architecture

Hot + Hairy

Kim Bridgland's hairy house. week one exercise. This semester's studio has begun:

Hot and Hairy: biotopology and new architectural life.

Pia Ednie-Brown, with Simon Sellars and Jessica In.

“Your actions cling to you and respond to you as if they were growing out of you like fingernails. Your house becomes your pet or you become the pet of your house, or a mixture of the two.” Arakawa and Gins, Architectural Body (32)

Can we radically alter our bodies, thoughts and actions through architectural configurations? What kind of currently unimaginable relationships could we foster with our architectural surroundings?

Drawing on the techniques of Arakawa and Gins, who provocatively suggest that architecture is a tool with which to learn how to not die, we will be designing a series of research community developments, or micronations, that are designed to evolve bodies through architectural experimentation.

Based on a scenario set in about 40 years from now (2050), and with reference to relevant historical work from about 40 years ago (1970) we will test, expand upon and develop the suggestions of Arakawa and Gins, while drawing upon contemporary work wedged in the cleavage of these 40 year leaps, such as Patricia Piccinini, Stelarc, SymbioticA, R&Sie, biothing, Greg Lynn, Sabine+Jones, and others.

All students will be provided with digital ‘material’ to work with, in exploring techniques. A second class in the lab, with Jessica In, will be conducted every Tuesday night to facilitate this. Familiarity with Rhino is advisable for this studio project.

This studio will be in dialogue with a seminar with the same class time, run by Simon Sellars, 'the body is the city', where students will be elaborating upon and feeding into the community scenario we design, through other media such as film, images, and text.

Lake Clifton

This week, I am visiting Lake Clifton, south of Perth and in the vicinity of Mandurah, reportedly the fasted growing city in Australia. Lake Clifton is also contains a roughly 6km long colony of thromobilites, a form of microbialite or growing rock-formations. Microbialites are the oldest known fossils, dating back to 3.5 billion years or so. They are made by cyanobacteria, the ancient life form that generated the oxygen atmosphere upon which life as we know it today depends. The Lake Clifton thrombolites are not this old, but they are the only known living examples, although their current status (ie living/dead) is apparently a debated point.I am visiting the site as part of the research we are doing with SymbioticA, who are doing a large project exploring the thrombolites and other linked environmental issues of the area. We will be discussing approaches to siting a speculative architectural future in this region. Thrombolites at Lake Clifton, WAThrombolites at Lake Clifton, Western Australia

Architecture and processing change

For many, architects largely offer frameworks for boutique living and institutional arrangements. Ushering in formal expressions of individual luxury and collective organisation, they are servants of power.This is a caricature. The role of architecture and architects is, can, and should be far more active, experimental and ethically inclined in it's contribution than such a caricature suggests. The dimensions of life with which architecture works are many and complex, and the relationships between them are tricky. Formal arrangements affect what we can do and how we can function, how we feel in psychological and physiological ways, and how we understand our relationships with others and the world, or environment, in general. Amidst this vast and multi-dimensional terrain there is one tricky issue that particularly interests me: the role of formal arrangements in terms of comprehending change. Processes of change are always occurring, in radically variant degrees and kinds. For reasons I won't elaborate on right now, it takes longer for us to form a cognitive understanding of events than to grasp those events in a more 'sensed', felt or aesthetic way: we can feel and respond to a change far in advance of our capacity to 'think it through'. The act of designing can be a way of approaching and forming pre-cognitive understandings of what's happening. Design is an act of expression and an exposure, to others and to oneself, of the forms of organisation through which we feel-think our way through the world. We 'show' ourselves how we are 'wired' through the things we make, at the same time as we develop and change that 'wiring' of relations through negotiating this very act of showing. So, to return to the beginning of this post, the role of architects and their designs can be far more active in both comprehending, organising and generating change than the 'servant of power' caricature suggests.