Dr Mariela Cvetić (talk)
Das Unheimliche maneuver of space doubling: form follows “(split) subject” (Artist talk)

The text studies space doubling of architectural objects (houses) through Freud’s psychoanalytic concept Das Unheimliche in different/various media (film and installations) and explores the state of subject in space as well as “the change” of architectural form regarding to it (subject). Analogically to the question “What does the Other want from me” (“Che vuoi?”), the question is : “Where do I stand (literally) in regard to the Other”; in other words: “What is the subject’s (spatial) position towards the Other”, as well as “What space do I occupy”. In fact, subject roams between different spaces and “never is on the spot where he is”, both when he “doesn’t believe that he is where he is” and when he accepts “the place where he is” as absolute fatum.

Mariela Cvetić is an artist and art theorist. She is associate professor at University in Belgrade, Faculty of Architecture and guest professor at Universifty of Arts, Interdisciplinary Studies of Arts and Media. She is an author of ten solo and many group exhibitions. Her artistic practice and theoretical work explores the relationship between subject and space. She is a member of author’s team whose floor installation wonhlich was selected to represent Republic of Serbia on 11th International Architecture Exhibition, La Biennale di Venezia, 2008. She is the author of the book Das Unheimliche: Psychoanalytical and Cultural Theories of Space (Das Unheimliche: psihoanalitičke i kulturalne teorije prostora, Beograd, 2011).

Niklas Fanelsa
19 views of Shibuya

During their everyday lives, Tokyo locals rely on predetermined routes to navigate through the city’s complex terrain. These paved routes, underground networks and elevated expressways are optimized for the flow of goods, passengers and information, often negating the actual topography. As a result, commuters may drive along the river‘s path on a daily basis, yet never catch a glimpse of the waterway hidden beneath. And while railway commuters may glide smoothly along the city‘s rooftops, a journey through Tokyo by foot encompasses a much wider range of experiences.
Shibuya, with its busy and brightly illuminated crossing is often pictured as a symbol of Tokyo. Architecturally layered, buildings are stacked on top of each other, crammed into smaller and smaller spaces hiding the original landscape and obfuscating a rich cultural history. One way of understanding Shibuya‘s multi-layered nature is by adopting the attitude of a “flaneur,” to discovering specific sites where you can view the layering of the city: unseen rivers buried under highways, rituals pushed aside by love hotels, and a hillside named after thief. 4 views have been collected here, with stories detailing hidden topologies of Shibuya.


Niklas Fanelsa is an architect and member of Tsukamoto Laboratory at Tokyo Institute of Technology.
He studied at RWTH Aachen University as a Sto Foundation scholar. His studies focused on the periphery of the city and new building typologies. He also participated in workshops in Antwerp, Glasgow, Cameroon and India.
Together with a collective of young architects, Niklas is working on reuse/renew projects in Germany and Japan. For the Chair of Housing at RWTH he works on a guidebook about the architecture and the spacial phenomenas of Ahmedabad in India. He has been published in the magazines Arch+, Detail and Too Much Magazine.
Currently, his Tokyo-based research focuses on the occupancy of objects in Japanese dwellings.
As a flaneur and member of the Suribachi group, he observes and questions his surroundings in order to achieve a greater understanding of Tokyo’s multi-layered nature.

Sophie Hoyle

‘…a space divorced from and devoid of human bodies…’
Robertson, S. (2007) Visions of Urban Mobility: the Westway, London England
in Cultural Geographies 2007:14:74 p.83
[brut] is an audio-visual installation adjoining conference and the workshops at the Centre for Creative Collaboration as part of Uncanny Landscapes 2013.
[brut] is a moving image work combining close-up and abstracted images of monochromatic collages of the urban landscape, and a fragmented soundtrack composed from the artists own field recordings. The work questions the (in)ability of imagery to convey lived experience, where multiple processes of fragmentation and abstraction of image and sound lead to a sense of estrangement from a familiar but de-contextualised experience. The work originates from a subjective phenomenological experiences of anxiety and agoraphobia in urban space, mirrored in the pseudo-dystopian Brutalist architectural forms. A new environment is made to work through ideas of displacement and estrangement, using architectural imagery as a focal point and as an external physical form to reflect the artists internal state. In this piece a combination of moving image and sound is used in an attempt to relay embodied geographical experiences, whilst also distorting and abstracting them. The interruption or disruption of the image in the collages in this video explores ideas around the Uncanny, and perception and recollection of experience.
Atmospheres and affect.
Paranoiac landscapes.
Architecture / the built environment/ infrastructure and the uncanny


