Mariana Murcia and Mónica Zamudio are part of a group of artists and architects who have joined forces to share and discuss ideas, as well as to participate and create events where they can approach their many questions.
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Contemporary Maori Art Forms
BY NATASHA PERKINS
@ VOL 108
ON NOV 06, 2013
Natasha Perkins and her team created a structure and is inspired by the New Zealand Maori practice of weaving.. Their structure is recyclable and was created using interlocking pieces, and was meant to be a place of thought, inspiration. Watch to see how they did it.
Traditional Patterns, Contemporary Lens
BY GUILLAUME SARDIN
@ VOL 7
ON DEC 17, 2013
Guillaume Sardin, an architect and designer, shares his works in Rwanda and how working in a different cultural context unleash unexpected ideas. Such ideas include the Rwandan Heraldry project which promotes a new way to share the heritage of the country using etymology, traditional patterns and custom designed symbols.
BY ANDRÉS CARRETERO
@ VOL 6
ON OCT 29, 2014
Architectural Localism es un ensayo disfrazado de PechaKucha. Intenta construir un discurso crítico con la obra y la biografía, contextualizadas en la crisis actual de la arquitectura y de la política.
¿Puede un formato global de presentación constituirse en una forma crítica local?
A Wall and A Column: 2 Projects
"A wall and a column...what they have in common is an interest in looking at the cultural agency of traditional building materials and their ability to speak."
In A Wall and A Column: 2 Projects from PechaKucha Buffalo Vol. 16, architect and University at Buffalo Peter Reyner Banham Fellow and Visiting Assistant Professor Ang Li presents a pair of site specific installations that explore the cultural agency of vernacular building materials. Horror Vacui is an installation in Lisbon, Portugal that examines the ability of building facades to “speak” through the medium of the Portuguese “azulejo” - hand-painted ceramic tiles often depicting scenes from historic or civic events. The piece explores the narrative potential of bricks and mortar within contemporary image sharing and crowdsourcing platforms. No Frills is an installation in Buffalo, New York that stems out of an interest in the industrialized production of terracotta in the 19th century as a new kind of ornamental language. In a semi-abandoned Chevrolet Factory by the architect Albert Kahn, a 13-foot column interrupts the existing grid of the assembly floor, acting as a bridge between the vast scale of obsolete industry and the human scale of the architectural ornament.
Mahatat for Contemporary Art
BY HEBA ELCHEIK
@ VOL 29
ON OCT 11, 2016
Heba ElCheik believes in democratisation of the arts, and as such has worked to decentralise and make them available to everyone through art in public spaces and community art projects. In this talk, ElCheik discusses the Mahatat for contemporary art, a social and cultural enterprise she co-founded in Cairo.
Why Contemporary Art Is Important, and How to Understand It
BY KAI DENNETT
@ VOL 37
ON MAY 02, 2002
Kai Dennett explaines how to interpret contemporary art using three questions. Very informative and amusing.