CHALK & POP

1. REMOTE DESIGN:

FROM PERIPHERY TO PERIPETY

Design is a tactical exercise of everyday survival. The ultimate aim of universal design is to (re)design our world and recover all endangered ecosystems characterised by motion, contestation or internal asymmetries in friction. Design is a radical, transgressive and transformative process‐led production. The design production in Chile is a battle done from scratch and ruled by peripety. It primarily employs intuition and improvisation.

The term “isolation” (or remoteness) implies a non‐place condition. Similar to the fictional narrative of “Robinson Crusoe”1 by Daniel Defoe (1719), the mind‐map of Chile is widely perceived as a fantastic remote “island” surrounded by the stateliness of the Andes Range; the dryness of the Atacama desert; the vastness of the Pacific Ocean and the wildness of the Strait of Magellan and Antarctica.

The historical oeuvre “Chile o una Loca GeografIa” by BenjamIn Subercaseaux (1940) is also a great homage to the imaginative topology of our country. In Chile isolation is the invisible force that triggers design creativity among designers.

1 Crusoe’s story telling is based on the story of a shipwrecked Scottish sailor named Alexander Selkirk, who was rescued in 1709 by Woodes Rogers’ expedition after four years on the uninhab‐ited island of Mas a Tierra in the remote Juan Fernandez Islands off the Chilean coast.

REMOTE

It catapults them out from being remote to universal. Remoteness means the power of making with less, a tactic for subsistence based on simplicity, lightness, compactness and portability. What utopia should we play instead?

universal

WOW

how far?

2. MAKING FROM REMOTENESS

Remoteness is the far side of utopia. In Chile designer are forced to work within the pre‐existence of economical constraints and appropriate techniques.

Most Chilean designers strongly refer to the cultural heritage in their artworks. They use local materials, particularly copper, tin, stones, wicker, papers and timber. Chilean designers are like magicians who learn themselves to create design from a reign of scarcity or precariousness.

Chilean inventiveness implies the use of astute tactics to remake and repurpose any product. It stimulates the exchange of creative knowledge and makes its distinctiveness both local driven but also worldwide recognizable, a design universally remote.

The MADE‐IN‐CHILE condition is mainly digital craftwork. Firstly designers create digitally and then produce the pieces using local materials and traditional manufacturing techniques, which also connect the work with the Chilean culture.

remake it!

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EXISTING EXHIBITION ROOMS

SELECTED EXHIBITION ROOMS - CHILE

NORTH

rooms for let

somerset at dask

momentum

busy traffic

3. THE UTOPIC BOX

Like in fictional literature, the narrowness of Chile offers the perfect scenic conditions for setting any utopian project. It is an imaginary long landform anchored in the confine of this planet. Geologically it is sculptured by the impacts of colliding natural forces. It travels between Heaven and Earth. Like many “ferias libres”1 in Chile, our space for display is represented by a box of curiosity, which is ready for taking fantastic travels between earth and heaven. It is a play‐place built to provide a forum for discussion, games and visions.

This exhibition is organised by the following themes:

A. PEOPLE Towards Digital Craftwork

b. EARTH The Power of Earth: Pottery and ceramics

c. MATTER Design by Remaking: Waste is more!

d. ECONOMY Design without Resources: Tinwork, wickerwork and paperwork techniques

e. WATER Water Making through fog collectors, water harvesting and irrigation systems

F. ENERGY Fat‐free Design or Designing without Calories

1 ‘Ferias libres’ or open‐air fairs are one of the best cases of everyday Chilean design. They have a pedestrian central passageway supported by lightweight portable tent‐like structures or mar‐quees alongside. These informal marketplaces are the key catalysts that activate the public and civic life of many neighborhoods or ‘barrios’ in Chile. Kite, S. Odgers, J. & McVicar, M. (ed.) ‘Econ‐omy and Architecture’ (2015). Suau, C. ‘The Pan American Highway: Informality Urbanism in Latin Ameri‐can Border Cities’, Routledge, New York, pp.175‐186.

comic

The exhibition is conceived as an interactive open comic book. Its array is made by sequential chalkboards that represent fantastic scenes in transformation.

Blank speech bubbles are well‐composed and distributed in all black panels usually through succinct narratives taken from selected themes and open dialogues. Visitors write and draw over each speech bubble freely. The key elements of this exhibition include blackboards; balloons or speech bubbles; text (lines and characters); and cinematic images.

