Dummy Paradise

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Nmero 01 / Invierno 2011


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PARADISEArchitecture & Shit

Editor:Juan Manuel Morales

Consejo Editorial:O.B. | G.C. | M.M.

Diseo:Mostro

Colaboradores:Pedro H.

Contacto:[email protected]

Gracias a Laura Brothers, Robert Overweg,Luciano Matus y Salvador Ortz.

Paradise es una publicacin sobre el espacio,su experimentacin e interpetracines.

Se imprime en el taller de medios impresos de laUniversidad de Sonora. En Hermosillo, Mxico.

2011 Ilusiones pticas del Noroeste

NDICE

EDITORIALp. 4

BE PATIENT, FOR THE WORLD IS BROAD AND WIDEp. 6

TIJUANA MAKES ME HAPPYp. 8

THE END OF THE VIRTUAL WORLDp. 11

OUT-4-PIZZAp. 16

AQUp. 22


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Be patient, for theworld is broad andwide.I call our world Flatland, not because we callit so, but to make its nature clearer to you, my

happy readers, who are privileged to live inSpace.

Imagine a vast sheet of paper on whichstraight Lines, Triangles, Squares, Pentagons,Hexagons, and other gures, instead of

remaining xed in their places, move freely

about, on or in the surface, but without thepower of rising above or sinking below it,very much like shadows--only hard and withluminous edges--and you will then havea pretty correct notion of my country andcountrymen. Alas, a few years ago, I shouldhave said my universe: but now my mindhas been opened to higher views of things.

In such a country, you will perceive atonce that it is impossible that there shouldbe anything of what you call a solid kind;but I dare say you will suppose that we couldat least distinguish by sight the Triangles,Squares, and other gures, moving about as

I have described them. On the contrary, wecould see nothing of the kind, not at leastso as to distinguish one gure from another.

Nothing was visible, nor could be visible, tous, except Straight Lines; and the necessity ofthis I will speedily demonstrate.

Place a penny on the middle of one ofyour tables in Space; and leaning over it, lookdown upon it. It will appear a circle.

But now, drawing back to the edge of thetable, gradually lower your eye (thus bringing

yourself more and more into the condition ofthe inhabitants of Flatland), and you will nd

the penny becoming more and more oval toyour view, and at last when you have placedyour eye exactly on the edge of the table (sothat you are, as it were, actually a Flatlander)the penny will then have ceased to appearoval at all, and will have become, so far asyou can see, a straight line.

The same thing would happen if you wereto treat in the same way a Triangle, or Square,or any other gure cut out of pasteboard. As

soon as you look at it with your eye on theedge on the table, you will nd that it ceases to

appear to you a gure, and that it becomes in

appearance a straight line. Take for examplean equilateral Triangle--who represents withus a Tradesman of the respectable class. Fig.1 represents the Tradesman as you would seehim while you were bending over him fromabove; gs. 2 and 3 represent the Tradesman,

as you would see him if your eye were closeto the level, or all but on the level of the table;and if your eye were quite on the level of thetable (and that is how we see him in Flatland)you would see nothing but a straight line.

Fragmento extrado de Flatland, A romance of many dimensionsde A. Square, publicado en 1885 por Roberts Brothers

en Boston, Massachusetts.


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Un poco a raz de los comentarios que apareci-eron en Boiteautils acerca del proyecto BorderWall as Infrastructure he recordado como unoscompaeros de la carrera hicieron algo similar,trabajando en la misma ubicacin y, sorprendent-

emente para mi, con ideas similares en cuanto alpunto de partida.

Tanto como dice Ronald Rael como me co-mentaba mi compaero proponen ver el entornodel muro como un espacio de oportunidad en-ergtica, abandonando su condicin de terrainvague.

En palabras de Salvador:

El proyecto arranca de un concepto-premisa: la energa. Buscamos un cicloenergtico de la arquitectura cerrado y

equilibrado, por lo que la aportacin dequien utilice esa arquitectura se planteafundamental. Se persigue pues un lugarcon gran cantidad de energa latenteque sea una fuente casi inagotable paranuestra propuesta.

La propuesta no se queda nicamente enla solucin anterior sino que se complementacon la realizacin de un enorme edicio lineal

(de referencia cercana a Superstudio o RemKoolhaas) que acoge en su interior actividades

relacionadas con la industria y el ocio.

La frontera que acoge el trnsito de40.000.000 de personas anuales (casi la poblacintotal de Espaa). Sin embargo, no pretendemossolucionar las innumerables problemticas quedenen este emplazamiento, si no simplemente

equilibrar un ciclo asimtrico, con un ujo mayor

en una direccin y que compone una ciudad que

crece contra un muro. La formalizacin es unsimple pero rotundo gesto. Se pretende cualicar

un espacio umbral que queda connado entre dos

grandes pantallas publicitarias 24/7.

El proyecto queda as convertido en unasuerte de Mall, un Strip, un elemento de atraccinque contiene los elementos arquetpicos de cadauno de los pases, invirtiendo su orden, acercandoas Mxico a EEUU y viceversa.

American dream vs. Mexican dream.

TIJUANA MAKES ME HAPPYAutores: Salvador Ortiz, Sergio Prez, Ana Gimenez,

Laura Mariana Reyes, Jose Rafael Verduzco.

Ao: 2007-2008

Proyecto para el Taller de Adriana Figueiras en la

Universidad de Alicante, Espaa.

