Defuturing an architecture of destruction: a reconciliation of Van Berkel and Bos to the new design philosophy of Tony Fry

For some time now Tony Fry has promoted the idea of 'The Sustainment', an idea that asserts a paradigm shift in attitudes to consumption. 'The Sustainment' recognises that increasingly human futures are products of self-determination and not chance. Fry’s hypothesis can be understood through his concept of Defuturing, a philosophy that questions the role of design and the responsibility of designers to facilitating the ability to sustain (Fry 1999).
Central to Fry’s philosophy is an awareness that it is in the best interests of designers and their clients, as inhabitants of cultures increasingly driven by technology, to be aware of the relationships between the products and theories of design and the processes and implications of technological change. This is an awareness that is central to the concepts, work, and methodologies of the ‘UN Studio’ of Van Berkel and Bos described and elaborated upon in Move – Imagination, Techniques, and Effects (Van Berkel & Bos 1999). Here, Ben Van Berkel defines the parameters and methodologies employed by UN Studio in an environment of technological and socio-economic change. The Dutch practice could be said to exemplify something of a zeitgeist in current architectural design that sees architects, as Van Berkel and Bos view them, as “fashion designers of the future, dressing events to come and holding up a mirror to the world (Van Berkel & Bos 1999, back cover).” It is a zeitgeist that Fry might see as aligned to the resilient hype of ‘new creativity’, ‘globalisation’ the ‘romance with technology’, and the vacuous-ness of the world of fashion. (Fry The Voice of Sustainment: on Design Intelligence 2005).
A source of breaking down such design propaganda is identified by Fry in the notion of ‘scenarios,’ which “provide a mechanism for politico-practice assemblage in which dialogues and narratives of change can be rehearsed in ways that enable participants to re-educate themselves via critical confrontations” (Fry The Voice of Sustainment: on Design Intelligence 2005). From such a perspective this paper aims to practically illustrate and ground the Defuturing of Fry by establishing a dialogue between his writings and the theories that have generated the architectural designs of Van Berkel and Bos and there UN Studio. This will be a ‘scenario’ that examines therefore an appropriation and transformation of the applied intellectual practice of Van Berkel and Bos. Through this confrontation we shall explore the question of why sustainability appears to be so low in the agenda of many pre-eminent contemporary architects, and how we might refocus therefore practice and theory on the ability to sustain.

Validation of the aceto-carmine technique for evaluating phenotypic sex in Nile tilapia (Oreochromis niloticus) fry

In this study a method for evaluating phenotypic sex in Nile tilapia was validated. A technique that uses aceto-carmine squash mounts to stain the entire gonadal tissue for microscopic examination (Method 2- squash mounts) was compared with a technique based on traditional histology. Approximately 2600 Nile tilapia fry weighing and measuring, respectively, between 0.25-2.50g and 26-53mm, aged 35 to 60 days after hatch (DAH), were sexed using this methodology. In situ microscopic examination on the gonads was also performed. A reliable sexing using squash mount was possible with fish weighing more than 0.500g, 45-47 DAH. Results from microscopic observation using the aceto-carmine stain coincided 100% with the histological examination. Male gonadal tissue was characterized by the presence of cysts containing spermatogonia and spermatocytes, while females were easily identified by the presence of oocytes at the perinucleolar stage. The technique proved to be efficient not only in terms of evaluating sex proportion in fish but also because it allows immediate evaluation of gonadal sex and demands less time and labour.

Elizabeth Taylor Sometimes (Remix)

In this project the filmmaker revisits her 1998 short film 'Elizabeth Taylor Sometimes' that projects us into the post-human world in which the body is outmoded. The meat is despised and celebrity is a garment we buy at Target - cheap, accessible and banal. Remixed to reflect the impact of social media on the representation and presentation of celebrity

Synchronous Objects for One Flat Thing, reproduced

Synchronous Objects is a website where a visitor/ reader can investigate the interlocking systems of organisation in the choreography of William Forsythe's dance One Flat Thing, reproduced (2000). These systems were quantified through the collection of data and transformed into a series of objects - synchronous objects - that work in harmony to explore these choreographic structures, reveal their patterns and re-imagine what they might look like. The goal of the project was to create a learning platform to engage a broad public in this exploration of choreography, to explore cross-disciplinary research and to stimulate creative discovery for specialists and non-specialists alike.

Her Majesty moves: Sarah Bernhardt, Queen Elizabeth and the development of motion pictures

Sarah Bernhardt, the greatest theatrical star of the late nineteenth century, enabled and even promoted the association of early film with the British monarchy. She did this literally, by playing the role of Queen Elizabeth in Queen Elizabeth (Les Amours de la Reine Elisabeth, Henri Desfontaines and Louis Mercanton, 1912). Bernhardt also promoted the association of the cinema with monarchy symbolically, making the medium a new empathetic vehicle for the development of celebrity mystique and global power.