| 1. |
-
Motor-Home
- 2017
-
Konstnärligt arbeteabstract
- The suburban garage, arguably one of modernity’s most prolific reflexive inventions, has received little attention in terms of critical discourse in architecture. Contemporary Marxist feminism has been utilised in architectural theory to illustrate a series of binary conditions related to the home, including hidden forms of labour, paid and unpaid work, productive and reproductive spheres, public and private, sex and gender. Through this discourse, the subject of maintenance (which includes physical repairs and renovation, housework and homemaking) is broadly accepted as a means of producing and inhabiting architectural space. This innovation has been key in determining alternative forms of architectural practice that contest and intervene in dominant patriarchal images and descriptions of the home. The garage is uniquely situated between public and private realms, house and infrastructure, store and facilitator, place of work and labour, and has often been utilised as a free and reprogrammable space in close proximity to the home. This image of liminality is expressed in a variety of media including advertising and film, where the garage situates ambiguous forms of masculinity by connecting gendered forms of maintenance to images of technology and consumption. The suburban garage as reflexive invention initially responded to the need to house an automobile, but later it becomes a site of continual reimagining, responding not only to the collective subjectivity of the household but also to practices that cannot be contained within the program of the house. By questioning the binary applications of gender and maintenance theory, it may be possible to understand how capitalism operates to produce new forms of masculine domesticities and domestic masculinities.
|
|
| 2. |
- Ozmin, Janek, 1975-
(författare)
-
The Garage: Maintanence and gender
- 2017. - 1
-
Ingår i: Architecture and Feminisms: Ecologies, Economies, Technologies. - London : Taylor Francis. - 9781351396202 ; , s. 256-264
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Set against the background of a ‘general crisis’ that is environmental, political and social, this book examines a series of specific intersections between architecture and feminisms, understood in the plural. The collected essays and projects that make up the book follow transversal trajectories that criss-cross between ecologies, economies and technologies, exploring specific cases and positions in relation to the themes of the archive, control, work and milieu. This collective intellectual labour can be located amidst a worldwide depletion of material resources, a hollowing out of political power and the degradation of constructed and natural environments. Feminist positions suggest ways of ethically coping with a world that is becoming increasingly unstable and contested. The many voices gathered here are united by the task of putting critical concepts and feminist design tools to use in order to offer experimental approaches to the creation of a more habitable world. Drawing inspiration from the active archives of feminist precursors, existing and re-imagined, and by way of a re-engagement in the histories, theories and projected futures of critical feminist projects, the book presents a collection of twenty-three essays and eight projects, with the aim of taking stock of our current condition and re-engaging in our precarious environment-worlds.
|
|
| 3. |
- Ozmin, Janek, 1975-
(författare)
-
Vävda Tält
- 2012
-
Annan publikation (utställning/event) (övrigt vetenskapligt/konstnärligt)abstract
- Vävda TältThe installation is designed as an internal spatial experience which is formed out of your viewing relationship with a layered timber structure.The structure is made of long thin timber pieces which are connected to make a single room. These pieces are woven together and form a space that has a variety of visual depths due to its constructed form.The structure is composed to capture light.The structure is covered in a translucent canvas material. The result is a covered layered room that works in both the daylight hours of the festival and the evening hours of the festival.During the day the front aperture of the installation can be opened and will capture the unique low level angle of the sun at approximately 12:30 as it alines to Rådhusesplanaden.During the evening three types of light are introduced each of which plays a different role in transforming your eye and as such the resultant space.Light is captured and introduced to reveal and transform space.The ground is made of damp bark which absorbs the light and softens your step within the changing room. The project was extensivley surveyed with Photographs, interviews and videos depicting inhabitation of the room by participants.
|
|
| 4. |
- Ozmin, Janek, 1975-, et al.
(författare)
-
Atlantic City Genocide Memorial
- 2011
-
Annan publikation (populärvet., debatt m.m.)abstract
- The proposed memorial site sits on the axis between the suburban fabric of the city, predominately existing to the west of Albany Avenue and the tourist and commercial centre of the city to the east. Building on the formal composition of the city the proposition situates itself on a north south axis with the existing World War I Memorial located in O'Donnell Park. Albany Avenue opens into Route 40 formed from the Oregon Trail navigating from Atlantic City, west to San Francisco.Visitors are presented with both the World War I Memorial and the Holocaust Memorial.The Genocide Memorial appears as a black Chamber in the Atlantic Ocean extending the city's fabric into the sea, connecting all continents through the moving waters of the ocean. Amongst the sand and removed from the sea a room, described as the Orientation Chamber, sits marking access from the boardwalk to the beach. As a result the memorial site expands beyond a bounded territory encompassing the city's formal layout, its boardwalk and its inherent natural and man made landscape.
|
|
| 5. |
- Ozmin, Janek, 1975-, et al.
