Posts tagged with "Oslo Architecture Triennale":

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The 2019 Oslo Architecture Triennale announces curators

The 2019 Oslo Architecture Triennale has announced its curators of the upcoming event. After a yearlong search, the jury has selected the “transdisciplinary” architecture and engineering practice Interrobang, with its British founder Maria Smith and Canadian associate Matthew Dalziel, British critic Phineas Harper, and Norwegian urban researcher Cecille Sachs Olsen. The Triennale, following the focus of nearly every international exhibition in recent years, will center on architecture desire to bring forward “economic and societal transformation." This international curatorial team is proposing "a potential architecture of degrowth" which they cryptically describe as "the acknowledgement of a need to revise the pace and scale of extraction, production, consumption, development, and building that has driven the growth of industrialized societies and economies throughout the 20th century." The profession that normally considers growth and development will be asked to develop strategies for non-growth. With the worlds population expanding exponentially and growing building and infrastructure demands in the globalized southern hemispheres it will be an exhibition to watch for solutions.
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Oslo Architecture Triennale is looking for a chief curator

Today the Oslo Architecture Triennale (OAT) put out the call for a chief curator to direct the seventh edition of the event in the Norwegian capital. Working with publishers e-flux Architecture and other member organizations, the curator will be responsible for the artistic and academic programming for the event, which begins fall 2019. Applicants can be individuals or collectives from any country, although proposals must be submitted in English. The five-member After Belonging Agency, head curators of the 2016 triennale, had some advice for prospective applicants. “The Triennale is an opportunity and space to rehearse research strategies and test working protocols which offer new forms of engagement for architects. We considered After Belonging and the Oslo Architecture Triennale not only as a 10-week event, but rather as a long-term collective research project that resulted in new forms of thought and action,” they said in a prepared statement. Interested curators have a little over a month to prepare a proposal. The deadline is October 18, and more information on how to apply is available here.
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Final thoughts on the Oslo Architecture Triennale

English was the common language in Oslo during the opening weekend of the 2016 Oslo Architecture Triennale, curated by the After Belonging Agency (or ABA). English is, evidently, not the native language to Norway, nor is it the language of the five curators that carried a Spanish-European Union passport to cross the international border into Gardemoen Airport. One of them was coming from Barajas, although his residence is in New York and his native tongue is Catalonian, the rest had left New York’s John F. Kennedy Airport together. Two of them, and their child, left the United States as permanent residents, one did it after just having paid a visit to New York from Amsterdam’s Schiphol, the best way to travel from her current residence in Rotterdam. The last one had just secured a job in New York, granting him a three-year extension in his residence in uptown Manhattan. They spent their lives together in Oslo for a few weeks before the opening, sharing an apartment probably through the Airbnb platform, but also sharing the challenges of communication, currency exchange, or perhaps their belongings, their identities, their emotions, their ambitions and their own uncertainties. They had embarked on a project that challenged them at the intellectual but also at the personal level. English is not my native language either, and while checking in at JFK on my way to the opening, I shared the line with three participants who were coming on the same flight; English was our common language, yet not native to any of us. An Austrian, a Palestinian, and a Spaniard, we all had to negotiate our language-based identities. We all survived the TSA machinery, boarded the plane through the retractable gate, left more than an hour late, and lost our connecting flight in Copenhagen (CPH), after an unsuccessful and frustrating attempt to run through the airport-made-shopping-mall from one end to the other. All our passports were stamped upon our entering of the Schengen zone and re-stamped in Oslo, always diverting us between lines for EU and non-EU residents. My credit card—issued by a U.K. bank, which is the namesake of a Brooklyn sports arena—was not a required document in any of these borders. However, it bought me a sandwich, a fruit salad and a beer in JFK, a cappuccino in CPH, and a seamless train ride to the center of Oslo. I am writing this text while on a nocturnal Swiss Air flight on my way to Athens, with a short layover in Geneva, to participate in Ideas City Athens, where 40 fellows from around the globe will convene, sleep, and talk about the city in a mostly vacant building while sleeping on temporary shelter pods made of wood, fabric, and an inflatable mattress. I am privileged to participate voluntarily in an event where my body will be exposed to such temporariness and precarious infrastructure in a place I do not belong, but we all know this choice is not the case for everyone. The Oslo Architecture Triennale–After Belonging, a competition-based curatorial event, examines, as the curators have stated, the ways that we reside, and the ways that we stay in-transit. The Triennale “dissects and designs the objects, spaces, and territories involved in a transforming condition of belonging” while it questions “spatial permanence, property, and identity” or what they claim is a crisis of belonging. For many in our field, these are often seen as exteriorities; for others, like me, this is at the core of the challenges of rethinking our role, agency, and capacities while participating in the construction—physical and imagined—of the buildings, spaces, objects and territories that articulate our sense of belonging, but also our own sense of belonging to the architecture field. The Triennale is organized around an entangled web of spaces, exhibitions, events, and publications that—for the light-hearted—will for sure be a legibility challenge, or at least hard to follow. The Triennale actually started long ago on their Facebook and Instagram feeds. Each post contained what seemed like a heavy footnote rather than a caption, illustrating their attempt to engage with complex issues. The whole project was about opening up a larger discussion rather than selecting canonical or emerging work to be lauded with a golden or silver statuette. The curatorial project seems not to be about claiming a status, but rather to inquire a status. To do this, the curators envisioned two main exhibitions, On Residence and In Residence; organized a day-long conference with international and local participants; published a book in time for the opening; organized a week-long international student gathering named “The Academy,” and organized a multiple programming of talks, book launch, guided tours, building visits, and other events. Everything started at DoGA, the Norwegian Centre for Design and Architecture, where the On Residence exhibition is located. Here, the exhibition occupies and old and historically protected building, providing a tall and obscure space for the show, which is organized into five zones: Borders Elsewhere, Furnishing After Belonging, Sheltering Temporariness, Technologies for a Life in Transit, and Markets and Territories of the Global Home. The exhibition contains photographs, models, art-objects, installations, videos, and furniture, all supported by a gridded, yellow wire frame used—among other places—in the retail industry (like American Apparel!). Luis Callejas and Charlotte Hansson, in collaboration with artist Rodrigo Callejas, created a series of islands as physical models in black-colored clay and placed them over a black floating