Pedro estudia arquitectura en Alicante, Espaa,

escribe para La Periferia Domstica.

http://periferiadomestica.tumblr.com

Por Pedro Hernandez


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Robert Overweg is a photographer in the virtual world, he sees theworlds of (rst and third person shooter) games as the new public spaces of contemporary society and

as a direct extension of the physical world.

Overweg dwells by foot or by air through the outskirts of the virtual world which he dissects throughhis photography. He documents the similarities and the differences between the virtual and the physicalworld while making use of the new possibilities the virtual world give him as a photographer.

By looking into how games work and the aesthetics of the virtual world he asks questions abouthow the system works and the people behind them.


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The end of the virtual world 7, 2010, Robert Overweg, Modern warfare 2. Image c ourtesy TAG, The Hague. This series of photographs originates from four popular rst person shooter games (Left

4 dead 2, Half-life 2, counter-strike and modern warfare 2) Unlike you might think the virtualworld is not round like the physical world but at with hard-cut edges. These photographs show

us how the virtual world ends. What I nd interesting about these photographs is that they behold

a certain dramatic almost classical feel to them playing with our real life experiences but cut off.


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By taking the photographs out of their context of the virtual world and blowing themup in a size of 144cm by 81cm (or larger) the typical aesthetics of games are laid bare.At rst glance the photograph seems to represent the physical world really well. After

further inspection you might see the identical air conditioners on the roof both have theexact same rust and scratch marks, the brick pattern on the wall on the right has non tting

patterns. The most obvious example is the two colliding roads whom are pasted together.

http://www.shotbyrobert.com

The end of the virtual world 1, 2010, Robert Overweg, Left 4 dead 2. Images courtesy TAG, The Hague.


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AftermidnightdelaserieMoonwalkingaftermidnight.Searchingformydiscodarling(2008),LauraBrothers.

Pginaopuesta:FleshprincepoledelaserieThefeshprincess(2009),LauraBrothers.

OUT_4_PIZZALaura Brothers utiliza un livejournal para publicar su trabajo,convirtiendo al espacio virtual en una galera donde se exhibenpiezas intangibles, las cuales expresan una potencialidadcomunicativa novedosa.

El sitio es un ejemplo de las tantas aplicaciones que ofrece la internet,y el espacio virtual en general, para funcionar como nuevos canalesexpresivos, capaces de constituir una experiencia espacial real.

Una tarde de invierno Paradise tuvo la oportunidad de conversar,virtualmente, con Laura Brothers y profundizar un poco sobre sutrabajo, los detallas detrs de OUT_4_PIZZA y sus orgenes.

http://out-4-pizza.livejournal.com


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Cruise control de la serieBranded with possibilites(2008), Laura Brothers

Pamela in position de la serieBeavis and Brahms(2009), Laura Brothers

P. As a rst question: How do you refer toyour work? Are they images, illustrations?

LB.It somehow shifts around depending onthe context of the conversation, but in gen-eral, i say image or even more frequently, ind myself saying post to refer to a seriesof images that go together. Its a blog afterall.

P.Ive called them posts too : ). What aboutthe blog, how did it begin?

LB.In all honesty, it started as a quiet attemptat entertaining myself. I thought it would bea private affair to track my own digital cre-ations over time.

P.A brain drain?.

LB.Youve put it perfectly. Wink.

P. Your posts seem to document decisivemoments of spiritual experiences but stillremain honest about their nature, do you re-gard that domestic feel as an important partof your works?

LB.Im not sure I quite understand what youare asking, but when you say domestic feelI think maybe you are referring to how theymight rely heavily on personal associations

that may be conjured by the imagery? If I amreading into that correctly, then yes. I thinktheres a lot of reliance on my own personalassociations and trust that others will havea similar experience in viewing the work. Ifthats not what you meant, I just did a goodjob projecting one of my answers onto yourquestion.

P. Considering the fact that OUT-4-PIZZAits a blog, and that it takes form throughthe internet do you think that new mate-rial realm which is the web manifests in thethemes of your works?.

LB.Well, I think the idea of the web is inher-ent in the work as a whole, as a blog . Theway in which someone views my work is ad-equately different than the process one goesthrough when viewing work ofine, in reallife... in, say, a gallery. And I do denitelydraw from a language of computers thoughmaybe not necessarily just the web. Theway in which I draw my pieces makes thecomputers involvement apparent. In someworks, Ive made use of recognizable ele-ments of image-making software like Google

Sketchup or the lasso tool in Photoshop.So, visually, yes, the culture of computers isall over my posts. But thematically? Thatsharder to discern.

P. When exhibited, what do you take onaccount to translate from the virtual to thephysical, whats the approach towards the in-stallation?

LB. Im still in the process of nding theright way for me to translate my work into thephysical. Ideally, what I put up on the blog, tome, belongs on the blog and thrives in thatcontext. Taking it out of its safe home doesntnecessarily change the piece completely, butit becomes a different piece to me. So the wayI approach it, depends on the imagery and themethod of showing it physically.

P.Last one: If you decided to tag every post,what do you think the most common wordswould be?.

LB.This could be a one word answer, but Idont think like that...This would also depend.Depend on the way in which I choose to usethe tags. Do I use them for my own referenceto nd specic posts easily? or what type ofstyle the image is? OR am I tagging basedon themes? On color? complexity? Anima-tion or still? I think this is why I dont usetags. I suppose if I had to guess, the most fre-quent tags would be static and triptych.


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For never de la serie We are the children of the sun(2008), Laura Brothers


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Aqu


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I DONT KNOW WHAT THE WORD SPACE MEANS...I KEEP USING IT.BUT IM NOT QUITE SURE WHAT IT MEANS.

-GORDON MATTA-CLARK


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