IMAGINE: Fictional Architecture And The
Liberation of Ideas
07th April - 30th June 2013, Bin Matar House, Bahrain
As part of the annual spring
festival of culture in Bahrain, the Shaikh Ebrahim Centre presents “IMAGINE:
Fictional Architecture And The Liberation of Ideas” an exhibition of experimental architectural
drawings. With this show the centre continues its series of exhibitions
focusing on the world of architecture and design which started with the 2010
exhibition of Zaha Hadid’s design objects and paintings in Bin Matar House -
the first in the Gulf region.
Unit Sixteen and former DS 14 has
a considerable presence in this year’s exhibition, focusing for the first time
on architectural drawings.
"In these
projects of final year graduate students at some of Europe’s leading
architectural schools, these drawings and three dimensional objects find there
greatest sense of personal expression and liberty to explore fictional domains.
Prior to entering the world of real architecture, where illustrative and
technical drawings dominate, architecture students are free to create utopian
and imaginary projects." Melissa Enders-Bhatia Head of Art and Exhibitions at the Shikh Ebrahim bin Mohammed Al Khalifa Centre for Culture and Research, Bahrain
Those exhibited include . . .
Meor Haris Bahrin , Luke
Chandresinghe, Michael Dean, Adis Dobardzic
Mark Hatter, Sun Hwang, Jinhyuk Ko, Gill Lambert, Christopher Leung
Jorg Majer, Tania Okpa, Pernilla
Ohrstedt, Yumi Saito, Matthew Wilkinson
Nick Szczepaniak
The exhibition was
designed and curated by Elke Frotscher and Florian Frotscher work exhibited was
from The Bartlett, University of Greenwich, Oxford Brookes and University of
Westminster graduates.
Extract from the Catalogue
essay by Simon Herron & Susanne Isa . . .
On Drawing:
Drawing
is a skill traditionally that all architects have to acquire to communicate
with a client, engineer and builder. Drawings made for a client are to enable
them to appreciate and understand how the architect intends to manifest in
built form their needs and aspirations, in response to a particular brief and
budget on a given site. Drawings produced for the builder enable them to
understand in technical terms how the built form is to be achieved and to what technical
standard and finish. There is a long history to the making of these kinds of
marks on paper for conveying this type of information through to the whole building information modelling of
BIM.
The
drawings presented within this exhibition have a different reader in mind. Less
understood these drawings are essentially private. The imagined reader is the
author along with other architects and critics alike. Raw, incredibly personal,
these works are not pictured or imagined illustrations of fully formed ideas or
projects. They are the first speculative glimpses, driven by a complex machine
code of cyphers, a private haptic language of invention, raw fundamental data
sets, laying bare, the scripted genetic code of the author.
Drawings
are considered simultaneously as both tools of practice and as sites of
construction. Tactile, independent surfaces to be assembled with
consideration to their particular processes of manufacture, their spatial
geometries and syntax, a combination of actual and implied scales, the playful interplay
of unexpected material relationships.
Drawings imagined within this active
real-time speculative space, work as filters, collating and testing unexpected
relationships. Considers possibilities of dynamic motion, part hard conditioned
facts, framed against half-truths and myths. The building site is part paper,
part transferred references, an elaborate interwoven fluid field shifting
through time and space.
Drawings
should contain a combination of architectural and non-architectural scales.
Drawings are framed as hybrids, x%
fact, x% fiction, with the precise alchemical ratio to be determined by the
author. These constructions are physical entities, with a corresponding mass
with measurable densities. They are transformative, evolving surfaces in flux,
containing the traces and histories of their manufacturer.
Marcel Duchamp in 1917, proposed that by simply choosing
an Ordinary
Article Of Life [Urinal], Displacing its Context [hardware store to art gallery] so that its
usual significance and meaning disappears, then by creating a New Title [Fountain] and Point Of View [Art], created New Thoughts and New Meaning, a powerful
transformative tool. The application too architecture
Subject +
Object + Space:
Through this critical re- examination,
re-appraisal, New Thoughts are created for both architectural
objects and spaces. Displacement further
removes an object from its familiar context, destabilizing its meaning and
function. With this, there needs to be an adjustment of the prospective
positions of both reader and narrator.
Transformations
may be imperceptible or dramatic.
Transformations
may be merely implied, suggested or imagined.
Something
impermanent could be in a constant state of flux.
Discarded
discredited or simply retired technologies or ideologies.
To be
out of date is to be dislocated in time and space
Consider
the structure the composition, cropped and close up, the stylization of image.
You may choose to physically cut and edit them. Or you may choose to manipulate
the images digitally. Consider trying a combination of physical cutting and
digital manipulation.
We have
traversed the unfolding backlands of America, reframed against the unfolding
landscapes of post-industrial England, in the shadow of Empire. This is not a
Gateway [2010-11] explored the consequences of the failure of an over dominant
industry on its host city. Detroit Michigan, motor city USA was taken as a
model, a city with a self inflicted dependency culture running deep into the
zeitgeist of its past and future. London's own dependency on an over extended
service sector was pictured against imagined banking failures, mass civil unrest,
leading to unprecedented urban flight, abandoned London falls into protracted
decline. Nostalgia for the future [2011-12] explored the emerging territories
of Stratford City and the Westfield center, proposing alternative Olympic
legacies, a fresh new world of dreams.
Returning to
the heart of the metropolis this year, to focus on the boundaries between
wealth and power at the center of the Common-Wealth. Trafalgar Square the
centre of study. Conceived originally as a public space by John Nash, Sir Charles
Barry, most recently re-modeled by Sir Norman Foster. A complex paradoxical
landscape, surrounded by the symbols of lost tribes, failed ideologies and
faded power. Restoration [2012-13] - is a collective call to challenge,
to re see the utility and function of the institutions of state, rejecting
traditions, proposing new futures.