TI
T.G. Ibrahim
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2 records found
1
The House is Never Complete
A Cartography of Idiosyncrasy in Socio-political Maelstrom
This research and drawings focus on the recent post-Soviet history of Tbilisi, Georgia and the production of architectural and urban interventions as they coincide with larger political processes (i.e. the collapse of the Soviet Union, the shift to neoliberal economic policies, etc.) and social phenomena (i.e. production of ethno-nationalist narratives) as they affect the production of the city. The elaboration of an architectural process which is a result of an expansive investigation of the contemporary issues facing Georgia, can provide an approach to cultural conservation in contexts that confront the problem of subverted narratives. The historical section will in-part be informed by data collected over a period of five years through anecdotes, and conversations with local researchers, activists, and political actors. The technical procedure which is a result emphasizes the value of local intuition and the production of space which occurs in the years post-Soviet collapse to arrive at a solution for conservation which attempts to overcome nationalist narratives which can be exploited by power structures.
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This research and drawings focus on the recent post-Soviet history of Tbilisi, Georgia and the production of architectural and urban interventions as they coincide with larger political processes (i.e. the collapse of the Soviet Union, the shift to neoliberal economic policies, etc.) and social phenomena (i.e. production of ethno-nationalist narratives) as they affect the production of the city. The elaboration of an architectural process which is a result of an expansive investigation of the contemporary issues facing Georgia, can provide an approach to cultural conservation in contexts that confront the problem of subverted narratives. The historical section will in-part be informed by data collected over a period of five years through anecdotes, and conversations with local researchers, activists, and political actors. The technical procedure which is a result emphasizes the value of local intuition and the production of space which occurs in the years post-Soviet collapse to arrive at a solution for conservation which attempts to overcome nationalist narratives which can be exploited by power structures.
The industrial pedagogical Technicum
A Vernacular Appropriation of Modernism
The Industrial Pedagogical Technicum, completed in 1978, has developed a curious status among the large-scale construction projects of the Late-Soviet period in Georgia. The dimensions of curiosity result from the fact that, until 2017, the architect was unknown to most local architects and historians, and that there are few and inconsistent drawings of the building available in the public archives. Additionally, the location of the Technicum is also disconnected from the greater city, and a sculpture which was affixed to the auditorium facade, of unknown inspiration, was the only element that could be seen through the thick vegetation. The architectural process of designing and constructing the staircase leading to the Technicum auditorium terrace was based on the urban morphologies, historic vernaculars, and the contemporary vernaculars which are the texture of the city. The design was an attempt to represent the regional heritage of the IDP residents, while adopting the local informal methods of material sourcing and construction. Traces of activity show that the terrace of the building is still in use, as a result of the access staircase, though there have been several attempts by authorities to stymie this activity. The first chapter of this paper will elaborate the ontology of the Technicum and its sculpture, and examine the contemporary Georgian social and political matrix using past correspondence with governmental entities, active non-governmental organizations (NGOs), and surveys and interviews conducted with Tbilisi residents between 2017 and 2020. The second chapter of this paper will discuss the initiatives taken at the Technicum in response to the site conditions and processes of the sculpture’s removal. Finally, the third chapter of this paper will further elaborate the context of the Technicum and sculpture’s appropriation, while discussing the processes employed in activating the auditorium terrace as a public space. The third chapter will give definition of the architectural position of the ‘vernacular appropriations of Modernist architecture’ which result in idiosyncratic and dynamic public space.
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The Industrial Pedagogical Technicum, completed in 1978, has developed a curious status among the large-scale construction projects of the Late-Soviet period in Georgia. The dimensions of curiosity result from the fact that, until 2017, the architect was unknown to most local architects and historians, and that there are few and inconsistent drawings of the building available in the public archives. Additionally, the location of the Technicum is also disconnected from the greater city, and a sculpture which was affixed to the auditorium facade, of unknown inspiration, was the only element that could be seen through the thick vegetation. The architectural process of designing and constructing the staircase leading to the Technicum auditorium terrace was based on the urban morphologies, historic vernaculars, and the contemporary vernaculars which are the texture of the city. The design was an attempt to represent the regional heritage of the IDP residents, while adopting the local informal methods of material sourcing and construction. Traces of activity show that the terrace of the building is still in use, as a result of the access staircase, though there have been several attempts by authorities to stymie this activity. The first chapter of this paper will elaborate the ontology of the Technicum and its sculpture, and examine the contemporary Georgian social and political matrix using past correspondence with governmental entities, active non-governmental organizations (NGOs), and surveys and interviews conducted with Tbilisi residents between 2017 and 2020. The second chapter of this paper will discuss the initiatives taken at the Technicum in response to the site conditions and processes of the sculpture’s removal. Finally, the third chapter of this paper will further elaborate the context of the Technicum and sculpture’s appropriation, while discussing the processes employed in activating the auditorium terrace as a public space. The third chapter will give definition of the architectural position of the ‘vernacular appropriations of Modernist architecture’ which result in idiosyncratic and dynamic public space.