sabato 15 dicembre 2012
sabato 15 settembre 2012
venerdì 14 settembre 2012
venerdì 7 settembre 2012
LUCA EMANUELI for NEW CONCORDIA ISLAND Contest /// Unpublished drawings and images of the shipwreck available after registration \\\
ipernaturale
a clarification the distinction between natural and artificial is not useful. arguments focused on the dichotomy between these terms only lead to confusion. talking about nature, the conclusions of the reasoning becomes too often an act of faith.
with the semi-sunken Concordia at the Giglio island we are faced with a new landscape, an altered environment due to the accident, the result of an error, and in front of which, even if we presume its removal, the most predictable scenario, we are forced to think about. beyond what will be the destiny of the wreck (the removal of the error without a trace, then the recovery and recycling; the wreck as part of the landscape, and the displacement of the problem, namely the wreck) anyway the environment, never static and immutable, is affected by a sudden and violent change, and the temporary presence of the Concordia opens the reasoning on possible operating methods of interventions and programming to be approached, on an environmental scale, with a pragmatic attitude.
potentially, even if in a temporary form, it's an hypernatural environment.
for hypernatural environments we mean artificial environments that generate new landscapes, new sustainable habitats, radicals scenarios of growth. interventions whose aims are extremely pragmatic and so exasperated that blend and structure new relationships with the environment.
the scale makes visible the transformation of the territory, seen as an opportunity to think about new environments suspended between natural and artificial, uncommon landscapes, where it is possible to experiment new approaches. without fear of the materials used, but exploiting and directing their possible interactions to initiate more sustainable processes, with lower impact, where nature and time play a leading role and they are not a banal background or an immutable context to preserve or restore.
an environment is hypernatural when this process is designed, programmed in time with the awareness that the interaction with nature leads to the unpredictability of some results that may, however, create new scenarios. time acts on the environment that can not degrade but only evolve.
lunedì 3 settembre 2012
FRANÇOIS ROCHE | R&Sie(n) for NEW CONCORDIA ISLAND Contest /// Unpublished drawings and images of the shipwreck available after registration \\\
"gre(Y)en"
This seems to be a history of the stuttering between Green and Grey, between chlorophyll addiction, the dream of an ideal biotope re-primitivised and re-artificialized in pursuit of paradise lost, of Eden Park lost, a story to calm the fears of little boys and girls, and Grey, the dark grey that never appears in the visible spectrum (“The Devilʼs best trick is to convince you that he doesnʼt exist,” wrote Baudelaire1), an antagonistic stealthy force, an embedded demon – a mix of contradictory human desires emerging from the mud, from permanent, unpredictable and relentless conflicts, factors of domination and servitude, destruction and emergences, sparking unlimited quantities of arrogance and illusion, where the notion of success or failure depends on a kind of absurd Pendulum2 swing between life and death, caressing the boundaries of both in an infinitely unstable movement, polymerizing ugliness and beauty, obstacle and possibilities, waste materials and efflorescence, threats and protection, the fantasy of technology and revenge on nature, all knotted together in a process of becoming, a never-ending movement... where we glide into a silky, strange sensation that scares and caresses you... that scares and caresses you...
We are at a crossroads. Faced with the autistic, blind, deaf and mute violence of our technological, industrial and mercantile machinery and our own human servo-mechanism, nature reacts... with violence and without warning, in a flattering of the original chaos... a mutiny against human organization... Gaia seems to take revenge (Katrina, El Niño, Hurricane Jeanne, the cyclones Thomas and Nargis, the Xynthia storm and the Ewiniar typhoon, the Indonesian and Japanese earthquakes with their collateral tsunamis all the way to Fukujima... a chain of devastating incertitude, unpredictable despite our seismographic sciences). The elements rage, and the gods, so quick to pardon our folly, seem powerless to appease the rebellion, armed with infernal power...
Nature is not an ideological “greenwashing” for backyard politics, nor the millenarian, eschatologist dream of Eden Park from which we have very fortunately escaped, freeing ourselves from gatherer- hedonist blindness, to negotiate consciousness with the hostile dark forces stuck in the depths of the forest...
But these forces have come out of their hiding places, their biotopes, they are invading the spaces that Man had thought he could take without giving anything in exchange, with no transaction. War has been declared... natureʼs revenge is not a bedtime story for innocent brains... our bellicose enemy operates openly... in the light of day... the ultimate arrogance.
How could we reveal the conflict between the strategies of “knowledge and domination” of the former and the monstrous wild beauty of the latterʼs destructive power in this field of an unpredictable battle, cleared of all that greenish moralistic junk and its post- capitalist allure...
1
“Mes chers frères, n'oubliez jamais, quand vous entendrez vanter le progrès des lumières, que la plus
belle des ruses du diable est de vous persuader qu'il n'existe pas,” Baudelaire, “Spleen of Paris”, 1858.
2
Edgar Allen Poeʼs “The Pit and the Pendulum” was the first Bachelor Machines scenario.
This seems to be a history of the stuttering between Green and Grey, between chlorophyll addiction, the dream of an ideal biotope re-primitivised and re-artificialized in pursuit of paradise lost, of Eden Park lost, a story to calm the fears of little boys and girls, and Grey, the dark grey that never appears in the visible spectrum (“The Devilʼs best trick is to convince you that he doesnʼt exist,” wrote Baudelaire1), an antagonistic stealthy force, an embedded demon – a mix of contradictory human desires emerging from the mud, from permanent, unpredictable and relentless conflicts, factors of domination and servitude, destruction and emergences, sparking unlimited quantities of arrogance and illusion, where the notion of success or failure depends on a kind of absurd Pendulum2 swing between life and death, caressing the boundaries of both in an infinitely unstable movement, polymerizing ugliness and beauty, obstacle and possibilities, waste materials and efflorescence, threats and protection, the fantasy of technology and revenge on nature, all knotted together in a process of becoming, a never-ending movement... where we glide into a silky, strange sensation that scares and caresses you... that scares and caresses you...
