elisehunchuck https://elisehunchuck.com elisehunchuck Wed, 13 Feb 2019 23:22:40 +0000 https://elisehunchuck.com en Untitled page https://elisehunchuck.com/Untitled-page Tue, 19 Sep 2017 13:26:24 +0000 elisehunchuck https://elisehunchuck.com/Untitled-page RELAUNCHING 04.2024 BERLIN, DE MILANO, IT 2018 Venice Biennale Shortlist https://elisehunchuck.com/2018-Venice-Biennale-Shortlist Mon, 30 Oct 2017 15:16:06 +0000 elisehunchuck https://elisehunchuck.com/2018-Venice-Biennale-Shortlist <img width="1043" height="885" width_o="1043" height_o="885" data-src="https://freight.cargo.site/t/original/i/91dacd4c2adfd26c7a61b89e7fab18e4482e2a026126f5a0d0f16ed8ee94f091/Screen-Shot-2017-10-30-at-16.09.19.png" data-mid="5961976" border="0" src="https://freight.cargo.site/w/1000/i/91dacd4c2adfd26c7a61b89e7fab18e4482e2a026126f5a0d0f16ed8ee94f091/Screen-Shot-2017-10-30-at-16.09.19.png" />Above –– A view of the Canada Pavilion entrance in 2013. Image courtesy the National Gallery of Canada.2018 Venice Architecture Biennale shortlist: Scapegoat Journal At Scapegoat: Architecture, Landscape, Political Economy, we are deeply honoured to have made the 2018 Venice Biennale shortlist alongside Ja Architecture Studio Inc (Toronto, CA); and Patkau Architects (Vancouver, CA). Congratulations to Douglas Cardinal, who, along with Anishnawbe Elders and Indigenous Co-curators Gerald McMaster and David Fortin, will lead a team of Indigenous architects from across North America to present UNCEDED! From the Canada Council of the Arts press release:&nbsp; “I am honoured to accept this opportunity to show the true beauty and value of Indigenous Peoples, representing Canada at this most important and prestigious international architectural event. The soaring eagle, facing east to the Rising Sun, is the symbol of our connection to all of Creation where we approach all life, particularly our fellow human beings, with loving and caring. Like the Thunderbird, we are as “the Phoenix Arising out of the Ashes,” a people of resilience and beauty, despite the past degradations seeking to eliminate us. We are a spiritual people, at one with Creation, living in balance and harmony with Nature. It is timely that indigenous architects from Turtle Island be given the opportunity to express their unique contributions to an expanding worldview.” –––Douglas Cardinal, Presenter, UNCEDED “Having represented Canada as curator to the 1995 Venice Biennale of Visual Arts, to be asked to be lead curator by such a distinguished group of Indigenous architects is both an honour and privilege."–––Gerald McMaster, Co-Curator, UNCEDED “There has been a lot of interest in Indigenous topics in Canada following the Truth and Reconciliation Commission. What is unique about UNCEDED is that it celebrates the role of Indigenous architects and designers in leading this discussion and we are honored that the importance of the Indigenous voice has been acknowledged.”–––David Fortin, Co-Curator, UNCEDED The full press release from the Canada Council for the Arts may be read here. 🐐 2018 Venice Biennale US Pavilion https://elisehunchuck.com/2018-Venice-Biennale-US-Pavilion Wed, 13 Feb 2019 23:22:40 +0000 elisehunchuck https://elisehunchuck.com/2018-Venice-Biennale-US-Pavilion <img width="1030" height="1407" width_o="1030" height_o="1407" data-src="https://freight.cargo.site/t/original/i/82612a1b6844d09fefe26d6e71bb707490a944250f597875da14570f71a3ddb9/IMG_9698.jpg" data-mid="35386560" border="0" src="https://freight.cargo.site/w/1000/i/82612a1b6844d09fefe26d6e71bb707490a944250f597875da14570f71a3ddb9/IMG_9698.jpg" />Above ––49°16′00″N 121°14′00″W. The author’s mother in Tashme Internment Camp, near present-day Hope in the Canadian province of British Columbia. Photographer: Jack Yoshinori Matsui, 1945.FORM N-X00 US Pavilion Biennale Architettura 2018 Venice IT From the US Pavilion’s curatorial team: “The images and short texts in the series Form N-X00: New Forms for Citizenship respond to contemporary understandings of citizenship. Revisiting the bureaucratic application for naturalization to the US, Form N-600, this series asks an international group of architects, designers, writers, artists, and thinkers to contribute their thoughts on how inclusion and exclusion are spatially constructed. By interrogating, speculating, and reflecting on different scales of belonging, this growing collection provokes