“knurling can also be used when a high precision component will be assembled into a low precision component, for example a metal pin into a plastic molding. the outer surface of the metal pin is knurled so that the raised detail ‘bites’ into the plastic irrespective of whether the size of the hole in the plastic closely matches the diameter of the pin.”

30/07/2012 § Leave a comment

theodore waddell – roll up chair

 

so simple,  so good.  theodore waddell’s roll up chair.  originally came across this via mondo-blogo.

 

when cable is loose, structure is limp

a young hare

 

 

notes:

[title]     comes from a wikipedia entry on knurling.

[images]     for more images of theodore waddell’s furniture design, check out this mondo-blogo post.

[more structure as form]     this has got me thinking of ulm.

“the venetian chair is a remembrance of childhood, when building fortresses, hideouts and our own world with pieces of furniture was our utmost pleasure. a chair is the archetype of furniture, an object that assists us as we work, relax, or gather for a meal or discussion. with the generator it is endowed with a further function: the “stacking chair” becomes an assembly part to construct spaces.”

24/07/2012 § 1 Comment

raumlabor, the generator – sedia veneziana (2010)

 

the generator is an experimental building laboratory for instant, participatory building practices in public space.  central issues of the research include: construction principles, new geometries for furniture and lightweight construction buildings, as well as new use possiblities and multiple programs for people to meet and interact in public.

– raumlabor, the generator – sedia veneziana

 

assembly space

a young hare

 

 

notes:

[title + text + images]     today’s title, text and imagery comes from raumlabor’s the generator project description.  i highly recommend perusing through raumlabor’s many interventions and narratives.  great stuff.

[more places to sit + more participation]     this project came to mind after yesterday’s post on the community assisted tai ping bridge project.  for more on chairs as space see the previous ayh post on doris salcedo.  for more on chairs as politics see this previous post comparing ai wei wei and gianni pettena.

“the tai ping bridge project is a reconstruction and surface renovation project of a historic 300 year-old bridge. the project reconciles the historical, existing masonry construction with modern techniques of pre-cast concrete. the bridge was reprogrammed as a public space, built and planed with the help of volunteers and villagers.”

23/07/2012 § 1 Comment

 

rufwork, tai ping bridge (2009)

 

a great small intervention in the guizhou province of china by rural urban framework – aka rufwork.  another aspect of the project which isn’t visible in the photographs was the reconstruction of a collapsed arch in the bridge.

 

tiny interventions

a young hare

 

 

notes:

[title + images]     the title and imagery come from rural urban frameworks website. check out more pictures and other projects.

[more interventions]     this came to mind while writing this mornings post, on david kohn’s skyroom.

“in english, magma is the ‘molten rock material within the earth from which igneous rock results by cooling.’ in spanish, it has an additional meaning: ‘thick substance that supports tissues or other inorganic formations, which remains after squeezing the most fluid parts out of them’ (remember that tissue and weave, in spanish are the same word: ‘tejido’).”

18/07/2012 § Leave a comment

maximo gonzalez, magma c – i (2010 – 11)

maximo gonzalez, magma cccl – i (2010 – 11)

maximo gonzalez,  big magma ccclxx – i (2011)

 

“magma” pieces, by maximo gonzalez, have been made with “money paper that never touched anybody’s hands” (on the contrary of the previous work, that was all made with money out of circulation,  which passed through thousands and thousands of hands before becoming part of the artwork).

this paper is the border of the bills (20, 50, 100 $, etc.) that was trimmed during the process of fabrication in the bank of mexico.  this paper is normally destroyed.  maximo rescued it, stuck it together to produce long threads, and weaved it in a loom constructed by him, based on the traditional looms of oaxaca.

the bar codes that can be seen in different parts of the resulting weave contain the full identification of the bills that come out in sheets during the issuing process: each sheet indicates nominal value, series, bill numbers, quantity in batch, everything to uniquely identify the bills contained in that production.

the color bars that can be seen at a closer look, are used for controlling the quality of the printing, alignment, and other security standards.

thus, all the information contained in the woven piece (“magma”) is the remainder of the bill which was detached from the sheet, approved for circulation, and introduced to everyday life.

