Group of architects, artists and stage designers established in Kraków by Dominika Wilczyńska and Barbara Nawrocka; dealing with important spatial issues in an unconventional manner, often with a grain of salt; combining architecture with urban scenography; performing between social interventions and artistic actions; creating new images of urban spaces through site-specific projects, mostly with cooperation of inhabitants.

Awarded in architectural, urban and design contests: Skanska: Bridging Prague, Culburb, Przetwory 7, Lighthouse Art Biennale in Venice Competition; authors of installation ‘Trinkets and imponderables’ in the National Museum in Kraków.

During the April residency they were collaborating with Małgorzata Dudek, Filip Przybyłko and Jarosław Wójtowicz; researching the issues of mental homelessness through permanent travel /they called their project NO-HO-USE/, the travel itself as a lifestyle /drift, nomadism/;  game between public and private regarding transforming unusual public spaces / eg. railway station platform/; organizing night walks to make city-tales /with Dominika Śniegocka/ and providing drifts.

For the summer workshops they’re planning to continue No/Ho/Use idea, treating the journey (travelling process) as a kind of habitation; confronting the artifacts of habitation /what do you need to feel like home?/ with the others and with cultural contexts / regarding objects, sounds, environment etc./ They are planning some interventions in urban space; researching media of behavior art  /also architectural ones/.


Picnic grupa
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Mécanismes pour une entente
Residency _ April _ 2013

//Team of residents:
Małgorzata M. Dudek (author of idea, photographer, researcher)
Barbara Nawrocka (architect, founder of PALCE LIZAĆ collective)
Dominika Wilczyńska (architect, stage designer, founder of PALCE LIZAĆ collective)
Jarosław Wójtowicz (dramaturg, researcher, animator)

Filip Przybyłko (architect, stage designer)
Ludwika Ignatowicz (sociologist, animator)
Paweł Dudko (architect)
Justyna Stasiowska (researcher of contemporary music and theatre)
Katarzyna Peplińska (researcher, student of performance studies)
Jakub Baran (philosopher)
Dominika Śniegocka (actress, researcher of fairy tales, stories and narratives)

//Guest lecture at the opening of NO/HO/USE workshops:
Prof. Dr Krystyna Zachwatowicz-Wajda
Introduction: communication
Barbara Nawrocka

_about entente
All what’s common always starts from encounter. Our project and our part of Mechanisms for an Entente, elaborated in April, have begun at point, when we all have met.
All what’s common always starts from encounter. Later there is a cognizance. Through eye contact, another levels led by senses.
Overcoming the barrier of language (every profession developed his own one), fighting through the jungle of minds, ideas and observations, leads to conclusion, that all ideas must be checked in practice. This is how plan of experiment started.

_about city and /no/house
I’ll start the story from the point of leaving house. No that hasty one, with nervous twisting of the key and sprint to catch the tram. I’ll start from the act, in which we cross the magic threshold, after which we fell as we are “ outside”. Do we, in moment of crossing, cease to inhabit? Or maybe according to the english term “ live” – we loose possibility of using verb “ live”. The architecture closes residential activities, limits them to the well-known and rigidly specified forms. What will happen, if I go beyond the framework of architecture? What, if I start to seek the possibility of reside outside the architecture? Are we doomed to, in a way, sad fate of present generation “ y”, which lives everywhere and nowhere, combining the desire of freedom with lack of sense of belonging? In what level do we need in our everyday life “the feel of- house” and the sense of security. Is the house must be associated with hearth, warmth, coziness, and the creation of small private space that belongs to us?
We asked ourselves the question, what is our sense of “the feel-of-house” or being settled. On how much, that package of basic terms can be synthesized, and on how much unificed. Going “ outside” is the search of settle not in a house, but in practice, which is the negative of accepted paterns and habits. We seeked the equivalents of objects, sounds, situations.
The city is our field of a game. It’s not only the board, on which the action takes place, freely acted by us. It’s not only the meeting space. It is a field of exploration, object of our experiment.

