Weaponized architecture
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Published on : 2013-01-04 09:24:16
In Weaponized Architecture, architect Léopold Lambert looks at how architecture is conceived or instrumentalized as a political weapon. Lambert's study explores the power of architecture as a political weapon through history, from the wide 'boulevards' designed by Haussmann to allow for an easy movement of the artillery and cavalry in Paris to the mobile fences deployed by police forces during the G8 in Genoa to control mass demonstrations. However, the core of his research looks into a very precise situation: the impact of the Isreali occupation on the Palestinian built environment, in particular in the West Bank where the movements of people and goods are strictly conditioned and governed by colonial apparatuses such as separation barriers, checkpoints that hinder Palestinian movements on their land, militarized destruction of Palestinian homes, Israeli civilian settlements within the West Bank, limits imposed on the natural extension of Palestinian villages, segregated transport infrastructures.
In Léopold's own words: In fact, the State of Israel masters the elaboration of territorial and architectural colonial apparatuses that act directly on Palestinian daily lives. In this regard, it is crucial to observe that 63% of the West Bank is under total control of the Israeli Defense Forces in regards to security, movement, planning and construction. Lambert's project doesn't stop at the analysis of colonial architecture in Palestine. His study goes further by 'dramatizing' a Palestinian active resistance to the occupation. The 'Architectural Disobedience' Lambert suggests takes the form of a covert Palestinian shelter which would serve both Palestinian farmers and the Bedouins population. The 'Qsar' would allow onsite agricultural production and function as a caravansary for the Bedouins and their flocks. The Weaponized Architecture research will be published in the coming days by dpr-barcelona. I'll come back with a review of the book and an interview with Ethel Baraona Pohl and César Reyes Nájera from dpr-barcelona as soon as the volume is out. In the meantime, i asked Léopold Lambert for an interview. And so did Ahmad Barclay who interviewed him as well. The themes and ideas their discussion touches upon in Arena of Speculation are fairly different from the ones i'm focusing on in this post so i'd recommend checking out both interviews.
Hi Léopold! It is difficult to remain indifferent and cold when reading the reality described in the first half of the book -in which you establish the power of architecture as a political weapon in Palestine. Do you think it is possible to write about the situation endured by Palestinians and remain neutral and impartial? I was interested in the way you describe the Western vision of the Palestinian situation because you've experienced it from a European as well as a US point of view. Whereas i've only observed it as a European living and working in Europe and i was under the impression that in Europe we are fairly more sympathetic (although irritatingly impotent) to the Palestinian cause. Reading the post you wrote after having seen a debate on French TV made me realize I might be very wrong in assuming this European 'solidarity'. What's your view on this? Are we so blind in Europe? The first question about neutrality and impartiality reveals indeed the way people think in Europe. In the difference of American policies in this matter which clearly support Israel, Europe tries to be more neutral in their decisions. However, this neutrality is the real trap. Neutrality is what maintains the status quo since 1967 by considering that both nations, Israelis and Palestinians are equally belligerent and should become more reasonable. I don't think that a lot of people who went there with an open minded approach share this vision of things. The facts are that, at the exception of considering that (Jewish) divine law is the prevailing form of territorial justice, there is an objective and daily transgression of the international law by the State of Israel. Whether you consider this region of the world as one country hosting both people, or if you consider that there should be two states for two different populations, the legal problem reaches the same conclusion. In the former case, we can evoke a civil situation comparable to the South African one during the Apartheid (1948-1994), and in the latter case, we can observe, with the presence of about 500 000 Israeli settlers in the West Bank and East Jerusalem, a violation of the article 49 of the Fourth Geneva Convention (1949) which stipulates that the Occupying Power shall not deport or transfer parts of its own civilian population into the territory it occupies. This illegality throws the bases of the indignation that indeed prevents and should prevent a lot of people to remain neutral. In order to enter in resistance to act against what appears as clearly antagonist to our personal -or collective- ethics, we have to "choose a side". It does not necessarily mean that people of this "side" need to agree on every topic that are involved here -and there are a lot- but that this group of people are in solidarity to resist against what their ethics interprets as oppressive. This is the difference between justice and resistance. Justice has to tend indeed towards impartiality and neutrality. Resistance begins with the absence of justice and engages into the concerned antagonism as a pure necessity. In other words, resistance appears to the one who is caught in this process as the only thing to do in accordance to his (her) personal system of interpretation of the world. The Jewish people, citizens of Israel know very well this process as they have been persecuted in the worst way the human kind has ever been. However, when they constituted a State and an army -let us not forget that the three years long military service is compulsory for every male and female citizen of Israel- they became the dominant body that pathologically abuse of its power over another. What Gilles Deleuze calls the becoming (devenir) revolutionary is therefore allowed to them only if they also enter in resistance against this dominant power along with the Palestinian people and the rest of us.
