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alive artificially through restoration, citation and virtual simulation. "Default buildings" that is, generic architecture that represents corporate culture and the optimization of capital. They look everywhere the same. My anti-monuments are an alternative to the fetish of the site, the fetish of the representation of power. An important aspect of my work in Relational Architecture is to produce a performative context where default buildings may take on temporary specificity and where vampire buildings may decline their role in their established, prevailing identification. My work attempts to introduce alien memory as an urban catalyst. We use large-scale technologies of amplification that are usually reserved for publicity stunts and corporate events. These technologies are typically used to perform a pre-programmed commercial monologue, and it is always exciting to exploit them in ways they were not intended. I think artists use technology explicitly as a way to understand and criticise from within some of the paradoxes of our culture. How can "media" culture actually result in disintermediation? How can a condition of placelessness become situated as multi-place?
4. What
meaning has the interactivity for the project? What shall the Interaction
produce, cause? Creating a collective experience that nonetheless allowed discrete individual participation was important. The input and feedback from participants becomes an integral part of the work and the outcome is dictated by their actions. Depending on public participation is a humbling affair because the work will not exist without the main protagonist, which is the public as actor. What's important is people are meeting and sharing an experience, as people do it less and less thanks to telecommunications, increasing work load demands, and work schedule flexibility, to name a few factors. Yet the Project also is designed to establish architectural and social relationships where unpredicted behaviours may emerge. I want people to participate on-site. |
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