Perversity in the name of the project is not accidental. The house, space of close relationships, intimacy and security, not only with the negation (no), and what’s more, it’s cut into two parts. We separated the verb “use” as an indication of usefulness, use. Following this association, we put the question of functions of the house, which can operate in different configurations, different terms of time and space. By negating the house, we seek and, what’s more, we try to creat it elsewhere. We transfom the term of homelessness: instead of resigning from our places of residence for urban areas,
which are, according to the public opinion, reserved for the poor and marginalized, we try to extend our comfort zone and sense of security.

_fractal cloud vs. community
Let’s look at the city as a structure. The spaces between irregular shapes create different niches and corridors. Let’s forget, just for a while, that lanes tend could be dangerous. Let’s forget about scale. Let’s think about them, as our cosy hideout at home, in which we used to hide from everybody, by creating bases, appropriating the space, just because we were in it. What feelings followed those actions? Joy. Pride. Let’s imagine some implementation of ourselfs in the city space. Could we inhabit it that way?
Now, let’s move to the future our ultramodern, mobile residential capsules, which adjust to the form of the city structure and tightly fill the gap (slighlty like in game TETRIS). They are so elastic, that their shapeshifting lets them to negotiate new spatial structures with other capsules, creating places for a basic social cells on the model of the modern family. How temporary those structures might be?
Let’s go back to the ideas of “ right here, right now” (hic et nunc). I’m leaving the capsule. I’m here, alone.

And the city.
With its all structure. My flexibility and interpersonal skills, allow me to arrange the space in terms of collective work. We know each other, even out the distance between ourselfs, by dividing time, duties and meals (by the terms of housefreedom)

_let’s picnic
A picnic is a way of feeling-at-home in the urban space. Organizing picnics, we have tried to deny the convention. The first attempt: a classic place and unfavorable weather conditions. Second – it was perfect weather in the uncomfortable place. We managed to achieve a sense of comfort, a desire to stay longer, adoption and mental appropriation of it. Not without reason, in subsequent meetings, and other participants in the research project “Mechanisms for an Entente” railway station Zabłocie was still visited. Since the month is much more “our” space than before.
Common picnic (familiar situation) in new condition (for example, the “wrong” place) could turn into a forced event, artificial stimulation of the performative act. But it turned out that the community it created, entered into a situation in which all behavior is natural and unforced. Asphalt, unpleasant at first glance, the platform was easy to “pave” and tame, what’s more – create an atmosphere of idyll and absolute safety and comfort.
Can the community be in a mood of feeling-at-home? Can I be feeling-at-home elsewhere?

Workshops: a positive experience

Dominika Wilczyñska

P = W / t
P – power
W – work
t – time

The potential of intuition
Workshops temporary architecture
The three-day meeting
Each came with a picture of a house, memory about the space and her/his own way of thinking of security.
During the workshop we concentrated on how to do compact, convenient, multi-functional object. We worked on the assumption that there’s good to be invisible in the urban space, to be like mimicry; sometimes it is more comfortable. For the construction of the “house” or “refuge” we gathered remnants of renovations and construction, items which were no longer needed, unused, recycling objects.
In designing and building object involved a team of about twenty people, most of undergraduate and graduate students of architecture. Within the team we have become social microstructure: collective cooperation has become an organic need and driver of our work. It was undeniable value of this three-day, intensive meeting.
Journey : part of habitation?

Barbara Nawrocka
Since every shelter can be a vehicle, and being in a common space, democratic, it becomes close to nomadism, that our relationship with the public space can be read as eternal journey dance with the changing leader, dynamic, variable, process-social structure.
Between one residence and the other is travel.
Moving a file.
Travel (road) between one and the other settling in is a way to “live”:
like a connection between two railway stations. what did we do ?

