Annual theme

 

Think space

Subscribe to
our mailing list

* indicates required

Programme Partner:

Lauba, People and Art House



Supported by:


Republic of Croatia, Ministry of Culture

City of Zagreb, City Office for Education, Culture and Sports


Embassy of France in Croatia

Institut Français

Acción Cultural Española

Media Partners

Arqa

ArchDaily

Competitonline

Volume Magazine

Quaderns 

Rockwoll

Erste Banka

Beton Lučko

Velux

Flux

Autodesk

Intelika

Trika

Nox

Samsung

Xal

Jamnica

Ledo

 

call for papers


MONEY
The relationship between money and space is understood as a relationship between two different agents. We can easy detect how money produces space in the growth of cities, from designing the representations of private and public buildings to the restructuring of contemporary spatial regulations for faster and efficient investments. Likewise it is easy to see how space produces money through raw materials like minerals, rivers, oceans, wind or the sun. It is of course also easy to recognize mechanisms that are necessary for their mutual reproduction, such as science, knowledge and politics. On the other hand there are some striking commonalities between money and space: both of them are products of abstraction. There is no universal abstract mathematical space as fact. Instead, it is presupposed in order to enable specific knowledges of the world itself and its specific technologies. What effectively occurred during the last three centuries is the reversal of cause and effect. Pure mental constructions, the effect of thinking, became the cause of thinking and an unquestionable reality. This process is perhaps most clearly detectible in the production of money: as the abstraction of the value of commodities, its relational character in market form was measured by money itself. As with space, money became a commodity itself that produce values, as if money is some sublime category. These same processes can be also detected in Baudrillard’s employment of the concept of hyperreality, describing the constellation in which a medium becomes reality itself, not just the representation of some existing reality.

 

Architecture is a discipline situated at the intersection of money and space. It is simultaneously a product of space and money and is itself their means of production. In this sense, architecture, especially a representational one, could be understood as a heterotopia –some place capable of representing society from a virtual point in order to produce new form of society through its own self-understanding, or as Michel Foucault claimed, a specific form of subjectivity. Although Foucault detected individual examples for different kinds of heterotopias in society, it seems today that the idea of a heterotopia started to influence all the places whether in cities or in landscapes. For example, the Occupy movements throughout the world select different places for protesting in order to point the fact that there are people that don’t accept “heterotopisation”of the entire space and its consequential new kind of subjectivity.

But buildings and urban agglomerations are also sensitive to everyday practice of people: their particular needs, desires and decisions, as have been eloquently detailed by Michael de Certau or Henri Lefebvre. The spaces of everyday life function as an “other scene”of architecture where contingency meets abstract determination. There are different uses and misuses of the built environment that can’t be predicted or regulated. We see here a possibility for constructing a new form of understanding architecture as a discipline devoted not only to the design of the built environment but also as a mechanism that opens the possibility for new types of social practice. If space is not understood just as objective, sublime object, but the result of specific historical circumstances, could a new type of architecture contribute toreshaping the meaning of money, and furthermore, culture, society and environment?

We call for contributions that radically propose reshaping the relationship between money and:

1.    Territory- Does money produce territories? How do people, with money (or not), invent different strategies and tactics to overcome the limits of territories, passages and exclusion? What are the economic practices generating different type of territories? What would be the result of applying some logics of informal economy towards shaping our idea of territory?

2.    Society and culture–What is a city today? Are there social practices outside money reconfiguring the city space? How do pockets of space empty of circulating money (such as Detroit) live, and what spatial practices and architecture they can produce? What is the relationship between money and culture? New social practices relate with trade and exchange beyond our known currencies and traditional economy (such as crowdfunding, electronic money, etc.), and are transforming social relationship and cultural experience in our cities. If we already know, or at least have an idea of the aesthetics of money, then what would be the aesthetics of no-money? As being something symbolic, what if we stop accepting money as a method of payment? What if you find and share the way to print your own money? Or should we accept that "A customized form of money that only one person uses is no longer money "? [Schlichter]

3.    Environment–Can we find architecture (in the sense of form as well as in the sense of symbolic value) subtracted by the money driven environment that we experience today? We as humans are the only element of the biosphere system that assigns a monetary value to our exchanges (explotation) with rest of elements. Are we able to overcome this?  Are we able to survive within the system if substracting such symbolic element? The symbolic value of money enhances competitive behavior in a race where productivity rules labor activity in contrast with nature, where cooperation is a wining strategy.