PLOPbox-in-box

the guts

4. REMOTELAND: DESIGN

PRINCIPLES & ELEMENTS

This exhibition reflects on the design of the world rather that the world of design. It enables potential design for future social innovation. Therefore it exhibits design process rather than products made by young Chilean designers. It is a forum to stimulate idea‐making rather than product‐marketing.

Like an unfolded DIY petard or “guatapique” (Nicanor Parra, 1984)1, the Chilean exhibition consists of the core –the Island‐ and the chalkboard‐made envelope (perimeter Engaging Wall). REMOTELAND showcase is compact (35m2 room only). Its spatial concept is a box‐in‐box. It invites visitors to (1) draw, write, (dis)play and exchange ideas on design ethics rather than cosmetics and (2) to envision collaborative systemic design.

Like Robinson Crusoe’s story, this place is fantasyland. It is occupied by inventive and curious dwellers. Everybody becomes a designer in REMOTELAND. It is a free play‐place that transforms visitants in active players through a sensorial experience that connects ideas and representations. It repurposes the existing room walls to record people utopias!

1 ‘Guatapique’ is the best Chilean outdoor game ever! This DIY firework game is made for kids. It is a round‐shape small petard that blows up blowing when it is thrown against the ground. The in‐gredients are kite paper (3cmx3cm); a dry bean; and gunpowder: http://www.nicanorparra.uchile.cl/

ethics

Theme are projected on top of each black panel and changed randomly to allow cross‐dialogues between participants and subjects. Incomers take chalks and manifest their utopias in any theme‐related speech bubbles.

They are filled with spontaneous comic stories and each participant becomes a frame‐maker of never‐ending utopias. People’s changing stories will be photographically recorded, selected and released in our open source catalogue and various media.

REMOTELAND is also an open source catalogue available anywhere: www.utopiabydesign.cl The ENGAGING WALL is the utopian mural, a four‐side long blackboard‐ that wraps the existing room walls. It surrounds the central ISLAND‐CLOUD or social arena.

PLOP

illusions

let's chalk

chalks

pop-up holograms

hologram films

chalkboard

5. REMOTELAND:

DESIGN components

1. THE RACK

Suspended framework with rails and runners made of galvanised metal studs (C‐profile) to support the holographic projection films, projectors and lighting systems. Digital projects hangs on extendable ceiling mount brackets (telescopic).

2. THE CLOUD (Cinematic Cube)

This digital zone is animated with utopias, fantasies and visions in motion. It represents the world of ideas. The CLOUD explores the interaction between concrete and illusory spaces through the use of projection‐mapping apps shown on arenas and chalkboards. The ingredients are tablets, projection‐mapping apps, mobile projectors, and holographic projection films. The screening area consists of four holographic projection films (adjustable screens). It allows slide show, multiple screening or panoramic views during all events: launch party, award ceremony, lectures or workshops. The suspended top rack is made of galvanised metal studs where digital projectors and a remote sensor‐based box hang on extendable ceiling mount brackets.

rackcloud

3. THE ISLAND (Social Forum)

This performative space is organised in two zones that host lectures, seminars, workshops, screening, temporary/permanent display, and sonic events. Its surfaces are animated by an interactive and mapping‐made system based in digital projection. The arenas are made of plywood boards with woodprints. Comic books with blank speech bubbles are randomly placed. A projector beams its image onto the frame, creating the illusion of a printed page. When a visitant sweeps their hand across the projected image, a camera picks up the gesture and turns the page gaining a sensory experience of ‘touching’ an illusory book.

4. THE PATHWAY

Catwalk made of gentle ramps (1:20 slope) used for accessibility to THE ISLAND zone. Visitors make solitary walks along the parameter‐engaging wall.

islandpath

5. THE ENGAGING WALL (Utopian Mural)

The four‐side long blackboard covers the existing room walls. The 5‐meter‐height chalkboards are painted 100% black to (a) record people utopias in drawings and writings and (b) project digital imagery related to the selected design themes. Black‐painted plasterboards cover wall and opening to create the atmosphere of dwelling a camera‐obscura animation.

wall

axo-cloud 1

axo-cloud 2

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LOBBY

WEST WING GALLERIES

TO THE STRAND

THE STRA

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FOUNTAIN COURT

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WAY IN

WAY OUT

124



NORTH

CHALKBOARDPOP-UP SCREENbox

Pop!

