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URBAN POETICS Time - - - - - - - - - - - The protagonist of an urban project is its public space, the place where the collective reality of the city is produced. It serves as urban material that provides a response to various social, aesthetic and collective needs. The ‘Metro’ is one such aesthetic that is laid on the map of Bengaluru. More than a subject, it becomes an object of the city. Not only an object of transit but also that of aspiration, future, development and aesthetic. To me, the city then becomes a model of form and function where public spaces act as physical artifacts reflecting and representing the city’s identity. I wanted to understand the function of aesthetic in a public space like Cubbon Park. The intricacy in what makes Cubbon Park is the fence, the bins, the fruit stalls and the neighboring site; the metro. By calling them objects of aesthetic and urban material, these objects act as clues that further inform about the urban situation over URBAN POETICS time. The aesthetic of a public space does not only remain within the notion of beauty and taste but functions dynamical- ly. It curates the space, adds meaning to it, critiques its social Natasha Sharma processes and provides a code of conduct to the space. Artist/designer www.natashasharma.co This essay takes you through my process, my thoughts, and series of temporary interventions/experiments in Cubbon Park that reciprocates to my experience of site CUBBON PARK - - - - - - - - - - - - - - - - - - - - PROCESS Understadn City: Past, Present and Future, I was interested in understanding how the metro is symbolic of a transience city and if these public spaces become monumental to what a city experiences. How do we know ? What do we know? Ways in which we approached it were: 1. Personal (Experience, embodiment) 2. Outside of me (Research through readings, films, archives, case studies, news). 3. Interviews and talks ( Perspective and people) - - - - - - - - - - - MAPPING Initially I started to look at the site from my own personal lens, bent towards what I see and feel vs what I know. (experiential vs factual). I set a rule for myself, to understand the site through its visual experience only. As the metro was still under construction, we accessed the areas around it to map. I was allotted the site around Queen Victoria statue at Cubbon park. - - - - - - - - - - - VISUAL DAILOGUE After mapping the exterior and neighboring sites around the underground metro stations, I kept my inquiry close to Cubbon park metro station. I looked at the elements that were repeating itself at the site,- making up the aesthetics of the site. Stalls Bins What do these objects tell us? Fences What is its relevance with respect to site? Garbage How much does a public space tell us about a city? Metro Fence as an object As the sun was overhead, the play of shadows along of the footpath was engaging. I noticed the fencing of the park, it did not only function as a barricade between the park and the road but even its aesthetics of craved leaves on it extended crisp shadows on the footpath, communicating the nature of the space. There was a subtle morph between the nature of the space and the design around it. The fence was symbolic of what it held inside it, the park. As I walked further, the aesthetics of the fence changed as per the site, the insides of cubbon park had straight line, the fences near the Victoria statue was 3 feet tall and locked, and the fences near Vidhan Soudha was indicative of power and strength. The fence held both the inside and the outside space through its aesthetics. What is the meaning behind fences? What does a boundary do to a public space? What are fences symbolic of? Bin as an object Apart from the where the vendors were located; the entire Queens road had no dustbin at all. A patch of land between the barricade of the park and the footpath was where the garbage was swept away and kept. It made the footpath look clean and the park look clean but there was this entire area between them that was line up with waste. Aesthetic of the park was kept in mind; aesthetic of the road was kept in mind but the problem of garbage as a form remained as it is. When I entered the park, the situation was quite similar. Although there are more than 70 bins installed in Cubbon park, you would see waste hidden in the corners around cubbon park. This philosophy of ‘Out of sight, out of mind’ that we share with our waste was something that came to surface and bins acted as artefacts of that behaviour. Is the aim of the city’s inhabitants to only see clean? I started to think how bins functions as that aesthetic that hides or make garbage almost invisible turning a blind eye to the problem as an whole. What role does a bin play in a public space? What is its aesthetic value in public space? What is it indicative of? Stalls as an object Further I started studying the street vendors around the same site. There was a difference in the sense of aesthetics amongst the street vendors around the park as opposed to the one near HAL aircraft monument. The economy/business running there was that of perfect competition, fruit vendors were surviving with other fruit vendors on the same footpath. So I started to think what makes each stall different from the other? I began to realize the differences in the aesthetic sense of each stall along with the service that they provided. For example, the stalls selling fruits near the HAL side take their stalls back home after 6pm and bring it back every morning, where as the stalls near the government aquarium could get locked over night and start functioning again tomorrow. The stalls near the HAL were basic, where as the stall near the aquarium were fancy and colorful, more attractive. On that same footpath there were stalls, which had water, but only one stall served cold water, and tetra pack juices. The dustbins were also better looking. One stall had Styrofoam bowls and the other had leaf bowls. I think that was one of the reasons why they were allowed to stay on the periphery of the park. How does the space around us alter our actions? How integral our these stalls to cubbon park? - - - - - - - - - - - - - - - - - - - - Metro as an object Our Metropolis by Gautham Soni and Usha Rao| Film What does it take to make Bangalore a world-class metropolis? This short documentary made on Bangalore chronologically covers four years of Bangalore’s journey while the Mahatma Gandhi metro station was being built. It comprises of a range of people- old bangloreans, the street vendors/cleaner, the people living in the slums on one side vs the state actors. What I inferred was how this renovation the city went through led to replacement and displacement leaving the city heavily impacted. The shade of the canopy replaced by an over head metro line, the shadow of trees replaced by shadows of pillars. The identity of the city tends to hold conflict between the present of the city and what the city aspires to be and metro acts as an evidence to it. Ekta Mittal Founder of Maara, a media and arts collective | Interview “I am against the metro, I don’t use the metro” Ekta Mittal has lived in Bangalore all her life and her active practice is to deal with public spaces in the form of arts. Her personal and nostalgic opinions about what the metro has done to the city opened up subjects of how this new geometry laid on map of Bangalore has impacted the city. After this conversation, metro being the subject became an object, an aesthetic, that brought about different new subjects. It didnt remain an object of transit but that How does change in aesthetics impact a space? of aspiration,public, future, development and also an What does ‘aesthetic’ mean in a public space? object of identity What are its functions? CONTEXT The identity of this site tends to holds the conflict ARTIST INSPIRATION of reality versus global aspirations of this city. What is central in such modernist planning is the severe restriction on emerging mechanisms of political representation. Its notion of aesthetics in the large-scale conceptual moves, homogenized into the composition of the wider field – where cities were framed as compositions to be viewed up from a high mountain top vantage point, if not an airplane or, even, outer space. The metro has laid one such geometry on the map of Bangalore itself. It symbolically gives Bangalore a reason to be called a ‘metropolitan’ city. Each of these places that create the aesthetics of the city, such as Cubbon Park or Vidhana Soudha, reflects more than just the form of it but constructs what the city is versus what the city wants to be. My study goes around how these spaces and the intricacy of what makes these spaces Cooking section structurally like the street stalls or the fences of the park, the garbage, road and even the metro line, Inspired by the Cavendish story, Cases of Confusion reflect and represent its identity. consists of three hand-luggage Wardian-type (Refer to previous pages for the study) suitcases for the transnational bananization of the world. The work questions whether regulations against the smuggling of soil and seeds are really meant for environmental security or are actually driven by economic protectionism. Michael Rakowitz paraSITE (1998), critiques and makes visible of the prevalent attitudes towards homelessness, whilst at the same time improving the material living conditions of those living on the streets.
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