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134 and creative innovation that inserts a new ecological calculus to urban operational strategies, and approaches to dealing with shifting conditions of marketplace forces that affect spatial manifestations in the metropolitan landscape. Neutelings has written: To accept a model of a “field in permanent evolution… we should aim to strategically position new programs so as to create a dynamic equilibrium that enhances the quality of the city as a collage of fragments “ [Neutelings, 1994: 60]. A landscape shaped by culture. Fig. 04: Shigeru Ban Nomadic Museum , Mahattan’s Historic Pier 54, Architecture, 1999. To extend the line of investigative inquire, what are the transformative effects of temporary insertions on the city? How can the urban void be spatially as well as programmatically appropriated beyond the traditional impulse of beautification, can the experience and performance of the city be enhanced? Projects like Shigeru Ban’s Nomadic Museum on Manhattan’s historic Pier 54 [1999], [Figure 04]; and West 8’s Schouwburgplein in Rotterdam, Netherlands [1990-97], [Figure 05] are perfect translations of insertion scenarios that reflect the nimbleness and responsiveness that future urban ecologies require. Nomadic Museum is a landscape insertion with a dynamic program in a temporary location, while Schouwburgplein is a permanent urban infrastructure design to accommodate a succession of “dynamic temporal” activities ranging from skateboarding events to flee-market transaction – and the performance-art of social networking in both real and virtual space. In each scenario the insertions are objects of art – in both their technical execution and material translation, but the genius of the work lays both in its ability to catalyze transformative shifts within each urban condition that affects normalized programmatic components – through a kind of interruption, disturbance, or transposition, which realigns the flow of transaction between normative and non-normative spatial and operational conditions within a specific urban context. The act of inserting – as in conceptual art – propagates new relationships and pollinates a city’s image and aesthetic quality through imaginative speculation, global imagery and visual culture. Projecting the global in the local and the familiar in the unfamiliar. Sophie Rousseau has written: “ … After all, the triumph of television has made our appetites for images grow enormously. Anything that cannot be made into an effective picture does not have a chance on the international market. New technologies have reinforced this trend even more” [Rousseau, 2002: 88]. Notion of nomadic or peripatetic museum implies an inherent transience; portability, mobility, adaptiveness, The dynamism of the city –as a topos of negation– is fundamentally about disturbance and resistance, which takes place within and between the figures of architectural follies. The city is a “counter-landscape/experience” to the outer-limits of its edgescape; the naturalism and horizontality of the rural flatlands; and by its very nature a less contested landscape. Thus, the phenomena of reading the landscape and [re]casting conditions of spatiality, presents a complex but fascinating set of situations; and in this speculation, lies the concept of temporality as an associated element of spatiality and materiality in the medium of landscape. This arena of speculation is predicated on the assumption that temporary landscape insertions alter preexisting conditions of place and can open new avenues for conceptualization of adaptive urban realities, and potentially more visionary conception of landscape. Our perceived need for stability and permanence, bring the discussion of temporality to the [fore]ground – an idea that merits greater consideration in time of great uncertainty within the framework possible futures and future possibilities. Fig. 05: West 8’s Schouwburgplein/Theatre Square, Rotterdam, 1997.
135 References Benitez, C. P. [2007]. Urban Landscape: New Tendencies, New Resources, New Solutions. Barcelona, Loft Publications. Corner, J. (1992). Representation and Landscape: Drawing and Making in the Medium of Landscape/ World & Image, Vol. 8, No. 3, July-September. London, Taylor & Francis Ltd. Girot, C. (2006). Vision in Motion: Representing Landscape in Time in The Landscape Urbanism Reader. Ed. Charles Waldhiem. New York, Princeton Architectural Press. Jacobs, J. [1962]. The Death and Life of Great American Cities, in Theories and Manifestoes of Contemporary Architecture. Ed. Charles Jencks and Karl Kropf. England: Wiley-Academy. Kite, S. [2003]. Landscape of Negation; Landscape of Virtù: Adrian Stokes and the Politico-ethical Landscapes of Hype Park and Italy in Landscapes and Politics: Deterritorialisations. Revisioning. Ed. By Mark Dorrain and Gillian Rose. London, Black Dog Publishing. Mostafavi, M. [2003]. “Landscapes of Urbanism” in Landscape Urbanism: A Manual for the Machinic Landscape. Ed. Moshen Mostafavi and Ciro Najle. London, AA Print Studio. Neutelings, Willem Jan [1994]. The Periphery, Architectural Design [AD], London, Academy Group Ltd. Prix, W. [2003]. “b5 2 c6: Public Space” in The State of Architecture at the Beginning of the 21st Century. Ed. Bernard Tschumi and Irene Cheng. New York, Monacelli Press. Richardson, P. (2007]. XS: Small Structures and Green Architecture. New York, Universe Publishing/Rizzoli International Publication, Inc. Rousseau, Sophie [2002]. Schouwburgplein: Mahr Bild als Platz?/ Schouwburgplein: more of an image than square? in Plätze Urban Squares [Topos] Ed. Robert Schäfer. Basel, Birkhäuser Publishers. Sartre, Jean-Paul [1994] Being and Nothingness. New York, Gramercy Books. Subjic, D. [1992]. The 100-Mile City. New York, Harcourt & Company. Swafflied, S. [2002]. Theory Landscape Architecture: A Reader. Philadelphia, University of Pennsylvania Press. Trancik, R. [1986]. Finding Lost Space: Theories of Urban Design, New York, Van Nostrand Reinhold. Tschumi, B. (1998). Architecture and Disjunction. Boston, MIT Press. Moore, R. [1999]. Vertigo: The Strange New World of The Contemporary City, London, Gingko Press Inc. Woods, P. [2002]. Conceptual Art: Movements in Modern Art. New York, Tate Publishing/Tate Enterprise Ltd. Papers
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Page 88 and 89: 86 Endnotes [1] Anyone interested i
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