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A Monstrous Alliance Open Architecture and Common Space

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Over the years the practice of ecological design has made the farm into a more biologically healthy and diverse ecosystem.

We have witnessed the return of many migratory and native birds at the farm including the scarlet tanager, oriels, red tailed hawk, cardinals, and many other small forest dwelling birds that are sustained by the many native and beneficial berry producers at the farm. We strive to support this diversity through wise agricultural practices. As biodiversity increases problems with pests decrease, soil health increases, and production increases too. Today the farm is becoming a neighborhood asset that serves the neighborhood and is shaped by the needs of the people.

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Over the years the practice of ecological design has made the farm into a more biologically healthy and diverse ecosystem. We have witnessed the return of many migratory and native birds at the farm including the scarlet tanager, oriels, red tailed hawk, cardinals, and many other small forest dwelling birds that are sustained by the many native and beneficial berry producers at the farm.

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General Sisters asks, "How do we build a neighborhood grocery store, as neighbors?" This question identifies the ingredients of opening a neighborhood grocery store, formally, figuratively and experientially. This question urgently insists on ongoing acts of resistance to systemic environmental racism and disparate resource allocation within our region. General Sisters has straddled disciplines and grounds the self in the dream space, of knowing that we are not yet there-as citizens, as artists and neighbors. Our collective wealth is generated by gathering around a table, cultivating soil, sharing and building knowledge together, visualizing possibilities, and being public in our labor. We ask ourselves, "When will we be open?", and continue to learn that perhaps we have been open the whole time.

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General Sisters asks, "How do we build a neighborhood grocery store, as neighbors?" This question identifies the ingredients of opening a neighborhood grocery store, formally, figuratively and experientially. This question urgently insists on ongoing acts of resistance to systemic environmental racism and disparate resource allocation within our region.

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İzmir Sürdürülebilir Kentsel Gelişim Ağı

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What makes "alternative" education "alternative"? There are two basic principles: first, to construct non-hegemonic knowledge in a collective process and second, to create an instituting practice without remaining or never fully becoming an "institution". Education is by default a fully instituting structure in the sense that the institution itself becomes a machine for the sake of sustaining itself.
What, then, does a collective process in education look like? It is the destruction of the hierarchy of the dualist structure between teacher and student as well as between teaching and learning. Furthermore it means: self-teaching, learning by acting together, rejecting the gap between theory and practice, deconstructing concepts of education that are sustained by the institution and turning them upside down, and preserving traditional knowledge of earth and nature.

The methodology, the syllabus, and the content of a topic are the base for pedagogy. But how is it possible to keep the base of this pedagogical structure without falling into the trap of just consuming alternative workshops, institutions and schools, which is getting common in contemporary art and cultural world?

Reactivating knowledge

The Silent University (TSU) is an autonomous knowledge exchange platform by and for refugees, asylum seekers and migrants. It is led by a group of lecturers, consultants, and research fellows. A lot of researchers (including myself) got involved with TSU, which was originally initiated by Ahmet Öğüt, an artist of Kurdish origin from Turkey, whose practice focuses on a constant negotiation of institutional practices and frameworks in contemporary art.
TSU aims to challenge the idea of silence as a passive state and explore its powerful potential through performance, writing, and group reflection. These explorations attempt to make apparent the systemic failure and the loss of skills and knowledge experienced through the process of silencing people who are seeking asylum.

TSU is mainly based on two intertwined structures. The first one deals with the notion of subjectivity among refugees and asylum seekers, which is defined as a "state of exception". The second one creates a new form of alternative pedagogy in which knowledge production foregrounds the co-existence of the refugees themselves and the public.
The whole structure of TSU as a mobile academy is a transversal machine where "citizenship" is experienced beyond clear borders. As a form of translocal borderless knowledge production, TSU rhizomatically handles issues of citizenship, education, institutionalism, borders, war, being a refugee, documents/documenting, urban segregation, commons and others. This transversal practice refers to Felix Guattari, who "sought to make discernible a domain that was neither that of institutional therapy, nor institutional pedagogy, nor of the struggle for social emancipation, but which invoked an analytic method that could traverse these multiple fields (from which came the theme 'transversality')".