 

PAPER DEADLINES

Abstracts Submission Deadline:
20 October 2013

Full Paper Submission Deadline:
19 January 2014

To REGISTER, send your abstracts to
info@think-space.org with the authors’ short bio (up to 200 words) and contacts.

CALL FOR PAPERS

The Think Space  MONEY  Programme was pleased to announce its second CALL FOR PAPERS, dedicating itself to writing and publishing critically about architecture on 24 September 2013.

Conceived as a wide scale disciplinary intervention, Think Space MONEY platform uses a design competition, exhibition, symposium and publications as its tools. Along with this unique approach in which new forums for thought are created via new design objects, Think Space is again leaning on historical and theoretical discourse which normally takes the form of reflection through writing.
 
Evaluation Board: Tomislav Pletenac, PhD (Zagreb Faculty of Humanities and Social Studies), Ethel Baraona Pohl & Cesar Reyes Najera, PhD (dpr-barcelona), Brendan Cormier ( Volume | Archis ) & Brandon La Belle (Bergen Academy of Art and Design).
 
 

PAPER  GUIDELINES

Abstract: 

Text upload: For the abstract, please submit as .doc, .docx, or .rtf. with max. 500 words and up to three images (paper_title_abstract.doc).

Graphic proposals will be selected on a basis of a representative image plus an explanation of 100 words. Images should be provided in .tif  or .eps format including a numbered list with the following information: Name, author, source. Images provided should be copyright free.

Full Paper:

- Text upload: For the full paper, please submit as .doc, .docx, or .rtf  (paper_title.doc).

- Paper size: A4.

- Length: Up to 12 pages including title, authors’ names, abstract, main text, citations. CVs and authors’ contact details will be submitted in the separated file (paper_title_authors.doc).

- Language: The text must be in English.

- Citation: We prefer endnotes as opposed to footnotes. Citation formats can vary, but The Chicago Manual of Style Documentation System 1 (Notes and Bibliography, not Author-Date) is preferred.

Graphic proposals will be selected on a basis of a representative image plus an explanation of 100 words. Images should be provided in .tif  or .eps format including a numbered list with the following information: Name, author, source. Images provided should be copyright free.Please DO NOT place images in the word file, just indicate the place of the image or table. 
 
- In the case of copyrighted material, the names of copyright holders must be included as well. Authors are responsible for securing permissions to reprint copyrighted material. Any fees required to secure copyright permissions or use of figures are the responsibility of the authors.

- For diagrams or vector drawings, please send .eps or .pdf format with fonts embedded or outlined. Line weights must be a minimum of 0.25 pt (when the image is scaled at 100%) in order to print properly. The submitted diagram or vector drawing may be placed at a smaller scale, in which case line weights would shrink, potentially causing them to break up. The designer may modify the diagram or vector drawing by thickening lines to compensate.
 
-Please note that we have the intention to publish the selected papers in a publication containing augmented reality technology, so we also welcome additional materials that match the following critera:
  • Images: JPG or PNG 512x512 pixels minimum. 500,000 pixels maximum. PNG should be saved with transparency in order to use Alpha Channel.
  • Video: A 30-45 segs-lenght video MP4 or MOV(with H.264 codec) or as FLVs when they have an alpha channel. Ratio: 16:9. 
  • 3D Models: Basic 3D models and small scenes. 3D model support is based on the Collada format (v1.4 or v1.5.).

- Font for the whole document: Arial. Font size for the whole document: 12 pt.

- Use italics for non-English words, to emphasize text, and for all kinds of titles (books, plays, movies, and newspapers). Do not use italics for names of persons or organizations, or for geographical terms. Titles in italics are not put between quotation marks.

- Use single quotation marks for quotes. Use double quotation marks only for quotes inside quotes. Quotes up to two sentences are integrated in the text. Quotes longer than two sentences have to be set apart in a separate paragraph with the same formatting. Use italics for quotes.
 
To REGISTER, send your abstracts to info@think-space.org with the authors’ short bio (up to 200 words) and contacts.