 

before i had read the background story describing the material used in maximo’s pieces and seen his beautiful work in full view, mounted to the wall, i thought it would make a nice table cloth.  the desire for maximo’s pieces to be introduced to everyday life as table clothes might just be a personal thing, since the pastels and patterning reminded me of the simple table clothes my grandmother used.  it could also be related to the use of the loom, and the quotidian setting of the last installation picture above.  personal anecdote aside, i highly recommend looking at the work of maximo gonzalez.

 

introduced to everyday life

a young hare

 

 

notes: 

[title + images + text]     it all comes from maximo gonzalez’ website.  for more pieces made from money follow this link: right here.

[more paper on walls]     this piece originally came to mind when looking at mathias goeritz’ installation at the camino real mentioned on ayh last week.

“the following things in the room were blue. the blue checks in the blue-and-black-checked shag carpet…. two of the unsettling attached lamps that kept its magazines unread and neatly fanned were blue, although the two blue lamps were not the lamps attached to the two blue chairs. dr. charles tavis liked to say that you could tell a lot about an administrator by the decor of his waiting room…. the premie violets in an asymmetrical sprig in a tennis-ball-shaped vase on the coffee-table were arguably in the blue family.” – david foster wallace [1]

11/07/2012 § 2 Comments

horace benedict de saussure, cyanometer (c1760)

misha de ridder, wissen brunnen (2009)

florian maier aichen, the best general view (2007)

unknown, maly semyachik  (date unknown) (via)

fabian schuber, hank schmidt in der beek painting in the zillertal alps (2009)

merel van den berg, the marker project (2009)

yutaka yoshinaga, 96-c-5 (1996)

david ireland, folded paper landscape (1973)

guillermo kuitca, neufert suite (sausage factory equipment) (1999)

casa, hakuei residence (1996)

xdga, house in brasschaat (1990-92)

benthem crouwel, schipol airport (date unknown) (via)

photographer unknown, thierry mugler residence (1981) (via 2thewalls)

maarten van severen, blauwe bank (1997)

 

bas jan ader made a point of only wearing international klein blue.  the color blue which artist yves klein patented and used through out his art works.  sometime between learning about bas jan ader and yves klein i came across horace benedict de saussure’s cyanometer.  horace created the cyanometer as a way of measuring the blueness of the sky in order to test a theory about the blueness of the sky being related to the moisture content of the air [2].  then last week, while catching up on radiolab podcasts i found out that (broadly speaking) according to philologists, red is always the first color to appear in a human language and blue is (usually) always the last color to appear in a human language.  weird.  so i decided to make a tumblr of blue themed images.  and inspired by horace benedict de saussure it presents a gamut of blues.  blues captured by cameras, painted on to a surface, fading away, washing buildings, and coloring furniture.

 

what would you add?  send ayounghare [at] gmail one or a few blue images [3].  if there are enough responses i could make a second blue tumblr post.

 

what is it about blue?

a young hare

 

 

notes:

[1]     wallace, david foster. infinite jest: a novel. boston: back bay books, 1996: p. 508 – 509. print

[2]     for more on the topic of blue and horace benedict de saussure check out this article on the royal society of chemistry’s website.

[3]     oh, the silly things we have to do to avoid spam bots.

[more series, more color]     this marks the third time ayh has presented a tumblr post.  previous posts involved the making of a plan and an ode to a gamut of reds inspired by the then pantone color of the year – honeysuckle.

“in the belgian pavilion for the 2008 venice biennial the existing pavilion is enclosed by a seven-metre high wall, and thus separated from the pre-dominant context of the architecture biennial. the floor of both the existing pavilion and the new ‘garden’ is covered with a layer of confetti” [1]

09/07/2012 § Leave a comment

photography: bas princen (2008)
installation: office of kersten geers and david van severen, 1907… after the party (2008)

 

chairs are spread here and there around the new pavilion.  the existing awning under the skylights of the pavilion was removed so that sunlight streams directly in.  visitors walk through between the two layers of the outer wall and enter the original pavilion through a side entrance, disorienting them before their experience of a new aggregate of spaces.  in the new walled garden of the pavilion one can sit in the sun or under the shade of trees.  the new belgian pavilion frames and displays the original pavilion, a piece of architecture that has been constantly adapted and transformed over the years.

