“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.
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[title] comes from this iba wiki entry.
[image] as stated above, the image comes from the de singel flickr feed. check it out!
“mimetizando la estrategia del coreógrafo john tiller quien sincronizaba los movimientos de las bailarinas de teatro mediante la unión física de sus cuerpos a finales del siglo XIX, numerosos arquitectos de posguerra buscaron una alianza entre cálculo, estandarización, estética y producción cuyos efectos totales, al igual que sucede con la teoría de la gestalt, fueron superiores a la suma de las partes. los trabajos de arquitectos como edward durrell stone, marcel breuer o egon eierman ejemplifican este método compositivo y constructivo. la repetición estandarizada se convertía en la retórica de la industria, garantizando bajo el mismo paradigma exactitud calculada y variación expresiva.”
22/08/2012 § 4 Comments
egon eiermann, merkur department store (1958-60)
can’t seem to find anything about this building. nor have i found it on google streetview. bummer. would be interesting to see how its held up over time.
reproduce and repeat
a young hare
[title] comes from circo 163, reproducir y repetir by pep aviles. this happens to be were i first came across the merkur department store by egon eiermann.
[image] comes from architecture de cartes postales, which asks the same question: where is this building?!
“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.
a young hare
[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.
“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
“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
a young hare
[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.
“struggle can appear as a tension between representation and abstraction, and this can even said to describe the text of light, in which patterns of refracted light seen through a crystal ash-tray become metaphors for landscapes……the light we do see almost always seems to be set against darkness……..these momentary flickers that materialize tenuously out of emptiness.” – fred camper
20/08/2012 § 2 Comments
cameron gainer, luna del mar test photos (2009)
it must have been halfway between chicago and austin when i put down my book and started to stare out the window at approaching flashes of light. most of the other passengers were resting so the airplane’s main cabin was sparsely lit. each strike of lightening came in through the window crystal clear. the dark rural night sky rendered the ominous thunderhead entirely black and formless; the cells full form only appeared momentarily through lightening flashes.
i am really glad i had the time to see cameron gainer’s piece luna del mar at the walker before leaving town (thanks for the recommendation matt!). olympic synchronized swimmer luna del mar’s sillohouette occasionally develops in the foreground of a mass of bio-luminous water found in mosquito bay, puerto rico. at times it feels a bit like looking at a sonogram. the entire film is set to a piece of music by alex waterman. if you have the chance to see it, don’t miss out.
dead of night
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[title update] just came across this quote by fred camper (found at the art of memory), while searching information on stan brakhage. it seems way more appropriate.
[original title] the original title “communication between bacteria (quorum sensing) plays a role in the regulation of luminesence in many bacterial species. using small extracellularly secreted molecules, they are able to adapt their behavior to turn on genes for light production only when they are at high cell densities” comes from a wikipedia entry on bioluminescence.
[image] cameron gainer’s test photo was found on alex waterman’s website.
[more imperceptible made perceptible] ayh’s previous mention of jorge otero-pailos efforts seem appropriate.
“letting go of conceptual approaches, a series of abstract monochromatic images, shows the effect of a photochemical reaction of sunlight with hydrocarbons and nitrogen oxides that has been released into the atmosphere mostly by automotive emissions and industrial plants. a paradoxical image as we find beauty in polluted skyscapes.”
07/08/2012 § Leave a comment
jason mena, letting go of conceptual approaches (2003)
i wish i could see jason mena’s letting go of conceptual approaches in person. haunting concept.
a young hare
[title + images] not sure exactly where i first came across these images, but i found the title and some others from the series on triangulation blog.
[more invisible made visible] this reminds me of an old ayh post on mario reis’ works which consist of dipping a canvas into a stream and allowing the minerals and flowing water to paint a picture.
“train fireman: look out the window. and doesn’t this remind you of when you were in the boat, and then later that night, you were lying, looking up at the ceiling, and the water in your head was not dissimilar from the landscape, and you think to yourself, “why is it that the landscape is moving, but the boat is still?”
06/08/2012 § Leave a comment
buffalo on catalina island (via)
more insanity from california. in fact, there is a 15 mile radius in california that is just blowing my mind this morning (please see this earlier post on huntington beach). buffalos on a pacific island, how? why?
a young hare
[title] today’s title comes from the jim jarmusch film dead man. more quotes available on imdb.