A perfect, four metre square opaque cube hangs towards the center of the exhibition space. Without any pedestal or any easily visible attachment to floor, wall or ceiling, it appears to float about 25cm above the gallery floor. A suspended ramp leads to the only opening at one corner of the cube, through which the observer barely perceives flickering lights and faint sounds, drawing them inside. Upon entering, their experience of the piece, and the gallery, is transformed. Outsized, distorted human figures – in fact the transformed movements and gestures of the gallery patrons who approach and examine the exterior of the cube – circle the observer, threatening, challenging and enveloping them in a chaotic blur of movement and sound. What appeared perfect – invariant, transcendent, timeless, remote, private – from the outside, upon breaching the physical threshold of the object and breaking the taboo of distance that separates observer from art-object, becomes chaotic, transient, proximate, public and audible: the object is only perfect until one touches it.
‘Shattering the frame,’ the proposed installation, is an attempt to explore notions of perfection / imperfection in the experience of art by challenging traditional modes of artist / art-object / observer relations. Even today, these relations are often dominated by relatively inflexible cultural conditions, expectations and taboos, which determine (among other things) when and how to move through the exhibition space, how to interact (or not) with the object and the other patrons, and above all the physical relations of observers to objects and to each other. Under such conditions the ‘perfect’ art-object is framed as timeless yet potentially fragile, encouraging an attitude of distant reverence.
A city of perpetual human motion, noise and chaos, Istanbul is the antithesis of such an attitude. It cannot be viewed from a comfortable distance or with remote reverence; inhabitants and visitors experience an inescapable physical connection with their immediate environment, literally buffeted by the many frustrating yet life- giving imperfections of the city. Two central nodes of this physical interrelation are kinetics and sound. As both in their own ways are ever changing, difficult to predict and impossible to apprehend, movement and sound run counter to notions of perfection in traditional Western arts cultures and tend to be de-emphasized.
Reconnecting viewer with viewer through the breached surface of the art-object, via the ‘imperfect’ nodes of sound and motion, ‘Shattering the frame’ reminds the observer that art, like the city, can also be kinetic, transient, chaotic, and sometimes even loud; and that in the milieu of the gallery, just as in the city, s/he is never merely a viewer, but also an auditor, and above all an actor.
The technical execution of the project is possible with readily available motion capture and PC based audio-visual processing hardware / software. The interior light condition of the cube enables a cost-effective yet dramatic video display / audio solution.
MANR is an Istanbul-based design collective comprised of Turkish and foreign resident architects and digital artists.
Site is located in Ayvansaray neighborhood just across Old Galata Bridge, on the Golden Horn shore. If we take a look to the neighborhood we will see deficit of cultural activities even though majority is under 25 and eager for cultural space where they could spend their free time. Site is surrounded by city walls (12th century), two churches (Hagia Dimitris and Balino) and has a view on Golden Horn. On the street that passes next our site the bazaar is being held on Tuesday and Friday. It is important to remember that bazaar doesn’t have only economic significance but also social and cultural. As for the urban pattern, it is characterized by narrow streets, organic layout and visual heterogeneity.
Inspiration for project is taken context the site is located in; one is a textile bazaar covers, with their form derived from sun position (with deconstructive appeal) and the second one is narrow streets which generate social life and create shade. Connection between street and sea is not to be broken with building, so the east and west façades are glazed in order to maintain view on the Golden Horn from the sea; north and south façades are from béton brut as a reference to industrial past of the site. Mixed function project is planned to satisfy needs of people living in Balat, so beside souvenir ateliers and art gallery, proposal includes retail space for selling hand-made local goods, educational space for youth, office space for local NGOs, amphi-stairs for open-air cinema, bazaar with canopy garden and restaurant with a view over Golden Horn. As the project is a complex of (quasi) autonomous objects, circulation is thought as a main part of project, with a role of connecting all different functions and again giving a choice to explore unexpected spaces to visitor. With this aim on mind elevated streets are included in project and roofs were given a function of squares, so it could be stated that negative – positive situation on street level is inverted when elevated.
3er concurso Internacional de ideas COSENTINO & I+D+Art / 2011
Project is about reinvention of SILESTONE Eco tiles. Tiles are used as construction material for bus stations. Organic form is build from 30x40cm tiles, this modulation lowers the construction price and gives opportunity for customization by colors.
Theme of our design studio course was Activation of air in the public space. After analyzing termodinamical data we were able to determine critical places where we would be able to intervene. Main idea was to use air as energy source and as solution to pollution problem in Madrid. So we explored context and we come across ideato use metro tube as source of pressure which would eventually create difference whith pressure on top of our towers and we would have the air flow. So here evolution of our tower starts and ends up at point where we have six towers, shaped by wind and sun and terrain shaped by air flow between metro tube and tower tops. Towers are covered with green layer and wind and sound sensible strings needed for energy production.
Created public space is extension to urban context, so it is designed not to interrupt existing circulation.
FEP should be seen as research on possible solutions to problems that we are able to predict
Project done in group with Daniel Garcia and Jose Javier Laborda