Participants of Adhocracy describe their installations in the form of a set of instructions for NCR08[Architecture]. Here are some of those projects: Mapping Identity, Hotel Bus / DIY Bed and Breakfast Complex, The Barley Field and Live Load.

Mapping Identity by Antonio Ottomanelli

The Istanbul Design Biennial was the occasion to continue the Mapping research, which is a practice always organized in three steps, referred to a collective intimacy biography:
1—survey (investigation)
2—story (registration)
3—monumentalization
PANORAMIO analogic is an open Mapping workshop experiences set up in an attempt to orient through artistic practice, a critical two-way query on the question of identity, intended as consciousness of historical forces that determine a particular condition of existence and certain structures of social relations. This kind of project is an important moment of reflection and work on “libertarians and independent” models of investigation, which constitute the study of forms of language representation and the construction of a precise information program.
All the laboratory projects developed so far, keep behind the need to tell—starting from below and in the most immediately transmittable way—cultural issues hardly translatable with traditional tools and techniques. The desire to humanly describe what we do not understand.

Instructions
What You Need
1 An all-aged and all-social class group of people coming from different part of the city.
2 Tell to all the people that will participate to bring old photos from their family albums that can show the story of their families.
3 A simple touristic map of Istanbul on a white wall.
4 Divide the map into different rectangles, each rectangle will belong to a person.
Knowing Each Other
5 Take the time to know each person involved in the project.
take the time to listen to their story, and watch together to their photos.
6 Try with them to find their intimate monuments, their capital confession.
The Video Set
7 Built your easel and put on it a 50x40cm rectangle glass.
Video Recording
8 Interview and video record from the opposite side each person while drawing – face toward you – behind the glass, speaking, and attaching the family albums photos on the glass.
PANORAMIO
9 Project on the wall map, in the same time and in the correct city rectangle, all the videos you’ve recorded.
10 Fulfill the map with all the drawings and the pictures that the participants were speaking about.

Hotel Bus / DIY Bed and Breakfast Complex by Aristide Antonas

Instructions
1 Empty a used double decker bus from its row seats and from its metallic handlers. Create a two level empty space.
2 Construct an elementary water tube system over the driver’s seat and the place for a small sink in the lower deck. Add a small water tank at the double decker’s roof. Stabilize an elementary solar panel for hot water. Put a simple metallic ladder on the bus exterior: water renewal will be easier with the use of simple PVC water tubing through the ladder.
3 Add the sinks, a mini shower and a chemical basin in the upper deck. A metallic surface more or less transparent can separate the bathroom from the beds area at the upper deck.
4 Build 7 beds, a water closet and a living room inside the bus.
[A common double decker bus is treated as an idiosyncratic archaeological find; another future than the one that is related to its past is programmed for it. Such a find is never valuable enough to be discovered, due to the closeness in which it appears to the normal understanding of everyday objects. Its discovery thus coincides to its transformation. The mechanism of archeology is defined here through an arbitrary choice of a common object, (located in the most “trivial reality”) and the simultaneous distortion of it toward a different conceptual area. The find is created through the distortion of a norm related to it.]

Live Load by Frank Abruzzese

The process used to make the Live Load photographs, is adapted from Sergei Mikhailovich Prokudin-Gorskii (1863-1944), whose documentations of the Russian countryside between 1909 and 1912 are among the earliest color photographs. This work predates color film technology, therefore Gorskii used a specialized camera to take three black and white photographs in rapid succession, each frame with a red, green or blue filter placed in front of the lens. These images were then recombined, projected with their corresponding filtration to reveal full color images.

Instructions
1. Identify a loosely controlled system whereby a built structure or behavioral norm attracts movement towards or impedes movement away from a wide expanse of space. Set your digital camera on a tripod and frame the activity to illustrate the parameters of movement.
2. Define an interval of time to capture three sequential frames. This interval should be tied to a physical act or event rather than an arbitrarily defined length of time. Some examples might be every time you hear a car horn honk, every time the sun peers out from behind the clouds or every time someone approaches you to ask what you’re doing.
3. In a computer each frame of your sequence will be separated into component channels. Open the three photographs in Photoshop, go to the channels window and select a single channel for each image; the first red, second green and third blue.
4. Create a new document with the same pixel dimensions as your photographs. Open the channels window for this document and select only the red channel. Go back to the photograph where you isolated the red channel and select the entire image, copy then paste in the new document. Repeat this process for the green and blue channels, ensuring the appropriate channel in the new document is selected each time.
5. When all three channels are in place select RGB at the top of the channels window and your new full color image will appear. Moving subjects captured in your scene will appear as single monochromatic colors.

The Barley Field by Zuloark

El Campo de Cebada is a charged void located in La Latina quarter, in the heart of Madrid, a district with huge shortage of public and sports facilities, and where the role of neighbors is gradually losing importance. It is a 5,500 m2 concrete pit that proves the strong crisis of current models of public space, at the level of identity, representation, design and management. It was first occupied by its neighbors on October 2012. The author of the project is the space itself.
www.elcampodecebada.org

Instructions
1. Desire the recovery of a space mismanaged by the government. Reclaim its quality by structuring its organization on democratic participation. Involve as many agents as possible.
2. Don’t trust urban private space, as it limits its responsibility to the interests of its owners. At the same time, evolve from traditional concepts of public space in which the solution is usually a neutral area where nothing ever happens.
3. Propose a third path with a space that requires public responsibility, that is, local involvement in its development and management.
4. Through direct communication between the “decision takers” and “users”, the gap between citizens and administration disappears.
5. Every now and then organize construction workshops that would answer the changing needs of the space: build benches, resting places, tables, vegetable gardens, shades, grandstands, stages for performances. Professional individuals working as volunteers will gather together to propose projects, providing an open free education platform for everybody who wants to learn how to act in an urban environment.
6. The resulting mix-used public space gives the opportunity to kids to play freely in a dense urban context while their parents can listen to open music concerts performed by the same neighbors or, other art events.