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Metáfora formal en el Centro Noordung
El Centre Noording -Centro Cultural de Tecnologías Espaciales Europeas (KSEVT)- es un edificio que complementa las actividades culturales y sociales del Centro de las Artes de Vitanje, en Eslovenia.
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#Bevk Perovic#Centre Noordung#Dekleva Gregoric#Herman Potocnik#KSEVT#Marcelo Gardinetti#Miran Kambič#Ofis#Sadar+Vuga#Tomaz Gregoric
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AA Visiting School Khartoum – Sudan
Architectural Association News: AA Visiting School Khartoum, Sudan, London Architecture Education, Design
Architectural Association Visiting School Khartoum – Sudan
Updates for the Architectural Association, Bedford Square, London, England, UK
21 Apr 2021
AA Visiting School Khartoum – Sudan
Application is now open – check this link for more info:
AA School of Architecture – Academic Programmes
Full and partial scholarships are available.
The School’s agenda explores the intersection of climate change and heritage whilst reflecting on new modes of representation. The continuous reshaping of the flow of rivers is both a cause and effect of human patterns of behaviour that have reshaped settlements at its shoreline throughout history. Today the course of the Nile is being altered once more through new urban developments and climate change posing a threat to sites adjacent to its riverbed. The School studies the challenges posed by climate change through the chosen site at Meroe and the ongoing alterations of water passages. Participants will engage with invited anthropologists, architects, artists, bioarchaeologist, community initiatives, and historians through lectures, seminars, studios and workshops.
The School’s output shall be exhibited in various galleries along the Nile: Khartoum (House of Heritage), Addis Ababa, Asmara, Bujumbura (TwoFiveSeven Arts), Cairo, Dar es Salaam (Nafasi Art Space), Juba, Kampala (Afriart Gallery), Kigali, Kinshasa, and Nairobi
The other spaces shall be announced soon
School directors: Suha Babikir Hasan and Nuha Eltinay
Teaching assistant: Marwah Osama
Invited guests: Alexandra Riedel, Cave Bureau, Grau, Jane Humphris, Lucia Allais, Michael Mallinson, Iwona Kozieradzka-Ogunmakin, Suzan Khalil Mohamed Sayed (Nafeer), Solange Ashby, William Carruthers
Other speakers shall be announced soon
AA Visiting School Khartoum – Sudan images / information received 210421
Architectural Association (AA) School of Architecture, 36 Bedford Square, London WC1B 3ES, UK
photo © Adrian Welch
AA School Events
AA Events : current events at Architectural Association – external link
Phone: +44 20 7887 4000
Location: 36 Bedford Square, Fitzrovia, London WC1B 3ES, UK
London Architecture
London Architecture Design – chronological list
London Architecture Tours
London Architecture
London Architect Studios
Bartlett School Exhibition: London School of Architecture
AA Visiting School nanotourism, Slovenia
A project called Gastronomy at KSEVT, which was developed as part of the AA Visiting School nanotourism in Vitanje, 2016.
AA Visiting School nanotourism
AA Milan Summer School, Italy
‘nature does not exist’ ecoLogicStudio @ Cornell University:
image : student_Sonny Eric Xu
AA Milan Summer School
Visiting School – organized by Architectural Association with ecoLogicStudio in Milan, Italy
ARCHIZINES
photograph : Sue Barr
AA School Exhibition
Concrete Geometries
Symposium ‘Concrete Geometries – Spatial Form in Social and Aesthetic Processes’ which will take place at the Architectural Association on 15th October 2010 for possible inclusion in your calendar.
Architectural Association (AA) School of Architecture – Concrete Geometries
AA Projects Review 2017
Website: Visit London
Charles Jencks
photo from The Architectural Association School of Architecture
Comments / photos for the AA School Events – AA Visiting School Khartoum – Sudan page welcome
Website: Architectural Association School of Architecture
The post AA Visiting School Khartoum – Sudan appeared first on e-architect.
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KSEVT Hotel allows guests to sleep as if they were in space
This hotel allow people to experience the feeling of sleeping in the space in zero gravity, providing people with a totally new experience.
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Expanding KSEVT
AA summerschool Vitanje, mentor: Aljoša Dekleva, Michael Obrist, in collaboration with Gregor Mljač, Danica Sretenovic, Nuša Zupanc, July 2015
awarded AAVS scholarship
... It is important to be aware of the fact that for a architecture of quality an entirety is a necessity, as it was, as it will be. When we look into space, we look into the past, the past that takes place during our present and guides us on the way to future. It represents the time which in our dimension may not exist, but is present here and now.