and expands our current understanding of citizenship.”Do you remember when this photograph was taken? “I think I was about one, or so. My brother Jack took it, I think. Him or one of his friends.” Do you remember anything of Tashme? –in conversation with Sharon Makoto Matsui Hunchuck (b. Tashme, 1944– ) The summer sun is bright and high in the sky over this young Canadian girl as she explores the vegetative world of western Canada. Her left arm reaches out, tentatively, to balance as she navigates between stalks of the towering, gigantic flora. Clutched tightly in her right hand, her treasures of the day—a small handful of flowers gathered from the undergrowth. At the time this photograph was taken, sometime in the summer of 1945, this girl’s experience of the world was limited to the confines of the Tashme Internment Camp, near present-day Hope in the province of British Columbia. Located in the Cascade Mountains—just outside of the 160 kilometer quarantine zone that ran along the coast of Canada from which all Japanese Canadians were removed—the self-contained camp housed Canadian citizens of Japanese descent in around 350 shacks. One of eight Japanese Canadian internment camps, the population of Tashme peaked at 2644 in January of 1943. It declined steadily as people were transferred to other camps or deported back to Japan. Tashme closed in September 1946, and the Matsui family—who like all Japanese Canadians were given the choice to move east of the Rocky Mountains or to be “repatriated” back to Japan—chose to stay in Canada, moving east to Toronto. Sharon Makoto Matsui Hunchuck never returned to British Columbia. She currently lives in Toronto. 2018 AA talk https://elisehunchuck.com/2018-AA-talk Tue, 12 Feb 2019 15:19:00 +0000 elisehunchuck https://elisehunchuck.com/2018-AA-talk <img width="1720" height="694" width_o="1720" height_o="694" data-src="https://freight.cargo.site/t/original/i/a18696d3b976297dbbbab9b1e8031383f1dc425a770873ba409731f9da0452f7/SE-lyell-drawing-Celsius-rock-Lovgrund-1835.png" data-mid="35230001" border="0" src="https://freight.cargo.site/w/1000/i/a18696d3b976297dbbbab9b1e8031383f1dc425a770873ba409731f9da0452f7/SE-lyell-drawing-Celsius-rock-Lovgrund-1835.png" />Above –– Mean sea level mark rock in&nbsp;Lovgrund, Sweden. Illustration by Charles Lyell, 1835. I build my language with rocks:A talk delivered at the Architectural Association School of Architecture London, UKJe bâtis à roches mon langage.I build my language with rocks. –– Édouard Glissant, L’Intention poétique On Friday, February 23, 2018, Elise Hunchuck (MLA 2016) presented a public lecture at the Architectural Association (33 Bedford Square, First Floor Front) in London, UK. Titled "An Incomplete Atlas of Stones," her talk was based on her book in-progress of the same title. From the AA event page:What does it mean to mark a stone? In the wake of the 869 Jogan tsunami along the Pacific coast of Japan, communities began to erect stone tablets called tsunami stones. These stones performed a dual function; they werewarnings – markers of the edges of inundation, they indicate where to build and where to flee when oceans rise; and, they are memorials, erected as part of a ritual that memorialize geologic events and those lost. In 1743, on the coast of Sweden along the Bottenhavet (Bothnian Sea), Anders Celsius marked changing elevations of the water in an attempt to measure, and thereby understand, the apparent sea-level decrease of the Bothnian. The marks on these rocks were later visited by Charles Lyell in 1834, and he, in turn, made new marks on the same rocks. Finding the marks of Celsius to be far above the mean water level, Lyell and his new measurements would be part ofthe developing Scandinavian paradox, and later still, the geological concept of eustasy. What, we might ask, is the epistemological status of these markers? What kind of knowledge do they produce? Elise Hunchuck will talk about landscape architecture – and its attendan research and design practices – as deeply political practices. And, through an exploration between stones on two coastlines – in Japan and Sweden – will develop a framework that insists on illuminatingthe complexity of the political ecologies of landscapes whiledrawing attention to newly forming questions as landscape becomes no longer framed as a technology of territories of ownershipbut of risk. Elise