As I step back and examine my train of thoughts, I realize how it circles the same troubles like a continuous loop. Even when I take a walk or have a video call with someone, I generally remain connected to this interior monologue, only half listening and paying attention to what we see or hear. My friends Rico, and James came fooling me over the same lines I say- that it gave me a way to divert these thoughts with growing and arranging plants- and eventually with the idea of making this essay.
This could be upon the occasion of a global pandemic when certain events can trigger a different quality of thinking and feeling that was so bewildering. A certain space that liberated us is gone in events of a drastic change. I just say that we are embarked on somewhere we haven’t delved into, beyond our comfort zone with a minimal association of our bodies. The idea and feeling of being in this situation and reconstructing space through houseplants are suddenly turning senses snap to life and everything we see and hear seems a little more vibrant.
Our unfamiliar acquisition of flora, came to the thoughts of care and attention- and to make sure that they thrive symbiotically with our being. It feels joyful as if we are about to leave on a trip and must say goodbye to our valuable experiences that we may not associate with for a while, we might suddenly view community quarantines in a different light.
Normally I take time for granted for what I’m fighting and working on, but now I look at my life’s fantastic and mundane characteristics. The sense of a looming difference makes us more peculiarly emotional and attentive which lets us evaluate how to interdepend on our conscious environment.
A more serious version of the quarantine situation lies in particular themes of life and death when some of our plants die — and internalizing that plants are living things that played a role in our lives. We have somehow lost a part of ourselves. For a little moment, the shadow of our mortality falls over us as we wrestle with this. We are made aware of the permanence of this loss and feel regret that we did not appreciate them more.
These plants provide a degree of clarity amidst Ms. Rona’s manifestation (coronavirus I mean) when people may feel some anger that life simply goes on, that they are oblivious to the reality of death that has suddenly struck, and keep going. For several days or perhaps weeks after this loss (of livelihood, relatives, and so on) we tend to experience life differently. Our emotions are rawer and more sensitive. Particular stimuli will bring back associations with death.
This intensity of bewilderment will fade, but each time we are reminded of the nature of life, a small portion of that comes back. The plants we grow helped us cope.
I am writting this story to appeal to a mission for making content for sustainable, resilient, and inclusive Philippine tourism. Tourism is one of the sectors hardest hit by the COVID-19 pandemic, especially in countries where it is a crucial economic pillar. Digital technologies play a valuable role in helping countries like the Philippines bounce back and restart tourism activities in the new normal.
I am currently working with Jord Earving Gadingan. He is a community worker, researcher, and writer for “Sa Ngalan ng Lawa”, an initiative exploring other sciences on environmental work. His bio is as follow:
"My niches are grassroots systems, and I have been exploring for eight years now, working with governments, academicians, non-profits, and communities. I’ve organized several community projects and social responses in Batangas province since 2016, and currently working with social innovations on health systems in Quezon. I’m privileged to non-formally learn and experience community development and ecological principles by asking countless questions."
Task
Our task as learners of economy and community is to create a logo for "Kilusan Ng Mga Maliliit Na Mangingisda" (KMMLT)- that can be used for media platforms, research papers, and community reports, and other related activities. KMMLT must have a good logo to elevate its cause by catching the right attention, a good first impression, and a well-founded identity.
Illustration above represents some inspiration to be emulated for ideal logo
Action
In this activity, Jord brought up design particulars: 1) a linework logo with minimal consumption of ink 2) a logo that may continue its initial schemes, 3) a logo that can be displayed in harmony with the aspiring logos of aspiring offices, institutions, and organizations responsible in environment and community. I am here to introduce iterations of logos, and also come up with the best representation of the “KKMLT” vision. We tried gathering people's insight by sending a poll on which best represents the organization.
Result
Among these presented logos, the "Letterform" Logo best represents the organization.
Schoolmates realign the purpose of business and tourism.
Situation
Hello! How do you do?
The recent pandemic made changes in our lives. It was bewildering in a sense; a part of human nature. We tried to tackle it by creating opportunities or solving problems aligned with it and to see what continually impels us to grow.
I tried reaching out to a schoolmate I met in seventh grade, to make time for what I can add value. This is upon being frustrated about the limited opportunities in my embedded profession; so, I offered my branding services through a call. I presented a mission that is patterned from a tourism development plan- that also became our alignment tool. My schoolmate on my behalf has the core gift of good communication and empathy. She finished a degree with it, was able to apply these in a reputable airline company, and now has the opportunity to run a hospitality business with her partner when flights are limited. I admire how she and her partner were able to develop a deep relationship with their reality.