1. opening picnic (bower in the front of juliusz słowacki’s theatre)
2. no/ho/use workshops
3. picnic at the railway station kraków zabłocie
4. making the stories and fairy tales in the urban space
5. drift

together to build a home is an extremely intimate situation (mutual trust, bond, the integration of the group) biological structure of the virus in the urban space mental maps (combining concepts and therms, tension between concepts) shelter: a complex system self-sufficient, “state within a state” in the tissue of the body non-hierarchical system: things themselves begin to happen making the stories and fairy tales: spontaneous creation, subconscious to create a fairy tale together (the group as a single entity) it was melodious and harmonious natural transition from the reality that surrounds us to reality we are asking ourselves, what it means that the space can create parallel planes of reality, to change the perception the creation of a common language, putting in a stream of all narrative
drift: nonverbal communication, dance in the city dance, architecture, senses musical categories:
choir and voice leading jazz improvisation (someone changes improvisation) revolution
Transformation: temporary architecture and urban gardens of art
Dominika Wilczyńska

_let’s quickly make a scheme
We have introduced the people at the workshops in the state of creativity, assuring them that what is created will be their
authorship. We met to create something that we proposed. There was a master plan and there was no script.

_there was build a vehicle
An object which was created had to be adapted in the urban space. But that’s what happened during the workshops, it was a matter of chance. Course of our activitity was determined by what we found in landfills. Place defined the nature of
our findings: garbage was found here, in Cracow.

_you have to trace the history of garbage in poland
The new area will explore the history of the metamorphosis of packaging products and changes in the policies of the
managers, the conditions under which the product gets to the customer.

_recycling (of) history
We have been dealing with trash from a previous era. For example, a stroller, probably came from the nineties of 20th
century: I suppose that someone kept it in the attic and got rid of it at the last minute.

_garbage is the future
Investing in expensive technologies sometimes is meaningless, because you can do something from recycling things and
garbage and it will have the same quality or even better. It’s just a question of the right strategy and policy, knowledge and
change the perception of things. We are used to the fact that we produce and throw away, and still we are not able to realize that many things can be recycled.

_you can build structures on allotments
Allotments in Poland are unregulated and controversial issue, one of the signs of an earlier era (communist republic: PRL).
But this is a subject that really interests me and with whom I would love to do something. Walking around Lublin, watched the allotments, on one hand, I looked at them a little bit like the museum, on the other hand

– I saw that people work, activate themselves. I wanted to look at the allotments as a foreigner, mostly like a tourist from Western Europe. And I saw something unusual.

_for example, architect of the biennale in venice arrives in Polish,
to do a project on allotments I grew up in the reality in which allotments have been important. A look from a new perspective gives a different appearance. I think when you look at the allotments, you can see in them a little masterpieces of art. Yes, some parts of allotments are overgrown and neglected, but even that has its own charm. If it is destroyed, it will be analogous to the situation of the Polish modernism in the architecture. Things which came before 1989 often associate negatively.
However, it would be a shame to overemphasize anything that is considered a relic of the bad memorized era.

_forests are death, the allotments are our future National Park of Allotments.

_non-hierarchical model of work
There wasn’t demiurge at our workshops. It was collective, painstaking work. Similarly, it could be the allotments of artists. In Poland, the Communist demiurge was indifferent, trustworthy.

Create allotments by the artists would have a lot of generic elements. That does not change the fact that work on the project could be so much fun and even fascinating. It would be best to buy land in the city center.

_new cultural institutions
Allotments would be an excellent answer to the competitions for the construction of community centers or museums of contemporary art in Poland. For example, the Museum of Modern Art in Warsaw. What it would get! Markpol, stand-era Polish People’s … Market. Continuous art fair.

I’m afraid that the design of urban gardens art would assume unanimity Polish artists who would be portrayed in such a formula of contemporary art museum. It is always risky. At the same time it is a vision that I could pursue pro publico bono. Given the diversity of the environment and the experimental nature of the project, it would be, perhaps, a chance for the implementation of utopia.

_auto-production and distorded representation
This place – gardens of art – could prove crucial, as it would be a caricature of everything: contemporary art museums that are still funny, and allotments which are also ridiculous. Did you see the faces are the people who visit the Museum of Contemporary Art in Krakow? Exalted. I wonder what mine would have people who strolled through the gardens of urban art.

Each man carries a history of the house, which is built anew. The project is distinguished art gardens one thing: the issue of neighborhood. New book by Filip Springer is about Hansens (Zofia and Oskar). Hansens created a housing estate only for doctors and lawyers. All apartments are the same. The dream was to create a model of the close proximity, as there lived only doctors and lawyers and the neighborhood could work on the principle of sharing and community. The main idea of Hansens was to build for the people and with the people. This line of thinking about architecture is now returning.

