“in his most recent series, transmission, holdsworth has created images of iconic western american landscapes — yosemite, the grand canyon, mount st. helens, etc. — using topographical data from the u.s. geological survey. in collaboration with geologist stuart dunning, holdsworth translated data from laser and radar scans of the earth’s surface into a virtual 3d model…”

07/08/2012 § Leave a comment

dan holdsworth, salt lake city plan view (2012)

 

very excited to see what comes out of aaron rothman’s design observer series on landscape photography.  though maybe the name should be changed to landscape depictions, since the majority of the work shown in the first post are more mixed media pieces than photography.

 

virtually real

a young hare

 

 

notes:

[title]     the title is an excerpt from aaron rothman’s article.  check it out in full here.

[image]     the above image comes from dan holdsworth’s website.  definitely page through his photography.   he has produced some truly haunting and beautiful work over the years.

“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?

 

 

happy monday

a young hare

 

 

notes:

[title]      today’s title comes from the jim jarmusch film dead man.  more quotes available on imdb.

[image]     today’s image was first seen on nicholas gottlunds tumblr but after a little research i came across this catalina kayak rental company’s photographs.

“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

 

 

notes:

[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.

“going further back from the overhead opening there is a wall surrounding the court with a door in each side. behind that wall is a passage which circles the courtyard. in the innermost wall of the passage slot-like windows look into a dark area of undetermined size which is obviously open. the viewer becomes aware that the ground s/he has just walked across and presumed to be solid is undermined.” – mary miss

27/07/2012 § Leave a comment

mary miss, perimeters/pavilions/decoys  (1978)

 

toward the center of the field there is a slight mound, a swelling in the earth, which is the only warning given for the presence of the work.  closer to it, the large square face of the pit can be seen, as can the ends of the ladder that is needed to descend into the excavation.  the work itself is thus entirely below grade: half atrium, half tunnel, the boundary between outside and in, a delicate structure of wooden posts and beams.  the work, perimeters/pavilions/decoys (1978) by mary miss, is of course a sculpture or, more precisely, an earthwork.

over the last ten years [essay published in 1979] rather surprising things have come to be called sculpture: narrow corridors with tv monitors at the end; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.  nothing, it would seems, could possibly give to such a motley of effort the right to lay claim to whatever one might mean by the category of sculpture.  unless, that is the category can be made to become almost infinitely malleable.

the critical operations that have accompanied post-war american art have largely worked in the service of this manipulation.  in the hands of this criticism, categories like sculpture and painting have been kneaded and stretched and twisted in an extraordinary demonstration of elasticity, a display of the way a cultural term can be extended to include just about anything.  and though this pulling and stretching of a term such as sculpture is overtly performed in the name of vanguard aesthetics – the ideology of the new – its covert message is that of historicism.  the new is made comfortable by being made familiar, since it is seen as having gradually evolved from the forms of the past.  historicism works on the new and different to diminish newness and mitigate difference.  it makes a place for change in our experience by evoking the model of evolution, so that the man who now is can be accepted as being different from the child he once was, by simultaneously being seen – through the unseeable action of the telos – as the same.  and we are comforted b this perception of sameness, this strategy for reducing anything foreign in either time or space, to what we already know and are.

no sooner had minimal sculpture appeared on the horizon of the aesthetic experience of the 1960s, than criticism began to construct a paternity for this work, a set of constructivist fathers who could legitimize and thereby authenticate the strangeness of these objects.  plastic? inert geometries? factory production? – none of this was really strange, as the ghosts of gabo and tatlin and lissitzky could be called in to testify.  never mind that the content of the one had nothing to do with, was in fact the exact opposite of, the content of the other.  never mind that gabo’s celluloid was the sign of lucidity and intellection, while judd’s plastic-tinged-with-dayglow spoke the hip patois of california.  it did not matter that constructivist forms were innteded as visual proof of the immutable logic and coherence of universal geometries, while their seeming counterparts in minimalism were demonstrably contingent – denoting a universe held together not by mind but by guy wires, or glue, or the accidents of gravity.  the rage to historicize simply swept these differences aside.

scuplture in the expanded field by rosalind krauss [text]

 

people of minneapolis (and the upper mid-west in general): drop everything and go to the walker art center  right now.  rolu’s residency at the walker’s open field comes to a close this weekend.  go check out their expanding field of projects.

