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Emphasis on Learning
Memory is the power of the mind that enhances remembrance of facts. In the article, Artistic and Activist Memory-Work: Approaching Place-Based Practice, Karen E. Till fronts arguments expected to alter the thought process engaged in memory studies. She argues that individuals and groups need to understand their past and futures by relating to places. As opposed to limiting memories to sites-locations of historical significance, artists and activists bring to the fore poignant aspects of historical sites through photo albums, songs, stories, and an assortment of everyday objects. As such, they invite those in their immediate environment to imagine the happenings surrounding the subjects on display.
Historical Sites
The shortfall of this approach is that it leaves the person engaged in an indeterminate state after taking in the display image. There should be a mechanism transcending the emotions evoked. For instance, pictures depicting a war, a discourse on forgiveness and reconciliation between perpetrators and victims. The platform should not only resuscitate the painful events depicted in the pictures. It should initiate forums that discuss prevention of possible future occurrences, and assist the affected deal with their pain.
There is an inclination to protect the sites that played host to the violence in societies that have experienced violence. These sites take into consideration the places of healing. Individuals pay visits to such sites to come to terms with grief, guilt and a sense of loss. They remind the society of its past and warn them of possible relapse to similar events if caution is not exercised. According to these sites that deserve respect, there is a danger of losing sight of the wrong they represent. There is a need to inform the society of the history represented by the sites and educate the masses on events leading to such occurrences.
A New Dimension of Architecture
Zumthor talks of finding the lost architecture. He talks of his mind drawing from past images of work and childhood. He forgets to embrace emerging forms of architecture that have a new dimension of moving away from the past. A painter can dip his brush in paint and splash a design on the wall just from the pattern of the hand to design a new dimension. The world is moving from past thinking to a more spontaneous and imaginary thinking. This aids application of a new computer technology. The trend is moving from the concrete world to a more imaginary world. It keeps people guessing on what the architect really means by a particular design. The design building bases on the truth rather than images created from nowhere. A splash of paint on a wall may create a design that may not represent any particular object or subject but shows creativity. Viewers are to fill in thoughts with all the possible answers on the design. This brings in a new dimension to architecture. Art that is not just an image linked to a particular theme. These aspect contrasts to the resistance of the notion advanced by the author in the book. What the real essence of architecture constitutes is the question we have to answer. It cannot be limited to the past existing forms that have meaning.
The Future
Architecture can choose to use the future instead of the past and present. The world is now more than ever environmentally conscious. For instance, in the fashion industry, models on catwalks wear designs themed on the environment. Saving of energy and recycling is another aspect to consider. Art is not one-dimensional. It should not only focus on desire, but rationale too, as opposed to the authors view.
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