The scope of the project Expanding KSEVT does not place KSEVT in context, because this aspect is already done by its materialization, but assists the village of Vitanje to adapt to new context - context of Vitanje with KSEVT. Current tourists are only tourists and villagers, villagers only. Their interaction does not exist. KSEVT is presented solely and only as a sculpture, which creates a surplus of aesthetic or artistic work, with some useful value (acting as a “duck”). Expanding KSEVT is based on a strategy as an orbital system defined on the basis of time, not space, which turns tourist into the researcher, and after seeing the exhibition in KSEVT it takes him around Vitanje and thus prolongs the duration of the visit. Offers which KSEVT as a facility is lacking, is the experience offered by the universe. There is no desire to put something from outer space to Earth, but to feel the universe on the surface of the Earth. This gives us a sense of isolation and distance even when on nearby hills.
The cells placed there host a play of light at dawn and provide a sensation of multiple sunrises. Further in space, the same experience is available. An astronaut sees sixteen sunrises during one day in space station.
The problem of large distance between Vitanje and KSEVT can be illustrated by two different satellites, that never met. The key in applying the strategy which alters thinking and measures the effect in social approach to KSEVT is dealing with the distance. The workshop held in KSEVT offered a sleep over for local children. It was the beginning of strategy for it made children get closer with the culture in the universe and what KSEVT represents in that context. The stereotype was broken for KSEVT stopped being an institution with closed doors. Still so small, however, the sleep over was the first step to the possible solution of KSEVT’s integration into environment. Consequences of learning, internalisation and co-living with “new” Vitanje after KSEVT represents the first project goal, which brings together Vitanje anf KSEVT as a whole. It is perfectly represented in direct link between tourists and locals (children), where tourist becomes more than a tourist - a researcher. Children are offered a new view of the world, the world beyond the borders of Vitanje.
Gregor Mljač
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...Space Habitable Wheel ... . . photo #tomazgregoric ... . #noordung #spacecenter #habitable #spacewheel #architecture #museum #culturalcenter (at KSEVT)
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Underwater sound pollution and jellyfish communication. An interview with Robertina Šebjanič
Robertina Šebjanič, Aquatocene / Subaquatic Quest for Serenity
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
Robertina Šebjanič is one of those rare artists who brings as much attention to the aesthetics and concepts behind her artworks as to the meticulous scientific research that sustains them.
Her installations, sound experiments and performances invite us to reflect upon our relationship as human beings with the rest of the world. Over the past few years, she has been collaborating with scientists, hackers, thinkers and other artists to explore themes such as interspecies communication, underwater sound pollution, the possible coexistence of animals and machines, chemical processes, the origin of life, etc.
Summing up her portfolio, awards and activities would be a lengthy affair so i’ll just highlight some of her latest achievements…
In 2012, Šebjanič organized Interactivos?’12 Ljubljana: Obsolete Technologies of the Future at LJUDMILA digital media lab where she was programme manager before leaving to work as a mission and programme developer at KSEVT – Cultural Centre of European Space Technologies (a role she kept until July 2014.)
Robertina is member of Theremidi orchestra and Hackteria Network. She’s also one of this year’s SHAPE Platform artists.
Robertina has been performing, developing, presenting and exhibiting her work all over the world over the past few years. I interviewed her just as she was back from a micro residency at Siva Zona / gray) (area on the Korcula island in the Adriatic and preparing for a residency at Arte+Ciencia at UNAM in Mexico. But before you read any further, please listen to the album that accompanies her project Aquatocene – Subaquatic Quest for Serenity. It’s an otherworldly and moving introduction to her research into the underwater soundscape.
Robertina Šebjanič. Portrait by Bostjan Lah
Hi Robertina! The Aquatocene – Subaquatic Quest for Serenity project features underwater sounds of the ocean that you recorded using a hydrophone across different seas. First of all, that sounds like an amazing adventure. Which seas have you visited and how different are the sounds from one place to another? To most of us, the sea seems to be a mysterious, silent place so how loud are the sounds you recorded?
I have spent a lot of time in the Mediterranean, the Adriatic, the North Sea, and the Atlantic, and I have always brought my hydrophones with me. The dive into the underwater sonic environment really surprised me. For most people being next to the sea, on the shore, triggers a sense of serenity, and it was the same with me; but that changed when I started to record underwater sounds. “The serenity” was suddenly strongly challenged because of vivid aural underwater scape. Sound is travelling across the water much faster, and also wider, than in the air, which is also one of the reasons why sound is the main communication tool for many species. The light is only on the very surface of the sea but in deeper areas the light disappears and gradually turns into darkness. The human sonic presence such as boats and sonars is extremely disturbing for animals when they navigate in the ocean: the invasive sounds mostly confuse them and overtake their communications space.