acrylic background representing “40 real islands under some form of territorial dispute.” Nora Akawi, Nina Kolowratnik, Johannes Pointl, and Eduardo Rega hung four pieces of plexiglass printed with refined drawings documenting (through their first-hand experiences on-site) the agents, structures, spaces, and conversations between NGO’s and refugees arriving on the Greek island of Lesvos during the past year. Kadamabari Baxi, Jannette Kim, Meg McLagan, David Schiminovic, and Mark Wasiuta created Air Drifts—a video installation accompanied by a plexiglass model documenting and modeling air pollutants through NASA-GMAO’s satellites and ground documents every six hours, visualizing but also inquiring the legal frameworks that allow those micro-agents of pollution to break through geopolitical borders. Studio Folder created an impressive installation documenting the imagery but also the imaginary created by, among others, the 45-year-old Landsat program–dissecting the images and visualizing the apparatus that shapes satellite imagery. Desdevic studio constructed an architectural model out of the eviction process and histories that have taken place in Madrid, a strong project more critical as narrative than as object. Supersudaca maps the impact and scale of the pervasive tourism industry once hosted by the Caribbean cities, which is now all contained on the cruise ships. Laura Kurgan and Juan F. Saldarriaga from Columbia University’s Center for Spatial Research exhibited their mapping and visualization project of the internal migration of Colombia’s population over the drug war, creating an elaborate animation and drawing that makes the case for the impact of Conflict Urbanism. Andrés Jaque and The Office for Political Innovation produced a video-documentary, Pornified Homes, exploring the construction of identities of sex-workers through the imaginary of an exoticized Brazil in the city of London. OMA’s Ippolito Pestellini and Bengel produced PANDA, an app that—apparently—replicates the sharing economy's protocols in order to subvert them: It helps connect service providers to allow them to collectively fight for their labor rights. A video shows the Google “hangout” among Martha Rosler, Pelin Tan, and Miguel Robles-Duran, among others, discussing Autonomous Infrastructure: Forms of Decay, a series of conversations about infrastructure, commons, neoliberalism, solidarity, and archives. These are some of the projects that are aiming to be part of a spatial and conceptual constellation—as I was told by one of the curators—that simultaneously should help define each of the five zones as well as to allow some dialogue or overlap between them. We all love conceptual constellations: They allow loose and open relations, unexpected encounters, as well as a sense of inaccessibility, incomprehension, and a fragmentary construction. The fragmentary nature of this exhibition is both a challenge and, to my understanding, an inevitable outcome of compiling together cases from multiple latitudes as well as attitudes, of trying to construct discursively and objectively an extended definition for architecture. However, fragmentary is not used here as lesser quality over a cohesive whole. It is highly probable that, to the many subjects involved in living and enacting what the invited participants articulated under the rubric of On Residence—their life-conditions, spatial practices, appropriated identities, collected objects—are not conceived or thought to be architecture or architectural products. For the curators, and the participants, these frameworks, spaces, and territories, are understood as architectural elements. There is, however, a tension and an ongoing question for us all about what constitutes architecture and what constitutes the frameworks for it, and if they can be dissociated; or if architecture, as a field and cultural-historical knowledge, will dissolve itself into the many frameworks and forces that shape it. These are important questions made possible precisely because of the intricate selection of projects, their inherent problematics, and their complicated relations. Others will prefer, as you would read on the fast-produced, short, and dismissive review of the OAT on The Guardian, to avoid these complexities by the accusation of been theory-heavy—an old trope of how that word has been used operatively in our field in order to claim the building is an isolated entity and the sole proprietor of architecture. In fact, it’s probably safer to report from the latest building museum opening in Washington D.C., or from the penthouse of a newly Swiss-designed luxury tower in Manhattan, than confronting complexity, although reporting that way might be less helpful in constructing an inclusive field rather than just reaffirm its exclusive retreats. In Residence is a different exhibition. It is the product of commissioned work for specific “sites” in Oslo, the Nordic region, and around the globe. This exhibition takes place at the National Museum–Architecture, another venue that is an ensemble of an old structure with a contemporary intervention, located closer to the city center in less than a 15 minute walk from DoGA. The selection was made in conjunction with a group of international advisers including Thomas Keenan, Nina Berre, and Yashar Hanstad, and it seeks to produce long-term projects developed at these locations, or sites, not defined by the common legal-geometrical lines of the territory, but through the understanding of site as an active, unstable condition that includes technology, border spaces, in-transit areas (so-called non-places), transnational neighborhoods, or Italian textile factories. In Residence produced reports and intervention strategies, two formats aiming to document and report on the assigned site, including the proposed strategies for those places. Research in this exhibition, as the curators claim, is not a preamble of the work, but a legitimate mode of practice. The participants in this show come from multiple disciplines, opening up even more interpretations of what a report and what a possible intervention strategy can be for architecture. Each of the ten sites have their own playful yellow metal frame that supports the report and the intervention, and following this playful nature, it seems that each module is claiming a space where we are left to navigate in-between. Fewer sites, or a double-sized room, would have benefited the exhibition’s display clarity. Yet, when you wander around, you stumble upon a variety of rich works: printed reports, a live green-screen photo booth, a bar reconstruction, a mini techno-church with a YouTube video (plants included), an ad-hoc apple juice extractor, an extremely intriguing and unsetting video of a man explaining his relation to his Airbnb rental, and a recomposed pennant of an Italian town. This last work is the product of Matilde Cassani’s research on one of the largest Chinatown communities in Europe. Located in Prato, with 190,000 inhabitants, the city is known to carry the “Made in Italy” brand, however, the work is made by Chinese people of a local community with a strong cultural identity. The printed report beautifully documents the locations, spaces, and dynamics of the Chinese area of the city, and how they are the actors and producers of an Italian identity, while at the same time they keep reproducing theirs. Cassani engages with the workers and proposed the Coat of Arms as a site of intervention. Taking cues form their cultural activities and departing from Prato’s existing Coat of Arms, the workers created a series of drawings depicting how they would adapt it. The result is a bizarre Coat of Arms combining dragons, watermelons, and historic Italian references—a wonderful visual outcome.Another strongly provocative work is Another strongly provocative work is Selling Dreams by artist Bêka & Lemoine (Ila Bêka & Louise Lemoine): It's a video that shows the transformation of a couple’s life once they start to rent their home through the sharing platform Airbnb. I won’t recount what happens here, it would be too much of a spoiler if you make it to Oslo, but the video asks critical questions about how our domestic spaces are shaped as projections, simulations, or transpositions of ourselves, blurring