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- Karami, Sepideh, 1976-
(författare)
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Pause : Unmapping Methods
- 2013
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Konferensbidrag (refereegranskat)abstract
- “Sometimes I see something so moving I know I’m not supposed to linger. See it and leave. If you stay too long, you wear out the wordless shock. Love it and trust it and leave.”(Don DeLillo, Underworld)[1]Standing in the middle of plentitude of images, objects, impositions, there is a need for explosion of silence, of emptiness where imagination finds a chance to flourish. Here architecture could become the art of editing, erasing, liberating, decolonizing the space. Design becomes a powerful method of thinking of planning a process to understand when we should stop adding to the world and instead decolonizing the space, creating points of pauses, ‘creating frameworks where interesting things can happen’[2] and at the same time breaking down those very frameworks. In other words it is about creating ‘infrastructure of pauses’; about “the architecture that leaves space for the uncertainty of the real”[3]. That recent revolutions are mainly taking place through roundabouts, bridges, highways or in other words ‘infrastructure of high speed’, calls us to look more deeply at ins and outs of urban struggle and its subtle strategies. When increasing speed is the reality of today urban life, pause and slowing down, as a strategy to occupy infrastructure, blocks off and disturbs everyday routines and established flows. Metaphorically it makes a “stammering”[4] moment that is capable of being ensued by change in speed, shift in direction or building a completely new route. This shift, change or pause could be simply called revolution. In this matter pause becomes a method of ‘unmapping’ the city through action. Contemplating further on the idea of pause and its revolutionary potentials brings this question to mind if and how the idea of pause as a stammering moment could be applied in architecture profession and methodologies of performing in the world.Inspired by “fictocriticism” and taking the urban context as an established literary text this paper focuses on the concept of “pause” as a method to interrupt the dominant urban flows and tries to investigate how architecture (design) is able to perform and create ‘infrastructure of pauses’ to unmap the dominant city. How “emptiness” could not only be applied but also be created; not as a “terrain vague” but as a field that invites different forces and creates a revolutionary shift. To develop the concept of “pause” and its revolutionary potentials, part of this research[6] is being done through combination of images and text that is carried out by everyday photography.[1] . Don DeLillo, Underworld, Picador, 2011, Kindle ed.[2]. Rolf Hughes, From Form to Transformation, presentation from KU project at Konstfack, 17 May 2013[3] . Sten Allan, Field Conditions, 1985[4] . Gilles Deleuze, Three Questions about “Six Fois Deux”[6] . ”Image and Dialogic” research is an ongoing part of my PhD working with photography, dialogues and texts.
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| 2. |
- Karami, Sepideh, 1976-
(författare)
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Pause
- 2013
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 5. |
- Karami, Sepideh, 1976-
(författare)
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Revolution as The Moment of Silence : The Encounter of Formal and Informal and the Revolutionary Aesthetics
- 2013
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Ingår i: Rethinking the Social in Architecture. - Sweden : Architecture In Effect. ; , s. 39-41
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- There is an urge to rethink architecture in our segregated and fragmented cities all affected by capitalist space production, where informality is the flipside of exclusion and segregation. The urgency of the discussion does not end and is not limited within informality. However what counts is the encounter of and the relation between informal and formal worlds. There are forms of emancipation emerging in this encounter, and I believe practices of architecture can play a significant role in enhancing and mobilizing these emancipating potentials that exist between formal and informal.Revolution is the vigorous infiltration of informal action to formal structure, an encounter of formal and informal without negating any side but transforming each side anew. It creates a space of “Andness” a space of encounter or the “spaces of silence” as Saskia Sassen calls it. Revolution is an unalloyed moment of encounter of the informal and formal. Hence, the revolutionary aesthetics can best describe the aesthetics of architecture in this context. The very moment of revolution is an authentic model of the realized revolutionary aesthetics, which carry with itself, a robust body of emancipation, a collective imagination, a continued passion for change and a realization of the established impossibilities. It is a dialectical moment of tranquility and agitation, pause and movement. However, in pre-revolution phase the potential is not amounted to that authenticity or in post-revolution phase it starts to be trapped in neutralization and de-politicization.The formal structures of modern cities according to Henri Lefebvre are the sites of the revolution. Without the formal structures, the revolution cannot be embodied in a robust body as such. There are many spaces in the city that have the potential of being used differently by people, by their everyday invention and informal action. During the revolution and through infiltration of informal, spaces of power could be de-territorialized and decolonized by a spontaneous participation and presence of people and these decolonized spaces are articulated through duration of action and movement to create chains of resistance and change. Decolonization and articulation of decolonized spaces are also becoming important in the revolutionary aesthetics; that is what can be extended and expanded through architecture aiming for enhancing emancipation in the encounter of formal and informal.Recalling the Situationist architectural proposals, such as Fun Palace of Cedric Price, there has been a vast effort before for creating such architecture; however all those exciting ideas stayed to a great extent unrealized. The automatic decolonization of space by the informal flows or actions can be a base for decolonizing architecture that enhances the potential of informality. Here the question is how can the aesthetics of revolution be applied in architecture? How the moment of revolution can be expanded by architecture, and how architecture performs through the processes of decolonization and articulation to create continuous conditions of encounter, exchange and dialogue between social classes?
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