SQM: Broelschool Demolition Workshop

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During Biennale Interieur 2014, the abandoned Broelschool in the centre of Kortrijk became the site of a site-specific intervention combining a physical dérive through the sprawling building with a timeline-based investigation of key events in the history of domestic architecture. For the duration of the Biennale, visitors had the last opportunity to explore the building before it is demolished to make way for the construction of apartments.This transition became an opportunity to critically examine the contemporary condition of domesticity. Space Caviar worked with ten artists, designers and architects from different countries to take part in the Broelschool Demolition Workshop throughout which participants collectively designed and built a path through the building, while creating a series of graphical and physical interventions on the architecture of the school. The work uncovered hidden aspects of the building and its history, interspersing them with fragments of text and data related to the history, politics and economics of domesticity. Using the building itself as a source of reusable material, the workshop became an opportunity to publicly reflect on architecture’s life-cycles and the shifts in the economies it embodies.


This project is a part of SQM: The Home Does Not Exist.


This project is a part of SQM: The Home Does Not Exist.

Project team: Tamar Shafrir, Joseph Grima, Martina Muzi
Organised in collaboration with: Folder (Marco Ferrari, Elisa Pasqual) and officinaGISTO (Alessandro Mason)
Broelschool Demolition Workshop participants: Simon Beckmann, Raphael Coutin, Vanessa Gerotto, Andrea Levorato, Marina Mangiat, Giulio Margheri, An Pan Thi Khanh, Roel Van Herpt, Joan Vellve, Leanne Wijnsma

The use of the Broelschool was made possible by Leopold de Keyser.Special thanks to: Pieter Blondé, Céline Lagae from Interieur 2014, Pieter Michiels from Buda Lab, Jan Boelen, Gaia Cambiaggi and Lorenza Baroncelli.

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FOMO
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FOMO is a print magazine generated with a custom made software which gathers social media interactions based on metadata filters by a specific hashtag and/or location. The collected data is arranged in a print-ready PDF according to a predefined design template, then printed, bound and distributed on the spot by the FOMObile, a collapsible mobile publishing platform.

Inspired by Bruce Sterling’s statement that “events are the new magazines”, FOMO is an attempt to produce a physical record of the fleeting bodies of physical interactions and electronic debris generated by event culture, while playing on the lurking “fear of missing out” (an inevitable byproduct of the experience economy). The platform records and makes accessible as a physical medium the electronic information nebula they produce.

The magazine’s production is a performative process that investigates the aesthetic and conceptual implications of the encounter between a centuries-old tradition of experimental publishing, the rising influence of machine intelligence in media, and the craving for instant gratification produced by real-time technologies. Variables such as background noise, number of people present, and intensity of social media activity inform the appearance of the final output, creating both moments of density and voids of activity. In Dadaist spirit, it is not so much an experiment in precision documentation as in finding alternative methods of representation and documentation of events.

FOMO is a print magazine generated with a custom made software which gathers social media interactions based on metadata filters by a specific hashtag and/or location. The collected data is arranged in a print-ready PDF according to a predefined design template, then printed, bound and distributed on the spot by the FOMObile, a collapsible mobile publishing platform.
Inspired by Bruce Sterling’s statement that “events are the new magazines”, FOMO is an attempt to produce a physical record of the fleeting bodies of physical interactions and electronic debris generated by event culture, while playing on the lurking “fear of missing out” (an inevitable byproduct of the experience economy). The platform records and makes accessible as a physical medium the electronic information nebula they produce.
Project team: Joseph Grima, Simone Niquille, Tamar Shafrir
Programming: Vinay Mehta
Milan Event Coordination: Tom Keeley

FOMObile Fabrication:Marcello Comoglio, Alessandro Mason

FOMO on Twitter @f_o_m_o
FOMO on Github here

Exhibition dates:
25/04 – 27/09 2015
What is Luxury? V&A Museum London

14/03 – 13/09 2015
Making Africa, Vitra Design Museum

07/10 2014
#Matera2019, Matera 2019 European Cultural Capital Bid

16 – 22/06 2014
JPEG (Joint Photographic Experts Group), Design Miami Basel

5 – 6/06 2014
Swiss Pavilion Marathon 
14th Venice Architecture Biennale

9 – 11/04 2014
#OnTheFlyMilan 
Salone del Mobile, Palazzo Clerici

Press:
Crafts Council UK
Dash Magazine
Post-Digital Publishing Archive

Design Miami Basel Design Log
Dezeen on Vimeo
What’s the point of a biennale? – Tom Dyckhoff
Dezeen
Vice Motherboard

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Neoasterisms
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Located in Lisbon’s main planetarium, Planetário Calouste Gulbenkian, Neoasterisms is a participatory project commissioned as part of experimentadesign 2013: No Borders. Neoasterisms examines the history of astronomical cartography as a site of cultural hegemony and a metaphor for histories of political decision-making, proposing a new map of the stars based on an open, participatory and culturally inclusive standard.

