Seung Teak Lee and Mi Jung from STPMJ architects have designed this invisible barn, situated within Socrates Sculpture Park. The barn or folly mirrors its surroundings, becoming one with the tress and seasons around it. The building tricks the eye and operates as a glitch in the landscape. The presence of it amongst the trees is subtle and its actual foot print being minimal also allows it to hide and camouflage itself, it allows those that experience it to engage not just with it but also with the landscape that encapsulates it. Its walls seem to be the very nature that surrounds it.
The photography work of Sam Irons presents photographs of everyday situations and vistas but with twist. The way the scenes are framed and composed subtract them from the world we maybe familiar with and suggest somewhere else an otherness. These heterotopic visuals leave us to rebuild the story and context to comprehend them. They allow us to engage with spaces that otherswise we would just digest without a second thought. For more work please check his website here.
I am drawn to the works by Pablo Valbuena by the way he allows the viewer to straddle both the real and virtual/digital realms. His subtle carefully placed interventions are eloquent and respond to the existing patterns of the architecture whilst break and ask the the viewer to build understanding through their own experiences.
Here is the article written on the Creative Application website:
Time Tilings includes projection mapping onto existing surfaces that are physical patterns in themselves. The projections add a new dimension of time where the projected geometries are carefully and precisely mapped over the physical ones. The installation is site-specific each time, formulated as a direct response to the perceptual qualities, physical conditions and surrounding influences of a certain location or space.
Architecture is judged by eyes that see, by the head that turns, and the legs that walk. Architecture is not a synchronic phenomenon but a successive one, made up of pictures adding themselves one to the other, following each other in time and space, like music. — Le Corbusier. Modulor I.
Pablo is a visual artist with an architectural background. Born in Spain and currently based in the south of France (Toulouse), his work has been presented internationally in public and private institutions, biennials and galleries as exhibitions and site-specific commissions. He has developed large-scale interventions in the public space in locations across Europe and America.
WORKSHOP DAY 8 – FINAL PROTOTYPE
Re-blogged from Sound Tectonics Blog
The concept of the final prototype was developed around the matter of collective experience through auditory senses. The goal was to reinforce the user’s empathy and communication with space and inhabitants through emotional canals. Memory was considered to be the key element that could lead to stronger social bonds so as to reactivate the urban space as a place of interaction. Transforming the observer in to a listener and the act of listening in to an active agent of cross-fertilization, we pursuit a feedback that triggers one’s personal experience of collective awareness.
Working on the metropolitan city of Athens as the case study, we strategically divided the city in layers that represented different ambiences according to topography, built environment and voids, natural elements and inhabitants. The analysis of each area was achived by documentation process recordings, to represent the relationships between site specificity and our final prototype of an artificial interactive environment.
Through a critical engagement with technology, the Sound Tectonics team created an interactive environment that was build upon the idea of using one’s own experience as the influential agent that ‘organically’ emerges from the navigation of the user within the structure. Five boxes of different sizes were placed in different distances from each other, each representing one of the previously analyzed areas of the city. Their different volumes were reflecting the diverse perception of distances between the sound source and the position of the listener.
As part of one system created and installed in an indoor space with the absence of light, the interactive environment used controlled light sources as an inviting component that attracts people to enter part of their body in each hollow box structure. Eager to become part of the experience, the visitors were triggering motion sensors that in their part, were turning the lights off to give their turn to reproduced and edited sounds of the city. In this system, light and darkness were reversely related to sound and silence. The chosen sounds were manipulated in order to expose some highlights of our city drift, incorporating the city’s ambient sounds. One’s own experience could affect the listening experience of the rest of the users. This state was noticeable only when all boxes were occupied, through reproduction of an ironic composition of sounds that suggested enforcement power contradicting with sounds of individual joy. A composition that aimed to highlight the political extend of a social gathering that is occasionally considered by police to be a threatening constitution, especially in the so-called, by some, ’wastelands’ of the urban environment.