Hunchuck is a researcher, designer, and editor based in Berlin. She is a co-editor of Scapegoat: SCAPEGOAT: Architecture | Landscape | Political Economy. A University Olmste Scholar, Elise was recently a finalist for the 2017 Maeder-York Landscape Fellowship at the Isabella Stewart Gardner Museum (Cambridge, US) and a research fellow with the Landscap Architecture Foundation (Washington DC, US). She has taught at the Daniels Faculty of Architecture, Landscape, and Design, University of Toronto (Toronto, CA) and is currently working on research, design, and editorial projects in Canada, Germany, and the US. Her workhas been exhibited in Berlin, Toronto, and Venice. 2018 KADK talk https://elisehunchuck.com/2018-KADK-talk Tue, 12 Feb 2019 15:29:38 +0000 elisehunchuck https://elisehunchuck.com/2018-KADK-talk <img width="2551" height="3578" width_o="2551" height_o="3578" data-src="https://freight.cargo.site/t/original/i/cb30a0436422d496dd8abc87b463a86b973df253facf4f87da311a46af61c963/2018_KADK_Symposium-Two-Day-Program.jpg" data-mid="35231594" border="0" src="https://freight.cargo.site/w/1000/i/cb30a0436422d496dd8abc87b463a86b973df253facf4f87da311a46af61c963/2018_KADK_Symposium-Two-Day-Program.jpg" />Above –– Event poster for the symposium on Havana and architecture as a political agent. On proliferations, intersections, and relations:A talk delivered at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design, and Conservation Copenhagen, DK In May and June of 2018, Elise was invited by the&nbsp;Political Architecture: Critical Sustainability Masters in Architecture program to speak at the Cuba Fieldwork Symposium: es complicado, on the relationship between design, coercion and capitalism as put forward in the Scapegoat and Funambulist journals and the synthesis of fieldwork, philosophy, and design in her work-to-date. Fellow speakers included Nuria Lombardero (co-director at Canales and Lomardero and instructor at the AA, the Bartlett, and Cambridge), Tatjana Schneider (founding member of Agency, co-author of Flexible Housing and Spatial Agency, and current head of the Institute for History and Theory of Architecture and the City (GTAS) at the Technical University Braunschweig), and Henry Stephens (architect at Snøhetta, KADK alumni). 2019 Carleton https://elisehunchuck.com/2019-Carleton Tue, 12 Feb 2019 09:34:57 +0000 elisehunchuck https://elisehunchuck.com/2019-Carleton <img width="690" height="884" width_o="690" height_o="884" data-src="https://freight.cargo.site/t/original/i/4cb99990afa71d6b12c8fcbed2b27d13dac36e6bf230bca8884dfd1596f3a4eb/IMG_9657.jpg" data-mid="35210224" border="0" src="https://freight.cargo.site/w/690/i/4cb99990afa71d6b12c8fcbed2b27d13dac36e6bf230bca8884dfd1596f3a4eb/IMG_9657.jpg" />Above ––Azrieli School of Architecture and Urbanism at Carleton University, Ottawa, Canada. Image by Elise Hunchuck (2019).2019 Azrieli Visiting Critic Carleton University Ottawa, CA From Carleton Univeristy: Each year, our generous endowment from the Azrieli Foundation funds renowned academics and professionals from around the world to spend six or twelve weeks at the School. This winter, we welcome four Azrieli Visiting Critics: Elise Hunchuck, Berlin Shaun Murray, London Mario Gooden, New York Cathy Smith, Newcastle For more on the Azrieli Distinguished Critics programme, please visit Carleton’s website.&nbsp; 2018 An Incomplete Atlas in the Funambulist https://elisehunchuck.com/2018-An-Incomplete-Atlas-in-the-Funambulist Tue, 12 Feb 2019 07:34:57 +0000 elisehunchuck https://elisehunchuck.com/2018-An-Incomplete-Atlas-in-the-Funambulist <img width="1958" height="1376" width_o="1958" height_o="1376" data-src="https://freight.cargo.site/t/original/i/ffaa229a6cf55a5d71b6252206102526ccb0401653463c2b2ce6807a0bc0e133/Screen-Shot-2019-02-12-at-02.37.41.png" data-mid="35204559" border="0" src="https://freight.cargo.site/w/1000/i/ffaa229a6cf55a5d71b6252206102526ccb0401653463c2b2ce6807a0bc0e133/Screen-Shot-2019-02-12-at-02.37.41.png" /> Above ––Opening pages of an essay written for The Funambulist (Issue 18: Cartography and Power, 2018) at the invitation of editor-in-chief Léopold Lambert.[2]&nbsp; An Incomplete Atlas of Stones: A Cartography of the Tsunami Stones on the Japanese Shoreline in The Funambulist What happens to us&nbsp; Is irrelevant to the world’s geology But what happens to the world’s geology&nbsp; Is not irrelevant to us. We must reconcile ourselves to the stones,&nbsp; Not the stones to us.