the line between an imagined reality or location versus their imagined life in it, and evidently, where we and architecture belong in this unsettling narrative. In Residence as a collective is, as you may suspect at this point, less of a strict dialogue among sites, but a collection of projects. These are perhaps better understood as individual works first, and as a collection—not a constellation—a. In Residence does make the case for these alternative sites as critical constructs in equal capacity to a demarcated city lot, for research as a legitimate mode of practice, not as context, not the excuse for, but as the product and work itself. There was, however, another event during the opening weekend that provided a different scenario for inquiry. A long-day conference hosted at a full-capacity Oslo Opera House, inviting guests to short presentations and others to more colloquial conversation. Speakers included a range of people, from Yasmeen Lari of the Hecar Foundation in Pakistan to Negar Azimi of Bidoun magazine, from Juan Herreros to Atelier Bow-Wow, from Michel Feher of Zone Books to Reinhold Martin of Columbia University. The conference was led off by a highly articulated performance by Hege Marie Eriksson, former director of the Oslo Architecture Triennale. The day started with the even more performative standing of everyone in the room to welcome Crown Prince Haakon of Norway, who declared the event open after making his own questions of belonging and telling a lesson of the famous Three Little Pigs folktale; the second standing ovation to let the Crown and his posse leave confirmed that kings and queens are still well up and running in 21st century Europe, as well as polarized countries, imposed austerity measures, and the closing of borders. Negar Azimi moderated, through an extremely eloquent and incisive questioning, a conversation between Amale Andraos from Columbia GSAPP and Kjetil Trædal Thorsen from Snøhetta, inquiring the role of the latter in building in the Middle East, to which there was no clear answer from the architect beyond good intentions. Reinhold Martin recited his “Art of Real Estate” language explaining the complicit role of architecture in the construction of the real estate product, by being “real,” architecture is what puts the “real” in “real estate.” Atelier Bow-Wow gave a powerful and convincing lecture about their work in a community devastated by the 2011 tsunami in eastern Japan, articulating a commendable idea for their practice: To go from an industrial network to an ethnographic network, and operate somewhere in-between; by acting like a dentist for a closely-knit small town where the doctor knows every person in town as well as the latest tech-gadget, they tried to engage with both tech-industry and cultural-locality. The highlight for me was Michel Feher's presentation “Where Credit Belongs: Politics in the Age of Asset Management,” where he elaborated and traced neoliberalism transformation from the homo oeconomicus to the profit seeker, to creditworthiness, to the construction of a subject that seeks credit-asset management, to trust bonds based on credit and confidence, to the discredited person product of the latest neoliberal trick of an asset-based subject. The conference ended with everyone walking to Oslo’s city hall building, a spectacular 1930s (although finished in 1950s) building of massive brick volumes designed by Arnstein Arneberg (who also designed the interior of the U.N. Security Council in NYC) and Magnus Poulsson, whose social-democratic murals cover the walls of an immense interior hall that we crossed to a having warm reception by Mayor Marianne Borgen. She greeted each of us with a handshake and, after giving a highly progressive speech about city policy and city making, invited all of us for drinks and hors d'oeuvres. If at this point, this architectural event does not resonates to you in the need to consider—at large—the multifaceted issues that shape architecture and architectural production as they articulate a sense of belonging, and an expanded version of our field, I will invite you to consider these words, as Felicity Scott put it in the preface of the book: “Beyond conceiving of architecture as the provision of buildings, spaces, or shelter as such, that is, the discipline has been and remains proximate to, and at times informs, technologies, markets, laws, policies, informations, goods, media, and other forms of regulation and governance. It is from such an expanded conception of the discipline, one that I share, that After Belonging Agency invited participants to collaborate on this project of thinking belonging otherwise, manifesting the desire for identifying and forging practices that remain tactically out of sync with the violence born of neoliberal capital.” The questions about the extents of the field of architecture and its curatorial reach remain active with After Belonging. How much the expanded field informs the practice, and how much that expanded field is the practice itself, are questions that some of us have been trying to work with for a while, precisely out of the discomfort with the models that remain the active reproductive organs of a rotted, neoliberal system. However, at times, the exhibition seems to extend the ambitions of “belonging” to many sites, locations, or imaginaries, and it prompts a question of how much belonging served as the spark and path, but not necessarily the actual road. Each project branches in and out of belonging, having a dialogue with it while also focusing on something else beyond belonging. Without a doubt, it claimed many territories, but it would be critical to acknowledge that perhaps those territories do not exclusively “belong to belonging,” but to the many conceptual constructions we articulate with the relations we establish with spaces, objects, and territories.   An incomplete architectural work as a condition is productive in this event, and it is visible in the After Belonging exhibitions and programs. There are no wholes, just pieces and fragments that try to establish meaningful and significant relations. Atelier Bow-Wow’s diagram trying to explain a paradigmatic shift from an industrial network to an ethnographic network makes a great case for the relevance of the ambitious challenge taken by the After Belonging Agency, and its capacity to engage those who operate in-or-out of, or without borders, as many of us would aspire to do. Hans Hollein declared in the late sixties that “Everything is Architecture,” critically inquiring the field’s fixation with buildings. The Oslo Architecture Triennale seems to declare something similar: Everything moves, everything belongs. As such, After Belonging does not exist only as an urgent and current discussion in our field, but as an extension of concerns that have haunted our field for a long time. On the way back from Oslo, a different group of friends coincided on the train on our way to the airport. In that same trip, I had the chance to visit a cousin, my very own childhood cousin, who moved to Norway at age eleven, the same age that I moved to Puerto Rico from Chile more than 25 years ago. For someone who has lived longer in territories different from where they were born, these ideas create both personal and professional inquiries. I discovered that my cousin is a respected lawyer and children’s advocate, including for those seeking asylum—an accomplished woman in a country that was not hers and that she now belongs. At the airport, the New York-based American checked in at the automated machine, while the U.S. permanent resident with a Chilean passport based in New York and the Australian with student-visa based in New York studying in New Jersey checked in with an unexpected host: A Chilean–Norwegian airline representative who said she had never had a Chilean at that desk before. It seems like for some of us, daily life and this Triennale, resonate more than for others. In the attempt of creating less clear networks rendered visible with and through architecture, there is the hope of creating solidarity, which, in the end, is all that is left. For more on the Triennale, see their website here. After Belonging runs through November 27, though events continue through December 1.
