Dérive by Tuvia the dog- s.a.p

Thoughts before the Derive:

Dogs act differently from us humans. Following a dog will lead us to different places.

It might be attracted to humans, food, things that are buried.

It might go to places we can not follow him.

We will have no control where Tuvya goes.

Rules

We must follow tuvya even if it walks in circles.

When tuvya stops – we stop.

If tuvya is interested in something we have to photograph it.

We must keep track of our location at all times in the map.

Derive #1

This is Tuvya, he is a Canaan Dog.

We decided to follow him wherever he may go in the park area.

Dogs are dichromats and have color vision equivalent to red-green color blindness in humans. While a dog's  Visual acuity is poor, The frequency range of hearing is approximately 40 Hz to 60,000 Hz, which means that dogs can detect sounds far beyond the upper limit of the auditory spectrum. In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.

It has been estimated that dogs, in general, have an olfactory sense ranging from one

hundred thousand to one million times more sensitive than a human's.

                                           -Wikipedia-

Derive #1 report:

As we expected Tuvya walked freely and we followed.

It wasn’t hard to follow Tuvya most of the time, it ran and stopped and looked back to see if we are coming. Other times it ran really fast and went to places that we could hardly walk.

He was very interested in manure and garbage that were left in the

fields. Things that were left behind by visitors.

We started to take photos of the garbage.

Tuvya even lead us to Pirate dumps of building materials.

Conclusions:

By using a dog we found objects that are strange to the Environment.

We discovered places of human activities (in the past or present), and animal presents.

We found pieces of recent events who can shed a light on the past.

We walked in a way we have never done before : back and forwarded, in circles, in the bush… 

 הכלב טוביה

Finding areas with pirate junk

Conclusions that arose from the interpretation of junk

Finding architectural program in leftover junk

Derive #2

Sound surrounds us all the time. You can not choose not to hear. We decided to follow special sounds in the park area and let the sound dictate our derive.

Sound is a mechanical wave that is an oscillation of pressure transmitted through a solid, liquid, or gas, composed of frequencies within the range of hearing. Sound also travels through plasma.

                                           -Wikipedia-

Thoughts before the Derive:

We might hear animal sounds ,they will probably be hard to follow.

strong sound may carry us far from our location.

There is a possibility we will be dragged towards roads and cars all the time.

There is a possibility that there will be no unique sounds to follow.

Rules

We must follow a strong or special sound and walk in it’s direction.

When we find the source of the sound we stop and photograph it and try to record it.

If we located the source of the sound we stop paying attention to, it, so that we can continue the derive.

We must keep track of our location at all times in the map.

Derive #2 report:

We expected this derive to be difficult and we taught there will be problems on the way. But we where surprised.

The sounds that surrounded us Led us to crowded, wild and 

gathering places.

We found young kids riding their Bicycles in the middle of the park.

We found the wind.

Conclusions:

By using sound as a guide we walked around listening.

we discovered the place by hearing.

We found different levels of “zooming” when passing throw quieter places and paying attention to smaller things.

We discovered the element of Interference: When one powerful sound cuts the environment.

  

Basic Proposal for Pergola

Ohad Fishof / A Slow Walk for Longplayer

Crossing London Bridge in 9 hours, 43 minutes and 25 seconds (21 June 2005)

SABA 2013 Program

Touch this earth lightly. (Aboriginal proverb, cited by Glenn Murcutt)

1. Design and build a structure that provides 25 square meters of shade. 

2. The structure will stand for ten days in Park Ariel Sharon. The structure shall be connected to the ground temporarily; It should be removable, movable, mobile or perishable at will. It shall not leave any mark or effect on the ground after its removal. It may be reusable. 

3. The structure may combine other functions that respond to the park's life and activities and in accordance with the park's administration.

4. The location of the structure is up to you but should be coordinated with the park's administration. 

5. The budget is 0.00 NIS.

Gabriel Orozco / 2010 Table (Desert Samples)

Giuseppe Penone / Face off … To Reverse One's Eyes 1970

Richard Long / Dusty Boots Line ,1988

Richard Long / Walking A Line In Peru, 1972

Richard Long / Line in Bolivia

Patrick Dougherty / "Diamonds in the Rough"

Yatzek in Hiriya

Played by Shlomo Bar Aba between the 70's and the 80's in the cult educational TV program "Zehu Ze", "Yatzek" was a comic character depicting a delirious, hyperactive, nostalgic zionist politruk. Here, he is making a surprise come-back in a "Mabat" news magazine from 1995, visiting the dump of Hiriya. 