The Silent University produces digital spaces using various online platforms and social media in order to disseminate printed works and initiate discussions between researchers and academics with the aim to create a performative archive and to develop transversal research methodologies. Any collective or institution, which wants to initiate a branch of TSU in any city or region can take on this responsibility by following the principles of TSU.
Moreover, TSU uses various self-organized new media tools in order to reach multiple participants, ranging from NGOs to art students and activists. TSU participants create booklets which include their own experiences of being refugees, personal narratives and information of activities of the platform.

Besides its autonomous structure, TSU also tries to create new modalities of social relations and commoning. TSU's activities, such as meetings, events, presentations, and courses all can be seen as a research method for a practice of commoning - of being in common. The meaning of "commons" is not what we own, share or produce in terms of property, ownership, economical means or accumulation, but rather along the lines of what David Harvey refers to as "social relations" that are closely connected to everyday life. [3]

According to political economist Massimo De Angelis, "commons are a means of establishing a new political discourse that builds on and helps to articulate the many existing, often minor, struggles, and recognizes their power to overcome capitalist society." [4] He explains "commons" not merely in terms of the resources that we share, but a way of commoning, the way in which resources are pooled and made available to a group of individuals, who then build or rediscover a sense of community.

Food sociologist and activist Raj Patel focuses on the question of how we define commons. He says, "Commons is about how we manage resources together." [5] His argument is not only about managing and sustaining food growing and sharing but also about how food-related movements should act in solidarity with other movements. "Commons," as understood here, is not a simple concept about collective sharing or ownership. It holds a sensitive position within a defined community and public, especially in contested territories or cities subject to the threat of neoliberal destruction of their built environment. Negotiation and the resolution of conflicting values are key to such commoning practices. Claiming the commons based solely on the idea of the collective use of property would therefore not constitute an example of commoning.

Common grounds, transversal practices

As Stavros Stavrides argues, more than the act or fact of sharing, it is the existence of common grounds for negotiation that is most important. Conceptualizing commons on the basis of the public, however, does not focus on similarities or commonalities but on exploring the very differences between people on a purposefully instituted common ground. We have to establish grounds for negotiation rather than grounds for affirming of what is shared. [6]

Decolonizing Architecture is an art and architecture collective and a residency program based in Beit Sahour, Palestine. In their work, the word Al-Masha refers to "common land" instead of "commons". The collective established a campus in the Fawwar refugee camp (near Hebron in the West Bank) that is another example of alternative pedagogy. They ask, "How to liberate the common from the control of authoritarian regimes, neo-colonialism and consumer societies? How to reactive common uses beyond the interests of public state control?" This question could be asked in the context TSU too, as it is trying to create maneuvers of transcending the nation-state, citizenship, and border policies and therefore relates to commoning practices.

The discussion about ways of commoning is a main part of The Silent University's transversal pedagogy practice, especially under the shadow of recent racist acts against refugees and asylum seekers in European cities. Rethinking the notion of "citizenship" beyond nation-state norms and imagining Europe in borderless ways requires to invent such transversal practices that go beyond solidarity or service practices for and by refugees and asylum seekers and instead reconstruct collective subjectivities against hegemonic representation of knowledge production.

End notes

[2] "Institutional Practice and Politics" - An Interview by Jacques Pain. In: Gary Genosko (ed.): The Guattari Reader. Oxford/Cambridge: Blackwell 1996. P. 121.

[3] "Ways of Commoning / Mustereklestirme Pratigi", Interview with David Harvey by Pelin Tan and Ayşe Çavdar. In: New City Reader, Issue No. 7, Istanbul: Haziran 2012. Cf. David Harvey: Rebel Cities. From the Right to the City to the Urban Revolution. London/New York: Verso 2012.

