Skopje: The Multiple Faces of the City (original) (raw)

The question this contribution poses,' Marko says, 'is how to write about politically charged material.' 'I share Naomi's position,' Kim says. 'It's a context in which I know nothing except through the author. Probably as a result, there were a lot of resonances for me with the guided walk we went on yesterday.' 'A mixing of writerly genres,' Robin says. 'Travelogue, autobiography-including accounts of professional liaison, as well as the more personal-but also interwoven with a hint of a more familiar architecture history writing.' 'A description as of a tourist or traveller venturing into a city,' Hélène says. 'Perhaps written as a city guide. An architect and a critic, whose glance is deeply interested. A series of architectural tectonic moves and moments.' 'You truly dispose of the art of rendering spatial and architectural qualities tangible,' Anne says, 'which is very different to architecture critique, because it is embedded in the storyline of your auctorial voice.' 'There is a lightness, gentleness perhaps, to your approach to critique, and to the writerly voice, which would be a shame to lose,' Marko says. 'At the same time, the position regarding the material would need to be more clearly defined, if it isn't to come across as lacking in attitude and produce a depoliticized result with politically charged material. The discussion-maybe here, maybe with Anne's, perhaps with both-suggested the notion of "highly flammable" material. How do we, as writers, deal with flammable material?' 'Also, the nature of incomplete projects,' Kim says. 'Like the platform that was never built at the train station. This happens in all sorts of places. In Cape Town, Reading of Klaske Havik's Skopje: The Multiple Faces of the City Compiled by Marko Jobst 'Directing your student's eyes, their design thinking,' Naomi says. 'What kind of designs would your students do?' 'There is the premise, and promise, of a future that never materialized,' Marko