(författare)
-
Domestic still life
- 2015
-
Annan publikation (utställning/event) (övrigt vetenskapligt/konstnärligt)abstract
- Professor Swetlana Heger and Janek Ozmin were commissioned to investigate the themes of Migrating Places of Production and Space as Product in relation to the town of Hohenems, Austria. The project investigated the history of material production in the Hohenems region and produced three woven sculptures that represent the globalised condition of manufacturing; it's relation to place and the role interdisciplinary work required to make of a representative image of place. The work was hung within a working aluminium anodising plant set in the town of Hohenems from which the sculptures provided a platform for debate on Migrating Places of Production and Space as Product.Domestic Still Life1. Blue - Yellow 180x 360cm 2. Yellow - Red 180x 370cm 3. Red - Blue 180x 355cm
|
|
| 6. |
- Ozmin, Janek, 1975-
(författare)
-
Isis Upon the Iron Tree : An analysis of Poster No.2 designed by Sigurd Lewerentz
- 2014
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Isis Upon the Iron Tree: The Stockholm Exhibition of 1930 has been widely recognised as one of the most important expose of modernism in the 20th century. This paper examines Sigurd Lewerentz "Poster no.2" designed under direct commision by the exhibition commitee but was reject for official purposes. The poster which is composed as a complex catalouge of exhibtion elements arranged around the Exhinbtions famous "L" logo, derived from an egyptian winged god, showed nuanced layering of the relationship between an emerging Swedish modernism. Unlike the official Poster No.1 which was reduced to the simple text "1930" a statement on the notion of the moment of change set in Lewerentz futuristic type font Poster no.2 presents mutliple view points from which to consider the arrival of Swedish Modernism. In order to analysise the poster a study of the pictorial content of the modernist manifesto "Acceptera" was undertaken from which themes are cross refferenced and super imposed back into the composition of Poster No.2.
|
|
| 7. |
- Ozmin, Janek, 1975-
(författare)
-
The Uninvisible Koja
- 2014
-
Annan publikation (utställning/event) (övrigt vetenskapligt/konstnärligt)abstract
- This installation was commissioned as part of a joint project between the city of Umeå, Sweden and the city of Komatsu, Japan. The words koda – koht – kodu – katus of Finno-Ugric origin have arrived in both Swedish and Japanese cultures in the form of the word Koja or 小屋. The word Koja refers to place, home, roof and house. In the modern Swedish context the term is quite broad extending to a variety of anonymously authored small structures or enclosures found in the wilderness. Koja is also used to describe constructions that a child might make out of a cardboard box: a first getaway in their home, the making of a private world of play. Koja also refers to small hunting, fishing huts or small structures in remote places. In respect to the idea of Heterotopia Peter Johnston wrote on Michel Foucault’s 1966-67 radio broadcasts where he described heterotopias as“Illustrations of the concept refer to various children’s imaginative games, mentioning tents and dens in gardens as well as all the games played on or under the covers of the parents’ bed. The children’s inventive play produces a different space that at the same time mirrors what is around them. The space reflects and contests simultaneously.”In 1972 Ugo La Pletra presented Counter Design as Postulation at MoMas Italy: the New Domestic Landscape: the Indivisible Koja comes together as a series of contradictions. Kojas by nature are subversive structures; they operate as both a place to escape to and a way of capturing a territory.The Koja is made from modified gold vinyl sheet that has been adhered to Mylo to form a two-sided reflective metallic material. The sheet is then cut with an expanding camouflage pattern that opens up when hung. Inside the Koja is an Aluminium Chaise Longue that can hold two people lying down. Once inside a sensor activates a mobile phone scrambler producing an invisible blanket that renders the inhabitant invisible from the unseen infrastructures of global satellite telecommunications.
|
|
| 8. |
- Ozmin, Janek, 1975-
(författare)
-
Vävda Tält : Design research conducted through making
- 2013
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Vävda Tält was a full-scale public installation commissioned as part of Umeå Light Festival 2012. The project was designed as an experiment in the aesthetics of light and the effect of light on the human subject. The presentation outlined the general theory of light in relation to the human eye and the embodied effect on its participants. The presentation was a mix of, drawings, video and theoretical text connecting the installation to a series of archetypes dealing with public installation and light.
|
|
| 9. |
- Conden, Helen-Rose, et al.
(författare)
-
NAMALab : Maping Nama
- 2011. - 1
-
Ingår i: NAMALab. - Ireland : Dublin School of Architecture Press. - 9780956850225 ; , s. 130-132
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Mapping NAMA describes the visualisation of Irelands National Assets Managment Agencies property portfolio which was established between 2009 and 2011. The NAMA portfolio included Property, Sites and Land Banks aquired by developers and held as securties within a number of Irish Banks which were effeced by the financial crisis. Although operating as a public body NAMA has never released details of the portfolio due to its claim that the information would further damage the collapsed propoerty market and as a result would effect the value of the portflio resulting in reduced compensation for a state led Bank bailout. By colating court room appearences of property developers, newspaper reports and other soft data followed by extensive archive research of Dublin City Councils planning departemnt NAMALab produced a cartographic analysis of the NAMA portfolio. This map was then used by NAMAlab as the basis for a series of projective urban projects imagining the poetntial of Dublin City post financial crisis.
|
|
| 10. |
- David, Dernie
(författare)
-
New Stone Architecure by David Dernie
- 2003. - 1
-
Bok (populärvet., debatt m.m.)abstract
- In recent years contemporary architects have become obsessed with a variety of new materials, and above all stone. The limits and predictability of the modernist palette have long been recognized, and contemporary architects are now looking to the ancient values of stone to give new expression to their ideas. Above all it is the permanence of stone that is increasingly used to express a sense of civic stability, or ground the otherwise fluid forms of contemporary architecture. New Stone Architecture explores the special role of this material in a timely reassessment of the ideas which underpin today's renaissance of stone architecture. The introduction uncovers the expressive possibilities of stone, describes the new technologies which make the new forms possible and offers an interpretation based on the author's technical and theoretical understanding of material themes. This is followed by thirty-three case studies from around the world. Architects featured include Michael Hopkins, Kengo Kuma, and Renzo Piano.
|
|
