“A clock that removes the right time, restores true time”. John Hejduk

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Exhibition Paris 23.09.16-15.10.16

The exhibition in Paris will be displayed at the gallery AAN+1 Architecture+Analyses.

http://www.aan1.net/come-hell-or-high-water

come-hell-or-high-waterA seed bank in Svalbard, a poem at the bottom of a bunker,

an experience in virtual reality that isn’t a video game,

true bone skin,

a village buried in sand,

excavated memories,

fragments of the past,

a house set according to the tide,

ashes burned in vinyl,

a scent of cryogenics…

A “streaming” of the past or a new start?

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Review of book featuring the Space Calendar Project

Here’s an academic review of Intercultural Crossings: Conflict, Memory and Identity. The book features a chapter on the early stages and ideas of the Space Calendar Project.

http://dspace.flinders.edu.au/jspui/bitstream/2328/26475/1/Intercultural_Crossings.pdf

The Shoyna project exhibited in Kirkenes

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The project of the architect Jan Gunnar Skjeldsøy is a result of several travels to Finnmark and the Kola Peninsula, and more recently his visit to the remote village of Shoyna in the Nenets Okrug. Shoyna was founded in the 1930s by the fishermen and their families. An abundance of fish in the White Sea and the Shoyna river led to prosperity within the collective farm organized there, and by the 1950s some 1,500 people lived in there with a fishing fleet numbering more than 70 vessels. Shoyna became the new Murmansk. However as a result of the extensive industrial fishing and bottom trawling in the 1940-50s, Shoyna has turned into a Ghost of its past.

The project Shoyna Dissected – Chests of Sand is a research of possibilities for housing architecture in the demanding conditions dominated by sand and winds, as well as an alarming signal from the fragile Arctic nature. The project is also an attempt of accepting the nature of Shoyna. Can the predicted future of such a place become a discovery of a new start?

Проект архитектора Яна Гуннара Шелдсея – результат трех походов по побережью Финнмарка и Кольского п-ва, и самой последней резиденции в поселке Шойна Ненецкого округа. В прошлом процветающий рыбацкий поселок с консервным заводом всесоюзного значения – его окрестили в свое время «новый Мурманск», Шойна представляет собой призрак своего прошлого,  будучи наполовину погребенным под песками в результате чрезмерной рыболовной (траулерным способом) деятельности в послевоенное время.

Проект “Шойна рассеченная” – это и исследование возможностей жилой архитектуры в жестких условиях песчаных бурь, и сигнал тревоги от лица хрупкой арктической природы. Проект также является попыткой примирения с силами природы: может ли предсказанное трагическое будущее места обернуться новым началом?

http://2013.barentsspektakel.no

http://www.kunstforum.as/2013/02/billedblogg-et-tikkende-barents/

http://www.kunstkritikk.no/nyheter/festivalapning-i-sprengkulde/?d=no

http://www.nabroadnews.info/post/42498094778/after-smelling-the-arctic-another-barents-spektakel

http://arhangelsk.bezformata.ru/listnews/shojna-v-tcentre-vnimaniya-norvezhskogo/9625401/

Space Calendar project in new doctural thesis

Alice Lambadini´s doctoral thesis, titled “Immaterial Landscapes. Designing the Intangible in Nordic Landscapes.” has the ambition to reposition the immaterial as a valuable domain of investigation and project thought in the practice of landscape architecture. Through the study of selected projects, the thesis investigates the possibility to design for and with immaterial components of landscape in the unique context of the Norwegian territory and climate. The reference projects selected for study are three, and they are all situated in different portions of the Norwegian territory. These are primarily analysed through situated conversations with selected authors that were involved in the design. The “Space Calendar” project is one of these three references. Through this project Alice Lambadini primarily discuss the notion of ‘measure’ in the practice of landscape architecture. The act of taking measures can be seen historically as one of the founding gestures in the making of landscapes.[1] In the design tradition, measures have been primarily defined in relation to quantitative values: numbers and geometric coordinates. Questions of ‘measure’, have frequently touched upon ethical and relational themes, for example in the definition of a design that is ‘fit’ to the context it enters, or when harmony and proportion are raised as important values in the design artefact. ‘Measure’, in any case, is in essence a cultural term: there is no measure in landscapes save for the ones we attribute them. The “Space Calendar” building in Kirchenes holds a specific interest for her thesis because it proposes a design artefact to become an in-situ instrument for measuring landscape, and thereby translate ‘measure’ as an abstract category into an experiential act. The scale of immaterial events often transcends the scale of the human body and the limits of perception. Acting as a territorial measuring instrument the “Space Calendar” building also act as a mediator between the scale of the Earth and that of the body.[2] Seen in this perspective, the project also supports the idea of what one could call a ‘civic pedagogy’ as a way exposing to human perception processes and transformations in the landscape that would otherwise elude human recognition, while enabling people to orient and locate themselves in the wider geographic space. Through the notion of civic pedagogy, she argue, landscape architecture’s ecological undertaking can be redefined as a culturally defined value originating in men’s experiential, sensible and perceptual observation other than in remotely documented facts, which are today’s dominant media for communicating large scale ecological changes.


[1] The notion of ’measure’ and its relation to the making of landscape are themes at the core of James Corner’s and Alex MacLean’s  well-known book Taking Measures across the American Landscape (CORNER, J.,  MACLEAN, A. Taking measures across the American landscape. (New Haven: Yale University Press) 1996).

[2] In his book Reassembling the Social: An Introduction to Actor-Network-Theory, Bruno Latour introduces  the term ’mediator’ in order to define a thing that is able to establish a connection that trasports transformations. (Latour, 2005). Although my use of the term ’mediator’ here should be not be seen as being strictly Latourian, I think the reference can help understanding the active role that I attribute to the landscape project, namely that of translating gographic information from the scale of the cosmic to that of the human.

Book Presentation in Lisboa

The book Intercultural Crossings – Conflict , memory and identity, which features a chapter on the Space Calendar Project,  had a public presentation on November 22nd, at Universidade Aberta, Lisboa, promoted by CEMRI.

Workshop at AHO

Based on the Shoyna experience, Jan Gunnar Skjeldsøy was invited by the Oslo school of Architecture- and Design, to present the fieldwork and arrange a workshop. Neven Fuchs-Mikac is professor for the mastercourse which attend the workshop. The aims of the project were to
develop a set of tools. -Tools which are spatial, and have a clear archtitectonic attitude when it performs/acts on Nature (Sand). Collegue Anders Eik Pilskog participated at the workshop.
The tools can be understood in to ways:

1) As a construction itself

2) The traces the tool leaves as patterns/constructions

Fieldwork at Shoyna

This august architect Jan Gunnar Skjeldsøy and producer Luba Kuzovnikova spent 3 weeks in a former fishing village on the Kanin Pensinula, north in Russia. doing documentations that unveils the dramatic – how entire buildings, homes, landscapes stop functioning and remain as chests/containers of sand. During Jan Gunnar Skjeldsøys residency he measured and registred in large-scale drawings, fragments of the most affected streets of Shoyna. These hand-drawn sections of the village will be part of an exhibition at the Barents Spektakel 2013. The exhibition will be a visualization of the alarming feedback from nature and a research into possibilities for residential architecture in the demanding Arctic conditions. Several models will be made for the exhibition.

Our sincere gratitude to the hospitable inhabitants and the mayor of Shoyna, the local dogs that followed us around, the Nenets Okrug administration and the Nenets office of the Barents Secretariat.

See also: http://www.pikene.no/news/123