In an economy in which attention is so precious, it amazes me that I can spend more than five minutes hypnotised by an intro onto a online fashion magazine…

And then it is even more amazing that further time is spent on a chain reaction that drives you onto an obscure amateur video or some rather distant memories (of course, one day these two things will be indistinguishable).

But then that’s the power of music (and beauty). This actually made me reminisce of a spanish radio program I used to listen in my teenage years. This guy always finished his hour of great music by saying that in this hideous world the only thing left to do is to search for beauty. That was the other side of the Eighties.

However, today we know better and we’ve also learned to embrace ugly.

In the midst of all the empty minimalisms out there, Alan Vega please come back. You are definitely forgiven.

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After a fairly long absence on paternity leave, last weekend I went back to Porto. This is Portugal’s second city and metropolitan area, although no longer it’s second larger municipality in terms of population – a position now taken by suburb cities like Gaia and Amadora. They call it invincible or invicta.

This is a city where I lived for considerable parts of my life, and a city to which I usually commute to teach every week.

This is also the proud home of a World Heritage city center and a few prestigious institutions: Port wine; a football team, the oldest filmmaker alive who is still in activity, Manoel de Oliveira; an architect that ranks in between the world’s finest and its connected architecture school, Siza Vieira and the Oporto School; the Serralves Contemporary Museum; Rem Koolhaas’ Casa da Música…

Porto is a small city –like the Talking Heads ironically sung of London– and, on top of it, it is also a shrinking city.  Misquoting Paul Virilio, one could even say it is a city on the brink of disappearance – if not dangerously sinking into long-term cultural and economical insignificance.

What was once the symbolic center of the so-called economical motor of the country now appears as the shy capital of one of Portugal’s two poorest regions. As I’ve learned in shock this weekend, half of Porto’s population receives the Guaranteed Minimum Income, a social welfare measure for those who live below the line of poverty.

Indeed, my personal view is that Porto’s cultural and economical contraction is to be attributed not only to its mediocre political leadership over the last few years, but also to its blatant social inequality.

In what seems to be a sort of unspoken taboo, Porto’s society, like that of any Thirld Word country, is neatly divided in two: a rich bourgeoisie that inbreeds in the posh Western area of town and cruises the urban landscape only inside their black Mercedes, Audis and BMWs; and, on the other side, a poor population that still resembles that of a 19th century half-industrial, half-rural city.

While there are always exceptions, the elites themselves lack vision and civic spirit. And, contrary to Lisbon’s steadily rising middle classes, Porto’s lower middle class minorities totally lack expectations and opportunities.

As geographer and friend Álvaro Domingues was telling me, this is a centrifugal city. Although it has a renowned university, it doesn’t have the economical drive to keep the people it educates. And this also strongly reflects in the culture and identity of the city.

Casa da Música in context, via Plataforma Arquitectura

Samewise, cultural institutions in Porto are also almost neatly divided in two strata: the highbrow state-supported institutions, like Serralves and Casa da Música, and the radically alternative art, music and design scene, which, although vibrant and inspiring, faces the eternal dilemma of catering forever for the same small audience or simply give up. Given that there is no real funding for middle size local initiatives, there is also no bright future to look upon.

The art museum squats the inner city emptied-out buildings…

This is probably the main reason why, like so many before and after me, at a certain point –and more precisely after 2001, when the European Capital of Culture represented the city’s swan song rather than creating an expected cultural boom–  I have decided to live elsewhere.

Ultimately, Porto’s strong scenery and historical tradition seems to offer a place more interesting to (re)visit, than to create something in. Until the city comes to its senses again, people there permanently run the risk to emulate the incredible shrinking man’s coming out of the fog into an ever-smaller destiny.

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As we were getting news of Beyond 01’s award in the American Design Awards – a 2nd prize in book design inbetween 1415 global entries – Florian Mewes, the series graphic designer, was finishing this stunning cover for Beyond 02…

The current issue of Beyond is being launched next Thursday 19th, 6pm, within the International Architecture Biennale of Rotterdam, at the Nai.