My interest for the underwater sound began during my residency in Izmir in 2014, where I tried to record sound of swarm of jellyfish in the bay of Izmir. At the beginning I was irritated by anthropogenic sounds which have been present in most of the recordings. But the more I recorded and listened to the material, the more I realised that these sounds are today’s sonic reality of the ocean and that there is not much places that are free of man-produced sounds. Around the shores, a presence of sound pollution, produced by artificial interventions, is very common and therefore the soundscapes are changing, as there is less and less marine life.
Field trip of hydrophone recording during the workshop Pikslo deep diving at Piksel festival, Bergen 2015
And what can you hear under the water? What kind of creatures and phenomena make noise down there?
The sounds of marine animals and their bioacoustics are amazing to explore and now I am already able to distinguish between different creatures and organisms.
Aquatic soundscape is very rich because it is full of sounds of mammals, fish and other sea organisms which communicate with and sometimes even sing to each other. For me, it is very interesting how different environments and ecosystems have different characters; so after getting familiar, these spaces become similar to city or forest.
During my recording sessions, I often come across some of the loudest animals in the sea such as shrimps (especially when they are in big numbers). For instance, I have been gathering sound recordings of shrimps in the fjords of Norway during the Pikslo workshop that I conducted together with my colleagues Slavko Glamočanin, Kat Austen and Gjino Šutić, which was part of the Piksel festival in Bergen. Furthermore, I have recorded sounds of sea urchins on the shores of Roscoff, France. I also have a lot of material from the Mediterranean sea with sounds of the swarms of jellyfish in Izmir, Turkey and the Adriatic sea: Dubrovnik, Croatia, Koper, Slovenia and latest recording of this year’s micro-residency with Annick Bureaud at Grey) (Zone gallery at Korčula Island in Croatia.
Field trip of hydrophone recording during the workshop Pikslo deep diving at Piksel festival, Bergen 2015
Field trip of hydrophone recording during the workshop Pikslo deep diving at Piksel festival, Bergen 2015
During the recording sessions and field trips, I was surprised again and again by how omnipresent the noise produced by man-made technology is in the sea. Motors boats, ships, sonars and oil platforms are crucially shaping and rapidly changing the soundscapes of the oceans because the quantity of marine traffic (more than) doubled in the past fifty years. Moreover, increased use of sound cannons (used for oil exploration) also creates huge disturbances in fragile marine habitats.
These aggressive soundscapes have led to a number of consequences such as the beaching of whales and the Lombard effect where some species become louder to overcome background noise, thereby gradually increasing sound intensity in the entire habitat. There have been many studies and initiatives that try to point out these issues and invite us to rethink the nature of humankind’s industrial endeavour.
The technology that people use in marine habitats is certainly invasive and I deeply hope that the future development will be more oriented towards less invasive technological equipment for travelling or for using the world’s oceans and seas.
vimeo
Robertina Šebjanič, Aquatocene / Subaquatic quest for serenity
Could you tell us about the instruments you used to pick up those (under)water sonic environments?
I mostly use hydrophones and preamplifiers, be it professional equipment or my own, self-produced, DIY hydrophones. So my practice ranges from building equipment, to recording underwater sounds, to conducting workshops. I believe that with this kind of personal touch, having small groups during workshops, it is possible to bring pressing issues of ecology closer to the public.
Field trip of hydrophone recording at micro-residency at Grey) (Zone gallery at Korčula Island in Croatia
Field trip of hydrophone recording at micro-residency with Annick Bureaud and Darko Fritz at Grey) (Zone gallery at Korčula Island in Croatia
The work is titled Aquatocene which of course made me think of ‘anthropocene’. Could you explain the rationale behind this title Aquatocene? And what is the influence of man on this (under)water sonic environments?
The name Aquatocene is a direct paraphrase of the term Anthropocene (as is lately referred to the geological stage of our planet). The full title of the work is Aquatocene / Subaquatic Quest for the Serenity; however, with this project I do not try to illuminate the main issue of the impossible quest on how to find a sound free environment for the marine life. The name was also inspired by Donna Haraway’s latest book, where she writes about Chthulucene and Capitalocene, by the texts of Timothy Morton, and by some other contemporary writers as well as colleagues from the art & science scene.
