In which, I outline a practice at the nexus of art, design, and community organizing.
¶ The goal is what matters.
¶ Use the most appropriate tools and methods.
¶ Invest in people and process.
“Remember that project you did in grad school about the super slow mobile architecture that traveled around the earth?” Meredith asked me recently.
After some digging, I found the very much out-dated web documentation in my archives and thought it was interesting enough (for me, anyway) to put back online. In 2001 I was a graduate student at University of Texas at Austin School of Architecture. One of the many courses I took outside the architecture school was a studio taught by Samantha Krukowski in the now defunct Convergent Media program. I ended up spending quite a bit of time in Convergent Media because 1) they were doing really interesting and cutting edge projects with digital tools, 2) the tools weren’t an end in themselves but a link in a creative process chain that stressed media translation between the analog and digital, and 3) the students and faculty there were in many ways much more sympathetic to my own artistic sensibility than the architects.
The Auto-Extraction Project gave me an opportunity to go deeper with some of the theoretical architecture research I was discovering through a speculative investigation of a hypothetical mobile architecture. As the explanatory text explains:
The Auto-Extraction Project is conceived of as a mobile architecture of restriction whereby the individual participant physically removes his/herself from mainstream culture/society by embarking on a hyper-slow journey around the earth. The structure of this mobile architecture consists of a compact, individual habitational cell equipped with austere sleeping, bathing, and cooking accommodations. Suspended from a high mono-rail-like track, the cell hovers above the ground a mere 9 – 12 inches (variably) and travels at a constant rate of approximately 10 feet per hour in perpetuity; the route which the track follows is remote and rugged, rarely passing through regions of significant human inhabitation.
There’s a good deal more documentation of the project here.
Friends and collaborators Metahaven (Daniel van der Velden and Vinca Kruk) recently asked me to contribute a short text for their publication project, The ExorcistVan Abbemuseum in The Netherlands. Continue reading