After Venice (with Yehuda Safran, Reed Krolloff, Shumon Basar and Map Office), after Harvard (with Eve Blau), after London (with Colin Fournier, Sam Jacob and Liam Young), it is my immense pleasure to announce that our first presentation in the Netherlands will consist of a reading of “Feast in A War Zone – A Palestin-ian Diary” by its author, the philosopher and writer Lieven de Cauter.

Contributors to this volume Emiliano Gandolfi, Markus Miessen and Marc Schuilenburg will also be present to enter the discussion on this issue.

The event is kindly welcomed by the IABR in its Open City Event Program and precedes Eyal Weizman’s lecture on Forensic Architecture on the context of the REFUGE cluster curated by Philipp Misselwitz and Can Altay .

As for the contents of Values & Symptoms I will soon disclose a few goodies… dbvcmscsabmnbcmnadsb

…in the architecture world, the strangeness of fiction was again invading the previously grave and monotonous domain of building publication.

Now for Architecture and Urbanism, via ArchDaily.

While I was musing on grand narratives, the micro-stories of fairyland were quickly transmigrating from Volume’s issue on Storytelling to this house presentation in the spirit of the tales of the wildwood.

nbetween pigs and bears, I can’t wait forDonnie Darko’s appearance at the WAF Inbetween pigs and bears, I can’t wait for Donnie Darko’s appearance at the World Architecture Festival next year…

…

As against the gullibility with which one can flip through magazines, XL novels are a little bit more demanding on our contemporary rhythm. Even if sparing all the 5 minute units spent watching crappy music videos in the midst of TV zapping, who finds time today to read a very large book from cover to cover?

While I have for my motto Jorge Luis Borges asking why should we write 700 page books when we can sum up the essential ideas in seven pages – thus finding myself editing something like the Short Stories on the Post Contemporary – I do try to engage occasionally with that opulent, shocking pleasure of loosing myself within a fictional work for several weeks or months. Like Giacomo Leopardi would say, “il naufragar m’è dolce in questo mare.” Un vero lusso.

My last XL reads were Murakami’s The Wind-Up Bird Chronicle, which apparently faced some length problems with its 611-page English edition, and Jeffrey Eugenides’ Middlesex, which bears both some powerful 529 pages and a Pulitzer Prize for Fiction. And I must acknowledge to life-size books that they do leave an imprint in you, like friends you’ve spent a couple of summers with.

More recently I went through Marco d’Eramo’s “The Pig and the Skyscraper”, which, while it is not a novel, fortunately it reads like one. And that gives it a special quality that deserves some reflection, especially when we are talking about urban writing coming from a sociologist that has also a degree in physics and a career in journalism…

Like Murakami, its 480 pages read rather well because they contain not one bibbg, Like Murakami, its 480 pages read rather well because they contain not one big, mind-numbing story of Chicago, but many small thrilling ones. Like Eugenides, it lingers on because it has a magnificent breadth at depicting the urban scenery of the American Dream (and some of its nightmares too).

Each chapter of “The Pig and the Skyscraper” brings you one different fundamental aspect of Chicago’s history, from the rise and decay of slaughterhouses and the many businesses that made the city grow, down to continuing racial segregation and the economy of inner city gangs. And whereas each story reads like an autonomous piece, together they weave a larger critical vision portraying some lesser-known aspects of American history.

And this is what interests me as a model. Exquisite, reflexive storytelling, which in this book appears in almost journalistic manner, rather than statistics and analysis, is what can drive one to intimately engage with the issues that usually lay buried under the inescapable drive towards abstract planning.

Cities are made of criss-crossing social stories that economists, politicians and planners too easily tend to forget or reduce to abstract numbers. And this is why we need more histories made up of minute stories; this why we need more reflection imbedded into everyday tales, rather than long records filled with hollowed-out specialist grand narratives.