 

happy friday

a young hare

 

 

notes:

[title]     today’s title comes from mary miss’ perimeters/pavilions/decoys project description available on her website.  check out this amazing project and others!

[image]     while you can find today’s image and others from the perimeters/pavilions/decoys on mary miss’ website i originally came across this project from the tumblr et après ça, la ville.

[text]     Krauss, Rosalind. “Sculpture in the Expanded Field.” On Landscape Urbanism. Ed. Dean Almy. Austin, TX: Center for American Architecture and Design, University of Texas at Austin School of Architecture, 2007. 34-35. Print.

[more historical loops]     this essay brings to mind an older ayh post asking the question: were we ever modern?

 

“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.

 

collage resorts

a young hare

 

 

notes:

[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“.

“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.

“the universe of petra blaisse is composed of tissues and fluid devices – membranes, valves, apertures, diaphragms, pores, filaments, filters, channels and scrims – that move, constrict, dilate, rarefy, condense or form vortexes in response to cues, rhythmic patterns, or simply the intoxications of whim.” – sanford kwinter [1]

15/06/2012 § 3 Comments

photographer unknown,  image of inside outsides workshop

structures and veils

at first the idea of curtains was purely a visual game in the architect’s models and representations: textile scraps were inserted as placeholders, very decorative elements with large birds and flowers – a counterpoint to the clean, sculptural form of the white concrete building.  we soon forgot about decorations and colours and began to interpret the curtains as walls, facades, integral parts of the architecture, structures that complete a room.

as the public rooms [of casa da musica] became more and more colourful and decorated – to radiate colour into their surroundings, to implement local culture and to imply their use – we realized that all curtains should be colourless, more restrained objects.  spatial effects would only be triggered through structure and scale, with light, weight and movement.

as the requirements and expectations of the curtains changed, we did tests for each room and each function; from one material to another; from whites to blacks, thin and thick, rigid and fluid.  this process was useful because by going through these many tryouts, the entire team learnt that even the smallest shift in position, scale, material or structure has a considerable impact on the performance and potential of a room.  it is always a delicate balance: solving too many issues with textile – making them too present – could work against the stark structural character of the building.

in the end we made six separate curtains for the large concert hall [casa da musica] – three layers on each side – measuring between 13 and 15 m in height and 22 m in width; three curtains for the small auditorium – measuring between 12 and 7 m high by a 17 m wide; and two curtains for the rehearsal studios below ground, measuring up to 8 m high by 65 m wide.

some of these layers hardly claim any space and disappear as quietly as they come.  others, however, have a three-dimensional rhythmic structure and take up space as much as they are space  in themselves; walls of varying degrees of transparency and mass that fold upwards into ceilings or sideways into hollow walls.  each of them adds to the acoustic and atmospheric definition of the rooms, together with sound-reflecting and absorbing surfaces, orchestra pit and public – with all planes, forms and volumes, hard and soft, porous and massive.

– petra blaisse from her studios book ‘inside outside’ [2]

 

test fifty times, build once

a young hare

 

 

notes:

[1]     Kwinter, Sanford. “The Garden and the Veil.” Inside Outside. Ed. Petra Blaisse. Rotterdam: NAi, 2007. 500. Print.

[2]     Blaisse, Petra. “Curtain as Architecture.” Inside Outside. Rotterdam: NAi, 2007. 365 – 358. Print.

[image]     today’s image can be found on page 408 of petra’s beautiful publication inside outside.  unfortunately i have not been able to find the photographers name.  so no credits can be given. yet…

[more blaisse]     for more oma – blaisse collaborations mentioned here on ayh check out this post on the dutch house.

“it is not a question of simply occupying the house as some kind of irritant that will always in the end be domesticated but of reproducing the space, endlessly retracing its supposed limits to identify the strange logic that produces the effect of limits in the first place, making the very sense of enclosure uncanny.” – mark wigley

30/05/2012 § 2 Comments

aires mateus architects, casa areia (2010)

 

more from the venice biennale of 2010: aires mateus architects casa areia consists of a set of conditioned individual sleeping areas and more “natural” communal spaces.  the living room and kitchen have sand floors heated for comfort; the unfamiliar tucked away in the familiar.

 

searching for the uncanny

a young hare

 

 

notes:

[title]     Wigley, Mark. The Architecture of Deconstruction: Derrida’s Haunt. Cambridge, MA: MIT, 1995. 162. Print.

[image]     more images of the complete set of structures available at dezeen.

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