OTHER SPACES



THIS PLACE IS INTENTIONALLY LEFT BLANK
Lasse Mouritzen
and Frida Robles



Love Canal
Elsa Bres


The Permanently Temporary
Cathy Smith and Natarsha Tezcan


A post-landscape handbook
Ed Wall


Tuning Space
Campbell Drake


Dear Testing Grounds / Fortuna Redux
Millie Cattlin and Joseph Norster


Evoke
Nic Quantock-Holmes
and Oli Brown


Mini Maddern
Public Realm Lab


Home as Hometown
DENARA - architecture studio


Glow: Monarch Lane
Christine Phillips and Tania Davidge


The Overlooked Chinese Terrain Vague: On Culture, Urbanisation, and Resilience
Jiatong Shi, Jillian Walliss


More trains, more often – soon, they promise
Yuchen Gao, Loren Adams, and Eugene Perepletchikov


DO YOU CARE?
Let’s reflect on the sea
Maria Pina Usai and Stefania Toro


Black Box Festival of Living and Dying Art
Kyle Bush


Belfry
Jinjoo Yang


Togethering
Lena Heubusch, Susana Moliner, and David Pérez


Drawing Fields
Outpost Office, Ashley Bigham, and Erik Herrmann


Kristall, The Domestication of Water
Daryan Knoblauch


The Field
Robert Snelling, Brittany Devlin, and Kate Donaldson


Windflower
Urban Radicals


The Waste Archive
Jesus Meseguer, Javier Arias, Mireia Ferri, and Connie Meseguer


Modul #3070
DELACAVE Architectes | Architectural Think Tank


New York has a High Line, Berlin has a Low Line
Studio ON/OFF


Dear Document Fukushima Paribartana Mohanty


Mapping Future Memory
Eleanor Peres and mone studio


Sydney Biennale:
Cockatoo Island
Philip crowther


Aqueous Landscapes
Ainslie Murray and Helen Lochhead


Other Spaces: Others' Spaces
Demet Dincer


Born to Die
Laura Syzman


Peripheral housing on the urban wasteland of Chinese cities
Weijie Hu


Terrain Vague; Neighboring Damascus
Sara Adam


Not yet another web
Ioanna Sotiriou


Weeds’ Analogy: From Industrial Debris to Data Urbanism
Kwan Q Li and Joel Austin Cunningham


Incompiuto (Unfinished) Alterazioni Video

Other Spaces:
Others' Spaces


by Demet Dincer



LOCATION: SYDNEY, AUSTRALIA


Sydney Park is an award-winning project with forty hectares of recreational area in the inner city, with its borders to well-known neighbourhoods, St Peters, Newtown, Alexandria, and Erskineville. This project focuses on the corner area of the park, where its symbolic heritage-listed chimneys and brick kilns from the old brickworks site are located. Besides its historical importance, this area functions as the welcoming point of the park to nearby dwellings. A narrow pedestrian path from the intersection guides people to the inner sides of the park, while the right of the pathway, where historic buildings are, evolves to be a vague terrain. This corner becomes "mentally exterior in the physical interior of the city” as an abandoned space remaining open for other possibilities.1  The canopy provides a sheltered zone for rough sleepers while becoming a safe place to store their items. In time, this location has become an ‘other space’ for many individuals when inhabited by others.  
The project employs photography and collage techniques to narrate how this other space is already an others' space. By considering photography as an index,2  four layouts were designed containing words and visuals. The selected photos depict the objects left in the prementioned hub of the park, representing their actant roles "creating an asymmetry between absent makers and occasional users."3 The nonhumans highlight temporary interventions in the space, portraying the residue moments. These objects act or become a part of an act and, like a city, are always in transformation, and they form a new composition as an urban revelation. The transitory inhabitants create other terrains – resembling bedrooms, supermarkets, and cemeteries - from which arise unexpected borders and interfaces, resulting in new interiors and exteriors.


1. Life | Demet Dincer



2. Act-1: Bedroom | Demet Dincer


3. Act-2: Supermarket | Demet Dincer


4. Death | Demet Dincer



REFERENCES

1. Sola-Morales, I. (2014) "Terrain Vague" in Terrain Vague: Interstices at the Edge of Pale. Taylor& Francis, 24-30.

2. Krauss, R. (1977). Notes on the Index: Seventies Art in America. October, 3, 68–81,(link↩)
3. Latour, B. (1999). “A Collective of Humans and Nonhumans” in Pandora's Hope: Essays on the Reality of Science Studies. Cambridge, Mass.: Harvard University Press, 174-215.