[4] [6] An Architektur: "On the Commons: A Public Interview with Massimo De Angelis and Stavros Stavrides", e-flux Journal 17/2010. Online:

[5] Slowfood Terra Madre Meeting 2010, panel discussion on social systems and transformations with Serge Latouche and Raj Patel, 23 October 2010, Turin (author's notes of Raj Patel's presentation).

[7] Sandi Hilal/Alessandro Petti/Eyal Weizman: Architecture after Revolution. Berlin: Sternberg Press 2013.

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The Silent University: Alternative Pedagogy as our Commons (english)

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What makes "alternative" education "alternative"? There are two basic principles: first, to construct non-hegemonic knowledge in a collective process and second, to create an instituting practice without remaining or never fully becoming an "institution". Education is by default a fully instituting structure in the sense that the institution itself becomes a machine for the sake of sustaining itself.

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Kentsel Belleğin Müşterek Mekânı kültürpark

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Torre David dünyanın dikeyde büyüyen tek "işgal evi". 90'lı yıllarda şehir merkezindeki ofis stoğu eksiği sebebiyle Venezuela, Caracas'ta inşa edilmeye başlandı. Venezuela'nın tanınmış mimarlarından Enrique Gómez tarafından tasarlanan bina, bitimine çok az bir süre kala, kaynak sıkıntıları ve ülkenin krizde olan ekonomisi sebebiyle tamamlanamadı.

Yıllarca kaba inşaat halinde şehrin merkezinde atıl kalan yapı, 2007 yılında, gecekondu mahallelerinde yaşayan 750 aile tarafından işgal edildi. Şehrin çeperlerinden gelip, şehir merkezindeki gökdelende yaşamaya başlayan bu insanlar yıllar içinde, tamamlanmamış bu gökdeleni, temel ihtiyaçlarını karşılayıp, güvenli bir şekilde barınabilecekleri ortak bir yaşam alanına çevirdiler.

Yarattıkları konut alanı ve sürdürdükleri yeni yaşam pratiğiyle, tüm dünyanın ilgisini çekmeyi başaran Torre David'in sakinleri, gökdelene ilk taşındıkları zamanlarda düşünülenin aksine hiç de mutlu olmadıklarını belirtiyorlar. Yaşamak için elverişli olmayan binayı onarmak ve güvenli bir konut yapısına çevirmek için kolektif bir çalışma yapmışlar. Öncelikle, altyapı çalışması olmayan binaya su ve elektrik tesisatlarını kurup, daha sonra, aralarında belirleyip yerleştikleri daireleri onarmaya başlamışlar. Ofis binası olarak tasarlanan yapının konuta uygun hale gelmesi için, iç mekanlarda düzenlemeler de yapan 750 aile, atıl gökdeleni aileleriyle oturabilecekleri bir toplu konuta dönüştürmüşler.

Ancak 7 sene boyunca yaşadıkları binadan, 2014 yılında, devlet kararıyla çıkartıldılar. Venezuela Devleti, Çinli yatırımcılarla yapının restore edilmesi için anlaşma imzaladı. Yapım amacına uygun halde yeniden işlevlendirilecek olan Torre David, alışveriş merkezi ve ofis binası olacak bir kuleye dönüşüyor. Karardan sonra evlerinden edilen konut sakinleri merkezden uzaklaştırılıp, tekrar şehrin çeperlerine yerleştirildiler.
Torre David'le ilgili çekilen belgesel

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GÖĞE UZANAN BİR İŞGAL EVİ: TORRE DAVID | Kot Sıfır

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Torre David dünyanın dikeyde büyüyen tek "işgal evi". 90'lı yıllarda şehir merkezindeki ofis stoğu eksiği sebebiyle Venezuela, Caracas'ta inşa edilmeye başlandı. Venezuela'nın tanınmış mimarlarından Enrique Gómez tarafından tasarlanan bina, bitimine çok az bir süre kala, kaynak sıkıntıları ve ülkenin krizde olan ekonomisi sebebiyle tamamlanamadı.

