“by the thirties people like kay fisker and c. f. moller were making reference to the international style in their copenhagen housing projects: long, low-rise, garden apartments with balconies and shops below. but many of the wartime and post war architects abandoned any international style overtones and reverted to a kind of arts and crafts version of housing, in which apartments were made to appear to be detached, freestanding single family houses with steep sloping roofs and brick detail.”
27/08/2012 § Leave a comment
jorn utzon, kingohusene (1956-60)
arne jacobsen, munkegardsskolen (1948-57)
more “modern danish” design via seier + seier flickr feed.
a young hare
[title] Sherwood, Roger. Modern Housing Prototypes. Cambridge, MA: Harvard UP, 1978. 45. Print.
[images] as previously stated: arne jacobsen’s munkegardsskolen and jorn utzon’s kingohusene are from the amazing seier + seier flickr feed.
[more danishes] for more photographs of jorn utzon check out this ayh post.
“in punte pite, i went there and i knew the place and i said: ‘listen, this is for everybody because there is such beauty.’ this public space makes everything better, for business, for nature, for the people, for everybody. i think that the place talks by itself. if go there and walk along the coast as i did, you can feel that it’s a special place. so you build a path.”
24/08/2012 § Leave a comment
teresa moller, punte pite (2005)
caitrin daly and adrian keene: it’s almost like you mediate a way for people to negotiate and experience these sites.
teresa moller: yes, with one little line, it helps you to go from one place to the other but you don’t need more than that.
cd + ak: in terms of your process, when you design a landscape do you design piece by piece over time, or do you create a whole plan?
tm: i make a plan because you have to have one vision, one idea. one vision for all of it and you must know that you want something to come from this place. you may go in different ways, but you have to know where you start and where you finish – it doesn’t work to go little by little. because then it becomes like all different things together and you will never get the feeling of something that is a whole vision. for instance, a park design (named ‘casablanca ii’), started by discovering a circle that was there but you didn’t see it because it was hidden under many trees, i cleaned it and then suddenly i saw all these other trees that were also planted in a circle. somebody made this many years ago. from these discoveries i make a plan. but if i start in one place and i do one thing and then another thing it doesn’t become one experience.
cd + ak: so you must walk and experience the terrain and landscape before you begin designing…
tm: oh yes or else i can’t do anything….
cd + ak: if you could tell us a little bit about how you approach a site?
tm: i think it is very important to be in the place. before doing anything, you need to be aware of what is there and what that place wants you to do. i think it’s really the most important thing. it is something that one cannot overlook. you can’t design a project without spending time in the site because your design is empty without being connected with the place. for instance we are going to shanghai to design a project with a chilean architect. i told the client that i can’t think of something without first being there, even if it’s a patio inside a building. i could design it on the computer and create all the plans, but how can i understand what i want – or what the place wants – if i don’t know the landscape. so we have to go, just to breathe the air in shanghai, to know what we want to have there.
cd + ak: more and more, people work with photographs or on the computer in order to create a design.
tm: yes, people often work from photography. i would prohibit this. it happens so much that you go back to the studio, you do the plans, you do the work and then you start building. then you realize that you didn’t see that there was a hill that you could have put in the view. you have to be in the site.
cd + ak: you describe your design practice as being a tool which can completely immerse people in nature. how do you think that your work does this?
tm: not as good as i would like! because people are really difficult. i work in nature because it is not so serious. it’s not like if you were a medical doctor working in the intensive care unit where people are about to die. nature is all the opposite. everything is… very clear. we cannot say what it is though! it is very difficult to have people to get the feeling of immersion and to take advantage of what that means. of what nature means. i think the world is becoming so strict, we are so far away from what nature is and we need it to be alive. so now you will have anything at home to remind you of what nature is, even if its a pot of tomatoes.
cd + ak: would you say the artificial is becoming more natural, or that nature is becoming more artificial? for example parametric modeling that simulates natural growth patterns?
tm: it will never work. for instance the 3d computer, i don’t think it’s trying to become more natural i think it is trying to help you in building an artificial environment in a better way, using a better tool to work with. but it is still artificial, made using a better tool. so i think artificial has to go very artificial. it will never become natural and it cannot be in between these things.