During the presentation of Aquatocene (as a performance or installation; the project has various possibilities of presentation), the audience is immersed into soundscapes which are a mixture of diverse materials I recorded in specific marine locations. These are therefore my interpretations of sonic environments – the way that I experience them on specific locations. The final sound compositions are locative and time-determined situations that are reflecting everyday situations in particular locations. The compositions are mixture of animal sounds, water currents and noise of human interventions.
Robertina Šebjanič, Aquatocene / Subaquatic Quest for Serenity. Performance at Kiblix festival, with invited guest Miha Ciglar and Acouspade™Directional Speaker. Photo by Kibla
Robertina Šebjanič, Aquatocene / Subaquatic Quest for Serenity, audiovisual performance and lecture by Robertina Šebjanič at Kosmica festival, at Laboratorio Arte Alameda at Mexico City. Photo by Kosmica archive
The human impact is enormous. It is the direct consequence of huge production and consumption, in the industries such as fishery, marine farming, oil platforms, and marine traffic. I believe that now is a good moment for a profound introspection that would eventually lead to environmentally friendlier marine technologies; because the huge environmental problems that humankind is facing nowadays are complex combinations of socio-political, economic and scientific developments.
Your project Aurelia 1+Hz/ proto viva generator “addresses possible coexistence of humans, animals and machines.” Aren’t we, humans, already cohabiting with machines and animals? What does your project bring to this coexistence between different species and entities? How different could this coexistence be be from what is already out there?
Before I start talking more specifically about Aurelia 1+Hz / proto viva generator I would like to point out that the project, which has been in development for 5 years consists of two parts; the performance Aurelia 1+Hz / proto viva sonification (2015) looks into a new critical redefinition of social values and new attitude towards interspecies cohabitation and is presented as a audio-visual performative act, where I perform together with moon jellyfish; the installation Aurelia 1+Hz / proto viva generator (2014) on the other hand deals with bio-policy of prolonging human life and with the relationship between man and animal.
vimeo
Robertina Šebjanič, Aurelia 1+Hz – video with voice over
As we are ever more surrounded (and also enhanced) by technology, it gradually becomes so ubiquitous that its presence becomes normalised to us. The work Aurelia 1+Hz / proto viva generator, addresses the coexistence of human animals and machines in this “new normal” situation and raises a number of questions such as what kind of future scenarios are awaiting us in the fields of medicine, in particular prolonging our life span with the use of the biotechnological inventions.
The project uses living organisms to process “aliveness” of a simple robotic machine or better said mechatron. In the installation, the two entities – jellyfish and robot – are physically separated and there is a strong digital dependency between them.
Improved living conditions in a technologically advanced world enables us to live significantly longer than in the past centuries. But the question is how this coexistence and relationship is going to be shaped in the future?
Nowadays there are double moral standards regarding the animals when we are thinking and talking about their rights. The species / organisms which are used by humans for purpose of hyper industrialisation and for our consumption are not treated in the same way as the ones that we have chosen to be our pets. I could claim that we co-evolved with them as for instance with dogs and cats.
vimeo
Robertina Šebjanič, Aurelia 1+Hz / proto viva generator. Installation at kapelica gallery
With the progress of biotechnology we manage to prolong our life expectancy and we are constantly aware of the properties of organisms that have adapted during the evolution process. For instance jellyfish is used as a model organism in biology and science to explore their regenerative possibilities (Hydras and Axolotls are also used for this purposes).
This kind of knowledge could enrich our bodies, help us heal disabilities and also help us live longer and more prosperous life. But there is another side to it: how long is long enough? The answers to this question appear to be in the hands of the cosmetic and pharmaceutical industries which use their (bio)political power and their capital to divide societies into those who are able to prolong their life, and those who are merely trying to survive. Today, the historical tactics to ensure our cultural immortality are contrasted with biotechnological possibilities of actually designing and controlling life. There is a need and demand for new critical redefinition of social values.
Robertina Šebjanič, Aurelia 1+Hz. Photo by Hana Josic
The work features jellyfish. What have you learnt from working with these aquatic animals?
Engaging with different biological entities always inspires me. I think it is very rewarding to get to know another species that lives in totally different habitat than I do, for instance. By observing and following jellyfish in the sea, I started to understand better the complexity of water habitats, as well as their behaviour. Seas and oceans are huge territories that are still not sufficiently researched and I hope that our relations towards this issue will change in the future. With jellyfish I got closer to researching complex ecological situations that are occurring in the oceans and seas. Phenomena such as microplastic, sonic pollution, warming up of the oceans is happening here and now, thus it is not something that might occur in the future.
