New aesthetics, new identities, new futures for Kosovo Architecture
Directed by Arquitectura Subalterna
Tutors: Víctor Cano Ciborro, José Javier Cullen, José de Andrés, Ana Sabugo
The Prishtina most emblematic building is probably the ‘Rilindja Tower’. It was constructed in 1979 by the Macedonian brutalist architect Georgi Konstantinovski –disciple of Paul Rudolph-. This building has a very interesting rooftop. If you look at this, maybe you can see how the Ville Saboye is there. Ville Saboye was built by Le Corbusier in 1929. Gaze at it. Look at the horizontal windows!!! Did you get it? There, in the top, the International Style is guiding the building. In 2005 Rilindja was revamped and its façade turned on in a shiny surface that tries to eradicate the weight of a brutalist building, following the pathway created by Mies Van der Rohe and the more Rationalist branch of the Modern Movement.
This narrative about Rilindja building is a short story about how international and foreign styles took the power in Kosovo, but Kosovo identity does not appear in this building, in the icon of Prishtina. So, it is time to think, understand and built the aesthetic of the country.
How is the space understood by Kosovan? What is the aesthetics of Kosovo?
To try to answer these questions, we have to realise Kosovo is the country with the youngest population of Europe. In consequence, the spatial dynamics that will lead Kosovo as a country in the next years should be focused on new, fresh and powerful narratives.
There will be a special focus on Hapesira’s “Rilindja Warehouse Project” where modern electronic sound is used to re-vitalize abandoned spaces of historical cultural significance. As a result, it becomes of increasing importance to understand the motives that drive this conceptualization, while at the same time, deconstructing the rationales that propels the general public into becoming part of this cultural reconstruction. In its entirety Hapësira has been the nucleus of a contemporary movement which seeks to bridge the gap between mundane physical spaces and the effervescence of modern musical rituals.
During Tito era, new music styles such as techno, punk and other emerging streams in the Old Europe, United Kingdom, and America, were accepted and fostered by the government because they were a signal of modernization.
Right now, Kosovo techno music is one of the most recognised sounds in the world and we are going to focus in the spatialities promoted by this kind of culture. Techno music is named after the book “The third wave” of the sociologist Alvin Toffler that name ‘Techno rebels’ to the contemporary inhabitants defined by: decentralization, demassification and personification. Techno rebels didn’t understand the space through design patterns –like Modulor´s rationalistic measures-; they are guided by emotions, affects and sensations.
In this context, throughout a 5-day workshop, we are going to explore in a theoretical and practical way this situation through two constructions: one individual ‘CARTOGRAPHY’ for unveiling this movement, and one ‘REBEL CONSTRUCTION’, to feel -in your own body- the effects of the Techno Rebels Spatiality.
How is the space in a rave party? // What kinds of lights are used that work like if you were blinking? // How do specific senses get stunned because of high music volume? // How do the colour and the darkness affect to your body? // What aesthetics are linked to techno music? // How are the clothes that match with this aesthetic? // How could space be understood through their effects?
Guys! We are going to analyse techno rebels’ architectures! Architectures defined by bodies that act in space!
It is time to feel space!
To apply for the workshop send your cv with contact details to by 30th of June to firstname.lastname@example.org noting “techno rebel bodies” as the emails subject.