2021 Architecture Research / Arhitektura, raziskave The Artifice of Redress / Občutek za ranljivost CONTENTS / KAZALO 5 Editor’s Foreword Tadeja Zupančič Uvodnik Tadeja Zupančič Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus Bahar Aktuna A Reality of Rurality Mo Michelsen Stochholm Krag Naskov dvorec Maruša Zorec A Land or A Ruin Serena Dambrosio, Constanza Larach Letting Me Decay. Letting You Forget? Savia Palate Neo-Romance: Ark Architecture of Expectation Alberto Petracchin 7 Between Construction and Deconstruction Chiara Pradel Žička kartuzija Rok Žnidaršič The Drawing as a Boundary Object Thierry Lagrange, Johan Van Den Berghe, Moragh Diels Vulnerability of the Liminal Anđelka Bnin-Bninski Three Creative Figures to Codesign with Vulnerabilities Céline Bodart, Chris Younès Biographies 9 Tadeja Zupančič Editor’s Foreword Tadeja Zupančič The Artifice of Redress Editor’s Foreword 11 There is a chal leng ing dif fer ence between the Slovene and Eng lish ver ‐ sions of the AR 2021 title. This dif fer ence derives from the attempt to avoid a lit er al trans la tion, which sim ply doesn’t sound well. The title in Slovene empha sizes the abil i ty to feel vul ner a bil i ty. The Eng lish com bi na tive phrase inter pre tive ly sug gests a reac tion to that feel ing, an act that responds to vul ner a bil i ty, and to the nature of that act. In the con text of archi tec tur al design, in the broad est sense, includ ing its urban and inte ri ‐ or dimen sions, we can dis cuss design deci sion-mak ers’ aware ness of socio-spa tial vul ner a bly that enable them to detect the moments and places where redress is need ed: an aware ness that fos ters the abil i ty to crit i cal ly enter into a dia logue with the exposed vul ner a bil i ty and to define a form redress that can art ful ly reshape the sit u a tion. AR 2021 address es ques tions con cern ing the sen si tive ges tures need ed in vul ner a ‐ ble conditions. There is a need to devel op a strong indi vid ual and col lec tive ref er en ‐ tial appa ra tus to detect the con texts and the nature of vul ner a bil i ties in (co-)designing. How to sense these con texts and their dynam ics, as well as the mul ti fac eted nature of the vul ner a bil i ty, immerse into the sit u a tions and react time ly — and crit i cal ly — to the del i ca cy iden ti fied? Where and when the sit u a tion is too frag ile to be touched? When and where not- touch ing now would lead to future decay regard less of the vul ner a ble but flour ish ing sit u a tion at the moment of obser va tion? Where and when not- touch ing would lead to imme di ate destruc tion? The devel op ment of this crit i cal back ground requires per son al ized meth ods of defin ing a design- ori ent ed aware ness. This is not only about car ing for vul ner a ble places and peo ple, but also about nur tur ing and enhanc ing the sen si tiv i ty of those involved in deal ing with vul ner a ble places, peo ple, moments and processes. The dif fi cul ty to sense these con texts may derive from the nature of their vul ner a bil i ty. Often frag ile and ephemer al, vul ner a ble sit u a tions are at times dif fi cult to iden ti fy. The abil i ty to inter vene sen si tive ly to the del i ‐ ca cy iden ti fied is con di tioned by the abil i ty to immerse into the sit u a tion. Ris ing aware ness of and enhanc ing the per son al and col lec tive sen si tiv i ty of design deci sion-mak ers in rela tion to vul ner a bil i ty requires the devel op ‐ ment of com mu ni ca tion inter faces able to car ry the mes sages of and about vul ner a bil i ty. In archi tec tur al design, draw ings, espe cial ly hand draw ings, can assume such a role, where the poten tial of draw ing acts to inter face with per son al mnemon ic vul ner a bil i ties and moments where the draw ing is pro posed as a bound ary object to bind dif fer ent ben e fi cia ries. Anoth er arti cle sit u ates the line as a start ing point, a moment of becom ing that iden ti fies its own vul ner a bil i ty as a hold er of doubts and uncer tain ties Tadeja Zupančič The Artifice of Redress Editor’s Foreword 13 and as a rep re sen ta tive of the lim i nal, dynam ic con di tion of insta bil i ty and ambi gu i ty. The draw ing line thus becomes ‘a prin ci pal agent of spa tial vul ‐ ner a bil i ty’ , it enables ‘spa tial vul ner a bil i ty to be pre served through out the ambigu ous ness of draw ing.’ What about the design deci sion-mak ers, who can not use hand draw ings to detect vul ner a bil i ties and respond to them sensitively? There are process es of spon ta neous, grad ual decay, delib er ate or acci den tal occur rences of ruina tion where restora tion remains poten tial ly impos si ble or irrel e vant, and where con struc tion and decon struc tion process es may even lead to the recon struc tion of ruins or sus pen sion of ruination. What hap pens in the cas es of hyper sen si tiv i ty and even igno rance of the design deci sion-mak ers? 'Občutek za ranljivost' (abil i ty to feel vul ner ‐ a bil i ty) is the key start ing point for any socio-spa tial inter ven tion. In the case of the ini tial sen si tiv i ty weak ness or igno rant design posi tion, the arti fi cial i ty of redress ing may lead to the destruc tion instead of recov ery and a refreshed ener gy. How to deal with sit u a tions, almost impos si ble to pre serve and acti vate? What hap pens in care ful redress ing the irre ‐ versible? Are there cir cum stances when and where vul ner a bil i ty is or can become a strength? An exam ple of an alter na tive flow to the demo li tion projects of the vul ner a ble, ruined rur al set tle ments indi cates such a poten tial: reac ti va tion of obso lete build ings is rep re sent ed as a mate r i al anchor age point of per son al mem o ries of a place to strength en the col lec ‐ tive mem o ry. To pro long, uphold, restore, rebuild that memory. A failed attempt to shift the weak ness of vul ner a bil i ty into strength may lead to the under stand ing of the con tem po rary world whole ness as a ful ly ruined sit u a tion, where frag ments, places, the o ries and mytholo gies are all in ruins. A ‘rad i cal re-foun da tion’ before the world under goes a defin i tive reset has been pro posed in the idea of the archi tec ture of expec ta tion, a strat e gy of sav ing the frag ments and val ues to be car ried into the future. What may inte grate those frag ments and val ues, includ ing the frag men ta tion of knowl edge, remains an open ques tion. Who can inves ti gate the vul ner a bil i ty of exis tence, deriv ing from irre versible traces of progress? Let us imag ine a cre ative col lec tive, inspired by cre ative fig ‐ ures of co-design, able to take care of the vul ner a bil i ty dis cussed and to trig ger the rein ven tion of ‘more-than-human’ worlds. 15 Tadeja Zupančič Uvodnik Tadeja Zupančič The Artifice of Redress Uvodnik 17 Med sloven sko in angleško verz i jo naslo va tokratne revi je obsta ja izzivov pol na raz li ka. Izha ja iz prizade van ja, da bi se izog nili dobesed ne mu pre vo du, ki pre pros to ne zveni dobro. Naslov v slovenskem jeziku poudar ja sposob nost občuten ja ranljivosti. Angleš ka fraza pa se nag i ba k odzivu temu občuten ju, k dejan ju, ki se odzi va na ranljivost, in k nar avi tega dejan ja. V kon tek stu arhitek turne ga obliko van ja v najširšem pomenu, ki vključu je urbane razsežnos ti in interier je, lahko razpravl jamo o odloče val cih o posegih v pros tor, ki se zaveda jo družbeno-pros torske ranljivosti, in jim to zavedan je omogoča pre poz na van je trenutkov in kra jev, kjer je potreb no poseči v situaci jo, jo poprav i ti: to zavedan je jih usposo bi za kri tičen začetek dialo ga s pre poz nano ranljivostjo, in za obliko van je popravkov, ki spret no pre ob liku je jo situaci jo. AR 2021 izpostavl ja vprašan ja tankočut nih gest, ki so potreb ne v ranljivih pogojih. Za pre poz na van je kon tek stov in nar ave ranljivosti pri (so-)oblikovanju pros to ra je potreb no razvi ti močno indi vid u al no in kolek tivno ref er enčno orod je. Kako pre poz nati te kon tek ste in njhove dinamike, kakor tudi mno gotero nar a vo ranljivosti, se popol no ma vživeti v situaci je in se pravočas no — in kri tično — odzi vati na pre poz nano občutljivost? Kje in kdaj je situaci ja pre več krhka, da bi se je smeli dotikati? Kdaj in kje bi odsot nost doti ka danes vodi la v pri hod nje propadan je, četu di je trenut na situaci ja sicer ranlji va, ven dar cve toča? Kje in kdaj pa bi opustitev tankočut ne ga posega pome ni la tako jšn je razde jan je? Razvoj tega kri tične ga ozad ja zahte va per son al izirane metode razvo ja obliko val sko usmer jene ga zavedan ja. Ne gre le za skrb za ranljive pro s tore in lju di, temveč tudi za nego v an je in krepitev občutljivosti vseh, ki se ukvar ja jo z ranljivi mi pros tori, ljud mi, trenut ki in procesi. Težavnost zaz na van ja teh kon tek stov lahko izha ja iz nar ave nji hove ranljivosti. Pogos to krhke in minljive ranljive situaci je je včasih izjem no težko pre poz nati. Sposob nost tankočutne inter ven ci je v pre poz nani občutljivosti je pogo je na s sposob nos tjo vživl jan ja v situaci jo. Krepitev zavedan ja in oseb ne ter kolek tivne občutljivosti odloče val cev o posegih v pros tor, ko gre za ranljivosti, zahte va razvoj komu nikaci jskih vmes nikov, ki lahko pre naša jo sporoči la (o) ranljivosti. V arhitek turnem obliko van ju so to ris be, še pose bej pros toročne. V priču joči revi ji najde mo članek, ki se ukvar ja z možnos t mi ris be kot vmes ni ka oseb nih ranljivosti spomi nov, in trenutkov, ko ris ba postane pove zo val ni objekt različnih akter jev. Nek dru gi članek postavi v izhodišče črto, trenutek nas ta jan ja, ki pre poz na va svo jo last no ranljivost kot nosil ka dvo mov in nego tovosti, in kot pred stavni ca mejnos ti, dinamične ga pogo ja nesta bil nos ti in nejas nos ti. Črta v ris bi tako postane najpomem b ne jši zastop nik pros torske ranljivosti, le-tej omogoča ohran itev s pomočjo mno gopomen skosti ris be. Kaj pa tisti Tadeja Zupančič The Artifice of Redress Uvodnik 19 odloče val ci o obliko van ju pros to ra, ki ne more jo upora biti pros toročne ris be za pre poz na van je ranljivosti in za tankočutne odzive nanje? Obsta ja jo pro ce si spon tane ga, postop ne ga propadan ja, namerni ali nes rečni pojavi rušen ja, v kater ih pren o va ni mož na ali ni rel e vant na, in kjer process gra jen ja in dekon struk ci je lahko vodi celo v rekon struk ci jo ruševin ali v prekinitev rušenja. Kaj se z godi v primer ih hipersen z i bil nost ali, po dru gi strani, igno rance odloče val cev o obliko val skih inter ven ci jah? Občutek za ranljivost je ključno izhodišče za katerokoli družbeno-pros torsko inter ven ci jo. V primeru šibke izhodiščne občutljivosti ali igno rantskega obliko valskega stal išča lahko umet na spre mem ba vodi v uničen je namesto v popra vo in obnovl jeno energi jo. Kako se lote vati situaci ji, ki jih je sko ra j da nemogoče ohran i ti in aktivi rati? Kaj se zgo di v skrb nih poskusih popravl jan ja nepopravljive ga? Ali obsta ja jo okoliščine, ko in kjer je ranljivost živl jen js ka moč, ali to lahko postane? Primer alter na tive rušitvenih pro jek tov ranljivih, porušenih rural nih naselij nakazu je takšno možnost: ponov na akti vaci ja zastare lih zgradb ponu ja sidrišče oseb nih spomi nov na pros tor, za utr je van je kolek tivne ga spom i na. Da bi ohranili, potrdili, obnovili, ponovno zgradili ta spomin. Zgrešeni poskus pre o bra ta šibkosti ranljivosti v njeno moč lahko vodi v razumevan je sodob ne ga sve ta kot popol no ma porušene situaci je, ker so frag men ti, pros tori, teori je in mitologi je vse v rušev inah. Eden izmed člankov te revi je pred dokončn im ponovn im zagonom sve ta pred la ga koren i to ponovno utemeljitev, z ide jo arhitek ture pričako van ja, strate gi jo reše van ja frag men tov in vred not, ki naj bi jih pones li v pri hod nost. Kaj naj bi inter gi ralo omen jene frag mente in vred note, vključno z raz drobljen im znan jem, osta ja odprto vprašan je. Kdo je sposoben preiskati ranljivosti obsto ja, ki izha ja jo iz nepovrat nih sle di napred ka? Pred stavl ja j mo si kreativno skup nost, ki jo navdi hu je jo kreativne oseb nos ti soob liko van ja, sposob ne skr beti za obrav na vane ranljivosti in sproži ti ponovno odkrit je sve tov, ki pre sega jo antropocentričnega. 21 Bahar Aktuna Owned Ruin Encounters in the Villages of the Turkish- Cypriots in Cyprus Bahar Aktuna The Artifice of Redress 1 Andreas Schönle, Archi tec ture of Obliv ion: Ruins and His tor i cal Con scious ness in Mod ern Rus sia (DeKalb: North ern Illi nois Uni ver si ty Press, 2011), 7. 2 Catharine Edwards, “Imag in ing Ruins in Ancient Rome,” Euro pean Review of His to ry 18, no. 5–6 (2011): 647. 3 Mar co Folin, “Tran sient Cities: Rep re sen ta ‐ tions of Urban Destruc tions in Euro pean Iconog ra phy in the Four teenth to Sev en teenth Cen turies,” in Wound ed Cities: The Rep re sen ‐ ta tion of Urban Dis as ters in Euro pean Art (14 - 20 cen turies), eds. Mar co Folin and Mon i ca Preti (Lei den: Brill, 2015), 12. th th 4 Andrew Hui, “The Birth of Ruins in Quat tro ‐ cen to Ado ra tion Paint ings,” I Tat ti Stud ies in the Ital ian Renais sance 18, no. 2 (2015): 328– 329. 5 Baroque painters also “paint ed land scapes that were cul tur al ly rich, with his tor i cal nar ra ‐ tives, where ruins and dead trees reflect ed the pas sage of time.” Jacky Bowring, Melan ‐ choly and the Land scape: Locat ing Sad ness, Mem o ry and Reflec tion in the Land scape (Lon ‐ don: Rout ledge, 2018), 19. 6 Nicholas Hal mi, “Ruins with out a Past,” Essays in Roman ti cism 18 (2011): 10. 7 Alexan der Cook, “Vol ney and the Sci ence of Moral i ty in Rev o lu tion ary France,” Human i ties Research 16, no. 2 (2010): 19. 8 Hal mi, “Ruins with out a Past,” 19. 9 Andreas Huyssen, “Nos tal gia for Ruins,” Grey Room 23 (2006): 8. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 23 Introduction Places of dwelling are aban doned, destroyed, or dis ap pear in time. This process can occur spon ta neous ly, grad u al ly, delib er ate ly, or inad ver tent ly. It can also trans mute with in the cre ative sphere of the imag i na tion. There are many ways that the ruins of the built envi ron ment, tak en as an end, acquire an after life and play into the con sti tu tion of a place in reverse. Some times, they remain, with in the absence—the abandonment—of their con tem po ra ne - ous world. This falling into ruins, or ruina tion, may remain in the open or it may become cov ered, redis cov ered, main tained, pre served, repaired, recy - cled, or mere ly col lapse into obliv ion. Although ruin ing and build ing ini tial - ly seem anti thet i cal, they have a gen er a tive con nec tion in place-mak ing thought that is open to exploration. Ruins can act as tropes of reflex iv i ty. Var i ous cul tures have artic u lat ed the ways in which the idea of ruin con tributes to the under stand ing of place and place-mak ing dif fer ent ly, some times explic it ly and oth er times implic it - ly. A broad range of sources shed light on these vari a tions in the unfold ing expe ri ence and mean ing of the ruin in com par i son to a more men tal ly and emo tion al ly dis tanced, com mod i fied, or homog e nized per spec tive of the ruin in the present. In Ancient Rome, ruins were sites of reflec tion on the fini tude of com mu ni ties and act ed as signs of both warn ing and con so la tion. In Medieval Europe, archi tec tur al ruins sig naled amoral i ty and cor rup tion of soci eties and states. They were mea sures of morals. Ruins lat er became an indi ca tion of his tor i cal dis tance and a split from the past in the Renais sance, which devel oped var i ous views of ruins rang ing from anatom ic per spec tive to rever ies. For Renais sance thinkers, the archi tec tur al ruins of antiq ui ty became sites to study struc tur al, topo graph i cal, arche o log i cal, and his tor i cal prece dents and to unlock the laws of weight, archi tec tur al prin ci ples, secrets of antiq ui ty, and math e mat i cal mea sure ments. Dur ing the Baroque peri od, ruins became sites of tran sience and the objects of self-con tem pla tion and mourn ing. They res onat ed with death as human fini tude. In the Enlight en - ment, ruins became objects with out a past. They were also cel e brat ed as the col lapse of hege mon ic struc tures, thus giv ing hope to oppressed soci eties. With out a past, ruins fur ther became aes thet ic and joy ful objects in the Roman tic era. In this era, Piranesi’s etch ings of the ruins of Rome and the paint ings of Robert Hubert illu mi nat ed “anachro nisms and phys i cal ly impos - si ble arrange ments,” which paved the way for the pop u lar iza tion of ruin fol - lies of sham ruins. As Andreas Huyssen states, “arti fi cial i ty and the fake” as well as “decay, ero sion, and a return to nature” form the cen tral top ics in 18 -cen tu ry aes thet ics. In the Roman tic era, frag ment, sur face, and nat ur al decay became cen tral to the con tem pla tion of ruin, con tin u ing to influ ence 1 2 3 4 5 6 7 8 t h 9 Bahar Aktuna The Artifice of Redress 10 Win fried Georg Sebald, On the Nat ur al His to ry of Destruc tion (New York: Mod ern Library, 2004), 5–10. 11 David Gis sen, Sub na ture: Architecture’s Oth er Envi ron ments (New York: Prince ton Archi tec ‐ tur al Press, 2009), 134–135. 12 Antoine Picon, “Anx ious Land scapes: From the Ruin to Rust,” Grey Room 1 (2000): 66–67. 13 Wu Hung, A Sto ry of Ruins: Pres ence and Absence in Chi nese Art and Visu al Cul ture (Prince ton: Prince ton Uni ver si ty Press, 2012), 18. 14 Ken Seigneurie, Stand ing by the Ruins: Ele giac Human ism in Wartime and Post war Lebanon (New York: Ford ham Uni ver si ty Press, 2011), 14–15. 15 JoAnn McGre gor, “The Social Life of Ruins: Sites of Mem o ry and the Pol i tics of a Zim bab ‐ wean Periph ery,” Jour nal of His tor i cal Geog ra ‐ phy 31, no. 2 (2005): 320. 16 Chris t ian De Cock and Dami an O’Doherty, “Ruin and Orga ni za tion Stud ies,” Orga ni za tion Stud ies 38, no. 1 (2016): 132. 17 Tim Eden sor, Indus tri al Ruins: Spaces, Aes ‐ thet ics, and Mate ri al i ty (Oxford: Berg Pub lish ‐ ers, 2005), 162. 18 Mał gorza ta Nieszcz erzews ka, “Derelict Archi ‐ tec ture: Aes thet ics of an Unaes thet ic Space,” Argu ment: Bian nu al Philo soph i cal Jour nal 5, no. 2 (2015): 388–390. 19 Bri an Dil lon, “Intro duc tion: A Short His to ry of Decay,” in Ruins, ed. Bri an Dil lon (Lon don: Whitechapel Gallery, 2011), 10. 20 Svet lana Boym, The Off-Mod ern, ed. David Dam rosch (New York: Blooms bury Aca d e m ic, 2017), 43. 21 Mohsen Mostafavi and David Leatherbar row, On Weath er ing: The Life of Build ings in Time (Cam bridge: MIT Press, 1993), 5. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 25 more con tem po rary mus ings and thought. After the dread ful and moral ruin that per vad ed post war Ger man cities, a cel e bra tion of ruins has re- emerged. From this rub ble and debris emerged a new form of ruin that under pinned many Euro pean and Asian cities in the 20 cen tu ry. Where as sham ruins served as fol lies in the eigh teenth-cen tu ry expe ri ence of nat ur al land scapes, an invert ed rela tion ship between the ruin and its sur round ings now marks con tem po rary land scapes: the ruin is appre ci at ed as a locus for innate con nec tion with nature, and the ruin as a locus of nature has become a cel e brat ed phe nom e non in the tech no log i cal urban land scapes of our era. On the oth er hand, while it still guides think ing regard ing place and place-mak ing, the con cept of ruin has unfold ed intro spec tive ly in East ern cul tures. The idea of ruin appears in the Chi nese poet ic genre of huaigu (lament ing of the past). It also appears in the Ara bic poet ic genre of qasi da and nasīb with a motif of al-wuquf 'ala al-atlal (lament ing the loss of for - sak en grounds). In both gen res, it appears with a sense of sad ness and nos - tal gia and nev er as a mere visu al depic tion. Here, ruin-gaz ing is relat ed to return ing to the destroyed home, and ruins are “sites of mem o ry.” This con trasts with the ruin as a ‘site of imag i na tion’ as detached from the past. The lat ter may fur ther take the form of “ruin-porn” in the dev as tat ed land - scapes of war or oth er dis as ters. These mul ti far i ous hori zons, lin ger ing in his toric records of var i ous places and cul tures, are reminders of an orig i nal sense of ruin—‘artifacture’—which has pre dom i nant ly led to an exis ten tial ly dis tant expe ri ence of ruins through the course of history. The ruins of the built envi ron ment pre vail in con tem po rary land scapes and their “inar tic u la cy” play into the every day life of cit i zens. Atti tudes toward ruins dif fer between like, dis like, or ignorance—essentially a ‘not see ing’ among the cit i zens. Unde ni ably fas ci nat ed with ruins, espe cial ly in urban con texts, con tem po rary lit er ary schol ars, poets, artists, and ruin- explor ers nev er the less fran ti cal ly pur sue the sub lime through the image abil i - ty of ruins. In non-archi tec tur al fields, reflec tive encoun ters seek “images of decay” as the think ing on ruins has pro gres sive ly moved away from the actu - al site of the ruin in search of decay aes thet ics through the weath er ing of sur - faces as a reac tion to dense urban con di tions. The cur rent “ruinophil ia” is tem po ral. As such, it comes from a long ing for wit ness ing nat ur al process - es in our heav i ly built envi ron ments that elim i nate weath er ing from their sur faces. The over whelm ing expe ri ence of over built urban set tings con di - tion a man ner of see ing ruins as sites of resis tance and relief. Present lit er a ture on decay and the process es found in ruins com mu ni - cates a per spec tive of ruin with detached ‘ruin-sub jec tiv i ties,’ and as such is removed from the world li ness in which ontic cat e gories take their mean ing. A sub jec tiv i ty that deter mines how ruin is encoun tered and revealed is ruin- 10 t h 11 12 13 14 15 16 17 18 19 20 21 Bahar Aktuna The Artifice of Redress 22 Ignasi de Solà-Morales, “Ter rain Vague,” in Ter rain Vague: Inter stices at the Edge of the Pale, eds. Manuela Mar i ani and Patrick Bar ron (New York: Rout ledge, 2014), 28. 23 Hung, A Sto ry of Ruins, 7. 24 Ken neth Framp ton, Stud ies in Tec ton ic Cul ‐ ture: The Poet ics of Con struc tion in Nine teenth and Twen ti eth Cen tu ry Archi tec ture, ed. John Cava (Cam bridge: MIT Press, 2001), 14–15. 25 Stephen Bark er, “Strata/ Sedimenta/ Lamina: In Ruin(s),” Der ri da Today 1, no. 1 (2008): 50. 26 Andreas Schön le, “Ruin Phi los o phy, Poet ic Dis course and the Col lapse of Meta-nar ra ‐ tives in Alek san dr Kushner’s Poet ry of the 1970s,” Nordlit, no. 39 (2017): 86; Schönle, Archi tec ture of Obliv ion, 8. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 27 sub jec tiv i ty. Detached ruin-sub jec tiv i ty, which con trasts owned ruin-sub jec - tiv i ty, does not encounter the ruins from with in the tem po ral i ty and spa tial i ty of orig i nary ruin, and thus, does not real ly encounter the ruin as ruin but ruin as an object or arti fact. This tem po ral dis tance lends itself to a kind of objec - tive knowl edge that remains at the sur face of the ruin as formed-mat ter in its dis in te gra tion. Con se quent ly, the path of think ing that over looks the actu al ruin as a rela tion pro duces knowl edge on ‘ruins with out bod ies’ and ‘ruins with out worlds.’ While non-archi tec tur al schol ar ship has dis cov ered val ues of decay and ambi gu i ty in intact ruins, archi tec tur al strate gies seek to order, pro gram, and sta bi lize these “vague” sites. This process of order ing and sta bi liz ing unfolds as restora tion when a build ing with his toric sig nif i cance is returned to its previous—intact—condition to ‘rep re sent’ the past, and as recy cling when the com po nents of dis card able build ings emerge with in envi - ron men tal discourses. Exis ten tial ly dis tanced modes of knowl edge build up like dust upon pri - mor dial ruins and as such hin der the truth of ori gins. This essay argues that ruins can be ful ly under stood in their ori gin, actu al i ty, and poten cy from an archi tec tural ly-guid ed per spec tive, and by sit u at ing ruin in its world li ness, pro vides an alter na tive view of the imme di ate and expan sive expe ri ence of ruins and the struc ture of ruin as it unfolds between being and becom ing and between ori gin and project. This posi tion frames a care-based the o ry of ruin. Artifacture and Ruin-Time Orig i nal ly, ruin was a West ern con cept that had its ori gins in “the archi tec - tur al remains of pre dom i nant ly mason ry struc tures.” As opposed to the migrant and cycli cal world view and eter nal return in the East ern topos that embraces the per isha bil i ty of build ing as mate r i al, the West ern ori gin of build ing is charged with the “rel a tive per ma nence of stereotom ic mass.” Thus, a will to endurance is already instilled into the arti facts of the built envi ron ment, which estab lish es the fini tude and vul ner a bil i ty of the built arti facts that may become “arti fac ture” as “unin hab it able remains.” Col - laps ing into ruin occurs more read i ly when the struc tures have been built with an inten tion of mate r i al endurance as in the West ern tra di tion of archi - tec ture. Stereotom ic per ma nence, as in stone build ings, lets arti fac ture linger in its phys i cal man i fes ta tion in a geo log i cal tem po ral i ty. Endurance ruinates, and ruin endures. In that sense, ruins are both objects and process es. Inten - tion al i ty is embed ded in the rela tion ship between mate ri al i ty and ruin-sub - ject who access es mate ri al i ty through embod ied vul ner a bil i ty that always already exists as a pre-con di tion of being. 22 23 24 25 26 Bahar Aktuna The Artifice of Redress 27 Anne M. Wag n er, “Split ting and Dou bling: Gor don Mat ta-Clark and the Body of Sculp ‐ ture,” Grey Room 14 (2004): 26–45. 28 Owen Barfield, “‘Ruin’: A Word and a His to ry,” The Liv ing Age 318 (1923): 164–165. 29 Flo rence M. Het zler, “Causal i ty: Ruin Time and Ruins,” Leonar do 21, no. 1 (1988): 51. 30 Caitlin DeSil vey, Curat ed Decay: Her itage beyond Sav ing (Min neapo lis: Uni ver si ty of Min neso ta Press, 2017), 28. 31 Schön le, “Ruin Phi los o phy,” 87. 32 Robert Har bi son, The Built, the Unbuilt, and the Unbuild able: In Pur suit of Archi tec tur al Mean ing (Sin ga pore: Thames and Hud son, 1991), 10. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 29 Through the course of his to ry, the archi tec tur al ruin man i fest ed itself in var i - ous ways, as a part of the present or a future project: ruin-as-destruc tive, ruin-as-dis sect ed, ruin-as-con struct ed (i.e., sham ruin fol lies), ruin-as-gen er - a tive (i.e., Split ting by Gor don Mat ta-Clark ). There is a tran shis tor i cal and trans geo graph i cal under stand ing of the ruin: the ruin-as-destruc tive orig i - nates in a threat against the integri ty of the human body. This sense of ruin is embod ied and orig i nary; it is relat ed to the tem po ral i ty of col lapse and the fini tude of the world and the demise of a body. In fact, Old French ruine in the 14 cen tu ry refers to the “act of giv ing way and falling down.” And ruine comes from Latin ruina, which sug gests “a col lapse, a rush ing down, a tum bling down,” and is relat ed to ruere “to rush, fall vio lent ly, col lapse.” In turn, Pro to-Indo-Euro pean reue refers to “smash, knock down, tear out, dig up.” Owen Barfield fur ther points out the ori gin of the word ruin in the Latin word ruo, which means to rush and fall with a sense of dis as ter. Ruina came to mean both falling and a fall en thing. Ruo has a lin guis tic rela tion to the Ancient Greek word oroúō (ὀρούω), which also means ‘to hurry.’ This ori gin of ruin is hin dered in recent schol ar ship by its focus on the nat ur al agency of dete ri o ra tion. Con tem po rary dis cus sions com mon ly define ruins as enti ties between two eter ni ties of pres ence and absence; the process of decay nev er ends with in sight of human tem po ral i ty. Flo rence Hetzler’s “ruin time” demon strates this line of think ing. In ref er ence to an objec tive exter nal i ty (geo log i cal time), the mate ri al i ty of ruin is detached from the orig i nal sub jec tiv i ty. Some times it is re-attached to a sub jec tiv i ty as an after- expe ri ence of the ruined object, as with urban-explor ers and ruin-tourists who remain exter nal to ruin time and expe ri ence a ruin as an arti fact or eco - fact. On the oth er hand, there is anoth er line of think ing in lat er thought that pri or i tizes sub jec tive inter nal i ty by sug gest ing, “the ruin is a cul tur al con struct, more than a phys i cal object [and] it is in the eye of the behold - er.” Sim i lar ly, Robert Har bi son sug gests that ruin is “a way of see ing or a state of soul.” In this lat ter sys tem of thought, a shared under stand ing of ruin is not reached and the deter mi na cy of the mate r i al hori zon of ruin is also lost. How ev er, the ruin is both an intra-world ly enti ty with its con crete mate ri al i ty (as a thing), and the rela tion al con text of the world (a hori zon), against which the mate ri al i ty of ruin as a thing comes into its pres ence, unfolds as expe ri ence and finds its mean ing as arti fac ture. ‘Ruin-time’ denotes the time of col lapse in which decay is not essen tial. Among var i ous ruin rela tions (ruin-as-that-and-that), this pri mor dial and eter nal rela tion with ruin and a shared intu itive under stand ing of ruin (ruin-as-such) orig i - nate in poten tial ly meet ing the weight of col lapse cor po re al ly and emo tion al - ly, con nect ing with ‘ruin-as-destruc tive.’ Only when one steps into an orig i - 27 t h 28 29 30 31 32 Bahar Aktuna The Artifice of Redress 33 Scott M. Camp bell, The Ear ly Heidegger's Phi ‐ los o phy of Life: Fac tic i ty, Being, and Lan guage (New York: Ford ham Uni ver si ty Press, 2012), 84. 34 Jonathan Lear, Rad i cal Hope: Ethics in the Face of Cul tur al Dev as ta tion (Cam bridge: Har ‐ vard Uni ver si ty Press, 2006), 10. 35 Har bi son, The Built, the Unbuilt, and the Unbuild able, 7. 36 Mar tin Hei deg ger, Phe nom e no log i cal Inter pre ‐ ta tions of Aris to tle: Ini ti a tion into Phe nom e no ‐ log i cal Research, trans. Richard Rojcewicz (Bloom ing ton & Indi anapo lis: Indi ana Uni ver ‐ si ty Press, 2009), 104. 37 Camp bell, The Ear ly Heidegger's Phi los o phy of Life, 84. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 31 nary ruin, rather than a struc tural ly sta bi lized ruin, can one expe ri ence the dis in te gra tion of the ref er ents. Ruin ruinates in its embod ied worldliness. The World of Ruin — The World in Ruins Ruin ini tial ly emerges with in the hori zon of inhab it ing the world. The world is a vul ner a ble ref er en tial con text, and the con cept of ruin appears in the rad - i cal decay and col lapse of the tem po ral i ty of the ref er ents of the world. Mar - tin Hei deg ger intro duces the con cept of world-decay to refer to the dis so lu - tion of world and intra-world ly enti ties. Build ing on Hei deg ger ian think ing, Jonathan Lear intro duces the con cept of world-col lapse to define a moment of ret ro spec tive recog ni tion of the end of the world. Human beings, in their cor po re al i ty, affec tiv i ty, spa tial i ty, tem po ral i ty, and com mu nal i ty are caught up in their life and “care-worlds.” In car ing for their way of life and its mean ing, they also pre pare for its col lapse. “Pro tect ing a way of life” is the poten tial for the ter mi na tion of such life. Lear calls this sit u a tion a “pecu liar vul ner a bil i ty” or a “pecu liar pos si bil i ty” that comes with the care for a dis - tinct way of life. Human beings’ clos est and most pri ma ry places of mak - ing, which in turn allow for a car ing, pre car i ous, and ruinous man ner of liv - ing in and through, are their set tle ments or dwellings and the things they hold for a way of liv ing. Har bi son high lights the inher ent force of inten tion - al i ty in build ings by argu ing that they are “more pre car i ous than they ordi - nar i ly appear, because [they are] pre oc cu pied with mean ing some thing.” Human i ty has been liv ing against ruins, out of ruins, for ruins, in ruins, and alto geth er, with ruins. Fac ti cal life, which is the liv ing present, in its mean - ing ful ness and pur pose ful ness, pro duces self-col lapse in the sense of “abo li - tion of time” in which rela tions and their direc tion al i ty and inten tion al i ty cease. Con tem po rary schol ars who see a sense of lib er a tion in the ruin cel - e brate this onto log i cal change in the arti fact. Hei deg ger calls this ruinance: “the destruc tion of life’s tem po ral i ty,” or the “con ceal ing of tem po ral i ty.” Build ing on the con cepts of world-decay and world-col lapse, I intro duce the phrase topo-tec ton ic dis so lu tion. This is how I high light ruin as the rad i cal dis in te gra tion of the mate r i al joints that tie exis ten tial loci of the mean ing ful and leg i ble con text of inhab i ta tion in con trast to the dis so lu tion of form and mat ter of ruin as a mere object devoid of any pri or hori zon of being in the world.  It is pos si ble and nec es sary to gain a gen uine under stand ing and thor - ough insight into ruin through its world li ness and topo-tec ton ic con sti tu tion. Such under stand ing con se quent ly frees the con tem po rary dis course on ruin from a sur fi cial ori en ta tion. To gain this van tage point, the research must let 33 34 35 36 37 Bahar Aktuna The Artifice of Redress 38 Ibid. 39 Robert Gins berg, The Aes thet ics of Ruins (Ams ter dam: Rodopi, 2004), 3, 15, 33. 40 Hei deg ger, Phe nom e no log i cal Inter pre ta tions of Aris to tle, 98. 41 Ibid., 104. 42 Ibid., 108. 43 Sean Gas ton, The Con cept of World from Kant to Der ri da (Lon don: Row man & Lit tle field Inter na tion al, 2013), 83. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 33 ral i ty and spa tial i ty of ruins. In order to expand the hori zon of under stand ing on the struc tures and process es of build ing in ruins—how they are expe ri - enced, nego ti at ed and pro ject ed from with in, I mutu al ly explore the orig i nal ruin in its world li ness and the orig i nary ruin-sub jec tiv i ty of the ruin-dweller through a hermeneu tic-phe nom e no log i cal method.  Field work took place in the con tem po rary rur al con text of Cyprus where world-decay becomes extreme and allows a rare access to the ruinat - ing tem po ral i ty of arti fac ture. The con text presents first-per son accounts on the expan sive decay and the imme di ate col lapse, there by shed ding light on the topo-tec ton ic con sti tu tion of ‘arti fac ture.’ The ruin-own ers, who have been long-term refugees in North ern Cyprus, remain both with in and out side the ruin, and imag ine place-mak ing amid the impos si bil i ty of restor ing both the world and the archi tec tur al ruin. The ruin-own ers look for new tem po ral pos si bil i ties. The new open ness to the world is “counter-ruinance,” and Camp bell states that “[i]n a moment of insight, a kairos, [the] counter- ruinant struc tures point life back toward itself, and its orig i nal car ing move - ment toward the world.” The ruin, as unin hab it able remains, pre pares for a new ethos of liv ing in its ruinous mode—a vision of eth i cal action rather than of aes thet ic plea sure. The ruin-hori zon is the two-way rela tion between what it is and what is to become, i.e., a hori zon in which the given ness and future pos si bil i ties of the ruin rec i p ro cal ly inform each other.  While this essay does not cel e brate the con cept of ruina tion in any way, it is impor tant to rec og nize the lib er at ing sense attached to the ruin. Robert Gins berg sug gests that “the mat ter of the ruin is no longer mat ter in ref er - ence to form” while fur ther more “the ruin lib er ates form from its sub - servience to func tion” and “func tion from its sub servience to pur pose” by imply ing a sense of free dom with in ruins. While the schol ars pose lib er at - ing ruina tion as an extra or di nary occur rence, Hei deg ger takes ruinance to be the “moved ness of fac ti cal life.” Accord ing to Hei deg ger, ruinance abol - ish es time; ruin has no time. This tem po ral noth ing ness is pre cise ly what allows the “pos si bil i ty that gives place … for the accom mo da tion and order - ing of encoun ter able … objects,” and thus a devel op ment of a new hori zon of being. It is pos si ble to under stand ruin as an instance of world-dis clo - sure, and in “find ing itself at once in and beyond the world, [human being] dis cov ers its pro jec tive pos si bil i ties and its free dom.” The moti va tion of pro jec tive pos si bil i ties peaks in the case of the imme di a cy as well as the anx i ety of the ruin, which has its essence of an embod ied col lapse that enforces eth i cal action. The imme di a cy and the anx i ety of col lapse is the source of a gen er a tive ener gy that wants to active ly engage with ruin-hori - zon and arti fac ture, both in being and in becom ing. Ruin, as a topo-tec ton ic idea, makes orig i nal action possible. 38 39 40 41 42 43 Bahar Aktuna The Artifice of Redress 44 Rebec ca Bryant, Life Sto ries: Turk ish Cypri ot Com mu ni ty, Dis place ment in Cyprus — Con se ‐ quences of Civ il and Mil i tary Strife (Nicosia: PRIO Cyprus Cen tre, 2012), 3–11. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 35 The fol low ing field work sheds light on the con nec tion between the world li - ness and intra-world li ness of ruin that unfolds in the rare socio-polit i cal con - text of Cyprus, which makes an orig i nary dis course on ruins pos si ble by engag ing owned ruin-sub jec tiv i ties. The find ings of the field work allow describ ing how the owned ruin-sub jec tiv i ties encounter the col lapse in ruins as topo-tec ton ic con structs in dis in te gra tion. The find ings fur ther dis play how the con cepts of the mate ri al i ty, inten tion al i ty, and val ue of ruins receive a par tic u lar inter-rela tion al mean ing in a con text that, as a whole, fur ther gen er ates a vision of place mak ing that entails extract ing memen to from dis - in te grat ing joints and graft ing these to the new place of being. A Case of Artifacture: Deserted Settlements of Turkish-Cypriots Res onat ing with Hei deg ger ian world-decay and Lear’s world-col lapse, the present con text of Cyprus dis plays a con di tion of per va sive ruina tion and ruin-time embod ied by owned ruin-sub jec tiv i ties. The ruins I have stud ied belong to a polit i cal ly charged con flict that rede fined the eth nic ter ri to ries pre served by phys i cal bor ders. The Civ il War of Cyprus, which took place between 1963 and 1974, led to the de fac to divi sion of the coun try by the Turk ish side in 1974 and 1975. The mass dis place ment of peo ple enabled the for ma tion of two ter ri to ries with out phys i cal access to each oth er; the north - ern ter ri to ry con trolled by the Turk ish-Cypri ots and the south ern ter ri to ry by the Greek-Cypri ots. While the ongo ing inter-eth nic dis pute between the Greek-Cypri ot and the Turk ish-Cypri ot com mu ni ties are still present, Cyprus remains phys i cal ly and eth ni cal ly divid ed across the Green Line. After decades of exile, the first check point between two ter ri to ries opened in April 2003 and there by many crossed the bor der to vis it their for mer homes. Some encoun tered arti fac ture, embod ied in the abol ish ment of time as the col lapse of the world, and expe ri enced the imme di a cy of world-decay and its irreversibility.  Cur rent ly, the rur al land scape of South ern Cyprus has many derelict and ruined set tle ments that belong to the Turk ish-Cypri ot com mu ni ties. These set tle ments are built of stone or mud brick mate ri als and built with tra - di tion al tech niques that are no longer prac ticed. As such, they are the reminders of old er ways of build ing and liv ing. Despite the attempts to record these dead set tle ments in cul tur al her itage books or the trav el ogues of refugees revis it ing their for mer home land, this per va sive con di tion of arti - fac ture has pre dom i nant ly escaped the archi tec tur al dis course. By refer ring to the ephemer al accounts of the ruin-own ers in Cyprus, I will describe how ruination—topo-tectonic dissolution—operates between the abol ish ment of 44 Bahar Aktuna The Artifice of Redress 45 Hans-Georg Gadamer, “On the Cir cle of Under stand ing,” in Hermeneu tics vs. Sci ence, eds. John Con nol ly and Thomas Keut ner (Notre Dame: Uni ver si ty of Notre Dame Press, 1988), 69. 46 Hans-Georg Gadamer, Truth and Method, trans. Joel Wein sheimer (Lon don: Con tin u um, 2006), 389. 47 The hori zon is “the struc ture of our world ‐ view” based on “cul tur al and per son al cat e ‐ gories and val ues” and bias es. Bar ry P. Mich ‐ ri na and Cheryl Anne Richards, Per son to Per ‐ son: Field work, Dia logue, and the Hermeneu tic Method (Albany: State Uni ver si ty of New York Press, 1996), 28–29. 48 Gadamer, Truth and Method, 301. 49 Gadamer, “On the Cir cle of Under stand ‐ ing,” 68. 50 Gadamer, Truth and Method, 291. 51 Paul Kid der, Gadamer for Archi tects (Lon don & New York: Rout ledge, 2013), 39. 52 Ibid., 42. 53 Ibid., 43. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 37 time and gen er a tion of a liv ing present in a con text where restora tion remains both large ly impos si ble and irrelevant. Research Design Hermeneu tic-phe nom e nol o gy is the research method that guides this study. In this method, the goal of the inquiry is to inter pret or retrieve mean ing from that which is inquired, or “par tic i pa tion in shared mean ing.” The rela tion between the research and researcher is one of part ner ship, and “one part ner in the hermeneu ti cal con ver sa tion, the text, speaks only through the oth er part ner, the inter preter.” In hermeneu tic-phe nom e nol o gy, the search for mean ing orig i nates from with in the hori zon of the researcher. The hori - zon is the “tem po ral, cul tur al con text of our lives and mean ings” as well as “the range of vision that includes every thing that can be seen from a par tic u - lar van tage point.” The task of the researcher is to “expand in con cen tric cir cles the uni ty of the under stood mean ing.” The researcher expands the mean ing by mov ing from the whole to the part and from the part back to the whole. In oth er words, the researcher stud ies the frag ments towards obtain ing a mean ing of the whole, which fur ther pro vides a hori zon to rein - ter pret the frag ments. A hori zon is the whole of one’s prej u dices that acts as a lim it, but there are mean ings beyond that hori zon that one has nev er known until then. Thus, a hori zon is a tran si tion al ground that “func tions both as a lim i ta tion and as an open ing to every thing that tran scends it.” Paul Kid - der states, “the nature of this hori zon and the pos si bil i ty of alter ing it can be ful ly real ized only in the course of engag ing with anoth er hori zon.” In this research, my prej u dices includ ed the learned appre ci a tion of ruin aes thet ics. My hori zon was lim it ed by the dis tance to the world li ness of the ruins. The hori zon was expand ed through site-vis its as well as through lis - ten ing to what the for mer inhab i tants of the ruined set tle ments had to say, which allowed a medi at ed access to ruin-time and a deep er insight into the topo-tec ton ic dis so lu tion. The expan sion of the researcher’s hori zon through encoun ter ing anoth er hori zon is called the fusion of hori zons, and the out - come of the fusion of hori zons is under stand ing. While the fusion of hori - zons is a trans for ma tive process that nev er ends, the fusion is restrained “by the lim its on our time and abil i ties, the finite scope and span of our life - times.” In this case, it was also lim it ed by the span of the research and fieldwork. Locat ing Ruined Set tle ments: The ini tial knowl edge on the ruined set - tle ments stud ied here came from a ruin-tourism web site. Con se quent ly, sev - er al sources helped to iden ti fy the poten tial sites of the study. PRIO Cyprus Centre’s web site con tains an inter ac tive map on the routes of dis place ment 45 46 47 48 49 50 51 52 53 Bahar Aktuna The Artifice of Redress 54 Kemal Atay, Güney Kıbrıs'ta Türk Mührü Sil in ‐ meden [Before the Turk ish Imprint Dis ap pears in South ern Cyprus] (Ankara: Ertem Basım Yayın, 2010). 55 Hasan Sarı ca, Güney Kıbrıs'ta Yok Olan Türk Köy leri [Dis ap peared Turk ish Vil lages in South ern Cyprus] (Nicosia: Free birds Yayın, 2009). 56 Michael E. Pat ter son and Daniel R. Williams, Col lect ing and Ana lyz ing Qual i ta tive Data: Hermeneu tic Prin ci ples, Meth ods and Case Exam ples (Cham paign: Sag amore Pub lish ing, 2002), 47. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 39 in Cyprus due to the Cyprus con flict. A trav el ogue by Kemal Atay con tains Ottoman and Turk ish-Cypri ot set tle ments, dis tricts, and archi tec tur al arti - facts on the South ern side of the divide. Final ly, a book com piled by the Turk ish Repub lic of North ern Cyprus Pres i den cy Office shed light on the poten tial sites of the study. Con se quent ly, the study iden ti fied thir ty-nine sites with dif fer ent degrees of phys i cal ruination. Site vis its: Site vis its enabled a direct spa tio-tem po ral expe ri ence of ruined set tle ments. I obtained data in the form of pre-reflec tive and reflec - tive self-nar ra tives. Pre-reflec tive self-nar ra tives came through voice record - ings that cap tured spon ta neous reac tions to the ruins. Reflec tive nar ra tives came through the field notes writ ten down after the vis its. I took many pho - tographs in the site vis its, which cap ture the medi at ed per spec tive that moves between an imme di ate impres sion and an aes thet i cal ly focused framing. Inter views: Mul ti ple semi-struc tured, in-depth inter views allowed the for mer inhab i tants of the ruined set tle ments to artic u late the topo-tec ton ic expe ri ence of being in ruin. These infor mants were enrolled in the study through snow balling and were select ed based on an ade quate mem o ry and expe ri ence of the desert ed vil lages. The reflec tive inter view ques tions focused on the flight from their set tle ments, the return to the set tle ments, and aspi ra tions for arti fac ture. The inter views took place until the sat u ra tion of data. They were record ed with a tape recorder and tran scribed afterward. Inter pre ta tion: The analy sis of the ruined dwellings start ed with my self-nar ra tives. Reac tive voice-record ings iden ti fied what mat ters in being in ruin. Reflec tive self-nar ra tives helped me to move between the ver bal and visu al realms to estab lish the ini tial ly invis i ble asso ci a tions and atmos phere of the ruins. Visu al inter pre ta tion aimed to exca vate the like ly and unlike ly sto ries of ruina tion dis cov ered dur ing the voice-record ed and sound-record ed data. The hori zon of under stand ing of ruin was expand ed with the inte gra - tion of reflec tive nar ra tives of the owned ruin-sub jec tiv i ties. I indexed all data for their mean ing units—the seg ments of the inter views that are com - pre hen si ble on their own. The focus was on the mean ing units that “pro vide insight into the phe nom e non being inves ti gat ed.” I devel oped the mat ic units by group ing indi vid ual mean ing units. The pre sen ta tion of the find ings evoke the inter re la tion ships among the themes that cap ture an expand ed view of artifacture. Retrieval of Topo-Tectonic Dissolution in Artifacture The reac tive record ings of the site vis its indi cat ed the embod i ment of arti fac - ture. As such, the anthro pocen tric con ve nience is increas ing ly frac tured until 54 55 56 Bahar Aktuna The Artifice of Redress Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 41 the ruin per vades the whole land scape. The mean ing cat e gories lent into ruin-images, ruin-process es, and ruin-events, which reveal the world-decay and embod ied-col lapse of arti fac ture as opposed to a roman ti cized per spec - tive of rur al ruin adorned by nature—as sought by the ruin-tourists. The cat - e gories shed light on the topo-tec ton ic con sti tu tion of arti fac ture: the dis so - lu tion of mate r i al and atmos pher ic joints and exis ten tial loci that were once held togeth er in a liv ing present. The find ings present a range of expe ri en tial cat e gories, and the total i ty of these cat e gories guide think ing on place mak - ing amid the ruin with a sense of home com ing that diverges from the ideals of restora tion. Pre sent ed below, the themes of ‘Fig Tree,’ ‘Des ic ca tion,’ ‘Noth ing ness,’ ‘Heir loom,’ and ‘Inher i tance Worth’ illus trate the inter re la - tion ships among mem o ry, land scape, ground, val ue, and spa tio-tem po ral i ty that ori ent an orig i nal vision of place mak ing out of the abol ish ment of time with in the ruins. The find ings point toward a vision of arti fac tur al graft ing which emerges as a stance against world-decay and an irre versible refuge away from homeland.  Thematic Unit: Fig Tree Fig tree grows wild ly in the semi-arid cli mate of Cyprus with the aid of wind and birds. This tree runs in the lived mem o ry of Turk ish-Cypri ots as an image of the forth com ing col lapse. An old say ing on fig trees implies the col lapse of dwelling: to plant a fig tree at one’s hearth. In Cyprus, the hous es have out door ovens in addi tion to indoor fire places. Hearth is the place of fire and the place of gath er ing inside and out side the house, and it has come to mean the whole house itself. Accord ing to an old belief, when the hearth of a dwelling decays and col laps es due to the lack of care, it sig nals death approach ing the house hold. The say ing, ‘to plant a fig tree at one’s hearth,’ holds the knowl edge of the strong roots of the fig tree that spread hor i zon tal - ly to find more nutri tion. When a fig tree grows near a dwelling, the roots threat en the sta bil i ty of foun da tions and may even tu al ly lead to a col lapse of a home. Thus, the fig tree is already an image of ruin, and sub se quent ly, one is not sup posed to let a fig tree grow very close to one’s house. Fig trees emerge where no guards of a world pluck out the poten tial collapse. Fig tree as a ruin-image forms the first ring of the expan sion of my hori zon from the cel e bra tion of nature in ruin aes thet ics. In my site vis its, the image of ruins jux ta posed or filled with large and lav ish fig trees recurred as an indi ca tor of lack of care of the for mer world of the set tle - ments. The fig trees oper ate as recorders of the con ceal ment of human tem - po ral i ty in arti fac ture. As a sym bol ic image of the expan sive tem po ral decay, the fig tree reveals the poten tial future of arti fac ture as ground and fig ure. It Bahar Aktuna The Artifice of Redress Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 43 par a lyzes the tem po ral imag i na tion of the ruin-own ers who after wards would reflect on pos si ble actions through artifacture. Thematic Unit: Desiccation While the Roman tic view imag ines ruins cov ered in veg e ta tion and ani mals, nar ra tives of var i ous inter vie wees reveal des ic ca tion as a cen tral process of ruin. Altay Burağan, a poet from one of the ruined set tle ments of this study, recit ed the fol low ing poem on PIK News after revis it ing his home in ruins: “And trees are los ing blos soms; they are with out leaves from now on / … / Water is flow ing nei ther from the foun tains nor from the run nels / … / The chim neys are qui et; the image is tar nish ing.” As also record ed in my field - work, the most appar ent image of des ic ca tion are water foun tains or ani mals’ water basins. In the image of a work ing foun tain, one encoun ters sev er al events: that which is built on a site at a spe cif ic time in his to ry and con nect - ed to the water reserves in the moun tain; that which gath ers the vil lagers near it, where they greet each oth er as they fill up their jugs with water to take home; and that which the ani mals drink water after a long day of graz - ing in the fields. The essence of the foun tain is to let the water stream and rest, but in the case of the ruined vil lages, there is an essen tial loss to the man i fes ta tion of the foun tain; it is where life dries up. While tour ing the ruined vil lages, I have come across many bro ken and fall en foun tains and many his toric ones with out water run ning in them.  Many for mer inhab i tants of the cur rent ruins encoun tered the thresh old between a liv ing ruin and a dead ruin in the images of des ic cat ed foun tains, and in more extreme cas es, the des ic cat ed rivers due to rad i cal changes in water ways. The miss ing water con tributes to an inabil i ty of action with in ruin since a min i mum engage ment with for mer home, say through wash ing hands after a long dri ve was not even pos si ble. An inter vie wee from Agios Sozomenos was very dis turbed with the removed foun tain that could allow min i mum ori en ta tion amid the ruins. Arti fac ture denotes this lack of the most basic rela tion. As sev er al inter vie wees shared, the loss of water trig gers the loss of trees, and the loss of trees caus es the loss of shad ows, which— along with the gen tle breeze—eliminates an ide al hap tic i ty. The loss of trees also caus es the dis ap pear ance of birds. This topo-tec ton ic dis so lu tion removes body and world li ness from arti fac ture lead ing to a sense of rad i cal alien ation. In con trast to ruins adorned by nature, des ic ca tion sets up the hori zon through which arti fac ture is encoun tered by the owned ruin-sub jec - tiv i ty in the semi-arid con text of Cyprus. Arti fac ture has no inside and no pos si bil i ty of life or domes ti cized nature. Bahar Aktuna The Artifice of Redress Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 45 Thematic Unit: Nothingness Ruin-own ers encounter images of the des ic cat ed foun tains, blind wells, or miss ing build ing parts, and per haps their imag i na tion rever ber ates in these images of ruins. Places of child hood that are now miss ing or in ruins move the ruin-own ers in var i ous ways, but there is always an ele ment in ruins that push es them clos er to and fur ther away from the sight of the ruin-own ers. The web of sig nif i cant loci of mem o ries, which could allow imag ing and see ing, are no longer there. The expanse of the miss ing loci and ref er ents reach a moment that the miss ing becomes noth ing. The mem o ries run deep into the ground of the ruins, and the under ground world, where his to ry and mem o ry accu mu late, is sig nif i cant for ruin-own ers. Inter vie wees who had a deep con nec tion to the land as a place of bur ial and eter nal rest of the ances tors expressed pro found sor row at the sight of lost ceme ter ies and any ref er ences to their loca tion. Some even stat ed that they became ill after their first vis it to the ruins. The hope of inter com mu nal rec on cil i a tion van ish es in the miss ing and bro ken grave yards as well as the lost places of child hood dreams. Asso ci a tion with the for mer site of dwelling has become impos si ble for many interviewees. Sor row and anx i ety remain in ten sion as noth ing is revealed to ruin- own ers. Noth ing ness brings a strong sense of dis ori en ta tion in time and space as well as hope less ness for the future. Sor row ful sub ject clings to things and does not let go, where as, in anx i ety, things push them selves onto the anx ious sub ject who turns away from them. Anx i ety press es noth ing onto the sub ject who wants to cling onto the past. In a dis cus sion on Agios Sozomenos, the inter vie wee described the noth ing ness as hav ing “no branch to hold on,” which led her to a pro found exis ten tial cri sis. Anoth er inter vie - wee from Alev ga referred to a blank moment in her sight as a phys i cal expe - ri ence of not see ing after revis it ing home land for the first time after the open ing of the check points: “some thing hap pened to our sight, and we could not see.” The inter views alto geth er shed light on the phe nom e non of noth ing as a ‘non-image,’ which made sight and action impos si ble: “From now on, I do not want to see them; I do not want to go there… What shall I see?”  