Task
Starting up a business amidst the pandemic is a daunting and tedious task. To think about financing, marketing, technicalities, and managerial skills- which then boiled our engagement down to enhancing the hostel's capability to reach markets through the provision of online content that will promote their facilities and services. What's more meaningful about this partnership is how we were able to set the tasks on a milestone basis; meaning to say, this is how we run our schoolwork from our alma mater. This remains us connected to our conscious needs and being able to deliver the requirements for completion. The following milestones include 1) creating a hostel mockup, 2) creating digital assets about the hostel, and 3) showcasing the hostel through photographs.
Milestone 1: (Images from Left to right) Calling card mockup, Directory Mockup, and Wallpaper Mockup.
Milestone 1
Our initial task is to create hostel branding mockups to introduce their flagship brand to a serviceable, and obtainable market. This will be channeled through the use of different social media platforms such as Facebook and Instagram. This became a testing ground for the impact of the product on its market reach. From our experience, the introduction of “Tanawan hostel mockups” opened different interests within its social network- which also initiated different reactions. The social hype is overwhelming for a starting business and is recommended to be introduced softly for its service capacity. The project took a week to finish, with works including conceptualizations, graphics, sets, and photography. Our discussion is open from design constraints, with creative use of materials for delivery, and with no set deadline.
Milestone 2 (from left to right): Vicinity map, Promotion template, Rates Template, and Tanawan Launch Campaign poster.
Milestone 2
Our next milestone is to create digital assets about the hostel that can be used to promote its facilities and services potentially through guests, local tourism councils, and other business institutions. After sparking interest within the serviceable obtainable market, we needed to upgrade our online presence so that common inquiries are addressed. These digital assets include a vicinity map, a template for price points, campaign materials, and a social media filter. We created these assets through after-work collaborations with two weeks deadlines, creative freedom, and to work within available materials. Some of the assets are effective such as the vicinity map- to help people locate the hostel, and templates- to address customer inquiries. Our third set of assets, which is our campaign materials (that are supposed to be used for launch) didn't meet the partner's expected mood; therefore, we just have to create a campaign through Canva. While our Instagram filter is just a novelty during the launch to elevate the customer experience. These assets are mostly graphics work.
Milestone 3 (images from left to right): La Union shores in the sunset, Tanawan Hostel entrance, Common area, and Hallway.
Milestone 3
Upon mere completion of our second milestone, we proactively engaged further for facility documentation. This is upon redeeming an agreed accommodation to the hostel. And so, it was a working trip. Taking photographs of the hostel may provide opportunities to participate and showcase its facilities in local business and tourism opportunities such as booking sites, campaigns, branding, and others. In the documentation project, our process includes styling, photographing, and post-processing.
Conclusion
My schoolmate has been the nicest and most considerate person to work with. I became classmates with her in seventh grade. Now that I'm seeing her again for just a short time is valuable. And being able to work with someone familiar, and trusting each other is already inclusive, and directed towards growth. What I want to highlight in this project is how we work interdependently on milestones, be able to complete them, and shared a mission in tourism. There is an abundance of opportunities to create, and problems to solve- that I hope to align with them hopefully soon and in good light.
"INSERT ONLINE BOOKING LINK"
*What do you think/ How do you feel about this case study? Please leave your comment!
Laying out a pamphlet for the Manila iteration of Korea Research Fellow 10x10
Situation
I am writing this story to thank the opportunity to work with Korea Research Fellow 10x10 and to Mr. James Tana for trusting my work. I am also sharing the design process of the project and the discussion carried in the hat of a layout artist. Our project started with an online meeting with a brief email detailing the output, layout fee, and timeframe.
2021 Korea Research Fellow: 10×10 (2021KRF hereafter) is part of the Korean Culture and Information Service (KOCIS)’s K-Fellowship, aimed at promoting international exchange in the field of contemporary art. Every year, KOCIS invites 10 curators from abroad to be matched with 10 curators from Korea, creating a forum for open discourse.