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Text description provided by the architects. World's first crowd funded public infrastructure.

The Luchtsingel is open. Decades after their separation, the 400-meter-long pedestrian bridge has reconnected three districts in the heart of Rotterdam. The Luchtsingel was initiated and designed by the Rotterdam-based architects ZUS and is the world's first piece of public infrastructure to be accomplished mostly through crowdfunding. Together with the new public spaces, including the Delftsehof, Dakakker, Pompenburg Park, and the Hofplein Station Roof Park, a 'three-dimensional cityscape' has arisen.

'Based on the idea of Permanent Temporality, the Luchtsingel introduces a new way of making city. This means using the city's evolutionary character and existing forms as a starting point. Therefore, we have developed new instruments for design, financing, and planning',says Elma van Boxel, partner at ZUS.

When, in 2011, it was announced that a planned office development in Rotterdam Central District had been cancelled, leaving many existing office spaces vacant as a result, ZUS decided to take matters into their own hands. They used a former office building, the Schieblock, to develop a city laboratory, which currently acts as an important incubator for young entrepreneurs. With its ground-floor store, bar, culinary workshop, information centre, and its rooftop field called the Dakakker, Europe's first urban farming roof, it has become a prototype for sustainable development.

Next followed the Delftsehof, which became one of Rotterdam's most vibrant nightlife areas, and then the child-friendly Pompenburg Park, where a vegetable garden has been landscaped next to a playground. The roof of the former Hofplein Station is currently being developed as a green space and events terrain. Additionally, the Hofpoort, a huge, empty office tower in the area, will be programmed by ZUS for the coming two years. These varied and new public spaces return this former heart of Rotterdam back to being green and liveable, with the Luchtsingel running throughout as a unifying factor. By simply increasing accessibility for pedestrians, the 400-meter-long bridge will ensure synergy between the various sites. It is now the norm to walk from the Station Quarter to the North, and to the Laurenskwartier via Pompenburg. These distinctive connections give the area a unique position in Rotterdam's urban fabric.

'The Luchtsingel, together with the transformed buildings and new public spaces, forms a new three-dimensional cityscape', says Kristian Koreman, partner at ZUS.

The Process

ZUS devised the Luchtsingel plan in 2011. In 2012, as co-curators of the International Architecture Biënnale Rotterdam (IABR), the station area was renamed 'Test Site Rotterdam'. It consisted of eighteen interventions, all connected by one continuous route: the Luchtsingel. For financing, the 'I Make Rotterdam' crowd-funding campaign was started; for €25 anyone could buy a board inscribed with their name, and over 8000 boards were sold. In 2012, the 'Luchtsingel' won the Rotterdam City Initiative, which enabled further financing of the project.

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Text description provided by the architects. World's first crowd funded public infrastructure. The Luchtsingel is open. Decades after their separation, the 400-meter-long pedestrian bridge has reconnected three districts in the heart of Rotterdam. The Luchtsingel was initiated and designed by the Rotterdam-based architects ZUS and is the world's first piece of public infrastructure to be accomplished mostly through crowdfunding.

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ifau . Heide & von Beckerath . photos: © Andrew Alberts . + archdaily

The former central flower market is situated in the historic Südliche Friedrichstadt in Berlin's Kreuzberg district. The actual market hall is used by the Academy of the Jewish Museum, which stands across the road. The surrounding areas are characterised by post-war housing and in particular buildings that were constructed for the 1984/87 International Building Exhibition, as well as by a variety of cultural facilities and creative enterprises. Several galleries, a higher education institution for design, changing exhibitions, temporary projects and public art collections stand alongside the publishing house Springer Verlag and the TAZ daily newspaper.

The site's attractive and central location near Friedrichstrasse suggests that the present mix of uses, which includes inexpensive housing in the neighbourhood, is at risk in the foreseeable future. The intention was to redress this trend, notwithstanding the current need for development, by launching a concept-linked award procedure for the central flower market site. An innovative multi-stage qualification process was developed in collaboration with the Friedrichshain-Kreuzberg local authority, the Berlin Senate Department for Urban Development and the Environment, local stakeholders and independent experts, whose aim was to support the ongoing project and assure the quality of architecture and urban development.

