifier, prototyping phase, photo > 88 SD card reader connection within the circuit, prototyping phase, photo

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> 89 Arduino Nano, circuit‘s connection diagram, prototyping phase, photo > 90 Arduino Nano circuit on bradboard, prototyping phase, photo > 91 Arduino Nano soft circuit on textile, prototyping phase, photo > 92 Test to secure speaker onto hung fabric, prototyiping phase, photo > 93 Embroidery tests to design the pattern to use in the installation, prototyping phase, photo

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BIBLIOGRAPHY Addis Ababa University; Bauhaus-Universität Weimar.ifex (AA;BUW.ifex) 2014, Addis Ababa: Collaborative Projects on the City.

Polly McKenna-Cress, Janet A. Kamien, Wiley, 2013, Creating Exhibitions: Collaboration in the Planning, Development, and Design of Innovative Experiences

Felix Heisel, Bisrat Kilfe, Birckhäuser, 2016, Lessons of Informality. Architecture and Urban Planning for emerging territories - concept from Ethiopia.

Kossmann.dejong, Frame Publishers, 2010 Engaging Spaces: Exhibition Design Explored: exploring exhibition design

Marc Angèlil, Dirk Hebel, Birckhäuser, 2016, Cities of Change, Addis Ababa. Transformation strategies for urban territories in the 21st century.

Pam Locker, Bloomsbury Publishing PLC, 2010, Exhibition Design

Elizabeth Bogle, Altamira Press, 2013, Museum Exhibition Planning and Design

Adrian George, Thames & Hudson Ltd, 2015, The Curator’s Handbook: Museums, Commercial Galleries, Independent Spaces

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Aaron Betsky, Erik Adrigard, Gingko Pr Inc, 2000, Architecture must burn Herman Kossmann, Suzanne Mulder, Frank Den Oudsten, Nai Uitgevers Pub, 2012, Narrative Spaces: On the Art of Exhibiting Zoë Ryan, Art Institute of Chicago, 2017, As Seen: Exhibitions that Made Architecture and Design History Ellen Lupton, Andrea Lipps, Princeton Architectural Press , 2018, The Senses: Design Beyond Vision

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Michael Havercamp, Birkhäuser, 2012, Synesthetic Design: Handbook for a Multi-Sensory Approach

Alan Licht, Rizzoli; Har/Com edition, 2007, Sound Art: Beyond Music, Between Categories

Seth Kim-Cohen, Bloomsbury, 2009, In the Blink of an Ear Toward a Non-Cochlear Sonic Art

Brandon LaBelle, Bloomsbury, 2015, Background Noise, Perspectives on Sound Art Maltida McQuaid, Princeton Architectural Press, 2005, Extreme Textiles: Designing for High Performance

WEBLIOGRAPHY

IMAGE CREDITS

Paul Locher, Kees Overbeeke, Stephan Wensveen, The MIT press journal, Design Issues, 2010, Aesthetic Interaction: A Framework

fig. 01, fig. 02 Bauhaus-Universität Weimar website /b100 https://bauhaus100.uni-weimar.de/de/

online: https://www.mitpressjournals.org/doi/10.1162/ DESI_a_00017 accessed on 04.06.2019

fig. 02, fig. 06, fig. 07, fig. 08 Bauhaus-Universität Weimar website /summaery https://www.uni-weimar.de/de/universitaet/partner-und-alumni/partner/weltweitweimar/summaery/

Adafruit Learn Conductive Thread, Becky Stern, Danny Nosonowitz https://learn.adafruit.com/conductive-thread/ accessed on 04.06.2019

fig.27 Agriculture Fast Track, Eco-friendly bamboo processing plant, website

Arduino

http://www.aftfund.org/en/content/ethiopia-project

Capacitive Sensing Library, Paul Badger https://playground.arduino.cc/Main/CapacitiveSensor/ accessed on 04.06.2019

fig. 36 Justin Walker, Dance with llamas, travel blog, Addis Ababa, 2013

Arduino

https://danceswithllamas.files.wordpress. com/2013/03/p1000975-768x1024.jpg

SPI Library, Arduino https://www.arduino.cc/en/Reference/SPI accessed on 04.06.2019

fig. 50 Marco Luca Reusch, prototyping sessions

GitHub TMRpcm, TMRh20

fig. 52 Nathalie Millan, prototyping sessions

https://github.com/TMRh20/TMRpcm accessed on 04.06.2019

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AC K N OW L E D G E M E N T S I would like to take this opportunity to express my gratitude to those I shared this journey with.

Especially I would like to thank the Ethiopian exhibition making team. Bereket Telayneh, Ermias Tizazu, Feven Mekuria, Joel Darge, Liya Haddis, Kokeb Solom, Paulos Yenealem.

Besides the constructive and productive professional collaboration, they all welcomed us in their lives with enthusiasm and warm openness.

We had a wonderful time in our excursion in Ethiopia and we became friends. A special thank goes to Liya Haddis for also having shared her home and familiar life with me, during my stay in Addis, when she was ‘my everything’.

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Another extremely sincere thank goes to Karen Modrei and Marco Luca Reusch, my team member at the Bauhaus-Universität Weimar, for the cooperation and extreme and constant empowerment they proffered me.

To Giacomo Rossato for the coding sessions and the long journeys.

A right and rightful thank goes to my advisors, to Prof. Dr. Ing. Bernd Rudolf for his consistent and brilliant comments, criticism and acumens and to Brian Larson Clark for his commitment, positivity and precious assistance.

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Infine un sentito grazie ai miei genitori, il mio punto di riferimento e la mia fonte di forza.

Con loro, mia sorella e le mie nonne voglio condividere questo traguardo che senza di loro sarebbe stato assai più difficile da raggiungere.

Dedico il risultato al mio nonno, a cui prometto che non lascerò che il mio titolo da mezza architetta mi pervada di spocchia.

S TAT E M E N T O F A U T H O R S H I P I hereby declare that I am the sole author of this master thesis and that I have not used any sources other than those listed.

All diagram and sketches are fruit of my work and I edited myself all of the photos.

I further declare that I have not submitted this thesis at any other institution in order to obtain a degree.

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Marta Manzuoli Master Thesis, summer semester 2018/19 Bauhaus-Universität Weimar MediaArchitecture Faculty of Architecture >Prod Dr.-Ing. Bernd Rudolf Faculty of Media >Brian Larson Clark 82

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