Bathology is an example of a possible artistic method which attempts to take into account the object’s perspective, the object as is. The budding bathology was inspired by the Lithuanian artist Marija Baranauskaitė and her exploration of sofanity. Namely, in 2018 she started developing the Sofa Project, a conceptual clowning performance where the target audience is not sentient, not even human but a sofa. In addition to being entertaining to human audiences as well as object-audiences (hopefully), it is also compelling for theoretical reasons, evoking among other things musings in the vein of Philosophy of Technology, Critical Posthumanism and Object-Oriented Ontology as well as exercises in non-anthropocentric thinking, and attempts to place something other than a human in the position of a subject.
Space Popular is a multidisciplinary design and research practice led by Lara Lesmes & Fredrik Hellberg. They make physical spaces — buildings, interiors, furnishings — and virtual spaces, concentrating on how the two will be fused in the future. Their augmented virtual reality project “The Venn Room” was on display at the Tallinn Architecture Biennial main exhibition.
For the 100th issue of the Estonian Architectural Review “MAJA”
A Hundred Issues of Critical Discussion on Architecture: a Round Table Discussion With Editors-In-Chief of MAJA
Since 1994, the architectural review MAJA has been the key platform for promoting and reflecting on Estonian architecture. On the occasion of the 100th issue, all former editors-in-chief – Leele Välja, Piret Lindpere, Triin Ojari, Katrin Koov and Kaja Pae – came together to discuss their working principles and the changes the journal has undergone in the past twenty-five years. Interviewed by Andres Kurg.
Stubborn spaces also have their charm. Alone or better yet collectively, the given disruptions in the harmony yield fascinating results for people interested in the urban space.
A city is a metonym for public space – it is modelled by the moral code of its populace and, conversely, each city frames the type of life it allows and inspires in its people. Some municipalities have begun to queer their city space as an expression of solidarity and global positioning.
Nobody in the architectural domain still regards Contextualism still in terms of mimicry or imitation. A good building is not designed by doing like the neighbors do, by keeping up with the Joneses. There is no such thing as contextual authenticity. On the other hand there is little believe anymore in the power of the iconic building. The contextual designer seems to be caught in the paradox of the personal creation of something that is recognized as local and impersonal.I will not try to rewrite the critique of contextualism in architecture. Rather, what I will try to do is say something about working methods. I will speculate on a ‘knowhow’ of contextualism, much rather than a ‘knowwhy’.