The development objective for the plot south of the hall was to establish a diverse and mixed pattern of use for a wide spectrum of residents. Owner-occupied artists' studios and apartments, cooperative housing and studios, space provision for social associations, and commerce were part of the programme for the establishment of a new building group and hence lay the foundation for the IBeB. The main idea for the project, which was initiated by the architects ifau and Heide & von Beckerath in cooperation with the Selbstbaugenossenschaft Berlin eG, is to offer a mix of live and work units that meets the needs of artists and creative professionals, among others. Moreover, the comparatively low land price allowed the cross-subsidisation of cooperative residential and studio spaces within the project, which can be let at a sustainable rent.

The building volume exploits the maximum permitted site area stipulated in the binding local development plan. The architectural concept is structured by three connected horizontal access cores as well as by the relation between the building envelope and the interior atriums. These parameters describe and inform the typology of the units and their integration into the neighbourhood at the former flower market. Ground level access is from exterior areas around the building. The entrances to the multi-storey studios, a garden with adjacent communal utility rooms, and a basement face onto paths around the building. Three entrances provide access to two interior staircases. Another access element situated on level 1 is structured and lit by the green atriums. Small south-facing apartments front onto this rue intérieure while the north-facing rooms are linked internally with the units above, which can also be accessed directly via single-run staircases. Access on level 4 is from the exterior. Here too, access is provided on two levels, albeit vertically mirrored.

Additional studios shared space, and a roof terrace, including optional reserve areas on a deck above, are also proposed. All apartments and studios have different sizes, room heights, and standards of fittings. Some of them have been adapted or linked in the design development stage to adjust the spatial concept to the occupiers' needs. The underlying principle is that units in the centre of the building are arranged in modules over a depth of 23 metres while units at the ends of the building are designed around the cores and establish differentiated interconnections with their surroundings. The apartments and studios on levels 0, 1, and 4 and at the ends of the building have barrier-free accessibility. The structure is a combined cross-wall and column construction. All ground floor spaces are transparent and can be extended into the adjacent public areas. The building envelope combines ceramic elements, windows, and fixed glazing in its facade. Generous balconies are situated in the south and west.

The owners and representatives of the cooperative have jointly developed the project's social and spatial focus. In view of this, the public and semi-public interfaces with the neighbourhood are given specific attention. The building was designed in such a way that it could be constructed cost-effectively using prefabricated components and largely realised as an Efficiency House 70 (EnEV 2014) with the extensive use of sustainable building materials. The access concepts and floor plans are flexible to accommodate possible conversion and retrofitting as well as adaptation to changing demands. The floor plans for the 66 apartments were designed and detailed in cooperation with the future residents. The 17 studios and three commercial units are conceived as blanks so that the standard of fittings will meet the different needs of the individual occupants. The decision-making process determining the type and position of communal facilities and the development of a binding standard for fittings took place in close collaboration with the building group.
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ifau . Heide & von Beckerath . photos: © Andrew Alberts . + archdaily The former central flower market is situated in the historic Südliche Friedrichstadt in Berlin's Kreuzberg district. The actual market hall is used by the Academy of the Jewish Museum, which stands across the road.

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Stefan Gruber, Anh-Linh Ngo
As a verb, the term "commoning" describes the processes surrounding the (re)production of material and immaterial common goods. Commoning thus represents the search for an alternative, self-determined existence beyond the influence of market and state. As to be expected, in practice, emancipation from prevailing power structures is rarely free of conflict. Accordingly, commoning plays out on fields that are contested and co-opted by a wide variety of ideologies. The spectrum spans from the German Mietshäuser Syndikat, a group that seeks to permanently remove residential property from the real estate market (p. 76), to the Yoshino Cedar House, initiated by Airbnb, in which the care work of a village community is subjected to the logic of platform capitalism (p. 84). In the face of these contrasting considerations, the Atlas of Commoning, developed by ARCH+ and the Carnegie Mellon University School of Architecture for a touring exhibition presented by the ifa (Institut für Auslandsbeziehungen), doesn't attempt to give a singular definition of commoning, but rather seeks to portray its struggle. The objective is to point out the tension between the declared goals and the negotiation processes of each of these situated collective practices. Only thus can the true essence of commoning be revealed.