— Hugh MacDiarmid [1] An excerpt from An Incomplete Atlas of Stones: An Incomplete Atlas is an attempt to illustrate the dynamics of a coastline as a place through the development and ar- ticulation of a nuanced, landscape-based atlas that makes technical information available to a wide range of readers. It uses basic tools — texts and drawings that borrow from&nbsp; representational conventions familiar to many — and deploys a consistent strategy and method at the site of each stone, proposing a type of visual and verbal language that is simultaneously simple and sophisticated, that is of a place and yet articulates a way of reading landscapes to help people recognize ambiguous, complex, and varied landscapes. Establishing a shared legibility of landscapes is not only an op- portunity to extend the agency of design for landscape architects and the discipline, but perhaps, most importantly, it offers the op- portunity to extend knowledge and agency to citizens. It is only then, when everyone has access to and is equipped with the information neces- sary to engage in conversations about immediate choices and long-term possibilities that landscape’s agency is revealed. Landscapes’ neutrality lost and no longer detached or abstracted, it becomes clear that they are complex, contested, and subject to the pressures of life — both slow and fast. These pressures, from sea level rise to climate change to tsunamis, are critical in establishing the understanding that the crisis facing coastal landscapes is an ongoing one, far from being limited to the aftermath of emergency. Notes1. Photographs of stones taken by Elise Hunchuck during fieldwork generously supported by the Peter Prangnell Travelling Grant from the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. To read the entire essay, please consider subscribing to and supporting The Funambulist, a digital and printed magazine examining the politics of space and bodies. Created and edited by Léopold Lambert and in part supported by the Graham Foundation for Advanced Studies in Fine Arts. To read, order, or subscribe, please visit The Funambulist site directly. <img width="1088" height="742" width_o="1088" height_o="742" data-src="https://freight.cargo.site/t/original/i/187acc29d7434af2de729bdb77d36127299830dfdccc1f774fd632730c19de75/Screen-Shot-2019-02-12-at-02.41.08.png" data-mid="35204903" border="0" src="https://freight.cargo.site/w/1000/i/187acc29d7434af2de729bdb77d36127299830dfdccc1f774fd632730c19de75/Screen-Shot-2019-02-12-at-02.41.08.png" />Above ––Cover and back matter, The Funambulist, Issue 18: Cartography &amp; Power, July-August 2018. 2018 Stones in Future Architecture https://elisehunchuck.com/2018-Stones-in-Future-Architecture Tue, 12 Feb 2019 08:06:55 +0000 elisehunchuck https://elisehunchuck.com/2018-Stones-in-Future-Architecture <img width="2778" height="1388" width_o="2778" height_o="1388" data-src="https://freight.cargo.site/t/original/i/5328df482c26f594e31d4714860f4d13f148d8b7a0c943333c30357e91b6e6dd/Screen-Shot-2019-02-12-at-03.13.42.png" data-mid="35206124" border="0" src="https://freight.cargo.site/w/1000/i/5328df482c26f594e31d4714860f4d13f148d8b7a0c943333c30357e91b6e6dd/Screen-Shot-2019-02-12-at-03.13.42.png" /> Above ––Opening images of an essay adapted for Future Architecture platform, originally written for The Funambulist (Issue 18: Cartography and Power, 2018) at the invitation of editor-in-chief Léopold Lambert. The Tsunami Stones of Japan: An incomplete atlas of transgressions and regressions featured in Future ArchitectureLandscapes are never given, they are made.”— Jane Wolff [1] An excerpt from The Tsunami Stones of Japan as featured in Future Architecture Journal: In the early history of landscape architecture in North America Frederick Law Olmsted and some of his contemporaries worked as designers and, crucially, as advocates for public literacy, awareness, and ultimately the protection of landscapes that they considered essential to the overall well-being of the public sphere. In so doing, they expanded the field of possibilities for landscape architecture. This movement not only extended the influence of landscape architecture beyond the boundaries of the site, but it empowered a profession in its early stages to consider its agency at scales beyond the site, endowing