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?
meaning has the interactivity for the project? What shall the Interaction
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.