The Atlas of Commoning assembles commoning projects with regard to their guiding principles as well as their architectural and spatial manifestations. Its starting point is an atlas in the sense of the cultural theorist Aby Warburg (1866-1929): a visual archive with case studies taken from various cultural contexts. By juxtaposing these diverse examples, the Atlas seeks to highlight both their differences and similarities. This selection is then developed into a more in-depth investigation covering three thematic areas of tension in which the conflicts of commoning are played out: Ownership-Access, Production-Reproduction, Right-Solidarity.

Ownership-Access addresses the typical questions that arise in the context of commons and challenges our understanding of ownership. Today, the instant access to ideas, goods, and services-in contrast to permanent ownership-opens up new possibilities of societal coexistence. Thereby, sharing is no longer necessarily associated with personal sacrifice, as the example of the Prinzessinnengarten demonstrates (p. 88). What's more, new forms of sharing offer promising approaches that promote a more resource-friendly existence.However, the current transformation of sharing into the sharing economy bears the risk of exacerbating precarious working conditions and social exclusion. Platform capitalism and the hyper-commercialization of every aspect of life deny a growing, marginalized portion of society access to resources that are essential for life and cultural development. Air, water, and food, but also land (and housing) are such contested resources. For architects and planners, this entails the responsibility of taking a clear position in the struggle over the collective right to the city. Meanwhile urban commons should be understood beyond the notion of "liberated enclaves" or alternative islands of resistance, and tackle questions of scale, duration, and structural change.

Stavros Stavrides sees common space as a non-enclosed threshold space, but one that needs threshold institutions to ensure that commoning remains an open process (p. 14). In common space-space produced and used as commons-people do not simply use an area given by an authority (local state, state, public institution, etc.), they actually mold this kind of space according to their collective needs and aspirations. Whereas public space necessarily has the mark of an identity-it is, that is to say it belongs to, the authority-common space tends to be constantly redefined: commons space happens and is shaped through collective action. One challenge of the commons discourse is solving the dilemma of institutionalization. In Stavrides's opinion, only a continual process of negotiation can prevent the accumulation and consolidation of power and counteract mechanisms of exclusion. Accordingly, the Atlas defines commons beyond the mere sharing of material or natural resources as ongoing social practice and stresses the active tense: commoning is a verb (see the interview with Massimo De Angelis, p. 26).

Production-Reproduction is dedicated to breaking down the separation of functions established by modernism, between living and working or public and private. This chapter looks at new collective forms of living beyond the paradigms of the twentieth century, which were built upon the foundations of gender politics and domestic labor. Globally, women still perform the majority of unpaid care work and social reproduction. A critical feminist examination of the Marxist economy exposes domestic labor as hidden form of productive work. The making invisible of unpaid reproductive labor here only serves as one example from an entire arsenal of strategies through which capitalism externalizes costs. More commonly, geographic remoteness helps to render the overconsumption of resources, environmental devastation and human exploitation invisible as well, conveniently dissociating our actions from immediate responsibility.