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This new app from OMA and Bengler wants to disrupt the sharing economy

At the 2016 Oslo Architecture Triennale, Rotterdam-based firm OMA and Oslo-based interaction designers Bengler debuted PANDA, a startup that addresses the social and political implications of digital sharing platforms such as Uber and Airbnb, as well as their impact on the built environment. They explain that while Silicon Valley optimism sells itself as democratic and empowering—an alternative to centralized commercial and social structures—they are actually detrimental to the working classes that support these networks with their labor. The Silicon Valley approach fragments and atomizes the labor force by leveraging workers' private property while keeping them in a constant state of freelance contract work. For example, while Uber sells itself to drivers by offering them the opportunity to "own the moment," featuring a model in a suit getting out of a luxury car. However, we all know that this is not the reality for most drivers. Uber has a clause in their terms of use that states that drivers can only resolve disputes with the company as "individuals." As a result of maneuvers like this, many workers have almost no power to negotiate or bargain with the "new Rome," located somewhere near San Francisco. PANDA would locate and organize people into groups that have shared interests and resources to organize counteractions against these empires of Silicon Valley, or "algocrats," as the creators, OMA’s Ippolito Pestellini Laparelli and Bengler’s Even Westwang and Simen Svale Skogsrud, explained. For example, Airbnb is trying to get into China. PANDA would identify people with "shared leverage" like potential drivers. Then, these people may be able to organize and effectively challenge them to get better conditions. Or, perhaps these groups could pool their money to buy a lawyer. PANDA creates webs of temporary alignment where discontent and leverage turn into action potential. For architecture, "Unrest is staged against app-based, short-term accommodation platforms and the conversion of entire buildings into de facto hotels," they explained. PANDA is a for-profit corporation and the owners claim that as it grows, it will become more powerful but will not overextend itself. By linking like-minded people together, the app would actively use the framework of sharing technology against itself. PANDA's language emerges from combining activism with the hyper-domestic offices of Airbnb, etc., as well as brainstorming culture and personal performance metrics.
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AN’s first look at the 2016 Oslo Triennale

The Architect's Newspaper (AN) is live on the ground for the opening of the Oslo Architecture Triennale (OAT), titled After Belonging and curated by the After Belonging Agency, a collective of five people with sixteen names—Lluís Alexandre Casanovas Blanco, Ignacio González Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, and Marina Otero Verzier. The exhibition is divided into two parts. The first, "On Residence," is located at the The Norwegian Centre for Design and Architecture. It  focuses on the issues of belonging and living in a highly globalized world where architecture and spatial politics are influenced by an increasingly complex group of technologies, financial networks, political forces, and growing numbers of displaced people. In the dramatically lit space, 33 works are placed into 5 categories: Borders Everywhere, Furnishing After Belonging, Sheltering Temporariness, Technologies for a Life in Transit, and Markets and Terrirotires of a Global Home. The Italian collective Folder analyzed the increasing amount of geospatial data that has been collected by various private and governmental organizations over the last few decades and plotted these data sets onto globes. The result is a visualization of how much data is being collected and utilized as a geographic reality—despite the at times contradictory maps. Fifteen minutes across town, a complimentary exhibition displays five "interventions" that address the curators' thesis in a more direct, tactile way. The projects, chosen from an open call, are a response to sites that were selected by the curatorial team. They range from installations at the Oslo Airport such as Managing Security by Bolleria Industrial/Factory-Baked Goods which playfully critiques the absurdities of the "securocratic" apparatus that we know as airport security. One machine lets travelers dump their water into a watering system for plants instead of throwing it away on the security line. Another of the absurd sculptures lets people greet themselves with a printed message upon entering the Schengen Space. Check for future, up-to-date AN coverage of OAT here.