Noth ing ness is incom pre hen si ble and unimag in able. There is noth ing in arti fac ture. By recall ing the expe ri ence of “noth ing ness in noth ing ness,” an inter vie wee from Agios Sozomenos described the ruins as a site of rad i cal mean ing less ness. Joint sites of mate r i al-mem o ry-imag i na tion are dis as sem - bled in the topo-tec ton ic dis join ing in arti fac ture. Removed from their ref er - en tial web, these frag ments become replace able: mov able or trans portable to new land scapes where they may be com pre hen si ble again. Bahar Aktuna The Artifice of Redress 57 Rebec ca Bryant, “Nos tal gia and the Dis cov ery of Loss: Essen tial iz ing the Turk ish Cypri ot Past,” in Anthro pol o gy and Nos tal gia, eds. Olivia Angé and David Berlin er (Oxford: Berghahn Books, 2015), 167. Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 47 Thematic Unit: Heirloom In the sites of this study, peo ple used to tend the same land as farm ers and builders for cen turies, and their bygone world was a prod uct of agri cul ture and hand craft. A long accu mu la tion of care is now embed ded in ruins, and com mem o ra tive loci are now miss ing. For ruin-own ers, the rad i cal topo-tec - ton ic dis so lu tion in arti fac ture unfolds in sor row and anx i ety. The loss of cen turies-long care and labor invest ed in build ing as well as main tain ing the sites of dwelling also mark the loss of these sites that once held people’s mem o ries. This is a fur ther sign to the ruin-own ers that it is impos si ble to restore or revive a world that has both col lapsed and decayed. The world- decay becomes a bar ri er to the restora tive imag i na tion of ruin, and these failed sites fur ther pose an issue: the preser va tion of the heirloom. Along these lines, the inter vie wees referred to yadigâr (heir loom), an expres sion that puts much empha sis on the ances tors who have long deceased, and to the respon si bil i ty to safe guard the care and labor of the ances tors whose mem o ries now may live in heir loom objects. The ruined sites are where the heir loom goes miss ing. An inter vie wee from Faleia referred to the heir loom from her grand moth er. She found her self at the end of his to ry and liv ing mem o ry as noth ing had remained in arti fac ture. Anoth - er inter vie wee from Agios Sozomenos referred to the miss ing olive trees and their sig nif i cance for the inter gen er a tional mem o ry and respon si bil i ty: “I wish they … did not uproot [them] because they were heir looms of my grand fa ther. 500-year-old olive trees, they were memorials.” The cul-de-sac polit i cal con flict does not allow restor ing the sta tus of care in arti fac ture. In fail ing to safe keep an inter gen er a tional world, the ruin- own ers suf fer under the weight of the ruined heir loom with a sense of guilt and anger. Due to the impos si bil i ty of restor ing an old sense of care in the site of arti fac ture, some inter vie wees are search ing for ways to safe keep sites of mem o ry. An inter vie wee from Petro fani, who referred to the ruins of his grandfather’s his toric house, feels the oblig a tion to pre serve the heir loom despite the cur rent cir cum stances and thus plans to have the house recon - struct ed in the north ern state—like the own er of the Melandra Cul ture House, who had this sim u lacrum house built in the North. He is aware that a repli ca is ‘not real’ but he has nev er the less col lect ed some his toric build ing ele ments and com po nents from antique shops towards a new project that attempts to imi tate the orig i nal house. He fur ther referred to his desire of using the archi tec tur al com po nents and ele ments from the orig i nal house if it were pos si ble. The dis placed recon struc tion project illu mi nates a strat e gy of over com ing arti fac ture through a design think ing based on dis place ment which res onates with the orig i nal rise of the ruins. 57 Bahar Aktuna The Artifice of Redress Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 49 Thematic Unit: Inheritance Worth Inher i tance worth is anoth er the mat ic unit with an inter gen er a tional focus; it entails the rela tion ship between the ruins and descen dants of ruin-own ers. The ruin-vis its had func tions of rem i nis cence as the ruin-own ers returned and kept return ing to the ruins with fam i ly mem bers. Ruin-own ers took their chil dren, and in some cas es, their grand chil dren to their for mer set tle ments. The cer e mo ni al act of vis it ing the vil lages unfolds with a desire to trans fer the knowl edge of the for mer dwelling place to the next gen er a tion of rel a - tives, even if this knowl edge is objec tive. In these vis its, the chil dren and grand chil dren in some cas es were empa thet ic to the griev ance after the ruins. In some oth er cas es, the descen dants had apa thy. The inter vie wees tried to jus ti fy this apa thy as ‘there was noth ing to see or do in the ruins’ of the ances tral land. An inter vie wee from Pras tio referred to her child’s reac tion to her weep ing by the ruins: “when we took the new kids there, they said, ‘why have you come and cry amid these piles of stone?’” Some respon dents fur - ther stat ed that their chil dren mocked the ruins dur ing the visits.  The inher i tance of the place with its vis i ble, invis i ble, tan gi ble, and intan gi ble qual i ties requires the enthu si as tic recep tion of the place by the younger gen er a tions who may sus tain the world. The pro longed rup ture in time and his to ry has led to an inac ces si bil i ty to a his toric world with its phys i cal arti facts and the dis so lu tion of com mu nal ties among the younger gen er a tions. Along these lines, anoth er inter vie wee focused on the unbridge - able his tor i cal dis tance between two gen er a tions. This dis tance ren ders the trans mis sion of the set tle ment to the next gen er a tion as impos si ble even in the case of a phys i cal restora tion and a return to the ances tral land.  Inher i tance worth is an inter gen er a tional and inter com mu nal cat e go ry that defines whether the poten tial actions of restora tion, ren o va tion, or resti - tu tion are mean ing ful enough. The worth of the ruins is lim it ed by the ruin- own ers’ life time. In the decay of a col lapsed world, an irre versible loss of inher i tance worth makes restora tion inad e quate ly mean ing ful. Arti fac ture is a non-site where deval u a tion extends beyond use and com mod i ty val ue, but arti fac ture still urges for alter na tive actions to inher it memen tos in a more mean ing ful way. Conclusion: Toward an Artifactural Grafting On the one hand, there is no hope for a com mu ni ty and inter-gen er a tional sus te nance, no mate r i al ref er ences to mem o ries, no shel ter ing of nature, nor is there any hope for the restora tion of arti fac ture. On the oth er hand, ruin- own ers feel the neces si ty to act and imag ine alter na tive projects to move out Bahar Aktuna The Artifice of Redress Owned Ruin Encounters in the Villages of the Turkish-Cypriots in Cyprus 51 of present arti fac ture, which exists between what it is and what it is to become. The topo-tec ton ic nar ra tives reveal a ruin-hori zon with a vision of eth i cal action that emerges from actu al encoun ters with artifacture. Many ruin-own ers prob a bly walked among the ruins in their for mer home land and lift ed away, in imag i na tion and prac tice, the excess es of rub - ble and of void. They searched for the past loci under neath this cov er-up to extract and save the relics of the pre vi ous dwelling as sou venirs. The most fre quent ly reclaimed sou venirs from the ruins of the dwelling place are the fruits, crops, seedlings and tree branch es to be graft ed to trees in the north - ern state. There is a relief in keep ing the mem o ry-loci in the form of rust ed keys, build ing blocks, or bro ken tools. The per sis tent atti tude of extract ing loci from the his toric rub ble and their preser va tion dis play an eth i cal respon - si bil i ty. This sen si bil i ty takes a more delib er ate and archi tec tur al form for one inter vie wee who sees the poten tial of a pro found archi tec tur al project to save the ances tral heir loom from dis ap pear ing. These tem po ral re-order ings, which take place in the imag i na tion and actions of the ruin-own ers, aim to bring arti fac ture to a liv ing present in a new place. The indi vid u al ly guid ed actions are small tac tics that reveal the poten - tial of graft ing in place-mak ing strate gies after ruina tion. The accounts of ruin-own ers reveal a pos si ble direc tion in archi tec tur al thought in which the works of archi tec tur al craft are seman ti cal ly trans lat ed to retain the invis i ble nar ra tives of both exile and home com ing. The recla ma tion of mem o ry frag - ments from arti fac ture as re-inhab it able mem o ry-loci in a new place high - lights a poten tial for ‘arti fac tur al graft ing:’ the inser tion of mate r i al-mem o ry joints to a new site with a new form and func tion so that the sen ti men tal rem nants of a bygone world are sus tained with a use val ue. 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Wagner, Anne M. “Splitting and Doubling: Gordon Matta-Clark and the Body of Sculpture. ” Grey Room 14 (2004): 26–45. doi.org/10.1162/152638104322894895. 57 Mo Michelsen Stochholm Krag A Reality of Rurality Mo Michelsen Stochholm Krag The Artifice of Redress 1 Mo Michelsen Stochholm Krag, “Trans for ma ‐ tion on Aban don ment, a new crit i cal prac tice?” (PhD diss., Aarhus School of Archi tec ture, 2017), 59–96. 2 Johan Ver beke, “Research by Design Is up and Run ning” Archi tec ture & Edu ca tion Jour nal 5 (2011): 111–119. 3 Dylan Trigg, The Mem o ry of Place: A Phe nom ‐ e nol o gy of the Uncan ny (Athens: Ohio Uni ver ‐ si ty Press, 2013), 53–65. A Reality of Rurality 59 Introduction Since the 1950s, the rur al pop u la tion in Den mark are aban don ing their home vil lages and mov ing into the cities. This is part of a glob al ten den cy, in Den - mark caused by a decline in food pro duc tion and the attached indus tries. As a con se quence, the social imbal ance between urban and rur al is grow ing and reflect ed in the mar ket val ue of prop er ty. Espe cial ly the rur al built envi ron - ment of every day life suf fers, as the homes of the remain ing rur al pop u la tion increas ing ly become unsaleable and lat er aban doned. There fore, aban doned build ings in var i ous states of repair have become a com mon sight in the Dan ish rur al vil lages. Ruins have in oth er word become an inevitable con di - tion of Dan ish rur al . The ques tion is whether cur rent large-scale strate gic demo li tion projects, ini ti at ed by the gov ern ment to counter the ruinous vil lages, are the best pos si ble way to react to the grow ing num bers of rur al ruins and if not, what is the alternative?  This was explored through a series of preser va tion exper i ments, under - tak en as research by design, of which two: “The con trolled ruin” and “The con fec tionary” are out lined and elab o rat ed on in the fol low ing . These two Exper i ments have a tem po rary approach to preser va tion in com mon, in which the pre served object, here the aban doned build ing, under goes con tin u - ous alter ations sub se quent to the ini ti at ing trans for ma tive inter ven tion. They also share the pre con di tions of being based on sub trac tive archi tec tur al inter - ven tions not unlike mech a nisms in decay, engage ment of the local com mu ni - ty, and final ly the con cept of form ing a cat a lyst, linked to a spe cif ic place, for exchange of local place mem o ry . Despite their sim i lar i ties, the exper i - ments dif fer in their times pan. Hence, “The con trolled ruin” was ini ti at ed in 2014 as a long-term preser va tion strat e gy and is still active. Con verse ly, the “The con fec tionary”, ini ti at ed in 2016, explored an event-based short-term preser va tion strat e gy and was delib er ate ly demol ished com plete ly after a two-month period.  The fol low ing out lines how these exper i men tal inter ven tions were imple ment ed and describes the respons es and atti tudes they gave rise to with in the local com mu ni ties. Fur ther, notions of and atti tudes towards ruins through out his to ry, in the o ry and prac tice, frame the two inter ven tions enabling a dis cus sion on pos si ble new direc tions in (rad i cal) preser va tion of the rur al built environment.  1 2 3 Mo Michelsen Stochholm Krag The Artifice of Redress 1 1 The former sexton’s abandoned residence prior to the transformation, January 2014 (photograph by author). 4 “Dan ish Sta tis tics,” Thist ed Kom mune, May 15, 2017. A Reality of Rurality 61 Thisted Municipality: The Field Lab Thist ed Munic i pal i ty in the north-west ern part of Jut land con sti tutes the field lab and hence, host to all of the preser va tion exper i ments under tak en as part of what could be phrased as an emerg ing counter-prac tice of rad i cal preser - va tion. The munic i pal i ty qual i fied as a field lab due to its iso lat ed geo graph - i cal loca tion with sev er al depop u lat ing vil lage com mu ni ties in which strate - gic demo li tions were already exe cut ed on a larg er scale. Fur ther more, ongo ing expe ri ences of coop er a tion between the researcher and the munic i pal i ty already exist ed, com pound ed by a great cour tesy towards being part of fur ther exper i men tal research, and a desire to seek alter na tives to the ongo ing demo li tions of aban doned buildings. In the first quar ter 2021, Thist ed Munic i pal i ty had a pop u la tion of around 43,000 and cov ered 1,074 square kilo me ters. The main town with in the munic i pal i ty is Thist ed, with a pop u la tion of approx i mate ly 13,000 habi - tants . The Controlled Ruin: March 2014: A Long-Term Attempt of Radical Preservation “The con trolled ruin” was based on a neat ly curat ed par tial demo li tion of an aban doned build ing which sub se quent ly allowed the remain ing rem nants to decay nat u ral ly. This pre cise ly designed inter ven tion trans formed the aban - doned build ing into a con trolled ruin with out a pre de ter mined program.  The exper i men tal preser va tion was imple ment ed in a sin gle-fam i ly house, orig i nal ly the sexton’s res i dence, next to the medieval church, in the vil lage Sned st ed with approx i mate ly 1,200 res i dents. Most res i dents were exposed to the pro to type on a dai ly basis, as it was locat ed on a con tro ver sial site neigh bour ing the medieval church and the busy main road into the village. The inter ven tion reversed pri vate and pub lic, as the roof and major wall seg ment were removed in a hor i zon tal split-lev el sec tion, which delib er ate ly exposed most eras of the building's pri vate his to ry. The sur round ing com mu - ni ty was allowed to engage with the pro to typ i cal trans for ma tion, to re-inhab - it it, or even to demol ish it.  The build ing had through out its more than 100 years lifes pan under - gone sev er al alter ations in the form of expan sions. The expo sure of these alter ations was enforced by the inter ven tion by pin point ing spa tial-mate r i al inter sec tions, through cut ting and removal, in which the mate r i al strat i fi ca - tion revealed the building’s dif fer ent his toric layers. 4 Mo Michelsen Stochholm Krag The Artifice of Redress 2 2 “The controlled ruin, ” less than a month after the implementation, April 2014 (photograph by author). A Reality of Rurality 63 The con cept of mak ing the pri vate past become the pub lic present was intend ed to cat alyze an exchange of per son al mem o ries of the build ing, the place and the peo ple who used to live there. This exchange of mem o ries may have been enforced by some of the inher ent prop er ties of the ruin, as elab o - rat ed on lat er in the dis cus sion on the ruin. In addi tion to its intend ed pur pose, an exchange of mem o ry of place, the inter ven tion also trig gered a dis cus sion of the mer its of pri va cy among the local peo ple. The cen tral bath room, includ ing a bath tub cov ered with light blue tiles, was one of the most pri vate spheres of the build ing when still in func tion. Now, the inter ven tion made it a vis i ble part of pub lic space. This rever sal proved to touch upon some cru cial point to pay atten tion to, when intro duc ing new her itage prac tices aim ing for built envi ron ment of the recent past in a real-life set ting. When vul ner a ble aspects sur face, it becomes obvi - ous that not all mem o ries are good mem o ries and not all mem o ries are meant for the public. The inter ven tion com plete ly exposed the blue bath tub to the pub lic and it became vis i ble almost from a kilo me ters dis tance. The rever sal of pri vate and pub lic por trayed the blue bath tub as a focal point in the new inter pre ta - tion of the for mer sexton's house. On the land scape scale, the com po si tion depend ed on the sea son al cycle. The pre vi ous sexton’s house, posi tioned as an inter pret ed rep re sen ta - tion of its alter ego, held an extra or di nary posi tion amongst the sur round ing land scape. The dual is tic rela tion ship with the medieval church was ampli fied as a con se quence of the sub trac tive inter ven tion that formed the preser va tion attempt, as the now exposed bright inte ri or col ors were con trast ing the context. When “The con trolled ruin” was first imple ment ed in the ear ly spring 2014, vis i bil i ty from the dis tance was par tic u lar ly high, due to defo li a tion of the sur round ing trees. This supreme ly vis i ble appear ance and the new ly gained dual is tic con stel la tion between church and what remained of the sexton’s house caused an increased pub lic aware ness, giv en that the medieval church was the land mark and the pride of the vil lage. The trig gered aware ness fos tered some skep ti cism towards the new ly arrived and more vis - i ble ele ment in the old vil lage-scape, but sub se quent ly this may have aug - ment ed the dis cus sions and exchange of mem o ries among the local residents. Con verse ly, it appeared that when the sur round ing trees came into leaf, they inci den tal ly cre at ed an inti mate space in the gar den of the for mer sexton’s house, as the pub lic expo sure decreased rapid ly and the dual is tic rela tion to the medieval church van ished. Fur ther more, the inti mate space may have cre at ed an oppor tu ni ty for a dif fer ent and more pri vate kind of Mo Michelsen Stochholm Krag The Artifice of Redress 3 4 5 6 3 The blue bathtub, less than a month after the implementation, April 2014 (photograph by author). 4 The blue bathtub, scarred by frost erosions, March 2015 (photograph by author). 5 The blue bathtub, re-inhabited by the local community, August 2016 (photograph by author). 6 The blue bathtub, January 2017 (photograph by author). 5 Mo Michelsen Stochholm Krag, “The Con ‐ trolled Ruin: Pre serv ing Col lec tive Mem o ries through Build ing Trans for ma tion.” Future Ante ri or Vol. 1, XIII (2016): 147–154. A Reality of Rurality 65 con ver sa tions regard ing the past of the place to the ben e fit of the over all exchange of memories. Less than a year after the imple men ta tion “The con trolled ruin” faced the con se quences of its first Dan ish win ter. The effects of frost ero sions scarred the pro to type, thus sig nif i cant ly soft en ing the pre vi ous ly rig or ous mod ernistic designed edges of walls. Some of the walls made of hol low bricks turned into piles of rub ble, where as walls of con crete and mas sive brick work proved more resilient towards the cli mate. This was expect ed, as well as the imme di ate reac tions from the local community.  Most of the reac tions may be ascribed to the inher ent prop er ties of the ruin and thus, elab o rat ed in depth lat er on in the dis cus sion. To obvi ate increas ing crit i cisms, a parish evening was orga nized by request of the researcher to equip the local com mu ni ty with a forum to address their ques - tions and crit i cisms. It also aimed at pro vid ing the vil lage com mu ni ty with insights into the research per spec tives as well as the inter na tion al con text of the research project. The parish evening con vinced the local com mu ni ty of the legit i ma cy of the changes in the vil lage-scape caused by the inter ven tion. The com mu ni ty was after wards some what con vinced that some one at a cer - tain stage would take action and was allowed to do so. This actu al ly hap - pened on the ini tia tive of the sex ton and the Parish Council. In spring 2015, the sex ton affil i at ed to the neigh bor ing ceme tery cleaned up “The con trolled ruin”, and began to add green plants. More over, the Parish Coun cil fur nished the pro to type with two sets of tables and bench - es. From this point, “The con trolled ruin” moved towards the con cept of the clas sic ruin as known from the roman tic peri od. In addi tion, at this stage the ruina tion process began to slow down. The added roman tic cloak and re-fur - nish ing, at the ini tia tive of the local com mu ni ty, changed the sta tus of the pro to type. The rem nants of the orig i nal sexton’s house were now re-vital ized as a recre ation al addi tion to the ceme tery. This local ly facil i tat ed revi tal iza - tion did not pre vent an exchange of mem o ries of the build ing and the place. Con verse ly, it increased the num ber of vis i tors and con se quent ly the poten - tial too, for fur ther exchange. The local community’s atti tude towards “The con trolled ruin” at the church changed in a more pos i tive direc tion, as the crit i cisms, accord ing to the sex ton, dimin ished fol low ing the local com mu ni - ty-dri ven revi tal iza tion. The roman tic cloak, ini ti at ed by the com mu ni ty itself, may have estab lished a less intim i dat ing sit u a tion for the local res i - dents, soft en ing the pro sa ic aspects of aban don ment and con tem po rary decay with in the rur al vil lage-scape. In short, an act of appro pri a tion took place . How ev er, years lat er some of the more sen si tive prob lem at ics, relat ed to preser va tion based on pub lic expo sure of pri vate spheres, sur faced. Despite a pos i tive atti tude towards the research project in the begin ning, 5 Mo Michelsen Stochholm Krag The Artifice of Redress 7 7 “Theatre installation” prior to the interventions, November 2016 (photograph by author). 6 Mo Michelsen Stochholm Krag, “Encoun ter ing Rur al Trans for ma tion: A Cat a lyst for Exchang ‐ ing Nar ra tives of Place?” Archi tec ture and Cul ture 5, 1 (2016): 135–156. A Reality of Rurality 67 close fam i ly mem bers to the deceased pre vi ous own er com plained about the decay ing remains of their child hood home, and espe cial ly the fact that the place had become pub lic. This added anoth er dimen sion to the con cept of long-term, how ev er still tem po rary, preser va tion strate gies build ing on par - tial demo li tion and sub se quent inte grat ed decay process es, espe cial ly when it comes to pre served objects belong ing to the every day envi ron ment of the recent past. Atti tudes of emo tion al nature sim ply tend to changes over time depen dent on impact of sev er al vis i ble or invis i ble, but unpre dictable and very com plex sys tems. In this case, the pass ing of a close fam i ly mem ber may have swayed the attitude.  The fragili ty and diverg ing atti tudes with in rur al vil lage com mu ni ties expe ri enced through the age-long engage ment in rela tion to “The con trolled ruin” indi cat ed on the one side an urgent need for fur ther inves ti ga tions, as the local iden ti ty proved con nect ed to the phys i cal anchor age point with in the vil lage con text. On the oth er side, the rad i cal preser va tion exper i ment revealed a poten tial ele ment of vul ner a bil i ty, as the pri va cy of those with the clos est per son al rela tions to these anchor age points risk pub lic expo sure . There fore, anoth er preser va tion exper i ment was ini ti at ed. This exper i ment addressed, in con trast to “The con trolled ruin”, a build ing which in the past played a more pub lic role with in its com mu ni ty. Fur ther, the exper i ment was based on a con cept of imma te r i al preser va tion. Hence, the inter ven tion ini ti - at ing the preser va tion was event-based and not leav ing any spared phys i cal rem nants sub se quent to the intervention. Theatre Installation: Implementation March-August 2016. The “The atre instal la tion” was in con trast to, but still learn ing from, the “The con trolled ruin” entire ly aim ing at set ting an exam ple of imma te r i al preser va tion of a build ing. In short, the strat e gy was based on boost ing a cen tral pub lic build ing which used to be a com mu nal gath er ing point in a rur al small town before its com plete demo li tion. The preser va tion itself was based on cre at ing a tem po rary on-site cat a lyst of an exchange of per son - al mem o ries into the col lec tive mem o ry to sub stan ti ate the local iden ti ty and strength en the com mu ni ty cohesion. The “The atre instal la tion” was imple ment ed as an event-based trans for - ma tion of an aban doned con fec tionary into a the atre instal la tion, focus ing on engage ment with the local com mu ni ty in the entire process from ini tial work pri or to trans for ma tive inter ven tion to the com ple tion of the demo li tion. Sec - tion-based inter ven tions were inte grat ed as part of the The atre instal la tion in sim i lar fash ion as in the “The con trolled ruin”. The con fec tionery was cho - sen, as it played a major role as a gath er ing point for the local com mu ni ty 6 Mo Michelsen Stochholm Krag The Artifice of Redress 8 9 8 “Theatre installation” , July 2016 (photograph by author). 9 “Theatre installation” , July 2016 (photograph by author). A Reality of Rurality 69 from the 1920s to the begin ning of the 1980s. Up until 2011, the build ing was part ly occu pied by the wid ow of the last con fec tion er. In 2016, although aban doned for almost five years and now con demned to demo li tion, it still held a cen tral posi tion in the mid dle of the pedes tri an street of the sec ond largest town in the munic i pal i ty. The “The atre Instal la tion” was imple ment - ed in coop er a tion with Teater Nord kraft, an exper i men tal the atre, as well as local res i dents and Thist ed Municipality.  The inten tion of the instal la tion was to trans form the aban doned con - fec tionery into a peep hole box and, through real-time stream ing, to mir ror the event to a min i mal recon struc tion of the con fec tionery in a black box at Teater Nord kraft in Aal borg. Apart from the local impact, the stream ing also rep re sent ed an attempt to increase pub lic atten tion to the social inequal i ty between rur al and urban in Den mark. The trans formed build ing was to become a medi a tor between the rur al vil lage envi ron ment and the city.  Fur ther more, and more impor tant ly, on loca tion, the the atre instal la tion aimed at cat alyz ing an exchange of local mem o ries embed ded in the con fec - tionery to redeem these intrin sic imma te r i al qual i ties before the imma nent demo li tion of the build ing. The con cept was to gen er ate increased atten tion to the con fec tionery through a two-month re-open ing dur ing sum mer 2016 before the build ing vanished.  Cycli cal light ing and audio tracks orches trat ed the phys i cal inter ven - tions and the local com mu ni ty itself man aged and main tained the instal la tion inde pen dent ly dur ing the dai ly open ing hours. The reopen ing of the old aban doned con fec tionery as a tem po rary boost of the exposed mem o ries of both the build ing and the place, proved strik ing ly appeal ing to the local com - mu ni ty. More than 150 par tic i pat ed in the confectionery's grand reopen ing 4 June 2016. The local res i dents count ed for a high per cent age of the atten - dance through out the most of the sum mer. Many res i dents from the city, who had vis it ed the mir rored instal la tion at Teater Nord kraft in Aal borg, sup ple - ment ed this, and fol low ing they made the two-hour dri ve to Hurup to vis it the confectionery. In con trast to the “The con trolled ruin”, the “The atre instal la tion” did not leave phys i cal remains, as the inten tion was to cre ate an imma te r i al impact. The con fec tionery remained open for almost two-months (4 June to 31 July) dur ing the same open ing hours as the oth er shops on the pedes tri - an street.  It was through the engage ment with the local com mu ni ty the two- month of reopen ing was pos si ble. Dur ing the entire peri od of reopen ing, the com mu ni ty itself facil i tat ed and kept the instal la tion run ning. Not only did they open and close the instal la tion in accor dance with the oth er shops on the pedes tri an street, they also served cof fee and pas try in the court yard Mo Michelsen Stochholm Krag The Artifice of Redress 7 Krag “Trans for ma tion on Aban don ment,” 323–401. 8 Michael Gub ser, Time’s Vis i ble Sur face (Detroit: Wayne State Uni ver si ty Press, 2006), 53–104. 9 Ines Weiz man and Jorge Otero-Pail los, “Edi ‐ tors’ Intro duc tion,” Future Ante ri or Vol. 1, XII (2015): iii–ix. 10 Pieter Ver steegh, “Rural i ty fun da men tals” in Alter Rural i ty: Explor ing Rep re sen ta tions and “Repeas an ta tions, eds. Pieter Ver steegh, Sophia Meeres (Lon don: ARENA, 2014), 21–55. A Reality of Rurality 71 every Sun day. The court yard was fur nished for this pur pose, using a refec to - ry table and bench es placed under neath an old elder. The idea was to encour - age the vis i tors to gath er around the refec to ry table, pro vid ing an infor mal set ting for dia logue and encour ag ing an exchange of mem o ries of the place . The boost of the wan ing con fec tionery, before its inevitable destruc tion, proved to instill a greater aware ness of the com mu nal iden ti ty among the local res i dents that they them selves formed part of.  Boost ing an endan gered build ing before its fore see able erad i ca tion places sev er al demands on both the build ing and the envi ron ment. First, the impact is depen dent on the loca tion. Sec ond, the impor tance of the build ing in rela tion to the com mu ni ty will most prob a bly be reflect ed in the degree of local inter ac tion. Third, being present on site is cru cial to suc ceed in involv - ing the com mu ni ty and thus, the suc cess of the ini ti at ed preser va tion. In con - clu sion, when the inter ven tion is run ning autonomous ly through total embed ment in the local com mu ni ty, it can lib er ate itself and achieve its purpose. The Properties of Ruins in the Contemporary Rural Built Environment By intro duc ing the con cept of age val ue as a mea sure ment tool based on the appre ci a tion of age itself Alois Riegl did not only devi ate from his pre de ces - sors in the form of Vien nese aca d e mics who often ascribed the more intan gi - ble aspects of inter pret ing the past to divin i ty. Riegl did also, and more impor tant ly in this con text, expand the cat a logue of what a ruin could be. Such expan sion led to the con cept of the unin tend ed mon u ment that would also allow pre vi ous ly neglect ed build ings of the every day envi ron ment to assume val ue on the basis of the accu mu lat ed traces of their entire lifes pan . Where as the inten tion al his toric mon u ments over time through restora tion is turn ing into copies of them selves and pre sent ing a par tic u lar past as if it was the present, the unin tend ed mon u ment of the built envi ron ment is com prised of a spa tial mate r i al palimpsest . The build ings of the every day envi ron ment are as such unin ten tion al mon u ments. Espe cial ly the exis tence of the build ings of every day life are par tic u lar ly con test ed in sev er al ways as already out lined. In the con text of the rur al vil lage, these build ings form part of an inter wo ven mesh of imma - te r i al net works and rela tions between build ings, places, peo ple and their mem o ries that goes far beyond the phys i cal bound aries of the indi vid ual build ing itself . The build ings of every day life do not call for atten tion, as they are part of the ordi nary and thus, their dis ap pear ance goes eas i ly unno - ticed. This does not mean that they no longer are impor tant to the sur round - 7 8 9 10 Mo Michelsen Stochholm Krag The Artifice of Redress 10 10 Interior of an abandoned building of the everyday environment, January 2014 (photograph by author). 11 Andreas Schön le, Archi tec ture of Obliv ion (DeKalb: North ern Illi nois Uni ver si ty Press, 2011), 29–151. 12 Rudy Koshar, From Mon u ments to Traces: Arti ‐ facts of Ger man Mem o ry, 1870–1990 (Uni ver si ‐ ty of Cal i for nia Press, 2000), 15–80. 13 Mau rice Halb wachs and Lewis A. Coser, On Col lec tive Mem o ry (Chica go: Uni ver si ty of Chica go Press,1992), 37–51. 14 Thomas J McCormick, Ruins as Archi tec ture: archi tec ture as ruins (Dublin: William L. Bauhan, Pub lish er, 1999), 21–46. A Reality of Rurality 73 ing com mu ni ty as they may, for instance, form anchor age point of the col lec - tive mem o ry and there fore also still play a cru cial role in main tain ing local iden ti ty and com mu ni ty cohesion.  Through out his to ry the atti tudes towards ruins have oscil lat ed depend - ing on their con tem po rary artis tic move ments as well as geo graph i cal ori gin. Obvi ous ly, roman ti cism in west ern Europe brought the ruin into focus and cel e bra tion. In con trast, the Russ ian and lat er Sovi et view on ruins has a far more prag mat ic posi tion that may arrive from wide spread pover ty but also as a counter-posi tion to the imposed west Euro pean roman ti cism . Sim i lar ten - den cies are vis i ble in the for mer east bloc. In Riga, the cap i tal of Latvia the his toric “lay er” of the Sovi et era, phys i cal ly rep re sent ed as Sovi et mod ernist build ings, is cur rent ly being erad i cat ed through demo li tion and sub se quent ly replaced with con tem po rary re-inter pre ta tions of pre-WW2 art nou veau build ings. This con sol i dates a fast and irre versibly erad i ca tion of the recent past of a nation as seen so often before through out his to ry. The fast erad i ca - tion of his to ry of the recent past in the Dan ish rur al built envi ron ment may not be as polit i cal ly imposed as the case in Latvia although the result is the same. The great est dan ger in such erad i ca tions may be obliv ion, as for get - ting may pro duce a risk of his to ry repeat ing itself, when all the traces and phys i cal remains of the unwant ed recent past are erased. In the late 19 cen tu ry Ger many, the nation al mon u ments were rebuilt and sup ple ment ed to sub stan ti ate the notion of the Ger man empire. Until 1871 Ger many was more bound togeth er of “a sense of a nation” rather than being defined by ter ri to r i al bound aries, as the lat ter was not ratio nal due to Germany's con struct of sev er al king doms and unions as well as its unsta ble com plex of bor ders as a result of war. This is what could be phrased as pro - grammed obliv ion or rewrit ing the past of a nation . The ques tion is whether a halfway delib er ate pro grammed obliv ion is tak ing place in Dan ish rur al uti liz ing the strate gic demo li tions as method, when inalien able anchor age points of the col lec tive mem o ry, part of the foun da tion of local iden ti ty as well as com mu ni ty cohe sion, rapid ly are erad - i cat ed . To under stand the prop er ties of ruins in rela tion to rad i cal preser va tion of aban doned rur al build ings, it seems rel e vant to intro duce notions of the ruin in roman ti cism, as the ruin was praised in west ern Europe dur ing this peri od . In the roman tic peri od the ruin was ascribed to have the abil i ty of evok - ing emo tion al feel ings. This is ren dered vis i ble in lit er a ture as well as in the arts and archi tec ture of the time. The frag ment ed writ ings of the peri od resem ble the bro ken enti ties of the phys i cal ruin. In oth er words, the gap 11 t h 12 13 14 Mo Michelsen Stochholm Krag The Artifice of Redress 15 Eliz a beth Wan ning Har ries, The Unfin ished Man ner (Lon don: Uni ver si ty Press of Virginia,1994), 56–121. 16 Jonathan Hill, A Land scape of Archi tec ture, His to ry and Fic tion (Lon don; New York: Rout ‐ ledge, Tay lor & Fran cis Group, 2016), 91–124. 17 Nao mi Stead, “The Val ue of Ruins: Alle gories of Destruc tion in Ben jamin and Speer.” An Inter dis ci pli nary Jour nal of the Built Envi ron ‐ ment, no. 6 (2003): 51–64. 18 Lau ra jane Smith, “All Her itage is Intan gi ble,” Ams ter dam School of the Arts (2011): 133–142. 19 “Con ven tion for the Safe guard ing of the Intan gi ble Cul tur al Her itage,” ICOMOS, UNESCO, Octo ber 27, 2003. A Reality of Rurality 75 between the frag ments stim u lat ed an indi vid ual inter pre ta tion of what might have con nect ed them in the past . Pro fes sor Jonathan Hill at the Bartlett describes the ruins as pre cur sors of change, as they are bring ing a par tic u lar past into present, a par tic u lar past that is lost. As such they also point towards an uncer tain future . This auto - mat i cal ly leads to the dis cus sion on atti tudes towards ruins in the con tem po - rary con text of Dan ish rur al. The ruin grad u al ly reveals its pri vate past to the pub lic as the inte ri or becomes exte ri or as part of the decay process es. Thus, the full his to ry of the build ing is ren dered vis i ble as a mate r i al x - ray. The unleash of the pri vate sphere into the pub lic cre ates a dis tur bance of the atmos pheres of the place or in the Ger man art crit ic and philoso pher Wal ter Benjamin’s words “a sud den shock of awak en ing”. This sub stan ti ates the roman tic notion of the ruins as capa ble of evok ing emo tion al feel ings . Sim i lar ly, to the roman tic notions of the ruin, the out lined inter ven tions prompt ed a spe cif ic con di tion. It was as if the bro ken ness lead ing to the rever sal of pub lic and pri vate through the sec tion-like method proved an abil i ty to instant ly trig ger latent per son al mem o ries linked to a spe cif ic build ing or place. In oth er word, the unleashed mem o ries were fill ing in the miss ing parts of a bro ken enti ty. Mem o ries that pri or to the inter ven tion had been concealed. How ev er, the over all pos i tive atti tude towards ruins in the roman tic peri od are not nec es sar i ly shared by the peo ple liv ing in the rur al areas today. First of all, the cel e bra tion of bro ken ness and frag ment in roman ti - cism was for the elite only and there fore not direct ly applic a ble to con tem - po rary rural i ty in Den mark in which the every day envi ron ment is dom i nat - ing. Accord ing ly, it may not come as a sur prise that bro ken ness in the rur al vil lage-scape is not appre ci at ed by the local com mu ni ties, as it, in Hill’s view, is a symp tom of an uncer tain future. This may be the rea son, why the strate gic demo li tions are wel comed by many vil lage com mu ni ties, as the demo li tions on the short term pro vide a cleanup. Fur ther more, when frag ile and vul ner a ble her itage aspects impor tant to rur al iden ti ties, embed ded in the bro ken ness, are imma te r i al and intan gi ble of nature and thus, invis i ble, the rur al vil lage com mu ni ties are not to be blamed. More recent ly how ev er, an aware ness towards the imma te r i al and intan - gi ble aspects of cul tur al her itage has emerged, as stat ed by ICOMOS in the “Con ven tion for the Safe guard ing of the Intan gi ble Cul tur al Her itage” in 2003 or by Lau ra-jane Smith in the paper “All her itage is intan gi ble” . In the after math of the ICOMOS con ven tion, the def i n i tions of what can qual i - fy as intan gi ble her itage remain extreme ly broad, result ing in a lack in devel - op ment of new alter na tive meth ods to iden ti fy and pre serve or acti vate the more ephemer al parts of built her itage . 15 16 17 18 19 Mo Michelsen Stochholm Krag The Artifice of Redress A Reality of Rurality 77 Conclusion Iron i cal ly, vast amounts are used on the inten tion al mon u ments to pre vent nat ur al decay by turn ing them into copies of them selves over time, where as oth er vast amounts are spent on the rur al built envi ron ment of every day life to pre vent decay through strate gic demolitions. Through out the last cen tu ry, the com bi na tion of urban devel op ment and preser va tion prac tices has result ed in mon u ments being iso lat ed as his toric islands, frozen in time, and com plete ly detached from their con tem po rary con text. Today they appear as muse um pieces on dis play, alien and arti fi cial in their appearance. The rur al built envi ron ment on the oth er hand is chal lenged more than ever. ICOMOS has brought atten tion to the intan gi ble and imma te r i al aspects of cul tur al her itage. Still, two decades lat er, con tem po rary her itage prac tices have failed in devel op ing new meth ods to iden ti fy, pre serve, or acti vate mate r i al, imma te r i al, and intan gi ble aspects of the rur al built her itage. Bear - ing the out lined rad i cal preser va tion attempts in mind, the con tem po rary dis - course on cul tur al her itage plays down the impor tance of engag ing the rur al built envi ron ment of every day life in the dis course. Despite this, the preser - va tion exper i ments unearthed sev er al of unrec og nized intrin sic imma te r i al qual i ties linked to build ings or built envi ron ment emp tied of func tion. This reveals a gap, in research and in prac tice, that calls for new direc tions in cul - tur al her itage. New direc tions being based on more dynam ic and engag ing approach es to the field. Approach es that are embed ded in the rur al com mu - ni ties them self to the ben e fit of the wan ing iden ti ties of the rur al vil lages and from which new rur al iden ti ties can emerge.  Rur al vil lages exist in a frag ile equi lib ri um of mate r i al and imma te r i al net works that is vul ner a ble to abrupt inter ven tions imposed as for instance top-down gov er nance such as the state funds for demo li tion projects. Learn - ing from the counter-prac tice of rad i cal preser va tion it seems cru cial that Dan ish rur al must be changed from with in. Nev er the less, there may be one dif fi cult pre con di tion for a rede fined cul tur al her itage appa ra tus that can obtain the unseen aspects of rural i ty. Name ly, a broad er soci etal rec on cil i a - tion with the recent past. Mo Michelsen Stochholm Krag The Artifice of Redress A Reality of Rurality 79 Bibliography ICOMOS. “Convention for the Safeguarding of the Intangible Cultural Heritage. ” October 27, 2003. https: //ich.unesco.org/en/convention Danish Statistics. “Thisted Kommune, ” May 15, 2017. http://dst.dk/Statistik/kommunekort/kommunefak ta/kommune.aspx?kom=787. Gubser, Michael. Time’s Visible Surface. Wayne State University Press, 2006. Halbwachs, Maurice, and Lewis A. Coser. “On Collective Memory. ” The Heritage of Sociology. University of Chicago Press, (1992): 37–51. Harries, Elizabeth Wanning. The Unfinished Manner. London: University Press of Virginia. 1994. Hill, Jonathan. A Landscape of Architecture, History and Fiction. London; New York: Routledge, Taylor & Francis Group, 2016. Koshar, Rudy. From Monuments to Traces: Artifacts of German Memory, 1870-1990. University of California Press, 2000. Krag, Mo Michelsen Stochholm, “Transformation on Abandonment, a new critical practice?” PhD diss. Aarhus School of Architecture, 2017. Krag, Mo. “The Controlled Ruin: Preserving Collective Memories through Building Transformation. ” Future Anterior Vol 1, XIII (Summer 2016): 147–154. Krag, Mo Michelsen Stochholm. “Encountering Rural Transformation: A Catalyst for Exchanging Narratives of Place?” Architecture and Culture 5 (01), no. 3 (2016): 135–156. McCormick, Thomas J. Ruins as Architecture: architecture as ruins. William L. Bauhan, Publisher, 1999. Schönle, Andreas. Architecture of Oblivion. Northern Illinois University Press, 2011. Smith, Laurajane. “All Heritage is Intangible” . Amsterdam School of the Arts (2011): 133–142. Stead, Naomi. “The Value of Ruins: Allegories of Destruction in Benjamin and Speer” . An Interdisciplinary Journal of the Built Environment, no. 6 (2003): 51–64. Trigg, Dylan. The Memory of Place: A Phenomenology of the Uncanny. Ohio University Press, 2013. Verbeke, Johan. “Research by Design Is up and Running. ” Architecture & Education Journal no. 5 (2011). 111–119. Versteegh, Pieter. “Rurality fundamentals” in Alter Rurality: Exploring Representations and Repeasantations edited by Pieter Versteegh, Sophia Meeres, 21–55. London: ARENA, 2014. Weizman, Ines and Jorge Otero-Paillos. “Editors’ Introduction” Future Anterior: Journal of Historic Preservation History, Theory and Criticism Vol. 1, XII (2015): iii–ix. 81 Maruša Zorec Naskov dvorec I don't have a spe cial method of engag ing with the extant. I let the space take over. With the res o nance of its vol ume, with the light of the moment, which guides me through the space, with the touch of the washed-out walls or the smell that evokes sto ries from the past. This first con tact is extreme ly impor tant; it accom pa nies me through out my explo rations, stim u lates my thought process, and stays with me while the first ideas are tak ‐ ing form. “Arti fice” can only arise from this affec tion, under stand ing, and deep respect. On the oth er hand, thought is abstract; it brings a new time into the old and demands step ping back and for get ting. “Redress” can mean dis miss ing every thing one has felt and com pre ‐ hend ed from one’s mind, so as to arrive at some ‐ thing new. Emphat ic under stand ing and for get ting bring about a com bi na tion of close con nect ed ness and cre ative free dom and direct us towards dis cov er ing unknown worlds. – Maruša Zorec 113 Serena Dambrosio Constanza Larach A Land or A Ruin Serena Dambrosio, Constanza Larach The Artifice of Redress 1 2 1 Villa San Luis 2021. Ⓒ Serena Dambrosio 2 Villa San Luis 2021. Ⓒ Serena Dambrosio A Land or A Ruin 115 Villa San Luis: Block nº 14 in the Remaining Plot 18 On April 28, 2021, The Min istry of Cul ture of Chile and the Pres i dente Riesco Con struc tion and Real Estate Com pa ny signed an agree ment to turn the remains of the last block n°14 of the Vil la San Luis social hous ing project into a Memo r i al-Muse um. This was the last event relat ed to this project that was devel oped on a piece of land that has been con stant ly in dispute.  Vil la San Luis was part of an emblem at ic urban social inte gra tion project designed in the late 1960s in San ti a go, Chile, on a 153-hectare site in a neigh bor hood that—at the time—was absorb ing the urban growth of San ti - a go de Chile. Today in ruins and half-demol ished, the last ves tiges of this social hous ing com plex are locat ed in what has become one of the most expen sive real-estate areas of San ti a go, cur rent ly char ac ter ized by its large office sky scrap ers, lux u ry malls and apart ments. These frag ile ruins have focused debates around a dis put ed land where vul ner a bil i ty has played a role both as a mate r i al and rhetor i cal argu ment in favor of the ruin’s pro tec tion (search ing for recog ni tion of the his tor i cal events that took place with in them) while simul ta ne ous ly it has also defined the coun ter ar gu ments that sup ports their demo li tion and appro pri a tion by the real estate market.  The terms of the agree ment which was approved by the Nation al Mon u - ments Coun cil (CNM), was the result of a nego ti a tion between Real Estate devel op ers (today´s own ers of the land) and the Vil la San Luis Foun da tion (rep re sent ing the fam i lies that used to live there). The agree ment includes an open call archi tec ture com pe ti tion financed by the pri vate devel op ers involv - ing mul ti dis ci pli nary teams and the same com mu ni ty of for mer inhab i tants. The details of its devel op ment remain unclear, but the guide lines for the real iza tion of this Memo r i al-Muse um will be defined by the CNM dur ing 2021–22. Before this recent agree ment, in 2017, the last four remain ing hous ing blocks, locat ed in plot 18 of Vil la San Luis, began to be demol ished by the pri vate devel op ers (before obtain ing the build ing per mits to do so). This gen er at ed deep con tro ver sy. A group of cit i zens, includ ing pre vi ous inhab i - tants, archi tects and cul tur al agents, protest ed the demo li tion and request ed their pro tec tion by argu ing that the remain ing ruins—in their extreme ly vul - ner a ble condition—were an impor tant moment in Chilean his to ry. The con - tem po rary ruins rep re sent ed a tes ti mo ni al to an exam ple of social inte gra - tion, and accord ing to the for mer inhab i tants also a place of human rights vio la tions due to the vio lent evic tions they suf fered dur ing a dic ta to r i - al government.  Serena Dambrosio, Constanza Larach The Artifice of Redress 1 Ser vi cio Nacional del Pat ri mo nio Cul tur al. “CMN aprue ba declarar Mon u men to Nacional a Vil la San Luis.” Patrimoniocultural.gob.cl, June, 28, 2017. 2 Con se jo de Mon u men tos Nacionales de Chile “Con se jo de Mon u men tos Nacionales Aprue ‐ ba Con struc ción de Sitio de Memo ria En Ter ‐ reno de Ex-Vil la San Luis de Las Con des.” Mo numentos.gob.cl, June 26, 2019. 3 In the Exempt Res o lu tion N°2 of 26/ 08/ 2019, signed by the Sec re tary of the Nation al Mon u ‐ ment Coun cil Emilio De la Cer da, it is report ‐ ed that on June 13, 2018 that the Real Estate Com pa ny Pres i dente Riesco S.A. deliv ered a report with pho to graph ic annex es on the state of blocks N°15 and 14 of Vil la San Luis, as a result of a major storm that affect ed the region, advo cat ing for the need to demol ish these buildings: "The remains-debris of Build ing Block N°15, for rea sons of force majeure caused by the weath er, suf fered addi tion al dam age to those already pre vi ous ly present. This struc ‐ ture is in a state of unsta ble equi lib ri um, and at great risk of total col lapse, which could endan ger pedes tri ans, secu ri ty per son nel, and even ani mals that are inhab it ing the site. Although the remains of Build ing Block N°14 do not appear to have suf fered addi tion al dam age this time, it can not be ruled out, as they are in an iden ti cal sit u a tion of vul ner a bil ‐ i ty, and with greater risk to pedes tri ans giv en their prox im i ty to the perime ter of the site. In sum ma ry, it is con clud ed that these build ings are in fact total ly col lapsed and rep re sent a seri ous risk if not com plet ing their demo li ‐ tion in the short est pos si ble time…" . (Orig i nal text con sult ed in Span ish. Trans la tion by the authors). 4 Although the word 'vul ner a bil i ty' does not appear lit er al ly in the demands for pro tec tion advanced by the Vil la San Luis dwellers' groups, the argu ments pre sent ed against the demo li tion of the build ings sug gest cer tain analo gies with the idea of the remains of Vil la San Luis being asso ci at ed with a vul ner a ble his tor i cal nar ra tive. Specif i cal ly, the min utes of the ordi nary ses sion of the coun cil of nation al mon u ments of 23/ 01/ 2019 report sev ‐ er al reac tions from the res i dents against the approval of the demo li tion of the remain ing build ings of Vil la San Luis: the res i dents iden ‐ ti fy the remains of Vil la San Luis as the last exist ing tes ti monies of the process of evic tion and abuse of human rights that they lived through. These argu ments are asso ci at ed in this text with the idea of a vul ner a ble his tor i ‐ cal narrative. 5 Dif fer ent schol ars and researchers recent ly explore this con flict ual rela tion ship between mon u ment preser va tion and destruc tion: Robert Bevan, The Destruc tion of Mem o ry (Chica go: The Uni ver si ty of Chica go Press, 2007); Lucia Allais, Design of Destruc tion (Chica go: The Uni ver si ty of Chica go Press, 2018); the Mon u ments series pro duced by the e‐flux plat form in col lab o ra tion with the Het Nieuwe Insti tu ut; among others. A Land or A Ruin 117 As a result of these events, on June 28 2017, Vil la San Luis was declared a His tor i cal Mon u ment by the Nation al Mon u ments Coun cil for being “an emblem at ic project of inte gra tion and redis tri b u tion of urban space with cri - te ria of social equi ty”, rec og niz ing “the way in which the set tlers were expelled and moved to dif fer ent parts of the cap i tal, even though they were the legit i mate own ers of the prop er ty.” How ev er, a year lat er, due to pres - sure from the real-estate indus try, this dis tinc tion and pro tec tion as a His tor i - cal Mon u ment faced crit i cal mod i fi ca tions. By 2019, the CNM approved the demo li tion of the remain ing hous ing block 14, con sid er ing, among oth er fac - tors, a struc tur al engi neer ing report endorsed by the Min istry of Pub lic Works, that stat ed the urgency of its demo li tion due to its struc tural ly unsta - ble and vul ner a ble con di tion: "this struc ture pos es a high risk to the integri ty of the peo ple who pass through the place (…) it is not pos si ble to recov er or res cue of any of the low er floors, because of this, the demo li tion [of] the entire build ing is immi nent to release all the mech a nisms in unsta ble equi lib - ri um". This report and the pos si bil i ty of demo li tion would now allow the real-estate devel op ers to take full advan tage of the spec u la tive poten tial of this site. How ev er, because of the con tro ver sies gen er at ed by the-real estate company's man age ment of this process, the com pa ny com mit ted to devel op and ful ly finance the new Memo r i al-Muse um on the foot print of the remain - ing block. The request for demo li tion and the pro pos al to con struct a new memo r i - al build ing intro duced a series of dis cus sions in the pub lic debate that have focused main ly on the mate r i al remains of the build ings and their vul ner a bil - i ty as archi tec tur al objects. The struc tur al vul ner a bil i ty of the block has been used to simul ta ne ous ly sup port two oppo site sides of the argu ment regard ing how the ruins should be addressed. On one hand, the real-estate com pa ny argued in favor of the demo li tion of their remains due to the dan ger ous and pre car i ous con di tion of its struc ture. On the oth er hand, the coun ter ar gu - ments pro posed by the for mer res i dents defend ed the high ly vul ner a ble con - di tion as a reflec tion of the his to ry of these build ings, thus argu ing the need for their con ser va tion. This debate high lights how the main dis cours es around mon u ments and their preser va tion are close ly relat ed to cer tain prac tices and nar ra tives of destruc tion. Under this notion, how does the idea of vul ner a bil i ty oper ate as seen from oppo site sides of preser va tion argu ments in the case of Vil la San Luis? The answer seems to lie in the con tra dic to ry val ues seen in both the ruins of the hous ing com plex and in the land with in which they are located.  Vil la San Luis is not only an archi tec tur al object, but above all a mate r - i al tes ti mo ny to a series of polit i cal, social and urban changes that have t h 1 2 3 4 5 Serena Dambrosio, Constanza Larach The Artifice of Redress 3 3 Collage showing the insertion of the new housing typology in the area of Villa San Luis. Image extracted from the article: Baeza, A., Eyquem, M. "Edificios escalonados y en terrazas" . En C.A., 22 (1978): 30–32. 