Population: western europe
Time: late XXI century a. J.C
Materials: imitations of rocks (calcaire mylonitise, quartz ferugineux et schiste argileux), and organics (chestnuts tree, hetre and ecorce d'erable), plastic elements of scenography.
Artificial reproduction of wind from a recently found sound archive in 3070, aged from late XXI century. Material and sound landscape of extraction ground: earth, aquatic and wind elements existing at the time.
The wind was a gaz mass situated on the surface of earth, as well on ground, as well on see. It was an essential element to the meteorological moves on earth, as well as aquatic fluids circulation. It has allowed transportation of numerous organic and mineral agents. The wind has influenced the march of History in human civilizations as well as transports and even wars. It has given powerful energy resources for mechanical work. It has even inspired leisure activities. The wind desapears at the end of the XXV century with numerous other resources at the moment of The Delirium Ravage.
The post-modern primitive.
The day came when the men became work-less, the state offered no more jobs since a long time, the last man to understand these abstract and contradictory motives that drove men of the old world to work, should be so old that he no longer speaks. Maintain offices bothered to put them away, fill books to burn, recording datas on very hard discs, put together walls to pierce doors, paint the wood to become stone, make films to show that we live, we stoped doing it… Then an existential flash occurred, without let-up of that wealth (because it was needed a lot of imagination to complete such works), the men decided to turn this heritage into a huge celebration to their own glory of disaffected quadrupeds. We stripped the interior, we destroyed the clothes, rubbed, scratched, smeared, played, danced, roasted, pressed, laughed, farted ... This light undertaking, devoid of practical sense, opened to the primates that they were, the possibility of the sublime, exponential creative energy that one A4 page did not allow them to achieve.
Characters of the century.
Did Enzo Mari ever exist? Yes, he was an italian escaped convict from Siberia. The soviet commited him to goulag for "pervertion of the communist ideology", who could potentially bring to chaos to the nation. While succeeding his escape, finding himself highly confused with his personnal communist perspective, he returned to Italy, his native country, teaching to the capitalist society how wrong it was. He paradoxally made a great deal out of his frustration, at representing his ideal through the industry. Enzo Mari died last april 2010 during the Milan fair, while presenting/preaching to a young audience, his last old "Auto-progetazione" newly produced by the industry Artec. We will remind Enzo as the windvane who believed predicted the wind flow.
History of design number 1459.
A man grab a fruit from a tree. He swallow the flesh and stuck the stone fruit between his teeth and his cheek because he finds himself in difficulty to swallow that part. he would like to keep it to offer it to his girl-friend Nancy. But his hands are busy with a dear in one and a stone in the other. It starts hurting in his month with the stone-fruit in. He needs something to carry it. So He cuts a piece of skin from the dear with the stone he has (that is actually "history of design number 1235") and makes himself a pocket. He invented the Banana pocket!
History of design number 1460.
Nancy gets the stone-fruit from her boy-friend. It increased her affection for him which, since last week, went down to sleep apart from each other part of the cave. Instinctively she knows what to do with it. She recently lost her left eye caused by a clumsy move from Patrick who was sharpening a stone with another stone and a spintler flew straigh to her pupil (from history of design number 1069 to 2512 we are in stone-age). Nancy stuck the stone-fruit in her cavity. She invented the Eye-prostectic and opened first the way to a long and deep metaphysical research of man and his body-extention.
There once came a time when there was no more wood. All the forests of the planet had been destroyed, the trees had been cut to be transformed into boards, resins, furniture, construction, paper and all kind of manufactured objects. There were no more forests to destroy, no more trees to cut, and no more wood ... and yet we still needed it.
A new type of factory appeared. We decided to reuse all the manufactured objects made from wood and mix these various elements into a single wood material. We destroyed millions of tables, chairs, beds, chests ...With huge trucks, we threw the pulverized wood into the land to grow trees and forests. We had wood again, until the next shortage.
The Bear Trap
The 'stone bear trap', under the appearance of a random celtic sculpture, is the best machine for killing the most dangerous and most terrifying creature of all. It never fails in its morbid goal. The bear is attracted by the smell of honey, lying in a puddle under a heavy stone hanging from a tree. The honey aroma turns the bear crazy. He looses his mind from the moment he licks it. He cannot stop until the honey is completely gone. Unfortunately he will never get to that point. The bear hits his head under the stone, every time he stands after each lick. He kills himself by cranial injury.