THE ENGAGING WALL (Utopian Mural)

The four-side long blackboard covers the existing room walls. The 5-meter height chalkboards are painted 100%

black to record people utopias in drawings and writings and project

digital imagery related to the selected design themes.

THE PATHWAYCatwalk made of gentle

ramps (1:20 slope) used for accessibility to THE ISLAND zone

. Visitors make solitary walks along the engaging wall.

THE CLOUD (Cinematic Cube)

This digital zone is animated with utopias, fantasies and visions in motion.

It represents the world of ideas. The ingredients are tablets, projection-mapping apps,

mobile projectors, and holographic projection films. The screening area consists of four holographic

projection films (adjustable screens. The suspended top rack is made of galvanised metal studs where

digital projectors and a remote sensor-based box hang on extendable ceiling

mount brackets.

Black-painted plasterboards cover wall and opening to create the atmosphere of

dwelling a camera-obscura animation.

Digital projects hangs on extendable

ceiling mount brackets (telescopic).

THE ISLAND (Social Arena)

This performative space is organised in two zones that host lectures, seminars,

workshops, screening, temporary/permanent display, and sonic events. Its surfaces are

animated by an interactive and mapping-made system based in digital projection. Comic

strips with blank speech bubbles are placed. A projector beams its image onto the

frame, creating the illusion of a printed page.

‘ ’

When a visitant sweeps their hand across the projected

image, a camera picks up the gesture and turns the page gaining a sensory experience of touching an illusory book.

let's chalk!

WOW

THE RACK

Suspended framework with rails and runners made of galvanised metal studs (C-profile) to support the holographic projection films, projectors and lighting systems.

west wing galleries * somerset house plan

the island(Social forum)

1 THE RACK

2 THE CLOUD (Cinematic Cube)

3 THE ISLAND (Social Forum)

4

THE ENGAGING WALL (Utopian Mural)5

THE PATHWAY

1

2

3

4

5

1. THE utopian mural

2. folded chalkboard

3. room

exploded inner space

the island in motion

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LOBBY

WEST WING GALLERIES

TO THE STRAND

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WAY IN

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NORTH


Pop!














mount brackets.











‘ ’



let's chalk!

WOW

THE RACK




1 THE RACK



4


THE PATHWAY

1

2

3

4

5



3. room


chalk &

talk

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LOBBY

WEST WING GALLERIES

TO THE STRAND

THE STRA

ND

SOU

TH W

ING

FOUNTAIN COURT

X

WAY IN

WAY OUT

124



NORTH


Pop!














mount brackets.











‘ ’



let's chalk!

WOW

THE RACK




1 THE RACK



4


THE PATHWAY

1

2

3

4

5



3. room


the box

1110

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LOBBY

WEST WING GALLERIES

TO THE STRAND

THE STRA

ND

SOU

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ING

FOUNTAIN COURT

X

WAY IN

WAY OUT

124



NORTH


Pop!














mount brackets.











‘ ’



let's chalk!

WOW

THE RACK




1 THE RACK



4


THE PATHWAY

1

2

3

4

5



3. room


cloudzone

across section





THE RACK

Suspended framework with rails and runners made of galvanised metal studs

(C-profile) to support the holographic projection films,

projectors and lighting systems.







THE PATHWAYCatwalk made of

gentle ramps (1:20 slope) used for accessibility

to THE ISLAND zone. Visitors make solitary

walks along the engaging wall.


This digital zone is animated with utopias, fantasies and visions in motion. It represents the world of ideas. The

ingredients are tablets, projection-mapping apps, mobile projectors, and holographic projection films.

The screening area consists of four holographic projection films (adjustable screens. The suspended

top rack is made of galvanised metal studs where digital projectors and a remote sensor-based

box hang on extendable ceiling mount brackets.


image, a camera picks up the gesture and turns the page gaining a sensory experience of ‘touching’ an illusory book.





Pop!

let's chalk!chalk & POP!

WOW

?

CHILE: THE UTOPIA OF REMOTENESS chalk&pop<UTOPIAN ALPHABET>

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CHALK & POP