In this project, we are having the Manila iteration of 2021 Korea Research Fellow: 10×10 at Black Maria Cinema in Mandaluyong from 24 November until 27 November. Included in the screenings are video works by our artists including Kiri Dalena and Derek Tumala, and complemented with a leaflet.
Task
I wish to share the process of fitting more than 3000 words writeups at the legible text size, a reasonable font, and logos to the desired paper size. In this project, we decided to use A3 paper so that the opposite side of the leaflet can serve as a poster.
Action
The role of a layout artist in the project is to respond effectively to communicating disseminated information and to work closely in presenting layout studies to the curator. The following iterations of the product are shown:
After the layout studies, we chose Study 1 with adjustments from the curator to change the text size to 10pts. Therefore we tried to occupy the space as much as possible.
Result
The result is a bi-fold leaflet with the cover side serving as a Korea Research Fellow poster.
An interpretation of Cirilo Bautisra's "Telex Moon"
“A man immersed in the greatness of the
creative word” - Ruel De Vera, PDI, May 2018
The De La
Salle-College of Saint Benilde through the Center for Campus presents “The
Trilogy of Saint Lazarus,” an exhibit on the life and work of National Artist
for Literature Cirilo Francisco Bautista.
Bautista is
a poet, writer, essayist, critic, and educator and was one of the literary icons of his generation. His best-known work is the epic poem “The Trilogy of Saint Lazarus,” made up of “The
Archipelago (1970,) “Telex Moon” (1981,) and “Sunlight on Broken Stones”
(1999.)
Born on July 9, 1941, Bautista received his Bachelor of
Arts degree in English at the University of Santo Tomas and Master of Arts in
Literature at St. Louis University Baguio, graduating on both occasions Magna
Cum Laude. He was also a Doctor of Arts in Language and Literature from De La
Salle University (DLSU) and remains the only Filipino to be given an honorary
degree from the prestigious International Program at the University of Iowa,
USA. He died on May 6, 2018, at the age of 76.
Bautista paved the way for the foundation of writing
organizations in the country: the Baguio Writers Club, Philippine Literary Arts
Council, and the Iligan National Writers Workshop. Much published locally and
abroad, Bautista was named to the Carlos Palanca Memorial Awards Hall of Fame
in 1995, given to winners of five first prizes. Bautista won nine - for essay,
fiction, and poetry in both English and Filipino. He was a recipient of the
2012 Cultural Center of the Philippines’ Gawad CCP Para sa Sining and in 2013,
an Achievement Award from the National Commission for Culture and the Arts. His
retelling of Philippine history in the Saint Lazarus Trilogy won him the 1993
Makata ng Taon (Poet of the Year) from the Komisyon sa Wikang Filipino
(Commission on Filipino Language.)
In between writing, Bautista entered the teaching
profession, becoming a professor at Waseda University, Japan, and Ohio
University, USA. He also taught poetry and creative writing at De La Salle
University (DLSU), where he was Professor Emeritus and was instrumental in
establishing the DLSU Bienvenido Santos Creative Writing Center. Bautista also
taught at St. Louis University Baguio and at San Beda College where he was
Professor Emeritus for Literature. He sat on the board of advisors of the DLSU
Bienvenido Santos Creative Writing Center and was a Senior Associate at the
University of Santo Tomas (UST) Center for Creative Writing and Studies.
In 2014, Bautista was elevated to the Order of the
National Artist of the Philippines by President Benigno Aquino. Presidential
Proclamation No. 809 read: “Whereas, the works and achievements of Cirilo F.
Bautista as a poet, fictionist and essayist have greatly contributed to the
development of the country’s literary arts and has strengthened the Filipino’s
sense of nationalism.”
Bautista is survived by his wife Rose Marie, the first
Dean of Benilde’s School of Design and Arts, his three children, Maria Bautista, Laura Anna Jensen, and Nikos Bautista, and three
grandchildren Jeremiah Timothy Jensen, Mira Kathryn Bautista, and Miguel Nykos
Bautista.
“The Trilogy of Saint Lazarus,” the Benilde exhibit will
expound on the life and work of Bautista and allow his genius to be seen and
known to a younger audience. Exploring the concept of Text as Image, Benilde
architecture students Jackie Cruz, Tracie Bejar, Bea Carague, Kevin Nuñez,
Aaron Yu, Janelle Gan, and Emilio Tenorio and
Multimedia students Gelo Fabian, Marco Ajero and Enrique Masias creates an
installation called ‘The House of Words’ using stanzas from Bautista’s magnum
opus, the Saint Lazarus Trilogy.