6 Min istry of Edu ca tion, Gov ern ment of Chile, Declara mon u men to nacional en la cat e goría de Mon u men to Históri co a la “Vil la Min istro Car lo Cortes” (Vil la San Luis de Las Con des), ubi ca da en la comu na de Las Con des, Provin ‐ cia de San ti a go, Región Met ro pol i tana. Decree n°0135, 29/ 06/ 2017 (accessed June 14, 2021) 7 Fran cis ca Allende, Scar lette Olave,“La con ‐ struc ción de una utopía” in El despo jo de Vil la San Luis (San ti a go de Chile: CEIBO Edi ciones, 2018), 33–48; L. Eduar do Diaz Hidal go, “La ima gen de la Ciu dad Mod er na. La Utopía Crit ‐ i ca da y la prop ues ta del Par que San Luis” in Polar i dades en la arqui tec tura mod er na en Chile, eds. Juan Pablo Fuenteal ba, Fer nan do Pérez Oyarzún (San ti a go de Chile: Pon ti f i cia Uni ver si dad Católi ca de Chile, 1997). 8 Fish man, Robert. Urban Utopias in the Twen ti ‐ eth cen tu ry: Ebenez er Howard, Frank Lloyd Wright, Le Cor busier (Cam bridge, Lon don: MIT Press, 1982). 9 Def i n i tion of utopia by Karl Mannheim quot ed in: Françoise Choay, El Urban is mo. Utopías y Real i dades (Barcelona: Edi to r i al Lumen, 1965/ 1970), 20. 10 Françoise Choay, The Rule and the Mod el. On the The o ry of Archi tec ture and Urban ism (Cam bridge: The MIT Press, 1980/ 1997), 8. 11 Ibíd. 12 Rodri go Perez de Arce, “El jardín de los senderos entre cruza dos: La remod elación San Bor ja y las escue las de arqui tec tura,” ARQ 92 (2016): 50–67. A Land or A Ruin 119 focused on the rad i cal trans for ma tion of the urban land scape and a means to jus ti fy cer tain dis cours es and oper a tions that rely on its mate ri al i ty. The notion of vul ner a ble ruin and how this con cept has been used, in the case of Vil la San Luis, has enabled broad er pub lic con sent on the man age ment of the land. An Urban Utopia in a Disputed Land Vil la San Luis urban hous ing project was ini tial ly con ceived by the Frei Mon tal va gov ern ment (1964−1970). How ev er, the project was lat er devel - oped and built dur ing the "Unidad Pop u lar" left-wing gov ern ment of Sal - vador Allende (1970−1973), as part of a broad er urban strat e gy and polit i cal project that sought to gen er ate greater social inte gra tion and at the same time to address the prob lem of infor mal hous ing in mar gin al areas of the city, which was preva lent a cru cial issue at the time. Some local authors con sid er Vil la San Luis the most emblem at ic Chilean mate ri al iza tion of an urban utopia; it out lines a spe cif ic cat e go ry of urban projects that have spread from the late nine teenth cen tu ry as a deter ri - to ri al ized, abstract and coher ent "pro gram of action" which aimed to rad i - cal ly trans form the exist ing social-his tor i cal order. Accord ing to Fran coise Choay, this cat e go ry of projects has their ori gin in the lit er ary genre of utopias—inaugurated by Thomas More in 1515—which offered a crit i cal approach to “mod el a future real i ty in space” and, at the same time, they became an “a pri ori device for the con cep tion of built space” . Togeth er with the archi tec tur al trea tis es, they con sti tute the basis for the estab lish ment of urban ism as an autonomous dis ci pline between the nine teenth and twen ti - eth cen tu ry. Urban utopias, in this sense, rep re sent new abstract mod els of urban orga ni za tions that use the tech ni cal and visu al lan guage of archi tec tur - al knowl edge togeth er with the pol i tics of social trans for ma tion of utopi an lit er a ture. By incor po rat ing design prin ci ples and spa tial con fig u ra tions that imply strong social changes, urban utopias opened the pos si bil i ty to under - stand archi tec ture and urban design as a pow er ful polit i cal tool. This is pre - cise ly what hap pened in Latin Amer i ca dur ing the twen ti eth cen tu ry, where polit i cal utopias pre ced ed and lat er defined urban utopias man i fest ing in ambi tious social inte gra tion hous ing projects. The mate ri al iza tion of the utopi an mod el of Vil la San Luis was pos si ble thanks to a series of archi tec tural ized polit i cal actions oper at ing on the land and in direct rela tion to those who would inhab it it. First, the site’s loca tion with in the city was a deter min ing fac tor: at the begin ning of the 1970s Santiago’s Las Con des bor ough con tained a sig nif i cant num ber of infor mal 6 7 8 9 10 11 12 Serena Dambrosio, Constanza Larach The Artifice of Redress 4 4 The upper right image shows the future occupants of the project of Villa San luis. Down-left a model of the whole complex and down right a single unit. Image extracted from the article: Collados B., A., Freund B., N., Leiva M., G., Loi K., I., Larrain, S., Covarrubias, I., Swinburn, J., Alemparte, L., Silva, A., Valdés, S., & Fernández, C. Planes seccionales San Luis Las Condes Santiago Sector 1, 2, 3 y 6. In Auca: Arquitectura Urbanismo Construcción Arte 21, (1971): 36-40. 13 Maria Chiara Bian chi ni, Clau dio Pul gar, “Vil la San Luis de Las Con des: Lugar de memo ria y olvi do,” Revista de Arqui tec tura, 18, (2008): 28–40. 14 Ibid. 15 Ibid. 16 David Har vey, "Neolib er al ism as Cre ative Destruc tion," The Annals of the Amer i can Acad e my of Polit i cal and Social Sci ence 610 (2007): 22–44 (Accessed June 14, 2021). A Land or A Ruin 121 ing for the infor mal set tlers resid ing in the same area and, simul ta ne ous ly, it aimed to guar an tee their right to live in the very place where for years they had estab lished effec tive labor, social, and eco nom ic ties. A sec ond cru cial point that the project estab lish es in rela tion to land is land own er ship: 1,038 fam i lies gained access to prop er ty titles in Vil la San Luis through mech a nisms of sav ings and the sub se quent pay ment of loans. These fam i lies moved into the flats in Vil la San Luis between Jan u ary and June 1972. In lat er inter views the set tlers remem bered that the Pres i dent of the Repub lic him self attend ed the han dover cer e mo ny where the doors of each flat had a card inscribed with the sur name of the fam i ly to which it had been assigned. This act was a pow er ful ly sym bol ic rhetor i cal ges ture in which the state appeared as the prin ci pal agent in charge of equal ly dis trib ut - ing land titles. But while rein forc ing the mate r i al link with the site, this episode para dox i cal ly pro mot ed the idea of own er ship as a means to get out of the con di tion of eco nom ic and social precariousness.  A third impor tant point is that the inhab i tants were involved from the begin ning in the devel op ment of the project. Infor mal dwellers, orga nized in com mit tees, par tic i pat ed in the design and con struc tion of the hous ing units thanks to a hous ing pre-allo ca tion mech a nism: each fam i ly received an apart ment that was specif i cal ly defined for them. With the coup d'état of Sep tem ber 11, 1973—and the instal la tion of the mil i tary gov ern ment of Gen er al Augus to Pinochet—the polit i cal utopia of the social ist gov ern ment was abrupt ly inter rupt ed and then buried. The dic ta - tor ship vio lent ly silenced any voice of polit i cal dis sent to intro duce a rad i cal trans for ma tion of the eco nom ic sys tem and social val ues. A series of plans, poli cies and pro grams, based on Mil ton Friedman's neolib er al the o ry were imple ment ed; includ ing the com mod i fi ca tion of basic resources such as water, extrac tive mate ri als but above all the land. In this way the dic ta to r i - al gov ern ment turned Chile into a neolib er al dystopic lab o ra to ry for the most rad i cal eco nom ic exper i ments in the world. This process not only trans - formed the eco nom ic sys tem, but in turn the ter ri to ry itself and, con se quent - ly, its social structures.  Nao mi Klein argues that the neolib er al free mar ket poli cies advo cat ed by Fried man have devel oped due to what she called the "shock ther a py" strat e gy. This idea was relat ed to the exper i ments con duct ed by psy chi a trist Ewen Cameron with the CIA, who was ana lyz ing the pos si bil i ty of decon - struct ing or deep cleans ing the minds of his patients in order to rebuild them from scratch. Cat a stro phes and crises, and even total i tar i an envi ron ments, are used to estab lish con tro ver sial and ques tion able poli cies while cit i zens are emo tion al ly and phys i cal ly unable to under stand the sit u a tion and devel - op an ade quate response or effec tive resis tance. Klein demon strates that the 13 14 15 16 Serena Dambrosio, Constanza Larach The Artifice of Redress 17 Ibid. 18 Har vey, "Neolib er al ism as Cre ative Destruc ‐ tion” , 22–44. 19 Ser gio de Cas tro, “El Ladrillo”: bases de la políti ca económi ca del gob ier no mil i tar chileno (San ti a go: Cen tro de Estu dios Públi cos 1992) 20 Min is te rio de Vivienda.y Urban is mo de Chile, MODIFICA PLAN INTERCOMUNAL DE SANTIAGO Y SU ORDENANZA, Decree 420, 30/ 11/ 1979. (Accessed June 14, 2021). 21 The Chica go Bien ni al instal la tion "The Plot: Mir a cle and Mirage" (2019), curat ed by Ale jan ‐ dra Cele don and Nicolás Stutzin, high lights the cur rent results of this process in the city of San ti a go (See https://vimeo.com/3562923 43). 22 This process has been recount ed by the Chilean Pavil ion of the Venice Archi tec ture Bien nale 2018 enti tled "Sta di um" and curat ed by Ale jan dra Cele don. For more infor ma tion see the exhi bi tion cat a logue: Ale jan dra Cele ‐ don, Stephan nie Fell (ed), Sta di um. A Build ing that ren ders the image of a city (Zurich: Park Books, 2018) 23 Ser gio Rojas. Políti cas de Errad i cación y rad i ‐ cación de cam pa men tos. 1982–1984. Dis cur sos, Logros y prob le mas. (San ti a go de Chile: Pro ‐ gra ma FLASCO, 1984). 24 The first def i n i tion of the con cept of 'cre ative destruc tion' is due to the Aus tri an-Amer i can econ o mist Joseph Schum peter who defines it as a "process of indus tri al muta tion which rev o lu tionis es the eco nom ic struc ture from with in, inces sant ly destroy ing the old one and inces sant ly cre at ing a new one" . See Joseph Schum peter, Cap i tal ism, Social ism & Democ ‐ ra cy (New York & Lon don: Rout ledge, 2010), 83. Sub se quent ly, British geo g ra ph er David Har vey argues that in the last three cen turies cap i tal ist forces have been appro pri at ing this prac tice to imple ment the pos si bil i ties of cap ‐ i tal accu mu la tion, through its use in the rad i ‐ cal trans for ma tion of the built envi ron ment. See David, Har vey, The Enig ma of Cap i tal and the Cri sis of Cap i tal ism (New York: Oxford Press, 2010), 85. 25 Bian chi ni, Pul gar, “Vil la San Luis de Las Con ‐ des: Lugar de memo ria y olvi do,” 28–40. A Land or A Ruin 123 trau mat ic expe ri ence of the mil i tary dic ta tor ship installed in Chile was a spe - cif ic strat e gy to imple ment the neolib er al eco nom ic sys tem in the coun try. David Har vey also describes San ti a go as one of the most extreme glob al exam ples of the dis man tling of all mar ket reg u la to ry struc tures. From 1973 onwards, the way was paved for the more cre ative (but also pro lif ic) expres - sion of the free mar ket that would devel op in the fol low ing decades. The trans for ma tions pro duced by the imple men ta tion of the neo-lib er al eco nom ic mod el in Chile were also put into prac tice through a total manip u - la tion of urban land. In 1973, the mil i tary dic ta tor ship draft ed a doc u ment in Chile called El ladrillo (The Brick), which laid out the basis of the Chilean mil i tary government's eco nom ic pol i cy. Through Decrees with the force of law, a series of urban poli cies rad i cal ly trans formed the phys i cal shape of San ti a go de Chile along with its social structures. The cen tral claim of the new urban devel op ment was to free the urban lim its of the city of San ti a go, which made urban land poten tial ly lim it less . Reg u la tions that used to lim it urban bound aries were now opened to an uncon trolled process of urban expan sion that treat ed land as an infi nite resource. As a con se quence, land own er ship was grad u al ly set tled as a social aspi ra tion; this accel er at ed the trans fer of land titles from state agen - cies to pri vate indi vid u als. Thus, the city's inhab i tants were chan neled into eco nom ic sub jects. The increase in the price of land in cen tral areas and the pos si bil i ty of exploit ing it for eco nom ic pur pos es even tu al ly dis placed the inhab i tants of these areas to the periph ery in new urban areas defined by the expan sion of urban land. Between 1976 and 1985, through the pro grams of Operación Con - frater nidad and the Erad i ca tion and Set tle ment pro gram, more than 30,000 fam i lies were forced to move from cen tral areas to periph er al sites, bru tal ly dis rupt ing the social rela tion between the land and its inhab i tants. As a result, the cen tral areas of San ti a go under went a mas sive process of "cre - ative destruc tion" to open up strate gic spaces to absorb new pri vate invest - ment pos si bil i ties based on max i mum prof itabil i ty with spec u la tive spa tial orga ni za tion. The erad i ca tion of the inhab i tants of Vil la San Luis and the pro gres sive demo li tion of their hous es was emblem at ic of this process.  At mid night on Decem ber 28, 1976, a group of 112 fam i lies of Vil la San Luis were by mil i tary com mand vio lent ly evict ed and trans port ed to var - i ous periph er al loca tions of San ti a go: some of them were tak en to a waste site in Pudahuel, oth ers were left in a field in San ta Rosa, on a road in San José de Maipo, in a garbage dump in Lo Cur ro and the rest were moved to Ren ca . The hous ing blocks and the land began to be occu pied by the mil i - tary and their fam i lies. The evic tion of the inhab i tants con tin ued from 1975 to mid-1980 (for var i ous rea sons 95 fam i lies were allowed to stay in Vil la 17 18 19 20 21 22 23 24 25 Serena Dambrosio, Constanza Larach The Artifice of Redress 26 Min istry of Edu ca tion, Gov ern ment of Chile, Declara mon u men to nacional en la cat e goría de Mon u men to Históri co a la “Vil la Min istro Car lo Cortes” (Vil la San Luis de Las Con des), ubi ca da en la comu na de Las Con des, Provin ‐ cia de San ti a go, Región Met ro pol i tana. Decree n°0135, 29/ 06/ 2017 27 Allende, Olave, “La demoli ción de un sueño” , 59–95. 28 The Latin expres sion tab u la rasa, lit er al ly trans lat ed as ‘erased tablet’ , appeared in the field of archi tec ture and urban ism dur ing the twen ti eth cen tu ry to iden ti fy a mod ern exper i ‐ men tal acti tud con sist ing of a series of urban oper a tions aimed at mate ri al ly and sim bli cal neu tral is ing a cer tain ide o log i cal struc ture to make room for a new pos si ble pow er configuration. 29 Genaro Cuadros Ibañez “Play ground” in Can ‐ cha: Chilean Soilscape, eds. María Pilar Pin ‐ chart Saave dra, Bernar do Valdés Echenique (San ti a go de Chile, 2012) 30 “Inmo bil iaria refor mu la proyec to en la ex vil la San Luis: ten drá cua tro edi fi cios de 20 pisos… y 11 sub ter rá neos” , Val u a ciones News, May 5, 2021. 31 Fran cis co Ver gara-Peru ci ch, “Vil la San Luis: históri co espa cio en dis pu ta entre el cap i tal is ‐ mo y el human is mo” , Doc u men tos de tra ba jo espa cial 1 (2019). 32 Min istry of Edu ca tion, Gov ern ment of Chile, Declara mon u men to nacional en la cat e goría de Mon u men to Históri co a la “Vil la Min istro Car lo Cortes” (Vil la San Luis de Las Con des), ubi ca da en la comu na de Las Con des, Provin ‐ cia de San ti a go, Región Met ro pol i tana. Decree n°0135, 29/ 06/ 2017 A Land or A Ruin 125 San Luis). In 1988, the dic ta tor ship of Augus to Pinochet came to an end by a pop u lar ref er en dum. Despite the tran si tion to democ ra cy, the influ ence of mil i tary pow er on the government's polit i cal choic es was (is) still very strong. In 1991 the Min istry of Nation al Assets trans ferred the prop er ty of Vil la San Luis to the Nation al Armed Forces, legal iz ing its mil i tary occu pa - tion. The occu pa tion last ed until 1996, at which time the land val ue increased and was sold to a pri vate real estate devel op er. A tab u la rasa oper a tion fol lowed this episode: the whole city was con sid ered an exper i men tal field, an erasable sur face where the traces of pre vi ous ide o log i cal exper i ments could be com plete ly delet ed and re- inscribed. The mil i tary gov ern ment imple ment ed a series of actions to mate - ri al ly and sym bol i cal ly erase any trace of the social ist pow er struc ture, mak - ing room for future forms of ide o log i cal 'inscrip tion'. A large num ber of exist ing build ings were com plete ly demol ished, clear ing the land and leav - ing it open for future spec u la tion. Urban land became an extreme ly prof - itable com mod i ty. In this con text, the demo li tion of Vil la San Luis began, open ing the site to pri vate invest ment. The whole area was grad u al ly trans formed into a busi - ness dis trict and became part of one of the most expen sive neigh bor hoods in the city. Today, only a small area of the site has been left untouched: the last remains of this site (plot 18 - A), where the ruins of hous ing block 14 are locat ed. In this last avail able area, a new office tow ers project is designed to be built. The "Pres i dente Riesco" real-estate com pa ny pro posed a new project on the Vil la San Luis site enti tled "Con jun to Armóni co Oasis de Riesco Ex — Pres i dente Riesco''. The project involved an invest ment of 110 mil lion USD for the con struc tion of 61 com mer cial premis es and 108 offices, with a total area of 201,664.82 square meters. The pro gram mat ic choice in the con text of an abun dance of vacant office space in the area is evi dence that the project is not intend ed to sat is fy local demands, pre serve the land as a com mon good or the his tor i cal rela tion ship with human rights vio la tion episodes, but is con sid ered only a prof itable invest ment ven ture. In 2017, the demo li tion of the remain ing blocks led to protests that revived the pub lic debate on the pro tec tion of Vil la San Luis. The groups oppos ing their destruc tion argued that the build ings' his tor i cal val ue not only relies on the mate r i al tes ti monies of an exem plary social inte gra tion project, but also rep re sents a dra mat ic episode of human rights vio la tions. The San Luis Foun da tion, togeth er with archi tect Miguel Lawn er, Exec u tive Direc tor of CORMU (the pub lic insti tu tion in charge of the con struc tion of Vil la San Luis in the 1970s) was able to nego ti ate the dec la ra tion of Vil la San Luis as a His toric Mon u ment. One of the most sig nif i cant argu ments in favor of this dec la ra tion empha sized that "this project, which con tem plat ed in its first 26 27 28 29 30 31 32 Serena Dambrosio, Constanza Larach The Artifice of Redress 33 Ibid. 34 Ibid. 35 Gon za lo Cáceres, Emilio De la Cer da “The Vil ‐ la San Luis: a con flict of val ues,” ARQ 97 (2017): 146–149. 36 Ibid. 37 Min istry of Cul tures, Arts and Her itage Aprue ‐ ba en gen er al la prop ues ta de inter ven ción en el Mon u men to Históri co (MH) Vil la Min istro Car los Cortés (Vil la San Luis), Comu na de Las Con des, Ciu dad de San ti a go, Región Met ro pol ‐ i tana de San ti a go, con obser va ciones, lin ‐ eamien tos y condi ción que se indi ca; Así como tam bién, autor iza se com plete demoli ción de block n°15 y se pro ce da a demoli ción pro gra ‐ ma da del block n° 14, ambos del lote 18-A1, ubi ‐ ca dos en el referi do mon u men to. Res olu ción exen ta n° 2 August 26, 2019. A Land or A Ruin 127 stage about 1,000 hous es, was emblem at ic from the polit i cal and social point of view, for break ing with the socioe co nom ic seg re ga tion of the city, inte - grat ing the pop u la tion of diverse socioe co nom ic lev els in the same urban space." Emilio de La Cer da, the cur rent Under sec re tary of Cul tur al Her itage of the Gov ern ment of Chile (before being appoint ed to his cur rent posi tion) argued in 2017 that the dec la ra tion of Vil la San Luis as a Nation al Mon u - ment omit ted any spe cif ic ref er ence to the build ing, ruins and phys i cal objects on the site. Accord ing to De la Cer da, this omis sion was not a mis - take, but rather the rep re sen ta tion of a par tic u lar desire to high light the Vil la San Luis site as the bat tle ground of two diver gent con cep tions of the city's his to ry and its devel op ment : "What is con test ed at Vil la San Luis is not a set of ruined build ings but land. It is a con flict con nect ed to a val ue sys tem that oper ates on that spe cif ic urban plot stressed by the exchange val ue, the his tor i cal val ue and the social val ue assigned to it by dif fer ent groups and mem bers of soci ety." The exis tence of two oppos ing views on land—in the same place—is the key point in the debate on the her itage val ue of Vil la San Luis. Accord ing to De la Cer da, the dis cus sion on the val ue of the land exceeds the debate on the her itage val ue of the archi tec tur al object: the lack of ref er ence to any archi tec tur al object in the decree of her itage pro tec tion would oper ate at the lev el of land val ue, avoid ing the pos si bil i ty of it being com mer cial ly trad ed. Despite the above, on June 26, 2019, the Nation al Mon u ments Coun cil approved the demo li tion of the last sur viv ing block of Vil la San Luis. Para - dox i cal ly, the very absence of direct ref er ences to the pro tec tion of its buildings—in the His toric Mon u ments decree—was what allowed the real estate com pa ny to argue in favor of demol ish ing them. The deci sion was based on a report by the engi neer ing office VMB which was hired by the real estate com pa ny Pres i dente Riesco and endorsed by the Engi neer ing depart ment of the Min istry of Pub lic Works declar ing the state of extreme vul ner a bil i ty of the remains of the build ing. Through the pro pos al for the con struc tion of the new memo r i al muse um, the real estate com pa ny man aged to reduce the lim its of pro tec tion — that in the decree were asso ci at ed with the perime ter of the land — and con cen trate them in the muse um space. The orig i nal perime ter of pro tec tion of 4,329 square meters was reduced to a plot of approx i mate ly 800 square meters. The pro pos al to build a new mon u ment that appears, in the first instance, as a form of com pen sa tion from the real estate com pa ny actu al ly increas es the area of land avail able for new con - struc tion and reduces the lim its of the land pro tect ed as a Nation - al Monument.  33 34 35 36 37 Serena Dambrosio, Constanza Larach The Artifice of Redress 5 6 5 Villa San Luis 2021. ⒸSerena Dambrosio 6 Villa San Luis 2021. Ⓒ Serena Dambrosio 38 Alois Riegl, "Der mod erne Denkmalkul tus. Sein We sen und seine Entste hung" (Vien na, 1903), Eng lish trans la tion: "The Mod ern Cult of Mon u ments: Its Char ac ter and Its Ori gin” , Oppo si tions 25 (1982). 39 Alois Riegl, “Der mod erne Denkmalkul tus. Sein We sen und seine Entste hung," (Vien na, 1903), Eng lish trans la tion: "The Mod ern Cult of Mon u ments: Its Char ac ter and Its Ori gin” , Oppo si tions 25 (1982). A Land or A Ruin 129 From this point on, a media debate was set in motion based on the image of the vul ner a ble ruins of Vil la San Luis and the dis pute over its pro tec tion or demo li tion. This debate cen tered in the build ings (and not on the land) is ampli fied by the con struc tion of the new Memo r i al-Muse um that must con - dense into one object all the mate r i al and imma te r i al val ues linked to the Vil - la San Luis project and gen er ate an extend ed agree ment between the oppos - ing par ties. How ev er, this media debate con ceals what has always been behind this plot and its his tor i cal val ue: the dis pute over the land val ue and its poten tial for spec u la tive real-estate development. The ‘Vulnerable’ Ruins of Villa San Luis. The ongo ing dis cus sions regard ing Vil la San Luis´ preser va tion or demo li - tion have main ly focused on the val ue of its remain ing build ings and not on the land pro tec tion mech a nism that gave rise to a social inte gra tion project and could be even tu al ly used to imple ment this mod el once again; despite the fact that what was defined through a decree as a His tor i cal Mon u ment, was the area where the ruins are insert ed with out any men tion to the val ue of the ruins them selves. How ev er, aging build ings, as ruins, acquire a sense of pow er in soci ety that enhances nar ra tives and dis cours es around them, a giv - en qual i ty that the plot by itself could not obtain. Ruins are per ceived as a melan cholic object that through their visu al aging qual i ties reveal the pass - ing of time and pro duce a visu al con nec tion with the sub ject. This sense of iden ti fi ca tion that comes as the result of the rela tion ship a view er could estab lish with the building´s pres ence is defined as a mod ern cult to mon u - ments . To under stand the pow er of the ruins of Vil la San Luis oper at ing by enhanc ing an eco nom ic sys tem that trans formed them into obso lete build - ings, it is nec es sary to under stand the effect and the pow er that ruins have on peo ple. At the begin ning of the twen ti eth cen tu ry, Alois Rei gl in his essay “The Mod ern Cult of Mon u ments: Its Char ac ter and Its Ori gin'' trans formed the tra di tion al notion of the mon u ment by defin ing a new ele ment that char - ac ter ized them. This new notion does not nec es sar i ly have to do with the com mem o ra tion of his tor i cal events, but rather with the aes thet ic iden ti fi ca - tion that a sub ject could find with in a building´s pres ence that could evoke cer tain feel ings; and how this sub jec tive sig ni fi ca tion is main ly giv en by a building´s age val ue. This is the pow er obtained by what he defined as an unin ten tion al mon u ment. While the inten tion al monument´s pur pose is to com mem o rate a spe cif ic event, the unin ten tion al mon u ment, on the oth er hand, has not been erect ed for com mem o ra tive pur pos es. It cor re sponds to 38 39 Serena Dambrosio, Constanza Larach The Artifice of Redress 40 Thordis Arrhe nius, “The Frag ile Mon u ment: On Alois Riegl’s Mod ern Cult of Mon u ments,” NA 16, 4 (2013). 41 Arrhe nius, “The Frag ile Mon u ment: On Alois Riegl’s Mod ern Cult of Monuments.” A Land or A Ruin 131 a build ing that, due to its decay ing and ruined state, acquires a defined aes - thet ic value.  In this sense, we can under stand the ruins of Vil la San Luis as roman tic objects that pro duce nos tal gia about an idea of the past that is no longer in the present, but also act as a reminder of that past. As ruins, with out func tion in the present and in a state of decay, they are capa ble of absorb ing the mean ing that the sub jects give them. If the blocks of Vil la San Luis were still func tion ing today as a hous ing com plex, the aes thet ic qual i ties grant ed by their vul ner a bil i ty would not appear and con se quent ly they would not be the sub ject of debate to be rec og nized as mon u ments. This aes thet ic rela tion between man and ruins, trans forms them into objects of cult, where nar ra - tives are con struct ed defin ing a new aes thet ic val ue that has to do with a nos tal gic idea of get ting clos er to the past. Fol low ing Alois Rigel argu ments, Thordis Arrhe nius stress es that in today's con ser va tion prac tices, when an old build ing becomes a mon u ment, its fragili ty and con se quent ly the need for its pro tec tion, becomes its dis tinct mark. In this process, the use-val ue tends to con flict with the monument’s com mem o ra tive-val ue. Use val ue requires a build ing to main tain its func - tions, while age val ue is giv en by a cer tain tem po ral dis tance and there fore the obso les cence of that build ing. This obso les cence, and there fore vul ner - a ble state, is what is val ued in con ser va tion nar ra tives, and con structs the notion of a cult of ruins.  The ruins of Vil la San Luis, in a mate r i al state of decay and aban don - ment with its col lapsed struc ture, are evi dence that this con di tion is what mobi lized actions in both direc tions: its phys i cal appear ance embod ies the idea of vul ner a bil i ty that led groups to seek its pro tec tion by their recog ni - tion as mon u ments but also jus ti fied coun ter ar gu ments and dis cours es in favor of its destruc tion. The idea of vul ner a bil i ty aris es from these con flu ent con flicts. In this sense, the notion of nos tal gia of ruins is invert ed, thus becom ing a receiv ing object that sus tains the con flic tive nar ra tive, in which archi tec ture and its arti fice is used to jus ti fy par tic u lar discourses. It was the very act of the attempt to demol ish them in 2017, with out a per mit, that ignit ed the debate about their vul ner a bil i ty and what this vul - ner a bil i ty itself rep re sents, in their ten sion between preser va tion and destruc - tion. The blocks appear then as anachro nis tic fig ures, rep re sent ing a past and with out a func tion in the present, becom ing fig ures of cult due to a con stant threat of dis ap pear ing that enhances its mate r i al unique ness brought by its decay ing and frag ile exis tence. Their unique ness val ue then lies not on their mon u men tal i ty and the aes thet ic qual i ties, but on the con trary on qual i ties such as fragili ty and the pos si bil i ty to be dis in te grat ed and destroyed. Fur - ther more, its per pet u at ed exis tence relies on the dis cours es that insti tu tions, 40 41 Serena Dambrosio, Constanza Larach The Artifice of Redress 42 Ibid. 43 Ibid. 44 Ibid. 45 Mario Car po, “The Post mod ern Cult of Mon u ‐ ments,” Future Ante ri or: Jour nal of His toric Preser va tion, His to ry, The o ry, and Crit i cism 4, 2 (2007): 50–60. A Land or A Ruin 133 inter na tion al char ters and orga ni za tions, pro fes sion als and media places around its con tin u a tion and its future. Even though con ser va tion and destruc tion are opposed forces, they are pro found ly inter re lat ed to under stand the pow er of objects and their mean ing in soci ety. Fragili ty and the idea that cer tain build ings could dis ap pear, be destroyed and for got ten attribute them with a val ue that enhances their unique ness in the nar ra tives of con ser va tion; it becomes its dis tinc tive mark, and their vul ner a bil i ty mobi lizes their need for pro tec tion. Nar ra tives of dan - ger and fragili ty have always sur round ed a monument´s mate ri al i ty, being able to moti vate dif fer ent actions—legal, phys i cal or spatial—around its preser va tion. The dis cours es around the risks a mon u ment could be sub ject - ed to, enhances their impor tance and their mean ing to soci ety, in the con stant play between destruc tion and sav ing to mobi lize actions and cul tur al sig ni fi - ca tions. How ev er, once the real estate com pa ny suc ceed ed in argu ing that their vul ner a ble struc ture made their main te nance unsus tain able over time, the argu ments regard ing the pro tec tion of their vul ner a bil i ty and the con ser va - tion of Vil la San Luis as mon u ments end ed and were replaced by the idea of their trans for ma tion into a new Memo r i al Muse um to be built in the area: from an unin ten tion al to an inten tion al one. Such trans for ma tion was pos si - ble thanks to an agree ment between the real-estate devel op ers and the com - mu ni ties look ing for the building’s pro tec tion as a mate r i al wit ness of deter - mined his tor i cal events. While it was agreed that the future muse um will be defined by the results of an archi tec tur al com pe ti tion, there is no cer tain ty on how the project will look: if it will pre serve cer tain aspects of the remain ing building’s struc ture or it will sim ply use the exist ing foot print as bound aries for a new build ing. How ev er, this new inten tion al mon u ment, like the ruins (as unin ten tion al mon u ment) empha sizes a nos tal gic idea of a past and fails to address ideas of social inte gra tion that could have been imple ment ed to con struct a more equi table urban future. Mario Car po, in “The Post mod ern Cult of Mon u ments” , argues that the words mon u ment and memo r i al are often used as inter change able syn - onyms with out tak ing account of the seman tic shift this reflects. He explains that mon u ments today do not stand any more to be con ceived as role mod els for a future nor do they cel e brate his tor i cal achieve ments. Today monuments —that are designed as such or exist ing build ings trans formed into monuments—are main ly cre at ed to remem ber a past, record ing trau mat ic events or remem ber ing vic tims of cer tain crimes: they are imme di ate ly con - ceived as memo ri als. Mon u ments are memo ri al ized because they are not able any more to point towards an ide al of the future because of the impos si - bil i ty to con struct a uni tary ide al of one, or the exis tence of too many his to - 42 43 44 45 Serena Dambrosio, Constanza Larach The Artifice of Redress 46 Ibid. 47 Fou cault, Michel, The Archae ol o gy of Knowl ‐ edge and the Dis course on Lan guage, trans: A. M. Sheri dan Smith (New York: Pan theon Books, 1972). 48 Robert Bevan, The Destruc tion of Mem o ry: Archi tec ture at War (Chica go: The Uni ver si ty of Chica go Press, 2007). 49 Car la Pinochet Cobos, Con stan za Tobar Tapia, “For mas pro vi so rias de con ju rar el pasa do. Ruinas e inter ven ciones artís ti cas en la Vil la San Luis de Las Con des,” Sophia Aus tral, 23 (2019): 57–80. 50 Bevan, The Destruc tion of Mem o ry: Archi tec ‐ ture at War, 16. A Land or A Ruin 135 ries. Today's ten den cy of cult of the past not only con ceives mon u ments as places of remem brance, but often these same places and their mean ings can be used as per sua sive tools of cul tur al pro duc tion. Doc u ments of the past are trans formed into mon u ments , where they gain author i ty by con struct - ing nar ra tives. In this rec ol lec tion and selec tion of what is of val ue to be per - pet u at ed and what is not, mean ings can be shift ed, his to ries can be recon fig - ured, and cul tur al sig nif i cance can be trans formed. The memo r i al muse um of Vil la San Luis, in what ev er form it mate ri al - izes, will end up soft en ing what was real ly in dis pute, which would be the pro tec tion of land for social inte gra tion in an area with high eco nom ic sur - plus val ue. At least today's dete ri o rat ing mate ri al i ty of the ruins of Vil la San Luis act ed as evi dence that, before the cor po rate build ings, there was a pop - u lar res i den tial space and urban inte gra tion project on that very block . Trans formed into a muse um, that resis tance will dis ap pear and the pos si bil i - ty of con ceiv ing a dif fer ent future in that plot will com plete ly van ish. Although the ruins were approached in the debates from their aes thet ic and nos tal gic role, at least their pres ence still pro tect ed a piece of land that could have opened the debate into anoth er direc tion. The Memo r i al Muse um instead closed that pos si bil i ty defin i tive ly by dimin ish ing the pro tect ed area land. The land will not be con test ed and pro tect ed any more but neu tral ized will par tic i pate in the log ic of a city mobi lized by eco nom ic growth. As Robert Bevan says: "only what is val ued by the dom i nant cul ture or cul tures in a giv en soci ety is pre served and cared for; the rest may be destroyed, either care less ly or on pur pose, or sim ply aban doned to its fate". 46 47 48 49 50 Serena Dambrosio, Constanza Larach The Artifice of Redress A Land or A Ruin 137 A Vulnerable Future Much has been writ ten and dis cussed about the case of Vil la San Luis. These dis cus sions have focused main ly on the vio lent his tor i cal events that took place in the recent past that define the cur rent con flicts of preser va tion or destruc tion cen tered on these ruins as archi tec tur al objects.The remains of Vil la San Luis install the idea of how the vul ner a bil i ty of the ruins can act as a means to trans form their mate r i al con di tions (their vul ner a ble struc ture) and phys i cal appear ance (of decay) into roman tic and nos tal gic objects — appeal ing to a past and remem ber ing it — yet avoid ing to address the ideas of inte gra tion that could have been imple ment ed to build a dif fer ent future. By approach ing this debate main ly from an aes thet ic con cern - that the archi - tec tur al object pos sess es- this dis cus sion has omit ted a deep er reflec tion on the project´s social con tri bu tion that con sist ed of a series of mech a nisms which aimed to pro mote social diver si ty by act ing on land use and value.  In an area of strong eco nom ic devel op ment and in a land of high cap i tal gain, these blocks stand as a form of resis tance to a dis trict that has erased oth er traces of this his to ry. The ruins of Vil la San Luis appear today as uncom fort able objects that bear wit ness to an unset tling past. Despite the above, the dis cours es on their preser va tion have trans formed them into nos - tal gic objects that end up act ing in favor of the eco nom ic log ic of this dis put - ed land, instead of con test ing it or at least con tain ing its effects. In addi tion, both the ruins and the promise of a new mon u ment have been used as a means to divert atten tion from the sig nif i cant aspects of the project main ly con nect ed to the social val ues of the land:such as its loca tion and the con - struc tion of a social ly diverse neighborhood.  This process is the reflec tion of a broad er cul tur al ten den cy to ascribe that attrib ut es sym bol ic mean ings to build ings but can not estab lish the same kind of sen ti men tal val ue in a plot of land. The site by itself is not capa ble of pro duc ing the aes thet ic iden ti fi ca tion that Riegl defined, since it lacks an aes thet ic mate r i al con di tion that allows the con struc tion of nar ra tives around it. On the oth er hand, the ruins pos sess an archi tec tur al and a mate r i al val ue, and its arti fice sup ports the visu al chore o gra phies and dis cours es are impreg - nat ed to its vul ner a ble struc ture and its lack of func tion (a cult of ruins). Due to the need to install ideas of val ue in cer tain mate r i al objects and their aes - thet ic con di tions — which act as recep tors of these — the ruins of the build - ings in the plot of Vil la San Luis took over the pub lic debate. Their vul ner a - bil i ty became then the focus of dif fer ent dis cours es regard ing how their con - ti nu ity in the future and how this per ma nence should be addressed.  This is fur ther accen tu at ed by the idea of the con struc tion of the new Memo r i al-Muse um, which appears para dox i cal ly as an instru ment that con - Serena Dambrosio, Constanza Larach The Artifice of Redress A Land or A Ruin 139 tributes to increas ing the com mer cial val ue of the land, help ing to sus tain the very val ue sys tem that the orig i nal project was intend ed to con trast. In the agree ment for the con struc tion of this Memo r i al Muse um, the land area will be sig nif i cant ly reduced in rela tion to the site now occu pied by the last ves - tiges of Vil la San Luis. This reduc tion means that the land can no longer be used in any oth er way and both the resilience of the ruins and the pos si bil i ty of giv ing the site a social inte gra tion pro gram is total ly lost.  What seems to be in a vul ner a ble con di tion is the very idea of the future to build a dif fer ent urban con fig u ra tion — that could be informed by a past mem o ry recog ni tion — that the ruins installs today. Can her itage pro tec tion be a means to pro mote sub stan tial changes on the use and val ue of a plot?? And how could the pro tec tion of a past ide al be a trans for ma tive force to pro tect the land from eco nom ic spec u la tion and pro mote social diversity?  The case of San Luis reveals par tic u lar ten sions that open the con ver sa - tion about the role that mon u ments and her itage could play in today's cities. It also opens ques tions on how to pre serve and expand nar ra tives that could act in a way where the past can influ ence future trans for ma tions. A role where preser va tion could act as an effec tive tool that could lim it real estate spec u la tion and its seg re gat ing effects on con tem po rary cities. Serena Dambrosio, Constanza Larach The Artifice of Redress A Land or A Ruin 141 Bibliography Allais, Lucia. Designs of Destruction. Chicago: The University of Chicago Press, 2018. Allende, Francisca and Olave, Scarlette. El despojo de Villa San Luis. Santiago de Chile: CEIBO Ediciones, 2018. Arrhenius, Thordis. "The Cult of Age in Mass-Society: Alois Riegl's Theory of Conservation." Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 1, no. 1 (2004): 75-81. https://ww w.jstor.org/stable/25834933 Arrhenius, Thordis. “The Fragile Monument: On Alois Riegl’s Modern Cult of Monuments. ” NA 16, no. 4 (April 12, 2013). http://arkitekturforskning.net/na/article/view/296. Arrhenius, Thordis. Fragile Monument: On Conservation and Modernity. Black Dog Architecture, 2012. Baeza, Arturo; Eyquem, Miguel. "Edificios escalonados y en terrazas" . en CA 22 (1978): 30-32 Bevan, Robert. The Destruction of Memory. Chicago: The University of Chicago Press, 2007. Bianchini, Maria Chiara and Pulgar Claudio, “Villa San Luis de Las Condes: Lugar de memoria y olvido, ” Revista de Arquitectura, 18, (2008): 28-40. URL: http://repositorio.uchile.cl/handle/2250/118029 / DOI: 10.5354/0719-5427.2008.28163 Cáceres, Gonzalo and De la Cerda, Emilio. “The Villa San Luis: a conflict of values” . ARQ 97 (2017): 146- 149. https://dx.doi.org/10.4067/S0717-69962017000300146 Carpo, Mario. “The Postmodern Cult of Monuments. ” Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 4, no. 2 (2007): 50–60. https://www.jstor.org/stable/25835012 Celedón, Alejandra and Fell, Stephannie (ed) Stadium. A Building that renders the image of a city. Zurich: Park Books, 2018. Choay, Françoise. El Urbanismo. Utopías y Realidades. Barcelona: Editorial Lumen, 1965/1970. Choay, Françoise. The Rule and the Model. On the Theory of Architecture and Urbanism. Cambridge: The MIT Press, 1980/1997. Collados B., A., Freund B., N., Leiva M., G., Loi K., I., Larrain, S., Covarrubias, I., Swinburn, J., Alemparte, L., Silva, A., Valdés, S., & Fernández, C. Planes seccionales San Luis Las Condes Santiago Sector 1, 2, 3 y 6. In Auca: Arquitectura Urbanismo Construcción Arte 21, (1971): 36-40. Retrieved from https://revistaa uca.uchile.cl/index.php/AUCA/article/view/59288 Consejo de Monumentos Nacionales de Chile “Consejo de Monumentos Nacionales Aprueba Construcción de Sitio de Memoria En Terreno de Ex Villa San Luis de Las Condes. ” Monumentos.gob.cl, June, 26, 2019 https://www.monumentos.gob.cl/prensa/noticias/consejo-monumentos-nacionales-apr ueba-construccion-sitio-memoria-terreno-ex-villa?utm_medium=website&utm_source=plataformaarq uitectura.cl Cuadros Ibañez, Genaro. “Playground” in Pinchart Saavedra, Maria P. and Valdés Echenique, Bernardo (ed.) Cancha: Chilean Soilscape. Santiago de Chile, 2012. De Castro, Sergio. “El Ladrillo”: bases de la política económica del gobierno militar chileno. Santiago: Centro de Estudios Públicos, 1992. Serena Dambrosio, Constanza Larach The Artifice of Redress Diaz Hidalgo, L. Eduardo. “La imagen de la Ciudad Moderna. La Utopía Criticada y la propuesta del Parque San Luis” in Juan Pablo Fuentealba, Fernando Pérez Oyarzún, Polaridades en la arquitectura moderna en Chile, Research seminar records, Pontificia Universidad Católica de Chile, Faculty of Architecture, Santiago de Chile, 1997. Fishman, Robert. Urban Utopias in the Twentieth century: Ebenezer Howard, Frank Lloyd Wright, Le Corbusier. Cambridge, London: MIT Press, 1982. Foucault, Michel.The Archaeology of Knowledge and the Discourse on Language. Trans: A. M. Sheridan Smith. Pantheon Books, New York, 1972. Harvey, David. "Neoliberalism as Creative Destruction," The Annals of the American Academy of Political and Social Science 610 (2007): 22-44. http://www.jstor.org/stable/25097888. Harvey, David. The Enigma of Capital and the Crisis of Capitalism. New York: Oxford Press, 2010. Klein, Naomi. The Shock Doctrine. The rise of Disaster Capitalism. New York: Picador, 2007. Ministerio de las Culturas y las Artes de Chile “Se sella histórico acuerdo para ex Villa San Luis y se lanza concurso público de arquitectura para nuevo memorial. ” Cultura.gob.cl, April 21, 2021. https://ww w.cultura.gob.cl/actualidad/se-sella-historico-acuerdo-para-ex-villa-san-luis-y-se-lanza-concurso-publ ico-de-arquitectura-para-nuevo-memorial/ Ministerio de las Culturas y las Artes de Chile, Aprueba en general la propuesta de intervención en el Monumento Histórico (MH) Villa Ministro Carlos Cortés (Villa San Luis), Comuna de Las Condes, Ciudad de Santiago, Región Metropolitana de Santiago, con observaciones, lineamientos y condición que se indica; Así como también, autoriza se complete demolición de block n°15 y se proceda a demolición programada del block n° 14, ambos del lote 18-A1, ubicados en el referido monumento. Resolución exenta n° 2 August 26, 2019. Ministry of Education, Government of Chile, Declara monumento nacional en la categoría de Monumento Histórico a la “Villa Ministro Carlo Cortes” (Villa San Luis de Las Condes), ubicada en la comuna de Las Condes, Provincia de Santiago, Región Metropolitana. Decree n°0135, June 29, 2017. https ://www.monumentos.gob.cl/sites/default/files/decretos/d_135_29.06.2017_mh_villa_san_luis.pdf Ministerio de Vivienda.y Urbanismo de Chile , Modifica plan intercomunal de santiago y su ordenanza, Decree 420, May 30, 1979. https://www.bcn.cl/leychile/navegar?idNorma=1090219. Perez de Arce, Rodrigo. “El jardín de los senderos entrecruzados: La remodelación San Borja y las escuelas de arquitectura, ” ARQ 92 (2016): 50-67. http://www.scielo.cl/scielo.php?script=sci_arttext&pid =S0717-69962016000100007&lng=es&nrm=iso / http://dx.doi.org/10.4067/S0717-69962016000100007 Pinochet Cobos, Carla, & Tobar Tapia, Constanza. Formas provisorias de conjurar el pasado. Ruinas e intervenciones artísticas en la Villa San Luis de Las Condes. Sophia Austral 23 (2019): 57-80. https://dx. doi.org/10.4067/S0719-56052019000100057 Riegl, Alois. "Der moderne Denkmalkultus. SeinWesen und seine Entstehung." carla(Vienna: 1903), reprinted in George Dehio, A. Riegl, Konservieren, nicht restaurieren: Streitschriften zur Denkmalpflege urn 1900 (Braunschweig-Wiesbaden: Friedr. Vieweg & Sohn, 1988). English translation: "The Modern Cult of Monuments: Its Character and Its Origin” transl. Forster and Ghirardo, Oppositions 25 (Fall 1982). Rojas, Sergio. Políticas de Erradicación y radicación de campamentos. 1982-1984. Discursos, Logros y problemas. Santiago de Chile: Programa FLASCO, 1984. Schumpeter, Joseph. Capitalism, Socialism & Democracy. New York & London: Routledge, 2010. A Land or A Ruin 143 Servicio Nacional del Patrimonio Cultural. “CMN aprueba declarar Monumento Nacional a Villa San Luis. ” Patrimoniocultural.gob.cl, June, 28, 2017. https://www.patrimoniocultural.gob.cl/portal/Contenido /Noticias/77331:CMN-aprueba-declarar-Monumento-Nacional-a-Villa-San-Luis Valuaciones. “Inmobiliaria reformula proyecto en la ex villa San Luis: tendrá cuatro edificios de 20 pisos… y 11 subterráneos” , Valuaciones News.. May 5, 2021 https://valuaciones.cl/2021/05/05/inmobilia ria-reformula-proyecto-en-la-ex-villa-san-luis-tendra-cuatro-edificios-de-20-pisos-y-11-subterraneos/ Vergara-Perucich, Francisco. “Villa San Luis: histórico espacio en disputa entre el capitalismo y el humanismo” , Documentos de trabajo espacial 1 (2019). 145 Savia Palate Letting Me Decay. Letting You Forget? Savia Palate The Artifice of Redress 1 2 1 Ghost town Varosha – view from the buffer zone nearby. 2 Ghost town Varosha – view from a boat. 1 Trans lat ed from Greek by the author. Claire Aggeli dou, A con ver sa tion with my sis ter Fam ‐ a gus ta: Par al lel Lives [ Σ υ ν ο μ ι λ ί α μ ε τ η ν α δ ε λ φ ή μ ο υ Α μ μ ό χ ω σ τ ο: Π α ρ ά λ λ η λ ο ι Β ί ο ι] (Thes sa loni ki: Malliaris Paideia, 2003), 12. 2 See for exam ple: Costas M. Con stan ti nou et al., “Con flicts of Uses of Cul tur al Her itage in Cyprus,” Jour nal of Balkan and Near East ern Stud ies 14, no. 2 (2012): 177–198; Gül gün Kay ‐ im, “Cross ing Bound aries in Cyprus: Land ‐ scapes of Mem o ry in the Demil i tarised Zone,” in Walls, Bor ders, Bound aries: Spa tial and Cul ‐ tur al Prac tices in Europe, eds. Marc Sil ber man et al. (New York and Oxford: Berghahn, 2012), 211–233; Olga Demetri ou, “Grand Ruins: Ledra Palace Hotel and the Ren der ing of ‘Con flict’ as Her itage in Cyprus,” in War and Cul tur al Her itage: Biogra phies of Place, eds. Marie Louise Stig Sørensen and Dacia Viejo Rose (Cam bridge: Cam bridge Uni ver si ty Press, 2015), 183–207; Panayio ta Pyla and Pet ros Phokaides, “‘Dark and Dirty’ His to ries of Leisure and Archi tec ture: Varosha’s Past and Future,” Archi tec tur al The o ry Review (2020): 1– 19. 3 Susan Stew art, The Ruin Les son: Mean ing and Mate r i al in West ern Cul ture (Chica go: The Uni ‐ ver si ty of Chica go Press, 2020), 5. 4 Yael Navaro Yashin, The Make-Believe Space: Affec tive Geog ra phy in a Post war Poli ty (Durham and Lon don: Duke Uni ver si ty Press, 2012), 7. Letting Me Decay. Letting You Forget? 147 She was born when the stars smiled and said: ‘Glory to you!’ They bent down to the ground, and in a small bay they saw small Famagusta, with blue eyes and golden braided hair. The world was filled with light. They closed their eyes for the dream and the beauty they saw not to go away. Claire Aggelidou In her book A Con ver sa tion with My Sis ter Fam a gus ta: Par al lel Lives, Claire Aggeli dou per son i fies her home town. Aggeli dou, as a refugee, sits in con ver sa tion with Fam a gus ta, rem i nisc ing about life before the vio lent divi - sion that occurred in 1974 on the island of Cyprus along phys i cal and eth nic lines. Since then, Cyprus has been mil i ta rized, with sev er al areas being aban doned and under go ing ruina tion. Fam a gus ta is one of sev er al towns on the north ern part of the island that is occu pied, but what dis tin guish es it from oth ers is that a promi nent part of the town—the Varosha area—has been fenced off by the Turk ish mil i tary, pro hibit ing entry for the last 46 years. For Susan Stew art, “ruina tion hap pens at two speeds: furi ous and slow – that is sud den and unbid den or inevitable and imper cep ti ble,” and both speeds were evi dent in Varosha’s case: an abrupt aban don ment, yet grad ual destruction. When Cyprus gained its inde pen dence from British rule in 1960, the gov ern ment iden ti fied poten tial areas that could boost tourism devel op ment across the coun try. The gold en sand and the blue Mediter ranean Sea break - ing gen tly against Varosha’s shore fos tered an area-wide con struc tion boom. Lux u ri ous, mod ern hotels appeared along the city’s coast line, trans form ing it into a cos mopoli tan tourist resort. It was not long after the island’s inde pen - dence, how ev er, that inter nal tur moil between Greek and Turk ish Cypri ots threat ened the nation’s peace ful future. While the Greek Cypri ots were fight - ing for eno sis (inte gra tion with Greece), the Turk ish Cypri ots sup port ed tak - sim (the par ti tion of Cyprus). Even tu al ly, the Turk ish armed inva sion (‘inter - ven tion’ for Turk ish Cypri ots) in 1974 led to the phys i cal sep a ra tion of the two com mu ni ties and con se quent ly put an end to Varosha’s thriv ing peri od. The Repub lic of Cyprus lost the north ern sec tor of the island—37 per cent of the island’s landmass—to the Turk ish occu pa tion. This led to the dis place - ment of around 150,000 Greek Cypri ots (who were forced to move from the north to the south) and 45,000 Turk ish Cypri ots (who moved from the south to the north). Although this was a sit u a tion that many inhab i tants, espe cial ly refugees, per ceived as being tem po rary, the con flict in Cyprus has remained unre solved ever since. Varosha is now ‘tem porar i ly stunt ed’; as Yael Navaro Yashin describes the sit u a tion in the north ern part of Cyprus due to a lack of inter na tion al recog ni tion. The polit i cal and admin is tra tive com pli ca tions that gov ern 1 2 3 4 Savia Palate The Artifice of Redress 5 “UNSCR Search Engine for the Unit ed Nations Secu ri ty Coun cil Res o lu tions,” UNSCR, 1983. 6 For mer Turk ish Pres i dent Kenan Evren had called Fam a gus ta the ‘trump card’ in nego ti a ‐ tions. Varosha was used by the Turk ish gov ‐ ern ment as a bar gain ing chip, giv en that it was not in the orig i nal occu pa tion plan, but since its res i dents, out of fear, ran away, the Turk ish found no resis tance, and there fore it was wis er for them to main tain their hold over the area with a view to exploit ing this in future nego ti a tions. Since then, the term has been wide ly used by the media in arti cles about Varosha. See for exam ple: Ayla Jean Yack ley, “Ghost Town May Hold the Key to Cyprus Reuni fi ca tion Talks,” The Inde pen dent — Inde pen dent Dig i tal News and Media, August 11, 2012; “For First Time since War, Greek Cypri ots Mark Epiphany in Ghost Town | Pic tures,” Reuters: Thom son Reuters, Jan u ary 6, 2016. 7 Rebec ca Bryant et al., Sov er eign ty Sus pend ed: Build ing the so-called State (Philadel phia: Uni ver si ty of Penn syl va nia Press, 2020), 87. 8 Sharon Mac don ald, “Is ‘Dif fi cult Her itage’ Still ‘Dif fi cult’? Why Pub lic Acknowl edg ment of Past Per pe tra tion May No Longer Be So Unset tling to Col lec tive Iden ti ties,” Muse um Inter na tion al 67, no.1–4 (2015): 6–22. 9 Sharon Mac don ald, Dif fi cult Her itage: Nego ti ‐ at ing the Nazi Past in Nurem berg and Beyond (Lon don: Rout ledge, 2009), 1. 10 See for exam ple: Yian nis Papadakis, “The Nation al Strug gle Muse ums of a Divid ed City,” Eth nic and Racial Stud ies 17, no. 3 (1994): 400– 419; Julie Scott, “Map ping the past: Turk ish Cypri ot nar ra tives of time and place in the Can bu lat Muse um, North ern Cyprus,” His to ry and Anthro pol o gy 13, no. 3 (2002): 217–230; Theopisti Stylianou-Lam bert and Alexan dra Bou nia, The Polit i cal Muse um: Pow er, Con flict, and Iden ti ty in Cyprus (New York: Rout ‐ ledge, 2016). Letting Me Decay. Letting You Forget? 149 a place also deter mines its sta tus, with, or in the case of Varosha, with out human pres ence. Its dilap i dat ed build ings have stood sus pend ed in time, osten si bly lead ing to the degra da tion of the area into a decay ing ‘ghost- town.’ [ 1–2 ] Pur port ed ly pro tect ed by a UN Res o lu tion that “con sid ers attempts to set tle any part of Varosha by peo ple oth er than its inhab i tants as inad mis si ble and calls for the trans fer of this area to the admin is tra tion of the Unit ed Nations,” the area has been his tor i cal ly used by the Turk ish gov ern - ment as a bar gain ing chip, and it has been con sis tent ly plagued by pow er games and polit i cal antag o nisms. Varosha was, after all, a strate gic area for the Greek Cypri ots that once reflect ed mod ern iza tion, nation-build ing, and prosperity.  How ev er, the image of Varosha’s hotels as sym bols of moder ni ty and devel op ment was not a shared one. Accord ing to Rebec ca Bryant and Mete Hatay, Varosha was most ly Greek Cypri ot-con trolled, while the Turk ish Cypri ots liv ing in near by vil lages lacked elec tric i ty. When, at some point after 1974, Bryant and Hatay con duct ed inter views with Turk ish Cypri ots liv ing in hous es that were once inhab it ed by Greek Cypri ots liv ing in Fam a - gus ta, “sev er al women described to us col lect ing pho tographs, books, and let ters in Greek and burn ing them in the streets or gar dens.” Even more recent ly, Varosha’s reopen ing in Octo ber 2020, was paired with the removal of all Greek sig nage, and as such pro mul gat ed the erad i ca tion of any trace of the area’s past. The open ing of Varosha shifts the focus to the area that Sharon Mac Don ald calls a ‘dif fi cult her itage’, that is “atroc i ties per pe trat ed and abhorred by the nation that com mit ted them.” Such acts, “threat en […] to break through into the present in dis rup tive ways, open ing up social divi - sions, per haps by play ing into imag ined, even night mar ish, futures.” Even though she admits that such an approach can not end a con flict or elim i nate past ten sions, there are nuances that may arise chal leng ing the way col lec - tive iden ti ties are formed.  