_affectivity modernism
I love modernism, especially Polish modernism, because it is simply true. During communist times there wasn’t great financial resources, so we had to build for the people, functional and simple. But there was no shortage of ingenuity Polish architects and constructors skills. However, technology has advanced and is now used in different architectural language. I would be a takeover ways of thinking in modernity, the construction of the cheapest cost and functional. This does not necessarily need to go for the acquisition of aesthetics.

Rite de passage: beyond the structures
Małgorzata M. Dudek Inviting to hike, walk and build a mobile shelter, we did not think about the formation of particular structures or linear narrative action. Every time we started from that meeting, which was accompanied by the atmosphere of open discussion, the gradual opening up, reaching out to each other by bridging distances: bodily, social, or linguistic. This moment can be likened to fire outbreaks in the dark, and create around the camp where people randomly collected can connect feeling of closeness, and thus – safety, so necessary to get settled in a foreign space.
Public space before it will establish intimate contact with it, it is strange to us. Imagine a city – a conglomerate of information, signals and incentives – as undifferentiated space that can be tamed through action, to know, to communicate with it and it parts. Imagine living in a tissue of postmodern (post-polis) community immersed in space-here and now. There is the imaginary, is likely to occur, and what the potential – to achieve.
We can imagine people who improvise everyday as different colored birds singing and making audiosphere at any time of the day. Improvisation is an interaction of body and space, or rather, their interference. When we danced together, listening to the city and each other, stopped to create a linear narrative structures, temporality is suspended. The experience of collective improvisation allowed to break free from the constraints of subjectivity while maintaining autonomy. This feeling permeates the thought of Zen Buddhism, according to which the body is an extension of action and is identical with action. Things are happening spontaneously, as unplanned. Mind works psychosomatically. Who does not have anything to say, can have everything to show. We don’t need to carry a message or verbal language. Abstract reality of signs simply does not exist. Our world is a movement for equal particles (quanta), which through constant iterations and interactions (Derrida) generate rhythm and change. The movement is produced between the people at the time of contact, touching a reaction. There are no hidden meanings, no need for interpretation – follows the embodiment of meaning. Body communicates with each other without going through. The reality has tactical nature, and the space is a basic system of communication. According to the concept of proxemics of E.T. Hall, which states that our experience is necessary production of zones and areas within the intimate distance. But it is worth noting that the situation of aimless drift, collective psychogeography and the opening of the presence of others make the distance disappearing; for this reason, territories (spatial, physical, linguistic or mental) begin to be penetrated, created as new compositions.
Can we call urban drift urban choreography, which makes that hiking trails are a record of traffic, rhythm, enhancement and bridging of the gap?
Conditions of our activities are: temporality, accumulation of incentives, collective cooperation. Dissonance (discussions), disorders (conflicts), pause (moments of discouragement) smoothly passed the contrapuntal development of entirely open composition, even triggered a violent expression. If you compare a team that is formed in the course of operations, the street procession, which, being constantly on the move, travels urban space, but sometimes constructed temporary, mobile shelter and who scurry to the fact that for a few moments, hours, days to return to each other, it turns out that we were able to create a situation purely nomadic: both internally and subjectively, and in terms of the adoption of nomadic patterns randomly collected by a group composed mainly of residents of one of the largest cities in Poland (and regarded as the most middle-class).
Deprived of the score, the conductor, wandering, we had to carefully listen to the situations in order to act instinct. The collective narrative of free drift often boiled down to vibration, grunts, glitches, rhythmic resonance between movement and stillness, calmness and noise approaching the border, which can withstand the nervous system. Testing the limits of physical strength gave us the courage to cope with the invisible forces that guided drift against our will. Walking at night, in the cold and rain were crossing route available for a regular actor urban scenery. Meeting two days in a row at the gate of a bourgeois house, at the time of lighthouse and disappearing of lights in the windows of houses. Around midnight we went smoothly in the state of playful interactive game – with each other and the surrounding space. The sense of community (communitas), one of the body, seems to play a key role.
