You can’t presume to possess or lay claim to a city. We are only guests.

‘I have no sympathy,’ says Wentworth, ‘for people who say “They’re going to spoil King’s Cross.” Not long ago, before the railway marched into London, there were sheep grazing here! Preservation culture is a serious English disease. When Norman Foster revealed his intention to site the new station between King’s Cross and St Pancras, the Victorian Society rushed to prevent it by putting a preservation order on the Great Northern Hotel. Change is relentless, there’s no way of stopping it; but I think in terms of mutability and exchange – transmogrification – rather than of loss. You can’t presume to possess or lay claim to a city. We are only guests.’” (Sarah Kent)

Talking about ‘An Area of Outstanding Unnatural Beauty

[From: Artangel Press]

*S * P * A * C * E * { R E S E A R C H } * S * P * A * C * E *

I’ve written a short piece pulling together some of the threads and thoughts I’ve encountered as part of the Space Program elective. There’s three strands: “Mobile Devices and Museum Content”, discussing the use of mobile devices to augment and complement the museum experience, “The Visitor’s Expectations and the Museum’s Purpose”, looking at the changing roles of the museum, its experiences and visitors expectations and engagement with this, and “Museums as a Collection of Information” outlining the change in museum’s collections and curation as a result of digital technologies ( databases, the internet, rapid prototyping / restoration tools ).

Link

Design and Violence

MoMA, New York, is running an ongoing blog called Design and Violence as a curatorial experiment without a definite aim/end game. From the description:

As we define it, violence is a manifestation of the power to alter circumstances, against the will of others and to their detriment. We have assembled a wide range of design objects, projects, and concepts that have an ambiguous relationship with violence, either masking it while at the same time enabling it; animating it in order to condemn it; or instigating it in order to prevent it. Almost all were designed after 2001. We see that year as a watershed because it marks four historical shifts in the modern evolution of violence: the beginning of a permanent War on Terror; a global shift from symmetrical to asymmetric warfare; the emergence of nation-building as an alternative to military supremacy; and the rise of cyberwarfare. The few exceptions—the AK-47, for instance—are archetypal examples of the entanglement between design and violence in the 20th century.