– excerpt of the article a conversation with: teresa moller from kerb 19 – paradigms of nature: post natural futures
build a path
a young hare
[title + text] Daly, Caitrin, and Adrian Keene. “A Conversation With: Teresa Moller.” Paradigms of Nature: Post Natural Futures. By Caitrin Daly. Melbourne: Melbourne, 2011. 18-23. Print.
[images] i can’t remember where i came across these photos. but there are several nice ones from the landscape architect teresa mollers own website. well worth a visit.
“schinkel entwarf den pavillon im stil einer italienischen villa als streng symmetrischen weißen kubus, dessen fassade lediglich durch eine säulenloggia und dunkelgrüne fensterläden aufgelockert wird. das erste obergeschoss erhielt einen umlaufenden balkon, was der könig als anregung von chiatamone mitgebracht hatte. dieser ist aus eisen, dunkelblau lackiert und wurde auf der unterseite gleichmäßig mit goldenen sternen bemalt.
23/08/2012 § Leave a comment
google earth imagery of karl friedrich schinkel’s neuer pavilion (1825)
speaking of introverted buildings. across from hans kollhoff’s iba project, is the neuer pavilion by schinkel. its a square structure that sits well behaved at the eastern end of the charlottenburg palace, which happens to be the largest palace in berlin.
since i was virtually touring the neighborhood surrounding the kollhoff project (you know, as we do now a days), i figured i would take a peak at schinkel’s pavilion. it happens to be just across the street. i started by heading south down luisenplatz. hoping to get a better view of the schinkel’s pavilion i crossed the street and wham, the building was completely shrouded in scaffolding.
it seems kind of appropriate for this small wallflower of a building to hide behind a gauzy white sheath. in fact, i kind of like it more. thanks google.
a couple steps back
a young hare
[title] comes from a german wiki entry on the neuer pavilion.
[images] are screen grabs from google earth.
“in 1979 josef paul kleihues has been appointed director of the iba. he organised the exhibition along two distinct themes: iba alt aimed to explore methods of ‘careful urban renewal’, and iba neu for experimenting ‘critical reconstruction’. he invited many international architects including peter eisenman, vittorio gregotti, herman hertzberger, hans hollein, arata isozaki, rob krier, aldo rossi and james stirling. consequently the iba was called by time magazine ‘the most ambitious showcase of world architecture in this generation’.”
23/08/2012 § 1 Comment
hans kollhoff, iba housing project
as for the above image, i couldn’t help post hans kollhoff’s housing proposal, a modest and introverted structure compared to the rest of the boisterous iba proposals and projects.
a young hare
[title] comes from this iba wiki entry.
[image] as stated above, the image comes from the de singel flickr feed. check it out!
“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
[title + text] the above text and title are taken from the gallery pamphlet accompanying minouk lim’s exhibition at the walker.
“a third strike in 1933 had world wide impact because of the new techniques it demonstrated. up until that time, drilling had been on the near-vertical, directly over an oil pool, with the invention of controlled directional drilling, first used successfully here to tap the tide land pools, a well could be drilled on a slant, in any desired direction. within a year, 90 wells were producing from tall rigs along the coastline.”
06/08/2012 § 1 Comment
huntington beach (c. 1920-40) (via)
orange county archives, view huntington pier oil well derick historical beach california (c. 1930-40s) (via)
huntington beach oil wells soapbox derby (c. 1930 – 40s) (via)
woah. last week i joked about the improbability of mary lydecker’s collages. her works were believable but they also seemed a bit to far fetched. turns out i never grew up in huntington beach during the oil boom.
there will be greed
a young hare
[title] the title comes from this website which has a catalog of uncanny huntington beach photographs.
[images] the images come from a variety of places linked above. but it all began with this tumblr image i stumbled across on polychroniadis.