it with the responsibility to consider the forces that shape landscape outside of design, including politics, economy, and material processes.The landscapes of moving shorelines, defined as the are by the ebb and flow of coastal transgressions and regressions, pose many unique problems to disciplines ranging from geology to landscape architecture, and also affect the safety of those who live alongside them. An Incomplete Atlas of Stones is a project that investigates a type of stone set into a coastal landscape, the “tsunami stones” of Japan, in order to carry those aims forward, in order to think collectively about how we design and conduct research, in order to develop a greater fluency about the relations involved in making landscapes. NotesText adapted from a longer essay first commissioned by and published in The Funambulist, issue no. 18, “Cartography &amp; Power”, 2018 and a public lecture delivered at the AA in London, February 2018.&nbsp; Please consider subscribing to and supporting The Funambulist, a digital and printed magazine examining the politics of space and bodies. Created and edited by Léopold Lambert and in part supported by the Graham Foundation for Advanced Studies in Fine Arts. To read, order, or subscribe, please visit The Funambulist site directly. This research was partially funded by the Peter Prangnell Research Travel Grant from the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. To read the entire essay, please visit the Future Architecture platform. <img width="1088" height="742" width_o="1088" height_o="742" data-src="https://freight.cargo.site/t/original/i/187acc29d7434af2de729bdb77d36127299830dfdccc1f774fd632730c19de75/Screen-Shot-2019-02-12-at-02.41.08.png" data-mid="35205458" border="0" src="https://freight.cargo.site/w/1000/i/187acc29d7434af2de729bdb77d36127299830dfdccc1f774fd632730c19de75/Screen-Shot-2019-02-12-at-02.41.08.png" />Above ––Cover and back matter, The Funambulist, Issue 18: Cartography &amp; Power, July-August 2018. 2017 BLDGBLDG_warnings along the inundation line https://elisehunchuck.com/2017-BLDGBLDG_warnings-along-the-inundation-line Mon, 23 Oct 2017 17:00:49 +0000 elisehunchuck https://elisehunchuck.com/2017-BLDGBLDG_warnings-along-the-inundation-line <img width="1690" height="1144" width_o="1690" height_o="1144" data-src="https://freight.cargo.site/t/original/i/2e9dc922e58de00d3bc8276c0e8861bec8b407bed97484acdd2fbbfd8964c1f6/Screen-Shot-2017-10-23-at-18.59.02.png" data-mid="5626239" border="0" src="https://freight.cargo.site/w/1000/i/2e9dc922e58de00d3bc8276c0e8861bec8b407bed97484acdd2fbbfd8964c1f6/Screen-Shot-2017-10-23-at-18.59.02.png" />Above –– Geoff Manaugh (BLDGBLOG) reviews An Incomplete Atlas, 23 June 2017. Warnings Along the Inundation LineBLDGBLOG on An Incomplete Atlas An Incomplete Atlas ”sets up an interesting formal precedent for other documentary undertakings such as this.” ––Geoff Manaugh An excerpt from Geoff Manaugh’s review, ”Warnings Along the Inundation Line”: “As part of her recent thesis at the Daniels Faculty of Architecture, Landscape, and Design—a school of the University of Toronto—landscape architect Elise Hunchuck spent the summer of 2015 traveling around Japan’s Sanriku coast, documenting every available tsunami stone in photographs, maps, and satellite views, and accumulating seismic and geological data about each stone’s local circumstances. The end result was a book called An Incomplete Atlas of Stones. It was inspired, she writes, by “a combined interest in warning systems and cartography.” The entire book is 490* pages in length, and the selections I’ve chosen here barely scratch the surface. The material Hunchuck has gathered would not only be served well by a gallery installation; the project also sets up an interesting formal precedent for other documentary undertakings such as this. Given my own background, meanwhile—I am a writer, not an architect—I would love to see more of a reporting angle in future versions of this sort of thing, e.g. interviews with local residents, or even with disaster-response workers, connected to these landscapes through personal circumstance. The narratives of what these stones are and what they mean would be well-illustrated by more than just data, in other words, including verbal expressions of how and why these warnings were heeded (or, for that matter, fatally overlooked). In any case, the title of Hunchuck’s book—it is an incomplete atlas—also reveals that Hunchuck is still investigating what the stones might mean and how, as a landscape architect, she might respond to them. Her goal, she writes, “is not to offer an explicit response—yet. This incomplete atlas shares the stories of seventy five places, each without a definitive beginning or end.”The review and Geoff’s blog can be read here. *Edited to correct earlier number. In his review, Geoff Manaugh writes “nearly 250 pages in length” but this refers to double page spreads, and so has been edited here to the actual page count of 490. 