12/04/2007

THIRD INTERNATIONAL SYMPOSIUM FOR
THEORY AND DESIGN IN THE DIGITAL AGE
WITH A WORKSHOP IN ARCHITECTURE

ARHITEKTURA I MODA

Grožnjan , 10. - 19. 08. 2007.

Posljednjih desetak godina u svijetu – osobito u SAD-u i Europi – karakterizira interdisciplinarno povezivanje različitih društvenih, humanističkih i prirodnih znanosti u problematiziranju pojma kulture, novih medija, tehnologija i značaja vizualnosti. Na Sveučilištu u Karlsruheu, primjerice, izučava se u okviru Studium Generale (Zentrum fur Angewandte Kulturwissenschaft und Studium Generale) upravo na temeljima interdisciplinarnog pristupa kulturi tehničko-društveno-humanistički karakter inženjerskih znanosti u razumijevanju fundamentalnog značaja prirode kao kompleksne okoline (theory of complexity and vital structure) koju čine arhitektura, dizajn i tehno-kultura u digitalno doba.

Moda nije tek periferni i sekundarni fenomen estetizacije postindustrijskih društava. Ona nije niti puki fenomen stilova života u načelno pluralnome svijetu fragmentarnih i fluidnih identiteta. Kao temeljno načelo samoproizvodnje kulturalnih procesa u globalnome svijetu moda je semiotički pokazatelj njegove epohalne novosti. Tijelo u vlastitom identitetu potrebuje vizualnu konstrukciju. Ono je sredstvo/svrha identiteta koje iziskuje odijevanje, promjenu stila, intervencije i redizajniranje vlastite „prirode" u skladu s promjenama izvanjske okoline poput, primjerice, pametne odjeće i metamorfnog izgleda kiborga.

Interdisciplinarni pristup znanstvenom proučavanju mode otuda nužno zahtijeva utemeljenje teorije mode čiji je predmet totalno dizajniranje tijela u kulturi i društvu spektakla. Pritom valja istaknuti da je spektakularizacija društva u doba postmodernog kulturalnog obrata određena novom medijalnom slikom zbilje. W.J.T. Mitchell u svojem je istraživanju promjena paradigmi kulture, vizualnosti i slike postavio problem vjerodostojnosti vizualnih studija koje počivaju na pretpostavkama vizualne konstrukcije društva i kulture. Ako su vizija, vizualnost i slike izrazi konfiguracije moći u postindustrijskim zapadnim društvima u kojima slika vlada nad (kon)tekstom, a medijski kodovi određuju stvarnosti njezina pravila i načine reprezentacije i interpretacije, onda je imaginarna, simbolička i realna moć mode kao slike, spektakla, redizajniranog tijela u svijetu novih identiteta dostatan razlog promišljanja koraka izvan uhodanog pristupa proučavanju arhitekture i mode.


HIRD INTERNATIONAL SYMPOSIUM FOR
THEORY AND DESIGN IN THE DIGITAL AGE
WITH A WORKSHOP IN ARCHITECTURE


REALITY CHIC


Theory:
Nigel Whiteley (Lancaster University, GB)
Zarko Paic, writer/theoretician (Zagreb, HR)

Workshop:
PENEZIC & ROGINA architects (Zagreb, HR)

Guest critics:
David Mikhail, architect (London, GB)
Jim Njoo, architect (Paris, FR)

Time:
10–19 August 2007

Place:
INTERNATIONAL CULTURAL CENTRE
JEUNESSES MUSICALES CROATIA GROZNJAN

Language: English
Participants: 15 - 20

Prices:
Fee and lodging: 350 EUR
Meals (approx): 20 EUR per day (facultative)



Submission deadline: 15 May 2007
Detailed information and registrations at groznjan@hgm.hr or info@penezic-rogina.com
More about Groznjan at http://www.groznjan-grisignana.hr


REALITY CHIC: Architecture and Fashion

Architecture and fashion have traditionally been seen as opposite ends of the spectrum: architecture’s feats were to do with permanency and seriousness; fashion’s fates were ephemerality and triviality. Today, however, the spectrum has exploded and imploded: both architecture and fashion can now be seen in terms of identity, branding, expression, display, lifestyle and spectacle, and as enabling devices for the possibilities and choices open to the consumer-citizen in the age of radical individualism.

In the post-disciplinary, digital age, architecture and fashion need not be seen as discrete realms but as common worlds with shared interests. The Symposium will explore the connections and complexions between architecture and fashion. For example,
Architecture can be in fashion - a style may go through cycles of fashionability, obsolescence and revival, although the revival will never be quite the same next time round;
In both architecture and fashion, past styles can be appropriated and quoted, opening up possibilities for irony, subversion and humour;
Architecture can be seen as form of clothing, providing protection and privacy, or openness and display; both can be framing or enabling devices for performativity;
Adornment and decoration apply to both, ranging from the permanent (decoration and ornamentation; cosmetic surgery) to the ephemeral (colouring of façade, night lighting, graffiti; hairstyle, make-up, transfer tattoos and make-overs);
Architecture and fashion are both strongly imaged/represented with conventions of “classic” poses and views; both enjoy voyeurism and collectors;
Since the mid-20th century there have been examples of architecture and fashion merging either through “expanded clothing” (eg Haus Rucker’s Flyhead) or “condensed architecture” (eg Italian micro-environments)
Now there is a merging by means of digital, responsive environments that respond to touch, light or movement; or through attaching accessories, gadgets and devices to the body.






The symposium is fundamentally practical. Workshops hosted by P&R (www.penezic-rogina.com), creators of the Dig-It-All Re-Wall-ution Suit, are supplemented by discussions, led by Nigel Whiteley (http://www.lancs.ac.uk/depts/art/oldsite/nigel%20main.htm).