The second part of the book describes a Disobedient work of architecture for two Palestinian populations. The proposal is extremely ingenious with its set of tents that camouflages the underneath dwellings and construction site. Could you describe it to us briefly? I will begin by describing what this particular architecture is disobeying. The 1993 Oslo Accords signed secretly by the Palestine Liberation Organization -which was pretty much transformed into the current Palestinian Authority- with Israel, organized the West Bank in three areas. Area A -and Area B to some extents- that includes the biggest Palestinian cities -except Hebron- allows the Palestinian Authority a relative territorial autonomy while Area C, on the contrary is entirely under the Israeli Army control which does not allow any form of Palestinian construction. Area A and Area B constitute islands of territory on which the Palestinians have a relative autonomy. This territory is indeed made of islands as Area C occupies 63% of the West Bank and surrounds the two former areas, thus constituting what can be called metaphorically the Palestinian Archipelago.
The concrete consequences that result from this territorial repartition is that Palestinians of the West Bank cannot build and live on most of the territory that has been attributed to them by the 1949 Armistice Agreements. In addition of that, it is often difficult for them to circulate between those islands as their movement is filtered by various apparatuses of control that the Israeli State has been developing. Those apparatuses are actually the most expressive examples of my thesis which claims that architecture is inherently political and can be either conceived or instrumentalized in order to be used as a political weapon. In the book, I establish an inventory of what I have been calling colonial apparatuses that Israel has been designing and using and still uses in order to control the Palestinian daily lives. This inventory is something that I present a little bit like a reportage but really, nobody describes them better than Eyal Weizman in his book Hollow Land.
I am approaching little by little the project here, but I still need to precise who this architecture is involving. I distinguished indeed two parts of the Palestinian population that suffer particularly from the Israeli occupation and those apparatuses I just talked about. The first one is constituted by those who live thanks to agriculture and whose land has been mostly confiscated or who cannot access it; and the second one is the nomadic ethnicity of the Bedouins who are very limited in their movement. The program of this disobedient architecture, built in the Area C near the Palestinian city of Salfit and the very large Israeli settlement of Ariel, is therefore a small agricultural platform associated with a caravansary for the Bedouins. The architecture of this building recounts its combinative strategy of camouflage and reclaim of the land. It is constituted by three layers that have different levels of fragility: a set of tents on the outside that give to the building an aspect of fragile Bedouin settlement, a concrete based agricultural platform on the land and finally an underground dwelling connected to Area A by a tunnel.
Your scenario also involves the discovery of the Qasr by the Israeli Defense Force. Why is it important to build the Qasr if it's likely to be left in ruins eventually? This part of the scenario is useful for me to state that this building was not designed as a solution to the conflict. I don't believe that architecture can be considered in any way as a vector of resolution. Only the application of the law can veritably brings something that can be called a solution to the conflict. Architecture can be used to resist but cannot really solve problems in depth. That is what I mean by stating that architecture is systematically a weapon. Let's go back to the project's scenario though. The first layer of tents would indeed be very easily destroyed by the Israeli army in case of invasion. The two others layers, however, are spatially and materially built in such a way that it would actually require a very substantial amount of energy for the I.D.F. to veritably demolish them completely. The building would therefore remain in the state of a ruin, slowly invaded by the rocks, dust and plants of the land and the children of Salfit would probably find in it a stimulating playground. In 1949, after the Nakba, the very new state of Israel destroyed systematically and absolutely all the former Arab villages on its territory in a symptomatic form of erasing the Palestinian mark on the land. Having this building remaining as a ruin is therefore a resistance to this architectural eradication and constitutes in itself a certain victory by reclaiming a piece of land.
