18 19 # 1 4 # 1 5 1 Difference and Repetition By Livni Holtz To reuse means to be able to imagine something else. With my workshop I want to explore in a playful and experimental way the high creative and architectural potential that lies in an affirmative approach to the existing. My workshop is about using what is already there to create something new. In his book “Operating Instructions for Spaceship Earth”, Buckminster Fuller compares the Earth’s ecosystem to an egg and humans to the chick that eats a limited amount of supplies for its growth. “Having left its first asylum, the chick must now set its own legs and wings in motion to discover the next phase of its regenerative preservation,” he cautioned. But apart from attempts to reduce the amount of energy used in the production process or to substitute individual materials, many designers have so far made no serious effort to reduce the ecological footprint of their industry or to bring about any major change in the consumption habits of society. In every change that has taken place, certification schemes and standards introduced by governments have played a bigger role than designers. The workshop is fundamentally about creating something new through the repetition and alteration of a singleelement and questioning modern, functional and Fordist-produced objects and the associated mindset of eternal progress in today’s global context as a reaction to cultural standardisation, massification and commercialisation. Finally, in an age of increasingly complicated flows of goods and capital on spaceship earth, any ecological vision must be accompanied by a more global understanding of design and its place in human civilisation. Accordingly, time is not seen here as a linear progression, but as a multiplicity that makes it possible to navigate through history and all the time zones of the planet and to create new connections or assemblages between “signs” that are far apart. An Imaginative Play By Saurabh Mhatre & Atula Sahani “Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.” ~ Italo Calvino, Invisible Cities Imaginative Play: children use their imagination to roleplay scenarios they have seen, experienced or would like to experience, bridging the divide between fantasy and reality. Occupying a physical space, holding onto a piece of familiar toy in the hand, a child might look out the window of an imagined space to invent a journey into the unknown. In order to reignite and sustain this sense of myth that is inherent to our physical environment, we in the due course of the studio will explore ways of making the familiar things unfamiliar. Unearthing the object that are embedded within our physical environment, we will reimagine missing pieces of architecture as the links between imaginary and real. As prevailing circumstances and polarization leading to uncertainties take their toll on our social fabric, the studiowill pay attention to the ambiguous small and playful things – the elements often most vulnerable to the forces of urban erasure, recomposing them with a sense of wonder and absurdity, making a journey, not unlike Alice, when she stepped through the looking glass. We will explore surgical techniques of partial removal and face lifting, process of incisions, tools for underpinning, bridging and stitching in different scales and sizes, to build playfully ambiguous and technically refined architectural absurdities. 3 2 1 2 3
RkJQdWJsaXNoZXIy MTg3Nzk=