• Abstract and Figures
• Public Full-text

Editors In Chief: Markus Berger Liliane Wong Guest Editor: Nick Heywood Graphic Design Editor: Ernesto Aparicio Int | AR is an annual publication by the editors in chief: Markus Berger + Liliane Wong, and the Department of Interior Architecture, Rhode Island School of Design. Members of the Advisory Board: -Heinrich Hermann, Adjunct Faculty, RISD; Head of the Advisory Board, Co-Founder of Int|AR -Uta Hassler, Chair of Historic Building Research and Conservation, ETH Zurich. -Brian Kernaghan, Professor Emeritus of Interior Architecture, RISD -Niklaus Kohler, Professor Emeritus, Karlsruhe Institute of Technology. -Dietrich Neumann, Royce Family Professor for the History of Modern Architecture and Urban Studies at Brown University. -Theodore H M Prudon, Professor of Historic Preservation, Columbia University; President of Docomomo USA. -August Sarnitz, Professor, Akademie der Bildenden Künste, Wien. -Friedrich St. Florian, Professor Emeritus of Architecture, RISD. -Wilfried Wang, O’Neil Ford Centennial Professor in Architecture, University of Texas, Austin; Hoidn Wang Partner, Berlin. Layout + Design_Xin Ma, Xiangyu Liu Editorial + Communications Assistant_Anna Albrecht Cover Design_Ernesto Aparicio, Liliane Wong Cover Photo_Rosa Parks House Project, Berlin, Germany_Photograph by Fabia Mendoza Inner Cover Photos_Markus Berger, Jeffrey Katz, Liliane Wong Copyediting_Amy Doyle, Clara Halston Printed by SYL, Barcelona Distributed by Birkauser Verlag GmbH, Basel P.O. Box 44, 4009 Basel, Switzerland, Part of Walter de Gruyter GmbH, Berlin/Boston Int|AR Journal welcomes responses to articles in this issue and submissions of essays or projects for publication in future issues. All submitted materials are subject to editorial review. Please address feedback, inquiries, and other material to the Editors, Int|AR Journal, Department of Interior Architecture, Rhode Island School of Design, Two College Street, Providence, RI 02903 www.intar-journal.edu, email: [email protected] 2 CONTENTS 04 EDITORIAL FARAWAY, SO CLOSE 06 FRAC NORD-PAS DE CALAIS: ON CLONING AND DUPLICATION Stefano Corbo TEMPORARY ACTS 12 THE DECORATORS Kristina Anilane and Luis Sacristan Murga EVERYBODY’S HOUSE 16 THE ROSA PARKS HOUSE PROJECT Ryan & Fabia Mendoza, Diogo Vale, João José Santos TACTICAL URBANISM WHERE IT MATTERS 30 SMALL SCALE INTERVENTIONS IN UNDERSERVED COMMUNITIES Sally Harrison WE ARE NEVER NOT INSIDE 38 DISCRETE OBJECTS AND NESTED INTERIORITIES Clay Odom KLAN KOSOVA 44 RESISTING NEW ORDER Astrit Nixha THE PAST EMBODIED IN ACTION 52 Laura Gioeni FREE SPEECH COMES HOME 62 LA CASA DEL HIJO DEL AHUIZOTE Enrique Silva EMPOWERING ACTIONS 68 THE PARTICIPATORY RENOVATIONS OF A SHELTER Cristian Campagnaro and Nicoló Di Prima BEING ARCHITECTURE AND ACTION 76 FROM DESCARTES TO FOUCAULT Barbara Stehle APPROPRIATING ARCHITECTURE 82 DIGITAL GRAFFITI AS TEMPORARY SPATIAL INTERVENTION Dorothée King THE ELEPHANT REFUGE 90 ‘PRE-USE’ vs ‘RE-USE’ Heinrich Hermann UNDER THE RADAR 96 JOE GARLICK ON REAL ESTATE DEVELOPMENT AND EQUITY Elizabeth Debs and Liliane Wong SECOND ACT 102 CONVERSION OF THE MERCADO DE XABREGAS Joāo Santa-Rita 3 LONDON > U.K. TEMPORARY ACTS THE DECORATORS by KRISTINA ANILANE AND LUIS SACRISTAN MURGA With backgrounds in landscape architecture, interior architecture and psychology, The Decorators work on spatial design projects that aim to reconnect the physical elements of a place with its social dimension. They employ a methodology that builds on the social and cultural makeup of a site to create new experiences that can prompt interaction or shape communal memory. Their clients include local authorities, museums, curators and brands, and their work ranges from context-specific engagement strategies and public realm landscapes, to exhibition design and interactive interiors. Xavi Llarch Font and Carolina Caicedo, two of the four founders of The Decorators, discuss their approach and the impor- tance of understanding how one's work will be used. CAROLINA: We started working together in 2010, at the back of the financial crisis. There was a sense of wanting to act. Ridley's was our first project and opportunity to do something together. It came with the aspiration for us to test our methodology and our way of working together. It was during the emergence of the pop-up in London, but the projects that were coming up in no way connected with the area, with the people that had been there before the neighbourhoods. We were interested 12 Ridley Road Market of Hackney, London. Analysis of this site led to the 13 creation of Ridley’s, a self-sufficient temporary restaurant co-existing with the market, the traders and neighbours XAVI: The complex city needs more complex projects and not so many one-liners. Temporary