Robertina Šebjanič, Aurelia 1+Hz / proto viva generator. Photo by Miha Fras
Robertina Šebjanič, Aurelia 1+Hz / proto viva generator. Photo by Miha Fras
I’m really intrigued by the robot in the installation. It doesn’t look like your typical robot. What guided its appearance? What does it do exactly? How does the machine ‘relate’ and ‘interact’ with the jellyfish?
The “robot” is basically a mechatronic sculpture, a simple working machine that is moving in correlation with the movement of the jellyfish; if the jellyfish stops moving, the robot doesn’t work. The movement of the jellyfish is recorded in real time and is then translated into the movement of the machine. The installation is presented in a dark space – where these two entities – jellyfish (in aquariums) and machine (in a glass tube) coexist.
Cohabitation – or coexistence or living next to / with each other could be a good brief description for a number of my works. One of the books to which I refer very often is A Foray Into the Worlds of Animals and Humans by Jakob von Uexküll, a theoretical biologist from the early 20th century, who was working extensively on animal behaviour studies and on the cybernetics of living systems. His theory about the Umwelt largely inspires my work.
Schematic view of a cycle as an early biocyberneticist // Uexküll’s wirkkreis (it’s a great description and was also inspiration for the schematic of the installation)
Have you noticed if the jellyfish are disturbed or otherwise affected in any way by the performance?
Before starting to exhibit jellyfish I managed to learn a lot about them and also I had them at home as pets. During exhibitions that include jellyfish, my main concern is to provide the best possible environments for these animals. The aquariums I use for that purpose are specially developed for jellyfish. One of the challenges of the project was to bring pretty “unknown” species of jellyfish closer to the public, in a way that would feel natural but still maintain firm artistic and scientific interpretation; however, it is surely not about the spectacle of displaying an animal in the aquarium in a gallery setting. The main question that I have been raising is: what is the new reality of nature – culture // human – animal?
Jellyfish is one of the ancient species that have been around for more the 500 million years and are in my opinion a great evolutionary archive – they are a memory of the past and indicators of the future. Even though the environment of the oceans and seas has been changing rapidly lately, mainly because of the human imprint, it seems that it does not disturb them. They can adapt to more acidic, less oxygen-rich environment and survive, unlike numbers of other species such as corals, fish (mostly because of overfishing) whose numbers are rapidly shrinking.
Robertina Šebjanič, Aurelia 1+Hz / proto viva sonification. Photo by Le Cube
The performance features live transmitted sound generated by Aurelia Aurita jellyfish. Could you tell us about the sound emitted by the jellyfish? What kind of sounds are they and how are they captured and made audible?
As I mentioned the Aurelia 1+Hz project has two phases – Aurelia 1+Hz / proto viva generator is presented as an installation with two entities: jellyfish and machine; and the second part of the project, Aurelia 1+Hz / proto viva sonification was developed as an audiovisual performance where jellyfish and myself are the only two entities present. I like to use a quote of the poet Paul Celan in order to briefly explain the project: “There are still songs to sing beyond mankind”. The central idea of the project is that there is not only human civilisation living on our planet but there are also other species (animals, plants, fungi, bacteria, etc.) with complex and highly developed communication systems which are basically their languages.
The sound used in the performance consist of recordings from the sea (sound recordings of the jellyfish blooms) and the experiments in the laboratory (recordings of sonification of their movements). Most of the sound recordings were done during my residency at the Izmir marine station with sonic, seismic devices and hydrophones. There are different categories of sounds that are then performed in the audiovisual performance.
Moon jellyfish is a model organism in biology and therefore it has been researched extensively over the past few years. My aim was to find out how they communicate. It has been discovered that they communicate with each other using polyps and their chemical components. The rudimentary sensory nerves at the base of their tentacles are perceiving light, smell and orientation. However, it is still unknown how complex their communication system actually is.
vimeo
Robertina Šebjanič, Aurelia 1+Hz / proto viva sonification, a 3 min video extract of the performance at Le Cube
You’ve worked with the Institute of Marine Science and Technologies in Izmir and with other research centres. How do you, as an artist, relate and dialogue with scientists?
Working on research and combining different disciplines can be very demanding as each of these disciplines demands a different approach regarding the way to work and the kind of environment needed for research and development. Each of my projects is very specific and the hardest thing is to figure out basic parameters even before the research process starts. When the methodology of the research is clear, nearly half of the work is done.
I think that personal relationships, similar interests and passion for specific topics are key attributes needed for the success of the collaboration in the field of art & science. I have visited and worked with different institutes, in the framework of residencies, and what I learned is that it takes time to get to know each other and the topic of research. Also there has to be mental and intellectual transfer happening on both sides because if any of these key components is missing, it becomes very hard to work together.