Hoyle’s (b.1986, London) current artistic practice explores ideas of urban image and experience, referencing post-war UK Brutalist and New Brutalist architecture such as the Westway motorway or the Barbican estate, and their harsh beton brut materiality and inhuman scale. Her works and writing explore ideas surrounding the unheimlich or uncanny, hauntology, the modern Gothic, dystopias, ruin gazing and decay, and how these abstract and indeterminate concepts may be visually and sonically represented. She lives and works in London and is currently studying for an MFA at Goldsmiths University.

Dr Rachel Sarah Jones
Panoramas of Time, video, 2013

Panoramas of Time is a series of photographs and videos, which explores the relationship between the individual and the urban landscape through montage, piecing together fragments of movement in panoramic formats. These images examine the uncanny and the sublime through a disruption of a linear sense of time and through the use of saturated monochromatic colour, defamiliarising the everyday landscape and creating a virtual urban realm.
Although the traditional panorama painting typically depicted scenes of the natural landscape, its influence was felt primarily within the urban realm, becoming a popularised form of entertainment in the 19th century metropolis. The panorama was a tool for grappling with a newfound perspective of landscape/cityscape and also became a device in itself for training the eye to incorporate a new visual approach to surveying the land. The panorama took hold within the 18th century at a time when there was a growing desire to see an overview of the landscape and the horizon, an attempt to take in nature in one unifying view, and its emergence coincided with a resurgence in the popularity of the sublime.
In this talk I will examine the relationship between the sublime and the uncanny, arguing that the panorama is a device from which to explore both phenomena within the urban realm. The panorama creates a disturbing or uncanny effect by confounding the relationship between viewer and image, confusing the sense of depth owing to its scale and to the absence of a vanishing point. The expansiveness of the layout creates a plane in which the eye must continually move across and around the image without focal point. The sense of depth is made strange by this lack of vanishing point with both figure and ground in focus uniformly. The panoramic images that I have created use colour to heighten the sense of the uncanny by creating a virtual urban realm painted red, blue and green, saturating the eye and creating a sense of unease. This series of images also examines the uncanny and the sublime through a disruption of a linear sense of time. Creating panoramas of time, these images explore the relationship between the individual and the landscape through montage, piecing together fragments of movement in one long panoramic view to create the illusion of continuous movement, where past, present and future exist simultaneously. These panoramic images investigate the blurry boundaries that exist between moments of time, between figure and ground, and between the individual and the landscape, which give rise to the urban uncanny.


Rachel Sarah Jones is an artist and visual sociologist whose work explores photographic and filmic approaches to urban space and temporality. She is particularly interested in the relationship between visual arts practice and critical urbanism. Rachel has exhibited her work in New York, Glasgow, London, and Washington, including participating in the ColorField Remix Festival in conjunction with the Kreeger Museum in Washington, DC. She has presented her work at numerous conferences and symposia, including Urban Encounters Photography and the Practice of Walking, the Sensing Site seminar series at Parasol Unit and Visual Urbanism: Perspectives on Contemporary Research at the British Library. Rachel is co-founder of the International Association of Visual Urbanists (iAVU) and is currently a Post-doctoral Teaching Fellow at Goldsmiths, University of London.

David Kendall
Gone but Not Forgotten

Gone but Not Forgotten explores how photographic images could be utilised to investigate the complexities of sensory perception and visual production in cities over time. Weather patterns affect people’s mental and physical journeys on foot or inside vehicles. Climatic conditions can speed up or slow down mobility and restrict interaction between metropolitan and rural areas. Moisture, wind direction and chill factor can physically and psychologically affect visibility and movement. This productive tension affects social relations across time and space, generating ocular landscapes that have no distinct presence or absence. Consequently the monotony of a journey offers opportunities to consider the prosaic and habitual fabric of what is culturally perceived as a natural and urban landscape. Staring into space suggests a presence, provoking the viewer to question collective mobility, personal identity and narrative structures within the city and its boundaries.