The visitor’s experience was based on their physical presence in space, together with their acoustic experience. In this way we meant to isolate the senses, only to combine them again when they all reach the state of starting to experience a social assembly. Along these lines, laid one of the main notions of the project that is to force the user to re-evaluate his sensory perceptions and understand the social impact that these may have. This chain reaction contributes to the formation of an emotional state, based not only on memories, but on gathering empirical evidence of how we could effectively reconnect with spaces and people around us.
Project Team :
Tutors: Daniel Canogar, Javier Pena Galiano, Jon Goodbun, John Grzinich, Santiago Vilanova, Nota Tsekoura, Nastazia Spyropoulou, Anna Laskari, Tassos Kanelos
Participants: Ioli Belezini, Natalie Barton, Daphne Dimopoulou, Maria Galani, Yoranda Kassanou, Marirena Kladeftira, Konstantinos Kosmas, Dimitrios Mavrokefalos, Dickie Webb
Special thanks to: Konstantinos Souvatzoglou, Marilena Georgatzi, Nileta Kotsikou
Venue: The British Hellenic College -Athens
Sample sound from sound tectonics field recordings:
Whilst in Athens I started to bring together new work that form the basis for Concept Of Since and new project that I am planning on continuing when I head to Japan and on my next artist residency program. The digital works that I have been developing tends to start thoughts and allows my mind to filter ideas that have been ongoing within my practice. So this focus on process sometimes produces others works that can be apt and respond to my transient state or present landscape. The Concept Of Since responds to works that I have been making since returning to art practice about 4/5 years ago. These works have come full circle and whilst in Athens I realised that I respond to the individual and collective hang ups to events and monuments that have passed. This reliance on an event, as a crutch to form all future decisions for me seems to hinder and these works that I produced a few years ago around the positivity of change and the potential it can contain relate to these new works that I am currently considering.
Whilst in Athens I was reflecting on my practice throughout and whilst taking notes wrote “things are different now”. This sentence kept going round my head whilst I was mulling over new ideas and when I came to write it again I wrote “things now are different”. I then realised that these four words could be presented in any formation and only relied on the person reading it to imply the meaning. Having spent a lot of time in New Zealand sometimes I end my sentence on an up note. Which sometimes makes a sentence sound more like a question whilst in the UK this is not the case and the same four words can be read completely different. Just like how Merleau-Ponty describes space, it has many meanings and it is only how it is phrased/spoken that gives it meaning.
So the two works that formed part of the Unsettled Certainties exhibition were 2 of 24 initial works that form the start of the Concept Of Since. These works though currently text based will start to move beyond this initial start point and manifest themselves in other mediums as I apply this concept.
This is the first in a series of digital works created from my time spent on the SNEHTA art residency in Athens Greece. I proposed making audio visual works whilst there and finding a working process that would allow me to generate a series of these glitch works. These works would allow me to explore non-places and heterotopias, sites which like objects I see as represents human qualities and conditions.
The start point came from exploring sites/spaces that have lost their use in this case Ellinikon the former international airport here in Athens. The digital photographs are the backbone of the research as it is the digital data from these RAW files that I use to create the sound through Audacity. Instead of editing in Photoshop the image is edited and sampled in this sound software. The only rule is that i keep the visual details of the image. The audio samples are then layered together to create a new sound scape different from the former visual landscape. Once this is done I bring the visual samples back into the track and finally create an abstract collage moving image. The video quality is slightly reduced due to uploading it to vimeo though as a digital collage or samples that have undergone a process of data bending the glitch feel is part of the piece.
This is the first from this series so the process will only be streamlined and understood a little more with following works.
Any feed back would be happily received, thanks Dickie
So Catriona Gallagher and myself wrapped up our time here on the SNEHTA residency with a small exhibition titled Unsettled Certainties. Over the two days we had some interesting conversations with people we had met and others we had not from our time here in Athens. It was a great way to finish our two months and hopefully will see either of us or both returning sooner rather than later. I will post some images over the coming week. For now here is a little GIF teaser from a sign piece I made which is the start of a new series of work titled “Concept Of Since”.