The commons debate counters this approach with a broader, more diverse definition of economy, in which all forms of work-paid and unpaid, productive and reproductive-are recognized as creating value. In her essay, Kim Trogal points out that care work itself is a form of spatial production. Thus, the experiments on the socialization of domestic labor in the nineteenth and early twentieth century entail "new kinds of domestic workspace, cooperative forms of organization and architectures" (p. 122). Similarly, in The Property Issue (ARCH+, May 2018), Silvia Federici argued that emancipation must primarily be directed towards the gender-hierarchical division of labor and the dependence of market-based production relations in the kitchen. Only when the domestic sphere becomes an arena of collective political life, and collective forms of reproductive labor form the basis of social reproduction, can alternative forms of economic activity-based on solidarity, commons, and sufficiency-become effective in a lasting way. For architecture this means overcoming the dichotomy of public versus private: spatial boundaries need to be renegotiated, domestic activities need to extend into the public sphere, and, conversely, cooperative care should lead to new typologies of community. The Kalkbreite housing cooperative in Zurich, for instance, features a gradational multiplication of kitchens-from the private kitchenette and shared cluster-apartment kitchens to a central, bookable professional kitchen-which leads to an excess of cooking facilities, and in turn casually encourages the collectivization of the daily reproductive task of cooking (p. 140).

Right-Solidarity explores the notion of universal rights in the context of global capitalism and discusses new models of governance that reach beyond the borders of nation states.Many concepts of the commons are centered on the definition of a specific community that (re)produces, owns, maintains, and shares the commons. This raises the question of belonging to a community of commoners. Inevitably, this also places commoning in a problematic tradition: in contrast to the concept of society, the idea of community traditionally designates a group that is unified by a collective identity and constituted by mechanisms of exclusion and demarcation. The term, however, doesn't only have an exclusionary dimension, it is also anti-modern: Zygmunt Bauman pointed out that it clings to the narrative of a loss of community in which societal change causes a decline in communality.

Consequently, the German sociologist Ferdinand Tönnies's early twentieth century writings on the relationship between community and society were compatible with the identitarian trends that culminated in the Volksgemeinschaft chimera of Nazism. Today, right-wing conservatives and the new right are once again invoking the notion of the community. On the other hand, representatives of the left spectrum bemoan increasing individualization and fading solidarity in society and are therefore developing alternative concepts of commoning. Juliane Spitta's article investigates this precarious interpretation of community, which oscillates between appropriation by identitarian and emancipatory movements. In her opinion, a reference to the fiction of the community can only be emancipatory when we overcome the narrow bounds of identitarian affiliation and think in terms of solidarity and globalism (p. 20).

Thus, the politics of commoning should be aimed towards "increasing freedom and agency" for those who don't yet belong (p. 218), as in the example of the City Plaza Hotel in Athens. At the height of the European migrant crisis, refugee activists occupied an abandoned hotel in the Greek capital. They then turned the building, which like many other vacant properties had become a symbol of Greece's financial crisis, into a shining example of solidarity. The project, which survives without state funding, is based on a collective organization of reproductive labor. Beyond a mere shelter for refugees, the City Plaza Hotel has become an antithesis to Fortress Europe. Unlike the Western Sahara project, where in a decade-long commoning process, refugees established quasi-governmental institutions and now claim autonomy (p. 210), the City Plaza Hotel is an example of a pre-state institutionalization.
An Atlas of Commoning
Across the world, there are significant cultural differences in the relationship between community, society, and the individual. Viewed in a global context, the Western model, which prioritizes the individual, is in the minority. While commoning is currently generating considerable interest in Western societies, in other regions its logic is self-evident. But the effects of the capitalist system, with its ubiquitous practice of commodification and privatization, are global. Its most serious repercussions are anthropogenic climate change and resource scarcity, which raise urgent questions about the ownership of global commons and the responsibility regarding global resources.

Against this backdrop, to what extent can commoning serve as a basis and vehicle for intercultural understanding? It is with this ambition, that we have assembled the Atlas as both a physical platform for exchange and as a starting point for collaborative action. The initial selection of 25 core projects that form the Atlas of Commoning will be complemented with new ones, to be added in collaboration with local partners as the exhibition tours from city to city. As a result, the Atlas will continue to grow as an open knowledge archive. At the same time, its focus can shift. Thus, the atlas presented here is just one of many possible atlases. It is a snapshot in an open and continuous process of co-production and of negotiation between architecture and the commoning of places, spaces, and structures.

