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idee/inspiration für das “Ergebnis”
” Charlie Burns is 95 years old. He can be seen sitting in his car on Bacon Street watching the world go by pretty much every day. He has been here since 1915 and has never left. their business is very much a family run business and is still here today, run by his daughter Carol. He is a very well known and respected man in the area, having spent time with the likes of the Kray twins, Libererace… …and Judy Garland during his time as president of The Repton Boxing Club, aswell as running The Bethnal Green Mens Club. He even had a private audience with the Pope due to all the charity work he done in the area”.
“The people who design the streets in Hong Kong ignore the need for seating areas, so people in the neighborhood put some furniture they don’t need to good use”
Everything is designed according to a standard formula that doesn’t take into account the unique qualities of a given area. But in traditional urban fabric, “the configuration of space was developed gradually by people through time,” she says. “It allows [people in] the neighbourhood to express the way they want the space to be.”
One thing the pair noticed when studying abandoned furniture was the type of person who uses it: old. With the notable exception of teenagers, says Chan, young people just don’t engage with the city in the same way. “Maybe they like staying at home because they pay all their salary towards it,” she says. “I’m like an old guy — I like to take a newspaper or some food and enjoy the wind and air.”
“Mongkok might be one of the world’s most crowded places, but sometimes all you need to do to escape is to make a right turn down a quiet alleyway. That’s what I discovered when I was walking from home to the Flower Market the other day. Instead of taking the usual route along Sai Yee Street, I ducked into the laneway that runs behind it and discovered a kind of parallel university of greenery, graffiti and informal living space.
(…) Halfway down the alley is a Chinese altar, some cupboards and a rack of clothes. I’m guessing it’s used by the street sweepers who work around here. Inside the altar are cards representing the various Chinese gods; several lottery tickets are taped to the side. Ash from spent joss sticks covers the altar floor”.
Cas Oorthuys – Station Square, Central Station, Amsterdam, 1965
“In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province”.
From Jorge Luis Borges, Collected Fictions, Translated by Andrew Hurley Copyright Penguin 1999 .
I. The city as story
_ ”Memory is redundant: it repeats signs so that the city can begin to exist ” (Calvino 1972)
_ When moving through a city we are surrounded by places which have stories to tell. (…) The city is in a constant state of transformation, of change, and its places and buildings reveal to us what it used to be and what it is about to become.
_ Wim Wenders describes how the identity of a place is primarily a feeling of belonging produced out of each person`s memories. The places “talk” to us when they manage to create a connection to our experiences and memories.
_ How can a place tell a story?
IV.The architect as reteller
_ Everyone who uses a space, changes its story a bit, every new building changes the story about the city a little. The city and its stories can never be completed, it is always retold and it keeps on changing with the narrators, the users, and with ongoing processes and forces outside its realm. The dynamic state of the city is a challenge for those who take on the task to tell the new stories about it. Thus, the role of the narrator is not necessarily to tell a finished story about a place, but to create conditions for the people who live in the city to develop new uses, leave new traces and signs and take part in telling the future stories of the city
I. Reading the city
_ “there is no one narrative of a city, but many narratives construct cities in different ways highlighting some aspects and not others” (Bridge/Watson 2000). How we imagine the city will thus depend to a large extent on what our interest in the city is and what we want to know about it (King 2007).
_ the city as a collection of stories.
II. Maps and mapping
_ “Despite the common knowledge that the city is socially heterogeneous and an uneven space that is difficult to represent, it is often neutralized and reduced to a map” (Çinar/Bender 2007)
_ The map, and also the aerial photography, gives a description of the world as seen from above, and thus offers important knowledge about the dimensions, build-up and relationship between the city’s physical elements, such as streets, squares, parks, buildings etc. However, it does not capture the atmosphere of a place, and does not record the numerous stories which lie within the physical, tangible reality it describes.
III. Cognitive mapping and dérive
_ cognitive mapping
_ Dérives involve playful-constructive behaviour and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.” (Debord 1958). Through recording his aimless, dream-like walking through the streets of Paris, Debord made a series of “psycho-geographical” maps reflecting subjective perceptions of the everyday condition of the urban fabric. The resulting map was hence a cognitive one, rather than a mimetic description of the city (Corner 1999). The situationists, through this preference for a cognitive approach rather than a positivistic one, were making an attempt to return the map to the everyday (Corner 1996).
Just what is psychogeography, in a nutshell? “Break it down into its two parts,” she says. “It’s the psychological and the geographical. It’s about how we’re affected by being in certain places — architecture, weather, who you’re with — it’s just a general sense of excitement about a place.”
“When you remake your environment, or find wonderful things in it,” he says, “it breaks you out of the machine” Dave Mandl
The word psychogeography was coined in the late 1950s by the letterists and the situationists — French artists and social theorists who adopted the playful-serious agenda of the dadaists and surrealists in an effort to break through the crust of postwar conformity. But modern psychogeographers are equally influenced by earlier strains of urban adventure, including the 19th-century concept of the flaneur, the idle man-about-town who observed and commented on the urban scene. The most flaneur-like style of psychogeography, of course, is algorithmic walking — that “first right, second left” approach.
Our consciousness of what was important and unimportant, beautiful and dull, in a small town had been completely altered. Our psyches had a new relationship with geography.
by Joseph Hart
July / August 2004