Topography of Memory experiments with digital devices to record architectural heritage in Chittagong, Bangladesh. Virtual exhibits are augmented into a physical renovation of a former colonial home through the use of handheld technology. The project presents a concept for a museum of the future and raises important questions about the relationship of architecture and its cultural heritage.


What one remembers, one has not forgotten. What one forgot, one can not remember. In their way of excluding the other, both, remembering and forgetting can be seen as repressive and selective. With remembering certain things we tend to exclude other things and forget them. Yet, in the sense of Elsa Peralta “remembering and forgetting are not opposites;

instead they are both constitutive parts of what comes together to mean memory” and “as such, memory is not just the past as we remember it; it is also the past as we have forgotten it.”Milan Kundera reflects this from the opposite site and carries the idea to its extreme by stressing that “remembering is not the negative of forgetting. Remembering is a form of forgetting.”

Consequently, forgetting and remembering can be seen as two sides of the same coin. According to this discursive idea of memory, Remembering in the following is understood as the combined entity of remembering and forgetting. 

TOPOGRAPHY OF MEMORY

CHITTAGONG, BANGLADESH

01.2015 - 05.2015

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