2017 Cartographies of Residence for Cities yet to Come https://elisehunchuck.com/2017-Cartographies-of-Residence-for-Cities-yet-to-Come Tue, 31 Oct 2017 11:09:20 +0000 elisehunchuck https://elisehunchuck.com/2017-Cartographies-of-Residence-for-Cities-yet-to-Come <img width="1174" height="534" width_o="1174" height_o="534" data-src="https://freight.cargo.site/t/original/i/40aff83c23eb9a362b8ffedd845f8cdbd9d9b0a6bc42c8e3a6020ba7aa2de7b5/Screen-Shot-2017-11-01-at-15.37.11.png" data-mid="6055763" border="0" src="https://freight.cargo.site/w/1000/i/40aff83c23eb9a362b8ffedd845f8cdbd9d9b0a6bc42c8e3a6020ba7aa2de7b5/Screen-Shot-2017-11-01-at-15.37.11.png" />Above –– A tsunami inundation marker in Kamaishi-shi, Japan. Location: 39° 16’26.2”N, 141°52’53.5”E. 10 metres above sea level. Photograph taken by Elise Hunchuck (2015).Cartographies for Cities Yet to Come:&nbsp; Points, Lines, and Fields The geologist distinguishes between stones, and in distinguishing connects them. Each becomes different from its fellow but in differing from, assumes a relation to its fellow; they are no more each the repetition of each other – they are parts of a system, and each implies and is connected with the existence of the rest. –– John Ruskin[1] In April 2017, Elise Hunchuck was invited to present her research at the Architectures, Data &amp; Natures: The Politics of Environments conference in Tallinn, Estonia. Organized by Maroš Krivy and featuring keynote talks by Matthew Gandy (Cambridge, UK) and Doug Spencer (AA, Westminster, UK), the conference interrogated the “two themes that stand out in contemporary architecture and urbanism: ecology, revolving around sustainability, resilience, metabolic optimization and energy efficiency; and cybernetics, staking the future upon pervasive interactivity, ubiquitous computing, and ‘big dat­a’.” The hypothesis discussed at the conference asked what if these “are really two facets of a single environmental question: while real-time adjustments, behaviour optimisation, and smart solutions are central to urban environmentalism,” does “the omnipresent network of perpetually interacting digital objects becomes itself the environment of everyday life?” The&nbsp;Incomplete Atlas of Stones was presented in collaboration with Christina Leigh Geros (Harvard GSD) in a talk titled “Cartographies of Residence for Cities yet to Come: Points, Lines, and Fields.” Reassessing the terms of engagement with sustainability and resilience through her field work in northern Japan, Hunchuck presented her survey and mapping of historical environmental data for community-based resilience in the form of tsunami stone markers along the Sanriku Coast. A network of historical data at the scale of 1:1, Elise asks what the epistemological status of these markers might be; what kind of knowledge do they produce; and, what is the effect of these markers on the way communities and governments understand the always present risk of an earthquake or tsunami? Presented as a case study alongside the PetaBencana &amp; MITUrbanRisk Lab initiative (in which the power of citizen cartographers is harnessed by the gathering, sorting, and displaying of geotagged tweets; each tweet sharing individual information about flooding, inundation, or critical water infrastructure in Jakarta, Indonesia), the&nbsp;Incomplete Atlas asks increasingly urgent questions while proposing transferable, multi-scalar, multi-centered approaches as a way to think in relation to our environments. Both presentations will be made available online by the Faculty of Architecture, Estonian Academy of Arts, Estonia, in cooperation with the Department of Geography, Cambridge University, UK (the research project Rethinking Urban Nature).Notes[1] See Ruskin, John. O’ Truth of Earth (1903).