For each project there are of course different ways of how to make it happen. Work in Izmir marine station was a very strong experience. The collaboration was conducted by curator Saša Nabergoj, who included different working groups to the concept of the Triennial of Arts. Together with Assoc. Prof. Dr. Guzel Yucel Gier and Betül Bardakcı from the marine institute we started that model. But I was not so unfamiliar with these issues and i got help from a great consultant – globally acclaimed plankton specialist Dr. Alenka Malej from Slovenia.
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
Deep Blue, field work and research at Institute of Marine science and technologies, Izmir, Turkey
I always mention the names of collaborators because it is important to explain how complex this kind of interdisciplinary collaborative projects are and that there are always many people involved. And I think I shall not forget to mention also the people and institutions that enabled the project. Aurelia 1+Hz / porto viva generator was supported and premiered at Kapelica Gallery in Ljubljana. The performance Aurelia 1+Hz / proto viva sonification was supported and presented by Decalab and Le Cube in Paris, and I had a great support in consultancy by Annick Bureaud, who later also helped me to conceptually frame the Aqautocene project.
Also it was a great experience last year to attend a residency at Roscoff Marine biology institute, which was made possible by curator Ewen Chardronnet; he cultivates an ongoing friendship with one of the leading scientists, dr. Xavier Bayle, and with the support of the institution Ping from Nantes, they established artist in residency programmes at the marine institute in Roscoff. I think that the field is getting stronger from year to year and that there is a big push from different art & science educational, research and artistic programmes such as festivals Ars Electronica and Arts at Cern. That merging of different fields of expertise will get stronger and more articulated in my work, also because of the experiences in the Hackteria network.
Aquarium facilities, at Station Biologique de Roscoff / CNRS - UPMC
Field trip at residency at Station Biologique de Roscoff / CNRS - UPMC
Self-initiated communities, either formal or informal, play an important role in this field. While answering the questions for this interview, I was in Mexico City to work on the research of a new project Lygophilia / Transfixed gaze and I am pleased to be an artist / researcher in residence at Arte+Ciencia at UNAM University, where they can help me in many useful ways. I am working on a concept of “charismatic animals” and one of those is undoubtedly Axolotl – the Mexican salamander that could be found in nature only in the lakes of Mexico. However, it is a very common animal in laboratories around the globe. I try to navigate the storytelling about these conflicting realities as artist and researcher at the same time. I find a great collaborators at UNAM department of biomedicine, at CIBAC from UAMX, at UNAM ecology research department and many more individuals and groups and institutions that are working with the animal and ecological issues that are surrounding it. The residency offers a great community of philosophers, scientists and artists, and I think this is the perfect environment to work on the project that will soon be premiered during Transitio Mx festival in Mexico*.
Art research project Lygophilia field trip with team of at CIBAC from UAMX and Arte+Ciencia at UNAM, Mexico City
Art research project Lygophilia field trip with team of at CIBAC from UAMX and Arte+Ciencia at UNAM, Mexico City
How can artist contribute to improve the relationship we have with the rest of the world and in particular with non-human animals?
It is difficult to say who and what has a real impact in the world as cultural imperatives change from continent to continent which symbolises the relationship between culture and nature. But art is definitely a good platform to educate, raise awareness and (maybe eventually) to make change. In this instance, it does not matter if the works of art focus on small, only locally significant issues, or if the art works have a greater impact which resonates over cultural, geographic and time barriers.
The relationship with animals and in general with all living systems is complex and there is still a lot to be observed and researched. We live in a world where relationship of local – social – economic conditions are still presenting a big difference between the cultures, consequently, it also reflects on the relation to nature. The beauty of the diversity of cultural heritage, that is still present, is important to maintain and the power of nature is stronger than we think, as sometimes we start to be blinded by the (bio)tech advantages (from biomedicine, space flights, geoengineering, etc..) that we invented and the knowledge we have, that we forget to take care of the nature that is surrounding us, and that taking care of nature is also nourishing our culture on the planet we live.
Thanks Robertina!
All images courtesy of Robertina Šebjanič.
*due the tragic events of the strong earthquake on the 19 September 2017 in Mexico, the festival Transitio Mx festival was canceled and the presentation of the new work has been postponed.