Twenty contemporary artists respond and intervene in Bautista's work
by creating zines inspired by the Trilogy. Assigned chapters from the books
are Rasel Trinidad aka Dok Karayom, Mark Salvatus, Gringo Benedicto, Thea
Torres, Adam David, Tropikalye’s Nice Buenaventura, and Cos Zicarelli, Blic, Con
Cabrera, Ginoe, Gab Brioso, Gabby Rosario, Walther Ocampo, Levyn Purcil, AK
Ocol, Jed Gregorio, Nel Banaag, Ev Christine Yu, Wipo, Christian Tablazon, and
Isola Tong.
Their works will be installed at the 12F Gallery of the School of
Design and Arts and in the other galleries of the College of Saint Benilde. A
series of online exhibits on the works of the students and artists will be
launched prior to the opening in September 2020. The exhibit is produced by
Benilde’s Center for Campus Art and curated by its Director, Ar Gerry Torres
and co-curated by Ar Harvey Vasquez.
Process
1. How was your experience with Cirilo Bautista?
Acknowledging the achievement of our national artist for literature is a celebration of the highest potential of our fellow. I admire how he realized his potential, produced a body of work, and his capacity to raise himself for things creative and productive.
2. How did your visual elements relate to his text?
I extracted elements from the positive act of understanding a zine, its text, its meaning, and Cirilo Bautista. It constitutes symbols that best represent the narrative, the act of withdrawal, and its emotional tone.
3. How do you want the viewers to see your work?
I want the viewer to see my work more as information than an image to convey the puzzling yet intriguing act of reading Cirilo Bautista's Telex Moon.
4. What were the challenges you encountered while doing your work? I am challenged to understand the metaphors implied in Bautista's work; that I must research beyond what is written to take a grasp on its robust narrative.
5. Did it offer opportunities? The schooling ended and I find it intimidating to continue defining my personal voice. I aspire to advocate values in arts and design, and I admit that there is also frustration about pursuing a career. I must thank sir Gerry, and Sir Harvey for determining my inclinations; and, with the exhibit’s helping hands. I used to be an “extra” helping hand too. Again, I appreciate it. 6. How has the pandemic and the lockdown affected your process/art while doing this work? The Pandemic and the lockdown gave me time to research and ponder on the writings assigned. Telex Moon provided me context related to our history and affected me to embrace setbacks as means of building up skills and sharpening a sense of purpose. 7. What tools did you use? I use a pen, Adobe Illustrator, and Sketchup.
Gabby Rosario. The Trilogy Of Saint Lazarus. (n.d.). Retrieved June 9, 2022, from http://thetrilogyofsaintlazarus.com/gabby-rosario/
Peter Zumthor
is a swiss architect who earned recognition in approaching architecture in metaphysical idealogy (Quiros, Burns, Repp, 2001), which understands the fundamental nature of reality. It is important to analyze his works in the lens of tourism as this branch of philosophy can be applied to the positive act of grounding. As this generation is gearing towards the spirit of innovation and change as means of problem solving- must be complemented with an outlet to individuate. In the age of post-truth when we believe that we're right; and is integral in shaping the political, economic, socio-cultural and technological climate, a much better way to engage is to understand the value of authenticity- which is important to be discovered by an individual for the society. It is innate to each of us. This writing attempts to understand the body of knowledge Zumthor contributed. I chose the architect to introduce perspective from international extent to expand our learning to local tourism profile in the form of case study. His personal life explains how he grew a body of knowledge from his father’s roots as a cabinet maker, academic attainment in
Pratt Institute in New York, and as a conservationist architect in Department
of Preservation of Monuments in Graubünden. He also achieved awards including: Praemium
Imperiale, Pritzker Architecture Prize, and RIBA Gold Medal. Earning these awards is an honor for the recognition built in the architecture profession. Furthermore, he shared his knowledge in different academic institutions such as
University of South California, Sci-Arc in LA, and Harvard Graduate School of
Design- to name a few. As a constant improver in design, it will be an honor to receive these awards, to step on these schools, and to experience what it means to be in these responsibilities. I am in support of the architects practice, and share his design that we can emulate under our tourism development plan's framework. Testaments of this architectural practice includes books such as Atmospheres and Thinking Architecture, and built structures: Therme Vals, a hotel and spa complex in Graubünden Canton in Switzerland, Kolumba Museum in Cologne Germany, and Almanajuvet Zinc Mine Museum in Sauda, Norway. These structures possess distinct characteristics which understands the Swiss architect’s thinking. I am keener on the architecture that plays along and the sensory experience it has to offer. What I am trying to highlight is his approach in architecture from his narratives, and architectural execution which puts the touristic value into understanding.
