New residency programme

  IFP_logo

Finally, after months of preparation, the Institute for Provocation is launching a new residency programme in collaboration with IASPIS. The 2-month residency is open for Swedish visual artists, architects and designers and starts in August this year. Deadline for applications is May 8, application here.

 

More information:

Iaspis – the Swedish Arts Grants Committee’s international program for visual art, architecture, design and craft – announces a new residency collaboration with the Institute for Provocation (IFP) in Beijing during 2013-14. The residency is open to applications from visual artists, architects and designers, and is thematically focused on the topic of public space in China.

Residency period: In 2013, two separate residencies of two months each are offered to two candidates, one from August 22 - October 22, and one from October 20 - December 22. Please indicate on the application form which period you are applying for.

Application deadline: 8 May 2013

Application procedure: The Iaspis delegation of the Visual Arts Fund selects a shortlist from the received applications. The final selection of grant holders is made by IFP. Successful applicants are informed by Iaspis on behalf of IFP at the end of June.

Grant: The total sum of the grant is 50 000 SEK per person and residency. This should cover costs for return travel Sweden-Beijing, food, sustenance and eventual production costs over the 2 month residency. As part of the residency, IFP provides shared workspace, accommodation and a part-time assistant. Please see more detailed information below. About Institute for Provocation

The Institute for Provocation (IFP) is a Beijing-based workspace and think tank hosting residencies, research projects, workshops and lectures stretching the borders between visual and performing art, architecture and design. As a workspace, IFP focuses on the thinking process before or even beyond the actual creation of an artifact: the collection of dramaturgical information, the testing of different architectural scenarios, the summarizing of existing artistic vocabularies and realized projects, the experimenting with new media or disciplines, and so on. Space, territory and geography serve as bridges between many disciplines and IFP has a specific interest in research that proposes cross-disciplinary strategies to open up for inquiries into topics related to these notions.

IFP was originally established under the name Theatre in Motion (until 2010) by sinologist and dramaturge Els Silvrants and architect Shuyu Chen and has since 2005 collaborated with artists, architects and performers on a wide range of projects and residencies.

The studio and workspace is located in a 85 sqm renovated courtyard house in the old city of Beijing. The studio is shared with 1-3 other resident artist(s) and IFP staff, has basic facilities such as internet, projector and screen, basic hand tools, shared kitchen. The resident artist will be accommodated close to the studio in a private or shared apartment with private bathroom. About the residency

As a part of an ongoing research project into the conditions for public space in Chinese cities, the Institute for Provocation in collaboration with Iaspis invite artists, architects and designers to apply for a residency based around the topic of public space.

China's economic rise over the past three decades is the result of a conscious strategy in which cities are playing a key role. Urbanization has been and will continue to be the main instrument for bringing the people out of poverty and into a consumption- and service lifestyle. But as the existing cities sprawl out and new ones are built from scratch, little attention is paid to their spatial and social qualities. The massive leap in scale from the ancient architectures to the new forests of highways and high-rises that now dominate the cityscapes create an array of problems related to space, identity, environment and social and economic equity. The juxtaposition of opposites – formal and informal, open and closed space – shapes the syntax in the reading of the Chinese city.

The applicant is intended to form their own interpretation of the theme and eventually find a focal point for his/her research. Responsible for running the programme in Beijing will be Max Gerthel, Swedish architect and IFP collaborator since 2011, and IFP's artistic director Shuyu Chen. We will guide the artist and provide insights into China and Chinese culture, special knowledge about cities and public space as well as local contacts in various fields. The residency will revolve around research as the main activity, without any specific requirements from the host organization regarding output or production by the artists in residence.

The purpose of this thematic residency programme is both to have a close dialogue and exchange between IFP and the artist, as well as to create more continuity, as each artist contributes to a larger body of research. This accumulation of knowledge, observation and interpretation can thus be shared internally, but also to the local community.

As a part of Sessions, IFP's public programme, the artist will have the possibility to present themselves and their work, listen to other practitioners and take part in discussions. There will also be possibilities of collaboration with external institutions for lectures and/or academic exchange. The residency will also be announced through IFP's network and newsletter, further enhancing the artist's visibility in China.

Residents will be provided with a desk space in the shared workspace of IFP's studio, accommodation in the vicinity of the workspace, a part-time art assistant providing interpretation/ translation and other assistance, support and guidance from IFP staff and opportunity to meet other artists in related fields. If the resident wishes to bring their partner/family for the full length of the residency s/he must inform IFP two months in advance. Any extra expense for accommodation of related guests will be carried by the resident.

Spring Festival workshop 2012

From January 30 to February 12, I will host a workshop in our studio in Beijing together with architect Jordan Kanter. The workshop will investigate the nature of the hutong as a public space through reiterative analytical processes, with the aim of introducing architectural intervention(s) in the city. We will also host a number of lectures during the course of the two weeks.

Below a short introduction:

 

ITERATE workshop 2012

This workshop aims to create new perspectives for activating, illuminating and informing new meaning to the everyday spaces of the city.  Working in the neighborhoods, streets and hutongs of Beijing, we will identify and define ongoing patterns of use, materializations and micro-topologies as a catalogue of the urban experience.