Mistrust the seductive objects that you absolutely want to approach.
The Draughtsman's Contract
There was a tree in the garden that the Emperor liked a lot. He called the most respected draughtsman of the kingdom to draw it. Everyday the Emperor visited the draughtsman to ask him if he was done with his work, and the artist endlessly answered to wait a bit more. The Emperor waited impatiently until the draughtsman came to announce he was finally ready. The draughtsman took a seat and drew the tree from memory in three minutes. The Emperor became angry to have waited for so long, realizing the draughtsman could draw it in a moment. This last one answered: 'To draw the tree in front of you in three minutes, I needed a long time of observation and practice'.
Short story from short mind.
When I was small, small, all the furnitures around me were really big. There were too many of them also, imposing, suspicious. We had to polish them and to protect them from the excess of light, from dust and from the insidious worms.
I was looking at the adults doing it, it learned me the rules: don't move the tablecloth, don't hang to the doors, don't put the feet, don't write, don't play, don't move, don't knock.
I had to listen also, each one of their stories, because they were old, these big silent funitures, they travelled. So they put me in a complicated branched network of unknown parents who passed them, fighted for them and recieved them before to have been called back y the little Jesus.
I started drawing, I could make them as durty as I wanted, as big ad as small as I wanted. I could turn, rip up as much as I had paper. They could desapear, I wouldn't have cared about. Poeple could fight for them, I didn't wnated them.
I started to care about what I was drawing. I wanted them as close as what I imagined. I even started to think that I could draw in order to make things; to make things that would have been around me, and I started to understand that I could do my own objects, I felt secure.
I had nothing to fear about it, I could do whatever I wanted with my objects, I could make my door to hang to, I could put my feet everywhere, and also hot, fat and wet disches. I also started to understand the link between the formal environment and the events happening. I thought about the effects of objects on poeple's behavior. There were my friends, my parents and I wanted to embaras them. I felt powerfull.
I read a book that told me looking for power is not looking after knowledge. It confused me about the making, and I got stuck in the drawings, feeling I had to take care of them. I felt small again.
Wen I was small again, small, all the drawings around me were really big. There were too many of them, also, imposing, suspicious. I had to put paper on it, to protect them from the excess of light, from dust and from the insidious worms. But this time I didn't want to learn the rules. So the drawings became ennoying. What to do of them? They kept me stuck in not making, because I thought there were most of all plans ot make, to build.
So now I don't know, but there is an unumerous unfinished intentions that make together the story of an experience. Mixed mediums and confusions between drawings, love stories, making, desappointments, situations and places, that make so far, without conclusion, any; the quantity of experiences lied down or fixed throught materials.
A city is not made by size, job, history or architecture, but by eternal energy and a certain kind of energy which is extroverted and self-disregarding. A city's special quality is its autonomy: it goes its own way, and lets you go yours. Only if you do not like it, the city does this isolation turn into loneliness. The City would then say, has a right to say, “if you don't like me then Sod Off.” The City has a right to say so because of the facilities it provides and the way in which it provides them. Only addicts need apply.
The good hotel room is, in fact, the paradigm of the city: it provides everything you really need, and no more. The rest is out there: your dining room, the city's restaurants. Your garden, the city's parks. Your transport, a bus or a taxi. In a positive way it achieves what so many societies have turned to negative effect — through commune or kibbutz — by removing the need for useless possessions. Positive, because it offers more than it takes away. Precisely because it is impersonal, it offers a secret private life as well, for the possessions which really matter. How much do you really, really need to own, continuously? Love, a sense of humour and the understanding which makes the conversation a truthful meeting instead of a conversation of blind projections; these take no room up at all. A couple of essential objects for your private comfort. The rest, the City can provide, when you want them. That is its job.
Clearly, many people want more than this. Fine: there is no lack of alternative environments. The City, if it's good enough, will achieve this without any kind of pressure. What you cannot do is have your city-cake and eat it by yourself.
The City (or the Campus) for us students is a base to investigate and to exploit, as a training ground for applications of our projects; it is the opportunity to apply all the thoughts developed and collected at college. I call the Academy that keeps its knowledge for itself the "masturbation room." It is ignorance and comfort, it is warm and pleasant. The Academy cannot afford this necessary confrontation for the expansion of the project. The luxury of study is ultimately time, the time to go deep into something as with any skill. The Campus is where our citizen's lives take place. We have to feed the "city-cake" and make it richer in order that it feeds us well in return.