“when we start a project, we study the general situation first: the country, the region, the city, the area, the site. it’s important for us to understand as much as possible about the conditions that surround the project …. these conditions can be political, cultural, economic or social, but they are also about issues such as climate, light, sound, planting, local fashion, music, traffic behaviour, architecture or language.”

22/08/2012 § Leave a comment

marieke vanden heuvel, surging garden (2008)

inside outside’s curtain design for the de singel addition.

 

invisible presence

a young hare

 

 

notes:

[title]     Blaisse, Petra. “Curtain as Architecture.” Inside Outside. Rotterdam: NAi, 2007. 18. Print.

[image]      comes from the de singel website.

[more blaisse]     for more of petra blaisse and inside outside’s work check out this old ayh post.

“the theoretical basis of stynen’s work is on the same line with the ideas of le corbusier. his apartment building in wilrijk (1932) was a modest, but well conceived residential unit, long before le corbusier built unité d’habitation in marseille. stynen’s proposal for urban development on the ‘linkeroever’ in antwerp (1932) – a competition that le corbusier also participated in – is totally in line with the ideas of c.i.a.m.”

22/08/2012 § Leave a comment

gerrit op de beeck, trap (1990)

 

leon stynen’s de singel.  i should also note he worked closely on the project with his assistant paul de meyer.

 

share credit

a young hare

 

 

notes:

[title]     comes from the kind folks at de singel.  for more on the history of the institution, the architect and the buildings (new and old) click here.

[image]      also from the de singel website.

“a distancing is employed to speak of something deeply personal in a universal way, placing a screen between the subject and the viewer as a psychological apparatus. these images are also largely about photography itself, an attempt at deconstructing abstraction in an art historical context and painterly manner via the camera.”

21/08/2012 § Leave a comment

marisa baumgartner, visible city (facades II) (2005)

great works by maris baumgartner.  check out her site for more.

 

cities without nature

a young hare

 

 

notes:

[title]     description of marisa’s show at domo gallery.

[image]     for more images by marisa…

“well, in any case you’ll agree that this ape skull is an artwork. not made by a human being, true, but still an art work, don’t you agree? yes, here we have reached a certain point. this is an artwork made by a human being and this is an artwork that’s not made by a human being. so who made this work of art?” – joseph beuys

21/08/2012 § Leave a comment

mansilla y tunon, competition entry for cantabria musuem (2008)

 

i still can’t believe mansilla y tunon regularly use joseph bueys as there scale figure.

 

objects from nature

a young hare

 

 

notes:

[title]     Beuys, Joseph, Volker Harlan, Matthew Barton, and Shelley Sacks. What Is Art?: Conversation with Joseph Beuys. London: Clairview, 2004. 70. Print.

[image]     comes from somewhere out there in the internet.

[more landform building]     this 2008 design by mansilla y tunon reminds me a lot of a museum proposal by stan allen in 2010.

“but this close relationship has been changing fast in the last ten years, from the biological to the geological; the desire to make a responsive architecture is now fulfilled with references to landscape. as stan allen points, now a parallel trend looks not to the biology of individual species but to the collective behaviour of ecological systems as a model for cities, buildings and landscapes: ‘architecture is situated between the biological and the geological—slower than living but faster than the underlying geology.'”

21/08/2012 § 1 Comment

stan allen architects, competition entry for maribor art gallery (2010)

our project negotiates that apparent contradiction with an architectural solution that synthesizes two distinct yet complementary spatial systems: an open, flowing public platform at ground level smoothly connected to adjacent places of gathering and the banks of the river drava; and a modulated gallery sequence, developed as an assemblage of parts, scaled to the dimension of the historical parcels.

- stan allen architects

 

building landform

a young hare

 

 

notes:

[title]     excerpt from domus magazine’s review of stan allen and marc mcquade’s book landform building.

[image + text]     all come from the archdaily post on stan allen’s competition entry.

“my work throws into question the relationship of memory faded by speed, resistance from it, and the relationship between human beings and nature inside the city. this rapidly changing environment erases our memories and we have to prepare ourselves to let go of the memories without making them.”

20/08/2012 § Leave a comment

minouk lim, the weight of hands (film still) (2010)

 

playing on the popular experience of taking a sightseeing bus tour in so-called destination cities, ‘the weight of hands’ offers an alternative perspective on seoul’s urban landscape.  in this case, its usual heritage sites and tourist traps are shunned for a pilgrimage to secured construction zones.  this staged action, which commemorates the lss of place and memory, firmly channels funerary rituals through its haunting soundtrack of a lone drummer’s solemn beat set against a singer’s personal lament.

for lim, the work is a means to reclaim locations that have become privatized and ultimately inaccessible to the city’s inhabitants because of pervasive proprty development.  at the same time, it attempts to purposefully reinsert the body into these vacant spaces.  through the use of thermal imagery, captured with infrared technology that is often used in surveillance systems, lim maps the literal and immediate environmental shift that occurs as a consequence of human presence.  the heat emitted by the trespassers tangibly articulates the incompatibility of living, breathing subjects with a physcial void that waits to be filled by inanimate, “cold” and ahistorical buildings.

 

the heat of shadows

a young hare

 

 

notes:

[title + text]     the above text and title are taken from the gallery pamphlet accompanying minouk lim’s exhibition at the walker.

 

“stills from any film give a very incomplete picture of what the actual viewing experience, and this is particularly true of brakhage films. the perceived imagery in brakhage’s work depends very much on movement and montage, to the extent that some things a viewer is convinced are contained in a single image are in fact only the product of movements within a shot, or/and of juxtapositions from shot to shot. still, i’ve attempted to select strips and individual frames that suggest the aesthetic of each film.” – fred camper

20/08/2012 § Leave a comment

fred camper’s collage of stan brakhage filmstrips from the film mothlight (1963)

 

one of brakhage’s best-known films, mothlight was created without the use of a camera by simply pressing moth wings, leaves, and other organic objects between two strips of mylar tape and then rephotographing it by running it through an optical printer. 1963, 16mm, 4 minutes.

- via wac

 

strong impressions

a young hare

 

 

notes:

[title]     the title comes from fred camper’s webpage full of stan brakhage film stills.

[image]     i originally came across the above image on the walker art center’s website announcing an evening of stan brakhage films.  though this morning i can attribute this beautiful image to the efforts of fred camper.  please visit his site for more information.

[more brakhage inspired work]     this morning’s post covered the work of cameron gainer, whose work has been influenced by stan brakhage.

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