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AA Visiting School nanotourism, KSEVT Vitanje https://t.co/pzyjevDhqS https://t.co/K7pRwIhukW https://t.co/0VUstv0TmH
AA Visiting School nanotourism, KSEVT Vitanje https://t.co/pzyjevDhqS https://t.co/K7pRwIhukW http://pic.twitter.com/0VUstv0TmH
— Archi.News (@ArchiDotNews) March 4, 2017
from Twitter https://twitter.com/ArchiDotNews
March 04, 2017 at 08:01PM
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LOVE, EVIL and STaENGERS
There are so many new revelations around my head that I am in a total bliss and I miss you my seldom readers, while even more I miss my written thoughts. Let this post be profane to remember the festive days we left behind. In the meantime I witnessed one witch-hunt and one pluralistic glitch-like ghost-in-the-machine.
KSEVT Vitanje / Cultural Center for European Space Technologies, Vitanje
Few days after all the inquisitors excused - like Vatican christian headquarters for killing all the smartest people, mostly women during famous inquisition centuries, never will. Few days after, there is only one old 'pple machine around, whereas before a ghost has visited us there had been 2 new macbookspro, one samsungtablet, and one smartostupidphone. Both occasions represent constant morphological modifications and the thin line between existence and non existence. This very thin line several times a day keeps us away off death or destruction and for that we should praise our being now with all the materiality of objects still here. Hence keep on smiling whenever you can, because in every-second we are all constantly unintentionally and unconsciously avoiding every-ones and every-things passing into oblivion.
Yet, never worry.
To stay mundane and in tune is to share with you that divine state of mind and hormone soul, to share with you a bliss of being in love. Yes, again. The finality of explicit and infinity of implicit is what amazes me most in this trans-whoman big bang experience. It always feels like it is for the first and the last time at once.
All in all falling in love is beyond our control and I am not sure if - besides Moebious cycle of life and death, appearance and disappearance of all and every particle - there are any other phenomena so impossible to control in any-whatsoever way.
But when something is beyond our control doesn't mean we can behave in such way. When you indeed love someone, and it, he or she loves you - to avoid implosion and thermodynamic law of entropy flatline - my advise is: to carefully and strictly keep formal distance and hold on to un precedent respect in order to get yourself continuously ready for a total emo-devo-tional dive in!
Beware to stay emancipated in any kind of relationship - current dual is prone to fail, plural is easier to succeed - yet everything is possible and you can never get it all. Revise polygamy as a norm and monogamy as the luxury.
For all sticking to politically most powerful form of human inter existence - known to all of us as the friendship - my advise is to carefully look for those individuals that comfort you, never go after the group and, watch out for the evil side.
We are all good, smart and nice in the situations activating our good side, but the only relevant question remains: how our - mine and yours - evil side looks like? Everyone has it, and not even two of us are alike.
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Slovenia Architecture News: Buildings
Slovenia Architecture News, Building Projects, Construction Design, Property Images
Slovenia Architecture News
Architectural Developments + Projects in eastern central Europe: Built Environment Updates
post updated 1 August 2020
Slovenia Architectural News
Slovenia Architectural News + Key New Property Designs, alphabetical:
Slovenian Architecture Designs – chronological list
30 July 2020
Maestoso Hotel & Spa, Lipica
Design: Enota
image : Collaborators Spacer
Maestoso Hotel & Spa in Lipica
The stud farm was founded in 1580 when a decision was made at the Habsburg court to raise horses, a key strategic commodity of the time, in their own territory.
20 Feb 2019
Central Park in Koper, Koper
Design: Enota
photograph : Miran Kambič
Central Park in Koper
New Koper Urban Park is set between Piranska Road and the Semedela promenade, and between the Grande canal and the area just beyond the city market.
24 Oct 2018
Termalija Family Wellness, Podčetrtek
Design: Enota
photo : Miran Kambič
Termalija Family Wellness Buildng in Slovenia
Termalija Family Wellness is the latest in the series of projects which we have built at Terme Olimia in the last fifteen years and concludes the complete transformation of the complex from a classic health centre built in the 1980s to a modern relaxing thermal spa.
12 Apr 2018
Skorba Village Center Building near Ptuj
Design: Enota
photo : Miran Kambič
Skorba Village Center Building
Skorba is a small village in the vicinity of Ptuj, Slovenia’s oldest town. Once a typical village with a clustered settlement pattern, the passage of years and the proximity of the city caused it to grow out of turn, transforming it into a commuter suburb without a clear structure.
28 Mar 2018
Koper Central Park, Koper
Design: Enota
image courtesy of architects
Koper Central Park
Construction has started on ENOTA Architects recent winning proposal for a Central park in Slovenian coastal town of Koper. The basic building blocks of the new city park are monolithic, undulating urban elements.
