1| Instant Coffee Disco Fallout Shelter 2009 Concept collage.
Relational aesthetics is a book (and now a micro art movement) by Nicolas Bourriaud. It preferences the contingency of social interaction to create a social environment to re-invent modes of thinking about art. It places the “artist,” out of the context of; [maker of art object]. This makes art an encounter between inter-subjected participants, creating meaning through collaboration.
Bourriaud’s critique is that the resultant social engagement between people is in effect, a form of an art object.
How can architects draw parallels with this?
There is a heavy emphasis on space and time within relational aesthetics that is pretty interesting.
“(Relational Aesthetics)…refers to artwork that is open-ended, interactive and resistant to closure. Relational Art takes place in time and space and creates interactive communicative experiences and intersubjective encounters in which meaning is ellaborated collectively.” – Legier Biederman.
I like thinking about this in relation to architecture as it not only eschews placement on interaction rather than “creator,” but it maintains that the space of encounter is critical for “something” to be created. It actually eschews an emphasis on the space rather than the creator. The architect then, is simply a retooler of space to make interactions salient. The architect is no longer visionary, but an ambassador of space.
In addition, the space of encounter is endless. An endless chain of contributions may ensue. What if architecture designed for not only flexibility, but for the idea of an endless social encounter?
Can we design for the spatial encounter?
“Social, cultural, economic, and demographic shifts are pushing reappraisals of architecture. It is important to note the role of agency (shaping institutions) in these neighborhoods. In Relational Aesthetics, Bourriaud suggests that form is a way of anticipating encounter, and that in a sense, we as architects can also design collaboration.” (Ballesteros, 158)
1 | Image from the Canadian Art.
“With Disco Fallout Shelter, the group has purposely turned the tables on that all-inclusive mode of working. Instead, the locked doors and mysterious subterranean workings are designed to be overtly exclusive. Sounds emanating from below ground suggest that the spartan interior of a bomb shelter has been transformed into a signature Instant Coffee party centre. This time, though, the catch is that only members of the collective are invited to the artful merrymaking. Viewers can ‘participate’ via an above-ground video kiosk showing (pre-recorded) footage of members ‘playing records, eating spaghetti, dancing, reading, sleeping and just hanging out in the tight confines and under the protective barrier of shelter.’”
This photo and the montage above reminds me of Berlin. It is in the dead of the night that an unused storefront space becomes a clandestinely networked social encounter. It is there, no matter where, that the culture of Berlin, ensues-endlessly.
2| Party in Berlin. Viernullvier on flickr.
References_
Ballesteros, Mario. Verb Crisis. Barcelona: Actar, 2008. Print.
Ibid., 158
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