Using a variety of computational tools, including the KML language in Google Earth and the Processing coding language, we will develop techniques to operationalize this data as dynamic diagrams.  These diagrams, in turn, will guide and inform a series of interventions back into the public space.  The process is inherently iterative, alternating between observation, activation and evaluation of the intervention, constructed with new or reconfigured material on the site.  The computational diagrams function as a mediating framework between these modes of work by charting and informing the interventions as an ongoing emergence. The first part will be a series of exercises familiarizing ourselves with the site and the scripting tools, proceeding to the formulation and execution of rigorously conceived, team-based projects engaging (physically, virtually or both) the public space of Beijing.  It will culminate in a review by an outside jury and a public showing (and possible publication) of the work.  A lecture series exploring the relationship of public space to politics, individual agency, computation, art and architecture will coincide with the workshop.

The workshop is open to architects, artists, planners, geographers, engineers, programmers and students of the above or other disciplines; anyone interested in exploring the intersection between design, computation and public space.

Instructors: Max Gerthel (SE) (KARCH, Tsinghua, HUST) Jordan Kanter (US) (Sci-Arch, Tsinghua)

Lecturers: See the workshop blog

Software: Processing Google Earth KML Rhino/Maya

Date: 2012-01-30 - 2012-02-12 Location: IFP workspace in a Beijing courtyard near Nanluoguxiang Cost: 2000 RMB for students 2500 for professionals

Apply by sending a brief portfolio (max 10 MB) to: hutongworkshop2012@gmail.com

Find more information on the workshop blog

Organizer: Institute For Provocation (Beijing)

Supporter: Huazhong University of Science And Technology (Wuhan)

 

Zero Energy Slum

The other day I paid a visit to the newest addition to Huazhong Architecture School in Wuhan where I am currently teaching. I had found this Panoramio photo with description on Google Maps and I got curious to see what these new premises were housing. I quote from the description (presumably written by someone highly involved in the project): "The national demonstration project of renewable energy building in Huazhong University of Science and Technology, approved by the Ministry of Finance and the Ministry of Housing and Urban-Rural Development, is dedicated to construct a teaching or office building with renewable energy use to adjust temperature and comfort all year in hot summer and cold winter area. To begin with, the project has taken advantage of Active Dynamic Hollow Walls (ADHW) with fluid air layers and climate adaptive windows. Furthermore, renewable energy, collected and stored by circulating water in the underground heat sink or heat source, has earned its position in the project because of the local advantage of an underground temperature annul balance. Fresh air exchanges heat with the water containing renewable energy in an under-floor radiator to adjust its own temperature. The fresh air is released into the indoor through an under-floor air supply system, thus regulating comfort in an indoor environment. In addition, the annul power consumption of the comfort regulation system is no more than the annul power generation of solar cells on the roof of a building. In a word, buildings in the project succeed in utilization of solar energy, underground heat sink in summer and heat source in winter for anti-reason use and have achieved the goals of saving of energy, land and water along with building materials, of environmental protection and of pollution reduction."

High ambitions, no doubt. Actually, whether or not this building lives up to its environmental claims become quite irrelevant when confronted with the architecture and construction materials. Below are a few photos I took of the inside, and bear in mind that this building is built less than two years ago:

As an experiment to show that these energy-saving technologies are efficient, this building might be successful on paper. But the extraordinarily poor quality of design and materials completely undermines the possibility of convincing anyone that these techniques are compatible with ordinary construction procedures in China. Building it in the first place is not only a waste of money and materials, but a liability to the real research and work that is going on to find truly sustainable solutions to housing construction.

Practice what I preach

How do you work with a site without borders? How do you construct a body of knowledge from contemplating a line? How abstract or concrete is it?I am currently struggling with these questions, knowing that there is not one answer but endless possibilities. And that will always be our problem: There is never only one solution to a problem. Especially the problems we create for yourselves.

Ok, I don't think I'll get anything proper written at 1.30 with a blank mind. Alternating between autocad, rhino and illustrator isn't really the world's most stimulating activity. And I should get some sleep.

Architect (disambiguation)

trainride A week ago or so, I witnessed an atypical confrontation on the morning train to Copenhagen. I was sitting in the silent compartment, where "mobile phones be switched off and conversations kept to a minimum". As we were leaving Copenhagen Airport, a few people had unknowingly stepped into this silent zone and continued their conversation. An excentric Swedish lady in her 50's rises immediately and points out, rather indiscretely, that this is the silent zone and they should keep quiet, whereupon the young couple continue talking to each other, laughing about this surprising attack on their seemingly normal behaviour. The lady insists, and tells the young man to step out into the hallway, whereupon I hear from another party in the compartment (everyone is now following the intrigue with great interest): "It's not your fault, it's the architect's fault!" And then again, a few minutes later, when the young man comes back, blushed and angry, to pick up his girlfriend and baggage, I hear the same voice insisting that it is the fault of the architect that the signs are not clear and visible in the compartment.

I smile to myself. I find it amusing and satisfying that "the architect" is given such a significant role in this seemingly obscure matter. Maybe it's my Swedish context where the architect plays a very modest and excusing role in society that makes me delighted every time common people bring up the architect and his/her responsibilities, whether it is in good or bad terms.

There is, however, a deeper interpretation of this insignificant event. What is really the role of the architect? Why didn't they blame the train operator? The train crew? The graphic designer? Why was the architect suddenly given the responsibility for the environment to be clear and disambiguous?

Notes on the wall - figuratively

berlin-former_potsdamer_platz-1982 Welcome to my blog. It will be my personal notepad, hopefully a useful scrapbook where I map my thoughts on architecture and life. In that order. My previous blog followed my arrival and stay in Beijing in 2008, this one is thought to take a broader perspective. And I will be writing in a language which is not my mother tongue, so please overlook the linguistic shortcomings.