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AN Exclusive: First look inside the Oslo Architecture Triennale

Running from September 8 to November 27, the Oslo Architecture Triennale promises an in-depth exploration of many challenges facing the architectural field, including refugees, migration, homelessness; new mediated forms of domesticity and foreignness; environmental displacements; tourism; and the technologies and economies of sharing. The conference will also feature 17 speakers from across the global design scene, including Columbia GSAPP Dean and Work Architecture Company co-founder Amale Andraos, Atelier Bow-Wow Founders Yoshiharu Tsukamoto and Momoyo Kaijima, and OMA Partner Ippolito Pestellini Laparelli, just to name a few. The Architect's Newspaper  Senior Editor Matt Shaw sat down with the curators and scholars of After Belonging Agency (Lluís Alexandre Casanovas Blanco, Ignacio González Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, and Marina Otero Verzier), the group organizing the Triennale, to learn more. Matt Shaw: First, I'd like to ask about the current geopolitical context in which the exhibition is happening. Among many other symptoms of advanced globalization, Europe is struggling with how to deal with a wave of migration, while in the United States one presidential candidate is calling for building more walls along the Mexico border and accuses the other candidate of wanting a “borderless world.” How is the exhibition timely in this sense? After Belonging Agency: From the outset, our aim has been to focus on questions of contemporary relevance—in this case, questions addressing the role of architecture in the construction of communities and territories. Those preoccupations coalesced around a critical inspection of architecture’s changing relation to current forms of belonging. The situations that you mention—what media has come to call the refugee crisis or the rise of populist measures against migration like the one led by Trump in the US—suggest the timeliness of interrogating architecture’s relation to stability, property, and identity—ultimately, architecture’s relation to belonging. However, for us, it is important not considering these events as isolated historical phenomena, nor responding to them under a paradigm of crisis or the rhetorics of urgency. We rather want to understand what is the role of architecture in the increasing circulation of populations, goods, and information on a global scale, as well as the effects of this circulation on architectural practice. How is the exhibition organized? In order to develop the questions at stake in the curatorial premises, we defined two main areas of work: On Residence and In Residence. On Residence documents the spatial conditions that shape our ways of staying in transit as well as the redefinition of our contemporary spaces of residence. Here architecture takes different forms beyond the building, ranging from arrangements of objects and their logistics to territorial configurations and digital systems of organization. The contributions to the exhibition gravitate around five areas: Borders Elsewhere, Furnishing After Belonging, Sheltering Temporariness, Technologies for a Life in Transit, and Markets and Territories of the Global Home. Conceived as an accumulation of evidence and speculations, the exhibition unveils the multiple scales and media involved in the architectures of contemporary forms of residence, and how these architectures convey new articulations between individuals, objects, technologies, collectives, and territories. Additionally, the curatorial framework is furthered by a closer inspection of specific case studies. This results in the In Residence program and exhibition. Reports have been commissioned for each of the ten selected sites, outlining diverse ways of describing the architectures they include. In addition, we launched a Call for Intervention Strategies for five of those sites located in Oslo and the Nordic region. Understood as tactical and long-term forms of engagement with the sites, these interventions have been developed throughout the last nine months. By bringing together these different approaches, the In Residence exhibition aims to test the capacity of architectural expertise to respond to these changing realities. What are the venues for the Triennale? How did you choose them and how did they shape what we will see? The Triennale takes advantage of the architectures of the city of Oslo. Opening on September 8, the After Belonging: On Residence exhibition is set at an old warehouse now housing the Norwegian Center for Design and Architecture (DogA), and the After Belonging: In Residence exhibition is displayed in a glass pavilion addition to the National Museum designed by Sverre Fehn. The After Belonging Conference will be celebrated on September 9 at the Oslo Opera House by Snøhetta. Some additional events will happen at the Oslo City Hall. Yet, other architectures critical to understand the transformation of belonging are being mobilized both in the city of Oslo, the Nordic region, and around the globe. These architectures are addressed within the In Residence program both by the reports and intervention strategies. For example, a Triennale visitor, upon arriving at Oslo, will encounter an architectural intervention developed at Gardermoen Airport or will be able to engage with the different strategies for an asylum seekers’ center in the neighborhood of Torshov, in the In Residence exhibition. Each of the member organizations that are part of The Oslo Architecture Triennale plays a role within the program, adding new locations. In addition to The National Museum, DogA, and the Oslo School of Architecture and Design (AHO) will also host events during the opening weekend and a lecture series throughout the duration of the Triennale. What role does digital technology and communication play in the exhibition, and what is its relationship to the more physical parts of architecture that you will display? Digital technologies are central to the questions addressed by the curatorial topic, as well as a key component of the curatorial strategy. On the one hand, the role of architecture in the articulation of belonging is intertwined with the development of the digital technologies that define everyday realities and global imaginaries. Some of the pieces in the On Residence exhibition reflect upon the media and modes of organization shaping networked geographies, analyzing the social bonding and mutualization systems that they enable. Moreover, some of the case studies addressed in the In Residence program and exhibition are particularly concerned with technological processes. In Lagos, for example, we consider how videotapes and sound recordings circulating in social media foster spiritual and social affiliation. In fact, the spaces hosting these forms of religious congregation can be both understood as broadcasting platforms and reception nodes. But In Residence looks also at the effects of digital platforms like Airbnb and all the so-called sharing economies upon the built environment, ranging from the monetization of domestic spaces to the real estate processes they trigger in the city. Some intervention strategies instrumentalize the possibilities offered by these platforms with other purposes. This is the case of bnbOpen, which—through an app that facilitates asylum seekers’ access to accommodation offered by the inhabitants of Oslo—explores alternative ways of meeting asylum seekers’ needs with new notions of adaptability and hospitality. In fact, the spaces resulting from the technological mediation of financial structures are of great importance in understanding new ways of being together. These spaces are addressed in a section of the After Belonging Conference that we have titled The Digital and the Real Estate. This section conjoins scholar Reinhold Martin and the collaborative effort of OMA’s Ippolito Pestellini Laparelli and digital invention studio Bengler. In a project especially set up for the On Residence exhibition, OMA and Bengler investigate the accelerating influence of digital sharing platforms and their pervasive impact on the built environment. On the other hand, interaction through digital technologies—namely, social media and other web platforms—have been key for our curatorial proposal throughout these last two years: in order to convey a global conversation in anticipation of the Triennale. Not to talk about the central—even if obvious—role of digital meetings in making this project possible. With curators living in two different time zones distant from the Triennale’s location, we consider the curatorial project as a global architectural practice in its own right. What auxiliary events will be planned in the city, both at the opening and throughout the length of the Triennale? Together with the On Residence and In Residence exhibitions, the After Belonging Conference and the Triennale publication (which we will launch at the opening), there are two other key platforms within the Core Triennale Program: The Academy and The Embassy. The Academy is a forum organized by the AHO, which brings schools and students from around the world into a global dialogue and knowledge-sharing experiment that will reflect on the topics of After Belonging. Visitors to the Triennale will be able to see the results of the students’ work in a public presentation at the Stenersen Museum on Friday, September 16. During the opening weekend, we will launch The Embassy in an event on Sunday 11. Its main program will be developed during the Triennale’s closing week. The New World Embassy: Rojava—a collaboration between Studio Jonas Staal and the Democratic Self-Administration of Rojava—will manifest as a temporary embassy that will be constructed in Oslo with the aim of discussing the ideals of “stateless democracy” developed by the communities of the autonomous region of Rojava, northern-Syria. The embassy will consist of a large-scale oval shaped architectural structure, designed as an “ideological planetarium.” In addition to those, more than 40 events, conversations, workshops and smaller exhibitions throughout the city will echo the topics of the Triennale during the opening weekend, and more as the program unfolds until the end of November. Some of them are coming from a Call for Associated Projects, while others are directly organized by the Triennale’s members or other collaborating institutions. These events range from an exhibition on Chinese communities around the world to a discussion addressing the contemporary status of the so-called European project. What else should visitors know about the opening? Be ready: there will be a party every day! Partying is a form of belonging. For more details on the Triennale, visit their website here.
