Category Archives: Architecture

Krzysztof Wodiczko, “Homeless Vehicle” (1988)

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Wodiczko carried out a sequence of interviews with the New York’s homeless, learning about how they function by day and night in order to survive and protect their belongings. He was especially interested in those who collected glass, metal, and plastic for resale. Based on that, he designed the multi-functional Homeless Vehicle (1988-89) which reflected their real working and living conditions.

This vehicle is not a solution of the homeless crisis. It is an emergency tool for people who have no options, and an intellectual tool, as it articulates the complex situation of the homeless. It doesn’t represent them as garbage-collecting bums, but as people who use a device intended for specific purposes – which should not exist in a civilised world. This vehicle has a life-saving and didactic function, it finds a form for that which no one wants so know and see – the artist continues.

In this device, its user can wash, cook, rest, and sleep. He or she is able to safely store the collected bottles and cans. The inhabitant is also protected – the vehicle is visible enough to be safe from being smashed by, e.g. a reversing dustcart.

Such vehicle in the street provokes different questions. What is this part used for? How many of such vehicles are to be produced? Or: who are you? How did you become homeless? Then, that person is not only the demonstrator of the vehicle, but also a citizen of the city who has become homeless. That person works day and night, contributing to protecting the environment. He or she helps the city and should be paid for that – Wodiczko explains.

Hamish Fulton, Slowalk (In Support of Ai Weiwei) (2011)

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30 April 2011, 12.00 – 14.00
Turbine Hall, Tate Modern

Since the late 1960s British artist Hamish Fulton has made sculptures, actions, images and text pieces in response to his direct physical engagement with the landscape. In 1973 he resolved to ‘only make art resulting from the experience of individual walks’, a strategy that he maintains today.

Fulton will present Slowalk (In support of Ai Weiwei) at Tate Modern as a collective action created specifically in response to the iconic architecture of the Turbine Hall and in the context of the recent disappearance of Chinese artist Ai Weiwei, whose work Sunflower Seeds is currently on display in the east end of the Turbine Hall as the eleventh project in the series of Unilever Commissions. Fulton’s Slowalk (In support of Ai Weiwei) is conceived as a meditative experience to which he invites ordinary people to come together and walk very slowly, in a formation created by the artist over a period of two hours. This is a form of silent activism, where the participants are both art and viewer on a communal journey. Both Fulton and Ai Weiwei explore the role of political and social activism as a force for change in art and as such this action forms a public gesture of solidarity towards Ai Weiwei as a gesture towards freedom of expression.

Example of a slow walk:

Lawrence Abu Hamdan, “Marches” (2005-09)

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Marches, is a project that started in 2005, the work been performed and exhibited for multiple organizations including Transmission Gallery Glasgow, C-E-M Lisbon, Artangel London 2008 and in Italy with Festival di Santarcangelo 2009. The chief concern of this project is to explore the auditory perception of our built environment.

At the centre of the Marches project is a series of performances that take place on the streets of towns and cities. These performances are choreographed marches in which a small group of 10 performers march planned routes through urban districts. These routes are primarily designed to include the most interesting acoustic/architectural dimensions of the town, connecting large halls, domed ceilings, glass walls, narrow corridors, piazzas, crowded spaces etc. The only costume the performers of Marches wear are specific shoes adapted for greater sonic effect, using combinations of hollow stiletto heels, thick wooden heels, tap plates and hobnails to create strange shoes that when stamped emit a sound that works to acoustically define the architectural space through which the wearer travels. The footwear is designed and adapted in collaboration with cobblers and shoe makers, during the Artangel project, the artist undertook a mini residency at Anthony Andrews Special Footwear and Orthotics.

Participants of the performances are choreographed to join and disperse at points of distinctive acoustic interest. Pathways are planned according to the most acoustically exciting way of navigating all the domed roofs, narrow corridors and reflective glass walls offered by the surrounding urban territory. Planning also involves sociological research and historiography; digging into the city’s history to find stories and accounts of parades, processions, marches, trudges and demonstrations. The resulting routes, illustrated in the maps/scores made, were harvested and mapped onto the current city form, intersecting new buildings and extinct pathways to create new navigations of the city.

Marches performances can be heard online here

Photographs here document recent exhibitions of Marches at AUB Art Gallery Beirut 2013 and Caja Madrid Barcelona 2012.