–  office of kersten geers and david van severen [2]

 

happy monday

a young hare

 

 

notes:

[1]     Küng, Moritz, and Enrique Walker. Office Kersten Geers David Van Severen – Seven Rooms: [in Conjunction with the Exhibition: “Office Kersten Geers David Van Severen, Seven Rooms”, March 5 – May 3, 2009, DeSingel International Art Campus, Antwerp]. Ostfildern: Hatje Cantz, 2009. 40. Print.

[2]     ibid

[images]     today’s images were taken by the amazing bas princen.  for more casual imagery of the installation check out this designboom post.

[more of the uncanny]     previous mention of the uncanny on ayh coincidentally also takes place in the venice biennale: aires mateus’ casa areia.

“a research project on visual representations of traveling by photographs of travel agencies in downtown cairo. here traveling is not embodied by images of palm beaches, but maps let the ‘client’ in fact imagine its own pictures of destinations. world maps figure as projection surfaces.” – maia gusberti

29/06/2012 § 1 Comment

maia gusberti,  travel agencies (2008)

 

aleya hamza  how did you become interested in working on the travel agencies series?
maia gusberti  i have a special interest in maps and geography and one of my older projects was based on mappings (www.logicaland.net).  this photography project began spontaneously when world maps in small travel offices catering locals in downtown cairo caught my attention.  at the beginning i was fascinated by one or two examples of world maps until i realized that the world map is a central object in many travel agencies, and that they all have totally different forms from reliefs to old fashioned maps to light-boxes.  meanwhile i wondered about the quasi absence of photographic depictions of travel destinations when these representations of the ‘dream-destination’ are a key tool to promote holidays in europe.  there we often encounter the image of the palm island, the sand beach, the exotic street life…commercialized, globalized and standardized products selling personal leisure, glamorous tourist adventures or cheap flight tickets for a jet-set weekend elsewhere.  here in downtown cairo if at all you’ll find one photographic image of the kaaba in mecca.  so instead of photographic representations we are confronted with world maps as ‘projection surfaces’ for imaginations.  maps allow us to produce our own private images, to travel in our fantasies.  this replacement of the image by the map made me want to take images about the absence of the image to produce imaginations.  the map is therefore a wonderful example of a standardized symbol stimulating individual interpretations.  my photographs are about places void of pictures but rich in dreams, images, imaginations and promises.

aleya hamza  your images have a deliberate snapshot appearance, informal and un-composed.  why?
maia gusberti  i did not want to have well-composed and perfectly styled pictures since it was practically impossible to pull through a strong composition concept.  when i began asking for permission to take pictures of the maps in travel agencies telling them i’m an artist interested in maps i was often grilled about the project with curious questions, amused nods and a general lack of understanding of how anyone could possibly be interested in such an issue, but i was more or less allowed to shoot every time.  usually i took more than one picture – but lots of the employees were uncomfortable and just left while others continued with their work – but of course i felt like i was disturbing them after a while especially since clients sometimes had to wait while i finished.  most of the offices are very small and narrow which made it difficult to find a good spot to compose my image and i had to get what i wanted by finding (more than choosing) a possible angle and the light conditions were very different between offices that had daylight or neon-light.  initially i was more or less ‘documenting’ these places with my old analog nikon, judging the images after developing the film, until i realized this could become a series.  i also didn’t want to change the rough-and-ready style of these offices.  i deliberately wanted the atmosphere of a temporary and provisional space – lost somewhere between imagination and realization.  i see myself as a passenger, passing by these places in transition or about to transition.  the project has never been about a shiny composed study or a record of 60’ies and 70’ies interior design.  it is about an atmosphere and a location existing somewhere in the ‘in betweenness’ of fantasia and on a first step towards a destination.

aleya hamza  why does the representation of travel interest you?
maia gusberti  it makes me think about possibilities, conditions or reasons for traveling and their relationship to desires, promises and illusions.  here in cairo traveling means something totally different than it does on the high streets of western european cities and on some level they both refer to socio-political realities.  many agencies here are specialized in hajj and sell tickets to saudi arabia for work purposes.  it’s not really about the ideal of the palm island.  who can afford a dream of palm islands here?  the reality is more about survival strategies, working abroad, pilgrimage, fighting for a visa etc.

these travel-specific desires and illusions can be somehow summarized in maps.

as a designer and artist i try to look out for visual signs and i wonder about the layers of meanings which can be imagined and explored by digging a bit deeper.

