One of his projects is Bosbus (2004), a mobile nature preserve Matton constructed from an old municipal bus for the Rotterdam Architectural Biennale. Another is Bird Suburb (no date), an installation of dozens of identical birdhouses set at regular spatial intervals around his rural home that birds have refused to occupy, evidence in Matton's view of the inhospitable, indeed unnatural, quality of the cookie-cutter approach to suburban subdivision development.
|Ton Matton, Bosbus, 2004, exterior view (above); interior view (below).|
There's another difference that seems important to me. As noted above, Matton's work is experimental, proposing ideas to change ways of thinking, which is all well and good. But they seem to be bracketed in way that the cultural production in Detroit I'm talking about isn't. The Detroit projects (the Heidelberg Project, The Power House, Ride-It-Sculpture Park, DFlux, etc.) are embedded in their local environments, making them more concrete as it were. In fact, they are each in their way transformative. It's the difference between utopian thinking of the conventional variety and the "real utopia" I've written about.