Across the island, and par tic u lar ly after 1974, the pro lif er a tion of mon - u ments as expres sions of nation al ism on each side of the demar ca tion line aimed to main tain the mem o ry of con flict and divi sion. The con flict in Cyprus and its effects on mem o ry have been exten sive ly dis cussed, as has the role of these muse ums and mon u ments in con struct ing a nation al iden ti ty and col lec tive mem o ry. Indeed, the insti tu tion al iza tion of a pre vail ing dichoto my in which two homo ge neous iden ti ties are in con flict through muse ums and mon u ments is antic i pat ed, espe cial ly if one con sid ers that both sides have been the vic tims of war and eth nic strug gles, unfold ing at least two nar ra tives of col lec tive memory.  In con trast, the aban doned Varosha stands as an alter na tive form of mem o riza tion, oscil lat ing between remem ber ing and for get ting. For John 5 6 7 8 9 10 Savia Palate The Artifice of Redress 3 3 Nature and the ruins. 11 John Ruskin, The Sev en Lamps of Archi tec ture (Lon don: Smith, Elder, and Co., 1849), 162. 12 Paul Con ner ton, How Soci eties Remem ber (Cam bridge: Cam bridge Uni ver si ty Press, 1989). 13 Navaro-Yashin, The Make-Believe Space, 17. 14 Alan Weis man, The World With out Us (New York: Thomas Dunne Books, 2007), 97. 15 Georg Sim mel, “The Ruin,” in Essays on Soci ‐ ol o gy, Phi los o phy, and Aes thet ics, ed. Kurt H. Wolff (New York: Harp er & Row, 1965), 259– 266. Letting Me Decay. Letting You Forget? 151 Ruskin, archi tec ture could be under stood as a mnemon ic device: “We may live with out archi tec ture, and wor ship with out her, but we can not remem ber with out her.” For Paul Con ner ton in How Soci eties Remem ber, how ev er, mate r i al objects do not nec es sar i ly con tribute to the per pet u a tion of mem o ry com pared to the poten tial that rit u als and nor ma tive behav iors can have. This argu ment stands in con trast to the Aris totelian tra di tion, which assumes that the decay and destruc tion of mnemon ic objects occur in par al lel with the process of for get ting. Varosha and its vis tas, in a state of sus pen sion for 46 years, have inspired ini tia tives and sto ries that have occurred both with in and out side of the enclo sure. Per cep tu al ly, as a mnemon ic device, Varosha’s ruins have become blurred, not only with the emo tions and feel ings of its refugees, but also with the per cep tions of the peo ple who have lived near by Varosha’s periph ery, as well as the obser va tions of passers-by and tourists. This essay assem bles images that show the periph ery of Varosha dur ing its enclo sure. Remind ed of Navaro-Yashin’s con cep tu al iza tion of ‘ghosts’—as ethno graph i cal ly observed in the north ern ter ri to ry of the island’s cap i tal, Nicosia—"the ghost is a thing, the mate r i al object, in itself.” The ghost that is Varosha is haunt ed by a human pres ence that comes from out side in. Letting Me Decay The mut ed, win dow less and, almost ‘face less’ hotels of the des o late Varosha enabled the nat ur al world to take over. [ 3 ] Alan Weis man describes this ‘recla ma tion project,’—as he is one of the few peo ple who have been grant - ed per mis sion to enter the enclosed, decay ing area—in his book The World With out Us: Flame trees, chinaberries and thickets of hibiscus, oleander and passion lilac sprout from nooks where indoors and outdoors now blend. Houses disappear under magenta mounds of bougainvillea. Lizards and whip snakes skitter through stands of wild asparagus, prickly pear and six-foot grasses. A spreading ground cover of lemon grass sweetens the air. At night, the darkened beachfront, free of moonlight bathers, crawls with nesting loggerhead and green sea turtles. Sen ti men tal iz ing Varosha in an almost post-apoc a lyp tic atmos phere, the enclo sure would radi ate a feel ing of endur ing in ‘peace’: a latent con di tion that becomes pos si ble sole ly because of human absence. In his sem i nal essay “The Ruin,” Georg Sim mel sug gests a process of ruina tion that is inher ent and inevitable to the mate ri al i ty of archi tec ture. Through Simmel’s lens, ruined build ings hold the poten tial of no longer being the reminders and 11 12 13 14 15 Savia Palate The Artifice of Redress 4 5 4 From a protest on the buffer zone after Varosha’s reopening, July 2020. 5 Camping tents were setup during a protest on the buffer zone after Varosha’s reopening, July 2020. 16 Ibid, 266. 17 This was also claimed by a Turk ish Cypri ot who served his mil i tary ser vice in Varosha. For him, the peri od of his ser vice was ‘a big shock and a big trau ma’ . Quot ed in Paul Dobraszczyk, “Tra vers ing the fan tasies of urban destruc tion: Ruin gaz ing in Varosha,” City 19, no. 1 (2015): 49. 18 See for exam ple: Amy Woody att et al, “North Cyprus reopens ‘ghost town’ beach resort for first time since 1970s,” CNN Trav el, Octo ber 10, 2020. Letting Me Decay. Letting You Forget? 153 rem nants of a past life, but the cre ative force behind the gen e sis of anoth er form of life grow ing in align ment with the land scape, despite the jux ta po si - tion of mean ings that this may embody. In a ruin, … purpose and accident, nature and spirit, past and present here resolve the tension of their contrasts—or, rather, preserving this tension, they yet lead to a unity of external image and internal effect. It is as though a segment of existence must collapse before it can become unresistant to all currents and powers coming from all corners of reality. How ev er, in the case of Varosha, this ‘peace’ can only be dis guised: It was, after all, a mil i ta rized zone jux ta posed against a water front filled with lux u - ri ous mod ern hotels whose archi tec tur al typol o gy now act ed as watch tow ers hous ing sol diers and machine guns. The seem ing ly peace ful dom i na tion of nature over a mil i ta rized real i ty would sug gest Varosha’s poten tial as “a ‘heal ing tool’ in the res o lu tion of the wider con flict in Cyprus.” In Octo ber 2020, to everyone’s sur prise, the area was uni lat er al ly and inju di cious ly opened by the Turk ish government—transgressing, once more, UN res o lu tions and inevitably attract ing local and inter na tion al reac tions. The moment was a harsh real i ty check to those hop ing that the reopen ing of Varosha would hap pen through a com mon agree ment and, there fore, lay a path to rec on cil i a tion. At the same time, the reac tions were not lim it ed to the polit i cal agency of the area’s sov er eign ty. Instead, the reac tions were also con cerned Varosha’s cur rent state: the abrupt reopen ing was a dis rup tor of the area’s sec ond life as a ‘ghost town.’  The reopen ing was anoth er form of ‘loss’ com pet ing with the act of enclo sure in 1974. The dif fer ence was that the lat ter left a feel ing of ambiva - lence regard ing Varosha’s future. The for mer involved clear ing things out, metaphor i cal ly and lit er al ly: sur round ed by bull doz ers that were tasked to remove the filth and dirt from the decay ing ter ri to ry, the remain ing high-rise hotels were now fac ing tan gi ble loss es, not ing an end to the long-last ing process of ruina tion. Loss, how ev er, is rarely shared. The reopen ing was cel - e brat ed in the pres ence of the Turk ish pres i dent, who flew in espe cial ly for the occa sion. There were flag rais ings and pic nics sched uled to take place in the ruins: a cel e bra tion amid decay. At the same time, Greek Cypri ot refugees were able to rem i nisce by vis it ing Varosha for the first time in 46 years. Instead of a reopen ing that would lead to their right to return, this one was accom pa nied by mourn ing. [ 4–5 ] 16 17 18 Savia Palate The Artifice of Redress 19 Adri an Forty, “Intro duc tion,” in The Art of For ‐ get ting, eds. Adri an Forty and Susanne Küch ‐ ler (Oxford: Berg, 1999), 2. 20 “Places of mem o ry” as in Pierre Nora’s lieux de mémoire. Pierre Nora and Lawrence D. Kritz man, Realms of Mem o ry: Rethink ing the French Past (New York: Colum bia Uni ver si ty Press, 1996). See also, Peter Car ri er, “Places, Pol i tics, and the Archiv ing of Con tem po rary Mem o ry,” in Mem o ry and Method ol o gy, ed. Susan nah Rad stone (Lon don: Blooms bury, 2000), 37–57. 21 Before they were offi cial ly formed as ABBA, the mem bers of the group gave their first per ‐ for mance in Fam a gus ta for a Swedish peace ‐ keep ing force. “And ABBA were Born! Con ‐ stan tia Hotel Beach,” (April 1970), [« Κ α ι ε γ έ ν ο τ ο… ο ι ABBA» Π α ρ α λ ί α τ ο υ ξ ε ν ο δ ο χ ε ί ο υ Κ ω ν σ τ ά ν τ ι α] Ammo chos tos, Jan u ary 3, 2015. Letting Me Decay. Letting You Forget? 155 Letting You Forget? In his intro duc tion to The Art of For get ting, Adri an Forty ques tions how “one might start to think about the rela tion ship between mate r i al objects and col lec tive for get ting.” How ev er, the cat e go ry of the col lec tive can not be sin gu lar ly defined in a ‘place of mem o ry,’ which accord ing to Pierre Nora is a poten tial instru ment for col lec tive mem o ry, under pin ning social cohe - sion. For Nora, these ‘places’ in the French nation al iden ti ty demar cate a tran si tion in the way nation al iden ti ty is formed, which was no longer attached to the his to ry of those polit i cal ly deter mined to con struct it, but in those spa tial ele ments that shape social mem o ry. These ‘places’ would project a plu ral ist under stand ing of mem o ry that, even though not col lec tive per se, in var i ous com bi na tions could reflect the mem o ry of the ‘French’ indi vid u als. Even though in con flict ed ter ri to ries, the sit u a tion becomes more com plex due to eth nic divi sion: the enclosed Varosha would hold on both sides of the demar ca tion line, a con stel la tion of mem o ries beyond nation al ist opposition.  Varosha’s topog ra phy and geog ra phy were filled with great eco nom ic val ue and poten tial. Sim i lar to the debates that inten si fied after Varosha’s reopen ing about whether these hotels as mod ern ruins should be pre served or demolished—as for many, they are noth ing more than debris—there were dilem mas con cern ing how, dur ing its time of enclo sure, this area was seen from afar. In 1974, two years after Varosha was fenced off, a hotel stand ing on the edge of the pro hib it ed area received per mis sion to reopen, sug gest ing, per haps, how the degra da tion of one thing can mean the restora tion of anoth - er. Ini tial ly named Con stan tia Hotel, it was one of the first on the coast line of Varosha in 1948. Con stan tia Hotel was a promi nent build ing in the area; it was fea tured on tourist guide cov ers, includ ing a Swedish guide with the mem bers of ABBA lay ing on the Varosha beach, and in Hol ly wood films, such as Paul Newman’s 1961 film, Exo dus. Like the rest of the hotels in the area, Con stan tia was ini tial ly aban - doned, but was even tu al ly resold to a Turk ish Cypri ot own er who was eager for it to reopen. How ev er, reopen ing neces si tat ed refurbishment—not an easy task for a com mu ni ty sanc tioned by eco nom ic embar go. Because of the per sis tence of the Turk ish Cypri ots liv ing in the north ern part of Cyprus to become a sep a rate nation from the UN-rec og nized Repub lic of Cyprus, they became iso lat ed, espe cial ly in eco nom ic terms, in the ear ly years after 1974. The solu tion to refur bish ment was to dis man tle and col lect any usable spare parts that could be found in the vacant hotels with in the enclosed Varosha. To do so, the new own ers grant ed a British elec tri cal engi neer liv ing in 19 20 21 Savia Palate The Artifice of Redress 6 6 UN prohibition signage on the border nearby Varosha. Letting Me Decay. Letting You Forget? 157 Kyre nia per mis sion to enter the pro hib it ed zone with the goal of rein stat ing their hotel. Weis man describes the ‘unbear able silence’ that the engi neer had to endure for six months while dis as sem bling air con di tion ers, kitchens, wash - ers, and dry ers: a man in soli tude wan der ing in and out of vacant hotels sus - pend ed in time, look ing to ful fill his assign ment. Frag men tary traces of life haunt ed the pres ence of abrupt depar tures: keys were left tossed on hotels’ front desks; win dows were left ajar; untouched place set tings were left on tables with decay ing linens; shred ded laun dry hung from clothes lines; cars remained parked along the street; per son al belong ings and pho tographs lay uncer e mo ni ous ly scat tered upon the silent, yet res o nant landscape.  Through out the years of Varosha’s enclo sure, very few peo ple oth er than Turk ish sol diers and jour nal ists were allowed to enter the pro hib it ed zone. Turk ish sol diers con stant ly patrolled the area, car ry ing orders to shoot any body who tres passed. Sig nage all over the barbed-wire fences sur round - ing Varosha pro hib it ed not only entry but also pho tog ra phy, and any one walk ing around the bor der would like ly have been inter ro gat ed. [ 6–7 ] Dri - ving slow ly around the bor der would offer a glimpse of the inside; how ev er, to stop and stare was for bid den. These pro hi bi tions, com bined with the area’s ruina tion, became the ingre di ents that com posed Varosha’s mys ti cal aura, shift ing the inter nal human absence into an exte ri or ized temp ta tion for the human eye. Locals and for eign ers alike were curi ous, with many attempt - ing to tres pass, explore and look through the bound aries of the enclosure. At the same time, Varosha’s ruina tion, entan gled with con flict and mem o ries of pain, would grad u al ly turn into a spec ta cle. The Con stan tia Hotel was suc cess ful ly refur bished and, sub se quent ly, reopened. Known today as the Palm Beach Hotel, the broad er area would jux ta pose a lux u ry hotel with wealthy tourists and clean white umbrel las to the desert ed Varosha: silent, emp ty, and ruined. The hotel adja cent to the Palm Beach Hotel would stand half-col lapsed and with a machine-gun emplace ment that had trans formed it into a mil i tary post dur ing the 1974 inva sion. Amidst the debris of war and the atmos phere of relax ation, the area’s vis tas were, some - how, voyeuristic.  The ghost town would become a major attrac tion. Over the years, many peo ple have vis it ed the adja cent Con stan tia hotel, not only to appre ci ate the Mediter ranean views and relax on the silky coast line of Fam a gus ta, but, strik ing ly, to get a clos er look at this no man’s land:  We chose the Palm Beach Hotel because it was next to the deserted border ghost district of Varosha, a place that has fascinated me for years. Before 1974, this was THE place to stay in Cyprus, but now it’s Savia Palate The Artifice of Redress 7 7 UN prohibition signage on the border nearby Varosha. For photography, that was also prohibited from the street the advice was to use one of the improvised viewpoints that locals created on their rooftops. 22 Hotel review “North Cyprus Hotel and Hol i day Guide,” in North Cyprus Hotels, August 10, 2008. 23 Peter Slo ter dijk, Cri tique of Cyn i cal Rea son (Min neapo lis: Uni ver si ty of Min neso ta Press, 1987), 151. 24 See for exam ple: Sla vok Zizek, The Sub lime Object of Ide ol o gy (Lon don and New York: Ver so Books, 1989), 221. 25 See for exam ple: Michael Row lands, “Remem ‐ ber ing to For get: Sub li ma tion as Sac ri fice in War Memo ri als,” in The Art of For get ting, eds. Adri an Forty and Susanne Küch ler (Oxford: Berg, 1999), 129–146. 26 Forty, “Intro duc tion,” 4–5. 27 See for exam ple: J.E. Tun bridge and Gre go ry John Ash worth, Dis so nant Her itage: The Man ‐ age ment of the Past as a Resource in Con flict (Chich ester: Wiley, 1996). 28 William Logan and Keir Reeves, eds. Places of Pain and Shame: Deal ing with ‘Dif fi cult Her ‐ itage’ (Lon don: Rout ledge, 2009), 1. 29 See for exam ple one of the first uses of the term: John J. Lennon and Mal com Foley, “JFK and dark tourism: a fas ci na tion with assas si ‐ na tion” , Inter na tion al Jour nal of Her itage Stud ‐ ies 2, no. 1 (1996): 198–211. See also: Richard Sharp ley and Philip R. Stone, eds. The Dark er Side of Trav el: The The o ry and Prac tice of Dark Tourism (Bris tol: Chan nel View Pub li ca ‐ tions, 2009). 30 Višn ja Kisić, Gov ern ing Her itage Dis so nance: Promis es and Real i ties of Select ed Cul tur al Poli cies (Ams ter dam: Euro pean Cul tur al Foun ‐ da tion, 2017), 31. Letting Me Decay. Letting You Forget? 159 deserted and a military zone. The Palm Beach lies just outside the area, so it’s got both a fab beach and easy access to old Famagusta too. You can walk up to the wire fence and look into the deserted streets. Don’t let the soldiers see you take photos, though – better to get a zoom lens and do it from your hotel balcony… The role of the tourist in this expe ri ence is cru cial. Detached from the emo - tion al dev as ta tion of the nation al con flict and rem i nis cent of Peter Sloterdijk’s sug ges tion that ambiva lence between dis com fort and aver sion can, poten tial ly, open oth er ways of know ing, the tourist gaze becomes the trig ger for a rad i cal shift: despite the human absence with in Varosha, the area from the out side was not aban doned at all. The emo tion al dis tance pro - duced by the gaze of the tourists who enjoy the sub lim i ty of the ruins can, accord ing to philoso pher Edmund Burke on the ‘sub lime,’ gen er ate feel ings of both com pas sion and uneasi ness in reac tion to the sight of human tragedy embod ied with in ruina tion. At the same time, Varosha as a Lacan ian ‘sub - lime object’ found itself in 1974 to be “the impos si ble-real object of desire.” Placed in the thresh old of two deaths, the sub lime object per sists only in this inter me di ary state, and it can not be approached too close ly as it endan gers to become ordi nary. For some Varosha was a sac ri fice, while for oth ers it rep re sent ed the spoils of war. In both cas es, and even though not belong ing to the cat e go - riza tion of a war memo r i al, it was treat ed as an ‘ephemer al mon u ment’, which accord ing to Forty is con struct ed for memo r i al pur pos es, but which is “made only to be aban doned imme di ate ly to decay.” These ephemer al mon u - ments, even though not ful ly com pre hen si ble in the West ern cul ture, are con - fir ma tions that the men tal form of mem o ry can not be over whelmed by the object asso ci at ed with mem o ry. On the oth er hand, Varosha is not sole ly a ‘place of mem o ry’, but also an object of ‘dis so nant her itage,’ which rais es a series of dilem mas in which var i ous sec tors of soci ety inter sect, includ ing com mer cial and oth er inter ests and the “destruc tive and cru el side of his to - ry.” These attrac tions as man i fes ta tions of con flict, or, as oth er wise known, dark tourism, embody a dis so nance, which, for Višn ja Kisić, is con cep tu al ized as “a ten sion and qual i ty that tes ti fies to the play among dif - fer ent dis cours es, and opens the space for a num ber of diverse actions.” Varosha’s build ings, though no longer lux u ri ous or touris tic per se, still remain as con tain ers of spec u la tion and tourism endeav ors, grad u al ly blur - ring the area’s mean ing, which is no longer a site of suf fer ing and dis as ter for its past inhab i tants as refugees. Instead, for many oth ers, the area was a site of opportunism.  22 23 24 25 26 27 28 29 30 Savia Palate The Artifice of Redress 8 8 Fig. 8: Tourists looking at Varosha from a viewpoint. 31 See more on an urban read ing of these prac ‐ tices as dark tourism: Savia Palate, “Bor der Con di tions: Sight see ing in Con test ed Varosha, Cyprus,” InFor ma: Site Con di tions 12 (2019): 204–215. 32 Jonathan Hill, The Archi tec ture of Ruins: Designs on the Past, Present, and Future (Lon ‐ don: Rout ledge, 2019), 296. Letting Me Decay. Letting You Forget? 161 This periph er al obser va tion of Varosha was not, how ev er, delim it ed to those liv ing adja cent to the fence that would belong in the Turk ish-Cypri ot com - mu ni ty. Instead, as anoth er depic tion of the world’s plu ral i ty, those liv ing on the south ern part of the divid ed Cyprus would often iden ti fy for vis i tors the best spots from which to view Varosha from afar. Greek Cypri ots liv ing on the oth er side of the bor der, but still rel a tive ly close to the ghost town of Varosha, would turn their rooftops into view points from which tourists could sat is fy their curios i ty, while oth ers would ini ti ate boat trips to offer a glimpse of the pro hib it ed zone. [ 8 ] Both the impro vised view points and the boat trips includ ed aspects that ‘muse u mi fied’ the expe ri ence of look ing from afar, with locals show ing pho tographs of events relat ed to the con flict, as well as objects of Cypri ot folk lore. At the same time, the own ers of these impro vised obser va tion posts and the cap tains of the boat trips would often take on the role of the nar ra tor, recit ing the sto ry of the area, vague ly over - lay ing touris tic voyeurism with mem o ries of pain and loss. Despite the new lay ers of mean ing and rep re sen ta tion added by the tourist gaze, this act of ‘look ing from afar’ was insep a ra ble from the moment of enclo sure, remind - ing vis i tors that Varosha’s ruina tion was not nat ur al, but rather, a dark polit i - cal spectacle.  Accord ing to Jonathan Hill, “ruina tion can enhance the sta tus of a struc ture, which may ever more res olute ly resound as a mon u ment in the mem o ry, if its destruc tion has pro found social, cul tur al, or polit i cal mean - ing.” It is worth ques tion ing here whether Varosha is an exam ple of this inter pre ta tion. Dur ing the 1960s, there were many reac tions to the envi ron - men tal and social reper cus sions of the resort’s devel op ment on the island’s coast line. The hotels’ vicin i ty to the beach, their height as a sol id bound ary between the beach and the rest of the city, as well as their devel op ment as sites serv ing for eign tourists but not the local pop u la tion were crit i cisms raised in the 1960s regard ing Varosha’s devel op ment. More over, these hotels were care ful ly and skill ful ly designed to reflect mod ern iza tion and qual i ty in spa tial and, there fore, cul tur al terms, how ev er, lit tle atten tion was giv en to their archi tec tur al val ue. The day Varosha became a spa tial vic tim of the Cyprus con flict, those build ings, as mod ern ruins, were sud den ly altered in their prominence—and their ini tial asso ci a tions with ‘finan cial iza tion’ were assumed to have disappeared.  The ruina tion of Varosha, a con di tion that was polit i cal ly enforced in order for the life before 1974 to be for got ten, has been, in con trast, a process of remem ber ing, even though oth er inter ests were inter twined. Indeed, Varosha’s hotels are now ruins—for some, they are filthy struc tures requir - ing demo li tion, but for oth ers, they are rep re sen ta tions of con flict her itage. Both sides, iron i cal ly, are dri ven by touris tic motives, either rede vel op ing 31 32 Savia Palate The Artifice of Redress Letting Me Decay. Letting You Forget? 163 what came to be a 1960s cos mopoli tan tourism resort, or a ‘live’ muse um of mod ern ruins. In either case, they are a ruinous for ma tion of a past. Conclusion Once a cos mopoli tan tourism resort offer ing glimpses of moder ni ty and the prospect of a pros per ous future for the new ly inde pen dent Cyprus in the 1960s, the enclo sure of Varosha for ev er altered the mean ings of the place: ruins of a glam orous past; ruins of war, occu pa tion, and mil i ta riza tion; ruins of aban don ment and human absence as well as ruins that can be prof itable to a tourist’s voyeuris tic gaze. For some, Varosha after 1974 was a source of hope—both tan gi bly, as its build ings hav ing endured aban don ment, and intan gi bly, as it has been used many times as a bar gain ing chip in polit i cal nego ti a tions. After its reopen ing in 2020, which was fol lowed by its occu pa - tion by the Turk ish gov ern ment, it quick ly became a place of loss. In this plu ral i ty of mean ings, there is always the pos si bil i ty for the sys tem to oper - ate in con trast ing man ners, in which any ‘oth er’ world can rise and prevail.  Savia Palate The Artifice of Redress Letting Me Decay. Letting You Forget? 165 Bibliography Aggelidou, Claire. A conversation with my sister Famagusta: Parallel Lives [Συνομιλία με την αδελφή μου Αμμόχωστο: Παράλληλοι Βίοι] Thessaloniki: Malliaris Paideia, 2003. “And ABBA were Born! 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XVII Milano Tri en nale 1986” , in Hyp ‐ nos: Mas si mo Sco lari, Works 1980–1986, ed. Rafael Mon eo (New York: Har vard Uni ver si ty- Riz zoli, 1986), 72. 2 “Left to the dis mal pol i tics of the present, of course, cities of pover ty will almost cer tain ly become the coffins of hope; but all the more rea son that we must start think ing like Noah. Since most of history’s giant trees have already been cut down, a new Ark will have to be con struct ed out of the mate ri als that a des per ate human i ty finds at hand in insur ‐ gent com mu ni ties, pirate tech nolo gies, boot ‐ legged media, rebel sci ence and for got ten utopias.” Mike Davis, “Who Will Build the Ark?” New Left Review, no. 61 (2010): 30. 3 About the fig ure of the flood in archi tec ture see: Lebbeus Woods, The Storm and the Fall (New York: Prince ton Archi tec tur al Press, 2004). Neo-Romance: Ark Architecture of Expectation 173 “Epilogue of an ancient planetary catastrophe, Noah’s Ark gathered together the most complete collection in history and possessed a quality which modern nuclear eschatology denies us: that of being first and foremost the ‘custodian of life’ (this was the name given to the Ark during the mid-Babylonian flood). The structure described in the Bible (Genesis, 9) was not a ship with a hull, stem and stern. The ark was not intended to navigate but to float upon the waters flowing from the ‘springs of the abyss’ and deposited from the ‘vault of the sky’.” “Who will build the ark?” is the ques tion Mike Davis pos es to the con tem po - rary world at a time when the only thing to do seems to be to save what is left of the old world and bring it into tomor row. All is lost. As we stand in the twi light of the old world we are con front ed with frag ments, places and the o ries in ruins; we inhab it neo-roman tic spaces, times and archi tec tures, defined by a nos tal gia for what we are los ing and by hero ic explo rations towards the unknown. Archi tec ture, today, in the o ry and in prac tice, deals with ‘changes’ in a con tin u ous cycle, a sal va tion al attempt to bring life and our trea sures towards the future. The con tem po ra ne ous loss of con di tions of order calls for rea son ing regard ing strate gies that, by act ing in advance and work ing over extend ed peri ods of time, man age to save those mate ri als that could be destroyed but at the same time could be use ful for design ing a new gen e sis, mov ing through a time of wait ing: all archi tec ture today is an ark in a ‘flood’. Assum ing that exist ing con tex tu al sys tems, intend ed both from the phys i cal point of view of inhab it ed ter ri to ries, urban and not, and from the 'imma te r i al' point of view of cul ture and knowl edge, are shat tered, the goal of the ark is ‘rad i cal refoun da tion’, to ride-out a pos si ble and announced reset. In this essay, where the idea of the ark emerges as both a the o ret i cal and mate r i al ‘vehi cle’, the first dis cus sion out lines the return of ark from the illo tem pore, its roots and its design strat e gy, and then con sid ers the frag ments to be saved through a time of expec ta tion. The aim is to out - line a sort of rite of approach to the fig ure of the ark, posi tion ing its fun da - men tal char ac ter is tics in rela tion to the design and the o ries of architecture. The Return of the Ark ‘Ark’ is derived from the Latin ‘arca’ and from ‘arceo’, mean ing ‘to hold with in’, ‘to keep divid ed and shel tered’, and con tains the root ‘arc’ which is Greek for ‘arkein’, mean ing ‘to sup port’ or ‘repair’, and ‘arkos’, mean ing ‘gar ri son’, ‘defense’, ‘strength’, and prob a bly relat ed to the root ‘raks’ from the San skrit ‘rak samm’ ‘to pre serve’, ‘to pro tect’. In Latin it was a cof fer or chest in which clothes, mon ey and all man ner of fur nish ings were stored; it 1 2 3 Alberto Petracchin The Artifice of Redress 4 See the def i n i tion of ‘ark’ , www.etimo.it, last vis it ed 10.04.2021. 5 “The prob lem of a Prius not only rel a tive to the pos si bil i ty of know ing in gen er al (of a log ‐ i cal Begin ning, then), but of an absolute, uncon di tion al Prius […] impos es itself. The idea of being which pre cedes all thought, the idea-bound ary of the uncon di tion al ly exist ing is the abyss of rea son.” Mas si mo Cac cia ri, Dell’inizio (Milano: Adel phi, 1990), 135–136 (Eng lish trans la tion by the author). 6 See: Andrew George, The Epic of Gil gamesh (Lon don: Pen guin Clas sics, 2003). 7 Hubert Damisch, “Noah’s Ark” , in Noah’s Ark. Essays in Archi tec ture, ed. Antho ny Vidler (Cam bridge: The MIT Press, 2016), 23. Neo-Romance: Ark Architecture of Expectation 175 was also a cell that served as a domes tic prison for slaves. Today it is more com mon ly known as a chest for stor ing valu ables, grain or flour, and as a deposit for the dead in the form of an ark in a church or necrop o lis. The ark is also the bot tom of wells paved to hold water.  The nar ra tive from which the ark emerges—the sto ry of the flood—is pan-cul tur al (Euro pean, Mid dle East ern, Egypt ian, Asian, Ocean ic, Amer i - can), and its val ue remains cross-cul tur al ly impor tant even giv en the dif fer - ences. There are two accounts to be con sid ered: the Baby lon ian Epic of Gil - gamesh and The Bible. Both texts belong to reli gious and geo graph i cal spheres that refer to spaces and archi tec tures of the begin ning. In fact, the ark appears in 4500 BC in the Epic of Gil gamesh and only lat er in sacred tales shared by oth er cul tures. The text con tains the epi cal sto ry of the adven tures of the king of Uruk— Gil gamesh. The sto ry is not a foun da tion myth like the bib li cal Gen e sis but a jour ney of for ma tion. The recount ing of the flood is told by Utnapish tim to Gil gamesh, and is only one episode with - in the Epic, intend ed not so much to advance the gen er al nar ra tive as to con - vince Gil gamesh of the futil i ty of his quest for eter nal life. The sto ry begins with a coun cil of the gods who decide to exter mi nate human i ty. The objec - tive, unlike in Gen e sis, is not the plan ning of a sec ond cycle of human i ty but its total anni hi la tion: the under ly ing motive is the “noise” pro duced by men, a con fu sion not appre ci at ed by the gods who decide to “impose on the sin ner his sin”. In the field, there fore, there are destruc tive divini ties, Enlil and Ištar; a trai tor ous divin i ty, Enki, who secret ly announces the flood to Utnapish tim, order ing him to destroy his own house in order to build an ark with dis card ed mate ri als, telling him how to build it and what to put inside it in order to save him self. The over all struc ture is sim i lar to the bib li cal sto ry and is com posed of “The flood sto ry begins”; “Enki’s help”; “the con struc - tion of the ark”; “The flood destroys all life”; “the explorato ry mis sion of the birds”; “sac ri fices of the sur vivor”. The dif fer ence between the two nar ra - tives lies in the con clu sions: in the Bible there is a covenant between man and the deity, but in the Epic the nar ra tive ends with the absence of a covenant, with the gods “gath ered like flies around the offer or”. In his essay Noah’s Ark, Hubert Damisch returns the fig ure of the ark to the dis ci pline of archi tec ture while inves ti gat ing the impli ca tions of this return for design the o ry. Damisch con sid ers ‘ark’ via the def i n i tion by abbè Edme-François Mal let with in Diderot’s and d’Alembert’s Ency clopédie, con - sid er ing it a space that pre cedes archi tec ture: “The alpha bet i cal order of the Ency clopédie that called for the entry ‘Ark’ to come just a bit before the entry ‘Archi tec ture’ was, in the end, nei ther for tu itous nor arbi trary. Archi - tec ture could only find its place after the Flood – or rather, in its stead’. Hav ing to deal with a world in frag ments, archi tec ture thus becomes a 4 5 6 7 Alberto Petracchin The Artifice of Redress 2 3 2 The Ark. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. 3 Fragments. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. 8 “Faced with these diag noses of death, which real i ty has tak en it upon itself to sup port with count less dis as ters and mas sacres, the search for a solu tion […] can hard ly be sep a ‐ rat ed from the implic it or explic it return of a utopi an-escha to log i cal scheme.” Nico la Emery, Dis truzione e prog et to. L’architettura promes sa (Milano: Chris t ian Marinot ti, 2011), 87 (Eng lish trans la tion by the author). 9 See: Peter Slo ter dijk, Spheres II. Globes (Cam ‐ bridge: The MIT Press, 2014), 223 (Eng lish trans la tion by the author). 10 See: The Holy Bible (Peabody: Hen drick son Pub., 2006), 6–8. 11 Francesco Dal Co, “10 immag i ni per Venezia,” in 10 immag i ni per Venezia, ed. Francesco Dal Co (Roma: Offic i na, 1980), 22 (Eng lish trans la ‐ tion by the author). 12 In his posthu mous book La cit tà e il ter ri to rio, Gian car lo De Car lo invites us to read the ter ri ‐ to ries as the writ ers have observed and sung about them. See: Gian car lo De Car lo, La cit tà e il ter ri to rio. Quat tro lezioni, ed. Clelia Tus ‐ cano (Mac er a ta: Quodli bet 2019), par tic u lar ly the chap ter Let tura e prog et to del ter ri to rio, 201–209. About the end of the city see for exam ple the research Amo, Rem Kool haas, Coun try side. A Report (New York-Köln: Guggen heim-Taschen, 2020). Neo-Romance: Ark Architecture of Expectation 177 “promise” in a salvif ic-escha to log i cal sense. Slo ter dijk says: “The mor pho- evan gel i cal sense of the bib li cal and extra-bib li cal accounts of the uni ver sal flood, and of the fan tasies of the ark that are linked to them, is that the form that allows men to be togeth er “inside” them selves does not bring immu ni ty and sal va tion only in a vague metaphor i cal sense, but can also be the con di - tion of sal va tion and sur vival from a tech ni cal point of view […] With this a new project is brought into the world: the idea of self-pro tec tion and self- cir cum ven tion [Selb s tumge bung] of a group with respect to an exter nal world that has become impos si ble.””. Con sid er ing the bib li cal account of the flood, the fig ure becomes more pre cise and its rela tion ship with time is out lined, thus defin ing its strate gi cal actions. The fig ure of the ark and its strat e gy can not be sep a rat ed from the myth, where its the o ret i cal foun da tions lie; as in the case of the project for the Dan teum by Giuseppe Ter rag ni, a spa tial trans la tion of the three can tos of the Divine Com e dy. Recourse to the nar ra tives of the begin - nings, such as mag i cal tales, myths and leg ends, is deter mined by the need not to suc cumb to a real i ty that has become unbreak able again (sim i lar to a dense flood, in fact). As Francesco Dal Co says in 10 Immag i ni per Venezia “real i ty often insin u ates itself into archi tec tur al projects to the point of par a lyz ing their ner vous cen ters and immo bi liz ing their pos si ble reac - tions”. Real i ty is the sole author of the scene and to refound the dis ci pline of archi tec tur al design we need to observe and read about for got ten and ancient worlds. We were too con cen trat ed on lis ten ing to urban i ty and its singers, but now that the city and the design cul tures based on its log ic is going through a peri od of cri sis, per haps we need to re-start by writ ing ‘myth i cal’ new sto ries . In the Bible, the ark appears after an annun ci a tion. Fol low ing the cre - ation of the world described in the first moment of Gen e sis, there is, in fact, a sec ond begin ning, an episode of the flood divid ed into four moments: the caus es; divine dis po si tions and prepa ra tions; the flood; the new begin ning of cre ation. The sto ry is well-known: God decid ed to erad i cate mankind after its malfea sances by send ing a flood to wipe the slate clean. The flood, how - ev er, does not spon ta neous ly hap pen but is announced to Noah who is giv en instruc tions to build an ark and to select all the good that remains of human i - ty. The under ly ing project is that of a re-foun da tion, of the con struc tion of a sec ond human i ty that suc ceeds the first one, planned by means of a selec - tion of the trea sures to be saved for the future (in the case of the Bible, ani - mals, seeds and a few men), and of an ark with in which to hold the world ly trea sures until the flood subsides.  The sto ry begins with a val ue judge ment by the divin i ty regard ing mankind. “The Lord saw that the wicked ness of men was great in the earth” 8 9 10 11 12 Alberto Petracchin The Artifice of Redress 13 There are many dif fer ent inter pre ta tions of the ‘real’ form of the bib li cal ark. They are found, for exam ple, in the trea tis es: Athana sius Kircher, Arca Noë (Ams ter dam: Jansso ni um, 1675); Joseph Furt ten bach, Feri ae archi tec ton ‐ i cae (Ulm: Balthasar Kühn 1662); Bern hard Lamy, De taber nac u lo foed eris, de sanc ta civ i ‐ tate Jerusalem, et de tem p lo ejus, lib ri septem (Parisi is: Dion i sius Mari ette, 1696). 14 There are dif fer ent inter pre ta tions of the geog ra phy of the Flood. Athana sius Kircher, won der ing how the waters had flowed off the plan et, designed two dif fer ent car togra phies rep re sent ing the earth before and after the flood. See: Athana sius Kircher, Arca Noë (Ams ter dam: Jansso ni um, 1675), 158 and 194– 195. Neo-Romance: Ark Architecture of Expectation 179 refers to a con di tion, in his eyes neg a tive, for which erad i ca tion is nec es sary. Evil dri ves the divin i ty to plan a ver i ta ble tab u la rasa, the instru ment for achiev ing this had not yet been named, but it is announced that it will total… multitudinous: “I will wipe from the face of the earth the man I have cre at ed, and with man, also the cat tle and the rep tiles and the birds of the air.” In this first part, both the things that will be elim i nat ed and the trea sures that will be saved are pre de ter mined. Then the divin i ty orders Noah to build an ark, giv - ing him real “instruc tions for use”: mate ri als, con struc tion tech nique, shape and mea sure ments. Once Noah has been warned, the flood is announced. It is not a sud den or unfore see able cat a stro phe, Noah is giv en time to pre pare and build the ark: “Behold, I will send the flood, that is, the waters, upon the earth, to destroy all flesh under heav en, in which is the breath of life; all that is on the earth shall per ish. But with you I estab lish my covenant.” In essence, archi - tec ture here takes on the val ue of the sym bol of an alliance between God and a part of human i ty cho sen to trav el towards the future, to explore anoth er world: a mis un der stand ing wants the ark to be a con ser v a tive attempt, on the con trary it is an explorato ry device, it is an archi tec ture for explor ing the ter - ri to ry and time ahead. The trea sures to be saved are then defined, Noah and his fam i ly, the oth er liv ing beings “to pre serve them alive”: “You shall go into the ark, and with you your sons, your wife and your sons’ wives. Of all liv ing things, of all flesh, you shall bring into the ark two of each kind, to keep them alive with you: they shall be male and female”. Sev en days lat er the flood begins, which will last forty days and forty nights, the tem po ral pre dic tions are thus defin i tive ly announced, the dura tion of the ark and its “mis sion” are planned. The flood last ed a total of one hun dred and fifty days, sweep ing away all liv ing beings left on the earth. In the mean time, Noah wait ed inside the ark: “The waters were over whelm ing and grew far above the earth, and the ark float ed on the waters.” The waters were all-con sum ing and cov ered the high est moun tains that are under the whole sky. On the 150 day, God remem bers Noah and the ark and brings the flood to an end, the waters recede until the ark rests on Mount Ararat, in present-day Arme nia. Noah then sends two “explor ers”, a raven and two doves, to check whether the earth was hab it able: the sec ond dove brings back an olive leaf, the oth er, sent sev en days after the first, does not return. The earth is again dry, and the dis man tling of the ark begins, start ing with the roof, “Noah took off the cov - er ing of the ark”, and the exit from the ark ensued, ordered by the divinity.  The sto ry ends with the con struc tion of an altar and sac ri fi cial offer ings to sanc tion the alliance between man and the divine. In this case the ark is the epic of life, it car ries with it what is life and not what is past, while the 13 t h 14 Alberto Petracchin The Artifice of Redress 4 4 Defencesless. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. Neo-Romance: Ark Architecture of Expectation 181 flood puri fies the earth. When the ark fin ish es its task, the covenant is sanc - ti fied with a rain bow, the ark is always for a world larg er than itself: it is men who inhab it it.  With in the sphere of the sacred Chris t ian and Hebrew scrip tures is found a sec ond ark, the Ark of the Covenant, sim i lar to Noah’s ark for mal ly, but dif fer ent in terms of its mis sion: in this case the ark is a wood en box used to store a divine trea sure, no longer ani mals and a few cho sen men but the tablets of the law engraved by Moses under the dic ta tion of the divin i ty. The text of Exo dus 25,10−22 is aimed at describ ing the forms, mate ri als and inten tions of the Ark of the Covenant, while its ‘adven tures’ run through out the Old Tes ta ment, after its dis ap pear ance from the Tem ple of Jerusalem where it was ini tial ly con tained. If Noah’s Ark fer ries the world from a prim - i tive con di tion to a bet ter one, the Ark of the Covenant cross es bib li cal land - scapes pre serv ing a trea sure that must remain untam pered – unchanged. The exper i ments and projects adopt ing the strat e gy of the ark open a twofold reflec tion on the con texts with which they relate: on the one hand, they present them selves as a project of sal va tion and there fore as coura geous sym bols of sur vival; on the oth er, as they must deal with spaces, move ments, and uncer tain ties of a gigan tic order, they open reflec tions con cern ing their defense less ness, and final ly on the pos si ble fail ure of the archi tec tur al project. There fore, it’s not just a form of con ser va tion, but also a search for the future, not so much an archi tec ture of secu ri ty but of reck less ness and explo ration. Not ing that every thing changes dras ti cal ly with in a con tin u ous cycle, the strat e gy of the ark returns an idea of design that devel ops over an extend ed peri od of time, hence the reopen ing of the remote future as a fur - ther time for archi tec tur al design. The rela tion ship that this strat e gy has with time prof fers ques tions on the theme of pre dict ing the future, its tech niques and tools, and thus on the rela tion ship between tech nol o gy, mag ic and sci - ence with in the archi tec tur al project. It is a ques tion regard ing the accu mu la - tion of unmiss able trea sures, of objects and lives, of goth ic lines against the inva sion of the out side or of escapes ‘in search’. The strat e gy of the ark involves three moments that are orga nized in time and to which cor re spond dif fer ent actions: the pre dic tion of a cat a stro - phe and the con se quent accu mu la tion of goods to be saved; the sus pen sion of the inte ri or and its clo sure through her met ic seal; the land ing in the remote future and the lib er a tion of the con tents. In par tic u lar, the theme of the seal takes on a dou ble form and argu ment in rela tion to the ark’s strat e gy. On the one hand, it con cerns the tech nique of archi tec ture, that is, the abil i ty of a space, through one of its ele ments and the mate r i al of which it is made, to be defin i tive ly closed and there fore able to leave the out side and the inside com plete ly sep a rat ed, guar an tee ing the iso la tion of the con tent. On Alberto Petracchin The Artifice of Redress 15 On the role of the future and prophe cies in archi tec ture see Charles Jencks, Archi tec ture 2000. Pre dic tions and Meth ods (Lon don: Stu ‐ dio Vista, 1968); Sara Mari ni, Future Utopia (Venezia: Bruno, 2014); the sci en tif ic jour nal “Future”; Fed eri co Cam pagna, Tech nic and Mag ic. The Recon struc tion of Real i ty (Lon don: Blooms bury, 2018). 16 See: Alber to Bertagna, Sara Mari ni, Giu lia Men zi et ti (eds.), Mem o ra bil ia. Nel paese delle ultime cose (Roma: Arac ne, 2015). 17 See: Rem Kool haas, The Sto ry of the Pool (1977) in Deliri ous New York: A Retroac tive Man i festo for Man hat tan, ed. Rem Kool haas (New York: The Mona cel li Press, 1978), 307– 311. 18 “The for est is mul ti plic i ty. The sea, too, is mul ‐ ti plic i ty. The ris ing flood, the fire, mul ti plic i ty always returns. For est, sea, fire, del uge, fig ‐ ures of the crowd. Of the crowd is the fury. The furi ous hero is the one of this mul ti ple. The Greek word from which this fury aris es means sac ri fice. The furi ous hero is on the altar of sac ri fice, he is in the the atre, on the stage, in front of the mul ti plic i ty crowd” . Michel Ser res, Gen e si (Gen o va: il Melan go lo, 1988), 138 (Eng lish trans la tion by the author). Neo-Romance: Ark Architecture of Expectation 183 the oth er hand, it con cerns the con struc tion of the mys tery or enig ma as a pos si ble armor of the ark itself, there fore its seal. Being defense less against the flood that it is called to face, the ark presents itself as an ‘obscured pres - ence’, it could be there but be invis i ble or go unno ticed: in some way its ‘her meti cism’ is designed to pro tect it and pro duce resis tance to its inter pre - ta tion, there fore to its open ing. Con sid er ing this, think ing about the ark as an archi tec tur al fig ure, there fore as a strat e gy of re-foun da tion of space, has as its first move ment a ‘de-foun da tion’. To set sail for oth er worlds means to untie the ties that bind us to the earth, to the city, to our ancient struc tures of thought but above all archi tec tur al struc tures (for exam ple, the urban par a - digm) that denounce an irre versible cri sis: it is there fore a mat ter of sav ing some nec es sary and pre cious things and at the same time for get ting every - thing else.  There fore, the first moment of the strat e gy con cerns the deploy ment of tools to antic i pate real i ty. New utopias are need ed if not real prophe cies, maybe even a new pact with futur ol o gy ; on the oth er hand, we have to decide how much we need to save, to find what our new trea sures and val ues are. It is per haps nec es sary to save the last things and the ‘lat est the o ries’: as in Kool haas’ Sto ry of the Pool. it is nec es sary to save the o ries and visions in order to antic i pate real i ty, to steal its time, to fore see a pos si ble world by trans port ing them into the future in order to affect the sit u a tion we will find. The sec ond moment sees the ark inside the “cat a clysm”: its task is to retain its con tents, to float on the exist ing, to take advan tage of dan ger ous sit u a tions. The ‘flood’, or the con text upon which the ark oper ates, is here to inter pret ed through the dou ble mean ing of real i ty and metaphor: the flood is under stood both lit er al ly, like the phys i cal change of the ter ri to ries, and like a spa tial fig ure sim i lar to an immer sion in a mul ti plic i ty. In the pre-flood peri od, archi tec ture was pre pared: a pact had been bro ken between the divin - i ty and man because the laws had not been respect ed, so a flood was announced through a prophe cy and an ark was built to store the trea sures to be saved. The ark thus emerges as a fig ure found ed not so much on a cer tain - ty but on a pre dic tion of a future that fore casts an immi nent tragedy with in which it will have to ven ture: the begin ning of the ark fore casts its next ‘ene - mies’ lined up on the field. The con fu sion of lan guages, of which the flood is a metaphor and a fig ure, tells of a world that has become incom pre hen si - ble because it is crossed by chaot ic and ever-renewed dis cours es. Through metaphor, today’s dis cov er ies in sci ence and astron o my, new research into vir tu al space, and envi ron men tal inva sions of inhab it ed ter ri to ries out line a con text in which the old world gives way to a new one, announced of course, but for which we have few design instru ments. Inside the flood, arks 15 16 17 18 Alberto Petracchin The Artifice of Redress 5 5 The Seal. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. 19 “The pact reveals the for mal rea son why the prin ci ple of the ark must sub sist even after Noah and his fam i ly and the ani mal world have left the phys i cal vehi cle. It is not so much a mate r i al struc ture as a form of sym ‐ bol ic pro tec tion for saved life, a wrap ping of hope” . Peter Slo ter dijk, Spheres II. Globes (Cam bridge: The MIT Press, 2014), 228 (Eng ‐ lish trans la tion by the author). 20 See: Gior gio Agam ben, The Use of Bod ies (Stan ford: Stan ford Uni ver si ty Press, 2016), par tic u lar ly the chap ter The Human Being with out Work, 3–24. 21 The theme of val ue was at the cen tre of the archi tec tur al debate in the 1970s and took shape for exam ple in Superstudio’s work Atti Fon da men tali. Return today with the book by Hans Joas, Come nascono i val ori (Mac er a ta: Quodli bet, 2021). Today we are wit ness ing the def i n i tion of our new val ues, think for exam ple of UNESCO’s end less lists defin ing con tem po ‐ rary ‘won ders’ , or the IUCN Red List of Threat ‐ ened Species of endan gered ani mals and plants. 22 Some traces of these arks could be found in the world of folk lore, espe cial ly in Bernard Rud of sky, The Prodi gious Builders: Notes Toward a Nat ur al His to ry of Archi tec ture (First Har vest: Har court Brace Jovanovich, 1979), par tic u lar ly in the chap ters Mobile Archi tec ‐ ture, which focus es on archi tec tures capa ble of trav el ling, and Store hous es, Cere al and Sepul chrals, which deals with stores and reserves of goods use ful for survival. Neo-Romance: Ark Architecture of Expectation 185 are need ed to save the essen tial trea sures that might be lost, and at the same time to explore the future, and there fore there are two instances of the ark: the first is rad i cal preser va tion, the sec ond is coura geous explo ration. Both instances speak of a space, that of the ark, which becomes the archi tec ture of antic i pa tion and the expec ta tion of so-called ‘bet ter times’.  The third moment of the ark is in the dis tant future, cen turies or mil len - nia ahead of our time, and it is the ‘release’. In the Holy scrip tures and some trea tis es of the 15 -16 cen tu ry, the jour ney of the ark ends at the ‘fron tier’, in a land where the flood has end ed and where every thing is renewed and puri fied, essen tial ly in a con di tion that could not be ful ly pre dict ed. At first, the open ing of the ark takes place; the con tents, which in the mean time have been frozen or cul ti vat ed, and which there fore in turn have under gone changes in the course of the jour ney or the wait ing, are freed and used to per vade the con di tion found, to change it again, to affect it, or to build a new city, in any case to do a new project. The ark itself, accord ing to some man u - als, serves at this time as con struc tion mate r i al and is dis man tled piece by piece, until it dis ap pears com plete ly. All that remains of it is its con tents, its ‘sense’ that it has been saved. It is there fore a ques tion, with this strat e gy, of sus pend ing “the use of bod ies” in order to bring to the fron tier those trea sures, if not also life, which will serve to refund new worlds in the future. Fragments In the design of an ark, lit tle impor tance is giv en to the body of the archi tec - ture: the real design, the sacred thing, is the con tent to be placed inside. The choice of the “trea sure” simul ta ne ous ly involves a uni ver sal and sin gu lar sphere, it is a mech a nism of par tic i pa tion: through choic es and needs, two terms that return today to the vocab u lary of design, we build the future com - mu ni ty and its new val ues. Through out its his to ry the archi tec tur al project has been con cerned with sav ing cities, objects of affec tion, the o ries, food and seeds, life itself; man has relied on mag i cal, divine places for his sur - vival, in the dream of an imper ish able exis tence. Pop u la tions have always used arks to store mate ri als or to accu mu late basic neces si ties, not only to set up new nar ra tives of life. Gra naries, stor age cities, and ice box es, for exam - ple, respond ed to a need for sur vival, to con serve what could per ish; in oth er cas es, how ev er, the con tents are sacred and are put on hold for reli gious rea - sons, as in the case of the Gausha la in India, the tem ples where sacred cows are fed and pro tect ed, or as in Jerusalem where the entire city is pro tect ed by the law on the sta tus quo with respect to the use of mon u ments and relics that remain sus pend ed and with out use for years. For exam ple, the fortress t h t h 19 20 21 22 Alberto Petracchin The Artifice of Redress 6 6 Entering the Ark. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. 23 The project is doc u ment ed in Sal va tore Gian ‐ nel la, L’Arca dell’Arte (Milano: Edi to ri ale Delfi, 2009). 24 Again, the project is pre ced ed by a bib li cal quo ta tion from the Apoc a lypse book. See: Super stu dio, Opere 1966–1978, ed. Gabriele Mas trigli (Mac er a ta: Quodli bet, 2016), 322– 347. The fig ure of the ark is used by Super stu ‐ dio also in the project Architet tura inter plan e ‐ taria, 1970–71: “Ark as ener gy use, ener gy is the cen tral point of the new archi tec ture. The use of ener gy and its dis tri b u tion is the new Ark. Which uses the cos mos as a ref er ence. The inter plan e tary ark is not an archi tec ture built with the known rules… but it is the use of the cos mos and its ener gy as a glob al ark.” Gregg Lynn, Michael Maltzan, Alessan dro Poli, Oth er Space Odysseys, eds. Gio van na Borasi, Mirko Zar di ni (Mon tréal-Zurich: CCA- Lars Müller, 2010), 67 (Eng lish trans la tion by the author). 