CAN is in residence at the KK Outlet from the 4th-8th of June.
We’ll be taking a literal and critical view of the current economic crisis as it affects recent graduates, and the younger generation.
Watch CAN attempt to make the opaque seem clear and the obvious seem incredible. Come down any time to see what CAN do live.
We will be open all week, with a Live Panel Discussion at 7pm on the Thursday evening. Tickets are free and you can get them here: http://whatsnexteconomy-eorg.eventbrite.com/
On the Panel will be:
Tim Street, UK Uncut (Chair)
Liam Tootill, SBTV
Adriana Young, LSE
Hendrik Tiesinga
Eddie Blake, Critical Architecture Network
Alex Miller, Vice
Working with us throughout the week will be:
Rebecca Gregory
Molly Lansman
Emma Mcdowell
Hugh Mcewen
Nina Shen-Poblete
Freddie Yauner
CAN @ KK Outlet 4th-8th June
42 Hoxton Square
London
N1 6PB
Entropia by Escif
Small Touching Squares-diagonal overlapping rectangles-painting, 2009
Acrylic on canvas, 213x366cm by Peter Davies
Thron, 2006 by Michaela Meise
St Pius Catholic Church, Meggen, Switzerland. 1966 by Franz Fűeg
Prefabricated Nursery Shed by Future Systems, 1984
Bread Plate by Pugin, 1850
Our, rejected, Eisteddfod Pavilion Proposal:
“A happy collision of north and south, old and new.”
The design of ‘Y Cwrlid’ is an attempt to acknowledge the presence of the past in Welsh life, while also putting it in its rightful place as an undercurrent to the contemporary flow of Welsh cultural life. ‘Y Cwrlid’ points to the fact that ‘Welshness’ cannot be merely reduced to traditional visual symbols such as dragons, leeks, castles or mines, but that there is something abstract and almost ethereal in ‘Welshness’. This quality is best represented in the poetry of the nation, and it is this heartfelt yet playful quality that ‘Y Cwrlid’ tries to evoke.
The pavilion will be a tensile structure supported by a modular steel-truss kit of parts, easy to erect and dismantle. A tent that doesn’t look like a tent.
The design of ‘Y Cwrlid’ incorporates the material and visual culture of Wales without being a slave to tradition. Steel is historically important to South Wales, so it has been included as the structure, or skeleton, of the pavilion. Castles have a looming presence in the Welsh psyche, as well as its landscape, and therefore the silhouette of the Caerphilly Castle gatehouse is employed in the overarching form of the pavilion. Originally, symbols of Norman conquest, these castles have been adopted as symbols of a new self-governing and confident Wales. A traditional Carthenni ‘Portcullis and Chain’ pattern from Caernafon, writ large, is employed to give a spectacular visual effect – a contemporary take on a historical source. In its domestic character, the pattern offers a compelling counterpoint to the monumentality of the building’s form. The exterior form of ‘Y Cwrlid’ and the materials used are designed to contribute to, and fit in with, the overall look of the ‘maes’ while remaining distinctive and becoming an obvious focal point.
Using the image of Caerphilly Castle from the south, with the skin of a Carthenni pattern from Caernarfon in the north, is an explicit attempt to symbolise the connection between North and South Wales and is designed to mirror the Eisteddfod’s annual journey between North and South.
The building system employed for the pavilion is fully demountable and relatively economical. It uses Welsh-made materials (steel and fabric) and can be erected by unskilled construction workers.
Although the steel structure is unmistakably high-tech, it mimics the historic form of Caerphilly Castle, echoing the Eisteddfod’s aim of bringing together Welsh culture old and new. It will help set the cultural agenda at a community level by being visually engaging and thoroughly accessible, and therefore inviting to newcomers. The design aims to promote wellbeing, through delight.
‘Y Cwrlid’ is a joyful expression of the spirit of the festival.
Eternal Solar Corn, 2004 by Mark Hosking
Monologue Patterns (Reading books in the Park) by Loris Cecchini