David Kendall’s photography and research explore how spatial, economic and design initiatives, as well as participatory practices, combine to encourage social and spatial interconnections or conflict in cities. His photographs, spatial research and collaborative projects have featured in exhibitions, festivals, conferences and symposia at museums and academic institutions including Københavns Universitet, Denmark, Centro Cultural Manuel Gómez Morín Santiago de Querétaro, Mexicó, Tate Britain, UK, the South Bank Centre London, UK, UCLA, USA, Jüdisches Museum Berlin, Germany, Goldsmiths, University of London, UK, the British Library, UK, Akademin Valand Göteborg, Sweden, University of Cambridge, UK and University of Oxford, UK. He is a visiting research fellow within the Centre for Urban and Community Research, Department of Sociology, Goldsmiths, University
of London. http://www.david-kendall.co.uk

Phil Legard
Music, Magic, Metaxy: Sounding Psychepoietic Landscapes

The term ‘psychepoiesis’ is borrowed from the practice of Archetypal Psychology (Hillman et al), wherein it is used to describe the process of exploring images as they are reflected in the soul (- or imagination) of the analysand. The idea that our experience of the natural world, in particular landscapes, has an imaginative reflex which is open to creative exploration has been a cornerstone in my own artistic practice since 2001, often prompting the question: can work inspired by landscape be poetically interpreted as a dialogue with the genii locorum, or spirits of a place? Violet Paget (1925) calls the genius loci an ‘indwelling god, that we make for ourselves,’ but notes that it is a self-made god which is transcendent: going beyond individuality and taking ‘his being into our contemplation of times and peoples not our own, but felt by our imagination and sympathy to be consubstantial with ourselves in whatever in us is not trumpery, deciduous or abominable.’ As a musician and developing locative media artist, I would like to use my talk I to share anecdotes and discuss developing philosophies arising from the confluence of the phenomenology of landscape and the figure of the genius loci as creative psychopomp.


Phil Legard is an associate lecturer with the school of Film, Music and Performing Arts at Leeds Metropolitan University. His academic work often relates to the use of music technology in interdisciplinary practice, collaborating with the research group Textiles and Music Interact on new approaches to notation, and with oral historian Simon Bradley on a platform for delivering locative oral history and sonic art on mobile devices. His creative work has, since 2001, focused on the use of improvisation and field recordings as a method of dialogue with the genius loci. Phil also has a particular interest in the history of magic in early modern Europe, his work in this area being published by Scarlet Imprint, Hadean Press and Trident Books.

Luke Pajak
Unhomely Patrimony

Unhomely Patrimony is an introspective exploration inspired by a fear of loss that emerged in childhood during the disintegration of the family home. This inherited state of perpetual transience allows the city to evoke notions of metaphysical homelessness. Certain ‘placeless’ spaces revive a nostalgic homesickness; illuminate a totemic internal image and compress the distance between past and present. Each photograph is thematically related to an elliptical narrative which locates memory fragments within the intertwined history of three generations, each sheltering their own fragile sense of home.


Luke Pajak is an award winning visual and sound artist based in London. His photographic series Mi Casa Es Tu Casa was featured in the British Journal of Photography magazine and he was shortlisted for both the Nikon Project Assistance Award (2009) and the Association of Photographer’s Open Award (2008). His recent graphic and photographic projects have included collaborations with ActionAid, Equals? charity and Shakespeare’s Globe. He has also produced sound work for a number of theatre companies and performed in venues such as; The Roundhouse, The Garage and The O2 Academy Islington. Luke completed an MA in Photography at London College of Communication and works as an Associate Lecturer at the University of Northampton and as a visiting staff member at Central School of Speech and Drama.