Zumthor’s
works revolves the intimate insights of architecture which he defines that “quality architecture is when a building manages to move”. It encompasses the
subjects of phenomenology, learning consciousness as experienced in space, is
integral to what he coins “the magic of the real”. This idea has
been expressed personally in his books (Atmospheres and Thinking Architecture).
He puts the human existence at its focal point - that is to seek for what can
be the built environment castsan impact to its user: “An architect…can apply forms to a building that satisfy the need for innovation, or novelty, status or
lifestyle…and yet values architecture that makes people feel good, look good,
gives a certain dignity or freedom (Zumthor, 1998). This defines an
architecture that is grounded to its genius loci or a location's distinctive atmosphere- that is widely evident from
its mass, material, and sensory experience. His projects are designed
for a specific use, in a specific place, and for a specific society- an oeuvre
which values the physical, perceptual, and conceptual orders of the built
environment. Learning his works will address the general lack of understanding of our country's untapped tourism resources and noncompetitive tourism industry. I am to instill that natural, cultural, and heritage sites are non renewable resources that may suffer degradation due to direct or indirect misuse, over-exploitation, pollution, and natural disasters.
Therme Vals
The 15 bath
spaces of Therme Vals extends a contemplative environment designed to mirror
the state of the water within it. Visitors are to occupy a cave like floor plan
where it allows the user to wonder in seductive, and non-linear manner. “His
design does not enforce any rules but puts the visitors into tests. It makes
them question all the time their position and the space around them” (Dreki).
Certain elements enrich the act of resting by both natural and man-made
intervention. The space evokes the opportunity to hear the sound of bubbles,
steam, and the silence inside the mountain, the tactile component of quartz
masonry, and the play of light which are translated to break mass, determine
temperature of water, and define meditative experiential tale.
Kolumba Diocesan Mueum
Kolumba
Diocesan Museum is a juxtaposition between now and the glorious and gloomy
chapters of the past. It is a uniquely dense archeological site of the former
St. Kolumba Church- obliterated in World War II. The architect’s task is to
accommodate the site’s art collection, keep outdoor temperature and humidity
while the works in collection had to be kept within strict curatorial limits,
and minimize intervention with the ruins. The architectural narrative of old
and new is a symbol of Christianity’s faith- an amir fati in the course of two millennia.
Zinc Allmannajuvet Mines Museum
A once dead
landscape is commissioned by Norwegian Public Roads Administration in Sauda, a along
the Ryfylke tourist route, Southwest of Norway. Black orthogonal pavilions on
the route are of museums, café, lavatories, and parking. These are positioned
to recall the industrial structures and the workers that used to occupy the
site to memorialize and contextualize that in society’s margins. The harsh
world of the 19th century had turned unviable from falling commodity
prices and declining ore deposits, which advocates for a structure perceived to
remain modest. The structure is of creosote-coated laminated pine frames,
plywood walls coated with jute burlap, corrugated zinc roof and doors, and
handles of rough forged zinc- as Zumthor calls a work of an artist-architect.
Conclusion
The works of Peter Zumthor does not promise a better life, but comfort us in act of grounding/ withdrawal. Each of us are looking for the next new thing- which is inevitable in our psychological makeup. What more with faster information, when immediate pleasure is accessible is not making us happier, but for an individual's pursuit of something for society. In my personal take; it is what defines the "magic of the real". The simple forms of Zumthor's built structure is not to exoticize the act of travelling, but to represent its authentic value- that is translated through substance. It also face weaknesses which involves the time for intensive research, and meticulous translation. It is not for development strongly directed for what can be quantified immediately such as returns of investment; however, it opens up to different opportunities. Engagement with locals through participatory discourse, its builders, and other stakeholders will guide public and private investment decisions -this can be a building block of socio-cultural, political, economic, and technological progress. Lastly, is to beware of the dangers of affect from Zumthor's ouevre as it manages to move, and connect personally, may cloud a materialized dogma of an obsolete spirit. Architecture and tourism should emulate good qualities; but in the passing of time, are innovations which will align to its authentic value sought for architectural and touristic practice. As the nature of reality unfold, must understand that we are the drivers of constant innovation and change; and for us to embrace it, must be complemented with an outlet to individuate.
