Projcet 1 :

T E M P O R A R Y A U T O N O M O U S

ZONE

TEMPORARY AUTONOMOUS ZONE

“Spatiality is not only a product but also a producer and reproducer of the relations of production and domina-tion, an instrument of both allocative and authoritative power” (Soja, 1985)

“Space has the property of being materialised by a spe-cific social process to act back upon… that process. It is, therefore, simultaneously material object or product, the medium of social relations, and the reproducer of material objects and social relations” (Gottdiener, The Social Production of Urban Space, 1985)

“The sea-rovers and corsairs of the 18th century created an “information network” that spanned the globe: prim-itive and devoted primarily to grim business, the net nevertheless functioned admirably. Scattered through-out the net were islands, remote hideouts where ships could be watered and provisioned, booty traded for lux-uries and necessities. Some of these islands supported “intentional communities,” whole mini-societies living consciously outside the law and determined to keep it up, even if only for a short but merry life.” (Bey, TAZ, 1985, available online at: http://www.hermetic.com/bey/taz_cont.html)

INTRODUCTIONDesign plays an important role in the definition and control of space. The ‘architecture’ of a space – the concrete division of empty space through walls, doors, corridors etc. – acts to control and define our move-ments within space. However, architects are not the only ones to yield this power. Both users and designers of space and things actively constitute the meaning of space. The design and arrangement of artifacts within space also play an important role. This brief aims to further your understanding of this dynamic.

In this project you are asked to analyse, deconstruct and re-construct the powers at play within space.

ANALYSEFirst you need to select a specific space in London, the site can be of your own choosing – but be aware that you are going to need to act* within the space. After selecting your site, your first task will be to carry out a thorough site analysis. Observe and analyse your space to get a complete understanding, try to investigate your site from different viewpoints, using many different methods (an example of one such method can be found below):

Observe the street, from time to time, with some concern for system perhaps. Apply yourself. Take your Time. Note down the place: the terrace of a cafe near the junc-tion of the Rue de Bac and the Boulevard Saint Germainthe time: seven o’ clock in the eveningthe date: 15 May 1973the weather: set fairNote down what you can see. Anything worthy of note going on. Do you know how to see what’s worthy of note? Is there anything that strikes you?Nothing strikes you. You don’t know how to see.You must set about it more slowly, almost stupidly. Force yourself to write down what is of no interest, what is most obvious, most common, most colourless.[Georges Perec, Species of Spaces, 1997:50]

Please remember to record (and design) your observa-tions, as they will form part of your submission.

DESIGNOnce you have understood your space, you need to design something to give momentary release from the control, power and politics at play. In the early stages of your de-sign process, you need to define what ‘affect’ you aim to achieve – what do you wish to change in your space? This is an important part of the brief, as you will be judged against this aim.

IMPLEMENTOnce you have designed your spatial intervention, you need to install it in your space. Please remember to pho-tograph your space BEFORE and AFTER the event – this needs to be presented during your crit.

Your presentation should include your site analysis (ob-servations, methods and processes, deconstruction), your design intention – what are you changing and why, your idea and design development, and your outcome (in the form of BEFORE and AFTER photographs). The presen-tation should last 7 minutes.

TIMETABLE29/sep/2009 – Lecture and Brief29/oct/2009 – Present / Crit

*PLEASE REMEMBER: DO NOT PLACE YOURSELF OR OTHERS IN DAN-GER! DO NOT BECOME A SECURITY RISK.

NB: Thanks to Matt Ward Laura Potter and Rosario Hurtado for help in the development of this brief

1. Point of critical practice : What is my critical practice for

What is the what?

What is the market for whom?

What is is?

2.Mapping the Critical Practice Terrain - working out where to act

People in the market

‘Spitalfields market’

respondin its environment

BuyerSellerVisitorTravellerMediatorVendorPassengerMarcket-researcher

3. Critical Practice in different contexts - Academic discipline or Professional Practice

4.Deploying appropriate research methods

Showing = Hanging

Displaying = Hanging

A object is being. = A product is hanging.

Umbrellar which seems well-designed from view point of designer. “ ”

5.Type of research forms and positions;

6.Processes of your design practice

Interview with owner in a shop

“It must be diplayed......”“Hanging is the best way......”

To respond of practical phase of which is in the environment,using a magent at the edge of a object, it attracts into magnetic material in the environment.

TheyI

7.Representation

It makes people paying their atten-tion more on it succesfully.

tried to be hung on a non-magnetic material by throwing one magnet oppsite side.

“The installation of the umbrella makes public to feel unusual and extraordinary.”