drift is never-ending and never will happen again Jaroslaw Wójtowicz. March was the beginning of the drift, which takes on and off properly until now. Thinking about the possible locations for the newly constructed temporary architecture in workshops NO/HO/USE architectural alternatives, we were inspired by the haikyo, the exploration of the abandoned, dilapidated and threatened that formerly had to create an image of prosperity and show the economic and social representation of modern architecture . “I do not think it was about tourism.
Movement associated with haikyo different from tourism that is not taking away things or collecting souvenirs “(Malgorzata Dudek). Haikyo was a direct inspiration for hiking and field research in the area of the historic foothills and surrounding areas (Dębniki, Ludwinow, Zabłocie).
Thus began the field research that we conducted together with Margaret and which later evolved into a nomadic training.
Tight schedule of classes, meetings, tasks to be performed have included a new or rediscovered life. For the first time I had the experience as intense and long-lasting as drift, has become a vital process, one of the important functions of life, providing a framework for the activity. The last two, three months it’s time to revise the existing habits. Periods of insomnia or irregular sleep filled with other stimuli than before, different experience over time. Time drift is suspended in productivity for the same period of wandering wandering; activity that is taking is incidental or enter into a symbiotic relationship with other aspects of daily life. Favorable circumstance was the possibility of carrying out the experiment, by the way artistic projects based on collective cooperation.
Our drift began in March. Margaret in January sent me a proposal to participate in the project. Inspiration: the problem of homelessness in Japan. February was a time of conversation and subconscious exploration of the land on which we can create an alternative to the established way of life, the rhythm of the designated day to go out and return to the apartment, and a timetable of meetings. In February I recorded a radio play based on Four seconds, experimental novel of Polish writer Mieczysław Piotrowski. Radio play was guided hiking funeral for one person, of Warsaw Street in the yard at the gate of Świętego Filipa Street 9, where I lived for 2.5 years. Escape the apartment and his vampiric strength were the two intertwining themes of this radio piece. This way of thinking about living and residing (common) came from life
experiences. 2.5 years of latent conflicts, resentment, loneliness, anger and reckless attempts to circumvent each other were also the period of recognition and recovery from psychological entanglement, obstinacy, complexes, phobias, and other, more negative previous experiences and confrontation. The apartment where I spent 2.5 years as almost any other that I occupied Cracow, was oppressive, sucking, vampire energy. Empty, sterile interiors of Cracow: expressionless, filled with books, tapes, everyday objects, which are sought for each additional space…
Experience of drift began to interest me as a performative method of research at the time, when we started to prepare draft NO/HO/USE project. Already partly in collaboration with Roman Dziadkiewicz, we initiated collective action, which included the drift, too. This time, the transition period between winter and spring even more ritualized in the forms of artistic, documentary and flaneur collective activity. What happened next, was the result of the election and the proposals
in the form of workshops, meetings and field studies. The search for the experience and collective workshop
accompanied the thought: How can we think differently (of) urban space? What kind of quality we can make? How to expand our presence in the city?
Basing on the experience of the March and April I have formulated several working assumptions and proposals for followup projects, as well as the continuation of activities undertaken in the framework of what we proposed. It is possible to use different methods and tools based on the results of experiments that were conducted: these can be maps and topography, the experience of the narrative in the urban space (creating a narrative through collective drift, coexistence, clash of personalities and habits), a photo session in a public space, drawing in the action bystanders, etc. The basic principle is to produce energy: through music, singing, playing the situation, communication within the group, the production of tension between the participants drift. It is possible to use all of the most schematic ways of articulating and highlight our own presence in public (and interpersonal) space. I feel need to build consciously (and based on seeing clearly) the positive, affirmative activity in the partly decaying or problematic areas of the city.