Sarah Sparkes
Never Afraid

Never Afraid. This maxim crops up a lot in my work and has it’s roots in an oral history, passed on to me by my mother and grandmother. I grew up in the suburbs, right on the messy edges, where the new build advanced into the ruins of an old stud farm complete with patches of damp looking small holdings and rusting barns. The neat gardens ended abruptly at a line of ancient woodland; sheds were the last out-posts between the lawns and the undergrowth. To step off the trimmed edge of an immaculate lawn was to take a plunge into the darkness and tangle of the woods. Domestic comfort and safety was soon out of sight; one could be ambushed by wild gangs of children, followed by lone, furtive looking adults or glimpse flesh moving mysteriously amongst the rhododendron bushes. As a child, this suburban ‘Heart of Darkness’ found its way into many of my dreams and later, as an adult, into my artwork. Over the past decade, as part of a body of work titled ‘Never Afraid’, I have been making a series of small, intense paintings about these transitional landscapes. The paintings are usual shown as part of an assemblage or installation and their intimate scale engenders a solitude through which the viewer can participate in this private world. Painted with the maxim Never Afraid – a reference to talismans and incantations, such as ‘Bless This House’ samplers which attempt to project the domestic space against the foreboding of omnipresent danger – these landscapes, both enticing and menacing, banal and fantastical serve as a reminder that the wilderness is only just beyond the shed.


Sarah Sparkes is an artist, curator and living and working in London. She holds a BA and MA in Fine Art from Kingston University and Chelsea School of Art and Design respectively. Between 2009 – 2012 she was an Affiliated Research Fellow at the School of Advanced Study, University of London where her research centred on the Harry Price Library of Magical Literature and where she was commissioned to make a public art work for the Bloomsbury Festival , 2011. She leads the arts and interdisciplinary research project ‘GHost’, which was initiated in 2008 for which she has curated numerous GHost exhibitions and events including a video booth for the London art Fair, 2011 and a three month curatorial residency at Folkestone Triennial, 2011.She is currently showing work in the group show ‘Theatrical Dynamics’ at Torrance Art Museum, Los Angeles, USA. She teaches at The University of the Arts and has lectured widely on her own work, the ‘GHost’ project and on her research into the psychical investigator Harry Price. Her essay on the ‘GHost’ exhibition at Folkestone Triennial was published in ‘Vernacular Folk’ (2011, Kent, Club Shepway). She has written a chapter on the ‘GHost’ project, which will be published in ‘The Ashgate Research Companion to Sociocultural Studies of the Paranormal’ later this year.

Annie Stogdale & Roz Marsten
A walk on Clapham Common, 2013

A walk on Clapham Common
a paddling pool, a bandstand, an avenue of trees
gay sex, hatred and heavy drinking
a young man kicked to death
wind rippling the boating lake
A writer and a photographer move through the same landscape. Their collage of words and images reflects the complexity of the way we experience familiar places. Clapham Common is made uncanny by things that have happened in it. Events which have left few traces on the ground, but deep strands of scar tissue in our minds. The focus oscillates between perceptions, thoughts and feelings. Memories and impressions combine and merge with emotions from the subconscious. We dig beneath the surface and find things that are not there but may be elsewhere.
the abolition of the slave trade
the conversion of the heathen
the remembrance of the dead
a wooden bench
a flower bed


Roz Marston is a location and studio photographer who loves exploring streets and urban landscapes. She was awarded a distinction for her work at the London College of Communication in 2008. Annie Stogdale is studying creative writing at Royal Holloway and is particularly interested in the relationships people form with the environments they inhabit. She previously studied history and worked as a journalist and editor.

Lisa Tilder

A strategy of “De-Naturing” becomes a means of reconsidering the construct of nature in contemporary architecture. Denaturing, as a literal term, means to deprive of natural properties, to corrupt. Yet De-Naturing proposes not a contamination but a repositioning, one that examines the ambiguity of nature as a means of architectural production. Through the analysis and repurposing of a de-natured, revised Canon of the Avant-garde, a series of architectural constructs –landscapes, figures, monsters– resituates the position of nature in contemporary culture and with it, that of the architectural uncanny. “De-Naturing” presents a series of models that examine strategies of architecture-nature production as a means of manufacturing new natures.

Lisa Tilder is an Architect and Associate Professor at the Knowlton School of Architecture, The Ohio State University, USA, where she teaches design and theory. She is Principal and co-founder of MUTT with Stephen Turk, a collective whose work explores experimental ideas in architecture. Tilder is co-editor of Design Ecologies: Essays on the Nature of Design, published by Princeton Architectural Press, and is the recipient of the Young Architect’s Award of the Architectural League of New York and the Far Eastern International Digital Architectural Design Merit Award. Her work has been featured in publications ranging from AD: Architectural Design to Metropolis and has been exhibited widely. Her most recent work centers on the construction of nature in architecture, landscape and contemporary culture.










































































































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