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View the full details about this year’s Oslo Architecture Triennale

Earlier this year,  AN briefly covered what would be going on at this years Oslo Architecture Triennale in Norway. Titled After Belonging, the design festival has now unveiled the participants of the programs that will going on throughout the event. The full calendar can be found here. The Trienniale divides the theme of After Belonging into two parts: the first, On Residence, will “collectively analyze the spatial conditions that shape our ways of staying in transit and the definition of our contemporary spaces of residence.” Meanwhile, In Residence, will see “international architects and professionals concerned with the built environment… engage in local collaborations in Oslo, the Nordic region, and around the globe, to intervene in the transformation of residence.” As well as contributing to the On/In Residence exhibitions, the participants listed will also contribute to the Extended Program; The Academy; The Embassy and the After Belonging Conference.  https://vimeo.com/140888235 Extended Program The Extended Program comprises six projects selected through an "Open Call for Associated Projects" last year. These projects include: ADAPT - Accessible, Affordable, Integrated Housing Strategies in Oslo, Bytopian Breakfast, Counter Borders, Global Spaces of Chinese Labor, Marble of The Opera, and Who lives there. The Academy The Academy is a forum organized by the Oslo School of Architecture and Design AHO which aims to coalesce a selection of schools from across the globe. Here, the schools will engage in discourse relating to the triennale's themes while also reflecting on "new forms of residence, contemporary states of transit, and the ways in which architecture and design are responding to new forms of belonging and belongings." Lectures, workshops, and roundtables will also be set to feature in the program which is due to operate in three phases—"an analytical phase, a critical phase, and a production phase"—all of which will take place over eight days. The aim of The Academy is to produce a a "collective project" being either an "ephemeral structure, a performance, a publication, an action, an exhibition, or a combination of many of those things." The Embassy Conceived and designed by Dutch firm, Studio Jonas Staal, The New World Embassy: Rojava is a stateless embassy that represents, through cultural means, the ideals of “stateless democracy” developed by Kurdish communities of the autonomous region of Rojava, northern-Syria. The New World Embassy: Rojava is a stateless embassy that culturally symbolizes, a “stateless democracy” and its ideals, developed by Kurdish communities of the autonomous region of Rojava in northern-Syria. A temporary installation, the project rethinks "non-state models of political representation through art" while engaging visitors in the "unique cultural and political ideals being developed in this war-torn region." After Belonging Conference The conference will address the primary points if discussion raised at the triennale. "What is architecture’s role in the contemporary reconfiguration of belonging? How has this process transformed the notion of residence? What are the spatial, technical, and sociopolitical consequences of this transformation?" Below is the outline of dates and details of the 2016 Oslo Architecture Triennale programs. After Belonging: On Residence Exhibition, Norwegian Centre for Design and Architecture DOGA September 8 – November 27, 2016 After Belonging: In Residence Exhibition, National Museum – Architecture. September 8 – November 27, 2016 After Belonging Conference Oslo Opera House September 9, 2016 Press pass available at oslotriennale.no/konferanse After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit Publication of the Oslo architecture Triennale 2016, published by Lars Müller Launching September 8, 2016 The Academy Forum organized by the Oslo School of Architecture and Design, Stenersen Museum September 11-18, 2016 The Embassy New World Embassy – Rojava. Development and programming by Studio Jonas Staal in collaboration with the Communities of Rojava Launching in November, 2016 Extended Program September 8 – November 27, 2016 Below is the full list of participants due to contribute to this years triennale. Adrian Lahoud Ahmet Öğüt & Emily Fahlén Amale Andraos Andrés Jaque/Office for Political Innovation Arjun Appadurai Atelier Bow-Wow Bengler Bouchra Khalili Caitlin Blanchfield, Glen Cummings, Jaffer Kolb, Farzin Lotfi-Jam & Leah Meisterlin Center for Political Beauty Cristina López Uribe Cooking Sections (Daniel Fernández Pascual & Alon Schwabe) Coralie Gourguechon Deane Simpson Design Earth Didier Fassin Einar Sneve Martinussen & Jørn Knutsen Elisabeth Søiland, Silje Klepsvik & Åsne Hagen Emeka Ogboh Enorme Studio Eriksen Skajaa Architects Eyal Weizman Factory-baked Goods Felicity D. Scott Femke Herregraven FFB First Office Folder Frida Escobedo & Guillermo Ruiz de Teresa Grete Brochman Gro Bonesmo Hu Fang Husos Ijlal Muzaffar Ippolito Pestellini Laparelli Iver Neumann James Bridle James D. Graham Jeffrey Schnapp Jesse LeCavalier Jill Magid John Harwood Juan Herreros Kadambari Baxi, Janette Kim, Meg McLagan, David Schiminovich & Mark Wasiuta Keller Easterling Kër Thiossane with Amadou Kane Sy Khaled Malas Laura Kurgan, Juan Saldarriaga & Angelika Rettberg L.E.FT & Lawrence Abu Hamdan Living Architectures Louise Amoore Lorenzo Pezzani & Charles Heller Luis Callejas & Charlotte Hansson Mabel Wilson Martha Rosler & Pelin Tan Martti Kalliala Merve Bedir Michel Feher Nabil Ahmed & Dámaso Randulfe Negar Azimi Nora Akawi, Nina V. Kolowratnik, Johannes Pointl & Eduardo Rega Matilde Cassani OMA Pa.LaC.E Pamela Karimi Paulo Tavares Paulo Moreira, Ana Naomi de Sousa & Pétur Waldorff Per Heggenes/IKEA Foundation Reinhold Martin ROTOR Ruimteveldwerk estudio SIC | VIC Snøhetta Sputniko! Studio Jonas Staal with the Communities of Rojava Supersudaca Superunion Territorial Agency The State (Rahel Aima, Ahmad Makia, Deepak Unnikrishnan) Thomas Hylland Eriksen Thomas Keenan Transborder Studio Troy Conrad Therrien TYIN Tegnestue Unfold Yasmeen Lari