…

I think it is more than time to clear my desk of a pile of magazines that has been waiting for some kind of mention, some kind of memory, before entering an archive where they will lay buried under a growing layer of micro-dust for many years, before they will eventually be again discovered by some visual archeologist from the future…

With distribution systems being what they are, one absurd goal of my traveling is to dig for new publications to incorporate into my by now impossible-to-catalogue magazine collection – alas, one of the reasons why moving to a new place would be considerably painful…

So what did I gullibly gathered this time?

First, there is New Geographies, the new Harvard-based journal, the collectible issue 00 of which I traded for Beyond #01. Since we are here and there touching on the same themes – and sometimes sharing the same authors – this was fair trade and the beginning of an hopefuly fulfilling exchange…

In New York I grabbed Evolo and The Play Ground.

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Evolo is another architectural magazine somehow coming from the American Ivy League. That is, it is created by a group of ex-students from Columbia that suddenly discovered that there was a crisis out there and thus what the world needed now was yet another architectural magazine.

The curious thing is that, while the “famous architects” housing projects that make the supposed appeal of the publication seem like more of the same, and thus dull and unrevealing, some of the contributions and smaller stories do uncover that there’s something coming off from this growing presence of South American students in major architectural schools around the world. A hint of what I’ve been calling post-colonial trans-geographical knowledge exchanges… But I’ll keep that question for a future post.

The Play Ground is another matter altogether. A “celebration of family”(!) in times of “separatism and isolation,” as the editorial has it. While coming from London, it is wildly amazing that such a familiar endeavor finds its way into a cornershop in Soho… But then again you open it and you come across the amazing work of Terunobu Fujimori and all of it suddenly kind of makes sense.…

Also the Freestyle Magazine has quite an unbelievable theme, considering that it too is making it to the world’s mag circuit. Yes, it is dedicated to Frisbies and it even comes in the form of one. Plus, you get the real thing as a gift, that is, the mag comes in a real frisbee ready to take to the beach.

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After Karen, and other magazines dedicated to nothing in special (just like Seinfeld), imaginations will have to be stretched to come out with yet another fresh perspective for a new publication.

Back to London, the zinorama city, the Publish and Be Damned event proved to be a small paradise to a premiere issue collector. It was indeed one of those moments in which the fiercest gatherer had to refrain from an engulfing zinappetite… Typically stressed by the so-called syndrome of overabundance, …. I kept to only four #01 titles.

Proximity, is an art magazine from Chicago that apart from graphically impeccable seems to reflect a certain conditions of our times. Most of the articles in the publication are more concerned with the art world – its context and its phenomena, the episodes from the everyday life of artists and the anecdotes of collectors and artophiles – than with artistic objects themselves.

And this detail, being somewhat more disguised or subdued in other publications, seems to make a lot of sense in an increasingly reflexive world. It is only logical that today you should go to art or design or architecture school not truly to understand how art or architecture are made but more so to learn how their respective worlds function. French sociologist Pierre Bourdieu was never so up-to-date as today.

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Other art premières present at the event were Monika, a small-sized arts journal from London with a first issue that focuses on anonymity; Corridor 8, a big-sized art journal from Manchester with a first issue featuring artist and writer’s takes on the idea of supercity; and Garageland, a medium-sized arts journal also from London which started in 2006 with a take on machismo.    ………………………………………………..

Finally, in Amsterdam, I still had the courage to fill my overweighed bag with yet another first issue: on this occasion, a novelty from a Parisian “brand” that has already come up with four or five different titles.       Now it is time to welcome the again stylish and exquisite Les Cahiers Purple – a new yearly edition, which for its 2010 première, puts together stories and artwork that are more than enough to make you go through the whole winter.

Who said there was a publishing crisis going on? aasss ffffff ssssoosod sslssms. And with so much stuff out there, how can one ever get bored?

…

Léopold Lambert, from the excellent boiteaoutils, kindly invited me to contribute to his one month of architectural manifestos and this was the best little darned thing I could come up with…

It is exactly 200 words – as asked. Should I say more?