Barrenderos / Sweepers

Francis Alys

Sometimes Making Something Leads to Nothing

Francis Alys       

Tamir Sher / Garbage Mountain series (1998)

The mountain is a symbol of consistency, persistence, and eternity. Its origin is in the earth and its summit is in the sky and it unifies the two realms. In Jewish tradition, there are two mountains, which represent places of power, where a significant transformation in the Jewish people's psychic evolution occurred: Mount Moriah, where Abraham's faith was tested and his son was restored to him, and Mount Sinai, where the Torah was given to the Jewish people.  Hiriya is an artificial, man-made mountain, and although it is the highest place in the Dan Zone (one could say, ambiguously, that it is Tel Aviv's mountain), it is nothing but a garbage dump, a mountain of garbage. In light of these givens, which are known to everyone, I have sought to heighten the tension between content and form, to expose the mountain's symbolic meanings and to juxtapose them with the mountain as a metaphor for a distinctive cultural phenomenon, which has robbed the concept of its magical power. I have attempted to make use of the transformational powers of "mountain" to turn a site of garbage into a site of holiness.  I was astounded that a purposeful activity such as the removal of garbage had engendered an aesthetic form, for Hiriya is an astonishingly beautiful place, to my taste: its form changes frequently, its sides create planes which respond to changes of light and weather, its top is dentate, it is divided into two - and all these aspects make it a fascinating object to photograph.  My works seek to conduct an intensified contemplation of essences and symbols, to penetrate into the psyche's eternal experience, to unravel the way along which cultured people have gone towards alienation, and to return backwards, to the basis.

Tamir Sher, 1998

Residue group \ guy, shamir, michelle

________________

Niche group

Asee Group

Guy Debord / The Society of the Spectacle

welcom-S.A.P group dafi, amira & bar

first ideas

A brief summary of the afternoon's welcome Manifesto

A Crippled Architect 
“An architect who had never done a building, who never went through the whole process of a building, from scratch to the end of the construction, is a crippled architect. In order not to be crippled, every architect should do this at least once in his career.” Those clever words were said to me by the Israeli architect Avraham Yasky (1927-), formerly my employer and later the protagonist of my second book, while handling me the project that would become my first building. I have always been grateful to him for this.
In 1932, many years before the realization of his first project, Philip Johnson, then a young curator at the MOMA, wrote “Architecture is always a set of actual monuments, not a vague corpus of theory” (The International Style, p. 21).
Architecture has to be realized. It has to be real. You may do many things related to architecture – write, read, study, teach or even practice – but if you have not realized a project, you will be a “crippled architect” according to Yasky, or you may not even call yourself an architect according to Johnson.

Architects and Masons
While any architect can cite Adolf Loos’s famous saying “An architect is a mason who had learned Latin” (“Architecture and Education”), not only Latin, in general, has never been a part of the standard architectural education but more surprisingly masonry too has been almost completely absent from the architectural syllabi.
In fact, since the beginnings of modern architectural education in the mid 19th century, architecture schools all over the western world have chosen to provide the students mainly with representational skills - descriptive geometry during the 19th and the 20th centuries, computer assisted conception and drawing in our times. The syllabi were organized according the notion and the rhythm of the studio project, which is in general and by definition fictitious, speculative and hypothetical: it is acknowledged and understood from the very beginning that the project will remain a project, that it would never be realized or built.

Drawing and Withdrawing
Although architects like to say that they build buildings, they do not actually build. In most cases architects do not build at all; they just sit at their desks, in front of their computers, in their studios, ateliers or offices and design, draw and model buildings.
Practically, the withdrawal of modern times’ architectural practice into representation implies a progressive diminishment of the architect’s responsibility and the delegation or the outsourcing of his traditional tasks to other specialists or professionals. There would be numerous decisions that the architect will no longer have to take, and a considerable amount of information that would be irrelevant for him. More importantly, in the modern distribution of tasks it is taken for granted that there would be someone else to do the hard labor: the architect will not do the masonry.

Construction sites as micro societies
If we will try to understand architecture simply by its means of production, to think of it not only as a set of images but as a part of a social and economical process that takes place within the Real, it would be impossible not to see how the production process of a building reproduces and aggravates the social divisions between white collars (architects) and blue collars (masons, laborers), and how, regardless to our best intentions, our construction sites may appear as social theatres in which one might witness, inflict or suffer the worst of our actual class systems.

So, my dear friends, let us now get down to work and realize our thoughts and ideas with our own bodies and muscles.

Guy Debord / Theory of the Dérive

"ONE OF THE BASIC situationist practices is the dérive [literally: “drifting”], a technique of rapid passage through varied ambiances. Dérives involve playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll."
( Guy Debord / Theory of the Dérive / Translated by Ken Knabb / situationist international online)

Guy Debord, "Naked City" - a Psychogeographical map of Paris, 1957 

Park Ayalon / Park Ariel Sharon

Park Ariel Sharon Master Plan (Latz+Partner)

Hiriya חירייה الخيْريّة

Tamir Sher, Garbage Mountain, 1998

SABA 2012 Rajpur project features at the "Gandhinagar Samchar"