architecture should be more complex than permanent architecture because it has the opportunity to test more radical thoughts. It's much more difficult to test new ideas in permanent interventions because no one is going to take the risk. If the brief would be about being there for 10 years, the conversation would be different. Everyone sees the value of these temporary projects in a different way. Sometimes it is also a matter of scale. How can a project lasting three weeks, which is five by five square meters, be an influence for something that is a multimillion pound regeneration project? As a practice, we like working with reality but also with fiction. And what we've been doing is telling a story. And the story might not be for everyone, it might be a story that we've made up. Some people will be happy and some people will be against it. But the fact that it is temporary allows for that kind of tension to happen and then it disappears again. Being able to break down slightly those big mas- terplans, taking one of the elements and bringing it forward, activating it, performing in the public space with people who can come and have their say is valuable and it shows that those voices have an impact. CAROLINA: Ridley’s was self-initiated. We hadn't done any work before, and people see something in that in developing temporary projects that directly spoke or project. That project is how we were contacted by Hack- connected to the social context rather than ignoring it. ney Council and by the Greater London Authority, and In the case of Ridley’s, we reflected on the site and because of that we've continued doing work. through asking questions we finally gave form to the Our projects are more about working on the ground, idea. By developing these questions we ended up invent- talking to people and finding out who they are, what ing the brief. At the end, we created the book “Recipes a neighbourhood means to them, what a community for Food and Architecture” as a useful thing to pass to means to them, and it's out of those big questions that others who wanted to go through the same process. our work develops. We know that we are there In the UK, you can put up a temporary structure for because change is coming. We probably don't have the 28 days. If it's up for more than 28 days then you have answers. But in some way, we're trying through action to apply for a planning application. This three-week to figure out ways of giving voice, of showing what's period allowed us to activate the site without having to there already. go through a more rigorous process of planning. But we For example, in Ridley’s the program of the res- were worried about the issue of legacy. Our question taurant came out of us walking around, talking to the was: can a temporary project be used as a way of testing traders, realizing that the site was overlooking market ideas for how cities could be? The way to extend the stores selling vegetables and the program of restaurant legacy of this project was by sharing the knowledge we suddenly appeared. The program became this way of got by doing. involving lots of different people who might not other- Our ethos is that every place has something unique wise cross paths. to celebrate. Our starting point is always finding out We're being contacted more and more by big what is there, what is the specific culture of the place. architecture practices that are doing tenders and they Our interest in context is our way of trying to resist the see that they need to do engagement or consultation. homogenous by revealing beauty in what's already They've seen the picture of Ridley’s and they want one there. London is growing, and there are areas marked for of those. And then it becomes a thing of replicating an change. There's now money to develop and regenerate image rather than what was more interesting about them; with that comes a multitude of problems and the project, which were the market traders that you met fears. How are we implicated by working in and how you got them involved in the project. that moment? 14 Ridley’s rose and fell in less than a month, taking advantage of laws that allow for a 28 day temporary structure without a planning application XAVI: If you don't have a market next door it just doesn't work. In other areas, it may be something different. I think the interesting thing about Ridley's was the system we put in place. Our whole practice and every project is a way of showing in a tangible way to others how you can take ownership of the places that you live in, how you can organize your site and look at interesting things without always waiting for someone above to say "yes" or "no" to something. Now every brief that comes up from a council has one temporary project within it.

Load more

  12

Copy Link