…

A personal manifesto must start with a personal statement. ………………………… Mine is this: I’ve become addicted to hypertext. And this is the magnifying lens through which I look at architecture’s augmented reality. With architecture being a cultural toolkit for permanently re-dressing the builtscape that.. surround us, today’s architecture can only go beyond itself.

Architecture is like the man whose head expanded. Architecture is not only dependent, nor otherwise oriented. As it asks for its own expanded field, architecture rejects the idea of its own autonomy. I claimed for the interdisciplinary before it became mainstream; I advocated diversity when it wasn’t yet such a daily fix; I’ve investigated architecture as urban practice, ……… as open-source, and as performance… With ideology gone I reflected upon resistance and the ultimate incarnation of Marxism. But after all that jazz how can one devise a non-retroactive manifesto?

Architecture will no longer be about form making. Fuck parametrics. Architecture is and will be about conceptual groundbreaking. And architecture intelligence will no longer be provided by a declining star-system, but rather by emergent networks of alternative practices, community projects and architecture NGOs. For many, only now the language of architecture starts to be a benign virus from outer space.

Postmodernism’s predicaments were to bloom beyond the imagination of their most daring thinkers.

Today, the worlds of architecture and urbanism are ruled by the logic of everything goes and they move forward according to the whims of creative practitioners in search of the yet undiscovered original flavour or form.             And there’s basically nothing wrong with this.

Via Miguel Santos on FaceBook

One may say that randomness is as good a leitmotif as any other to plan our urban future. After all, both historically and biologically that has been the main factor through which most cities have grown. As more than one story will tell you in the next issue of Beyond, Feng Shui is still highly regarded as a design tool…

As such, the Re-Imagining Chinatown experiment by urbanist(-cum-artist?) James Rojas is as good as any other to come up with city form – or it is even better since it bears the extra advantages of being a “participatory” process     and of giving everybody its share of the action.

Image via Common People (just because), via Fifth Floor Gallery.

If the exhibition was well-promoted and had good mass-appeal, and if plan would get addressed beyond the mere wish to cause a deemed critical reflection, nobody would be able to complain after the fact since (1) they got their bit in and enjoyed it, and (2) if they didn’t, they did have the chance to participate in the design.

It is democracy as usual – and democracy as it increasingly affects judgements of taste in the architectural field.

I had said it before, but I felt I needed to stress this notion conveniently: as IABR’s Open City makes clear, emergence and informality are definitely around (and around) – certainly making me want to push forward once again on the Emergent Megalopolis film series…

And so the consequences of thousands of architects in the West fleeing from the “crisis” in the West towards an increasingly challenging Third World are also starting to make its appearance in the field of architecture…

From the look of things, the architectural star-system is soon going to be substituted for NGOs and humanitarian organizations as the most interesting providers of food for thought in the field of architectural intelligence.

Young architects are systematically dumped and trashed at your doorstep? Yes! But, fortunately, they are also finally realizing that they can stop complaining and just export themselves to places where the need for architectural skills is much more crucial than back home.

As we repeatedly hear that in 2050 75% of the world’s population will be living in cities –with most of these being totally deprived of minimum conditions for living– it is certainly good for the whole of the human race that this shift is happening and architects are not only looking for just being the new cool ass.

The Open City exhibition was quite effectively driven to embrace both of these emergent realities: that of the old-new urban realities and that of the shift of the profession towards an architecture destined to deal with radical needs and a profound scarcity of resources.

Like someone was saying, if economical stagnation is here to stay, maybe this is only a testing ground for our own future urban reality – as Bruce Sterling magnificently describes it in White Fungus, his contribution to Beyond #01.

I think it’s about time to say something more about the notion of Performance Architecture… Alas, this is the title of another of those curatorial projects that I was keeping on hold and that I’ve now decided to deliver “open-source”…

Perhaps this is another of those pedagogical stories about free-lance curating. The idea, originated during a discussion in Basel, was initially proposed to the then recently appointed direktorin of an Hamburg Triennale that I guess has itself disappeared.