[more uncanny landscapes] as mentioned mary lydecker has pieced together some amazing collages. i wonder if she was aware of these real bizarre landscapes.
“the sun had now detached itself from the horizon and day had dawned, with only a few clouds floating in the sky, let’s just hope it doesn’t get so hot that your muscles melt and you feel as if the sweat on your skin was about to come to the boil.” – jose saramago
01/08/2012 § 2 Comments
bill arnold, floating house (1977)
i’m moving. in texas. in the summer. its hot.
be back soon
a young hare
[title] Saramago, José, and Margaret Jull. Costa. The Elephant’s Journey. Boston: Houghton Mifflin Harcourt, 2010. Print.
[image] today’s image is of a bill arnold piece originally found at je suis perdu.
“due to political reasons he left the country in l976 and settled down in sao paulo, brazil. there he once again took up his work with metal sculptures and made different experiences involving photocopies, mail art, heliography, microchips, video texts, books of artists, etc. during l980/82 he made big maps, using letraset-letters – a system used by architects – which were reproduced in heliographies.”
30/07/2012 § Leave a comment
leon ferrari, heliogravures (c 1980)
this is worth repeating:
i felt it was a kind of provocation, recently, to run into a phrase from valery: ‘we must always apologize for talking about painting.’ indeed, there is something in painting that does not let itself be reduced to words, but it also true that we no longer believe in the purity of media or of languages, and so we keep on trying.”
– graciela speranza
this quote comes from another tumblr-esque post similar to the shades of blue which covered plan drawings. leon ferrari’s heliogravures would definitely be a perfect addition to that series of images.
keep on trying
a young hare
[title] the above title comes from leon ferrari’s own bio on his website. i highly recommend perusing his work.
[images] unfortunately i can’t give credit for where i came across these various images. it was done while trolling google images for leon ferrari.
“the rural as a strict counterpart to the urban appears to be a condition of the past. at least, this is what kees christiaanse posits in an interview with us [monu] entitled “the new rural: global agriculture, desakotas, and freak farms”. he points out that, today, non-urban spaces interact so frequently and intensely with urbanity that you can no longer describe something as strictly rural. therefore, we can no longer separate the city from the countryside as these are not polarized entities and each other’s enemies, but rather the result of each other.”
25/07/2012 § 1 Comment
collages by mary lydecker
from the top:
midland, tx / salt lake city, ut
cape cod, md / willamette dam, or
aruba / worcester, ma
none of these places are real. when i first came across mary lydecker’s collages on mammoth, i casually scrolled through them as if looking at vintage photographs of low budget fringe resort destinations. these would be the types of resorts you’d stop at while driving across the nation in the back seat of your parents winnabego. something was not right. a closer inspection revealed seams and other hints of collage. these images are just brilliant.
a young hare
[title] today’s title comes from the description of monu magazines issue #16. for the complete description go here. as an aside, you can watch a video of someone perusing monu #16 on vimeo. this almost seems like an art piece.
[images] there are about fifty more amazing images available on her website. check it out.
[more collage] in certain ways this reminds me of a very old ayh post covering gianni pettena’s piece about “works of architecture not made by architects“.
“ein wohnstadtteil im süden münchens ist standort eines großen gefängnisses. gesellschaftlicher gleichklang und gesellschaftliche sanktionierung stehen sich als parallelwelten gegenüber. „white spots“ interveniert in diesem stadtteil mit 33 gleichfarbigen pkws, die, einer geheimen choreografie folgend, durch die straßen fluktuieren.”
24/07/2012 § Leave a comment
raumlabor, white spots (2006)
a large prison is located in a residential area in south munich. societal harmony and societal sanctioning face each other as parallel worlds. white spots intervenes in this district with thirtythree cars of the same colour which fluctuate through the streets following a secret choreography.
– raumlabor (translation of title)
watch your blind spots
a young hare
[title + text + image] all are found on raumlabor’s white spots project description.
[more raum] raumlabor’s work has previously been mentioned on ayh here.