How to make visible what is not meant to be seen, but still exists all around us? In 1910, a Norwegian chemist filed a patent for the production method for a pigment that aesthetically changed all modern surfaces. The white pigment titanium dioxide (TiO2),called “the whitest white,” was capable of covering all other pigments, turning architecture whiter and brighter, and thereby materially accelerating modernism’s desire for inconspicuousness, durability, and homogenisation. Titanium dioxide revolutionised the global color industry by bringing onto the market a pure white paint that resisted discoloration due to dirt and rust. However, a bright future always has consequences. What is the darker side of modernism’s whitewalls? In this talk, Marte Johnslien and Ingrid Halland show how they investigate the materiality of white colour through a method they call an arts-based archaeology, which combines art and architecture history, archival documentation, fieldwork, environmental history, aesthetic philosophy, artistic research, and art practice.
Blanca Valdes
On the blank-ness of paper: The production of whiteness in paper, or the landscapes of bleach.
This presentation studies the production of whiteness of paper, and the entangled landscapes, infrastructures and workforce needed to produce the effect of ‘nothing’. It focuses on the paper mill of Laja in Chile, where eucalyptus pulp is processed with imported bleach and mechanical decomposition of lignin in order to physically break down the colour of wood. The presentation questions the correlation between whiteness and purity, and goes on to shed light on the impossibility of an ‘original’ state, relating it with the heavy processes behind the blankness of paper.
Marina Addis Waldmann
Clinical white
This presentation looks at the history of illness and architecture as they are deeply intertwined. The battle against bacteria and viruses has shaped the history of built environments. Victoria Bates in her article “Cold White of Day: White, colour, and materiality in the twentieth-century British hospital” aims to show that whiteness stayed important in modern British hospitals as part of an expanding colour palette, rather than being replaced or relegated with the rise of the pastel-colour welfare state, particularly as a symbol of hygiene but also as a continued part of creating ‘modern’ hospitals. Colours in clinical environments are essential tools of communication between human beings. From the coloured uniforms that mark out different jobs to the triage coding system, colour is a crucial part of creating structure and order in hospital life. Wall and floor colours help with navigation and spatial organisation, as well as with hygienic practices and attempts to improve the hospital environment. These colour choices have rarely been made unthinkingly; each colour is often carefully selected for a combination of practical and symbolic reasons.
The study on hospital colours is part of a research on contemporary hospital design. As institutional landscapes of care, hospitals raise the question of how bio-political conditions influence design, in this case the role of medical imaging in transforming perceptions of illness, and its effects spatial design. Furthermore the research aims to highlight how healthcare workers perceive the tangible fragility of an ill body while also mediating with the abstract representation of illness in medical imaging.
Eleonora Antoniadou
Bodies as vessels/ tools for radical architecture pedagogy during the 1970s
This presentation will explore the relationship between bodies and architecture in the current discourse through the lence of pedagogy. By examining how bodies are currently utilised in architectural pedagogy and then moving on to explore the various debates surrounding the topic in practice. The discussion will also touch upon the relationship between bodies and architecture from a philosophical and anthropological perspective, focusing on the concept of embodied experience. Lastly, the presentation will also address the current debate on AI technologies and the impact they might have on the relationship between bodies and architecture.
Factum Foundation has been developing and applying bespoke high-resolution input and output technologies to rethink and re-value artefacts. Technology is changing data capture in ways that facilitate new understandings - we are no longer just extracting text or image. It is now possible to present the surface of diverse types of object as material evidence for forensic study. When the surface is linked to accurate colour, X-Ray, infra-red, ultra-voilet and historical records new forms of engagement lead to new discoveries. ‘Digital’ used to be associated with something that has lost its physical presence, but this is no longer the case. Data output is also transforming how things are displayed and who has access to them. Physical re-materialisations can be identical to the original object while screen-based or virtual realities can reach diverse audiences in different ways. Factum has been pioneering the use of both input and output technologies for 23 years – Initially through Factum Arte and since 2029 through Factum Foundation. The talk will focus on recent projects involving repatriation, digital restoration, research and changing values.
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