The project was discussed with the CCA’s Mirko Zardini, but there the recession put a halt to it. Then it got entangled into the internal politics of the Lisbon Architecture Triennale and also there it was denied its coming into being…

Lately, it was also proposed for the Asturias’ Laboral, which seemed like quite an adequate venue for it, but after a warm welcome by Rosina Gómez-Baeza, silence from the institution became quite “deafening” (as we say in Portuguese politics).

As I believe there is a proper time for projects to make their impact, particularly in a world regulated by ever tighter trends & fads, I think it’s time for the idea to be exposed. Moreover, the term is coming up already in very diverse contexts, possibly making it dejá vu by the time anyone will accomplish a show on it… (Although, at some point, I am sure someone  will make an exhibition about it.)

The fact is, anyway, that one of the people who was present at the Basel discussion made it for herself and has managed to already create an event on the subject. And I’m glad she did. This was the Performing Architecture event last week at Madrid’s Matadero, as curated by Ariadna Cantis.

However, as you may read here at more length, this wasn’t exactly my idea of the notion of Performance Architecture…

Matadero’s event certainly addresses some of the protagonists I am looking at. But more than the performing arts, theatrical approach to enacting an architectural discourse within the city, I’m interested in the relationships between architecture and Performance Art.

Over the last two decades minimalism and pop art have influenced architecture with a delay of about 30 years. Now, it is the moment for the performance practices of the Seventies to make their comeback into the realm of architecture and urban intervention.

In its relation to art, architecture was quite in sync with the avant-gardes during the first decades of the XXth century, only to gain an increasing delay in regards to art’s progressive role after the Sixties. During the Sixties, even if marginally, there were still groups that were perfectly synchronized with the Pop movement, namely in the UK and Italy. Gordon Matta-Clarke, on the other hand, signals in the Seventies a definitive departure of the rebelling artist from architecture’s increasingly specialized and technicist realm.

When the Post-Modern movement explodes, architecture is certainly on the forefront… but as the leader of what Hal Foster called the movement’s reactionary side. Postmodernist architecture was regressive – and so were the immediate reactions to it. Decon is not much more than a return to Constructivism in philosopher’s garments, and even Rem Koolhaas is just cleverly –and retroactively– looking at the avant-gardes, from Melnikov right onto Superstudio.

Minimalism in architecture eventually carried out the same sort of retroactive move, and does it by looking back at the very last movement before the most progressive strain of Postmodern art appears in Rauschenberg and others.

Now, what I’m trying to get at here is the fact that, while Performance Architecture is also unconsciously looking back to art history, it does so onto an artistic movement that had a highly conscious political role. And this creates a difference.

While Minimalism in architecture was quickly devoid of its critical, perceptive overtones, the practice of Performance Architecture is actually retaining the social, political and “body” discourse that characterized the art movement.   Which is highly positive, and only possible because its protagonists are not yet totally immersed in the commercial drive of today’s architecture.

This phenomenon creates the other distinctive aspect of what I’m addressing here – specially when other notions of performance in architecture are coming up in recent discourse, albeit addressing the “performativity” of architecture while directing it to economical and disciplinary efficiency.

While I also refer to “performativity” in the text I am now releasing online, I do it to precisely keep that notion at bay. And that is one reason why what I’m saying here is quintessentially different from what is coming up in David Leatherbarrow’s “Architecture Oriented otherwise.”

The inaugurating book of the obviously welcomed “Writing Matters” collection –from that other Ivy League publisher a.k.a Princeton Architectural Press– delivers the concept of analyzing architecture as a performative device rather than objectual production.

But while Leatherbarrow’s proposition is interesting and reflects important shifts in the way we should regard architecture, it also shows the typical flaw of current American theory.

While the notions put forward there are supposedly progressive, they also contains in themselves the trigger for their own “happy consumption” within a market model and an architectural regime that remains unquestioned…