16 Feb 2018
bistro EK, Ljubljana
Design: dekleva gregorič architects
photo : Flavio Coddou
bistro EK, Ljubljana Interior
The empty and forgotten semi-basement space in the 19th century Ljubljana corner building, which faces the riverside and a rarely frequented stairs-street, housed diverse ventures in the past, from a local butcher shop to a wholesale wine store.
12 Jan 2018
Wellness Plesnik Building, Logarska Dolina 10, Solčava
Design: Enota
photo : Miran Kambič
Wellness Plesnik, Logarska Valley
Hotel Plesnik is a boutique family hotel found in the heart of a nature park, boasting a tradition spanning over eighty years. Its exceptional location at the end of a glacial valley offers an unforgettable view of the majestic peaks of the Kamnik-Savinja Alps.
Slovenia Building News 2017
3 May 2017
The Wooden House
Architects: studio PIKAPLUS
photograph : MIHA BRATINA
The Wooden House in Slovenia: Timber Home
Awarded 1st place nationally in 2016 for the best wooden construction in Slovenia. This timber house is a residential building embodying the elusive architectural quality of blurring the line between external and internal spaces.
30 Mar 2017
Chimney House, Logatec
Design: dekleva gregorič architects
photo : Flavio Coddou
Chimney House in Logatec
The design of the Chimney House in Logatec is primarily based on the rules of local architecture. It respects the morphology of the traditional built context, referring to the prevailing gabled roof type of the house and respecting its volumetric and material parameters. On the other hand the Chimney house marks typological transformation generated by the users’ specificity.
4 Mar 2017
AA Visiting School nanotourism at KSEVT Building in Vitanje
image courtesy of architects
AA Visiting School nanotourism, KSEVT Vitanje
A project called Gastronomy at KSEVT, which was developed as part of the AA Visiting School nanotourism in Vitanje, 2016.
5 Jan 2017
(Un)Curtain Office, Ljubljana
Design: Dekleva Gregoric Architects
photo : Janez Marolt
(Un)Curtain Office, Slovenia
The business community today operates dynamically, impulsively and diversely. Office environments must respond to the constant changes in working groups’ organizations, to their production processes and to the needs for personal comfort and technology development.
4 Nov 2016
Villa Criss Cross Envelope, Mirje Suburbs within the city center of Ljubljana
Design: Ofis arhitekti
photo @ Tomaz Gregoric
Villa Criss Cross Envelope in Ljubljana
The street of the villa runs perpendicular to the ancient Roman Wall and continues into a pedestrian passageway under the stone pyramid designed by Plecnik (as part his reconstruction project along the wall).
23 Sep 2016
Renovation of Central Lobby at Bank of Slovenia, Ljubljana
Design: SADAR+VUGA, architects
photo : Miran Kambič
Bank of Slovenia Central Lobby Ljubljana
The renovation of the Bank of Slovenia’s central lobby was designed at a student workshop at Ljubljana’s Faculty of Architecture. The project was executed by SADAR+VUGA in close collaboration with the initial student design team.
14 Jun 2016
Apartment SP, Ljubljana
Design: SADAR+VUGA
image courtesy of architects
Apartment SP in Ljubljana
Apartment in the 19th century townhouse in Ljubljana is a place of opposites: it is both warm and cold, both soft and orthagonal. It is equally open and closed against its surroundings and both in contact and in conflict with it’s past.
6 Jun 2016
Museum of Nordic Disciplines, Planica, Rateče Planica
Design: Trost & Associates
photo : Miha Bratina
Museum of Nordic Disciplines in Planica
Planica, located in a small village Rateče and surrounded by the peaks of Julian Alps and the Karavanke. Planica is best known for one of the largest ski jumps in the world. It was at Planica, that the first human in history jumped over 100 m on skis, later also exceeding the 200 m distance.
19 Jan 2016
Forma Vila, outskirts of Ravne na Koroškem, a small Alpine town close to the Slovenian-Austrian border – Mountain Skuta
Design: Arhitektura Jure Kotnik
photo : Janez Marolt
Forma Vila in Ravne Na Koroskem
The town has an over 400 year-long tradition of iron-making, and the local ironworks have had a significant social-economic influence on the town, its sports and culture. The latter has been especially evident since 1964, when the factory started supporting sculpture symposiums “Forma Viva” for artists from all over the world.
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Location: Slovenia, central eastern Europe
Slovenian Architectural Designs
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Website: Slovenia
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...Space Habitable Wheel ... . photo #tomazgregoric ... #noordung #spacecenter #habitable #spacewheel #architecture #museum #culturalcenter (at KSEVT)
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