25 9999, Ricor di di architet tura (Firen ze: Tipoli ‐ tografia G. Cap poni, 1972), 157. Neo-Romance: Ark Architecture of Expectation 187 of Sas so cor varo, designed by Francesco di Gior gio Mar ti ni in 1475, was used to res cue works of art from the advanc ing Ger man Nazi army. The plan was to enclose major works of art from the Vat i can and Venice with in this space in wait of bet ter times, the archi tec ture was to save pre cious con tent while depriv ing cities and ter ri to ries of their pres ence, essen tial ly to make space and to sim u late an untrace able dis ap pear ance. The fortress was specif - i cal ly cho sen because it was in a dif fi cult to reach and unsus pect ed loca tion. The works were sealed in a con trolled atmos phere, for more than ten years, only to be released at the end of the war. In this case, the remote ness of the loca tion con tributes, togeth er with the absence of an exit, to hid ing the posi - tion of an archi tec ture that must not be traced. The absence of use, or rather its sus pen sion, rewrites the idea of preser va tion, tak ing it to its extreme: some archi tec ture reemerges only to be for got ten again, their pro posed mission—to serve as cav i ties hous ing pre cious objects until res cued, to make them selves avail able as reserve spaces. With Sal vatag gi dei cen tri stori ci ital iani (Italia vos tra), Super stu dio is instead con cerned with sav ing entire cities from the inva sion of real i ty, under stood both lit er al ly (the Flo rence flood of 1966) and as a metaphor unleashed by it (the end of ratio nal ism): “To save in order to destroy, to destroy in order to save one self; in times of apoc a lypse the extremes touch, the oppo sites are equal. Don’t you see how every effort, every attempt to cor rect errors, to repair dis as ters, to avoid destruc tion, inevitably results in more irrepara ble errors, in increas ing ly ineluctable destruc tion?” The projects envis aged the con struc tion of mega-struc tures: a dam encir cles Flo - rence, accu mu lat ing the waters of the Arno to sub merge the city, a new Atlantis pre served by immer sion; Venice is drained of its sea and replaced by a glass-con crete road; Milan is enclosed inside a cap sule for the pro duc tion of fog; in Pisa, the entire build ing is tilt ed like its Tow er; Rome is sub - merged by its waste; Naples is boxed in order to stage a total and time less Neapoli tan char ac ter. The metaphor of the ark is there fore not used for its for mal val ue, it is not yet a ques tion of say ing “archi tec ture is a ship” or of build ing ves sels strand ed in the land scape, but to con struct a strat e gy for res - cue and refoun da tion. The frag ment, in this case rep re sent ed by cer tain cities, is not blocked but under goes an upheaval that rad i cal ly changes its sense and space. As in the salvif ic project for the M.O.S.E. in Venice, the efforts to save an object of affec tion can be super hu man; inside the long- await ed ‘freez ing’ lies a real project that mod i fies the object of desire. Group 9999’s project Apol lo 1971 sounds prophet i cal ly lit er al: “Final - ly, after the last hap pi ly end ed Apol lo Mis sion, but which hasn’t done any good, our project is re-pro posed to take our objects of affec tion to the Moon.” The short text accom pa ny ing the project, com posed of pho to- 23 24 25 Alberto Petracchin The Artifice of Redress 7 7 Inside a Mistery. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. 26 “The project final ly brings our objects of affec tion to the Moon before its too late. The life, the air, the water, the green, the fire – an expe ri ence sim u la tor – a womb, a man made out of water, a neg a tive man, two cubes of sky, a his toric tem ple, a green line. We tru ly like a lot those celes tial pieces of archi tec ‐ ture.” 9999, “Prog et to Apol lo (1971)” , in Earth ‐ rise, ed. Mar co Sco ti ni (Berlin: Archive Appen ‐ dix, 2019), 105. The project is doc u ment ed also in Mar co Ornel la, 9999. An Alter na tive to One-Way-Archi tec ture (Busal la: plug_ in, 2015), 114–123. The project has recent ly been tak en up by a group of sci en tists from Ari zona Uni ‐ ver si ty with the inten tion of stow ing the DNA of all ter res tri al species on the Moon. 27 See: John Soane, Crude Hints towards a His to ‐ ry of my House in Lincoln’s Inn Field, ed. Helen Dorey (Lon don: Archaeo press, 2015). 28 It is no coin ci dence that the only mono graph ‐ ic book on the Sval bard Glob al Seed Vault focus es not so much on the archi tec ture but on its valu able con tents. See: Cary Fowler, Seeds on Ice (New York: Per spec ta Press, 2016), 17: “This is a seed col lec tion, but more impor tant ly it is a col lec tion of the traits found with in the seeds: the genes that give one vari ety resis tance to a par tic u lar pest and anoth er vari ety tol er ance for hot, dry weath ‐ er” . See also Pip po Cior ra, Alessio Rosati (eds.), FOOD dal cuc chi aio al mon do (Mac er a ‐ ta: Quodli bet, 2015). Neo-Romance: Ark Architecture of Expectation 189 mon tages depict ing the depar ture, voy age and arrival of a space fer ry archi - tec ture, is a jux ta po si tion of the bib li cal sto ry of Noah’s Ark and a con tem - po ra ne ous sit u a tion: the 9999s orga nize their project around the immi nent end of plan et Earth and choose a few things to take to the Moon, the place cho sen for the res cue of the trea sure. The list is short: a clas si cal tem ple, sym bol iz ing archi tec ture; the four ele ments; an Ital ian-style gar den; an expe - ri ence sim u la tor. The Moon is seen not as a space of refuge or escape but as an asep tic ark whose absence of man allows the preser va tion of nec es - sary things.  Dizzy ing lists of objects of sur vival can also be piled up in arks intend - ed as ‘collector’s rooms’ in par a dig mat ic cas es of aug ment ed domes tic spaces. John Soane’s house in Lon don, for exam ple, is an encrus ta tion of orig i nal works and copies, to tell anoth er sto ry, to enhance an archi tec ture that is com plete ly intro vert ed and to inhab it mul ti ple times at the same time. The clo sure inside, the col lec tion of ‘mem o ra bil ia’, the selec tion of the last things in the world, remains at the heart of today’s real arks, called upon not only to save things but to bring life itself into the future. In the Sval bard Glob al Seed Vault, a project launched in 2008, the most pre cious seeds are select ed to be saved. They are deprived of their pres ence to be sent into the future. In this remote archi tec ture the seeds are stored in three sealed cham - bers at the end of a 125-metre-long tun nel. The loca tion was cho sen with a tem po ral objec tive in mind: it is thought that for two hun dred years the per mafrost of which the earth is made up will main tain its prop er ties intact and thus act as a nat ur al refrig er a tor, keep ing the con tents at a con stant - 18 degrees. The project is there fore set up with a view to its pos si ble fail ure or dis man tling: it is not cer tain that the seals will hold, it is not cer tain that the seeds will sur vive. Unlike oth er arks, the Sval bard one is not designed as a lit er al time cap sule, it will nei ther be per ma nent ly sealed nor hid den from view but is used peri od i cal ly in case of wars and famines. In fact, the first open ing took place in 2016, just eight years after con struc tion. The strat e gy of the ark is used here as an incur sion into the near future, but the fact remains that an archi tec ture is used to save the exist ing by depriv ing itself of it for a giv en peri od and fer ry ing it towards a com mon des tiny. It is there fore archi tec ture in wait ing, hol low spaces with in the thick of the flood: by build - ing an ark we design a world in a box, a pre fab ri cat ed tomor row with all its instruc tions, in essence a future com mu ni ty. The remain ing frag ments are our ‘fun da men tal acts’ with which we can design and write a ‘Brand New Tes ta ment’. 26 27 28 Alberto Petracchin The Artifice of Redress 29 See the def i n i tion of ‘expec ta tion’ , www.etimo.it, last vis it ed 10.04.2021. 30 See: Kevin Lynch, What Time is This Place? (Cam bridge Mass.: The MIT Press, 1972). 31 The project was pre sent ed by Mas si mo Sco ‐ lari for The Milano Tri en nale 1986, enti tled “Il prog et to domes ti co” and curat ed by George Teyssot. See: George Teyssot (ed.), Il prog et to domes ti co (Milano: Elec ta, 1986). 32 Fran co Rel la, “The Argonaut’s Gaze” , in Hyp ‐ nos: Mas si mo Sco lari, Works 1980–1986, ed. Rafael Mon eo (New York: Har vard Uni ver si ty- Riz zoli, 1986), 13. Neo-Romance: Ark Architecture of Expectation 191 Architecture of Expectation The ulti mate mis sion of an ark is re-foun da tion by cross ing of a sus pen sion of use. From the point of view of archi tec tur al design the o ry, the ark revis es Vit ru vian util i tas because, unlike the sta tus quo of archi tec ture, which is always designed to be put into imme di ate use, it is designed in advance to be sus pend ed and used in the dis tant future: it is an archi tec ture of expec ta tion. Accord ing to its ety mol o gy, ‘expec ta tion’ means ‘to aim’, ‘to incline’, ‘to aspire’. The notion there fore implies two pri ma ry mean ings: the first is that of lying down, a sort of aban don with out doing any thing, wait ing; the sec ond is that of inclin ing, aim ing, aspir ing, basi cal ly going towards, refer ring to a ten sion and a hope. If we need ed space, for exam ple, the ark could be filled to free it and make it avail able, in this sense it is a deposit and a reserve space in which the con tent is put into dor man cy while wait ing for the sys tem to change. Like an enclave of time, the ele ments that are housed in arks under go a ‘freez ing’ or is ‘nur tured’ while wait ing for the future. The ark floats over places as they change, remain ing ‘in sus pen sion’, sealed but defense less, hold ing its con tents. The wait ing that the ark impos es is there fore an active time, a real project because in that sta t ic time frame some thing hap pens, the con tent is marked by a change, the frag ments inside the arks, seed ing objects lives, are cul ti vat ed to arrive tomor row in a renewed con di tion. As in Mas si mo Scolari’s project for his Arca or The Col lec tor Room, the ark is still but in the mean time the flood acts and changes things. One draw ing in par tic u lar depicts Noah’s Ark strand ed in a decom posed ter rain, bristling with rocks and excres cences that could break its shell, placed tem po ral ly a moment before the flood, wait ing for its com - ing, or in the moment after its con clu sion, wait ing for the open ing. The author speaks of this project as a rea son ing between remem brance and amne - sia, as an attempt to save some thing pre cious and at the same time to for get some thing no longer use ful, as a space either of the expec ta tion of a future that must come, or as an attempt to escape towards it. This ark will then give rise to two oth er fig ures char ac ter is tic of the Ital ian master's work, Glid er and Tur ris Babel, ‘daugh ter archi tec tures’ com posed of a wood en rib of the ark. The ark, then, as the con struc tion of an inher i tance, as the trans mis sion of knowl edge, “the mes sen ger of new lands and new fig ures”. But the theme of expec ta tion as a design tool is also deployed by the ark to trig ger pos si ble cel e bra tions of life at the end of time. In the last pages of his book Dark Ecol o gy, Tim o thy Mor ton talks about a par tic u lar ark archi tec ture to pro tect the world from radioac tive sub stances with out hid ing them under the earth’s crust: “Maybe we should store plu to ni um nei ther deep under ground with mil i ta rized warn ings nor in knives and forks with out any 29 30 31 32 Alberto Petracchin The Artifice of Redress 8 8 The Treasure. Frame from La mesure végétale, 2015. Courtesy Fabien Giraud, Raphaël Siboni. 33 Tim o thy Mor ton, Dark Ecol o gy: For a Log ic of Future Coex is tence (New York: Colum bia Uni ‐ ver si ty Press, 2016), 161. 34 See: Damien Hirst, Trea sure from the Wreck of the Unbe liv able, ed. Ele na Geu na (Venezia: Mar silio, 2017). Neo-Romance: Ark Architecture of Expectation 193 warn ing what so ev er (this was actu al ly sug gest ed in the late 1990s). Let’s get small pieces of plu to ni um, store them in a way that we can mon i tor them, and encase them in a sub stance that will not leak radi a tion, above ground, so you can main tain the struc ture and so that you can take respon si bil i ty for it. You, the human, made the plu to ni um, or you the human can under stand what it is–therefore you are respon si ble. Let’s put these struc tures in the mid dle of every town square in the land. One day there will be pil grim ages to them and cir cum am bu la tions. A whole spir i tu al i ty of care will arise around them.” The final image sketch es a rit u al in which a crowd of peo ple dance around a large build ing con tain ing radioac tive mate r i al, placed in the mid dle of a town as a mon u ment, caus ing real rites of ado ra tion. In ques tion is the pos - si ble fail ure of the project, the long-await ed pre dic tion, if not also the arrival of the flood, might not come true, the ark and its wait ing being ‘use less’. Damien Hirst’s 2017 exhi bi tion Trea sure from the Wreck of the Unbe liev - able, how ev er, tells how even after a ‘ship wreck’, lost trea sures can be col lect ed and used to rewrite a new sto ry, giv ing life to a new archi tec ture and a new nar ra tive. The ark is there fore not an archi tec ture of extreme con - ser va tion of the frag ment, but a strat e gy of explo ration, a jour ney in search of the fron tier that uses cat a stro phe to not lose the pos si bil i ty of mod i fy ing real i ty. In this sense the ark appears as an archi tec tur al epic cel e brat ing life, set against a hori zon in which the lit er al end of the world is fore seen, or as an attempt to save the future, in any case a nar ra tive between gen e sis and apoc a lypse towards a new rebirth. In the light of the ark, then, there remains per haps a note for the archi tec tur al project: the pos si bil i ty, at the dawn of the new world, of being an act of re-foundation. 33 34 Alberto Petracchin The Artifice of Redress Neo-Romance: Ark Architecture of Expectation 195 Bibliography 9999. Ricordi di architettura. Firenze: Tipolitografia G. Capponi, 1972. Agamben, Giorgio. The Use of Bodies. Stanford: Stanford University Press, 2016. Bertagna, Alberto, Marini, Sara, Menzietti, Giulia (eds.). Memorabilia. Nel paese delle ultime cose. Roma: Aracne, 2015. Damisch, Hubert. “Noah’s Ark. ” In Noah’s Ark. Essays in Architecture, ed. Anthony Vidler, 1–24. Cambridge Mass: The MIT Press, 2016. Davis, Mike. “Who Will Build the Ark. ” New Left Review, no. 61 (2010): 29–46. https://newleftreview.org/i ssues/ii61/articles/mike-davis-who-will-build-the-ark. De Carlo, Giancarlo. La città e il territorio. Quattro lezioni, ed. Clelia Tuscano. Macerata: Quodlibet, 2019. Emery, Nicola. Distruzione e progetto. L ’architettura promessa. Milano: Christian Marinotti, 2011. Fowler, Cary. Seeds on Ice. New York: Perspecta Press, 2014. Furttenbach, Joseph. Feriae architectonicae. Ulm: Balthasar Kühn, 1662. George, Andrew. The Epic of Gilgamesh. London: Penguin Books, 2002. Giannella, Salvatore. L ’Arca dell’Arte. Milano: Editoriale Delfi, 2009. Kircher, Athanasius. Arca Noë. Amsterdam: Janssonium, 1675. Lamy, Bernhard. De tabernaculo foederis, de sancta civitate Jerusalem, et de templo ejus, libri septem. Parisiis: Dionisius Mariette, 1696. Lynch, Kevin. What Time is This Place?. Cambridge Mass: The MIT Press, 1972. Lynn, Gregg, Maltzan, Michael, Poli, Alessandro. Other Space Odysseys, eds. Giovanna Borasi, Mirko Zardini. Montréal-Zurigo: CCA-Lars Müller, 2010. Moneo, Rafael (ed.). Hypnos: Massimo Scolari, Works 1980-1986. New York: Harvard University-Rizzoli, 1986. Morton, Timothy. Dark Ecology: For a Logic of Future Coexistence. New York: Columbia University Press, 2016. Rudofsky, Bernard. The Prodigious Builders: Notes Toward a Natural History of Architecture. First Harvest: Harcourt Brace Jovanovich, 1979. Scotini, Marco (ed.). Earthrise. Ecological Vision on Both Sides of the Wall. Berlin: Archive Appendix, 2019. Sloterdijk, Peter. Spheres II. Globes. Cambridge Mass.: The MIT Press, 2014. Soane, John. Crude Hints towards an History of my House in Lincoln’s Inn Field, ed. Helen Dorey. London: Archaeopress, 2015. Superstudio. Opere 1966-1978, ed. Gabriele Mastrigli. Macerata: Quodlibet, 2016. Alberto Petracchin The Artifice of Redress Neo-Romance: Ark Architecture of Expectation 197 Teyssot, George (ed.). Il progetto domestico, Milano: Electa, 1986. The Holy Bible. Peabody Mass: Hendrickson Pub, 2006. Woods, Lebbeus. The Storm and the Fall. New York: Princeton Architectural Press, 2004. 199 Chiara Pradel Between Construction and Deconstruction Chiara Pradel The Artifice of Redress 1 1 Ground movements in a construction site. Photo Chiara Pradel 1 Robert Smith son, “A Sed i men ta tion of the Mind: Earth Pro pos als,” Art fo rum 7, 1 (1968): 45. Between Construction and Deconstruction 201 “Excavations form shapeless mounds of debris, miniature landslides of dust, mud, sand and gravel. Dump trucks spill soil into an infinity of heaps. The dipper of the giant mining power shovel is 25 feet high and digs 140 cu. yds. (250 tons) in one bite. These processes of heavy construction have a devastating kind of primordial grandeur, and are in many ways more astonishing than the finished project—be it a road or a building.” Creative De-Construction Processes A direct and empir ic obser va tion of land scape archi tec ture inter ven tions, from pri vate gar dens to pub lic parks planned and real ized in south ern Switzer land between 2009 and 2018, has pre sent ed an oppor tu ni ty to think about ground move ments linked with the con struc tion phas es of land scape and archi tec tur al projects. To real ize a new hous ing project with a vast gar den on a steep ter rain fac ing Lake Mag giore, more than 60,000 cubic meters of soil were exca vat - ed, of which approx i mate ly 40,000 were pre sum ably deposit ed with in anoth - er land scape. In a sim i lar man ner, to expand a muse um in Chur whose greater part lays under ground, almost all the exca vat ed soil (225,000 cubic meters) was moved from the con struc tion site through an expen sive pri vate waste man age ment ser vice. Indeed, inert spoil stor age in Switzer land costs approx i mate ly from 25 (exca vat ed earth) to 50 (slight ly pol lut ed inert mate r - i al) Swiss francs for a sin gle cubic meter of mate r i al. In some regions, such as the Can ton of Tici no, the costs are even high er, con sid er ing the lack of deposits in the area and the con se quent need to export across bor ders (for exam ple by fill ing the numer ous dis used quar ries in Lom bardy, Italy) mixed waste deriv ing from con struc tion and demo li tion. Con verse ly, to avoid the export of large quan ti ties of mate r i al, an inter dis ci pli nary design stu dio work ing on an urban park near Lugano inves ti gat ed the pos si bil i ty of repur - pos ing unpol lut ed debris—approximately 2 mil lion cubic meters—collected from the con struc tion site of a near by road way as a crit i cal com po nent of the pre lim i nary design process.  The empir ic aware ness of ground move ments relat ed to many build ing sites has led to the re-con sid er a tion of some basic actions that are often implic it in land scape and archi tec tur al prac tices like dredg ing, dig ging, mass grad ing, slop ing, con tour bound ing, embank ing and most impor tant ly land- fill ing. Indeed, if we con sid er the con struc tion or demo li tion phas es of a build ing, a street, or even a park with atten tion to the sec ondary effects of the con struc tion activ i ties, what we might notice is a sig nif i cant quan ti ty of neglect ed earth (soil, stones or debris) move ments that gen er ate var i ous 1 Chiara Pradel The Artifice of Redress 2 The term “inci den tal space” brings to mind the exhi bi tion Mak ing of Inci den tal Space by Chris t ian Kerez held at the 5 Archi tec ture Bien nale in Venice in 2016. Through this work, Kerenz sought to cre ate an imag i nary, form ‐ less space, whose visu al char ac ter can not be some thing eas i ly decoded. th 3 Enlarg ing one’s vision to an inter na tion al con ‐ text, things are not much bet ter: in Europe more than 840 mil lion tons of con struc tion and demo li tion waste, the stark major i ty of which is made of con crete debris, are pro ‐ duced each year (EU 2018). 4 To title one of his most famous works, Robert Smith son re-inter pret ed the Bri an W. Ald iss sci ence fic tion nov el head ing: Earth works, where the author describes a future Earth wrecked by the effects of over pop u la tion and by heavy envi ron men tal reper cus sions of inten sive, expan sive, and destruc tive over- farm ing. Smith son used the same term Earth ‐ work to name his instal la tion made of mate ri ‐ als such as crude soil, debris and sand, placed on the floor of the Dwan Gallery, New York. The expo si tion, curat ed by Vir ginia Dwan, took place in 1968. 5 Suzanne Hall and Ricky Bur dett, “Urban Churn,” in The Sage Hand book of the 21 Cen ‐ tu ry City, eds. Suzanne Hall and Ricky Bur dett (Lon don: Sage Pub li ca tion, 2017), 1–5. st 6 Smith son, “A Sed i men ta tion of the Mind: Earth Pro pos als,” 45. Between Construction and Deconstruction 203 “inci den tal spaces” and that both pro vi sion al ly and per ma nent ly affect the land scape. In par tic u lar, the “final” stage of earth move ments in con struc tion process es, name ly the (uncon t a m i nat ed) spoil dis pos als, from time to time, could be des ig nat ed as “land scap ing”, “envi ron men tal restora tion”, “recul ti - va tion”, “fill ing for cul ti va tion”, “land-fill ing” etc.  Due to the man i fold vari ables involved in con struc tion process es, it is dif fi cult to quan ti fy grounds tem porar i ly moved, yet it can be gen er al ly esti - mat ed that a stan dard build ing site pro duces approx i mate ly thir ty per cent debris com pared to the total weight of build ing resources. This implies that almost one third of the entire con struc tion mate r i al pro vid ed in each build ing site is poten tial ly wast ed and par tial ly spurned out. As evi dence of this fact, in Switzer land alone one can count more than four hun dred depots of inert waste spread over the entire nation al ground, that is already cov ered by “real” moun tains on two thirds of its sur face. At the same time, more than fif teen mil lion tons of waste from con struc tion activ i ties have been pro duced each year ; this con sti tutes the major flux of gen er at ed waste. A sequence of author less, errat ic earth works made by spoils, grav el or aggre gates are ris ing togeth er with cities and their “urban churn” , stag ing a sort of “cre ative destruc tion” par a digm —on one hand they bear wit ness to the main, “insa tiable” con struc tion activ i ty, and on the oth er they embody what has been irre triev ably sep a rat ed and reject ed from the process. Debris phys i cal ly resem ble the pol lut ed, melt ed, tumuli of dirty mate ri als pro duced by min ing or indus tries rather than the smooth, pol ished con crete, steel or glass archi tec tur al super-struc ture from which they often come. Their pits, rough ter rac ing and heaps allude to the usage of bull doz ers and exca va tors rather than tech no log i cal ly advanced con struc tion tech niques, lack ing fea - tures that might allow an attri bu tion to a prop er time and style.  Like a wide spread repli ca of Land Art oeu vres that pow er ful ly exhib it the result of dis rup tive anthrop ic actions in both nat ur al and post-indus tri al landscapes—one thinks, for exam ple, of the impres sive Heizer’s Dou - ble Negative (1969), which dis places 240,000 tons of rhy o lite and sand stone, or of the obses sive rep e ti tion of Port fo lio of Piles by Iain Bax ter (1968), where arti fi cial mounds give form to a kind of “jum bled muse um” of earth, stag ing “a heap of rub ble tossed down in con fu sion” . A Neglected Design Issue How ev er, despite their mate r i al impact on land scape, and of the pow er ful sug ges tion of their forms and sizes, great tumuli from com plex build ing sites are treat ed, as per stan dard prac tice, like out comes to be han dled as sec - ondary con cerns. There is a “rel e vant con tra dic tion between how inert waste 2 3 4 5 6 Chiara Pradel The Artifice of Redress 7 Chiara Pradel, “From Infra struc tur al Con struc ‐ tion Sites to Land scape,” in CA2RE. Strate gies of Design-Dri ven Research, eds. Claus Ped er Ped er sen, Tade ja Zupančič, Markus Schwai, Jo Van Den Berghe and Thier ry Lagrange, (Aahrus: Aarhus School of Archi tec ture, 2021), 89. 8 William Ken tridge, Six Draw ing Lessons (Lon ‐ don: Har vard Uni ver si ty Press, 2014), 88. 9 “Mat ter is always already an ongo ing his tor i ‐ cal i ty. In the phe nom e nal world, every mate r i ‐ al is a becom ing.” Tim Ingold, “Toward an Ecol o gy of Mate ri als,” Annu al Review of Anthro pol o gy 41 (2012): 435. 10 The def i n i tion “immi grant rocks” has been tak en up by an essay by Doren Massey: “It was hun dreds of mil lions of years lat er that these rocks of Skid daw crossed the equa tor on their way through this lat i tude, now, and lat er still that they were formed into any thing we might call a moun tain. What is impor tant here is not the for mal knowl edge (such tec ‐ ton ic wan der ings are now part of pop u lar sci ‐ ence) but what one allows it to do to the imag i na tion. For me, ini tial ly, this dwelt upon the thought that these are immi grant rocks…” Doren Massey, “Land scape as a Provo ca tion: Reflec tions on Mov ing Moun tains,” Jour nal of Mate r i al Cul ture 11 (2006): 34–35. 11 Jane Hut ton, Mate r i al Cul ture: Assem bling and Dis as sem bling Land scapes (Berlin: Jovis, 2018), 18. 12 Direc tive 2008/ 98/ EC of the Euro pean Par lia ‐ ment and of the Coun cil of 19 Novem ber 2008 on waste and repeal ing cer tain Direc tives (OJ L 312, 22.11.2008), 3–30. 13 See the “EU Con struc tion & Demo li tion Waste Man age ment Pro to col” (Euro pean Com mis ‐ sion, 2016), the “Guide lines for the waste audits before demo li tion and ren o va tion works of build ings” (Euro pean Com mis sion, 2018), the report “Cir cu lar Econ o my Action plan for a clean er and more com pet i tive Europe” (Euro pean Com mis sion, 2020). Between Construction and Deconstruction 205 depots affect every day famil iar spaces, urban set tle ments, small his tor i cal vil lages, nature pro tect ed areas and the fact that they are fre quent ly con - cealed, and not designed.” As the South African artist William Ken tridge evi dences, describ ing the flat-topped moun tains made out of rock exca vat ed from the gold mines in Johan nes burg, both their appear ance (dur ing the exca va tion of mines), and their slow dis ap pear ance (dur ing extrac tion of fine residue of gold dust that remained in the dumps) and dis man tling pro voked “a first moment of shock at the recon fig u ra tion of the land scape”, prompt ly fol lowed by “a nat u ral iza tion of the view, as if the mine dump had nev er been there”. Accord ing to Ken tridge, “This adapt abil i ty is more than the flex i bil i ty to accept a new sit u a tion. It is stronger than that…” as these land - scapes final ly “…become an object les son in pro vi sion al i ty,” under go ing con tin u al mod u la tion as they host trans for ma tive earth works, mounds of debris, inert waste . While our build ings, neigh bor hoods, cities or infra struc tur al oeu vres insa tiably and aggres sive ly grow, the relat ed ground move ments and result - ing waste mate ri als are dis tanced from our sight and metab o lized by our con - scious ness. Through anony mous trucks, ships or trains, becom ing the final step of an unno ticed exchange of resources, labor, and mate r i al flows, spoils are more often mere ly dis lo cat ed in sep a rate, neglect ed land scapes, like “immi grant rocks” arriv ing from an obscure some where else . To make their pres ence evi dent “might con tra dict or con flict with the ide al ized ulti - mate oeu vre or, in some cas es, unveil a strong dis crep an cy between the image of progress and the (regres sive) prac tices that enable its mak ing.” It is not by chance that the project plan ning process, in its cur rent form and in most coun tries, sim ply does not con sid er the pro duc tion, the repo si tion ing or the reuse of exca vat ed soil as a top i cal land scape (design) issue. Even if the Waste Frame work Direc tive has set the con struc tion and demo li tion (C&D) inert recy cling thresh old at 70 per cent, it has—together with the fol - low ing EU pro to cols and guide lines —most ly relied on tech ni cal aspects, deep en ing the need of soil man age ment for great con struc tion sites or iden ti - fy ing the legal respon si bil i ty beyond the mate r i al flow and the final spoil storage. Thus, the major ques tions aris ing are: how these kinds of earth works could be a part of the design-think ing and process? How is it pos si ble to know ing ly assem ble and design a land scape out of land filled con struc tion ruins? And how these earth works could change the present archi tec tur al (visu al, tech ni cal, cul tur al) language? 7 8 9 10 11 12 13 Chiara Pradel The Artifice of Redress 14 To build the arti fi cial lake at Pet worth for the Pet worth House gar den (1753), the first major work by Capa bil i ty Brown, it have been exca ‐ vat ed and moved some 60,000 tons of soil, that was used to build an earth dam (15,000 tons) and to mod i fy the topog ra phy of the estate (the remain der), thus cre at ing heav i ly arti fi cial land scape. See: Clarke Gold smith et al., “Engi neer ing the land scape – Capa bil i ty Brown’s role,” Engi neer ing His to ry and Her ‐ itage 170 (2017): 21. 15 Jane Hut ton, Rec i p ro cal Land scapes: Sto ries of Mate r i al Move ments (Lon don: Rout ledge, 2019), 25–64. 16 Peter Walk er, “For word,” in Grad ing for Land ‐ scape Archi tects and Archi tects, ed. Peter Petschek, (Boston: Birkhauser, 2008), 9. 17 Pierre Bélanger, “Under ground land scape: The urban ism and infra struc ture of Toronto’s down town pedes tri an net work,” in Tun nelling and Under ground Space Tech nol o gy 22 (2007): 272–292. Between Construction and Deconstruction 207 From the Local Scale to the Planetary Scale Ground move ments have always been gen er at ed by anthrop ic activ i ties, and exca vat ed waste mate ri als have been know ing ly used to shape unex pect ed, impres sive land scapes, since the ancient Maya prac tice, using rub bish or inor gan ic refus es as the core of their mas sive ter raced plat forms, to the Inca con struc tion sys tems which com bined clean soil with dis card ed mate ri als. In west ern cul ture, some of the best-known exam ples are the “engi neered parks” real ized by Lancelot “Capa bil i ty” Brown (1716−1783), who shaped extend ed arti fi cial topogra phies by dig ging and replac ing in situ huge amounts of soil to cre ate arti fi cial lakes, or to allow land drainage. Notably vis i ble from his tor i cal art works, pho tographs or prints, there was a huge earth dis place ment for the con struc tion of Cen tral Park (1857−1876). Nev er - the less, as Jane Hut ton reveals in her book “Rec i p ro cal Land scapes,” dur - ing the real iza tion of Cen tral Park—Frederich Law Olmsted’s masterpiece— quite-unknown transna tion al mate r i al move ments took place and, lit er al ly, moun tains of guano were shipped from Chin cha Islands, Peru, to New York in order to fer til ize the soil of the Park’s meadows. These works rep re sent (expen sive) episodes, made in times when earth - works were done by hand and “only a small group of land scape archi tects and park builders were per ceiv ing the aes thet ic poten tial for shap ing the land.” After the Sec ond World War, togeth er with the increased size of mechan i cal equip ment, and, more wide ly, from the 70s, when envi ron men tal con cerns became pub lic fod der, togeth er with the inten si fy ing of the con - struc tion indus try, artists, archi tects and land scape archi tects began pro duc - ing mean ing ful and acces si ble land scape design solu tions that explic it ly rein ter pret ed vol umes of inert waste from the con struc tion field, placed between art, land scape design and land recla ma tion projects.  Con sid er, for instance, the Olympia park in Munich by Gün ter Grz imek (1968−1972), the icon ic Pyra mid by Ricar do Bofill (1976) placed at the lim it of the Cata lan high way on the French-Span ish bor ders (1976), the Irchel park project in Zürich by Edward Neuen schwan der (1978−1985), the Portel lo Park in Milan by Charles Jencks (2012), the award ed Northa la Fields Coun - try Park by FoRM Asso ciates near the A40 in West Lon don (2008), or the Amager Strand park in Copen hagen (2013), that con tains 1.5 mil lion cubic meters of raw mate r i al. In research pub lished in 2007, Pierre Bélanger relat - ed the process of the under ground con struc tion of Toronto’s down town pedes tri an net work with the mak ing of a shore line – Toron to Thom my Thom son Park: mil lions of cubic meters of con crete, earth fill and dredged sand were used to cre ate a site that now extends about five kilo me ters into Lake Ontario, and is more than 250 hectares in size . 14 15 16 17 Chiara Pradel The Artifice of Redress 18 The lack of geo graph i cal and tem po ral over lap between dif fer ent ground activ i ties or the need to fol low, dur ing the design process, stan dard ized pro ce dures could lim it the rethink ing and redesign of inert mate ri als in small con struc tion sites. 19 Bri an Davis, Rob Holmes and Brett Mil li gan, “Isth mus,” Places Jour nal, 2015. 20 The six high speed rail ways are: Genoa Mar ‐ seille, Milan-Lyon, Genoa-Basel, Genoa- Zurich, Verona-Munich, Venice-Vien na. The eight base tun nels in the Alpine arc are: the Mont Cenis (ongo ing) between Italy and France, the Got thard (2016), the Ceneri (2020), the Lötschberg (2007) in Switzer land, the Bren ner (ongo ing) between Italy and Aus ‐ tria, the Sem mer ing (ongo ing) and the Koralm (ongo ing) in Aus tria. For an over look on the Alpine region high speed rails see the pub ‐ lished stud ies: Euro pean Com mis sion, Study on Mediter ranean TEN‐T Core Net work Cor ri ‐ dor. Final Report, (Lux em bourg: Pub li ca tions Office of the Euro pean Union, 2018); Elisa Ravaz zoli et al., “The Effects of the Planned High-Speed Rail Sys tem on Trav el Times and Spa tial Devel op ment in the Euro pean Alps,” Moun tain Research and Devel op ment 37 (2017): 131–140. Between Construction and Deconstruction 209 The increas ing exten sion and vol ume of these exam ples reveal how large- scale con struc tion activ i ties are increas ing ly lead ing to the manip u la tion of huge earth move ments, pass ing over small to medi um con struc tion activ i ties that frag men tar i ly work on rel a tive ly small exca va tions, fills and depots . Con tem po rary infra struc tur al inter ven tions are expos ing extreme earth move ments whose impact chal lenges cur rent con struc tion process es that, in turn, define mean ing ful pub lic debates push ing for ambi tious poli cies that some times lead to cre ative solutions.  The mas sive 2007 – 16 Pana ma Canal expan sion recon fig ured trans- Amer i can ship ping and result ed in glob al eco nom ic and polit i cal trans for ma - tions. Dur ing con struc tion squadrons of exca va tors, trucks, trac tors, and drills blast ed, cut, dug, hauled, dumped, and crushed rock, sand, and soil. As point ed out by Bri an Davis, “because the Pana ma Canal expan sion has been viewed with in a logis ti cal frame, it has missed the oppor tu ni ties that a land - scape approach would have iden ti fied. Con sid er the 65 mil lion cubic meters of mate r i al dredged from the approach chan nels and from the bot tom of Gatún Lake. These sed i ments are removed by barge, hop per, truck, and train, or piped through float ing pon toon pipelines to depo si tion sites locat ed along the length of the Canal.” In the near future, this issue could expo nen tial ly expand: in Europe alone, more than 800 mil lion tons of mate r i al are expect ed to be exca vat ed dur ing ongo ing and planned large under ground projects (such as the immi - nent Stad Ship Tun nel in Nor way) by 2030, while on a glob al lev el peo ple are becom ing the earth’s pri ma ry agents of earth moving—through dredg ing, agri cul ture, min ing and oth er anthro pogenic activities—surpassing the nat ur - al ero sive forces of wind and water. At this stage, it is no longer pos si ble to con sid er these con struc tion ruins as delim it ed and local phe nom e na, since they are simul ta ne ous ly affect ing inter-con nect ed open spaces through out which earth-flows are broad ly reshap ing the land scapes all around us, on a plan e tary scale.  The AlpTransit Landscapes Among sev er al exist ing “con tem po rary earth works sce nar ios”, con sid er ing the Alpine region at the core of Europe, one can count six major high-speed rails and eight base tun nels that are already com plet ed or under con struc tion and that will cross nation al bor ders, facil i tat ing the mobil i ty of goods and peo ple, while pre serv ing frag ile and nat ur al envi ron ments . One hun dred and fifty years after the real iza tion of the 13 kilo me ters long Fréjus tunnel—the first of the large tun nels to pierce its way through the Alps—the con struc tion of giant, advanced infra struc tures still seem to 18 19 20 Chiara Pradel The Artifice of Redress 21 Armin Linke, dir. Alpi, based on a research project of Piero Zani ni, Rena to Rinal di and Armin Linke, 16mm, trans ferred on Blu-ray/D ‐ CP, 2011. 22 Chris t ian Schubarth and Felix Weibel, Land Use in Switzer land. Results of the Swiss land use sta tis tics, (Neuchâ tel: Fed er al Sta tis ti cal Office, 2013), 8–9. 23 The BGG was com posed by: Uli Huber, pres i ‐ dent (from 1993), Pierre Fed der sen (from 1993), Rain er Kloster mann (from 1993), Flo ra Ruchat-Ron cati (from 1993 to 2012), Pas cal Sigrist (from 1997), the Alp Tran sit AG rep re ‐ sen ta tives: Thomas Bhüler, Alex Regli, Wal ter Schnee be li, Peter Zbinden. 24 See in par tic u lar the planned mit i ga tion mea ‐ sures described in: Pao lo Lan franchi et al., “Envi ron men tal recla ma tion for the Got thard Base Tun nel, effects of spoil man age ment on land scape,” in Tun nels and Under ground Cities: Engi neer ing and Inno va tion meet Archae ol o gy, Archi tec ture and Art, eds. Daniele Peila et al. (Lon don: Tay lor & Fran cis Group, 2019), 405–414. Between Construction and Deconstruction 211 fight against hid den tec ton ic sys tems and to con flict with a vast num ber of pro tect ed nat ur al areas (more than 1600 in Switzer land). These con tra dic - tions, inher ent in the con tem po rary land scape of the Alps, togeth er with its immea sur able del i ca cy and mys ter ies, have been the sub ject of a sev en-year study led by Armin Linke: in con trast with a nos tal gic, glossy image often used to rep re sent these moun tains, Linke describes them as a key Euro pean autonomous satel lite that is con nect ed to glob al trans for ma tions and their pow er ful illu sions . With in the spe cif ic frame work of “con tem po rary avant-garde” and exper i men tal land scape sce nar ios, and in par tic u lar focus ing on the Swiss territory—where already one-third of the set tle ment and urban sur face areas is tak en up by trans porta tion sys tems, name ly road ways, rail way instal la - tions, air ports and air fields —the recent real iza tion of the three NRLA base tun nels (Lötschberg, Got thard, and Ceneri, 1999–2020) helps to bet ter con - nect South ern Ger many to North ern Italy and avoids fur ther land con sump - tion, while at the same time pre serv ing sev er al above-ground environments. Since the begin ning of the Got thard Axis project, the con struc tor, Alp - Tran sit Ltd., con sult ed trans-dis ci pli nary group “Beratungs gruppe für Gestal tung” , who pro mul gat ed the spe cif ic and rec og niz able archi tec tur al lan guage used for por tals, viaducts, ven ti la tion fun nels and retain ing walls. How ev er, as the NRLA tun nel ing work has pro gressed, the com plex i ties between the chal lenges of con struc tion and result ing mon u men tal ground move ments have become increas ing ly sig nif i cant. Due to these issues spoil man age ment engi neers have become involved to care ful ly plan the instal - la tions and stor age areas, the time ly build ing of pro cess ing plants and oth er han dling facil i ties out side the tun nels and eval u at ing the raw mate r i al qual i ty to con vert it into a pri ma ry resource for tun nel con crete. If the entire exca va - tion of the Ceneri’s two sin gle-track tun nels (15 km long, 2006–2020) gave rise to a total of about 10 mil lion tons of inert waste, the entire con struc tion of the Got thard Axis (57 km long, 1999–2016) orig i nat ed more than 24 mil - lion tons of mate r i al, of which the 35 per cent has been reused for pro duc ing con crete and shot crete aggre gates, while a con sid er able sur plus has been des tined for “recul ti va tion require ments” or “envi ron men tal restorations”. A con stel la tion made of huge ground move ments has fol lowed the pro - gres sion of the Alp Tran sit con struc tion activ i ties from Erst feld to Vezia (Lugano): par al lel to the advance ment of this oeu vre, in a num ber of sites con nect ed to the main high speed rail way path, the earth crust has been bro - ken, pen e trat ed, exca vat ed while, some where else, sites have been filled and altered by those same spoils. The result ed land mass es have nev er been ful ly mapped nor has the “redress process” of all the affect ed areas been thor - ough ly ques tioned. Although the strong—inspiring—relationship between 21 22 23 24 Chiara Pradel The Artifice of Redress 2 2 Sigirino disposal site, 2005, early stage. Drawings by Chiara Pradel 25 Stan Allen, “Infra struc tur al Urban ism,” in Infra ‐ struc tur al Mon u ment eds. MIT Cen ter for Advanced Urban ism, (New York: Prince ton Archi tec tur al Press, 2016), 58. 26 “I’ve coined the term megaform in order to refer to the form-giv ing poten tial of cer tain kinds of hor i zon tal urban fab ric capa ble of effect ing some kind of topo graph ic trans for ‐ ma tion in the mega lopoli tan land scape.” Ken ‐ neth Fram ton, Megaform As Urban Land scape, (Ann Arbor: Uni ver si ty of Michi gan, 1999), 16. 27 Bran don Clif ford, The Cannibal’s Cook book. Min ing Myths of Cyclo pean Con struc tions, (San Fran cis co: ORO Edi tions, 2017), 23. Between Construction and Deconstruction 213 the Alps and streets or rail ways has been the object of var i ous sur veys high - light ing the exist ing crit i cal con nec tion between the imag i nary, myth i cal alpine land scape and its impli ca tions on the col lec tive iden ti ty, or the con - nec tion between rough topogra phies and great engi neer ing chal lenges or between infra struc ture, ter ri to ry and strong for mal archi tec tur al inter ven - tions, an over all obser va tion of the Alp Tran sit land scapes is still miss ing. In this respect, the rela tion ship between high speed infra struc tures, the so- called “Infra struc tur al Mon u ments” —huge infra struc tures that are con - ceived as open, inclu sive objects, as both com mon spaces and “Megaforms” that, in addi tion to the realm of trans porta tion of goods and labor, syn the size the sur round ing land scape, pub lic spaces and architectures —and their pro duced mon u men tal ground move ments is top i cal. The focus should shift from the “super-struc tures” and their imme di ate ly vis i ble com - po nents to the inert left overs dumped-out from the con struc tion process, lead ing to the iden ti fi ca tion and the study of the por tals, access points, con - struc tion sites and dis pos al areas: the above-ground ele ments of the NRLA tun nels should be inex tri ca bly linked with the broad exca vat ed earth’s vol - umes spread as spoils in the near est territories.  It is pre cise ly in that moment, where the exchange between the flux of unshaped mat ter, the human or mechan i cal design and the land scape that con tains it takes place, that seems par tic u lar ly inter est ing. The earth-deposit indeed comes to life, as a kind of liv ing organ ism con front ed with the (engi - neers) design deci sions, earth-mov ing machin ery actions, open pos si bil i ties aris ing from what the land scape will become and from the earthwork’s own behavior.  New mal leable, change able, non-deter min is tic and sit u a tion al archi tec - tur al lan guages are emerg ing right before our eyes . An inves ti ga tion through draw ing and pho tographs made by an in situ sur vey of the Swiss Nation al Car tog ra phy, the Alp Tran sit offi cial pub li ca - tions and the inter views with mem bers of the “Beratungs gruppe für Gestal - tung” and of the Alp Tran sit AG (a sub sidiary of the Swiss Fed er al Rail way) has made it pos si ble to graph i cal ly frame the phys i cal state of the five main NRLA earth works illus trat ing the amount of earth moved and ulti mate ly relo cat ed into a riv er delta, two wood ed val leys, an alpine vil lage and an urban periph ery thanks to dif fer ent dis pos al strate gies, that urgent ly trig ger, among oth er things, eco log i cal, topo log i cal and for mal design questions.  Five sites—the Reuss Delta, Sedrun, Cavien ca, Bias ca and Sigirino— are hosts for the impact ful inert deposit solu tions aris ing from the tun nel ing con struc tion activ i ties. A series of tem po ral maps, topo log i cal draw ings, short descrip tions and pho tographs inter ro gate the sym poi et ic trans for ma tion of these sites_ _ where vast ground move ment oper a tions lead to cross the 25 26 27 Chiara Pradel The Artifice of Redress 3 4 3 Sigirino monumental artificial mountain, 2005–2050. Drawings by Chiara Pradel 4 Sigirino monumental artificial mountain, 2020. Drawings by Chiara Pradel 28 The cur rent Alpine chain is the result of two oppos ing mov ing forces: an endoge nous one that push es the earth's crust upwards in a very com pli cat ed sys tem of aquifers and mas sifs and an endoge nous one that smash es the moun tain chain. Nine ty mil lion years ago, as tec ton ic plates col lid ed, min er al waves arose from the scorch ing waters of the Tethys Ocean: they stretched them selves, broke apart and merged togeth er. Dur ing the Qua ‐ ter nary, these rocks were filled, carved, and smoothed by ice sheets, whose melt ing revealed a kalei do scope of val leys with steep sides and flat bot toms. Still today, the Alps are ris ing and push ing North. 29 The draw ings form a first “inven to ry” of the Alp Tran sit infrastructural/ monumental main earth works since these land scapes made by spoils have nev er been rep re sent ed in their entire ty, as a sys tem of ground move ments linked to the new infrastructure. 30 The visu al rep re sen ta tions [ 3–4 ] func tion as a form of research on the plas tic sub stra tum of land scape, of its hid den laten cies and of its dis tinc tive result ing shapes. 31 As in Bias ca or in Sigiri no, where the pos si ble deposit of fur ther C&D mate ri als has already been dis cussed by local author i ties. Sigiri no in par tic u lar will grow up as the high est Swiss arti fi cial moun tain (about 160m high), con ‐ tain ing up to 7 mil lion tons of spoils. Between Construction and Deconstruction 215 bor ders between dura bil i ty and tran sience of geo log ic ele ments, anthrop ic destruc tion and recon struc tion of land scapes and could be per ceived as chal - leng ing oppor tu ni ties in the end less ly change able Swiss mor phol o gy . The first Alp Tran sit earth works inven to ry evi dences how more than 3.3 mil lion tons of exca vat ed mate r i al from the Got thard base tun nel have been trans port ed by train and ship to the Delta Reuss and used to fill the Uri lake for the redesign of the pre vi ous ly erod ed riv er mouth, or have been spread in dif fer ent areas near the Sedrun NRLA access point (more than 4 mil lion tons), or have been trans port ed by a con vey or belt through a spoil tun nel and dumped in the Bias ca dis pos al site (about 6,9 mil lion tons) to recre ate a talus cone. More recent ly, about 7 mil lion tons of mate r i al orig i - nat ing from the Ceneri base tun nel exca va tion process have been dumped in Sigiri no and assem bled near the exist ing moun tain to form a new, arti fi - cial mountain.  The inven to ry might itself become a reser voir for future projects. In this respect, a series of draw ings are blend ing real earth work states with imag - i nary future solu tions, con tin u ing and, some how, extrem iz ing the exist ing ground mounds, start ing from the assump tion that these sites are not “fin - ished”, but will rather evolve in the near future. Like in the Reuss Delta site, where the dump of inert waste aris ing from the Got thard axis exca va tion has allowed to reshape the nat ur al cap i tal of the delta, but, at the same time, not too far from the riv er mouth resources and mate ri als such as grav el are still dredged from the lake back drop. In oth er deposit sites as well, mate ri als will be prob a bly added or sub tract ed in a cycli cal process of dis as sem bling and re-assem bling spoils, of dis man tling and reshap ing the grounds. Less than mere ly decon struc tive and dis re gard ful, these earth-based prac tices that rely on the reuse of exca vat ed mate ri als are here provoca tive ly con sid ered as accre tive and draw ings are used to ques tion if they might add oppor tu ni ties to devel op reflec tions, pro pos als, future design tra jec to ries in the land scapes in which they take place.  Tak ing advan tage from this open, flu id con di tion, the draw ing research process final ly allows to envi sion how the five depots could evolve over time as two arti fi cial moun tains (Bias ca and Sigiri no), a mon u men tal wall (Cavien ca), a re-shaped topog ra phy (Sedrun), or a re-nat u ral ized riv er delta (Reuss Delta).  28 29 30 31 Chiara Pradel The Artifice of Redress 32 Lucius Bur ck hardt, “Dirt,” in Lucius Bur ck hardt Writ ings. Rethink ing Man-made Envi ron ments. Pol i tics, Land scape & Design, eds. Jesko Fez er and Mar tin Schmitz, (Wien: Springer Ver lag, 2012), 169. 33 In par tic u lar, the extra or di nary vision by Dinocrates was chron i cled by Vit ru vio in the first cen tu ry BC and by Plutar co in the first cen tu ry AD. Sub se quent ly Leon Bat tista Alber ti in his ‘De re aed i fi ca to ria’ (1486) explic it ly crit i cized Dinocrates, con sid er ing his pro pos al to design a moun tain as a neg a ‐ tive mod el and an emblem of hubris and excess. 34 Jen nifer Fos ter and Hei dy Schopf, “Min er al Migra tion: Extract ing, Recom pos ing, Demol ‐ ish ing, and Recol o niz ing Toronto’s Land ‐ scape,” in Mate r i al Cul ture: Assem bling and Dis as sem bling Land scapes, eds. Jane Hut ton, (Berlin: Jovis, 2018), 47–63. 35 Wil helm Krull, “Topol o gy,” in Topol o gy. Top i cal Thoughts on the Con tem po rary Land scape, eds. Cristophe Girot et al. (Berlin: Jovis 2012), 13. 36 “Con struct ed ecol o gy” here refers to a man- made process that, in a com plete ly arti fi cial envi ron ment, implies the cre ation of dynam ic spaces which could extend the bound aries of infra struc tur al inter ven tions to the mul ti tude of non hu man beings and gen er ate the spe cif ic mor phol o gy, het ero gene ity and per for ma tiv i ty of nat ur al environments. Between Construction and Deconstruction 217 The Design of Monumental Grounds “To plan for reality therefore means to plan projects that cater to the existence of such remainders, and that anticipate human behavior… Does this imply a return to a perfect world, you ask? On the contrary: it means we renounce any notion of an utterly perfect world being possible.” The need to reuse earth, to revise construction’s and demolition’s inert waste, to reduce soil con sump tion in order to pre serve an essen tial and non- renew able com po nent of the nat ur al cap i tal and to val orize, in gen er al, new ecolo gies linked to the build ing activ i ties that affect human and non-human envi ron ments urge us to bet ter under stand all aspects of architecture’s con - tem po rary nar ra tive, even those con sid ered mar gin al and resid ual such as architecture’s debris, to inves ti gate the pos si ble role of repar a tive design and the rede f i n i tion of ground-relat ed for mal struc tures inside landscape.  Start ing from the mys te ri ous, prim i tive earth mounds pass ing through Dinocrates and the vision ary project of Mount Athos for Alexan der the Great or to Vio let Le Duc’s repeat ed attempts to design Mont Blanc or to Bruno Taut’s gaze toward the entire Alpine arc, a dri ve as much ances tral as it is ten dent to hubris, accom pa nies human beings and push es them to rethink, draw, and to plan mon u men tal ground-works.  Even today we face, again, moun tains and slopes, but they are mon u - men tal piles man i fest ed by our mon u men tal debris.  In a peri od of over all eco log i cal decline, an acute under stand of the com plex i ty of these land scapes is para mount; this includes build ing knowl - edge derived from the nat ur al sci ences, nat ur al his to ry, and from social, eco - nom ic and polit i cal process es in order to look beyond the sur face of places or the cel e bra to ry pos tures con cern ing tech no log i cal ly advanced cycling of mate r i al dis place ments. Above all, look ing at the emerg ing accu mu la tion of debris, “land scape archi tects should nei ther be sat is fied with their role as dec o ra tors who spruce-up the left over, open spaces around infra struc ture facil i ties, nor with their role as con ser va tion ists who try to heal land scapes or defend them from inter ven tions.” Poten tial design approach es regard ing mon u men tal earth works should rather start from the onset and be con scious - ly direct ed towards chal leng ing topo log i cal site trans for ma tions, pos si ble con struct ed ecolo gies , new forms emerg ing from deep cul tur al stra ta made by strong sym bol ic pres ences and his tor i cal mean ings, altered rela tions between under ground and over ground land scapes, between human present time and geo log i cal past, human scale and nat ur al scale, that are stag ing the 32 33 34 35 36 Chiara Pradel The Artifice of Redress 37 Chiara Pradel, “Mov ing Ground. The Con struc ‐ tion of Alp Tran sit Infra struc ture and its Mon u ‐ men tal Land scapes,” Ardeth 7 (2020): 67–83. 38 Lucius Bur ck hardt, “L’intervento min i mo,” in Il Fal so è l’autentico. Polit i ca, pae sag gio, design, architet tura, piani fi cazione, ped a gogia, eds. Gae tano Lica ta and Mar tin Schmitz, (Mac er a ‐ ta: Quodli bet, 2019), 147. Trans la tion by the author. Between Construction and Deconstruction 219 irre triev ably unpre dictable, frag ile and mon u men tal aspect of anthrop ic earth works . Bring ing back to light and con scious ness ele ments that are oth er wise masked, pre sent ed as acci dents or mis takes, we wit ness a rever sal in which the ruins, the left overs, even the dirt become the sig ni fiers of the project process, since “if in par tic u lar the ruin is the bear er of the infor ma tion that makes pos si ble the pro found elab o ra tion of the present” the (land scape) project can not escape from deal ing with the “recon struc tion of ruins.” 37 38 Chiara Pradel The Artifice of Redress Between Construction and Deconstruction 221 Bibliography Allen, Stan. “Infrastructural Urbanism. ” In Infrastructural Monument, edited by MIT Center for Advanced Urbanism, 55–73. New York: Princeton Architectural Press, 2016. Bélanger, Pierre. “Underground landscape: The urbanism and infrastructure of Toronto’s downtown pedestrian network. ” Tunnelling and Underground Space Technology 22 (2007): 272–292. Burckhardt, Lucius. “Dirt. ” In Lucius Burckhardt Writings. Rethinking Man-made Environments. Politics, Landscape & Design, edited by Jesko Fezer and Martin Schmitz, 166–169. Wien: Springer-Verlag, 2012. Burckhardt, Lucius. “L’intervento minimo. ” In Il Falso è l’autentico. Politica, paesaggio, design, architettura, pianificazione, pedagogia, edited by Gaetano Licata and Martin Schmitz, 143–147. Macerata: Quodlibet, 2019. Clifford, Brandon. The Cannibal’s Cookbook. Mining Myths of Cyclopean Constructions. San Francisco: ORO Editions, 2017. Smithson, Robert. “A Sedimentation of the Mind: Earth Proposals. ” Artforum 7, 1 (1968): 44–50. Davis, Brian, Rob Holmes and Brett Milligan. “Isthmus. ” Places Journal (December 2015). https://doi.org /10.22269/151207 European Commission. Study on Mediterranean TEN-T Core Network Corridor. Final Report. Luxembourg: Publications Office of the European Union, 2018. Framton, Kenneth. Megaform As Urban Landscape. Ann Arbor: University of Michigan, 1999. Goldsmith, Clarke, Benedict Barret, Eleanor Hudson and James Whibberley. “Engineering the landscape – Capability Brown’s role. ” Engineering History and Heritage 170 (2017): 19-30. Hall, Suzanne and Ricky Burdett. “Urban Churn. ” In The Sage Handbook of the 21st Century City, edited by Suzanne Hall and Ricky Burdett, 1–5. London: Sage Publication, 2017. Hutton, Jane, ed. Material Culture: Assembling and Disassembling Landscapes. Berlin: Jovis, 2018. Hutton, Jane. Reciprocal Landscapes: Stories of Material Movements. London: Routledge, 2019. Ingold, Tim. “Toward an Ecology of Materials. ” Annual Review of Anthropology 41 (2012): 435. Kentridge, William. Six Drawing Lessons. London: Harvard University Press, 2014. Krull, Wilhelm. “Topology. ” In Topology. Topical Thoughts on the Contemporary Landscape, edited by Cristophe Girot, Annette Freytag, Albert Kirchengast, Dunja Richter. 