 

– interview between aleya hamza and maia gusberti

 

maps of desire

a young hare

 

 

notes:

[title + images]     today’s title is the project description for today’s photography.  all of which can be found… here on maia’s website.  check out travel agencies and the rest of her work.  great stuff.

[interview]     the following interview was found on maia gusberti’s website.  for the complete interview click… here.

[more everyday photography]     for a previous essay excerpt on photography of the everyday terrain, follow this link.

“‘the gruen transfer’ (named after architect victor gruen) designates the moment when a ‘destination buyer,’ with a specific purchase in mind, is transformed into an impulse shopper, a crucial point immediately visible in the shift from a determined stride to an erratic and meandering gait. yet shoppers do not perceive these effects as negative: the expansion of the typical mall visit from twenty minutes in 1960 to nearly three hours today testifies to their increasing desirability.” – margaret crawford

18/06/2012 § 1 Comment

andreas angelidakis, vasby workshops (2012)

 

so, the idea was that the vasbians would stroll over to the workshop desks, where the participating architects and the bosses of development companies would be obliged to explain what they were planning for their community.

and perhaps the vasbians would have suggestions to make and even preferences to voice.

the citizens of vasby would be participating in the process of designing their community, spontaneously, while doing their shopping or just hanging out.

and personally, i was fascinated by an “architectural proposal” that does not propose a structure but rather a social situation with potentially such far reaching consequences.

 

– andreas angelidakis describing his latest project, vasby workshop [1]

 

there is a lot to be excited about in this small project, but i’ve become very interested in the idea of architecture engaging in social contracts.  architecture that isn’t simply comprised of walls but rather events or possibilities.  in the above project, rather than building a pavilion andreas suggested discussions of urban design could take place with a mall setting.  this has the effect of making malls into civic spaces and not merely consumer spaces.  and since the setting is built, the only architecture needed are a few tables and some chairs.

 

build events, not walls

a young hare

 

 

notes:

[title]     today’s title is an excerpt of margaret crawford’s essay (mentioned by angelidakis) titled “world in a shopping mall”.  you can actually read the piece here on scribd (as of june 18th, 2012).

[image]     today’s image is a product of andreas angelidakis, more available on his website/blog.

[1]     text taken from andreas angelidakis’ description of the project, vasby workshop.

“this unearthing of the memory transforms the space but not the memory, creating the same paradoxical tensions between order, chaos and temporality. this image of chaos constructed via the use of wooden chairs is synonymous with salcedo’s preoccupation with a paradoxical present tense that simultaneously enfolds ‘urgency’ and ‘delay’…” – stella baraklianou

06/06/2012 § 1 Comment

doris salcedo, installation for the 8th istanbul biennale (2003)

 

loosely related to the previous post and mostly to due with the presence of chairs, the above photography captures doris salcedo’s installation for the 8th istanbul biennale.  it consists of a lot of silent chairs making a loud political statement.

 

sit and read

a young hare

 

 

notes:

[title]     today’s title was borrowed from the following article by stella baraklianou on the political aspects of  doris salcedo’s work.

[image]     not sure where i came across this image.  its been tucked away in a folder for a while.

[even more chairs]     for more on politics, art, and chairs check out this previous young hare musing.

“each layer could be for residential, commercial uses or as green strips for relaxation. each layer is only 4m deep, such that one passes quickly walking from one layer to the next. from small eateries to cozy shops to intimate green lanes to residences, in a short time, one passes through a succession of differences, a bodily traversing of concrete urban richness.” – kuu architects

06/06/2012 § 2 Comments

photograph:  jeremy san
architecture: kuu architects, changle lu spa (2011)

 

i can’t remember the first time i came across kuu architects blog.  but its been a constant source of inspiration over the past several years.  above is a renovation project for a spa at changle road.  check out their work!

 

meet me for tea on the roof

a young hare

 

 

notes:

[title]     today’s title was taken from kuu’s blog post “when we walk“, which contains musing on urban design strategies for the former french concession.

[image]     also from their website.  photo credits belong to jeremy san.

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