Neoasterisms invites participants from all over the world—either in person or via the web platform wikistars.org—to propose new constellations, submit their own mythologies, and revive lost astronomical traditions that were set aside when the global standard of celestial nomenclature was introduced by the International Astronomical Union in 1922. It is an attempt to question the largely Western-Eurocentric nature of contemporary astronomical standards.

Neoasterisms builds a framework for the collaborative inscription of the ideals, fears, and dreams of a new civilisation. If we started from scratch, if we looked at our starscape as a tabula rasa, what new constellations would we draw in 2013—in an era of borderless interaction, the simultaneous diversification and homogenisation of culture, and the proliferation of networks throughout society? What myths from distant cultures would we choose to revive as emblems of our own value system? Which artifacts or figures would we elevate to mythic status? What marginalised narratives would be unearthed? And how would we find resolution between independent voices in a process of global decision-making?

Neoasterisms invites participants from all over the world—either in person or via the web platform wikistars.org—to propose new constellations, submit their own mythologies, and revive lost astronomical traditions that were set aside when the global standard of celestial nomenclature was introduced by the International Astronomical Union in 1922. It is an attempt to question the largely Western-Eurocentric nature of contemporary astronomical standards.
Project team: Joseph Grima, Tamar Shafrir

Graphic design by Folder
Table fabrication by Alessandro Mason and Marcello Comoglio
Illustration by Giada Fiorindi
Website by Manuel Ehrenfeld
Video by Ben Landau

Exhibition dates:
9 November – 22 December 2013: experimentadesign 2013: No Borders, Planetário Calouste Gulbenkian, Lisbon
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Landgrab City
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Landgrab City is an installation commissioned by the Shenzhen & Hong Kong Biennale of Urbanism\Architecture and located on Shenzhenwan Avenue (Nanshan), a busy shopping district in the city of Shenzhen. Conceived as an experimental investigation into the full extent of Shenzhen’s spatial footprint, the installation is comprised of two parts: an map of one of the city’s dense downtown area, home to approximately 4.5 million people, and a plot of cultivated land divided into small lots. This land is a representation, at the same scale as the map, of the amount of territory necessary to provide the food consumed by the inhabitants of the portion of city sampled in the map, projected to 2027 (the year China is expected to overtake the US as the world’s leading economy). Each lot represents the extent of a single food group’s footprint: vegetables, cereals, fruit, pasture (for livestock), and so on. As China’s political and economic identity grows in range and complexity, increasing proportions of these territories of agricultural production have, in fact, migrated to far-flung regions of the planet, typically in Africa, Latin America, South-East Asia and Eastern Europe.

As is the case with many other regions of the world that urbanised rapidly in recent decades (such as the four Asian Tigers, the city-states in the Persian Gulf and even certain portions of northern Africa), one of the average threats to future stability and growth is perceived as the volatility in food prices on the international market. In response, agricultural land – as opposed to the food produced on that land – has itself become the target of acquisitions: wealthy nations are purchasing, more and more frequently, substantial tracts of agricultural territories in other (generally less wealthy) countries. More often than not, this phenomenon takes the form of a post-colonial land grab that enslaves vast agricultural territories of the planet to distant, wealthy urban enclaves.

The countryside is a vital but frequently overlooked category in the contemporary discourse around spatial policy, and its role with respect to the future of urbanism is more often than not neglected. Landgrab City is an attempt to visually represent the broader spatial identity of the 21st century metropolis; it proposes a new spatial definition of the city and thereby a more complex understanding of urbanism, one that no longer considers city limits as the boundary of its remit, but instead looks beyond – even across international borders – to the spatial, social, economic and political implications of the planet’s rapid urbanization.

Landgrab City is an installation commissioned by the Shenzhen & Hong Kong Biennale of Urbanism\Architecture and located on Shenzhenwan Avenue (Nanshan), a busy shopping district in the city of Shenzhen. Conceived as an experimental investigation into the full extent of Shenzhen’s spatial footprint, the installation is comprised of two parts: an map of one of the city’s dense downtown area, home to approximately 4.5 million people, and a plot of cultivated land divided into small lots.
By Joseph Grima, Jeffrey Johnson and José Esparza
Exhibition dates:
December 2009 – January 2010: Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture, Shenzhenwan Avenue, Nanshan
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