13–16. Berlin: Jovis, 2012. Lanfranchi, Paolo, Emanuele Catelli and Thomas Bühler. “Environmental reclamation for the Gotthard Base Tunnel, effects of spoil management on landscape. ” In Tunnels and Underground Cities: Engineering and Innovation meet Archaeology, Architecture and Art, edited by Daniele Peila, Giulia Viggiani and Tarcision Celestino, 405–414. London: Taylor & Francis Group, 2019. Linke, Armin. Alpi, based on a research project of Piero Zanini, Renato Rinaldi and Armin Linke, 16mm, transferred on Blu-ray/DCP, 2011. Massey, Doren. “Landscape as a Provocation: Reflections on Moving Mountains. ” Journal of Material Culture 11 (2006): 34-35. Chiara Pradel The Artifice of Redress Between Construction and Deconstruction 223 Pradel, Chiara. “From Infrastructural Construction Sites to Landscape. ” In CA2RE. Strategies of Design- Driven Research, edited by Claus Peder Pedersen, Tadeja Zupančič, Markus Schwai, Jo Van Den Berghe and Thierry Lagrange, 80–97. Aahrus: Aarhus School of Architecture, 2021. Pradel, Chiara. “Moving Ground. The Construction of AlpTransit Infrastructure and its Monumental Landscapes. ” Ardeth 7 (2020): 67–83. Ravazzoli, Elisa, Thomas Streifeneder and Federico Cavallaro. “The Effects of the Planned High-Speed Rail System on Travel Times and Spatial Development in the European Alps. ” Mountain Research and Development 37 (2017): 131–140. Schubarth Christian and Felix Weibel, Land Use in Switzerland. Results of the Swiss land use statistics. Neuchâtel: Federal Statistical Office, 2013. Walker, Peter. “Foreword. ” In Grading for Landscape Architects and Architects, edited by Peter Petschek, 19-30. Boston: Birkhauser, 2008. 225 Rok Žnidaršič Žička kartuzija In reflect ing on the words of Ger man philoso pher Ute Guzzioni, I feel that per haps our atti tude towards dwelling is most intense ly reflect ed through repa ra tion. Now that we under stand that our plan et has been trans ‐ formed to such an extent that the Anthro pocene is of cen tral con cern, it can be said that apart from rare excep tions, essen tial ly all our inter ven tions in space is renovation. The ques tion con cern ing redress is how much we are will ing to adapt; it is through crit i cal reflec tion infused with a will ing ness to adapt that we can most ful ly expe ‐ ri ence what we wish to pre serve and define as mean ing ‐ ful heritage. In our work arti fice emerges a mal leable means of defining—and constructing—balances between pro ject ‐ ed poten tials and the existing. – Rok Žnidaršič 241 Thierry Lagrange Johan Van Den Berghe Moragh Diels The Drawing as a Boundary Object Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 1 Geof frey C. Bowk er and Susan Leigh Star, Sort ing Things Out: Clas si fi ca tion and Its Con ‐ se quences (Cam bridge: MIT Press, 1999), 283–326. 2 Muse ums for exam ple use it to find com mon agree ment on what is exhib it ed between spon sors, his to ri ans, experts and oth er stake ‐ hold ers. Susan Leigh Star and James R. Griese mer, “Inti tu tion al Ecol o gy, ‘Trans la tions’ and Bound ary Objects: Ama teurs and Pro fes ‐ sion als in Berkeley’s Muse um of Ver te brate Zool o gy,” Social Stud ies of Sci ence 19, no. 3 (1989): 387–420. 3 Ibid. 4 Ibid. 5 Car la Cipol la, “Design ing for Vul ner a bil i ty: Inter per son al Rela tions and Design,” She Ji: Th e Jour nal of Design, Eco nom ics, and Inno va ‐ tion 4, no. 1 (2021): 144–145. 6 Thomas Binder et al., Design Things (Cam ‐ bridge: MIT Press, 2011), 55. 7 Brené Brown, Dar ing Great ly: How the Courage to Be Vul ner a ble Trans forms the Way We Live, Love, Par ent, and Lead (New York: Pen guin Group Inc., 2012), 32–58, 112–172. 8 Dar i an Leader, The new black: Mourn ing, melan cho lia and depres sion (Lon don: The Pen guin Group, 2009), 91. 9 Research project of the sec ond author: Mor ‐ agh Diels, “De laat ste weken,” (Dis ser ta tion Mas ter, KU Leu ven, 2019), 0–160. 10 Explorato ry research into the rein te gra tion of bereaved for exam ple by AStri (pol i cy research and advice in the Nether lands) indi ‐ cates that approx i mate ly 500.000 peo ple each year face with the loss of a rel a tive and approx i mate ly 20% of the bereaved expe ri ‐ ence seri ous prob lems cop ing with the loss. Quirien H.J.M. van Ojen, “Rouw en werk: explor erend onder zoek naar re-inte gratie van nabestaan den,” Astri belei d son der zoek en – advies, P10.541. (2011): 24. 11 An aca d e m ic overview and data of taboos was not avail able, this is an overview on the taboo about death in the Nether lands from the RU Uni ver si ty: Sjors Van Der Hei den, “De dood in het lev en: het taboe op de dood in Ned er ‐ land,” (Mas ter Research, Uni ver si ty RU, 2006), 4–6. 12 Den nis Klass, “Grief and Mourn ing in Cross- Cul tur al Per spec tive,” deathreference.com. Octo ber 25, 2021. 13 We deem it nec es sary to refer to the PhD of Eva Demuynck, fund ed by F.R.S. in the con ‐ text of the Research Group The Draw ing and the Space: Eva Demuynck, “The embod i ment of Con so la tion: unlock ing the inter ac tion between mourn ing, draw ing and space,” (Dis ‐ ser ta tion Mas ter, KU Leu ven, 2018). 14 This research is also famil iar with The o ry U, for more infor ma tion see: C. Otto Scharmer, The o ry U: Lead ing from the Future as It Emerges, first edi tion (Unit ed States of Amer i ‐ ca: Berrett-Hoehler Pub lish ers Inc., 2009), 23– 377. The Drawing as a Boundary Object 243 By reflect ing on a spe cif ic research case, this arti cle aims to explore the hand draw ing as a bound ary object for inter act ing with vul ner a bil i ties through intro spec tion and to facil i tate ini ti at ing ver bal iza tion with the self and oth ers. Observ ing the emer gence, effect and after-effect of solid i fy ing the self in a hand draw ing uncov ers the bind ing prop er ty of the bound ary object between dif fer ent ben e fi cia ries, poten tial vic tims and enablers in the con text of the griev ing process. The con cept of the bound ary object has a wide range of poten tial appli - ca tions, it is used as a facil i ta tor between dif fer ent stake hold ers, as it rep - re sents a com mon con struct and has a dif fer ent iden ti ty for each ben e fi cia ry. The com mon bound aries of each are brought togeth er in this object; it is a rep re sen ta tion of the over lap ping indi vid ual inter ests of each ben e fi cia ry and brings a coheren cy to the sur face. Bound ary objects are of a het ero ge - neous nature: with out a fixed form and thus open to the inter pre ta tion of dif - fer ent ben e fi cia ries but still have an inter sub jec tive lev el that ensures their struc ture is pre served. Car la Cipol la, par tic i pat ing in the research about design for soci etal inno va tion, and Thomas Binder, an author regard ing design research, have pre vi ous ly linked the design er to the bound ary object. Accord ing to Brené Brown, intro spec tion inher ent ly pre cedes prac tic ing vul ner a bil i ty. On the oth er hand, lit er a ture states that com mu ni ca tion between mourn ers about their loss enhances the mourn ing process. A con - nec tion with mem o ries, estab lished through con ver sa tion, can place the griev ing process in per spec tive. The fol low ing reflec tions are con duct ed from an auto-ethno graph i cal research case, where a bound ary object was devel oped unin ten tion al ly, lead ing to a series of insights. By reflect ing on this case, one first encoun ters the for mu la tion of a series of key char ac ter is - tics: qual i ties and ini tial pre con di tions of the bound ary object. This case was cho sen because of the con flu ence of two lev els of vulnerability:  1. A per son al lev el: the research is con duct ed by the first author, who deals with the griev ing process of her father's death and the dif fi - cul ty with in her fam i ly to talk about what hap pened. The bound ary object became the main tool in the design research.  2. An inter na tion al lev el: giv en the com bi na tion of a high num ber of bereaved peo ple who go through the griev ing process and the indi ca tion that death is a taboo sub ject in the West ern world. Hence the draw ing trans formed into a bound ary object, gen er at ing con nec - tions between dif fer ent actors through open ness and ver bal iza tion. The inter ac tion between ver bal iza tion and the draw ing was a tool to exam ine the 1 2 3 4 5 6 7 8 9 10 11 12 1 3 14 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 1 2 1 The memory, excerpt research case 2 The solidified memory, excerpt research case These photographs represent the subjectivity of the translation of a memory into a drawing. [ 1 ] shows the cladding of the house where the memories (explored in the research case) took place, while [ 2 ] shows how this material aspect of the building in the memory was translated into a material aspect of the design in the drawing. 15 For more infor ma tion see research group The draw ing and The Space, at KU Leu ven Depart ‐ ment of Archi tec ture, www.thedrawingandthes pace.info and https://architectuur.kuleuven.be /departementarchitectuur/english/research/o nderzoeksgroepen/the-drawing-and-the-spac e. 16 Diels, “De laat ste weken” 1–160. The Drawing as a Boundary Object 245 inter pre ta tion of per son al expe ri ence on three con sec u tive lev els: inter nal ver bal iza tion, for ver i fy ing whether the inter pre ta tion of inter nal thoughts is accu rate, exter nal ver bal iza tion, for pre sent ing these thoughts to friends and fam i ly in order to con firm them or not, and sub se quent mutu al ver bal iza tion, for mak ing them debat able and thus more pre cise. Map ping the draw ing process leads to pin point ing the four cru cial steps where the bound ary object is devel oped, acti vat ed and exposed, by con serv ing, rad i cal ly recon struct ing and pos si bly over com ing per son al vul ner a bil i ties. Reflect ing on the draw ing process leads to uncov er ing a series of oper a tional prop er ties for the bound - ary object. These state ments are con firmed in the fol low ing research case, sug gest ing the explo ration of bound ary objects are impor tant for pre serv ing coheren cy between dif fer ent ben e fi cia ries in a griev ing process and beyond. These insights and reflec tions have the poten tial to ulti mate ly lead to soci - etal benefits.  The Research Case A bound ary object was devel oped through design dri ven research in the con - text of the research group The Draw ing and The Space. It did not lead to mak ing phys i cal space, but to cre at ing drawn and men tal space. The fol low - ing text is a first-hand reflec tion on the poten tial of the archi tec tur al draw - ing. It ref er ences mul ti ple actors who will be cat e go rized for reflec tion as expert, enabler, poten tial vic tim and ben e fi cia ry. The first author is iden ti fied as the expert in draw ing space (by being an archi tect) and the enabler of the draw ing process (by ini ti at ing the process). The author and her imme di ate fam i ly are both poten tial vic tims and ben e fi cia ries, since they have all lost a close rel a tive and in dif fer ing ways ben e fit ed from the ver bal iza tion of the griev ing process.  Drawing Stadia The sub ject of this research emerged as a draw ing of an imag i nary mnemon - ic house that remained unfin ished as a pre con di tion for its exis tence and was based on spe cif ic mem o ries dur ing the last weeks of the first author’s father’s life. This draw ing is pre ced ed by indis pens able proces su al draw - ings that move through a num ber of cycli cal stadia: First, mem o ries that took place in the child hood home were writ ten down and ana lyzed. This led to a chrono log i cal sequence of rooms that had no resem blance to the family’s phys i cal home. Dur ing the design process the rooms were giv en names, mem o ries and trans formed into new forms by ref - er enc ing a spe cif ic mem o ry that took place in a room. This process embod - 15 16 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress The Drawing as a Boundary Object 247 ied a con scious remem brance of spaces where the first author grew up by a cycli cal switch ing between writ ten mem o ries and reflect ing and read ing in order to gain aware ness about her uncon scious thoughts and to redis cov er a dis tanced men tal space. This process of active remem ber ing was accel er at - ed by cul ti vat ing inspi ra tion and aspi ra tion at dif fer ent steps of the design process from sec ondary activ i ties e.g., lis ten ing to music, pod casts or lec - tures about loss and death while draw ing and look ing for vocab u lary when read ing to order thoughts. A note book was rou tine ly at hand while read ing, the amount of time spent alter nat ing between read ing, lis ten ing, writ ing, and draw ing with out pause was direct ly pro por tion al to an aware ness of the sub - con scious. When a break occurred in this process—due to the phys i cal need for sleep or food—access to this men tal space was reestab lished all over again.  The process of memo writ ing feeds the draw ing process and vice ver sa. These memories were trans lat ed into anno tat ed plans and sec tions that facil i - tat ed the gen er a tion and order ing of thoughts while serv ing as a con stant overview result ing in a sequence of spaces—materialized mem o ries. The afore men tioned are con sid ered ‘tools’ defin ing a first draw ing with out think - ing about mate ri als and details meant to be part of the final design. The draw ing process con tains a sys tem at ic switch ing between floor plan and cross-sec tion, which is not exact ly the sec tion of the first plan. A ver ti cal cross-sec tion forces the draw er to design the spa tial dimen sion, while the insights gained by draw ing the sec tion lead to a new plan and so on. This makes draw ing an essen tial part of the research process. The last step, drawn at a scale of 1 to 10 (2700 x 2200 mm), tends more towards a draft. It is a struc tural ly fea si ble design and there fore trans forms into an inter sub jec - tive ly relat able inte ri or of leave-tak ing by guid ing fam i ly mem bers or oth er peo ple griev ing through the embod i ment of mem o ries of the last weeks of the first author’s father’s life. This process simul ta ne ous ly trig gers a kind of Janu sian reflec tion and, while ‘walk ing’ through the spaces in the draw ing, a men tal ly lit er al look ing back ward and for ward through the drawn build ing: Why did he remain silent? Why did they remain silent? Should they have known? What sig nals did they miss? The main con struct of the draw ing process pre ced ing the final draw ing was to process and coun ter act the avoid ance of mem o ries in order to con - tribute to the indi vid ual mourn ing process. In ret ro spect, it turned out that a reflec tion about the agency of archi tec ture and draw ing in the griev ing process, and its ther a peu tic capac i ty, was imposed. The design dri ven research in this case study gen er at ed a num ber of per son al insights, show ing how loss not only leads to sor row, but also to insights and new trans fer able knowl edge through draw ing. One of the key ele ments in this research tra jec - Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 3 4 3 Schematic overview of the mechanisms of the boundary drawing: In this case, the interaction between verbalization and drawing permitted to examine the interpretation of personal experience on three consecutive levels: internal verbalization, for verifying whether the interpretation of internal thoughts is accurate, external verbalization, for presenting these thoughts to friends and family in order to confirm them or not, and subsequently mutual verbalization, for making them debatable and thus more precise. 4 The space the memories took place in. . The Agency of Memories And Thoughts . The Act of Drawing . Participative Drawing . The Public Peer Review 17 Johan Van Den Berghe et al., “The atre of Oper a tions, or: Con struc tion Site as Archi tec ‐ tur al Design,” (Doc tor al The sis, Roy al Mel ‐ bourne Insti tute of Tech nol o gy Uni ver si ty, 2012), book 4: 4–37. 18 Koen Broucke, “Onder de roze duis ter n is van het slagveld: een artistieke zoek tocht naar de atmos ferische lagen van de geschiede nis,” (Doc tor al The sis, KU Leu ven – LUCA School of Arts, 2019), 202. The Drawing as a Boundary Object 249 to ry was deal ing with vul ner a bil i ty on mul ti ple lev els (see ‘2. The Act of Draw ing’ below) dur ing the hand draw ing process, in the hand draw ing and in the space acti vat ed by the drawing.  When ana lyz ing and reliv ing the draw ing process through observ ing the emer gence, effect and after-effect of the draw ing as a bound ary object, hence forth referred to as “bound ary draw ing”, a num ber of turn ing points become clear. The draw ing is clas si fied as a bound ary draw ing since it is used as a facil i ta tor of ver bal iza tion between par tic i pants by rep re sent ing a com mon inter est, facil i tat ing three lev els of ver bal iza tion: inter nal ver bal - iza tion (with the self), exter nal ver bal iza tion (to oth ers) and mutu al ver bal - iza tion (with an audi ence). In this research case four cru cial chrono log i cal steps—that in ret ro spect fuelled the research process—can be dis cerned by reflect ing on how the bound ary draw ing is devel oped, (re)activated and even tu al ly exposed. These steps are derived from the research case and thus not described here as a truth, but as an ini tial basis for fur ther research: 1. The Agency of Memories and Thoughts The research began by writ ing, with as much detail as pos si ble, spe cif ic mem o ries and thoughts of her father in her child hood home that were in turn arranged by the domes tic space they took place in. Sub se quent ly, these mem - o ries were chrono log i cal ly sequenced and trans lat ed into a series of drawn spaces that could be ordered, thus mak ing it pos si ble to cre ate asso ci a tions, observe rela tions between spaces and project upon them the syn thet ic com bi - na tion of writ ten and drawn space that pro vides access to men tal space. When mem o ries are not ed (memo-writ ing) and trans lat ed (draw ing) into spaces they become explic it, hence they can no longer be avoid ed thoughts become sort ed and allow for direct con fronta tions and ver bal iza tions with the self which inevitably leads to introspection. 2. The Act of Drawing “The staging is a fake. It tries to replace what happened. The costumed re-enactor is a transvestite. He primarily pursues an external imitation, in which the present is erased. The inner, investigating re-enactor, who imitates the movement from within, represents an honest attempt to come to a deeper knowledge of what happened. This investigator is aware that this action never replaces the event, but gives a deeper understanding of it, that there is time between the imitated and the imitation.” – Koen Broucke (translation of the first author) 17 18 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 19 A safe space is a place where judg ment is not based on per son al back ground, where all can express them selves with out fear of being judged for it, with the over ar ch ing objec tive of pro vid ing sup port. “Oxford Learner’s Dic tio ‐ nar ies,” Oxfordlearnersdictionaries.com, Octo ‐ ber 25, 2021. The Drawing as a Boundary Object 251 The mem o ry of the weeks pri or to and the moment of death itself re-emerged by engag ing with the draw ing process as a form of re-enact ment. The act of draw ing solid i fied mem o ries and thoughts by trans lat ing them from emo tion to mat ter. These tan gi ble media were cru cial to low er the bar for ini ti at ing ver bal iza tion about the invis i ble, intan gi ble self. The drawn and writ ten space allowed access to the men tal space again and again dri ven by synes - thet ic per cep tions. After apply ing a slow draw ing method, a large draw ing became an inter me di ary to ver bal ize per son al vul ner a bil i ties with the self and more over facil i tat ed con nec tion with oth ers through open ness and verbalization. In order to trans late mem o ry spe cif ic details and the inher ent sub jec tive nature of a mem o ry, a slow draw ing method was required to con scious ly observe and cap ture the embod ied knowl edge, hence the project was delib er - ate ly hand drawn at an enlarged scale. This large size acti vat ed both self- reflec tion and a more pre cise ver bal iza tion of mem o ries and thoughts emerg - ing from the draw ing while insti gat ing the par tic i pa tion of oth er ben e fi cia - ries, as the size allowed for sit ting around and talk ing about the draw ing with sev er al actors through the—act of—drawing [ 6 ]. Both draw ing and writ ing spaces are indis pens able instru ments that allow one to access, read, under stand and mate ri al ize men tal space while the acti va tion of men tal space pre cedes the cre ation of drawn space. Draw ing and writ ing pro vide access to men tal space through ver bal iza tion, even tu al ly the drawn and writ ten space become a first mate ri al iza tion of men tal space. Dur ing the mate ri al iza tion of men tal space—through the drawn space—new men tal space emerges, as drawn space grants access to men tal space again and again. The draw ing process in this case requires sev er al months. When time unavoid ably inter rupts dif fer ent draw ing ses sions, re-enter ing this men - tal space feels more dif fi cult and becomes repeat ed ly acces si ble after each inter rup tion by con tin u ing the draw ing process, cre at ing and acti vat ing men - tal and drawn space. This men tal space allows for active think ing and reflect ing on mem o ries only acces si ble to the self —thus defin ing an inher - ent ly safe space. Lat er in the arti cle the men tal space involved in the draw - ing process is referred to as a ‘safe space of the first order’, a pre con di tion for the exis tence of both men tal and drawn spaces in the process of devel op - ing a bound ary drawing.  Both men tal and drawn space share over lap ping prop er ties that elic it synes thet ic per cep tions (smell, feel ing, atmos phere) which keeps the draw - ing process oper at ing. Upon reflec tion on the mem o ries that are sub ject to the draw ing process in this case, they often reveal them selves as a com pos ite of sen so ry per cep tions, evoked by oth er sen so ry per cep tions. Dur ing the process of mate ri al iz ing a mem o ry in the draw ing new mem o ries emerge. 19 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 5 5 Vulnerability reflected in the imperfect lines of the boundary drawing 20 For fur ther dis cus sions: Alva Noë, Strange Tools: Art and Human Nature (New York: Hill and Wang, 2015) and Alber to-Perez-Gomez, Built upon love (Cam bridge: The MIT Press, 2008) 21 Bri an Arao and Kristi Clemens, “From Safe Spaces to Brave Spaces: New Way to Frame Dia logue Around Diver si ty and Social Jus tice,” From the Art of Effec tive Facil i ta tion (2013): 135–149. 22 S‐K Banou, “Tex tu al Cities / Work ing Draw ‐ ings: Reread ing the space of the Draw ing,” in Writ ing place. Inves ti ga tions in Archi tec ture and Lit er a ture, ed. Klaske Havik et al. (Rot ter ‐ dam: Nai010, 2016), 212–215. The Drawing as a Boundary Object 253 A par tic u lar com po si tion of lines dur ing the draw ing process may link spe - cif ic loca tions with in men tal space. Both spaces facil i tate the trans la tion of mem o ry-spe cif ic details, from men tal space to drawn space and vice ver sa, as well as the read ing of both spaces. Only the self can read men tal space, while both the self and the vis i - tor can read drawn space. The drawn space is offered as a trans fer or of ideas to oth ers because of its space-spe cif ic char ac ter is tics. The imme di ate expe ri - enc ing of space by a human being leads to emo tion al stim uli and has an impact on one’s con scious ness. Men tal space will lat er be crossed by oth er poten tial ben e fi cia ries in the drawn space through ver bal iza tion, gen er at ing over lap ping sen so ry prop er ties that con tribute to the drawn space as bound - ary draw ing. These con se quen tial modes of draw ing serve to cre ate spaces imbued with the poten tial to trans mute vulnerabilities—too sen si tive to address men - tal ly pri or to this draw ing process—into new per son al under stand ings. Dur - ing the pub lic peer review the first author shares per son al vul ner a bil i ties through the draw ing, this intro duces per son al insights that estab lish es a new type of space – ‘a brave space’ The designed space nev er projects the verisimil i tude of a mem o ry, it does not have the same poten tial clar i ty as cer tain draw ings. Yet the space, like the mem o ry, can be expe ri enced. Any hand drawn rep re sen ta tion of a space is inter pret ed dif fer ent ly by each observ er. With in the (inter)subjective con cep tion of space, dri ven by a vul - ner a bil i ty through trans lat ing mem o ries, lies the pow er of an acti vat ed men - tal and drawn space. Cre at ing space is a tool to solid i fy mem o ries. Drawn archi tec ture becomes space from the moment you can walk through it men - tal ly, thus the (non-)existence of this space in the draw ing is sub jec tive. The draw ing can only become a space through men tal space. Most archi tects use draw ing as a tool lead ing to the con struc tion of a build ing (exe cu tion draw ings). This arti cle does not focus on this kind of draw ing, rather, it focus es on the ‘work ing’ draw ing as an ongo ing process, which is the cen tral research tool of the archi tect and there fore no less impor tant than the built space. The work ing draw ing brings the par tic i - pants, the draw ing and its cre ator togeth er in a net work (see ‘3. Par tic i pa tive Draw ing’ below) in which vul ner a bil i ty can emerge: vul ner a bil i ties are under stood here with as poten tial strengths, devel oped through deal ing with del i cate sub jects. Fol low ing ways to han dle vul ner a bil i ties are inher ent to the work ing draw ing in this case: 1. Belief in the draw ing as a space to be vis it ed, which is typ i cal ly not evi dent in sci ence-ori ent ed milieus, where a sep a ra tion between phys i cal and men tal health is assumed. 20 21 22 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 6 7 6 Participative drawing during the research case 7 Participative drawing during the research case The Drawing as a Boundary Object 255 2. The open mind of the author/ drawer and by exten sion of the mul ti - ple drawers/ participants in this process, which implies, fuelled by the draw ing process, remov ing shield ed per son al vul ner a bil i ties in the con text of the safe space of the first order. An open mind also allows for mem o ries to wan der, to be shared and activated. 3. Trans lat ing emo tion into mat ter so that a part of the self can solid i - fy the draw ing. The mate ri al i ty of the draw ing itself helps the draw ing to evolve.  4. Look ing for ways to grasp and solid i fy sub jec tiv i ties and make them more trans fer able between stake hold ers on an inter sub jec tive lev el of under stand ing, i.e. the author’s remem brances of things com ing from an aware ness of vul ner a bil i ty of the self through ver - bal iza tion with the self. This case demon strates how draw ing archi - tec ture has a bar low er ing ther a peu tic poten tial as com pared with a con ven tion al ver bal iza tion through words. 5. This way of draw ing acti vates space that also has the capac i ty to con vert vul ner a bil i ties into new under stand ings through reflect ing on what is (not) drawn. 3. Participative Drawing As pre vi ous ly stat ed, in order to cap ture spe cif ic details through the inher - ent ly sub jec tive nature of mem o ry, the project was delib er ate ly hand-drawn at a large scale (1:10). The result ing draw ing was 2700mm x 2200mm; this scale per mit ted the active par tic i pa tion of oth ers who were also cop ing with loss, hence it helped to estab lish the bound ary draw ing and acti vat ed ver bal - iza tions of the draw ing process by explain ing the mean ing of what was—or was not—being drawn, includ ing the motives beyond the drawing.  1. As the dead line for the pub lic peer review approached, it became clear that fin ish ing the draw ing alone with in the giv en time frame was not pos si ble. The first author request ed draw ing assis tance first from friends and lat er fam i ly to com plete the draw ing. At first it was eas i er to talk about the draw ing with friends than with fam i ly mem bers, because of their direct involve ment in her father's death. Ask ing for help in gen er al was not nat ur al, but trans fer ring the sub - ject from the self to the drawing—solidified memories—made this sig nif i cant ly eas i er. Ini tial ly help was request ed to com plete the draw ing on time for the pub lic peer review. Dur ing this stage it occurred that the crit i cal con struct was ver bal iza tion through devel - op ing and acti vat ing the bound ary drawing. Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 23 A safe space is a place where judg ment is not based on per son al back ground, where all can express them selves with out fear of being judged for it, with the over ar ch ing objec tive of pro vid ing sup port. “Oxford Learner’s Dic tio ‐ nar ies,” Oxfordlearnersdictionaries.com, Octo ‐ ber 25, 2021. 24 Ibid. The Drawing as a Boundary Object 257 2. As par tic i pants joined the draw ing process, ver bal iza tion about the self through explain ing the inten tion of the draw ing by address ing solid i fied mem o ries emerged. Under stand ing the sub ject of the draw ing was cru cial for friends and fam i ly who helped draw ing to be more moti vat ed to spend hours work ing, due to the feel ing that they could final ly help with some thing con crete in the griev ing process of the first author. Dur ing these hours of repet i tive hatch - ing, diverse con ver sa tions took place about the draw ing and its gen e sis, trans form ing the draw ing into a bound ary drawing. Estab lish ing a safe space is a cru cial step in the draw ing process before being able to allow involv ing oth ers in draw ing, this is where the bound ary draw ing is acti vat ed for the sec ond time (after acti vat ing the bound ary draw - ing for the first time by ver bal iz ing with the self). This part of the process can be dis sect ed into the fol low ing two pre con di tions for the bound ary draw - ing to emerge: An Open-Ended Starting Point: The bound ary draw ing was large, and as such com plet ing it for the pub lic peer review was too much work for one per son. Its size emerged from the open-end ed nature of the case. The draw ing was large enough to sit u ate mem o ry-spe cif ic details into the total i ty of both mem o ries and the draw ing, and to invite addi tion al par tic i pants around the draw ing table. Con se quent ly, there was also a need for mod u lat ing the archi tec tur al total i ty into frag ments to sep a rate mem o ry-spe cif ic details [ 10 ] from the rest of the draw ing in order to study them bet ter and make the sub ject of ver bal iza tion eas i ly acces si ble for discussion. Intersecting Identities: The moti va tion of the first author, friends and fam i ly for work ing togeth er towards the bound ary draw ing indi cat ed a num ber of over lap ping inter ests. The first author was the griev er, as well as one of the enablers and the ben e - fi cia ry. She start ed this research to por tray her mem o ries that pre ced ed this ‘sud den’ death on a pub lic peer review in order to con tribute to her griev ing process. The par tic i pants in the research group The Draw ing and the Space became enablers by pro vid ing a precondition—the safe space— for the result. The friends (ben e fi cia ries) helped the first author in order to help in the griev ing process before, but did not know how. The imme di ate fam i ly mem bers (poten tial vic tims and ben e fi cia ries) help draw ing in order to 23 24 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 8 9 8 Public peer review of the research case 9 Public peer review of the research case 25 James Elkins, The Object Stares Back: On the Nature of See ing (New York: Simon & Schus ‐ ter, Inc., 1996), 17–237. 26 Paul Arthur Schilpp et al., The Phi los o phy of Mar tin Buber (Car bon dale: The Library of Liv ‐ ing Philoso phers, 1967), 619. The Drawing as a Boundary Object 259 under stand the process that pre ced ed this ‘sud den’ death and make it nego - tiable, but do not know how. The draw ing was a tan gi ble work tool to facil i - tate and share the griev ing process. Over lap ping inter ests of poten tial ben e - fi cia ries, vic tims and enablers insti gat ed the cre ation of the bound ary draw - ing. By trans form ing vul ner a bil i ties into a phys i cal draw ing, insight into loss was devel oped, com ing togeth er around this draw ing can be com pared to rit u al acts famil iar to everyone.  4. The Public Peer Review In ret ro spect, cre at ing a time-frame for the pre sen ta tion and jus ti fi ca tion of the case at the end of the process for an inter na tion al pan el of aca d e mics and peer review ers in the con text of a pub lic exhi bi tion had sev er al advan tages: While devel op ing the bound ary draw ing the dead line for the pub lic peer review was an incen tive to ask for help with cre at ing the bound ary draw ing, lead ing to new ben e fi cia ries. Addi tion al ly, dur ing the final pub lic peer review new insights emerged. Dur ing a process of ver bal iza tion, it became clear that not only the direct fam i ly mem bers had dif fi cul ties ver bal iz ing what hap pened, but also the first author her self. Besides these first insights it became evi dent that, by show ing the drawn space to oth ers, more ben e fi cia - ries arose through expe ri enc ing the draw ing. Oth er ben e fi cia ries rec og - nized them selves in this space, reflect ing a blur ring of the bar ri er between the read er and the draw ing. As Buber has stat ed: “(the artist) … for in expos ing him self he can expose all men to them selves, by show ing them sub - jec tiv i ty in all its pro fun di ty.” This case demon strat ed how gen er at ing a bound ary draw ing led to a turn ing point in the griev ing process. 25 26 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 10 10 A memory-specific detail, excerpt from the research case: “The two ladies disguise each other. The only link they have is a dead family member, which is the cause of this family drama. They both want to visit the urn in the middle of the building without meeting unexpectedly, therefore two unique doors are developed. They share the same rotation axis and each door has only one handle and one lock on the other side. Consequently the ladies have to walk through the same path, but they can decide whether the other one can enter or not. The lock is placed high above floor level (1m73), so locking each other out will not become a habit. They actively have to choose to handle that way, this makes locking each other out a conscious decision every time again. ” This etch contains unreadable words since it was created during the first stage of the drawing process, only the creator had to understand them for ordering thoughts. 27 Eszter Szép, Comics and the Body: Draw ing, Read ing and Vul ner a bil i ty (Ohio: The Ohio State Uni ver si ty Press Colum bus, 2020), 185. 28 Joe Sac co and Mitchell W. J. T., “Pub lic Con ‐ ver sa tion,” Crit i cal Inquiry 40, no. 3 (2014): 53– 70. 29 This argu ment is sup port ed by Pal las maa, 2006: “We are in con stant dia logue and inter ‐ ac tion with the envi ron ment, to the degree that it is impos si ble to detach the image of the Self from its spa tial and sit u a tion al exis ‐ tence.” Juhani Pal las maa, “An Archi tec ture of the Sev en Sens es,” in Ques tions of Per cep tion: Phe nom e nol o gy in Archi tec ture, ed. Steven Holl, Juhani Pal las maa, Alber to Pérez-Gómez. (San Fran cis co: William Stout Pub lish ers, 2006), 35. 30 Susan Leigh Star and James R. Griese mer, “Inti tu tion al Ecol o gy, ‘Trans la tions’ and Bound ary Objects: Ama teurs and Pro fes sion ‐ als in Berkeley’s Muse um of Ver te brate Zool o ‐ gy,” Social Stud ies of Sci ence 19, no. 3 (1989): 387–420. The Drawing as a Boundary Object 261 Reflection on the Research Project Defining the Boundary Drawing “The drawn line, born out of an embodied engagement, is generative of thought and also facilitates rethinking and re-experiencing vulnerability. Drawing is a kind of thinking and a personal & embodied way of understanding the world, others or ourselves, during and by making marks on surfaces.” “You kind of inhabit everything you draw.” Joe Sacco, 2014. In the first two steps, the bound ary draw ing was devel oped and acti vat ed for the first time through intro spec tion and inter nal ver bal iza tion, with the self. Dur ing the third step the bound ary draw ing was re-acti vat ed, this time through exter nal ver bal iza tion by draw ing togeth er. In the fourth step it was exposed and acti vat ed for the third time dur ing the pub lic peer review in the set ting of an exhi bi tion, through mutu al ver bal iza tion with the audi ence. In order to come to define the bound ary draw ing, the fol low ing bound ary objects are iden ti fied as: 1. The dead line of the pub lic peer review (acti vat ing the incen tive to ask for help and think about what had hap pened, the bound ary draw ing starts to develop) 2. The draw ing (this is the work place, the active part, where one ver - bal izes thoughts to the self through draw ing, the foun da tion for the bound ary draw ing is developed) 3. The pub lic peer review (reflec tion: when one ver bal izes thoughts to an audi ence one also finds insights, the bound ary draw ing is exposed) The bound ary draw ing does not express a truth, it is mere ly a tool for achiev ing a greater goal. After reflect ing on this spe cif ic case, we come to the for mu la tion of a series of qual i ties and ini tial pre con di tions for the bound ary draw ing to oper ate, suc ces sive ly explained in the fol low - ing paragraphs. Only one draw ing cycle (cov er ing the four steps above) was com plet ed when the stop ping rule came into effect. This rule was indi cat ed by the moment sat u ra tion occurred after step 4, i.e. when no sub stan tial new infor - ma tion sur faced through this first draw ing-con ver sa tion cycle. How ev er, a next cycle could be ini ti at ed at any time, hence start ing cycles of ‘Crit i cal 27 28 29 30 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 31 Johan Van Den Berghe et al., “Win dows into an Archi tec ture of Dark ness and Depth,” in Des Traces et des Hommes Imag i naires du Château de Sell es, ed. Sil vana Edi to ri ale (Milan, 2020), 34–43. 32 Elkins, The Object Stares Back: On the Nature of See ing. 33 Eszter Szép, Comics and the Body: Draw ing, Read ing and Vul ner a bil i ty (Ohio: The Ohio State Uni ver si ty Press Colum bus, 2020), 185. 34 Elkins, The Object Stares Back: On the Nature of See ing. The Drawing as a Boundary Object 263 Sequen tial Draw ing’ in cycli cal iter a tions, poten tial ly allow ing the ver bal - iza tion of the first cycle to impact the next draw ing cycle. Qualities The bound ary object gen er ates a unique com bi na tion of qual i ties. A reflec - tion by the first author on the case above reveals the poten tial inter sec tions between vul ner a bil i ty and archi tec ture. Draw ing ini ti ates ver bal iza tion with the self and oth ers through con serv ing, rad i cal ly recon struct ing and pos si bly destroy ing per son al vul ner a bil i ties by devel op ing, reac ti vat ing and expos ing the bound ary draw ing. This case shows how inter act ing with per son al vul - ner a bil i ties through draw ing space can be healing. Draw ing can solid i fy the intan gi ble self, insti gate look ing for ways to grasp and solid i fy sub jec tiv i ties and make them more trans fer able between beneficiaries/ stakeholders on an inter sub jec tive lev el of under stand ing, i.e. the ben e fi cia ries’ remem brances of things com ing from the vul ner a bil i ty of the self. In turn, what is not drawn may be reveal ing to the self and oth ers. With out ver bal iza tion the con cep tion of space is dif fer ent for each ben e fi cia - ry. When the ratio nale of the draw ing, dri ven by vul ner a bil i ties through trans lat ing mem o ries is explained to the par tic i pants of the draw ing process, their con cep tion of the draw ing changes. Ratio nal iza tion through ver bal iza - tion is less open to inter pre ta tion than the read ing of the draw ing. The com - bi na tion of the draw ing and its ver bal iza tion prompts the vis i tor into a sit u a - tion, ini ti at ed through the bound ary draw ing, where see ing becomes rather 'vis cer al'. In this case the abil i ty to rec og nize one self in a draw ing is embed ded in the inter pre ta tive dif fer ence between the draw ing and the ver - bal ized draw ing. Elkins wrote about this con cept: “Read ers make sense of drawn bod ies in terms of their own body’s sense of itself.” The draw ing process ben e fits from the ver bal iza tion of the mem o ries writ ten down before, which results in solid i fy ing the self in a draw ing. It is more obvi ous to talk about a tan gi ble draw ing than about the intan gi ble self. The drawn and men tal space both con vey a safe space of the first order, induc ing ver bal iza tion with the self. This space evolves into a safe space of the sec ond order, induc ing ver bal iza tion with famil iar ben e fi cia ries. These spaces evolve into a brave space, induc ing ver bal iza tion with unfa mil iar ben e fi cia ries. In this case these three lev els of ver bal iza tion can only be attained through the process of devel op ing a bound ary draw ing, tem porar i ly acti vat ed, yet gen er at ing last ing con se quences, and there fore of a per ma nent char ac ter. Even though these first extract ed qual i ties need fur ther inves ti ga - tion to be con firmed, this case indi cates the capac i ty of the bound ary draw - ing to con tribute to a per son al and a soci etal well-being. 31 32 33 34 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 11 11 The safe space reflected in the boundary drawing of the research case 35 A safe space is a place where judg ment is not based on per son al back ground, where all can express them selves with out fear of being judged for it, with the over ar ch ing objec tive of pro vid ing sup port. “Oxford Learner’s Dic tio ‐ nar ies,” Oxfordlearnersdictionaries.com, Octo ‐ ber 25, 2021. The Drawing as a Boundary Object 265 Initial Preconditions The enabler was unaware of her inter sect ing iden ti ties and there fore insti gat - ed the process of devel op ing a bound ary draw ing (enabler/ beneficiary/ potential victim/ …). The start ing point was a safe space with in the self and in the exter nal cir cum stances. Dur ing this process the safe space trans formed into a brave space from the moment the bound ary draw ing was acti vat ed, this was only pos si ble with inter sub jec tive sup port. Final ly, both draw ing exper tise to devel op the bound ary draw ing and an open end ed case to acti - vate the bound ary draw ing were part of the list of pre con di tions for the draw ing to emerge as a bound ary object.  Intersecting Identities Feel ing the need to explore cer tain mem o ries was a trig ger for ini ti at ing the process of devel op ing a bound ary draw ing. The beneficiary/ victim embod ied inter sect ing inter ests by being both the poten tial vic tim and the beneficiary. The sub jec tive iden ti ties of dif fer ent actors shift ed dur ing the process of devel op ing and expos ing a bound ary draw ing through per son al insights. The ini tial enabler was only able to trans form into a ben e fi cia ry because of the draw ing process, dur ing these first steps. Dur ing the pub lic peer review it became clear to her that she was the poten tial vic tim all along. This real iza - tion would not have occurred with out the acti va tion of the bound ary draw - ing. Because of the poten tial of gen er at ing mutu al agen cies with respect to the bound ary draw ing, the lat ter played a cru cial role in achiev ing these insights. Safe Space A safe space was chrono log i cal ly estab lished on three lev els: (1) in the self, (the first order safe space) (2) in the exter nal cir cum stances (the sec ond order safe space), and (3) cre at ed by the self (the third order safe-space). 1. The first order was reflect ed in step 1. Not ing mem o ries and trans - lat ing them into drawn space was a first step in the process of mate ri al iz ing mem o ries. In order to tran scribe these mem o ries, the first author intu itive ly required the feel ing of resid ing in a place where her mem o ries would not be judged. This safe space of the first order was reflect ed in step 1. It was nec es sary so dis placed mem o ries could not be avoid ed but were active ly evoked, ensur ing (a) the aware ness that no one would be able to read these notes with out per mis sion, and (b) the aware ness that no one could exact - 35 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 36 For more infor ma tion see research group The draw ing and The Space, at KU Leu ven Depart ‐ ment of Archi tec ture, www.thedrawingandthes pace.info and https://architectuur.kuleuven.be /departementarchitectuur/english/research/o nderzoeksgroepen/the-drawing-and-the-spac e. 37 Van Den Berghe, “Archi tec tur al Draw ing as Verb, not as Noun: Extend ing the Con cept of Chrono log i cal Draw ing and X‐Ray-Draw ing,” in Know ing (by) Design ing Con fer ence (Brussels/ Ghent: KU Leu ven Fac ul ty of Archi ‐ tec ture, 2013), 664–673. 38 Van Den Berghe, “Win dows into an Archi tec ‐ ture of Dark ness and Depth,” 34–43. The Drawing as a Boundary Object 267 ly deduct her spe cif ic mem o ries from her draw ing with out explanation. 2. The sec ond order was reflect ed in steps 2 to 3 and embed ded in exter nal cir cum stances cre at ed by the high-trust con text of the research group The Draw ing and The Space. The par tic i pants in this research group did not judge, respect ed the time need ed for the first author to open up and did not put pres sure on what was or was not explained dur ing the draw ing process. This sec ond order was a pre con di tion for involv ing oth er par tic i pants in the draw ing process. First the research group, lat er the friends of the first author and even tu al ly the fam i ly of the first author became the par tic i pants in this safe space. 3. The third order was reflect ed in step 4 and was embed ded in the abil i ty to cre ate an exter nal safe space, first for one self, lat er find - ing it in exter nal cir cum stances and even tu al ly cre at ing the cir cum - stances that made it pos si ble to trans form the safe space into a brave space (see def i n i tion below). Drawing Expertise Draw ing exper tise is one of the most impor tant tools of the archi tect and has been essen tial in this case for trans lat ing mem o ries. After the first stage of the research, an anno tat ed plan and sec tion were drawn direct ly from mem o - ry to main tain a con stant overview of the mul ti tude of mem o ries dur ing the draw ing process. The draw ing process con sist ed of ‘Crit i cal Sequen tial Draw ing’ (CSD), a con stant alter na tion between draw ing a plan and a sec tion, both stem ming from the pre vi ous one and lead ing to new insights. CSD will be addressed cycli cal ly in the fol low ing research steps. While draw ing a ver ti cal or hor i zon tal sec tion, a solid i fi ca tion of the mem o ry pre - sent ed itself. This ren dered the draw ing exper tise of the architect/ enabler, owned by the first author (enabler/ victim/ beneficiary), a quin tes sen tial ele - ment for the bound ary draw ing to emerge. With out being able to cre ate drawn space through men tal space in the draw ing, and thus trans lat ing mem - o ries, the con sec u tive Steps 3: ‘Par tic i pa tive Draw ing’ and 4: ‘The Pub lic Peer Review’ would not have occurred. The project emerged from ‘the expe - ri ence’, a series of mem o ries and thoughts and was expli cat ed in a series of fragments/ details linked togeth er, in which the tech ni cal com po nent of mak - ing archi tec ture was present. Both the archi tec tur al draw ing and the sen so ry expe ri ence of the drawn space were con sti tu tive for this case. 36 37 38 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 12 12 Overview boundary drawing from the research case, size 2700 x 2200 mm. 39 A brave space is a place where dia logue is fos tered. By acknowl edg ing each other's per ‐ son al back grounds and encour ag ing the shar ‐ ing of expe ri ences, new insights are achieved. This is often an uncom fort able event. Mic ah Salkind E.,“Dancing in Brave Spaces,” in Do You Remem ber House? (Oxford: Oxford Schol ‐ ar ship Online, 2019). The Drawing as a Boundary Object 269 Open-Ended Case The absence of a clear end goal at the begin ning of the research was a pre - con di tion for the unin ten tion al devel op ment of a bound ary draw ing, it was a tool to achieve an end goal, not an end goal in of itself. The pub lic peer review was an incen tive to ask for help. By going through the whole process —from the prepa ra tion over the work ing ses sions with the bound ary draw ing to the pub lic peer review in the set ting of and exhibition—the actu al ben e fi - cia ries, vic tims, enablers and even bound ary objects became clear. The draw ing (after wards referred to as the bound ary draw ing) served a very dif - fer ent pur pose at the start of the process than in the end. The open-end ed nature led to a series of new insights, includ ing the indi ca tion that after going through the first cycle, new cycles can be start ed based on this first cycle (see ‘Reflec tion’ above). This pre con di tion was a trig ger for fur - ther research.  In this case the draw ing was large enough for accom mo dat ing mem o ry spe cif ic details with in a sequence of mem o ries, and for invit ing more ben e fi - cia ries around the draw ing table. Brave-Space In order to cre ate a bound ary draw ing with impact beyond famil iar ben e fi - cia ries, a safe space evolved into a brave space, in which one can speak freely with out being afraid of being judged for vul ner a bil i ties and main ly receive sup port. In this case the safe space was pro vid ed by the con text of the research group The Draw ing and The Space and by men tal space con - struct ed while draw ing. From the moment more unknown ben e fi cia ries start - ed to enter the bound ary draw ing, the safe space trans formed into a brave space through the ver bal iza tion of vul ner a bil i ties. Once the brave space was reached it became eas i er to re-enter the safe space of the first order to start anoth er draw ing and ver bal iza tion cycle. In this brave space dia logue was fos tered and dif fer ences between stake hold ers were acknowl edged in order to gen er ate new under stand ings. Cre at ing a safe space for the self and then, lat er, through exter nal cir cum stance, trans form ing the safe space into a brave space made it pos si ble to explain the draw ing to peers and lay peo ple dur ing the pub lic review. By han dling vul ner a bil i ties in the safe space, resilience was devel oped on an indi vid ual lev el, and lat er in the brave space on an inter sub jec tive lev el. This pro vid ed a hope ful indi ca tion of the pos si bil i ty to deploy indi vid ual vul ner a bil i ties on a soci etal lev el through ver bal iza tion and drawing. 39 Thierry Lagrange, Johan Van Den Berghe, Moragh Diels The Artifice of Redress 40 We deem it nec es sary to refer to the PhD of Eva Demuynck, fund ed by F.R.S. in the con ‐ text of the Research Group The Draw ing and the Space: Eva Demuynck, “The embod i ment of Con so la tion: unlock ing the inter ac tion between mourn ing, draw ing and space,” (Dis ‐ ser ta tion Mas ter, KU Leu ven, 2018). 41 Leader, The new black: Mourn ing, melan cho lia and depres sion, 91. 42 Thier ry Lagrange, Look space!: A Sto ry of Anal o gous Spaces (Ghent: Grafis che Cel, 2016), 80. The Drawing as a Boundary Object 271 Conclusion The draw ing as a bound ary object can play a cru cial role in achiev ing ver - bal iza tion in order to han dle per son al vul ner a bil i ties. In order to under stand its oper a tional modes and pos si bly deploy it on a soci etal lev el, the pur pose of this arti cle is to seek an ini tial def i n i tion of the bound ary draw ing by observ ing the emer gence, effect and after-effect through a first case study. This def i n i tion pro vides a basis that requires fur ther research in order to observe how and to what extent these indi ca tions are con firmed or crit i cal ly ques tioned. In this case the bound ary draw ing is acti vat ed through con serv ing, rad i - cal ly recon struct ing and pos si bly destroy ing per son al vul ner a bil i ties on three chrono log i cal lev els of ver bal iza tion about the intan gi ble self: ver bal iza tion with the self, ver bal iza tion with oth ers and, even tu al ly, ver bal iza tion with the unfa mil iar. These lev els are facil i tat ed by the devel op ment of the bound - ary draw ing, which in turn is acti vat ed by the retrieval of the safe and lat er the brave space. The draw ing awak ens inter sub jec tiv i ties through vis cer al see ing that gen er ate unam bigu ous and pre cise ver bal iza tion through pro vid - ing access to indi vid ual and lat er shared inter sub jec tive men tal space, which is the cen tral mech a nism behind the bound ary draw ing. A recog ni tion in per - son al mem o ries, estab lished through ver bal iza tion, insti gat ed through draw - ing, pro vides notions and enhances the griev ing process. This case demon - strates how gen er at ing an auto bi o graph i cal bound ary draw ing leads to major insights. This spa tial sim u la tion of mem o ries that are dif fi cult to ver bal ize, fed by respec tive ly the safe space and the brave space, turns intan gi ble phe - nom e na into tan gi ble and vis i ble ones. Archi tec ture presents itself as an agent that has the capac i ty to bring peo ple togeth er and gen er ate sup port. 