5 July, 2011 B. P. D. (2011, July 5). 'Zumthor's Diocesan Museum shows
clearly and movingly the continuity of Christian faith'. Retrieved May 1, 2020,
from
https://www.architectural-review.com/buildings/zumthors-diocesan-museum-shows-clearly-and-movingly-the-continuity-of-christian-faith/8616966.article
Dreki, M. (n.d.). Architecture And Phenomenology: Zumthor's Therme Vals
Spa Examined With A Phenomenological Approach. Retrieved May 1, 2020, from
https://www.academia.edu/30674328/ARCHITECTURE_AND_PHENOMENOLOGY_ZUMTHOR_S_THERME_VALS_SPA_EXAMINED_WITH_A_PHENOMENOLOGICAL_APPROACH
Hybel, J. (2013, June 24). Kolumba Museum. Retrieved May 1, 2020, from
https://arcspace.com/feature/kolumba-museum/
Quiros, L. D., Burns, D., & Repp, E. (2001). Achieving the
Metaphysics of Architecture: The Architecture of Peter Zumthor. Retrieved from
http://www.quirpa.com/docs/achieving_the_metaphysics_of_architecture__peter_zumthor.html
Slessor, C. (2017, January 27). Allmannajuvet Zinc Mine Museum in Norway
by Peter Zumthor: 'The progeny of an artist-architect'. Retrieved May 1, 2020,
from https://www.architectural-review.com/buildings/allmannajuvet-zinc-mine-museum-in-norway-by-peter-zumthor-the-progeny-of-an-artist-architect/10016453.article
Zumthor, P. (1998). Thinking architecture. Baden: Lars
Müller.
Zumthor, P. (2006). Peter Zumthor: atmospheres: architectural
environments, surrounding objects. Basel: Birkhäuser.
Architecture
and publication have evolvingly been interdependent in the presence of books,
magazines and with digital information system. It is both association of
disciplines in which paved to a growing promotion of works and communication of
idea. This dynamic is more complex, nuanced, and expansive in passing of time - how an information of physicality is converted as a way of seeing and as
a design driver.
It is a dynamic of defining architecture in multifaceted
philosophies were engaged in this medium; and vice versa, to alter the former.
Emergence of new platforms in publication such as our social media has an
ongoing dissemination of content accessible through our smartphones- is also
raising new questions and arteries for testing new theories. It is intriguing
how the intimate relationship between the two are cross-pollinating towards the
re/birth of medium.
ZINES
Image is taken from Temporary Academy of Un/Re/Learning. The lecture is of Self-Publishing and Dissection of Violence, by Czar Kristoff.
Zines are resurfacing and has been growing an appeal
towards the younger generation for its intimate connection between the creator
and its audience. This for one is a product of publication being rethink from
early modernism- as an outlet to materialize rejected sci-fi stories- such as
the creation of comic book hero: Superman. This media cover topics of interest
including fiction, politics, poetry, arts & design, social theories,
journals, and so forth. It is exchanged within a small group for the pleasure
of others who share the same interest.
Zines are less accessible as compared to the mass media such
as Instagram, Tiktok, and Twitter for the purpose of liberate expression of
ideas and promotion of work that has its own niche, It is practiced against the
algorithm of our go-to apps for the benefit of defining and testing a different
approach, assumption, argument, or concept which may be a taboo with the existing
institutions. It is best to revel in with ideas that are uncontested with
interests. The goal of it beyond is to hone individual skills and talent,
towards balanced media consumption, and to share a niche subject opposed to
seeking profit.
ARCHITECTURE AS AN OUTLET FOR PASSION
Image above is a zine titled "Prototypes 2014-2019"; a collection of works under realization from my college career. I prepared the zine to find niche while looking for a job beyond the institution.
