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spherical granules mars
tom moody on appropriation art
FutureHouse via jetset modern
atomic ranch launch
Simmons Hall dormitory at MIT
..."Holl said his design was inspired by a bath sponge."
"Thomas Pynchon's novel, Gravity's Rainbow, declares an ambition to make physics become metaphysics; Douglas Huebler's work relates to Pynchon's in a vital respect, which is that Huebler seems to want to make the "sociological" achieve an analogous transcendence. By this I mean that Huebler wants to make ways of documenting events stand for a larger paradigm, one that can contain enough of the conditions of experience in the real world to stand as a sort of model for ordinary language itself. In Huebler, sociology—events in the real world—becomes a sort of phenomenological linguistics—language in the real world. This happens via a procedure which in Huebler's recent work, of which Duration Piece #7, 1973, is a useful example, employs a metonymical structure to present an event in the real world, and, by doing so, illustrates the incompleteness—reflexiveness—of ordinary perceptual experience in a way that is newly clear. Huebler's work is about the "deconstruction" of the familiar."
A bearded hippy wearing only his underpants emerges from what appears to be a subterranean concrete bunker. He's followed by a shaggy man in overalls, a topless woman with long hair, and another, and another, like clowns from a Volkswagen. A voiceover informs us that these people are leaving behind an "indescribably large house...with all the possible comforts, and with all the pieces of modern furniture on the market...built following all ancient and modern styles, forming a homogenous and pleasant whole."
The movie, Ceremony, is one of five films (together called Fundamental Acts) that the Italian avant-garde architecture collective Superstudio planned in the early 1970s to communicate their radical vision of an ideal world: one devoid of architecture. This vision is chronicled in
Superstudio: Life Without Objects, an ambitious retrospective of the firm's conceptual work from 1966 to 1978 currently spread across several New York galleries.
Vanity and Validation
Films celebrating the design and construction of projects by celebrity architects are now ubiquitous. But do we actually learn anything from them?
(spoiler: "no")
scrapping noguchi bayfront park miami
whole-town makeover
"You failed! The point is to be uninteresting. But you can have a second chance."
- bob
raiders of the lost...
(06/03 blog story picked up and elaborated on in 03/04 vanity fair magazine)
John Stephen, the fashion designer, who has died aged 69, was "the King of Carnaby Street" in the 1960s, when his clothes, which were worn by members of the Beatles, the Rolling Stones, the Bee Gees and the Kinks, created a revolution in men's fashion.
greendale the movie with director bernard shakey
hermes 'chaîne d'ancre'
"metaphors rise in harlem sky"
paolo soleri
6 1/2 x 9 inch black and white photograph by Haus - Rucker Co. titled:
Yellow Heart
There is a label on the back reading Yellow Heart, Haus - Rucker - Co. 1968 Model and a Haus - Rucker stamp ( with address ).
"You think you really know me"
- gary wilson
Abstract: Frederick J. Kiesler, born in Cernauti in Romania on September 22 1890, presented Endless Theatre design based on the concept of endless space in 1924, showing his thoughts on non-territoriality of space, which went beyond the modern functionalistic thinking. Being presented through egg-shaped Continuous Construction (1934) and Endless House (1952), his thoughts on The Endless escaped from metaphysical concept of space through Correalism and Biotechnique, and became critical of modern functionalistic concept of space. Following Kiesler, Philip Johnson invited seven deconstructionist architects to the Museum of Modern Art held in New York 1988, which made deconstructionist construction emerge. However, deconstruction of concept of space and non-territoriality of space, both of which are found in deconstructionist construction, date back to the oval structure used by Kiesler in the Endless Theatre in 1924. With continuous curved surface, this structure showed that it could maintain a shape structurally without column or frame. This brought paradigm shift from the conventional thought that floor, wall, ceiling and column, which are structural elements of construction, are primary elements in shaping space. This shift matches to deconstructionist ideas. Egg-shaped curved figure proposed by Kiesler has no corner and its surface is a continued one, showing non-territoriality of space best. This non-territoriality is found equally in the Roof Top Remodeling proposed by Coop Himmelbau, deconstructionist architect. Giving up conventional concept of space, Coop Himmelblau embodied non-territoriality of space in construction by excluding wall, column and roof, in order to bring total liberation from all conventional traditions and customs of construction. This is similar to the concept of the Endless proposed by Kiesler.
Therefore, the methodologies and objectives of this study are to understand the correlationship between Kiesler and deconstructionist non-territorial expression of space through theoretical observation, and identify the correlationship of non-territorial expression of space by analyzing the construction works made by Kiesler and deconstructionists.
revisiting "I didn't want to get involved"
tupperware: the movie
7 x 9 1/2 black and white photograph of:
Yellow Heart
Designed in 1968 by Haus - Rucker - Co.