I don’t believe attempts to objectify memory locations. I assume that the city should be a common space, for which we have a right to rebuke. Acting on the border of performance studies, aesthetics and political philosophy, but also the architecture and history of contemporary art, I’m working on a methodology that would enable the intensification of the action. The action is a category borrowed from the theory of drama. Sequence of following events does not have to create linear structure, may be incorporated into the framework of introspection, investigation, research field, as well as a palimpsest (post-polis can be discovered as a multi-layered palimpsest of different, conflicting memory, influence, energy, methods, areas recognized once again).
My hiking trails would be finally free of mythologizing and legends that have grown up around Cracow artists lifestyle. Jaś Stoberski, Krzysztof Niemczyk, Tadeusz Kantor, Marcin Świetlicki are not only the names of artists, writers, but of the potential patrons of latent mainstream life, happening in the evenings and at night, hidden, based on the journey and observations of daily life in public areas. Kantor said that artistic revolution begins in the cafeteria. Niemczyk, in addition to writing a great novel, Courtesan and chicks, which appeared first in France, almost thirty years since its inception, and a decade later, in Poland (2007, ha! art), was a local actionist and provocateur: exposed himself in public , entered the fountains, accost passers impair operation in stores and service establishments and bars. He led the life of a vagabond, and at the same time function as unfairly underrated writer, author of the just one, great novels and several short stories. Niemczyk didn’t think of himself as a performer, and his challenge for art: he took responsibility for the actions of a kind in a personal way, directly relating to his person. Jaś Stoberski was in turn unobtrusive observer of life in the private apartments of his friends who had helped him, taking at home, sharing meals with him and talking about personal and family secrets, which he later transformed into a literary narrative.
1 The starting point is its own place of residence. A personal relationship with space, location, landscape environment, the context (aesthetic, historical, political, economic, etc.). The action begins in a close, already recognized space.
2 The move is part of the adopted practice, the chain of events intractable control. Rhythm of not designate an hour to go out and return to the apartment. New lifestyle becomes a free or partially planned drift. Memory (and the process of remembering, recording, documentation, etc.) does not apply to dates or hours, but for hiking, traveling internal processual continued walking around the city, lasting days or even weeks.
3 Nomadic way of life was not in my case, a priori assumption. He became an everyday way to keep your personal life and work of documentary footage, field research, as well as the theory and history of architecture and urbanism. In thissense, the practice is new proposed theoretical. I imagine (and probably not the only one) for another condition than those established its own culturally and socially.
Temporary abandonment of the place of residence (usually the interim), irregular returns, frequent changes in the environment are some of the ways to escape from trying to take root, entry into further specified socially, economically and culturally roles, stopping at fixed positions. This series of measures to expand their presence in the city. Unsteady locations can be found not only on the outside, in a heterogeneous urban landscape. Unstable location is the interior.
4 The working day would begin again at seven in the morning. I’m going to write. Or read. But it was only after a night of drifting. Drift is a new condition. Drift is a response to the needs of the moment.
5 Getting started. Overview windows. The view from the balcony. Morning photo shoot. Nudity. Scattering. Experience your body (and other bodies). Exposure to coexistence. Notes. Supplement correspondence. The situation is open (no pressure or control). Exchange of ideas. The possibility of dissociation. Individual work is just as important as collective work.
6 Drift should be an intense confrontation of positions and needs. Hiking can be the result of top-down indication. Everyone chooses his own way, and that’s what he wanted to follow, or who wants to go, who wants to take with you.
7 Drift can be isolating experience. Drift is the effect of cognitive cynicism. Assuming that the drift is done with impunity and are not forced to build relationships with people and places, picking up the right to pursue purpose. Objectives are dispersed. My identity is dispersed – I divide myself in many places. I allow myself to drift between different people, and yet I choose isolation. Drifting with the awareness of relativity and contingency, which may put me in the position of the observer, the manipulator, the gray eminence, a passer-by or a bystander, who is no longer at the scene, than it should be.
8 Drift can be voyeuristic situation. Drift is not only a system of shifts and transformations. It’s a risky activity, outlier, parasitic. It is the use of the occasion if Hitching up the event, going to their center position distanced from.
9 The collective drift can confirm your energy or dissipated or conflict. Each of these possibilities is the potential and to exploit the course of events.

Project NO-HO-USE

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PIKNIK #8 – na dworcu PKP

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