I am introducing Fictive Realities, a passion project aiming to contextualize the writings of a doctor in history from the University of Oxford and a lecturer from Hebrew University of Jerusalem; Yuval Noah Harrari, with current affairs that shape the emergent futures of the communities I belong (the ASEAN region rather). This will involve selected news and articles from reputable media channels to form precis that aims to maintain a clear picture the threats of ecological cataclysms, nuclear war, and technological disruptions that are highly relevant in my generation. It follows the production of zine as medium which allows to continue share the way we think about architecture in ways of: 1)
Understanding architecture which may be a potential solution, 2) Architecture which
connects us with our emotions, 3) Architecture to inspire in us some new
feeling.
Understanding architecture which is a reaction- As we alter our attitude
towards our generation, our goal is to understand as deeply as possible how
profoundly the spirit of our generation, and the time we have live in have
influence in understanding the world. We try to define certain issues that we
observe based in our generation that we choose to define. This is to enlighten
how design drives can illuminate the status quo- may it be fictional, is an
initiative for possible reaction. The role of architecture can cross-discipline in reactions of:
Disillusionment-How do we introduce new socio-political model?Development of infotech and biotech has social and political implications.
Work- How do we slow down the pace of change, and what to do if job loss outstrip job creation? The development of artificial intelligence can outperform humans. Jobs are threatened from automation, machine learning and robotics.
Liberty-How do we introduce new socioeconomic models? We are investing so heavily about political and economical needs rather than our own long term needs as conscious person.
Equality- How do we regulate ownership of data? Property is prerequisite for long term inequality
Architecture for our resilience-The appreciation of architecture also
has its symbols which allows us to connect our works profoundly with a tone. The millennial for example displayed an idealism for live, work and play. Henceforth
defining our tone in this period personally or collectively towards an event or
a particular configuration. We continuously understand meaning, learn, or to simply cope. These are scoped in the following.
Education- How do we make sense of information to tell the difference of what is important and to combine many bits of information into a broad picture of the world? To succeed in such a daunting task you will need to know what you are and what you want from life.
Meaning-If we cannot leave something tangible behind- such as a gene or a poem- perhaps is it enough to make a the world a little better? What we know and we don't know keeps on changing.
Meditation- How do we get in touch with reality? Brain research and meditation must complement.
Architecture
to inspire in us a collective feeling-Architecture can be an outlet
to define how the built environment could be. Discourse towards contested
spaces, social issues towards urban landscape, and many more are progressing; but,
stressful. What if it has resulted to a particular result with a feeling? What
if a place is altered towards a subject of personal indulgence? What if there’s
a place that seems a counter content against the volatile thing that is going
on? The role of architecture can cross-discipline to inspire a new feeling towards:
Community- How can we financially support community services? Algorithm may be good for navigating vehicles and curing disease, but when it comes to solving social problems, we should still rely with people.
Nationalism- How do we value our culture and tradition while providing military and economic protective shell? We now have global ecology, global economy, and global science but we are still stuck with only national politics.
Religion -How can holy scriptures guide us in the era of artificial intelligence, bioengineering, global warming and cyberwarfare? So far, modern ideologies, scientific experts and national government have failed to create a viable vision for the future of humanity.
Immigration- How do we allow immigrants, adapt to common norms and values and assimilate? Unlike traditional racist bigotry, culturism has much firmer scientific basis.
ZINES AS AN UNTAPPED OPPORTUNITY FOR CREATIVITY
Architecture
and zine has great opportunities for honing skills in both discipline,
balances media consumption, and can establish an offline community. What is more
exciting is how both can tap in our creative process towards different
possibilities as complicated as it is intriguing. Fictive Realities zine project is meaning to have a small gathering for people my age with a venue I'm trying to close, to save a four to five figure budget, hopefully on the 1st quarter of 2021 if permits, find optimistic works grounded with given threads. If you find yourself interested in helping tackle these constraints will be appreciated. More information will be shared on its instagram page: https://www.instagram.com/fictive.realities.zine/ .
Anthology Architectureand Design Festivalis an annual three-day event that showcases architecture and design within the Philippines and the Southeast Asian region. The festival serves as a platform to bring together various practitioners and stakeholders to increase awareness about the relevance of architecture and design in our urban societies.
Anthology began in June 2016 with over 2,000 guests and 65 leading built environment practitioners from seven countries. Now in its fourth year, we have grown exponentially into a base of 7,000 attendees, 30 developers, government officials, professors, and 70 leading local and foreign architects and urban planners from 25 different countries.