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What’s going on at this year’s Oslo Architecture Triennale

"What is architecture’s role in the contemporary reconfiguration of belonging? How has this process transformed the notion of residence? What are the spatial, technical, and sociopolitical consequences of this transformation? Where do we belong? [In] relation to the objects we own, share, and exchange—How do we manage our belongings?" These are the questions that this year's Oslo Architecture Triennale (OAT) conference After Belonging hopes to address. The conference will host sixteen guest speakers who will all contribute with different approaches to the questions outlined (above). It will also address questions surrounding refugees, migration, homelessness; new mediated forms of domesticity and foreignness; environmental displacements; tourism; and the technologies and economies of sharing. This year's speakers includeAmale Andraos – Work Architecture Company, Columbia GSAPP; Atelier Bow-WowNegar Azimi – Bidoun; Simen Svale Skogsrud and Even Westvang – Bengler; Gro Bonesmo – Space Group, Oslo School of Architecture and Design; Grete Brochman – University of Oslo; Thomas Hylland EriksenPer Heggenes – IKEA Foundation; Juan Herreros – Estudio Herreros; Yasmeen Lari – Heritage Foundation of Pakistan; Reinhold Martin – Buell Center for American Architecture, Columbia GSAPP; Ippolito Pestellini Laparelli – OMA; SnøhettaTYIN Tegnestue ArchitectsAnn-Sofi Rönnskog and John Palmesino – Territorial Agency and Eyal Weizman – Center for Research Architecture, Goldsmiths The Trienniale divides the theme of After Belonging into two parts: the first, On Residence, will "collectively analyze the spatial conditions that shape our ways of staying in transit and the definition of our contemporary spaces of residence." Meanwhile, In Residence, will see "international architects and professionals concerned with the built environment... engage in local collaborations in Oslo, the Nordic region, and around the globe, to intervene in the transformation of residence." Other agendas for the event are set to focus on "global circulation of people, information, and goods has destabilized what we understand by residence, questioning spatial permanence, property, and identity—a crisis of belonging." The Triennale will also ask: "How can different agents involved in the built environment address the ways we stay in transit? How can architects intervene in the reconfiguration of the contemporary residence?" This year, the OAT will run from September 8 through to November 27, with the After Belonging conference lasting 7 hours on September 9, starting at 9:00 a.m being held at the Oslo Opera House.  
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Five intervention strategies selected for 2016 Oslo Architecture Triennale

The Oslo Architecture Triennale (OAT) invited architects and designers to create intervention strategies for five different sites in Scandinavia. Winners were announced January 28. The five different sites selected were: Asylum and Shelter Provision in Torshov; Oslo Border Definition in Oslo Airport Gardermoen; Resource Negotiations in Kirkenes; Transnational Neighborhoods in Tensta, Stockholm; and Home Sharing Platforms in Copenhagen. The five winners are: Modes of Movement Ruimteveldwerk Pieter Brosens, Brecht Van Duppen, Sander Van Duppen, Lene Beelen, Pieter Cloeckaert Antwerp and Brussels, Belgium The goal of this project was to produce a travel guide to Oslo for and by asylum seekers in Torshov Transittmottak, a transit station for unaccompanied minors. Ruimteveldwerk hopes that by encouraging young refugees to discover and share the places that are meaningful to them, they will generate a sense of belonging and community.
OPENtransformation Elisabeth Søiland, Silje Klepsvik, Åsne Hagen Bergen, Norway OPENtransformation’s ambition with this project is to generate an honest, open discussion of hospitality of refugees. The project includes changing policy on organization and subsidy system of refugee housing, by creating new ways for refugees to interact with locals. This includes an app that helps connect refugees to locals, an investigation into the current housing market, and a proposal to create a shared facility for refugees in the city to give them a gathering and meeting place.
Managing Dissidence in Gardermoen Bollería Industrial/Factory-Baked Goods: Paula Currás, Ana Olmedo and Enrique Ventosa Madrid, Spain By highlighting the intense social nature of airports and the odd human behavior that can result from those interactions, this project seeks to explore the uniformity of airports and how it can or cannot create consistent results. The proposal also highlights airport regulations that are not rooted in law and the “increasingly generic experience of travelers in every airport.”
Nature, Labour, Land: A Public Spatial Archive for Kirkenes Nabil Ahmed, Damaso Randulfe London Kirkenes, a northern town in Norway that’s only nine miles from Russia, is already experiencing the geo-political consequences of climate change with its extracted resources and melting ice packs. Ahmed and Randulfe explore a future “transnational eco-political citizenship” with advanced technologies to provoke discussion and offer solutions for Kirkenes and other northern spaces.
Cher Caitlin Blanchfield, Glen Cummings, Jaffer Kolb, Farzin Lotfi-Jam and Leah Meisterlin New York City A pun on “share,” this project ironically extrapolates a sharing economy into the realms of private and public spaces. The jury hopes that the project will stimulate discussions and debates on “styles of being together” and can lead to pilot applications of the concept. The winning teams will spend 2016 and a prize of NOK 150 000 to develop their proposals with the Triennale curators of the After Belonging agency. All five interventions will be displayed and discussed during the Triennale, After Belonging, which opens on September 8, 2016.
