Tuesday 20 May 2008

Put the charcoal on, too!


While you are at it, wish us success - and courage; we have been shortlisted for the Cypriot exhibit at the 11th Venice Architectural Biennale, curated by Sir Peter Cook. Yes, on the image above highlighted are our, Dear ARCHITECTS', names (for those of you who can read Greek). Click to enlarge.

MAKE SOUVLA - NOT WAR!

Fare forward to a Souvla Venicoise!

Book your tickets!




http://www.lfa2008.org/event.php?id=153&name=benchspace+walk+workshop

See you there!

Wednesday 14 May 2008

35°10’25 N 33°21’54 E


And another proposal for the Cypriot exhibit at the 11th Venice Architectural Biennale

Tuesday 13 May 2008

Make Souvla - Not War!



Dear Architect's proposal for the Cypriot exhibit at the 11th Venice Architectural Biennale, under the title In Cyprus -Relax as Architects- Reinterpret, curated by Sir Peter Cook.

Here is Omada Ergasias' proposal.

Sunday 4 May 2008

TOUCHING THE CITY: PROJECT 02 BENCHSPACE WALK WORKSHOP

Site 03
The Memorial Park, Guys








Existing between cultural manifestations and utopian configurations of nature the urban bench is a paradoxical figure. Originally and predominantly intended to be a mono-functionalist object, it struggles to accept its presence amidst the claiming of nature by cultural gestures -such as landscaping and gardening- and of cultural elements by natural processes. However much the materials and forms allude to Bucolic utopias, this uneasiness is on the one hand ingrained on the bench-object, often transforming it to a memorial of times, spaces and people, and on the other, the naturalistic idealism of its placement is upset by sights and odours, that don’t really smell of roses. This dialogue between nature and culture, monumentification and process as it takes place on the bench seems to not have interested the larger part of benchspace development or functions. Yet what are the relationships that can indeed sprout out of a reclaiming of culture, in the shape of its bench-space intervention, by nature? How does this transforms our understanding of using the bench - and of remembering the bench? And how does nature’s presence in that pivotal cultural space, the city, is reconfigured?