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Brussels/Ghent: KU Leuven Faculty of Architecture, 2013. Van Den Berghe, Johan and Blythe, J. And Verbeke, J. “Theatre of Operations, or: Construction Site as Architectural Design. ” Doctoral thesis. Royal Melbourne Institute of Technology University, 2012, https:/ /researchrepository.rmit.edu.au/esploro/outputs/doctoral/Theatre-of-operations-or-construction-site/ 9921861113901341. Van Den Berghe, Johan and Sanders, Mira and Luyten Laurens. “Windows into an Architecture of Darkness and Depth. ” In Des Traces et des Hommes Imaginaires du Château de Selles, edited by Silvana Editoriale, 34–43. Milan: 2020. Van Der Heiden Sjors. “De dood in het leven: het taboe op de dood in Nederland. ” Master Research. RU, 2006, https://www.totzover.nl/media/filer_public/fa/34/fa342d52-67c4-4cea-b40d-bd9e23f358f5/heid en_sjors_van_der__2006_de_dood_in_het_leven_ma.pdf. Van Ojen, Quirien H.J.M. “Rouw en werk: explorerend onderzoek naar re-integratie van nabestaanden. ” Astri beleidsonderzoek en –advies, P10.541 (2011): 24. http://docplayer.nl/5203166-Rouw-en-werk-explor erend-onderzoek-naar-re-integratie-van-nabestaanden.html. 277 Anđelka Bnin-Bninski Vulnerability of the Liminal Anđelka Bnin-Bninski The Artifice of Redress Vulnerability of the Liminal 279 Draw ing is a fun da men tal medi um in the archi tec tur al pro fes sion; it rep re - sents the prin ci pal out come of the architect’s work in the form of a project or build ing. On this point, the com po si tion of drawn lines is viewed as a spa tial state ment and the final i ty of an architect’s thought process as the for mu la tion of an idea. This inquiry posits doubt and insta bil i ty as a spe cif ic qual i ty in the draw ing as a work of lines. The line is con sid ered an action al moment embody ing mul ti ple fac tors and cir cum stances includ ed in the seem ing ly mere ges ture upon a trace of paper or dig i tal screen. The focus is on the pre - cise moment of a rela tion al chain between the architect’s doubt—non- finalized decisions—through line-mak ing and the unfin ished draw ing. This exam i na tion is devel oped as in-depth analy sis of draw ing process es and their pos si ble after-effects. Stem ming from neglect ed val ues with in the archi tec tur al draw ing process e.g., doubt, fragili ty, inti ma cy, vul ner a bil i ty and sub jec tiv i ty, my argu ment con sid ers vul ner a bil i ty a modal i ty with in the draw ing sug gest ing the poten tial for aware ness, eth i cal posi tions and crit i cal i ty towards both rep re sen ta tion and con crete out comes; and as such, the nuanced space of lim i nal i ty, as an open and unsta ble con di tion of the line, is crit i cal ly exam - ined. The approach is large ly based on my PhD dis ser ta tion “The role of archi tec tur al draw ing in the dynam ics of the liv ing space par ti tion” and is expand ed through an inter- and mul ti-dis ci pli nary plat form with ref er ences to phi los o phy, art and archi tec tur al the o ry and graph i cal analy sis in draw ing. The first part is artic u lat ed through ety mo log i cal, philo soph i cal and anthro - po log i cal inter pre ta tions of lim i nal, lim it and line; the sec ond part devel ops the main rea son ing regard ing the state of vul ner a bil i ty with in the lim i nal con di tion of the line; and the third part pro pos es an Atlas of Lim i nal Line Dynam ics. The atlas is a form of open dis cus sion on the lim i nal activ i ty of spe cif ic lines, includ ing the o ret i cal and graph i cal lev els anchored in draw ing prac tices with in art and archi tec ture. Instead of defin i tive ness, the atlas sug - gests and encour ages work ing with unsta ble and vul ner a ble states of lines, includ ing mis-inter pre ta tion al risks, in order to approach the crit i cal poten - tial in the act of drawing. An Etymological Inquiry of the Liminal Condition The rela tion ship between lim i nal i ty and line is found ed on the ety mo log i cal analy sis of the Latin terms refer ring to lim it, limen and line. Empha sis is placed on the spa tial rela tions and nuances that these asso ci a tions pro vide and is based on the con tem po rary philo soph i cal inter pre ta tions on lim it by the French philoso pher Régis Debray and stud ies on lim it and wall by Thier - ry Paquot and Michel Lus sault. The con strued def i n i tion of line is based on Anđelka Bnin-Bninski The Artifice of Redress 1 Régis Debray, Éloge des fron tières (Paris: Gal ‐ li mard, 2013), 29. 2 Hen ri Mit terand, Jean Dubois, and Albert Dauzat, Dic tio n naire éty mologique (Paris: Larousse, 2014). Vulnerability of the Liminal 281 the anthro po log i cal and Eng lish ety mo log i cal analy ses by Tim Ingold. In this study Line is con sid ered an agent of spa tial rela tions in the prac tice of archi - tec tur al draw ing. The objec tive of such an approach is to search beyond bina ry spa tial oppo si tions: opened-closed, divid ed-com bined, private- public…as it aims to tack le the rich ness of the ambigu ous mean ings these Latin terms pro vide for spa tial dynam ics and dynam ics in drawing. Through his work on the con cept of the lim it in the book Éloge des fron tières, Debray exam ines the word line and empha sizes the mean ing of limen: “Limen, from where our lim i naire and our pre lim i naires come from, is at the same time a thresh old and a bar ri er, just as lime marks a path and/ or bor der. Janus, the god of pas sage, has two faces.” To explore the con no ta - tion of the sacred con tained in the spa tial lim it, Debray exam ines the ety mol - o gy of the term in ancient lan guages such as Hebrew and Ara bic and con - cludes that the idea of sep a ra tion in both lan guages is relat ed to architecture —civil and religious—where the sacral and the sacred are always sep a rate or the most hid den part of the build ing. He explains the con nec tion between the idea of sep a ra tion and the con cept of the sacred via the ety mol o gy of the French word sacré (sacred) and its Latin ances tor san cire, which alludes to demar ca tion, enclo sure, and prohibition. Limen—liminis—is a close vari a tion of the term limes which mul ti far i - ous ly means house, dwelling, door, entrance, begin ning, end, suc cess, but just like limes it can also mean bar ri er. The Romans had two deities ded i cat - ed to the space par ti tion and the dynam ics of spa tial rela tions: “Limenti nus was the Roman god who guard ed the thresh old of the door (limen), while Janus was the god who guard ed pas sages and crossroads—the god of change and tran si tion. From the mul ti ple and oppos ing mean ings of these terms derives the mean ing of the rela tion of con nec tion, or bind ing lim i er, liemier.” From lim it, limen and lim i er, we encounter the key terms relat ed to the dynam ics of spa tial par ti tion and habi ta tion. Some mean ings are relat ed to par tic u lar spaces com mon for lin ear move ments e.g., mar gin, pas sage, road, street, a riv er chan nel, or even territory—somewhat autonomous spaces— while oth er mean ings are rel a tive to the qual i ty and char ac ter of spa tial delin eation e.g., edge, bor der, demar ca tion between two fields, line which sig ni fies space, fur row, trace, sep a ra tion, bar ri er, link age; and final ly, some mean ings are close ly relat ed to spa tial habi ta tion e.g., house, dwelling, door, thresh old and entrance. The com plex i ty of the con cept of lin ear par ti tion is empha sized by the French philoso pher Chris Younès. Younès dis cuss es the study of lim its and bor ders in the phi los o phy of Jacques Der ri da: “This is why Der ri da is so won der ful when he speaks about the ques tion of lim its: it is not to sim pli fy the lim its, but to com pli cate them (…) to com pli cate means 1 2 Anđelka Bnin-Bninski The Artifice of Redress 3 Milinkovic, Mar i ja and Dra gana Ćorović, “Inter view with Chris Younès,” in AoD Inter ‐ views: Archi tec ture of Decon struc tion: The Specter of Jacques Der ri da, ed. Vladan Đok ić and Petar Bojanić (Bel grade: Uni ver si ty of Bel grade, 2013), 128–40, 139. 4 Thier ry Paquot and Michel Lus sault, eds., Murs and Fron tières, Her mès 63 (Paris: CNRS, 2012), 9. 5 Tim Ingold, Une brève his toire des lignes, trans. Sophie Renaut (Brux elles: Zones sen si ‐ bles, 2013). 6 Ibid., 59. 7 Michel Deguy, “Tim ber line,” ded i cat ed to the art work ‘Anti do sis’ by Paul O Robinson. 8 Ken neth White, Lim ites et marges (Paris: Mer ‐ cure de France, 2000). Vulnerability of the Liminal 283 to be more com plex, more cre ative, to be able to do some thing with it, not only to abstract. It is some thing much more mys te ri ous, in a way.” This pre cise point, where the com plex i ty of lim it is high light ed in front of its def - i n i tion as con clu sive, is the point that applies to the qual i ta tive con structs of the line: the com pli men ta ry force and fragili ty of archi tec tur al draw ing with - in the cre ative mys tery of line making. Fol low ing the clas si fi ca tion of Jacques Levi in the Dic tio n naire de la géo gra phie et de l'éspace des sociétés, Paquot and Lus sault pro pose three basic char ac ters of lim it: bar ri er, merg er and ter ri to ry. Rather than sum ma - riz ing these char ac ter is tics’ ety mo log i cal nuances and ambi gu i ties, I point out prin ci pal spa tial rela tion al process es: sep a rat ing, join ing, spac ing. Focus ing on these rela tion al process es, line is con sid ered an active graph i cal expres sion of dynam ic, nuanced and poly va lent spa tial par ti tions and delin - eations in archi tec tur al draw ing (thick and thin, open and closed, curved and bro ken, tex tured and invis i ble, ori ent ed and loose, geo met ri cal and, un-pre - cise etc.). Liminality and Line From the ety mol o gy of lim it and limes, line is one of the mean ings of the Latin term limes. Accord ing ly, line is one of the pos si ble trans la tions of spa - tial par ti tion into an archi tec tur al draw ing. This par tic u lar analy sis of line is based on research by Tim Ingold, where he refers to an analy sis by Samuel John son from the Dic tio nary of the Eng lish Lan guage, also known as Johnson's Dic tio nary (1755), where he posits a line’s man i fold mean ings: “… lon gi tu di nal exten sion, thin wire, tight thread that con trols the action, thread that holds fisherman's hook, fur rows on the skin (wrin kles), trace, sketch, con tour, sil hou ette, every thing writ ten from one mar gin to anoth er; verse, rank, exca va tion; trench, method, plan of action, exten sion, bound ary, equa tor, equinox, descen dants or ances tors of one fam i ly, one line rep re sents the oth er part of an inch (unit of mea sure), a let ter, an expres sion ‘I read your line’, a cot ton or flax fiber.” Fol low ing these con no ta tions of the ‘word’ line, one notices that the mean ing of lim its, con tours, bor ders and traces are com mon for the terms lim it and line. Ingold states that the basic deter mi nant of the process of draw ing and writ ing is pre cise ly a line that is the trace of a man u al ges ture at the time of the cre ation of a text or a draw - ing. We can find exam ples of metic u lous engage ment in the nuances of lim i - nal i ty, lim it and line in the poem “Tim ber line” by Michel Deguy, and also in the work of Ken neth White in his col lec tion of poems Lim ites et marges. The rela tion ship between a drawn line and the archi tec tur al draw ing is one of the key themes in the essay “The Pre lim i nary: Notes on the Force of 3 4 5 6 7 8 Anđelka Bnin-Bninski The Artifice of Redress 9 Andrew Ben jamin, “The Pre lim i nary: Notes on the Force of Draw ing,” The Jour nal of Archi tec ‐ ture 19, no. 4 (2014): 470–82. 10 Ibid., 477. 11 Paul Emmons, “Demi ur gic Lines: Line-Mak ing and the Archi tec tur al Imag i na tion,” The Jour ‐ nal of Archi tec ture 19, no. 4 (2014): 536–59. 12 Ibid. Vulnerability of the Liminal 285 Draw ing,” by Aus tralian philoso pher Andrew Ben jamin. Ben jamin asserts that an archi tec tur al draw ing is always pre lim i nary and is there fore inex tri - ca bly linked to the mean ings inher ent in lim it and limen. He explains that a pre lim i nary draw ing is lim it ing and relat ed to time because it always exists before and after in rela tion to the draw ing. In this con text, Ben jamin uses the term line to clar i fy the pre lim i nary virtue of the draw ing and to fur ther con - nect the terms line and limen via anal o gy: “In the con text of the pre lim i nary, the sec ond line appears. No longer a drawn line but a thresh old: in oth er words, limen. That is not just the lim it.” He explains the sta tus of the ‘pre - lim i nary’ in the draw ing with the con di tion of the event that fol lows. The draw ing is pre lim i nary if the fol low ing event con firms it, this con nects the final i ty of the com plet ed draw ing to the term lim it, while this restric tion, or ‘clos ing’ of the draw ing, is simul ta ne ous ly under stood as open and there fore the term limen is attached to the draw ing. From limen the author derives pre - lim i nary as a virtue of draw ing, as Debray explained, it is pre cise ly the limen at the root of the word pre lim i nary (prélim i naire). Embodying the Line Paul Emmons, an archi tect and pro fes sor of archi tec tur al the o ry, argues that “the line-mak ing deci sion is the basic act of archi tec tur al draw ing.” Rely - ing on the the sis of Alber ti from Mar co Frascari’s Eleven Exer cis es in the Art of Archi tec tur al Draw ing: Slow Food for the Architect's Imag i na tion, Emmons reminds us that archi tects make draw ings and not build ings, there - fore draw ing is a basic archi tec tur al craft. Accord ing to him, the prac tice of archi tec tur al draw ing is an embod ied activ i ty that engages and informs the imag i na tion of the archi tect. Thus, in the embod ied draw ing process the archi tect is express ing and for mu lat ing the finest cre ativ i ty and is exposed to draw ing plea sures, risks and failures. In this dual process of engage ment and cog ni tion, Emmons dis tin guish - es three aspects of archi tec tur al imag i na tion that are impor tant for deci sion mak ing regard ing the line: con struc tive imag i na tion, inhab i ta tive imag i na - tion, and mate r i al imag i na tion. ‘Con struc tive imag i na tion’ empha sizes the role and impor tance of dashed lines, as hid den lines on the one hand, and tex ture lines that indi cate the type of build ing mate r i al, on the oth er. Through the aspect of the ‘inhab i ta tive imag i na tion’ Emmons con sid ers how an archi tect is pro ject ed into draw ing using the dif fer ent prop er ties of a line in the draw ing. While inhab it ing a draw ing, through the prop er ties of line, the archi tect con sid ers the expe ri ences of future inhab i tants of the pro ject ed space. The aspect of ‘mate r i al imag i na tion’ empha sizes archi tec tur al draw - ing as a medi um. The notion of mate ri al i ty here refers to draw ing tools and 9 10 11 12 Anđelka Bnin-Bninski The Artifice of Redress 13 Ben jamin, “The Pre lim i nary,” 470. 14 Robin Evans, Trans la tions from Draw ing to Build ing and Oth er Essays, AA Doc u ments 2 (Lon don: Archi tec tur al Asso ci a tion, 1997). 15 Ben jamin, “The Pre lim i nary,” 476. 16 Thanos Zartaloud is, “Lines of Archi tec tur al Poten cy,” Archi tec ture Research (2020): 147– 205, 171. Vulnerability of the Liminal 287 mate ri als used for drawing—from dif fer ent mate r i al qual i ties of the line (graphite, ink, chalk) to dif fer ent types of draw ing surfaces—and sub se - quent ly the focus is on the rela tion ship between these qual i ties of draw ing with the mate ri al iza tion of the build ing. Regard less of the type or pur pose of the draw ing, an archi tect inscribes and trans mits visions, ethics and respon si - bil i ties that cre ate an inti mate per ma nence; hence the draw ing, and the act of draw ing, become an intrin sic exten sion of the architect’s thoughts. Keep ing in mind these per son al and frag ile aspects, the vul ner a ble expo sure of a fin - ished draw ing is emi nent while it con tin ues its autonomous life open to inter pre ta tions and mis in ter pre ta tions. In this light, the prin ci pal quest is how to main tain and pre serve the rich ness, unique ness and com plex i ty with - in the act of draw ing despite con tem po rary draw ing habi tudes and beyond pro fes sion al con ven tions and archi tec tur al cul ture; would it be pos si ble to dis rupt the rela tion al chain archi tect-draw ing-build ing-inhab it ing and to pro - pose a slight ly dif fer ent, riski er and more per son al archi tec tur al idea? Ben jamin dis cuss es the com plex i ty of the lim i nal rela tion ship between engage ment and the knowl edge pro duc tion con tained in the activ i ties of archi tec tur al draw ing. He believes that this rela tion ship con tains the ‘inher - ent fragili ty’ of the archi tec tur al draw ing. Accord ing to Ben jamin, archi tec - tur al draw ing is more of a poten tial i ty than a rep re sen ta tion. He high lights the prob lem at ic posi tion of archi tec tur al draw ing in the his to ry of archi tec - ture, as it simul ta ne ous ly con tains the safe ty and respon si bil i ty of archi tec - ture. Con tin u ing Robin Evans’s stud ies on the com plex rela tion ship between draw ing and build ing, Ben jamin believes that archi tec tur al draw - ing is actu al ly a “lim i nal state in between poten tial i ty and apo r ia.” In rela - tion to Emmons and Ben jamin, we can see that the ‘lim i nal state’ of archi - tec tur al draw ing aris es from a dual rela tion: draw ing between the activ i ties of draw ing and cog ni tion (Emmons) and draw ing between poten tial i ty and apo r ia (Ben jamin). The play between the poten tial i ty and actu al i ty in archi tec tur al think ing is one of the main points in the essay “Lines of Archi tec tur al Poten cy” by Thanos Zartaloud is. He argues that in this rela tion is the pow er of archi tec - tur al think ing and claims that “the co-exis tence of poten cy and actu al i ty has the effect of a rad i cal equal iza tion, a cer tain egal i tar i an ism of existence’s present futures, and this becomes the most vis i ble in the open plateau that is think ing as an ethos, the con tem pla tive way of being.” On this mat ter Ben - jamin claims that draw ing and line belong to the same part of the process. He sees the ‘force of draw ing’ in the com plex i ty of the draw ing process and ‘work of lines.’ The com plex i ty of the line, accord ing to him, belongs to the dichoto my between the sim plic i ty of the line and the mul ti plic i ty of ele ments that are con nect ed to it; he con sid ers the line an after-effect of draw ing tech - 13 14 15 16 Anđelka Bnin-Bninski The Artifice of Redress 17 Ben jamin, “The Pre lim i nary,” 476. 18 Jonathan Hale, “Crit i cal Phe nom e nol o gy: Archi tec ture and Embod i ment,” Archi tec ture and Ideas (2013): 18–37. 19 Jacques Der ri da, Mémoires d’aveugle. L’autoportrait et Autres Ruines (Paris: Réu nion des Musées Nationaux, 1991). Vulnerability of the Liminal 289 nol o gy and a place of ideas that con tains the nec es sary ques tion of pos si ble actu al iza tion. In this analy sis, Ben jamin devel ops a the sis about the mul ti - plic i ty of the line in archi tec tur al draw ing and calls the line a ‘mul ti ple event’ that is irre ducible. He first explains that the line is the result of what is drawn by it and then adds that the line is not oppo site to form and idea, nor is it defin ing and final, but is pre cise ly in the space between poten tial i ty and apo r ia because it is con ceived as a set of rela tions; hence, for Ben jamin, this sit u ates the lim i nal, in-between con di tion of the line as an unde fined, unsta ble and frag ile state that project a unique strength and pow er to a drawing. The Vulnerable State of Line-Limen The inten tion now is to exam ine whether the spe cif ic act of line can posi tion the object of draw ing in a lim i nal state that pre serves the vul ner a bil i ty res o - nant with in qual i ties of insta bil i ty and ambi gu i ty. Fol low ing Benjamin’s notion of the line as “a place of irre ducible com plex i ty” that can con tain mul ti ple events, one can sep a rate the line from its his tor i cal deter mi nants and empha size the impor tance of its tech no log i cal and geo met ric prop er ties. This places a new light upon the inhab i ta tive imag i na tion and sin gles out the pre cise rela tion ship between the draw er and the process of draw ing-mak ing. A draw ing process that is found ed on embod i ment and inhab i ta tive imag i na - tion and the con tex tu al and polit i cal aware ness of tech no log i cal and geo met - ric prop er ties of line, opens the dis cus sion con cern ing crit i cal phe nom e nol o - gy in archi tec tur al draw ing. Par tic u lar ly impor tant for this crit i cal poten tial in the act of unsta ble draw ing is the res o nant activ i ty of the lim i nal line: an activ i ty sup port ing unsta ble and ambigu ous qual i ties in its “irre ducible com plex i ty” that keeps the force of the draw ing in states of open ness and vul ner a bil i ty. Regard ing the philo soph i cal com po nent of this approach, it is impor tant to high light the influ ence of Der ri da. The basis of the line prob lema ti za tion in Derrida’s work is the fun da men tal notion of ‘dif férance’ which denot ing the activ i ties of dif fer en ti a tion. Unlike dif fer ence (dif férence), seen as a final, com plet - ed process, the form ‘dif férance’ by chang ing the vow el ’e’ to ’a’ sets the term in a modal i ty of per ma nent activ i ty. ‘Dif férance’ makes it pos si ble to main tain a dis tinc tion between active and pas sive, inte ri or and exte ri or, vis i - ble and invis i ble, empir i cal and tran scen den tal with out the need for syn the sis and ulti mate deci sion as a result of this activ i ty. In this way, poten tial i ties, con tra dic tions and apo r ias remain in a con stant rela tion al con nec tion to dialec ti cal ly placed oppo sites. In this sense, ‘dif férance’ pro vides a con text for shift ing from the motive of affir ma tion towards inde ci sion, vul ner a bil i ty 17 18 19 Anđelka Bnin-Bninski The Artifice of Redress 20 Jonathan Hale, “Crit i cal Phe nom e nol o gy: Archi tec ture and Embod i ment,” Archi tec ture and Ideas, (2013): 23. Vulnerability of the Liminal 291 and dichotom ic activ i ties. A line is a trace that dis tin guish es and cre ates a dichoto my. Der ri da believes that the line is not in itself impor tant, rather the way in which it achieves its effect. Accord ing to him, the line is what makes the dif fer ence and brings the divid ed enti ty into the rela tion ship and is not in itself impor tant. It is a con di tion for ‘dif férance’ as an activ i ty of dialec tics. The per ma nent, rela tion al activ i ty of an unde fined lim i nal con di - tion is where the state of a line’s vul ner a bil i ty, based on dialec ti cal activ i - ties, exists. Atlas of Liminal Line Dynamics Rather than con clud ing the com plex i ties of the line’s lim i nal i ty and the crit i - cal poten tial in line’s vul ner a bil i ty, I pro pose the dis cus sion in the form of the Atlas of Lim i nal Line Dynam ics. The dis cus sion is curat ed as an unfin - ished sequence of lines con di tions; open to fur ther edit ing, it gath ers key ref - er ences derived from phi los o phy, the o ry of art and archi tec tur al draw ing. The objec tive of this open col lec tion is to pro pose mul ti ple poten tial ‘con - clu sions’ as oppor tu ni ties and sug ges tions to act towards crit i cal i ty in the archi tec tur al drawing. As elab o rat ed ear li er, the most sen si tive and vul ner a ble aspect in the draw ing act is the per son al and inti mate rela tion con tained and expressed through embod i ment. The ini tial hypoth e sis is that vul ner a bil i ty embod ies the rich ness, com plex i ty and crit i cal poten tial with pos si ble influ ences regard ing archi tec tur al thought process es and designed space. The under ly - ing prob lems are enclosed in the com mon nega tion of drawing’s insta bil i ty and the reduc tion of its com plex i ty in order to meet the needs of con tem po - rary draw ing cul ture, to fit into pro fes sion al con ven tions and to define the draw ing as a final spa tial state ment. As it is not my inten tion to roman ti cize the act of draw ing or to mark its exclu siv i ty, but rather to induce open ings and pos si ble ques tion ing, I rely on Jonathan Hale’s con cepts of ‘crit i cal phe - nom e nol o gy’ and ‘crit i cal poet ics’ of archi tec ture. Hale empha size the idea of embod i ment while he declares a dec li na tion from phe nom e nol o gy as “fun da men tal ly con ser v a tive and back ward-look ing, appar ent ly too pre oc cu - pied with nos tal gia for a sup pos ed ly sub ject-cen tered world.” Instead, he points out the neces si ty for the link between the indi vid ual and the social world and inves ti gates whether phe nom e nol o gy can help in deal ing with the wider social and polit i cal con text. He pro pos es to break design habi tudes and estab lished pro fes sion al con ven tions: “I would like to claim that this very inad e qua cy in our attempts to repro duce habit u al behav iors is pre cise ly what allows space for new forms and new mean ings to emerge […] New forms of expres sion sug gest new lev els of mean ing, even though they ini tial ly risk 20 Anđelka Bnin-Bninski The Artifice of Redress 21 Ibid., 34. Vulnerability of the Liminal 293 being dis missed as mean ing less. And by the same token I would call this ‘crit i cal’ because of the way these new forms resist con sump tion. By block - ing an unthink ing assim i la tion into tried and trust ed cat e gories they chal - lenge us to ques tion the ade qua cy of our exist ing inter pre tive frame - works.” Hale points out the rad i cal poten tial embod ied in inac cu ra cies, dis tor tions, impre ci sions and risks as fun da men tal to the pos si bil i ty of cri - tique and trans for ma tion. In this per spec tive, the Atlas of Lim i nal Line Dynam ics col lects the unsta ble, frag ile, sen si tive and vul ner a ble states con - tained in con ven tion al lines and thus, it invites states of vul ner a bil i ty as essen tial for an ambigu ous and open draw ing process. Fol low ing Hale on crit i cal i ty, Benjamin’s con cept of the line as “a place of irre ducible com plex - i ty” and Derrida’s notion of ‘dif férance’ as a per ma nent activ i ty, the open ing of the unsta ble and fragile—liminal—state of line ini ti ates the poten tial for the eth i cal draw ing act and soci etal engage ment in archi tec tur al drawing. The atlas is based on the rela tion ship between notions of lim i nal i ty and the line and under lines the nuances of an open line dynam ic while merg ing archi tec tur al, artis tic and philo soph i cal views on spa tial rela tions in draw ing. Lim i nal line dynam ics are defined through ety mo log i cal analy sis, the con - cept of draw ing inhab i ta tion and draw ing force con tained in line’s ambi gu i ty and inher ent fragili ty. The atlas intro duces a change in per spec tive regard ing the draw ing as a pri mal archi tec tur al medi um – from aspects of final i ty and con clu sive ness towards qual i ties of insta bil i ty and vul ner a bil i ty as a poten - tial for crit i cal activ i ty in the act of draw ing. It col lects essen tial points form the works of Der ri da, Emmons, Fras cari, Jacques Lucan, Joel Sakarovitch, Gilles Deleuze, Paul Klee and Wass i ly Kandin sky. Col lect ing the key points issued from dif fer ent dis ci plines and his tor i cal peri ods, these line analy ses enforce mul ti-faceted, eth i cal and com plex atti tudes towards the act of line- mak ing. The atlas sug gests nuanced and metic u lous work with var i ous rela - tions while embrac ing vul ner a bil i ty and fragili ty as the essence of the spa tial draw ing process. The atlas col lects: the invis i ble line, scale line, dashed line, poché, lin ea men ta, trait, mean der ing line, tex ture line, bro ken and curved line, Klee’s line and fold. The vul ner a bil i ty of the lim i nal is essen tial for crit i cal i ty in the act of draw ing because it pre serves the ambi gu i ty and the undefined—or less defined—state of line that is ori ent ed towards ques tions instead of con clu sions. The atlas is fol lowed by a graph i cal study that aims to exper i ment and empha size the un-pre cise, con fus ing, inti mate and uncan - ny states of spe cif ic lines. Using col lage tech niques, his tor i cal and artis tic line exam ples, I indi cate their nuanced lim i nal states by expos ing modes of search and doubt. Each line in the atlas is a spe cif ic, unsta ble and vul ner a ble out put and provo ca tion for crit i cal action. 21 Anđelka Bnin-Bninski The Artifice of Redress 1 1 Scale line liminal dynamics. Drawing collage in reference to Sebastiano Serilio (1537-1551) Five Books of Architecture 22 Jacques Der ri da, À des sein, le dessin (Le Havre: Fran cis copo lis, 2013), 11–12. 23 Lau rence Sim mons, “Draw ing Has Always Been More than Draw ing: Der ri da and Dis eg ‐ no,” in Inter stices 11: The Trac tion of Draw ing, ed. Lau rence Sim mons and Andrew Bar rie, 2010, 114–25, 115. 24 Der ri da, À des sein, le dessin, 12. 25 Ibid., 13. 26 Paul Emmons, “Size Mat ters: Vir tu al Scale and Bod i ly Imag i na tion in Archi tec tur al Draw ing,” Arq: Archi tec tur al Research Quar ter ly 9, no. 3– 4 (2005): 227–35, 227. Vulnerability of the Liminal 295 Invisible Line In his lec ture “À des sein, le dessin” from École supérieure d’art du Havre, in 1991, Der ri da empha sizes draw ing above paint ing and work with col or; he pays spe cial atten tion to the line as a con cept for research ing the com - plex i ty of space par ti tions – mar gins, lim its and bor ders. Derrida’s inter ests go beyond drawn marks, he search es for “what is out side the draw ing, what comes to fill in or deter mine its [drawing’s] inte ri or in some way.” The high light in Derrida’s work regard ing the line is the ten sion he places between the draw ing and its close ness to the project or plan (des - sein). Der ri da explains that he has a some what prob lem at ic rela tion ship to the draw ing, and in order to open towards a line he tends to devi ate from the con cept of a project’s final i ty and com plete ness. He declares the line itself invis i ble, and by virtue of this invis i bil i ty it deter mines all rela tions. The line is not what is impor tant, but what it does and the way in which it achieves its action is. For Der ri da, the line is ‘dif fer en tial,’ it sep a rates (sur - faces, col ors), it is ‘dia crit i cal’ and oppos es each oth er or else with anoth er, it acts to dif fer. Der ri da describes work on the line as work ing on the cir cum - stances around the line, what sur rounds it and refers to it and work with the activ i ty of lines he names “the expe ri ence of blind ness.” Scale Line Emmons explains the nature and log ic of the scale line through its ori gins on the Renais sance site: “Since ear ly archi tec tur al draw ings were made to rep - re sent pro ce dures on the con struc tion site, the scale lines derived from the knot ted lines of ropes that were stretched on site to lay out the build ing in its real size. The pro ce dure involved first stretch ing the rope along the main axis and then the sec ondary mea sures would be drawn from the cen ter line. The graph ics of the scale line were crossed out on paper as the rope lines were stretched across the con struc tion site.” When, in the nine teenth cen tu ry, the scale was marked on paper and thus became part of the draw ing, accord ing to Emmons the scale was reduced to an “exclu sive ly men tal act of mea sure ment” and lost its embod ied rela tion ship. In con trast, he empha sizes the val ue of con tex tu al ized scale rela tion ships applied dur ing the six teenth cen tu ry, through rod-shaped scales on flat plates of dif fer ent mate ri als, with a mul ti tude of engraved dimen sions from dif fer ent loca tions. Emmons explains that these objects were used togeth er with com pass es and con sid ered draw ing tools. Fol low ing the elab o - ra tion of Emmons, scale line stands for the poten tial of con stant, active rela - tions between the imag i na tion as the embod ied draw ing activ i ty relat ed to 22 23 24 25 26 Anđelka Bnin-Bninski The Artifice of Redress 2 3 2 Dashed line liminal dynamics. Drawing collage in reference to Standard for conventional line symbols, American Standards Association Lines and Line Work (1935) 3 Lineamenta liminal dynamics. Drawing collage in reference to Alberti (1755) Ten Books of Architecture 27 Ibid., 458. 28 Mar co Fras cari, Eleven Exer cis es in the Art of Archi tec tur al Draw ing: Slow Food for the Architect’s Imag i na tion (Lon don; New York: Rout ledge, 2011), 99. Vulnerability of the Liminal 297 the spe cif ic con text and its met ri cal pre ci sion nec es sary for ade quate con - struc tion measurement.  Dashed Line The dashed line is anoth er inter est of Emmons. He reveals a wide field its of use and the var i ous mean ings asso ci at ed with it through out the his to ry of archi tec tur al prac tice and the o ry; as he explains, the essen tial qual i ty of the dashed line is to sig ni fy absence. The spe cif ic prop er ties by which the dashed line tran scends its use in archi tec ture are con tained in the man ner it is drawn. Emmons believes that the dashed line exists simul ta ne ous ly on two lev els: one trace is drawn on the sur face, while the oth er lev el hov ers above the sur face of the draw ing. “The pen, when ‘touch ing’ the paper, vis i bly releas es ink; when sky ward, it con tin ues its lin ear tra jec to ry but at a heav en - ly alti tude mak ing its trace invis i ble, tran sient and infi nite ly thin. In punc tu a - tion, a dash is a uni-vocal ized phys i cal pres ence indi cat ing an omis sion or break in thought. Its deno ta tive pres ence con notes an absence. He empha - sizes the mean ing of the verb to dash (from the Eng lish term for dashed line) from Johnson's dic tio nary from 1755, which means “fly ing above the sur - face” and adds that a dashed line requires spe cial involve ment and con cen - tra tion from the artist. The ambi gu i ty and active con di tion of a dashed line is con tained in its fun da men tal rela tions with absence and time, as it indi cates spa tial seg ments that are above, below, in front or behind the draw ing sur - face, it can also imply the infor ma tion about the pre vi ous or the future states of the drawn space.  Lineamenta The Latin term Lin ea men ta, after which Leon Bat tista Alber ti named the first book of his trea tise on archi tec ture, De Re Aed i fi ca to ria (1443−1452), is a source of var i ous trans la tions and inter pre ta tions. Mar co Fras cari seeks to ana lyze how this notion became the top ic of numer ous trans la tions in archi tec tur al the o ry. He believes that inter pre ta tions of the lin ea men ta in the Eng lish lan guage have dis tort ed and sim pli fied the mean ing of the term. Trans la tions into Ital ian (dis eg no) which, through the con cepts of design and plan, bring the con no ta tions of lin ea men ta clos er to project and design (dis - eg no, pro jet to), but the author con sid ers them also inad e quate. He aims to reach the fine, oscil lat ing nuances of this com plex term. He points out that the notion of lin ea men ta arose from the rela tion ship between the draw ing and the build ing and accord ing to the char ac ter of the lines used on the con - struc tion site. Fras cari finds that the ori gin of the term, in addi tion to the 27 28 Anđelka Bnin-Bninski The Artifice of Redress 4 5 4 Broken and curved lines liminal dynamics. Drawing collage in reference to Wassily Kandinsky (1926) Point and line to plane 5 Poché liminal dynamics. Drawing collage in reference to Victor Louis (1731-1800) Grand Théâtre de Bordeaux 29 Ibid., 101. 30 В а с и л и ј К а н д и н с к и, П л а в и Ј а х а ч. И з а б р а н и Р а д о в и И з Т е о р и ј е У м е т н о с т и, ed. В л а д и м и р М е д е н и ц а ( Б е о г р а д: Л о г о с, 2015), 352. 31 Ibid., 373. Vulnerability of the Liminal 299 term linea—which means line—also includes the des ig na tion of linen (linum), a mate r i al that was often used to make thread for con struc tion sites. He con cludes that the most ade quate trans la tion is the deno ta tion line. Deno - ta tion lines are mul ti ple, they mark, mea sure, design and plan and are in con - stant rela tion to the build ing while retain ing their inde pen dence. Fras cari empha sizes that a deno ta tion line’s use required great skill, aware ness and the excep tion al edu ca tion of the archi tect (soller tia). Lin ea men ta and its ref er ence in deno ta tion lines under lines the poly va lent nature, risks and neces si ties for con stant inter pre ta tion and search for nuances. Broken and Curved Line Bro ken lines in Kandinsky’s the o ry belong to the group of straight lines on which, in addi tion to the basic force, anoth er force act ed. Volt age and direc - tion are nec es sary for the move ment of this line. In explain ing volt age and direc tion, Kandin sky sep a rates the point (which has only volt age but not direc tion) and the line along which a direc tion deter mines the move ment of the volt age. The break ing of the base line (hor i zon tal, ver ti cal, diag o nal) was caused by anoth er force and thus formed an angle. Kandin sky argues that these lines can be simple—created by a sin gle blow of force, or complex— created under mul ti ple influ ences of force. Dif fer ent angle degrees cor re - spond to com ple men tary stress es: sharp, straight, blunt, free; and then to dif - fer ent sounds and col ors. The com plex bro ken line in this con stel la tion is polyg o nal and can rep re sent an infi nite series: “thanks to com bi na tions of sharp, right, obtuse and free angles and thanks to con nec tions of dif fer ent lengths.” Kandin sky takes the bro ken line as a tran si tion state between a straight and a curved line, where the “pas sive” obtuse angle is clos est to this mor - pho log i cal defor ma tion: “The sim i lar i ty of obtuse lines, curves and cir cles is not only exter nal, but also con di tioned by inter nal nature: pas siv i ty of an obtuse angle, his sub mis sive atti tude towards the envi ron ment leads him to large depres sions which find their end in the high est self-inden ta tion of the cir cle.” A com plex curved line is shown as wavy and “may con sist of geo - met ric parts of a cir cle, or of free parts, or of var i ous com bi na tions of both”. Poché Regard ing its first usages in the Beaux-Arts de Paris, poché implies the tech - nique of paint ing the sur face of the walls in draw ing accord ing to estab lished con ven tions. The hol lowed walls, as well as the pil lars, in place of their full 29 30 31 Anđelka Bnin-Bninski The Artifice of Redress 6 6 Texture line liminal dynamics. Drawing collage in reference to Thomas French (1918) Manual of Engineering Drawing 32 Jacques Lucan, “Généalo gie Du Poché. De l’espace Au Vide,” in Matières, ed. Jacques Lucan et al. (Lau sanne: PPUR, 2005), 41–54. 33 Emmons, “Demi ur gic Lines,” 544. 34 Ibid., 545. Vulnerability of the Liminal 301 mass, gath er and artic u late ser vice spaces in their vol ume: stairs, cor ri dors, aux il iary rooms. Poché spaces can be small er or larg er and are entan gled in the sup port ing struc tures of a build ing. While Jacques Lucan’s start ing point for con tem po rary inter pre ta tions of poché is a tech nique and method ol o gy in archi tec tur al draw ing, Robert Ven turi points out the dis tinc tion into open and closed poché. The closed one belongs to the tra di tion al under stand ing of inter sti tial spaces, com mu ni ca tions and spa tial cham bers with in a closed struc ture and the open poché fur ther com pli cates this notion. Ven turi first defines open ser vice spaces that are cov ered or semi-closed under the con no - ta tion of open ness, and then brings these spaces into the rela tion to pri vate and pub lic at the lev el of urban space. Venturi’s pro ce dure inverts poché space, where open and semi-open, pub lic and semi-pub lic spaces of the city are shad ed and dark ened in the draw ing, while the enclo sure of pri vate spaces remains uncol ored and bright. In the nine teenth cen tu ry the con cept of poché was devel oped from the tech nol o gy of draw ing into tech niques for archi tec tur al and urban design. While poché can swal low and hide spaces inside the vol ume of the wall, it rel a tivizes and trig gers the notion of space par ti tion and intro duces the vibrat ing vol ume of the line. Texture Line The impor tance of the tex ture line is not in the shape it out lines, but in the char ac ter is tics of the build ing mate ri als it rep re sents. Emmons shows that from the begin ning stages of a draw ing, Renais sance archi tects tried to show the char ac ter of the mate r i al intend ed for con struc tion with var i ous lines. This man ner of draw ing was free in the sense of rep re sent ing sub jec tive feel - ings towards cer tain mate ri als until the adop tion of the first con ven tions, which in the twen ti eth cen tu ry, result ed in the use of sym bols rep re sent ing mate ri als. In addi tion to the sym bols con tained in the con struc tion lines, in the nine teenth cen tu ry, through the actu al iza tion of the blue print process, dif fer ent col ors, types and thick ness es of lines were used to empha size the char ac ter is tics and spe cif ic per for mance of mate ri als. Emmons pays spe cial atten tion to two mate r i al sym bols of build ing lines: the sym bol for glass (in the front view) and the sym bol for ther mal insu la tion (in cross section). Emmons notes that the sym bol for glass in front view is wide ly known and con sists of straight diag o nal lines whose seg ments vary in length. He explains that the ori gins of the marks for glass emerged from the ancient’s belief that the sun’s rays illu mi nate the earth in par al lel, at cer tain angles. Emmons con sid ers the tex ture sym bol for ther mal insu la tion espe cial ly impor tant giv en the insis tence of the con ven tion that the wind ing line should be drawn free hand in a tech ni cal draw ing, as opposed to all oth er lines 32 33 34 Anđelka Bnin-Bninski The Artifice of Redress 7 8 7 Trait liminal dynamics. Drawing collage in reference to Guarini, Tractatus XXXII (1671) in Euclides adauctus et methodicus mathematicaque universalis 8 Meandering line liminal dynamics. Drawing collage in reference to Christine Frederick (1913) Efficiency studies in home management 35 Ibid. 36 Joel Sakarovitch, “Stéréo tomie et Géométrie,” in Math é ma tiques et Art, ed. Mau rice Loi (Paris: Her mann, 1995), 79–91, 81. 37 Joel Sakarovitch, “Stereoto my, a Mul ti fac eted Tech nique,” in Pro ceed ings of the First Inter ‐ na tion al Con gress on Con struc tion His to ry, ed. San ti a go Huer ta Fer nán dez (Madrid: Insti tu to Juan de Her rera, Escuela Téc ni ca Supe ri or de Arqui tec tura, 2003), 69–79, 72. 38 Sakarovitch, “Stéréo tomie et Géométrie.” 85. Vulnerability of the Liminal 303 drawn with a straight-edge or oth er mechan i cal draw ing tools. As he shows, this line con tains numer ous “irreg u lar pock ets of space that sep a rate the two sides of the line.” He clos es his study in ref er ence to Renais sance stud ies in which such a line denotes air or clouds. This per spec tive on a tex tur al line empha sizes the imag i na tive inhab i ta tion of draw ing and its sub jec tive and emo tion al con no ta tions; it empow ers per son al inter pre ta tions of the fine struc tur al and tac tile rela tions between draw ing and build ing material. Trait In the intro duc tion to the essay “Stéréo tomie et Géométrie” Joel Sakarovitch presents the rela tion ship between draw ing and stereoto my. In research ing the word’s ety mol o gy, due to the inten sive devel op ment of stereoto my in France, the author con cen trates on French vocab u lary from 1691, in which the def i n i tion includes the pop u lar expres sion art du trait: “the art of line draw ing of shapes giv en to stone (or brick) for the pur pose of their assem - bly.” Sakarovitch trans lates the term art du trait as “the art of line draw - ing” line draw ing. Unlike oth er crafts that work with the sur face and for which pro jec tive geom e try (car pen ter, black smith) was suit able for work, stereoto my required a geo met ric con struc tion that includes the vol ume or “mass” of the stone. The author believes that through spe cif ic stone cut ting tech niques and through lines that mark the paths of the notch es, the idea of orthog o nal pro jec tions and their manip u la tion in geo met ric con struc tion was devel oped. A sig nif i cant part of the stereotom ic process by which such a geo met ric con struc tion devel oped was équar risse ment, which Sakarovitch claims is one of the first tech niques of dis play ing space in two dimen - sions. The trait is a line draw ing on the stone that links direct ly drawn and built envi ron ments, thus it con tains a spe cif ic final i ty. Con se quent ly, and in dif fer ence with oth er drawn lines, trait is deprived of the pos si bil i ty for mul - ti ple inter pre ta tions, it embod ies respon si bil i ties and risks of errors in lines for cut ting the piece of stone while the imag i na tion remains in the domain of geo met ri cal construction. Meandering Line Emmons points out the lines of move ment with the notion of mean der ing line. He explains that move ment through space is fun da men tal to the gen er al dis po si tion of space and is inex tri ca bly linked to the built struc ture. Mark ing the lines of flow in the archi tec tur al plan, he con nects first with the move - ments of the game in the works of Alber ti, and then with the stud ies of effi - cien cy through move ment in space. He high lights the remark of Charles Day 35 36 37 38 Anđelka Bnin-Bninski The Artifice of Redress 9 9 Klee’s line and fold liminal dynamics. Drawing collage in reference to Klee (1921-1931) Active line, Pedagogical Sketchbook 39 Charles Day, Indus tri al Plants, Their Arrange ‐ ment and Con struc tion (New York, 1911), 109 in Emmons, “Demi ur gic Lines,” 548. 40 Paul Klee, Ped a gog i cal Sketch book (Lon don: Faber & Faber, 1968), 9. Vulnerability of the Liminal 305 (1879–1931), an effi cien cy engi neer, who believes that after suc cess ful draw ings of the orga ni za tion of move ment, “a build ing should hard ly be drawn around them.” The lines of move ment in Emmons’s study are marked by ana lyzes of the move ment of space users, but the author uses these lines to sug gest the move ment of the archi tect-drafts man through space and to devel op the empa thy of inhab i ta tion. Although these lines are not often present in draw ings, they are the key to spa tial orga ni za tion, as they mark and pre dict ways of stay ing in space. How ev er, Emmons notes that the drawn lines of flow through space do not intend to be deter mi na tive, they most often show move ments that are cru cial for the con cep tion of space, to which oth er move ments and activ i ties are relat ed or not. He con nects the line of move ment through space to the con cept of a point in motion in Klee's the - o ry of art. Mean der ing line as an unpre dictable line of body move ment is rely ing on the emphat ic engage ment of an archi tect and the process of draw - ing embod i ment. It tends to fore see the dynam ics of future space usage or to ana lyze exist ing move ment in built space, thus it per ma nent ly stays in the stage of doubt, between the def i n i tion and uncertainty. Klee’s Line and Fold The line of the active point that “walks freely” is one of Klee's basic con - cepts. How ev er, this line is almost nev er in unhin dered move ment, but is accom pa nied by events in the form of “com ple men tary forms”, “sec ondary lines” or “described around itself”, and oth er lines move around the “imag - ined” main line. The move ment of the active line can also be “restrict ed to fixed points.” When such a line rounds one sur face dur ing its move ment, it ceas es to be active and becomes flat. The sec ond type of line are pas sive lines cre at ed by sur face acti va tion, which Klee calls “line pro gres sion.” Pas - sive lines become active as inte gral parts of the sur face. Klee defines var i ous nuances and states of line activ i ty regard ing the rela tion ship between line and surface. Through the dynam ics of Klee’s line, Deleuze devel ops and clar i fies the fold (pli) – one of the basic con cepts of his phi los o phy, which inspired sig - nif i cant ly archi tec tur al the o ry and prac tice. In explain ing the fold, Deleuze insists on the dif fer ence between a point and a line: “There fore, the labyrinth of con ti nu ity is not a line that would split into inde pen dent points, like sand spilling into grains, but like a fab ric or sheet of paper that is divid ed into folds in infin i ty or to decom pose into curved motions, each deter mined by a con sis tent or per sua sive accom pa ni ment […]” The space of the Deleuze’s line is rep re sent ed as a per ma nent move ment – by bend ing inwards or strat i - 39 40 Anđelka Bnin-Bninski The Artifice of Redress 10 10 Towards the practice of vulnerability. Drawing collage based on the Atlas of Liminal Line Dynamics 41 Anđel ka Bnin-Bnin s ki, “The Role of Archi tec ‐ tur al Draw ing in the Dynam ics of the Liv ing Space Par ti tion,“ (Doc tor al Dis ser ta tion, Uni ‐ ver si ty of Bel grade, 2018). 42 Roland Barthes, Frag ments d’un Dis cours Amoureux (Paris: Édi tions du Seuil, 1977), 38. Vulnerability of the Liminal 307 fy ing into curved tra jec to ries. The line of fold nev er set tles, it is in per ma - nent state of def i n i tion and re-definition. Towards the Subliminal in Drawing’s Vulnerability The Atlas of Lim i nal Line Dynam ic opens man i fold ques tions regard ing lim - i nal draw ing and its entwine ment with vul ner a bil i ty. While point ing out spe - cif ic line stud ies and sug gest ing their graph i cal inter pre ta tions, the atlas pro - pos es a trans-dis ci pli nary frame work for fur ther engage ment in crit i cal draw ing practices.  Dwelling on the ety mo log i cal analy sis (line, limes, limen) and the con - cept of pre lim i nary drawing—interstitial draw ing activ i ty and cog ni tion (Emmons) and poten tial i ty and apo r ia (Benjamin)—the line is intro duced as an unsta ble and ambigu ous “place of irre ducible com plex i ty.” Accord ing to Ben jamin this com plex i ty is embod ied in the rela tion ship between engage - ment and knowl edge pro duc tion and results in the ‘inher ent fragili ty’ of the draw ing. Hale’s con cept of crit i cal phe nom e nol o gy enabled fur ther stud ies on the crit i cal poten tial con tained in the ‘inher ent fragili ty’ of lim i nal as vul - ner a ble draw ing state. He pro posed work with inad e qua cy and the risk of being dis missed as mean ing less in order to dis rupt and break estab lished norms and habi tudes and thus open ing spaces for new lev els of mean ing. As the atlas aims to indi cate, the dis rup tion tac tics and the break with con ven - tions are embod ied in drawing’s vul ner a bil i ty. The vul ner a bil i ty with in the act of draw ing is the act of expo sure of the most sen si tive and frag ile, more intu itive and less ratio nal, spa tial atti tudes. The expo sure of per son al doubts and ambi gu i ties of spa tial reflec tions, com bined with sen sa tions of embod i - ment and inter pre ta tion al risks, ini ti ate the poten tial for the eth i cal draw ing act and soci etal engage ment with in the draw ing. This draw ing atti tude can be defined as the prac tice of vulnerability.  The trans-dis ci pli nary frame work of the atlas expos es the essen tial mat - ter of the sub jec tive and per son al (beyond dis ci pli nary) in rela tion with con - ven tion al and habit u al draw ing acts. As a par tic u lar crit i cal draw ing tac tic, the atlas empha sizes the activist engage ment with lines as a pas sion ate entwine ment with vul ner a bil i ty found ed in draw ing plea sure and fol lowed by pos si ble agony and resent ment. Elab o rat ing on vul ner a bil i ty and inti mate expo sure in his dis course on affec tion and love, Roland Barthes relies on Win ni cott and finds ways to acknowl edge the inevitabil i ty and neces si ty of agony: “Do not wor ry any more, you have already lost it.” Yet, Jean-Luc Nan cy in his book Le Plaisir au Dessin fur ther elab o rates the explic it com - plex i ty of draw ing plea sure and its essence of ambi gu i ty. “Ambi gu i ty seems to be con sti tu tive of pleasure—if it pleas es and if, in pleas ing, it sat is fies, it 41 42 Anđelka Bnin-Bninski The Artifice of Redress 43 Jean-Luc Nan cy, The Plea sure in Draw ing (New York: Ford ham Uni ver si ty Press, 2013), 82. 44 Ibid., 88. 45 Jean Bau drillard, Seduc tion (Mon tre al: Cthe o ‐ ry Books, 2001), 22. 46 Ibid., 82. Vulnerability of the Liminal 309 bor ders on dis-plea sure. If it stim u lates, it’s very exci ta tion, its ten sion is dis plea sur able.” Nan cy fur ther refers to draw ing as an open, unsta ble and vul ner a ble [œuvre] in dif fer ence with the fin ished char ac ter of accom plished work [ouvrage]. “But the work [œuvre] undoes itself by itself [se défait d’elle même]—it makes demands on itself; it reopens the desire from which it has arisen […] All its force resides in what makes it sor row over itself, its idea or form. In sorrow—lacking relief, suf fer ing, in sus pense, in desire for what it knows can only sat is fy though repeat ed exci ta tion.” In the line with Barthes’s and Nancy’s thoughts, the final i ty in lim i nal draw ing is absent, sus pend ed, dis placed. As open and vul ner a ble, lim i nal draw ing remains ambigu ous as it is always in the state of becom ing. This state of plea sure in reversibil i ty and dis place ment, Jean Bau drillard defines as a very essence of seduc tion: “There is, above all, a strat e gy of dis place ment (se- duc ere: to take a side, to divert from one’s path) […] To play is not to take plea sure. Seduc tion, as a pas sion and as a game at the lev el of the sign, acquires a cer tain sov er eign ty; it is seduc tion that pre vails in the long term because it implies a reversible, inde ter mi nate order.” The prac tice of vul - ner a bil i ty, as a very par tic u lar force in the act of draw ing, is the mat ter of sov er eign ty, of anoth er kind of pre ci sion, beyond pro fes sion al habi tudes and dis ci pli nary prin ci ples, with par tic u lar self-ref er en tial order and rig or of reversibility. The Atlas of Lim i nal Line Dynam ics is a propo si tion for exten sive, active and engaged work with line’s ambi gu i ty; it sug gests that vul ner a bil i ty is nec es sary for sophis ti cat ed and nuanced accu ra cies embod ied in draw ing as a per son al act of expo sure and mind ful expres sion of eth i cal and cul tur al posi tion ing of spa tial doubts. Draw ing with the vul ner a ble, ambigu ous line dynam ics is the per for mance of plea sure and seduc tion. As an accu ra cy, this draw ing is beyond con ven tion al pre ci sion – through the work with lim i nal states of the line, it dis rupts con ven tions and devel ops its own field of action beyond the lim i nal, in the sub lime (ety mo log i cal ly: sub-lim i nal). Rely ing on Kant and the rela tion ship between the plea sure and ambi gu i ty, Nan cy under - lines that “the sub lime sen ti ment car ries a mix ture of plea sure and dis plea - sure, as well as a con ta gion of form by the form less.” It is the plea sure from the act of draw ing that reveals its inher ent vul ner a bil i ties and imbues the line with crit i cal poten tial; with in the potentiality—as a res o nant form of dis place ment and reversibility—the draw ing strays from the con scious, work ing field of lim i nal into the frag ile demar ca tions of sublime. 43 44 45 46 Anđelka Bnin-Bninski The Artifice of Redress Vulnerability of the Liminal 311 Bibliography Barthes, Roland. Fragments d’un Discours Amoureux. Paris: Éditions du Seuil, 1977. Baudrillard Jean. Seduction. Montreal: Ctheory Books, 2001. Benjamin, Andrew. “The Preliminary: Notes on the Force of Drawing. ” The Journal of Architecture 19, no. 4 (2014): 470–82. Bnin-Bninski, Anđelka. “The Role of Architectural Drawing in the Dynamics of the Living Space Partition. ” Doctoral Dissertation. University of Belgrade, Faculty of Architecture, 2018. Debray, Régis. Éloge des frontières. Paris: Gallimard, 2013. Michel Deguy, “Timberline, ” Paulorobinson, October 5, 2020. http://paulorobinson.com/timberline-2/. Derrida, Jacques. À dessein, le dessin. Le Havre: Franciscopolis, 2013. Derrida, Jacques. Mémoires d’aveugle. L ’autoportrait et Autres Ruines. Paris: Réunion des Musées Nationaux, 1991. Emmons, Paul. “Demiurgic Lines: Line-Making and the Architectural Imagination. ” The Journal of Architecture 19, no. 4 (2014): 536–59. Emmons, Paul. “Size Matters: Virtual Scale and Bodily Imagination in Architectural Drawing. ” Arq: Architectural Research Quarterly 9, no. 3–4 (2005): 227–35. Evans, Robin. Translations from Drawing to Building and Other Essays. AA Documents 2. London: Architectural Association, 1997. Frascari, Marco. Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination. London; New York: Routledge, 2011. Hale, Jonathan. “Critical Phenomenology: Architecture and Embodiment. ” Architecture and Ideas (2013): 18–37. Ingold, Tim. Une brève histoire des lignes. Translated by Sophie Renaut. Bruxelles: Zones sensibles, 2013. Klee, Paul. Pedagogical Sketchbook. London: Faber & Faber, 1968. Lucan, Jacques. “Généalogie Du Poché. De l’espace Au Vide. ” In Matières, edited by Jacques Lucan et al., 41–54. Lausanne: PPUR, 2005. Milinkovic, Marija, and Dragana Ćorović. “Interview with Chris Younès. ” In AoD Interviews: Architecture of Deconstruction: The Specter of Jacques Derrida, edited by Vladan Đokić and Petar Bojanić, 128–40. Belgrade: University of Belgrade, Faculty of Architecture, 2013. Mitterand, Henri, Jean Dubois, and Albert Dauzat. Dictionnaire étymologique. Paris: Larousse, 2014. Nancy, Jean-Luc. The Pleasure in Drawing. New York: Fordham University Press, 2013. Paquot, Thierry and Michel Lussault, eds., Murs and Frontières, Hermès 63. Paris: CNRS, 2012. Anđelka Bnin-Bninski The Artifice of Redress Vulnerability of the Liminal 313 Sakarovitch, Joel. “Stéréotomie et Géométrie. ” In Mathématiques et Art, edited by Maurice Loi, 79–91. Paris: Hermann, 1995. Sakarovitch, Joel. “Stereotomy, a Multifaceted Technique. ” In Proceedings of the First International Congress on Construction History, edited by Santiago Huerta Fernández, 69–79. Madrid: Instituto Juan de Herrera, Escuela Técnica Superior de Arquitectura, 2003. Simmons, Laurence. “Drawing Has Always Been More than Drawing: Derrida and Disegno. ” In Interstices 11: The Traction of Drawing, edited by Laurence Simmons and Andrew Barrie, 114–25, 2010. Кандински, Василиј. Плави Јахач. Изабрани Радови Из Теорије Уметности, edited by Влади мир Меденица. Београд: Логос, 2015. White, Kenneth. Limites et marges. Paris: Mercure de France, 2000. Zartaloudis, Thanos. “Lines of Architectural Potency,” Architecture Research (2020): 147–205. 315 Céline Bodart Chris Younès Three Creative Figures to Codesign with Vulnerabilities Céline Bodart, Chris Younès The Artifice of Redress 1 Joan C. Tron to and Berenice Fish er, “Towards a Fem i nist The o ry of Car ing” in Cir cles of Care. Work and Iden ti ty in Women’s Lives, eds. Emi ly K. Abel and Mar garet K. Nel son (New York: State Uni ver si ty of New York Press, 1990), 36–54. 2 We speak of "code sign" in order to empha size that any spa tial design activ i ty involve a mul ‐ ti plic i ty of agents (human and non-human, social and polit i cal, in long- and short-terms). Code sign is both “design with” and “design for” . Three Creative Figures to Codesign with Vulnerabilities 317 Tak ing the vul ner a bil i ty of exis tence seri ous ly places the con cern for care at the heart of spa tial design. As Joan Tron to and Berenice Fish er argue, the prac tice of care can “be viewed as a species activ i ty that includes every thing that we do to main tain, con tin ue, and repair our ‘world’ so that we can live as well as pos si ble. That world includes our bod ies, our selves, and our envi - ron ment, all of which we seek to inter weave in a com plex, life-sus tain ing web” . In the 21 cen tu ry, anoth er civ i liza tion al pol i cy is announced with in the uncer tain ty and dis or der: the advent of eco log i cal sci ences based on the recog ni tion of the inter ac tions of liv ing organ isms and their envi ron ment, as syn er gis tic or sym bi ot ic ecosys tems, par tic i pat ing in the aware ness of the tox ic char ac ter of the nature-cul ture divi sion and of unlim it ed exploita tion; also of the aware ness of a com mu ni ty of the ter res tri al des tiny of the liv ing. Cli mate change, loss of bio di ver si ty, pre car i ous ness, mis ery, exclu sion – so many chal lenges to be faced that call for diver si fi ca tion and locat ing new com mon grounds. These are far-reach ing issues, since they involve con sid er - ing polit i cal changes that com bine envi ron men tal, social, eco nom ic, cul tur al and men tal dimen sions. The changes to be made are cru cial. It is a ques tion of not blind ly pur su ing the will of arraison nement (Gestell) but of spar ing and rethink ing the com mu ni ty mean ing of an earth ly des tiny. Regard ing such aware ness, how can we polit i cal ly and poet i cal ly open the pos si bil i ties of a world based on vul ner a bil i ties? How to revive the urgency of the com mon between human and non-human by mobi liz ing indi vid ual and polit i cal respon si bil i ties? What new forms of eco log i cal and sol i dar i ty code sign can work to make the Earth hab it able? Such are the ques tions con cern ing our con tem po rary con di tion. Every day they press a lit tle more upon our man ner of liv ing and work ing, but also on our habits of think ing, doing and design - ing. This essay will not pre tend to answer these ques tions direct ly. Rather, it is a ques tion of look ing at them from a bias angle; of see ing how today they stim u late the par tial and sit u at ed rein ven tion of oth er ways of being, of co- liv ing with vulnerability.  First, we pro pose to look at the his to ry of what makes us vul ner a ble today, insist ing in par tic u lar on the dev as tat ing effects of con cep tu al and polit i cal fig ures of progress; then, we ques tion the pos si bil i ty for new fig ures of change to emerge, enabled to erad i cate old hege mon ic fig ures and to care for the diver si ties and uncer tain ties of our con tem po ra ne ous con di tion; and final ly, we present a sketch of what could be three cre ative fig ures of code - sign, named here the Smug glers, the Totem-per form ers, and the Punk-sow - ers. With these new fig ures, and track ing how each of them can be involved in spa tial design prac tices, we pro pose to set forth a sort of com mon imag i - na tive ground to (re)think how to live with our vulnerabilities. 1 s t 2 Céline Bodart, Chris Younès The Artifice of Redress 3 Post on the IPCC Web site, enti tled “Cli mate change wide spread, rapid, and inten si fy ing” , 9 August 2021. 4 Emi lie Hache, “Intro duc tion – Retour sur Terre” in De l'univers clos au monde infi ni, ed. Emi lie Hache (Paris: Ed. Dehors, 2014), 11–25. 5 Starhawk, Dream ing in the Dark : Mag ic, Sex and Pol i tics (Boston: Bea con Press, 1982). Our read ing of Starhawk is based on a recent French edi tion : Starhawk, Rêver l'obsur: Femmes, magie et poli tique (Paris: Ed. Cam ‐ bourakis, 2003), 60–65. 6 Starhawk dif fer en ti ate three kinds of pow er : “pow er-over” , “pow er-from-with in” , and “pow ‐ er-with” . See also Starhawk, Truth or Dare: Encoun ters with Pow er, Author i ty and Mys tery (San Fran cis co: Ed. Harp er, 1988). 7 Anna Tsing, “Imag i nons un art de vivre dans les ruines du cap i tal isme” , an inter view with Nas ta sia Had jad ji, pub lished in L'ADN 23, Octo ber 14, 2020. Trans lat ed by the authors. Three Creative Figures to Codesign with Vulnerabilities 319 Looking Back: What Makes Us Vulnerable Today On 9 August 2021, the Inter gov ern men tal Pan el on Cli mate Change (IPCC) released its lat est report. The experts' pre dic tions were more alarmist than ever: “Many of the changes observed in the cli mate are unprece dent ed in thou sands, if not hun dreds of thou sands of years, and some of the changes already set in motion […] are irre versible over hun dreds to thou sands of years” . Look ing ahead, the threat is indeed as crit i cal as acute. Nev er the - less, in order to real ize the full extent of such a world ly change, we need to look back: how did it hap pen? How to appre hend the changes to come in a way that con sid ers the past? In oth er words: how to appre hend the change with in the exhaus tion and dev as ta tion of our exist ing situations? In this essay we exam ine the ques tion ing of what makes us vul ner a ble and, above all, the ques tion ing of what we inher it. More pre cise ly, we want to sup port the idea that the dev as ta tion of our liv ing milieus and the result ing vul ner a bil i ty are the prod uct and the vec tor of the exhaus tion of our think - ing patterns.  In Dream ing in the Dark (1982), Starhawk argues that what shapes the mod ern West ern cul ture can be under stood as a set of nar ra tives that we tell our selves over and over: nar ra tives that engen der our expec ta tions and actions, cre at ing in each of us struc tures of think ing that con di tion our ways of being and act ing. Starhawk address es four of these nar ra tive fig ures: The Apoc a lypse, a nar ra tive that shapes a struc tured and struc tur ing sense of time, a unique and uni di rec tion al becom ing tar get ed at a cat a stroph ic grand finale; The good boys/ girls ver sus the bad boys/ girls, a nar ra tive that from the ear li est age infus es a dual is tic pat tern, that which founds the entire West - ern val ue sys tem; The Great Man receives the whole truth and trans fers it to some elect ed ones, a nar ra tive that autho rizes the source of a uni ver sal truth, locat ing itself out side our embod ied expe ri ences, both indi vid ual and col lec - tive; The Rise/ The Fall, a dou ble nar ra tive spread deeply with in our cul tur al imag i na tion, serv ing like the mise-en-scène of our val ue sys tems and pow er struc tures, stag ing all of our every day expec ta tions . The four are “pow er- over nar ra tives” , ensur ing some human groups con trol over oth ers, but also allow ing humans to dom i nate nat ur al milieus. From anoth er per spec tive, the anthro pol o gist Anna Tsing posits that these kind of nar ra tives shape not only our mod ern cul ture, but more specif i cal ly what could be called the fig ure of progress. She describes some of the nar ra tives that forge this fig ure: “The eco nom ic growth must be per pet u al”; “The bio di ver si ty loss will make room for new spaces”; “Only very large-scale devel op ments enable our sys tems to be more effi cient”. While the belief in a bet ter life is at the core of these nar ra tives, we are now real iz ing how they have made our liv ing con di tions 3 4 5 6 7 Céline Bodart, Chris Younès The Artifice of Redress 8 Ibid. 9 Isabelle Stengers, Résis ter au désas tre (Paris: Ed. Wild pro ject, 2019), 18. Trans lat ed by the authors. 10 A term bor rowed from Anna Tsing, and also Isabelle Stengers after her: learn to live in the ruins of capitalism. 11 See Chris Younès, Benoît Goetz, “Mille Milieux – élé ments pour une intro duc tion à l'architecture des milieux” . Le Por tique 25 (2010); Chris Younès, Métamorphoses viv i fi ‐ antes des milieux habités, in Alter Ar chi tec tures Man i festo, eds. Thier ry Paquot, Yvette Mas ‐ son-Zanus si, Mar cos Strathopou los (Paris: Info lio, 2012). Three Creative Figures to Codesign with Vulnerabilities 321 on earth vul ner a ble. That is, Tsing argues that we live in a time of col lapse: the col lapse of all great nar ra tives that shaped the fig ure of progress, a col - lapse going hand in hand with the very aware ness of “the fun da men tal ly pre - car i ous dimen sion of human life, but also of the life of ani mals, of plants” . The dev as ta tion of our milieus (nat ur al, social and men tal) has been made in the name of progress, “enforc ing a prop er ty right that is, above all, a right to exploit, extract, abuse and destroy all forms of inter de pen den cy” , and it is with in these ruins that we must learn to think and design new ways of living. What we inher it from his to ry is a dev as tat ing illu sion forged in the fig - ure of progress and held by the armed arm of dom i na tion. It is in this mirage of progress that we still find today what makes us vul ner a ble. The mirage, forged in Promethean cer tain ties, con ceals that any human set tle ment is always already vul ner a ble, which means intrin si cal ly exposed to dam age. A vul ner a ble world is a world threat ened by its own exhaus tion, or its very dis so lu tion, whether it is an eco log i cal, social and/ or polit i cal world, even a human, non-human and/ or more-than-human world. But if vul ner a bil i ty is an inher ent con di tion of inhab it ed ter ri to ries, vul ner a bil i ty can also be under stood as a fer tile ter rain for polit i cal imag i na tion and the col lec tive inven tion of oth ers modes and forms of liv ing. In that sense, learn ing to code sign with our own vul ner a bil i ties is first learn ing to turn away from the fig ure of progress in order to open oth er ways to com pose alter na tive fig - ures, both plu ral is tic and par tial. Such mul ti ple fig ures are need ed to elim i - nate the mod ern nar ra tive fig ures who claimed to have all the answers, at all times and in all places. As design ers, it is about choos ing oth er fig ures to ori en tate our ways of think ing and act ing; oth er fig ures enabled to blur all the cer tain ties that the encom pass ing mirage of progress relent less - ly proffers. Call for New Figures of Change In these times, fac ing the expand ing vul ner a bil i ty of our inhab it ed milieus , we are called to cre ate forms of rebirth defin ing new ways of liv ing with the exhaus tion of our milieus: a call for a meta mor pho sis that favors both the auton o my of peo ples and the estab lish ment of a com mon ground allow ing the shar ing of our capac i ties to cre ate, imag ine, and relate. What is at stake are syn er gies and syn chronies: active ways to forge new—or to renew— alliances between humans and non-humans, local and glob al, rur al and urban, fem i nine and mas cu line, mate r i al and spir i tu al, pro fane and sacred. Syn er gies and syn chronies are mat ters of both sociopo lit i cal and eco log i cal dynam ics; they form attach ments and arouse entwine ments between the 8 9 10 11 Céline Bodart, Chris Younès The Artifice of Redress 12 Don na Har away, “Le rire de Méduse. Entre tien avec Don na Har away, par Flo rence Caey maex, Vin ciane Despret, Julien Pieron” in Habiter le trou ble avec Don na Har away, eds. Flo rence Caey maex, Vin ciane Despret, Julien Pieron (Paris: Ed. Dehors, 2019), 81–82. 13 Starhawk, Dream ing the Dark: Mag ic, Sex, and Pol i tics (Boston: Bea con Press, 1982). 14 Don na Har away, Stay ing with the Trou ble: Mak ing Kin in the Chthu lucene (Durham, Duke Uni ver si ty Press, 2016). 15 Emi lie Hache, “Intro duc tion: retour sur Terre” in De l'univers clos au monde infi ni, ed. Emi lie Hache (Paris: Ed. Dehors, 2014), 11–25. Trans ‐ lat ed by the authors. Three Creative Figures to Codesign with Vulnerabilities 323 whole and the parts, tak ing into account what is vis i ble and invis i ble. To recon sid er how to live and cre ate syn er gis ti cal ly involves a vivid diver si ty of prac tices and knowl edge that take part in the rever sal of extant mod els, imag i nar ies and val ue sys tems, engag ing togeth er with oth er per spec tives of sol i dar i ty and fru gal i ty. Such a par a digm shift, dis turb ing all dualisms (nature/ culture, thinking/ making, etc.) while tak ing mea sure of our vul ner a - bil i ties, leads one to ques tion fig ures of anoth er kind. Accord ing to Don na Har away, a fig ure “is nev er pure ly visu al, nor pure ly tex tu al, nor pure ly audi tive, a fig ure is a mode of mate ri al i ty which can be mul ti-sen so r i al”. Fur ther more: “The modal i ty of fig u ra tion is not fixed, it is an open modal i ty, an open set of pos si bil i ties of fig u ra tion” . Fig ures at stake cre ative ly work with in or around con sol i dat ed sys tems to explore the pos si bil i ty of alter na - tive becomings. Poten tial i ties of such fig ures are our core con cerns, but fur ther pre ci - sion is need ed regard ing the nam ing of the “fig ure”. The fig ures are con cep - tu al frame works. They sketch the out lines of ways of think ing, act ing and design ing, yet with out fix i ty. The def i n i tion of “fig ure” refers to what is rel a - tive ly char ac ter ized, more or less defined, and thus nev er com plete ly deter - mined. We then con sid er that fig ures oper ate as some sort of com pass: they allow one to ori en tate ways of think ing and act ing with out ready- made paths. Most impor tant ly, fig ures are con struct ed using words. Lan guage is our most potent tool prof fer ing the real in both form and struc ture , and words are for mi da ble weapons in (re)shaping modes of rep re sen ta tion . Today more than ever, it is about forg ing words to relearn how to say and see, grasp and feel, but also to imag ine and engage oth er ways of liv ing with and with - in what makes us vul ner a ble. As Emi lie Hache sug gests in fac ing what is hap pen ing to us all: we need “new nar ra tives, new metaphors, and new con - cepts to sup port such a world trans for ma tion”, call ing for “a new aes thet ic, in the sense of a renew al of our modes of per cep tion, of our sen si bil i ty” . Whether ordi nary or extra or di nary, the nec es sary sub ver sions of our ways of liv ing, act ing, and design ing go along with the sub ver sions of our ways of speak ing, nam ing, and describ ing. A social life, made of accel er at ing paces and lull peri ods, of mul ti ple bod ies and minds involved, of het ero geneities and plu ral i ties, unfolds beyond any sense of total con trol to bet ter adapt to cir cum stances and unfold ing sit u a tions. It requires words then to appre hend the mean ing and pow ers of this social vital i ty, to learn from its cre ativ i ty, as well as its pos si ble exhaus tion. We must read just our con cep tu al frame works to pur sue new naturo-cul tur al alliances above and below illu sion ary dualisms. In that sense, we pro pose to sketch out the fea tures of what 12 13 14 15 Céline Bodart, Chris Younès The Artifice of Redress 16 See Don na Har away, Stay ing with the Trou ble , op.cit. 17 Isabelle Stengers describes this triple dev as ‐ ta tion fol low ing Guattari's argu ment. See Isabelle Stengers, Résis ter au désas tre (Paris: Ed. Wild pro ject, 2019); Félix Guat tari, Les trois écolo gies (Paris: Ed. Galilée, 1989). 18 The idea of “smug gling” has been men tioned by Vin ciane Despret, dur ing a pub lic talk with Philippe Desco la, as part of the cycle of inter ‐ na tion al encoun ters enti tled “Les dia logues du con tem po rain” , mod er at ed by Lau rent de Sut ter, at the Insti tut français and Odéon – Théâtre de l'Europe (2015−2016). Three Creative Figures to Codesign with Vulnerabilities 325 appears to us as three emerg ing fig ures that sug gest oth er ways to see and feel, to tell and to think how to code sign with vulnerabilities. Sketching Out Three Creative Figures of Codesign. The fig ures we pro pose are built as con cep tu al char ac ters — not fic tive ones but ones enabled to pro duce fic tions; to ini ti ate, gen er ate and cul ti vate new types of nar ra tives. Also, our fig ure-char ac ters account for the mul ti ple sto - ries that are craft ed through actu al dis cours es and prac tices; killjoy-sto ries which trou ble the way things are and all forms of hier ar chies that sup port them . Of course, our actu al dis cours es and prac tices are already inhab it ed by var i ous fig ures-char ac ters – for instance, the Ben jamin ian fig ures like the Flâneur and the Sto ry teller, also Lévi-Strauss' Bricoleur, or Agnès Varda's Glean ers. And we pro pose the pos si bil i ty of three oth ers: three mod est fig - ure-char ac ters that inhab it today's spa tial design prac tices, oper at ing as com - pass in order to ori en tate design ers towards the inven tion of new ways of work ing in uncer tain times. The afore men tioned fig ures are the Smug glers, the Totem-per form ers, and the Punk-sow ers. Their spe cif ic fea tures are almost false ly—artif icially —dissociated, where as they would rather tend to merge, to com ple ment and enrich each oth er like a syn er gic com mon work. But appre hend ing each apart from the oth ers, the idea is to ques tion and track how these fig ures can be involved in spa tial design practices. To give the fig ures sub stance we lend them our words cross ing with words from many oth ers. These fig ures should be under stood not like some lead ing ones, such as the fig ure of progress, fea tured as the war rant of any human con quests over decades, which led to today's eco log i cal dev as ta tion; a dev as ta tion of nat ur al milieus and social and men tal dev as ta tion . Instead, the three fig ures tend to be gath er ers, set ting a sort of com mon imag i na tive ground to (re)think how to live with our vulnerabilities. S m u g g l e r s – those who redesign living milieus by passing through all the borders inherited from the 'Great Division', mainly the division erected between nature and culture. At the bor ders tra di tion al ly erect ed between the o ret i cal and prac ti cal, intel li - gi ble and sen si tive, nature and cul ture, var i ous ways of rethink ing our prac - tices are con tem po ra ne ous ly emerg ing. Speak ing about bor ders is also to insist on the impor tance giv en to what it would be like to pass through them. In oth er words, it is because there are bor ders that smug gling is pos si ble . 16 17 18 Céline Bodart, Chris Younès The Artifice of Redress 19 About inter ac tions between nat ur al ele ments and spa tial design think ing, see Chris Younès, Thier ry Paquot (eds.), Philoso phie, ville et archi tec ture: La Renais sance des qua tre élé ‐ ments (Paris: Ed. La Décou verte, 2002). 20 This may echo the fea tures of anoth er fig ure; the cyborg fig ure as defined by Don na Har ‐ away. See: Don na Har away, Simi ans, Cyborgs and Women: The Rein ven tion of Nature (Lon ‐ don: Rout ledge, 1991). 21 For fur ther read ings, see Daisy Hild yard, The Sec ond Body (Lon don: Fitz car ral do Edi tions, 2018); Nathaniel Rich, Sec ond Nature: Scenes from a World Remade (Stuttgart: Macmil lan, 2021). We thank to Paul Robin son for those suggestions. 22 See Céline Bodart et Chris Younès, “Syn er gies naturo-cul turelles et agence ments de pro jets” in Villes et archi tec tures en débat. Europan, eds. Chris Younès, Alain Mau gard (Mar seille: éd. Par en thès es, 2019). 23 Refer ring to Bruno Latour's works, call ing for shift ing from mat ters of facts to mat ters of con cerns. See Bruno Latour, “Why Has Cri ‐ tique Run out of Steam? From Mat ters of Fact to Mat ters of Con cern” . Crit i cal Inquiry, Vol ‐ ume 30 (2004): 225–248. Three Creative Figures to Codesign with Vulnerabilities 327 ern thought-police, ideas flow. The fig ure of the Smug glers draws atten tion to any thing hap pen ing at the bor ders enforced by the geog ra phy and hier ar - chy of knowl edge; both are inher it ed from the lega cy of mod ern sci en tif - ic thought. Urban milieus appear as fer tile exper i men tal fields for Smug glers. Cities are like qua si-organ isms that in a sense escape from human mas ter ing and any rad i cal and her met ic divi sions between nat ur al and cul tur al com po - nents. The ques tion is to imag ine how human estab lish ments can be devel - oped in inter ac tion with oth er liv ing beings to ini ti ate inter faces in coevo lu - tion and coop er a tion and between the wild and the cul ti vat ed. The work of land scape design er Kongjian Yu, founder of Turen scape (1998) is evoked. Yu's urban projects deploy a stim u lat ing eco-aes thet ic inte grat ing both the liv ing and the ele ments dynam ics of the site in large parks where the human is del i cate ly present. At stake are mul ti ple new alliances between liv - ing organ ism and machine, human and ani mal , always based upon a neces si ty to ques tion the het ero ge neous encoun ters of nat ur al and cul tur al mat ters while dis turb ing their tra di tion al ly estab lished borders.  What the Smug glers (re)invent always tra vers es trans gres sive ground. This doesn't mean that they act sole ly on the impulse of sub ver sive plea sure. The will to trans gress estab lished bor ders is not ani mat ed by the illu sion of being able to defin i tive ly erad i cate them, but instead it opens the pos si bil i ty of think ing them afresh. The Smug glers shake-up the usu al ways of doing and think ing more than they knock them down. They (re)compose with their expe ri enced fail ures in order to smug gle oth er doing-think ing prac tices into man i fold iden ti fied breaches. Such design atti tudes can be par tic u lar ly observed with in the frame of the Europan com pe ti tion, open to archi tects, urban plan ners and land scape archi tects under 40 years of age . A broad range of these young design ers engage the urban project through the exper i men ta tion of new forms of hybridiza tion between cul tur al and nat ur al, tec ton ic, atmos pher ic and bio log - i cal ele ments. With a con tin u ous reci procity between scales rang ing from the ecosys tem to the neigh bor hood or the urban block, the Smug gler project recon sid ers the process es of trans form ing inhab it ed milieus by pay ing crit i - cal atten tion to the mul ti plic i ty of its agents and com po nents – because they are nat ur al and arti fi cial, social and polit i cal, human and non-human – and more specif i cal ly to their modes of rela tion, col lab o ra tion, artic u la tion, and exchanges. The Smug glers invent new alliances. They assem ble facts with new con cerns , con tra dic to ry inter ests with diver gent intu itions, and yet with out seek ing ways to set tle them too quickly—once and for all. Because the Smug glers care for the dif fer ence they can make, the inven tions are held 19 20 21 22 23 Céline Bodart, Chris Younès The Artifice of Redress 24 We bor row this idea of "Totem Think ing" from the research work of Flo rence Taché, archi tect and stu dent of the Post-Mas ter "Recherch es en Archi tec tures", ENSA Paris La Vil lette, Ger ‐ phau-lab. (2020−2021). 25 Don na Har away, Stay ing With the Trou ble, 55. Three Creative Figures to Codesign with Vulnerabilities 329 open in order to explore the plu ral is tic becom ings of exist ing insti tu tion al - ized situations. As a con cep tu al fig ure, the Smug glers address new ways of think ing, doing, and feel ing, mov ing from the realm of oppo si tions and secured bor - ders to the care for mul ti ple interdependencies. T o t e m - P e r f o r m e r s – those who renew our attention to living by crafting symbiotic alliances with selected animal species. Learn ing alter na tive ways to appre hend inher it ed vul ner a bil i ties mat ters. It is about craft ing new con cep tu al frames with in which to con sid er them, which means frames that are “made up of ongo ing mul ti-species sto ries and prac - tices of becom ing-with in times that remain at stake, in pre car i ous times, in which the world is not fin ished and the sky has not fallen–yet ”. This is what Don na Har away pro pos es as the Chthu lucene in seek ing a more spec u - la tive and cre ative dis tance from nor mal ized terms such as Anthro pocene or the Cap i talocene. Such a call for “mul ti species sto ries and prac tices of becom ing-with” can be found in con tem po ra ne ous forms of think ing and artis tic prac tices. The need for mul ti-spe cif ic sto ries spreads and mul ti plies to the point where the ani mal ques tion itself seems to be reshaped as a sort of Totem embod ied in beings of ref er ence from which they engage oth er modes of think ing and inter ac tions with exhaust ed ecosystems. In con tem po rary lit er a ture, for exam ple, we can refer to the writer Jean Marie Gus tave Le Clézio. Through out his work, Le Clézio describes regen - er a tive forms of exis tence in which humans live in a nature-cul ture sym bio - sis con nect ed by mul ti ple links to a milieu not per vert ed by the sep a ra tions man i fest ed in a fran tic race towards prof it. The cre ative resis tance that runs through his work takes a dou ble form: on one hand, a call for the destruc tion of the “immonde spaces” (the filthy places of the world; the non-world), mis - ery and dis tress spaces pro duced by dom i na tions and exploita tions of bod ies and ecosys tems; on the oth er, a quest for sav ing anoth er, more ani mistic, way to rec on cile and cohab i tate the Earth. “I am not look ing for a par - adise”, he explains, “but for a land”. Le Clézio ded i cates his nov els to the pur suit of the bear ers of light, the old men, women and chil dren of nomadic peo ples. His heroes, or rather anti-heroes, are in their beau ty a tes ti mo ny to the pre car i ous ness and capac i ties of biot ic and poet ic com mu nions with the min er al, the veg etable … the animal. Such revi sions of the ani mal ques tion echo like an acute need, pro gres - sive ly inter fer ing with the design issues inher ent in human set tle ments. It is to ques tion “the spa tial and mate r i al place we give to ani mals in domes tic or nat ur al space: how, on a plan et with increas ing ly vis i ble lim its, can we 24 25 Céline Bodart, Chris Younès The Artifice of Redress 26 Excerpt from the pre sen ta tion of the sem i nar day orga nized by the EHESS at the Mucem (Mar seille) in Novem ber 2018: “L'architecture et la ques tion ani male – le geste tech nique”: h ttps://lafabriquedesecritures.fr/larchitecture- et-la-question-animale-12-novembre-2018/ (Excerpt trans lat ed by the authors). 27 See Vin ciane Despret, Habiter en oiseau (Arles: Ed. Actes Sud, 2019); and Vin ciane Despret, Auto bi ogra phie d'un poulpe et autres réc its d'anticipations (Arles: Ed. Actes Sud, 2021). 28 See Bap tiste Mori zot, Sur la piste ani male (Arles: Ed. Actes Sud, 2017). 29 Vin ciane Despret, “Pol i tics of ter ris to ries” , in Mul ti species Sto ry telling in Inter me di al Prac ‐ tices, (Växjö: Lin naeus Uni ver si ty, 2019). 30 Emerg ing in the mid-70s, Punk is a cul tur al move ment, both anar chist and pro test er, sup ‐ port ed by the cre ation of a new musi cal genre. As a mot to, “no future” express es the punk world view, the los ing faith in what the future could still offer for young generations. Three Creative Figures to Codesign with Vulnerabilities 331 cohab it and make all forms of life cohab it? ”. It is through ethol o gy, phi - los o phy and anthro pol o gy that the ani mal ques tion entered ongo ing archi tec - tur al debates. Such extra-dis ci pli nary encoun ters offer fresh thoughts regard - ing nor mal ized archi tec tur al and ter ri to r i al issues. We can refer here to the philoso pher Vin ciane Despret. Despret invites one to think about how to inhab it ter ri to ries as a bird or as an octo pus in order to revis it what makes a ter ri to ry and to recon sid er how liv ing beings com pose their ter ri to r i al coex is tences . Regard ing the ter ri to r i al approach to the ani mal ques tion, we can refer to Bap tiste Morizot's works : fol low ing the ani mal trails, he observes the modes of diplo mat ic rela tions in play in their liv ing ter ri to ry and ques tions how such rela tions require adjust ments and rec i p ro cal shap ing with larg er preda tors such as bears, wolves or snow pan thers to be able to find mutu al ly ben e fi cial forms of cohab i ta tion between liv ing beings. Con sid er ing that “each ani mal is a way of inhab it ing the world” and that observ ing them is also a way of “learn ing with them how to mul ti ply [world ly] sto ries”, etho log i cal stud ies may pro vide rich per spec tives to learn how to code sign with our vul ner a bil i ties. Accord ing to Vin ciane Despret, “the study of the mul ti ple ways of liv ing and inhab it ing could open our imag i nary to oth er ways of con ceiv ing what it means to find a place in the world and make this place a home with oth ers who have them selves found a home” . As a fig ure, the Totem-per form ers are those who weave a cre ative fab - ric for cul ti vat ing new nar ra tives with ani mals, mul ti ply ing dis-anthro pocen - tric sto ries. They are per form ers because their decen tered nar ra tives must be per for ma tive. Break ing away from any dom i nant nar ra tives, they nec es sar i ly pro ceed via con t a m i na tion and collaboration.  P u n k - S o w e r s – those who relearn to live in uncertain times by cultivating new kinds of earthly bonds, growing new senses of the communities and other ways of living together. No Future! Although with dif fer ing con cerns, the pen e tra tive punk mot to still res onates through the chal leng ing times we're fac ing . If we pro pose to reflect on the punk fig ure, it is to posit how con tem po rary con cerns about the future can stim u late the rein ven tion of our rela tions to places, to shared lands and com mon resources, to all what offers a ground con nec tion (prise de terre) to our col lec tive becom ings. In this sense, the punk is today one who sows, cul ti vates, and regen er ates our human and earth ly bonds. The exhaus tions of nat ur al and social milieus are indeed extreme ly inter con nect - ed. As Isabelle Stengers states: “It is not only the Earth that is poi soned, pol - - 26 27 28 29 30 Céline Bodart, Chris Younès The Artifice of Redress 31 Isabelle Stengers, “Un autre vis age de l'Amérique ?” Post face in Starhawk (ed.), Rêver l'obscur: Femmes, magie et poli tique (Paris: Cam bourakis, 2015), 361–380, 377. (Trans lat ed by the authors). 32 Ray Old en burg, The Great Good Place (New York: Paragon House, 1989). 33 Mur ray Bookchin, Essays on Dialec ti cal Nat u ‐ ral ism (Mon tre al: Black Rose Books, 1990). 34 Christophe Hutin (ed.), Les com mu nautés à l'oeuvre, cat a logue du pavil lon français de la bien nale d'architecture de Venise 2021 (Ed. Dominique Car ré, 2021). 35 Chris Younès, Archi tec tures de l'existence (Paris: Ed. Her mann, 2018). 36 Fol low ing the expres sion of Encore Heureux, which launched this chal lenge on the occa ‐ sion of the 16 Archi tec ture Bien nale (Venice, 2018): Nico la Delon, Julien Chop pin, Lieux infi ‐ nis. Con stru ire des bâti ments ou des lieux? (Paris: B42, 2018). th 37 Éric Lenoir, Petit traité du jardin punk : appren dre à dés ap pren dre (Mens: Ed. Terre vivante, 2020). Three Creative Figures to Codesign with Vulnerabilities 333 lut ed, over-exploit ed, it is also how our com mu ni ties are built ”. The Punk- sow ers rep re sents those who want to answer for this dou ble devastation. Through his polit i cal ecol o gy works, Ivan Illich leads a rad i cal crit i - cism of the indus tri al pro duc tion-ori ent ed soci eties alien at ed by the gigan - tism of their tools and bureau crat ic insti tu tion al process es. Such a cri tique sug gests the recon sid er a tion of soci ety as "con vivial". Nowa days, in oppo si - tion to the total i tar i an and ide o log i cal vision of cap i tal ism, lib er tar i an and demo c ra t ic devices are emerg ing as self-man aged and coop er a tive places; third places ; places and zones to defend; vacant places, meta mor phosed into inter me di ary ones, pro pi tious to con tem po rary artis tic cre ations and prac ti cal col lec tive actions and so on. Quests for jus tice, eman ci pa tion, and mutu al sol i dar i ty are inter twined in any place. In such polit i cal and exis - ten tial expe ri ences – which are at once sen so ry, cog ni tive, emo tion al, and civic finite places are becom ing infi nite . The Punk-sow ers pro ceed via sit - u at ed immer sion: they immerse them selves in the ordi nary expe ri ence of sit - u a tions in order to relearn how to see and feel them. They invent new rit u als to col lec tive ly engage oth er forms of atten tion and dis cus sion; they imag ine new dynam ics of gath er ing to open alter na tive ways of cre ation and negotiation. From one sit u a tion to anoth er, the Punk-sow ers rein vent what it means to build a con cerned com mu ni ty by the trans for ma tion of its milieu. How to learn to unlearn is always at stake. It is to learn to unlearn what a place is in order to exper i ment with new ways of inhab it ing exhaust ed liv ing ter ri to ries (both in urban and rur al areas); it is to learn to unlearn what a nat ur al envi - ron ment does (or does not) in order to enrich the pos si ble cohab i ta tion and inter ac tions between humans and non-humans. Learn to unlearn, it is the sub ti tle of Petit traité du jardin punk, writ ten by the land scape design er Éric Lenoir. His book is akin to a hand book on learn ing how to punk his/ her own gar den, or more pre cise ly to “learn to unlearn” what a gar den is: “Before being a reflec tion, the punk gar den is an epi der mal reac tion, a riposte against con crete and the intol er a ble rec ti tude of liv ing spaces. It invites us to dis cern the poten tial of any place to invest it, to improve it, to reclaim bio di ver si ty and to move nature from a deriso ry, even non-exis tent, sta tus to a remark able one” . The fig ure of the Punk-sow ers dis turbs any sta tus quo; it trou bles every seem ing ly inno cent question—what a gar den, a place or the nature is —and open them to renewed and always sit u at ed issues—what a gar den, a place or nature-cul ture inter ac tions can be and still could become. The Punk-sow ers fig ure defines a deci sive turn ing point for the earth ly com mu ni ty, insist ing on the nec es sary inter sec tions of eth i cal, aes thet ic and polit i cal issues to act togeth er with trou bling times. The Punk-sow ers engage them selves with uncer tain ties, while reclaim ing places to rein vent mul ti ple 31 32 33 34 35 36 37 Céline Bodart, Chris Younès The Artifice of Redress 38 Han nah Arendt, “De l'humanité dans de "som ‐ bres temps" . Réflex ions sur Less ing” [1959], in Vies poli tiques (Paris: Tel/ Gallimard, 1974), 19. 39 Mar i lyn Strath ern quot ed in Don na Har away, Stay ing with the Trouble. 40 Émi lie Hache, “Where the future is” in Starhawk (ed.), Rêver l’obscur. Femmes, magie et poli tique (Paris: Cam bourakis, 2015), 20. (Trans lat ed by the authors) Three Creative Figures to Codesign with Vulnerabilities 335 ways to “make world” , car ing for what aris es between humans, and non- humans.  “It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what ties tie ties. It matters what stories make worlds, what worlds make stories ”. Craft ing with words, the fig ures tell sto ries in which con flicts and strug gles are tan gled with opti mism; angers and fears forge new alliances with the need to believe in oth er vivid becom ings. These pro posed char ac ters-fig ures are three dif fer ent ways to trans late what it means to code sign with vul ner a - bil i ties. That is, every fig ure holds only part of the sto ry. None of them are in them selves a total i ty. They are bound togeth er by what makes them diverse. Their nar ra tives are about mul ti ply ing becom ings, sketch ing a plur al por trait of ways to care for what makes us vulnerable. Their giv en names – the Smug glers, the Totem-Per form ers, and the Punk-Sow ers – may con jure a smile or a raised eye brow. And this is how it should be. Above all, let them not be unan i mous. We wish these fig ures to gen er ate debates just as seri ous as amused. We wish them to take part in “the col lec tive inven tion of appa ra tus enabled to pre serve our selves from despair and cyn i cism, such as words that sus pend the usu al course of things and (re)create the pos si ble” . 38 39 40 Céline Bodart, Chris Younès The Artifice of Redress Three Creative Figures to Codesign with Vulnerabilities 337 Bibliography Arendt, Hannah. Vies politiques. Paris: Tel/Gallimard, 1974. Bodart, Céline and Younès, Chris. “Synergies naturo-culturelles et agencements de projets” . In Villes et architectures en débat. Europan, edited by Chris Younès and Alain Maugard. Marseille: éd. Parenthèses, 2019. Bookchin, Murray. Essays on Dialectical Naturalism. Montreal : Black Rose Books, 1990. Delon, Nicola and Choppin, Julien. Lieux infinis. Construire des bâtiments ou des lieux? Paris: B42, 2018. Despret, Vinciane. Autobiographie d'un poulpe et autres récits d'anticipations. Arles: Ed. Actes Sud, 2021. Despret, Vinciane. Habiter en oiseau. Arles: Ed. Actes Sud, 2019. Guattari, Félix. Les trois écologies. Paris: Ed. Galilée, 1989. Hache, Emilie (ed). De l'univers clos au monde infini. Paris: Ed. Dehors, 2014. Haraway, Donna. “Le rire de Méduse. Entretien avec Donna Haraway, par Florence Caeymaex, Vinciane Despret, Julien Pieron” . In Habiter le trouble avec Donna Haraway, edited by Florence Caeymaex, Vinciane Despret, Julien Pieron. Paris: Ed. Dehors, 2019. Haraway, Donna. Simians, Cyborgs and Women: The Reinvention of Nature. London: Routledge, 1991. Haraway, Donna. Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016. Hildyard, Daisy. The Second Body. Fitzcarraldo Editions, 2018. Hutin, Christophe (ed). Les communautés à l'oeuvre, catalogue du pavillon français de la biennale d'architecture de Venise 2021. Paris: Ed. Dominique Carré, 2021. Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern” . Critical Inquiry, Volume 30 (2004): 225-248. Lenoir, Éric. Petit traité du jardin punk : apprendre à désapprendre. Mens: Ed. Terre vivante, 2020. Morizot, Baptiste. Sur la piste animale. Arles: Ed. Actes Sud, 2017. Oldenburg, Ray. The Great Good Place. New York: Paragon House, 1989. Rich, Nathaniel. Second Nature: Scenes from a World Remade. Macmillan, 2021. Starhawk, Truth or Dare : Encounters with Power, Authority and Mystery. San Francisco: Ed. Harper, 1988. Starhawk. Rêver l'obsur: Femmes, magie et politique [1982]. Paris: Ed. Cambourakis, 2003. Stengers, Isabelle. “Un autre visage de l'Amérique ?” (Postface). In Starhawk, Rêver l'obscur: Femmes, magie et politique, 361-380. Paris : Ed. Cambourakis, 2015. Stengers, Isabelle. Résister au désastre. Paris : Ed. Wildproject, 2019. Céline Bodart, Chris Younès The Artifice of Redress Three Creative Figures to Codesign with Vulnerabilities 339 Tronto, Joan C. and Fisher, Berenice. “Towards a Feminist Theory of Caring” in Circles of Care. Work and Identity in Women’s Lives, edited by Emily K. Abel and Margaret K. Nelson, 36-54. New York: State University of New York Press, 1990. Tsing, Anna. “Imaginons un art de vivre dans les ruines du capitalisme” , an interview with Nastasia Hadjadji. L'ADN 23. October, 14 2020. https://www.ladn.eu/nouveaux-usages/anna-tsing-vivre-dans-les -ruines-du-capitalisme/. Younès, Chris and Goetz, Benoît. “Mille Milieux – éléments pour une introduction à l'architecture des milieux” . Le Portique 25, 2010. https://doi.org/10.4000/leportique.2471 Younès, Chris and Paquot, Thierry (eds). Philosophie, ville et architecture: La Renaissance des quatre éléments. Paris : Ed. La Découverte, 2002. Younès, Chris. Architectures de l'existence. Paris: Ed. Hermann, 2018. Younès, Chris. Métamorphoses vivifiantes des milieux habités. In AlterArchitectures Manifesto, edited by Thierry Paquot, Yvette Masson-Zanussi, Marcos Strathopoulos. Paris: Infolio, 2012. 341 Bahar Aktu na is a Turk ish-Cypri ot archi tect and schol ar. She holds a Ph.D. in Design, Con struc ‐ tion, and Plan ning from the Uni ver si ty of Flori da. Her research inter ests include poet ics and ethics of ruins and ruina tion, place mak ing, phe nom e no ‐ log i cal and hermeneu tic meth ods, design/ build and tec ton ics. Bahar is cur rent ly a fac ul ty mem ‐ ber at the Depart ment of Archi tec ture at Yedite pe Uni ver si ty where she teach es design and con ‐ struc tion courses. Anđel ka Bnin-Bnin s ki, PhD is edu cat ed as an archi tect engi neer with spe cial iza tions in the o ry of arts and media (Uni ver si ty of Arts, Bel grade) and archi tec tur al phi los o phy (ENSA Paris-La Vil ‐ lette, Paris). She works as an edu ca tor, cura tor and researcher, affil i at ed with the Uni ver si ty of Bel grade – Fac ul ty of Archi tec ture on the posi tion of research asso ciate, and she asso ci at ed with lab o ra to ry Grephau in Paris. She rep re sents Uni ‐ ver si ty of Bel grade in the ARENA archi tec tur al research network. Her over all approach includes mul ti- inter- and trans-dis ci pli nary prac tice engaged in dynam ic con nec tions between research and archi tec tur al design. She holds expe ri ence as prac tic ing archi tect, as an author and mem ber of design teams and has mul ti ple col lab o ra tions with the inde pen dent artis tic scene in Bel grade. Her twelve-year teach ing expe ri ence is relat ed to stu dio design, method olog i cal cours es on bach e ‐ lor and mas ter lev els and invit ed lec tures and work shops on doc tor al stud ies. She curates the inter na tion al draw ing research pro gram at the Kolek tiv gallery in Bel grade. Her present inves ti ‐ ga tions are focused on tac tics of archi tec tur al draw ing research regard ing the crit i cal and eth i ‐ cal approach to archi tec tur al design. Céline Bodart holds a pro fes sion al degree in Archi tec ture and a post-grad u ate diplo ma in Archi tec ture & Phi los o phy. She also grad u at ed in the Exper i men tal Pro gram in Polit i cal Arts (SPEAP) from Sci ences Po Paris. Ph.D in Archi ‐ tec ture from the Uni ver si ty of Paris8 (FR) in co- super vi sion with the Uni ver si ty of Liège (BE), she cur rent ly teach es at the School of Archi tec ture (ENSA) of Paris La Vil lette (FR). With Chris Younès, she has co-edit ed sev er al pub li ca tions, includ ed Encore l'architecture – encore la philoso ‐ phie (Her mann, 2016) and Au tour nant de l'expérience : inter roger ce qui se con stru it, partager ce qui nous arrive (Her mann, 2018). She also con tributed to the pub li ca tion Cities and archi tec ture under debate, Europan (Par en thès ‐ es, 2019). Ser e na Dambro sio is a researcher, lec tur er and archi tect. She’s cur rent ly a PhD can di date in Archi tec ture and Urban Stud ies at Pon ti f i cia Uni ‐ ver si dad Católi ca de Chile where she inves ti gates the pol i tics of urban era sure in the con text of west ern mod ern iza tion dis cours es and prac tices. She has been part of cura to r i al projects for nation al and inter na tion al exhi bi tions such as the Italy Pavil ion "Innesti/ Grafting" at the Venice Archi tec ture Bien nale 2014, and "Ephemer al Urban ism Pavil ion" at the Venice Archi tec ture Bien nale 2016, among oth ers. She is co-author of the book Part-Time Cities (San ti a go de Chile, 2019) and the pub li ca tion La-Anti deri va (San ti a go de Chile 2017). She has been a vis it ing researcher at the Cana di an Cen tre for Archi tec ture (Mon tre ‐ al, 2019) and the Het Nieuwe Insti tu ut (Rot ter dam, 2020–2021). She also par tic i pates in self-orga ‐ nized groups of stu dents, schol ars, archi tects and artists to ques tion con ven tion al spaces of learn ‐ ing and knowl edge pro duc tion in art and archi ‐ tec ture, includ ing Assem bra men ti, La escuela nun ca, Porun hab itardig no. Mor agh Diels (1994) grad u at ed archi tect in 2019 at the KU Leu ven Fac ul ty of Archi tec ture, Cam pus Sint-Lucas. She com plet ed her intern ship at Her ‐ zog & De Meu ron in Basel, Switzer land, and in Belgium. Thier ry Lagrange grad u at ed from Uni ver si ty of Ghent, Mas ter of Sci ence in Civ il Engi neer ing Archi tec ture (1993) and obtained a PhD, Look Here Now, Map ping Design Tra jec to ries , in 2013 at the Fac ul ty of Archi tec ture KU Leu ven. He is a prac ti tion er-archi tect in Bel gium since 1997, ww w.alt-architectuur.be and a pho tog ra ph er, www.thi errylagrange.com. He teach es archi tec tur al design at the Fac ‐ ul ty of Archi tec ture KU Leu ven. His mas ter dis ser ‐ ta tion stu dio The Draw ing and the Space (togeth ‐ er with Prof. Johan Van Den Berghe) is an incu ba ‐ tor for doc tor al research out of which a num ber of PhD’s have been ini ti at ed. Togeth er with visu al artist dr. Dim itri Van grun der beek he teach es archi tec tur al design in their exper i men tal stu dio The Dou ble Look – Abstraction. Biographies 343 He is head of the research divi sion Archi tec ture & Design at the Depart ment of Archi tec ture. In his cur rent Design Dri ven Research he is devel ‐ op ing new spa tial i ties, so-called Anal o gous Spaces, where in intan gi ble and men tal ele ments become explic it. Recent ly he pub lished two books; Look Space! A Sto ry of Anal o gous Spaces (Gent: Grafis che Cel, 2017) on new cre at ed spa ‐ tial i ties in his research and The Matrix Project (Gent: AraMER & MER, 2018) on 25 years of his pho tog ra phy in rela tion to his research. Con stan za Larach archi tect, Pon ti f i cia Uni ver si ‐ dad Católi ca de Chile, 2010. Mas ter in His to ry and Crit i cal Think ing in Archi tec ture at the Archi tec ‐ tur al Asso ci a tion, 2016. She has col lab o rat ed in sev er al exhi bi tions, includ ing the British Pavil ion at the Venice Archi tec ture Bien nale, 2016 and the exhi bi tion "Imag ine Moscow" at the Design Muse ‐ um in Lon don, 2017. She was edi tor of the cat a log of the XX Bien ni al of Archi tec ture and Urban ism of Chile, 2017 and Anales de Arqui tec tura de la Pon ti f i cia Uni ver si dad Católi ca (2019−2021) and has also devel oped inde pen dent edi to r i al projects. She cur rent ly teach es cours es relat ed to His to ry, The o ry and Crit i cism in the Mas ter of Archi tec ture at the Pon ti f i cia Uni ver si dad Católi ca de Chile and Gen er al Edi tor of the School of Archi tec ture at the Uni ver si dad de San Sebastián. Savia Palate has recent ly com plet ed her PhD at the Uni ver si ty of Cam bridge (UK), which was ful ly fund ed by the Vice Chan cel lor Award. Her research endeav ors focus on the entan gle ment of stan dards, social norms, and eco nom ic process es in pre scrib ing and pro duc ing archi tec tur al knowl ‐ edge and space. Palate is cur rent ly embark ing on a new research project as the prin ci pal inves ti ga ‐ tor, titled “Uneasy but Shared Her itage: Mod ern Hotel Archi tec ture on a Divid ed Island, ” which will be co-fund ed by the Euro pean Region al Devel op ‐ ment Fund and the Repub lic of Cyprus through the Cyprus Research and Inno va tion Foundation. Alber to Petracchin is a PhD can di date in Archi ‐ tec tur al, Urban and Inte ri or Design at Politec ni co di Milano. He grad u at ed in archi tec ture at Uni ver ‐ sità Iuav di Venezia in 2019, with a the sis enti tled The Mag ic World. The Archi tec ture of Cards. He is part of the edi to r i al staff of the sci en tif ic jour nal Ves per. Riv ista di architet tura, arti e teo ria | Jour nal of Archi tec ture, Arts & The o ry, direct ed by Pro fes ‐ sor Sara Mari ni; he par tic i pates in the research activ i ties of Iuav research unit, with in the nation al research project PRIN “Syl va” . He curat ed, with Pro fes sor Sara Mari ni, the exhi bi tion Gian car lo De Car lo. Appun ti bib li ografi ci held at the Palaz zo Ducale in Urbino in 2020–2021. Chiara Pradel, Archi tect, grad u at ed from IUAV, Venezia, fol lowed by a post grad u ate research Mas ter degree from AAM, Men dri sio. Her pro fes ‐ sion al expe ri ence revolves around land scape archi tec ture; in par tic u lar she has worked as land scape design er in Switzer land and in Europe, with Pao lo L. Bür gi, for over ten years. She is now a PhD can di date in Archi tec tur al, Urban and Inte ‐ ri or Design at Politec ni co di Milano. Her research explores ground move ments in land scapes, focus ing on com plex infra struc tur al con struc ‐ tion sites. Mo Michelsen Stochholm Krag is an archi tect, edu ca tor and researcher born in Aarhus, Den ‐ mark in 1975. He earned his PhD in Archi tec ture at the Aarhus School of Archi tec ture, Den mark in 2017. He holds a Mas ter in Archi tec ture. He has 17 years of expe ri ence in the pri vate sec tor as a build ing archi tect. He was Co-Founder of archi ‐ tec tur al office Krag de Rid der ApS in 2006. He teach es and research es in the areas of trans for ‐ ma tion of depop u lat ing rur al vil lages and rad i cal preser va tion since 2010. He reviews new archi tec ‐ ture at the Dan ish archi tec tur al trade jour nal “Arkitek ten” since 2014. Jo Van Den Berghe is an archi tect who grad u at ‐ ed in 1984 at Sint-Lucas School of Archi tec ture. He has done his intern ship at Juli aan Lam p ens Archi tect, after which he has con tin ued this col ‐ lab o ra tion through the Juli aan Lam p ens Foun da ‐ tion, of which he is a found ing member. He obtained his PhD at Roy al Mel bourne Insti tute of Tech nol o gy Uni ver si ty, titled ‘The atre of Oper a tions: Con struc tion Site as Archi tec tur al Design’ , in 2012. He teach es exper i men tal archi tec tur al design at KU Leu ven Fac ul ty of Archi tec ture, Cam pus Sint-Lucas Ghent, Bel gium, in the exper ‐ i men tal Stu dio Anato my (www.studio-anatomy.or g) and in Stu dio The Archi tec tur al Detail (http://w ww.blog-archkuleuven.be/architectural-detail/). He is a researcher at KU Leu ven Depart ‐ ment of Archi tec ture in the field of Techné and Poiesis in mak ing archi tec ture (the poet ics of mak ing). In his cur rent research he is devel op ing inno v a tive ver sions of the archi tec tur al draw ing as an indis pens able locus between Tech né and Poiesis. He is a vis it ing pro fes sor at Politec ni co di Milano, Queen’s Uni ver si ty Belfast, RMIT Uni ver ‐ si ty Mel bourne (cam pus Barcelona), and EPFL Lausanne. 345 At KU Leu ven Depart ment of Archi tec ture he is Pro gram Direc tor of the mas ter cur ricu lum and has found ed the research group The Draw ing and the Space (www.thedrawingandthespace.info) (togeth er with Prof.dr. Thier ry Lagrange) that focus es on Design Dri ven Research. Jo Van Den Berghe is a reflec tive prac ti ‐ tion er-archi tect (www.jovandenberghe.be) with a crit i cal reflec tive prac tice in Bel gium since 1986, with which he exhib it ed twice at the Venice Archi tec ture Bien nale (2012, 2016). Chris Younès is a Psy choso ci ol o gist, doc tor and HDR (habil i tat ed to super vise research) in phi los ‐ o phy. She is a pro fes sor at ESA (Ecole Spé ciale d'Architecture, Paris), founder and mem ber of the GERPHAU lab o ra to ry (EA 7486, ENSA Paris-la- Vil lette), of the Phi lAU The mat ic Sci en tif ic Net ‐ work (Min istry of Cul ture, ENSA Cler mont-Fer ‐ rand) and co-founder and mem ber of ARENA (Archi tec tur al Research Euro pean Net work). Chris Younès is also a mem ber of sev er al archi ‐ tec ture and urban plan ning com pe ti tions, and author of sev er al book pref aces, gives numer ous con fer ences in France and abroad (Europe, Mid ‐ dle East, Chi na, Cana da, South America). Her work and research devel op the ques tion of inhab it ed spaces at the cross roads of nature and arti facts, ethics, aes thet ics and pol i tics. She has edit ed more than twen ty col lec tive pub li ca tions, and authored numer ous arti cles and books, includ ing: Archi tec tures de l’existence. Ethique. Esthé tique. Poli tique (Her mann, 2018). Tade ja Zupančič is a pro fes sor at the Uni ver si ty of Ljubl jana, Fac ul ty of Archi tec ture. She is Vice- Dean for research, teach es, super vis es PhD‐s/ ‐ post- PhD‐s, coor di nates EU projects and the doc tor al pro gramme at the fac ul ty. She stud ied archi tec ture at UL and fin ished her Ph.D. in 1995. Her Ph.D. was a man i festo in favour of urban uni ‐ ver si ty inte gra tion. Her actu al main research themes are pro mot ing prac tice-based and research through design with in the inte gral research tra di tion in archi tec ture. Her inter ests are also the cul tur al dimen sions of sus tain abil i ty and pub lic par tic i pa tion in urban design as an oppor tu ni ty for life-long action-based learn ing of all the actors involved. She rep re sents Slove nia in the eval u a tions of archi tec tur al diplo mas (Sub ‐ group for Archi tec ture / Group of Coor di na tors for the Recog ni tion of Pro fes sion al Qual i fi ca tions / Euro pean Com mis sion). After the eCAADe pres i ‐ den cy peri od (2017−19) she con tin ued as Vice- Pres i dent of eCAADe (Edu ca tion and Research in Com put er Aid ed Archi tec tur al Design in Europe; 2019–21). She is lead ing the Eras mus+ strate gic part ner ship CA²RE+ (Col lec tive Eval u a tion of Design-dri ven Doc tor al Train ing), which sup ports the CA²RE com mu ni ty (Con fer ence for Artis tic and Archi tec tur al Research). Izdala Publisher Univerza v Ljubljani, Fakulteta za arhitekturo / University of Ljubljana, Faculty of Architecture Zoisova cesta 12, SI-1000 Ljubljana Gostujoči urednik Guest Editor prof. dr. Tadeja Zupančič, University of Ljubljana, FA Urednik Editor Paul O Robinson, University of Ljubljana, FA Uredniški odbor Editorial Board izr. prof. dr. Uršula Berlot Pompe, University of Ljubljana, ALUO izr. prof. dr. Jaka Bonča, University of Ljubljana, FA Judith Birdsong, Writer and Lecturer, School of architecture, UT Austin izr. prof. dr. Matej Blenkuš, University of Ljubljana, FA doc. dr. Mariana Correia, Escola Superior Gallaecia, PT prof. dr. Peter Fister prof. PhD Imma Forino, Politecnico di Milano prof. mag. Peter Gabrijelčič prof. dr. Vojko Kilar, University of Ljubljana, FA prof. Robert MacLeod, USF School of Architecture and Community Design prof. Agostino De Rosa, Università Iuav di Venezia doc. dr. Matevž Juvančič, University of Ljubljana, FA doc. dr. Beatriz Tomšič Čerkez, University of Ljubljana, PeF zn. sod. dr. Špela Verovšek, University of Ljubljana, FA doc. dr. Domen Zupančič, University of Ljubljana, FA prof. dr. Tadeja Zupančič, University of Ljubljana, FA Oblikovanje Design Marko Damiš & Martin Košir Prelom Layout Marko Damiš Prevodi v slovenščino Slovene Translations Boris Troha Tehnični urednik Technical Editor zn. sod. dr. 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