Have you identified other existing strategies of Palestinian disobedience related to architecture and urban planning? In terms of disobedience relative to a practice of space, the first example that comes to my mind is the Sarhats (walks) regularly accomplished by Raja Shehadeh in Ramallah's hills within Area C. Raja is a lawyer who works particularly within the Israeli legal system to resist against the expropriations of the Palestinian land. I interviewed him for the book about this matter. He is also an author and wrote a book entitled Palestinian Walks: Notes on a Vanishing Landscape Two other examples I can think of, which are not disobedient as such but register more in the domain of architectural resistance, both in their own way. The first one is well known to any architect who got interested in this conflict in the last decade: Decolonizing Architecture initiated and operated by architects Alessandro Petti, Sandi Hilal and Eyal Weizman have been conducted several projects and exhibition that question the role architecture can have to participate to the creation of a Palestinian state in the hypothesis of its emergence. Among other projects, they developed strategies of re-occupation of the Israeli settlements that would have been emptied by either a justice decision or the potential (unlikely) result of negotiations. The second example in that matter is brought by the association Riwaq that started in 1994 to elaborate a National Register of Historic Buildings. This inventory, although it may look that is focused on the past, really organizes a present resistance to the Israeli effort to destroy Palestinian buildings but also constitutes a common heritage to the Palestinian people, and therefore something to unite about. Do you see your book as a kind of 'weapon' as well? Yes, definitely. Although it might then be not more powerful as the small hand catapults that consisted most of the weapons the Palestinians were ever able to use against the Israeli Defense Force's tanks and bulldozers, it still constitutes a form of resistance in itself, a refusal to submission, and therefore a contribution to the construction of a collective identity. Thanks Léopold! Related entries: Book review: Atlas of the Conflict. Israel-Palestine, Open City: Designing Coexistence - Part 2, Refuge, Decolonizing Architecture - Scenarios for the transformation of Israeli settlements and Welcome to Hebron. Toronto Affordable Art Fair 2012
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Published on : 2012-04-19 01:00:00
The TORONTO AFORDABLE ART FAIR, presented by the TORONTO ART EXPO, April 19th to 22nd 2012 at the Metro Toronto Convention Centre. The Expo has been Toronto's Affordable Art Fair and this year will highlight Canadian and International galleries and invited juried artists presenting unique acquisition opportunities to collectors, beginning and seasoned as well as to corporate and designer representatives and also to attending gallerists seeking the avant-garde. Works from $200.00 to under $10,000.00(75% of work displayed under $10,000.00) Art to love for a lifetime and to see grow in value. Affordable originals from masters, past and contemporary will be available for sale alongside the best contemporary artists on the continent and from around the world. The eyes of the art world will once again be focused on Toronto in April 2012. www.torontoaffordableartfair.com
The Toronto Affordable Art Fair 2012
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Published on : 2012-04-19 01:00:00
THE TORONTO AFFORDABLE ART FAIR Presented by the Toronto Art Expo, going into its tenth anniversary edition, the show that has brought unparalleled opportunities for artists and in the last few years, attracting major world galleries and publishing houses exhibiting, will once again occupy Toronto's premier art venue, the Metro Toronto Convention Centre in the Spring of 2012.This year the Expo will present as its major focus the Toronto Affordable Art Fair. We have observed over the years that even in "high end" art shows that up to 90% of participants present 80% or more of their works priced under $10,000.00 and often much below that level.