We are at a crossroads. Faced with the autistic, blind, deaf and mute violence of our technological, industrial and mercantile machinery and our own human servo-mechanism, nature reacts... with violence and without warning, in a flattering of the original chaos... a mutiny against human organization... Gaia seems to take revenge (Katrina, El Niño, Hurricane Jeanne, the cyclones Thomas and Nargis, the Xynthia storm and the Ewiniar typhoon, the Indonesian and Japanese earthquakes with their collateral tsunamis all the way to Fukujima... a chain of devastating incertitude, unpredictable despite our seismographic sciences). The elements rage, and the gods, so quick to pardon our folly, seem powerless to appease the rebellion, armed with infernal power...
Nature is not an ideological “greenwashing” for backyard politics, nor the millenarian, eschatologist dream of Eden Park from which we have very fortunately escaped, freeing ourselves from gatherer- hedonist blindness, to negotiate consciousness with the hostile dark forces stuck in the depths of the forest...
But these forces have come out of their hiding places, their biotopes, they are invading the spaces that Man had thought he could take without giving anything in exchange, with no transaction. War has been declared... natureʼs revenge is not a bedtime story for innocent brains... our bellicose enemy operates openly... in the light of day... the ultimate arrogance.
How could we reveal the conflict between the strategies of “knowledge and domination” of the former and the monstrous wild beauty of the latterʼs destructive power in this field of an unpredictable battle, cleared of all that greenish moralistic junk and its post- capitalist allure...
F Roche / Part of a text for “Global Design NYU 2012” / London
www.icsplat.org1
“Mes chers frères, n'oubliez jamais, quand vous entendrez vanter le progrès des lumières, que la plus
belle des ruses du diable est de vous persuader qu'il n'existe pas,” Baudelaire, “Spleen of Paris”, 1858.
2
Edgar Allen Poeʼs “The Pit and the Pendulum” was the first Bachelor Machines scenario.
lunedì 27 agosto 2012
KAMIEL KLAASSE | NL Architects for NEW CONCORDIA ISLAND Contest /// Unpublished drawings and images of the shipwreck available after registration \\\
Especially Art in Public Space has proofed an easy target. Large sculptures were blatantly lifted from their bases to be melted back into raw material. In 2005 a 2000kg Henry Moore Sculpture was stolen near London. It might now be a door handle or a window profile…
Recently 7 bronzes were snatched from the garden of the Singer Museum in Laren among which a cast of Rodin’s Le Penseur. The robbers were caught in the middle of cutting up the sculpture into smaller pieces that would fit in the oven. Their lack of anatomic knowledge turned The Thinker into a horrific version of the Venus de Milo. Virtual Mutilation: looking at the sculpture actually hurts… a bizarre form of phantom pain.
Restoration took two years; an incredible effort, stunning recovery. But in a way the disfigured sculpture was even more compelling: a painful effigy of monumental stupidity….
The Concordia could perhaps be understood in a similar way. Could it turn us into Thinker?
Decommissioned ships are now sometimes used to spark marine life: sunken vessels turn into artificial reef. Could the Concordia form a fertile ground for a new biotope?
Will it be possible to imagine new functionality or new meaning for this monumental wreck? Can new life emerge from this tragedy?"
Kamiel Klaasse
www.icsplat.org
image: Rodin Penseur Wrecked
lunedì 20 agosto 2012
LORI NIX for NEW CONCORDIA ISLAND Contest /// Unpublished drawings and images of the shipwreck available after registration \\\
Iʼve always tried to turn unexpected or unfortunate situations into something positive. Rather than struggle to remove the shell of the Concordia, I would like to see the ship stay where it is, and be repurposed into a nature preserve. Empty subway cars are often used to offer shelter and rebuild populations of sea life. This ship could offer the same benefit to marine life in addition to providing a destination for adventurous divers. Above the waterline, they could introduce indigenous plants and other native species of bird and small animal to create a new habitat.
Lori Nix
www.icsplat.org
image: Lori Nix, Botanic Garden, 2008
venerdì 20 luglio 2012
NEW CONCORDIA ISLAND CONTEST
is a competition for ideas responding to the shipwreck of the Costa Concordia, a cruise ship of the Costa Crociere company, out from regular service after the shipwreck on the night of January 13, 2012 on the Giglio Island. The competition has the aim of stimulating new future visions for the Giglio Island and the shipwreck which will become as part of the same landscape and with the same identity.
Recently the news reports that the exploration in the shipwreck to finding survivors and the phases of removing fuel have been concluded. The cleaning of the seabed around the shipwreck is currently underway and the final plan for the removal of the shipwreck will be released soon and could last for more than a year. At the same time faults in the movements of the hull are neither reported, nor in the research environment survey results of any pollutants escaping from the shipwreck and dispersed in surrounding sea. How to rethink the future of these places? What could the shipwreck become if it remains aground for a period longer than a year? How to program the steps for disassembling and dragging the parts? How to work with the shipwreck to build a form of memory? Is there any way to reconsider the Giglio island with this new outcropping rock that has changed the coastline?
Panel
Awards
1st place € 1500,00
FARM Special Prize € 1000,00Special Prize € 500,00
and 7 Honorable Mentions
DOMUS is media partner www.domusweb.it
sabato 2 giugno 2012
martedì 29 maggio 2012
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