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David Adjaye exhibition, Ukrainian urban planners among winners of new Graham Foundation grants

Chicago's Graham Foundation today announced nearly half a million dollars in grant funding for “groundbreaking” architectural projects by organizations, including the first major career survey of architect David Adjaye, an urban planning program in Ukraine, and architecture festivals in Norway and Portugal. The Graham Foundation, whose director Sarah Herda sits on AN's editorial advisory board, will award $496,500 to 49 projects that “chart new territory in the field of architecture.” The award recipients were plucked from a pool of over 200 submissions representing 22 countries. The Adjaye show, titled Making Place: The Architecture of David Adjaye, opens September 19 at the Art Institute of Chicago and will be “the only North American venue for this globally focused exhibition,” according to the Art Institute. Other grant recipients include a plan to exhibit sound sculptures designed by Harry Bertoia at Chicago's Experimental Sound Studio, the Storefront for Art and Architecture’s biannual World Wide Storefront event, and the 2016 Oslo Architecture Triennale. The announcement follows the Graham's “grants to individuals” program, which in May awarded $490,000 for architectural research to 63 projects. Here's the full list of recipients, organized by category: EXHIBITIONS [23 awards] Art Institute of Chicago (Chicago, IL) Chicago Design Museum (Chicago, IL) Columbia College Chicago-Museum of Contemporary Photography (Chicago, IL) Elmhurst Art Museum (Chicago, IL) The Jewish Museum (New York, NY) MAK Center for Art and Architecture, Los Angeles, at the Schindler House (West Hollywood, CA) Materials & Applications (Los Angeles, CA) Monoambiente (Buenos Aires, Argentina) Museum of Contemporary Art Chicago (Chicago, IL) Museum of Modern Art (New York, NY) National Trust for Historic Preservation (Washington, DC) Oslo Architecture Triennale (Oslo, Norway) Parasol Unit Foundation for Contemporary Art (London, England) Serpentine Gallery (London, England) Slought (Philadelphia, PA) Socrates Sculpture Park (Long Island City, NY) Southern California Institute of Architecture (Los Angeles, CA) Swiss Institute (New York, NY) University of California, Berkeley-Berkeley Art Museum and Pacific Film Archive (Berkeley, CA) University of Chicago-Neubauer Collegium for Culture and Society (Chicago, IL) Video Game Art Gallery (Chicago, IL) Yale University-School of Architecture (New Haven, CT) FILM/VIDEO/NEW MEDIA [2 awards] Wavelength Pictures (London, England) The Wende Museum of the Cold War (Culver City, CA) PUBLIC PROGRAMS [12 awards] Archeworks (Chicago, IL) Architectural League of New York (New York, NY) Association of Architecture Organizations (Chicago, IL) CANactions (Kiev, Ukraine) Chicago Architecture Foundation (Chicago, IL) Chicago Humanities Festival (Chicago, IL) Experimental Sound Studio (Chicago, IL) The Frank Lloyd Wright School of Architecture (Scottsdale, AZ) Lampo (Chicago, IL) Ohio State University-Knowlton School of Architecture (Columbus, OH) Storefront for Art and Architecture (New York, NY) Van Alen Institute (New York, NY) PUBLICATIONS [12 awards] Anyone Corporation (New York, NY) Art Papers (Atlanta, GA) California Institute of the Arts-REDCAT (Los Angeles, CA) Columbia University-Graduate School of Architecture, Planning and Preservation (New York, NY) LIGA-Space for Architecture (Mexico City, Mexico) Lisbon Architecture Triennale (Lisbon, Portugal) MAS Context (Chicago, IL) Primary Information (Brooklyn, NY) The Renaissance Society (Chicago, IL) Rice University-School of Architecture (Houston, TX) Walker Art Center (Minneapolis, MN) Zone Books (Brooklyn, NY)
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Norwegian Invasion: Norsk design and architecture is having a moment

When the words “Scandinavian Design” come up, most people quickly think about Finland, Sweden, and Denmark. But Norway is no slouch, either. Recently, the nation's designers have been drumming up noise in the worlds of furniture, product design, and architecture. A string of exhibitions, a master plan for New York’s Times Square, and a robust program of roadside pavilions and viewing platforms highlight this Norsk moment. Leading the way are architects Snøhetta, who have been on quite the streak in the last year, most recently gaining commissions to master plan Penn Station and Times Square, just ten blocks from each other in New York. While their Times Square design isn’t the firm's most dramatic work—indeed, it's intended to be a subtle backdrop to the chaotic public space—but it should be a welcome, nuanced addition to the commercial free-for-all that includes Guy’s American Kitchen & Bar. Just a few blocks to the west—towards the Hudson River—the Royal Norwegian Consulate General showed off the country’s design prowess at a recent series of events. At Wanted Design, Calm, Cool and Collected: New Designs from Norway, a booth full of Norsk people and treasures, showcased the subtle use of wood characteristic of Scandinavian design. The up-and-coming studios on display included A-Form, Stokke Austad, Anderssen & Voll, Lars Beller Fjetland, Everything Elevated, Kristine Five Melvær, and Sverre Uhnger. Also sponsored by the Norwegian government was Insidenorway at the International Contemporary Furniture Fair (ICFF), which hosted a group of classic Norwegian brands: Figgjo, Mandal Veveri, Røros Tweed, and VAD. Plates by Figgjo were offered in three styles and featured an elegant flat base and flared edge. Røros Tweed showed off textiles by other famous Norwegians—Anderssen & Voll, Snøhetta, and Bjarne Melgaard. At Collective Design, Oslo- and Tokyo-based Fuglen Gallery showcased an assortment of objects both new and old, alongside work by Norwegian artist Arne Lindaas. The eclectic assortment showed the thematic extension of Norwegian modernism into the 21st century, encompassing much of the iconic work with new, up-and-coming designers. In 2014, Norwegian Icons was curated by Fuglen and Blomqvist at Openhouse Gallery in New York, and showcased the Midcentury design that peaked in Norway around 1950–1970. This exhibition actually continued the tradition of Norway’s promotional shows on the international stage, while also setting up some context for the other shows. It is not just international exhibitions and commissions that have drawn attention to Norway’s strong design culture. The Norwegian Public Roads Administration famously commissions its infrastructure to architects. Across the country, there are points of architectural interest, many of which are located in scenic areas. Most famously, the Trollstigen National Tourist Route has six stunning overlooks. Besides Snøhetta’s iconic designs such as the Oslo Opera House, there are architects like Fantastic Norway and Reiulf Ramstad who are consistently producing top work. At institutions like Fuglen, 0047, and the Oslo School of Architecture & Design, intellectual communities thrive, fostering a strong community of young designers like MMW and Atelier Oslo. The city will get an additional cultural boost during the 2016 Oslo Triennale, curated by New York–based team at After Belonging Agency, a group of five Spanish architects, curators and scholars. Take a look at some of Norway's top new design in the gallery below.