KOPANA ARTSCAPE
VIVA 2.0
VIVA 2.0
Kopana (v.) - To unite.
In the spirit of the proposed design framework which aims to unite a series of interventions along an “economic spine” the Kopana Artscape serves to strengthen the diversity of the spine.
ARCHITECTURAL INTENT
The intention thereof, the creation of an art precinct that reinforces the existing identity of Alaska and more specifically Viva Village as a community which encourages the influence of arts and culture as drivers for development whilst contributing the proposed design framework of the group.
Thus, the project sets out to challenge the possibilities of introducing an art precinct into an area that has previously been exposed to wall art/graffiti.
PALIMPSEST
CUT AND FILL
CUT AND FILL
PROGRAMME
The proposed design will include a production workshop which bottles paint sourced from a productive landscape. The productive landscape, situated along the river line, makes use of natural vegetation in the production of paint. The creation of these products thus encourages the local community to engage not only in the production of art but also in the production of the media used in the making of the art.
The proposed design includes exhibition areas as well as platforms for discussion amongst local and non-resident artists. Thus encouraging engagement of ideas at all levels.
“If giving voice through the vehicle of public art can be the means of drawing the invisible into the urban narrative, it also has a role in drawing thoe citizens and spaces whose marginalisation stems from other causes”
- JUST ART FOR A JUST CITY
The following investigation was conducted through a series of live graffiti exhibitions lasting roughly 15-30 minutes. In this time the residents were asked about the potential that art has in an environment already rich in graphic language. Everywhere one looks in Alaska on finds walls painted with imagery announcing the function of that space.
The experience really allowed me to engage on a personal and intimate level with each resident. Information not easily sourced through mapping or transect walks was gathered. Residents were open to the idea that a non-resident could in some respect breath life into their homes through the application of art.
Questions were asked about the potential for an artist programme and the desire to have a space that allowed one to fully immerse themselves in the creative process. A resounding response in favour of these suggestions led to the inception of this idea that Alaska could be the perfect place to invest in a project of this nature.
- JUST ART FOR A JUST CITY
The following investigation was conducted through a series of live graffiti exhibitions lasting roughly 15-30 minutes. In this time the residents were asked about the potential that art has in an environment already rich in graphic language. Everywhere one looks in Alaska on finds walls painted with imagery announcing the function of that space.
The experience really allowed me to engage on a personal and intimate level with each resident. Information not easily sourced through mapping or transect walks was gathered. Residents were open to the idea that a non-resident could in some respect breath life into their homes through the application of art.
Questions were asked about the potential for an artist programme and the desire to have a space that allowed one to fully immerse themselves in the creative process. A resounding response in favour of these suggestions led to the inception of this idea that Alaska could be the perfect place to invest in a project of this nature.
Contextualisation
A lengthy encounter with a resident led to an interesting discovery; the art placed on the homes needs to be relevant to the inhabitants of Alaska.
One needs to be mindful of the fact that the artwork should adhere to the needs/wants of the community. The community, as well as the artist, need to be consider the influence that the art placed on their homes has. What the artist perceives to be of value may often not be the case when it comes to a community whose homes become the canvas.
COLLABORATION BETWEEN ARTIST + COMMUNITY
“graf·fi·ti [gruh-fee-tee]
noun
1. plural of graffito.
2. (used with a plural verb) markings, as initials, slogans, or drawings, written, spray-painted, or sketched on a sidewalk, wall of a building or public restroom, or the like: These graffiti are evidence of the neighborhood's decline...”
2. (used with a plural verb) markings, as initials, slogans, or drawings, written, spray-painted, or sketched on a sidewalk, wall of a building or public restroom, or the like: These graffiti are evidence of the neighborhood's decline...”
HOWEVER, in the case of Alaska, Mamelodi, the opposite appears to be true.
PUBLIC ART AND URBAN REGENERATION
HALL, TIM
&
ROBERTSON, IAIN (2005)
AN ADVOCACY FOR PUBLIC ART AND URBAN REGENERATION
1. Develop a sense of identity.
2. Contributes to civic identity.
3. Addresses community needs.
4. Tackles social exlcusion.
5. Possesses educational value.
6. Promotes social change.
2. Contributes to civic identity.
3. Addresses community needs.
4. Tackles social exlcusion.
5. Possesses educational value.
6. Promotes social change.