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An Atlas of Commoning: Places of Collective Production

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Stefan Gruber, Anh-Linh Ngo As a verb, the term "commoning" describes the processes surrounding the (re)production of material and immaterial common goods. Commoning thus represents the search for an alternative, self-determined existence beyond the influence of market and state. As to be expected, in practice, emancipation from prevailing power structures is rarely free of conflict.

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'ATLAS of emerging practices' is a publication that provides an overview of the state of the architect's profession, analysing themes, trends, projects, and methods that characterise the professional practice, and understanding this discipline through the research carried out with a selection of emerging architectural practices in the European territory.

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ATLAS of emerging practices: about being an architect in the 21st century - Itinerant Office

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'ATLAS of emerging practices' is a publication that provides an overview of the state of the architect's profession, analysing themes, trends, projects, and methods that characterise the professional practice, and understanding this discipline through the research carried out with a selection of emerging architectural practices in the European territory.

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Orizzontale are an architects' collective based in Rome whose work crosses the fields of architecture, urbanism, public art, and DIY practice. Orizzontale since 2010 has been promoting projects of common relational spaces, giving form to both dismissed and unseen images of the city. These projects have represented the ground for experimenting new kinds of collaborative interactions between city dwellers and urban commons as well as occasions to test the boundaries of the architectural creation process.

Orizzontale has developed projects in Italy, Spain, Germany, Austria, Greece, Ukraine, Portugal, Netherlands. "8 ½", the mobile theatre designed by orizzontale in 2014, was awarded the international prize of Young Architects Program("YAP MAXXI 2014") by MAXXI Museum and MoMA PS1. In 2017 Orizzontale was awarded first prize in the competition for the regeneration of Piazza Europa in Aprilia, launched by Italian Ministry of Culture and Italian Board of Architects. The project is currently under construction. In 2018 at the Venice Biennale, orizzontale is awarded the "Young Talent of Italian Architecture 2018" by the National Council of Architects, which rewards the best Italian under 35 practice. [...]

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Orizzontale are an architects' collective based in Rome whose work crosses the fields of architecture, urbanism, public art, and DIY practice. Orizzontale since 2010 has been promoting projects of common relational spaces, giving form to both dismissed and unseen images of the city.

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Stavros Stavrides - Keynote Speech (Orijinal Dil)

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Bilgi Üniversitesi//Mekan Konuşmaları No:70-Pelin Tan//Mimarlık ve Yamalı Antroposen

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Stavros Stavrides | The Right to the (New) City: Art, New Towns and The Commons

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CRASSH | The Commons is Dead. Long Live the Commons! Panel 1: Commoning the City

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Markus Miessen - The Nightmare of Participation

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To date, the most debated application of anticommons theory has been in the area of drug patents and innovation (Heller and Eisenberg 1998). Since my 1998 Science article with Rebecca Eisenberg, there has been a flurry of follow-on papers and reports, many concluding that patents should be harder to obtain, in part to avoid potential anticommons tragedy effects. A recent book on the patent crisis concludes that, "the structure of the biotechnology industry seems likely to run high anticommons risks," particularly when companies are attempting to bring products to market (Burk and Lemley 2009).

Buchanan, J. and Yoon, Y. 2000. "Symmetric Tragedies: Commons and Anticommons." Journal of Law and Economics. 43: 1.

Depoorter, B. and Vanneste, S. 2007. "Putting Humpty Dumpty Back Together: Pricing in Anticommons Property Arrangements." Journal of Law, Economics & Policy. 3:1.

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To date, the most debated application of anticommons theory has been in the area of drug patents and innovation (Heller and Eisenberg 1998). Since my 1998 Science article with Rebecca Eisenberg, there has been a flurry of follow-on papers and reports, many concluding that patents should be harder to obtain, in part to avoid potential anticommons tragedy effects.

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Stavros Stavrides | The Right to the (New) City: Art, New Towns and The Commons