( Note: booths will be required to offer 75% of their works at under 10,000.00) Dealers know that in a visited market they need to make the sale on the floor and thus offer works of outstanding value to all manner of collectors, whether first time or seasoned and savvy investor at prices that the buyer does not feel they need to have consultancy, which buyer knows what they like, are educated, with disposable income and are capable of negotiating the transaction by themselves. They are able to appreciate what is good art, what competitive pricing is and what they want to purchase directly when they see it. The Toronto Affordable Art Fair will fill all these needs. Do not miss this opportunity to be part of the most unique and elegant art fair in Canada, combined with renowned marketing support to promote your art business through sales and contacts. "The Toronto Art Expo presents one of North America's most elevated platforms for doing the business of art, we were most impressed by their organization and promotional passion."-Masterpiece Publishing. "The 2011 show was my best yet, the sales just keep coming"-James Lane, Artist "I wish to thank .....the Toronto Art Expo, for their expertise and excellent organizational skills, in promoting Canadian Artists by creating a venue which attracts art lovers, connoisseurs, curators, and International interest and favour". Gary Barnhart-Sculptor Jury and price guarantee deadline Sept. 15th 2011. Please note this year for Independents a limited number of 5 x 15 foot booths at very accessible prices. For more information call 416-265-6988 or toll free 1-866-228-4238
Art Chats & Art Walks at The Artist Project 2012
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Published on : 2012-03-02 00:00:00
The Artist Project
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Published on : 2012-03-01 00:00:00
Show details: Toronto Fine Art
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Published on : 2012-02-23 00:00:00
Be on the frontline to market your work at the Toronto Fine Arts festival in the atmosphere of the historically unique Fort York Armoury centrally located in the midst of downtown Toronto 's many large lakeshore condominium developments. Toronto Fine Arts is a juried show devoted to the promotion of artists, providing Toronto's most affordable and professional opportunity to showcase, promote and sell their work in a high-class, gallery-like setting. The Fort York Armoury is easily accessible both by car (with lots of parking nearby) and public transportation, the TTC stops right outside its doors at the Exhibition Grounds. To qualify for the show, complete the application form. Acceptance to the show will be based on your portfolio of images that you submit as well as your experience as an artist. The Toronto Fine Arts accepts original art only, no reproductions will be allowed. Your booth price includes: Available Booth sizes and prices: Jurying deadline: Monday, Sept. 12th, 2011 Contact information: For more information visit our website at: www.torontofinearts.com Liv Bonli: debris
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Published on : 2012-02-15 00:00:00
Reception: Saturday February 11, 7 to 9 pm debris features a selection of drawings that have emerged from Liv Bonli's ongoing interest in the interplay between architectural wreckage and architectural construction. Using the imagery of remnant building materials, this series of work explores the generative capacity of building, the looming potential of sudden collapse and the tension that exists between the two.
Line Gallery Gallery Hours Woven Images of Afghanistan II - A Rug Sale
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Published on : 2012-02-15 00:00:00
Manuela Stefan: 'WHITE - Power and Grace'
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Published on : 2012-02-14 00:00:00 ART SQUARE GALLERY presents: Manuela Stefan: 'WHITE - Power and Grace'
This exhibition features a collection of large black and white fine art prints on canvas which capture the mystical beauty of the white horses in the French region of Camargue. About the artist: While looking for new avenues of creative expression, Manuela discovered the magical beauty of the equine world. Following a trip to the Rhone's delta in the South of France, she returned with an impressive collection of images of the exquisite legendary white horses of the Camargue region. Manuela has previously exhibited at The Art Square Gallery, Toronto (2005), The Loft Gallery, Clarksburg (2011) and Leonardo Galleries, Toronto (2007 and 2012).
Art Square Gallery Contact information: Patrick Mahon | Barbara Balfour
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Published on : 2012-02-14 00:00:00
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that recounts how he practices his freedom of movement by walking in those hills. This approach is very interesting as it is de facto non-violent yet resolutely transgressive as it escapes from most apparatuses of control.
