2011年2月28日星期一
UME
What is UME? UME is an independent international architecture magazine edited, produced, published and wholly owned by Haig Beck and Jackie Cooper. Between 1996 and 2007, 21 issues of UME were published: UME 1-7 are out of print but UME 8-21 are in stock. In 2007 UME went online, with all 21 issues available – free – as PDF downloads. From 2008 UME will be a digital magazine available only online as high-res downloads, again free.
http://www.umemagazine.com
http://www.umemagazine.com
2011年2月22日星期二
Jean Tinguely - Artist: Metamechanics, Kinetic Art
Universal Newsreel - Jean Tinguely 1960
Uploaded by glamourbomb. - Independent web videos.
rom WIKIPEDIA:
Jean Tinguely (22 May 1925 in Fribourg, Switzerland – 30 August 1991 in Bern) was a Swiss painter and sculptor. He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Tinguely's art satirized the mindless overproduction of material goods in advanced industrial society.
Tinguely grew up in Basel, but moved to France as a young adult to pursue a career in art. He belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed theNew Realist's manifesto (Nouveau réalisme) in 1960.
His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas.
In Arthur Penn's Mickey One (1965) the mime-like Artist (Kamatari Fujiwara) with his self-destructive machine is an obvious Tinguely tribute.
In 1971, Tinguely married Niki de Saint Phalle.
Jean Tinguely, Homage to New York, 1960 (view videofilmed by Robert Breer)
"Jean Tinguely was asked in 1960 to produce a work to be performed in the Sculpture Garden of the Museum of Modern Art in New York. In collaboration with other artists/engineers, among them Billy Klüver and Robert Rauschenberg, he produced a self-destroying mechanism that performed for 27 minutes during a public performance for invited guests. In the end, the public browsed the remnants of the machine for souvenirs to take home. This hommage to the energy of a city that keeps rebuilding itself time after time is a wonderful example of the different and sometimes conflicting conceptions of artists and engineers on how machines should work–and as such an early collaborative effort that foreshadowed the events staged by E.A.T.—as well as a document on the 60s with the rise of happening and performance.
See the vivid report by Billy Klüver."
Text from Media Art Net.
Jean Tinguely at work on Homage to New York (1960)
Courtesy Museum Tinguely, Basel, and The New York Times
Courtesy Museum Tinguely, Basel, and The New York Times
Sculpture Jean Tinguely in Nevada desert trying out his self-destruction machine sculpture.
Jean Tinguely
Working on "Meta-Matic No. 17"
Paris
1959
Jean Tinguely
Working with "Meta-Matic No. 17"
on the Champs-Elysees
Paris
1959
Jean Tinguely
At work
Paris
1966
"Homage to New York"
MoMA sculpture garden
1960
I would kill for a time machine right now....
Jean Tinguely
Dapperly welding "Bascule"
Paris
1968
Is that a Tinguely in front of the Duomo
or are you just glad to see me?
"La Vittoria"
Milan
1970
"La Vittoria"
Milan
1970
I mean really....
Oh Yeah!
I need a cigarette....
Do you think this
was the drawing
he showed to the Cardinal?
"Listen Father,
I have this GREAT idea...."
Madman!
Here he is in Niki de Saint Phalle's
"A Dream Longer than a Night"
1975
Building "Chaos 1"
Columbus, Indiana
(Really?)
1974
Installing "'Enfer"
for his exhibition
Münich
1985-86
Detail
(with puppy)
"Meta-Harmonie No. 2"
Frankfurt
1979
Belgium
1986
1978
Jean Tinguely
1987
Jean Tinguely
&
Fellow Madman Yves Klein
1958
Jean Tinguely
In front of "Klamauk"
Basel
1980
Jean Tinguely
'Schreckenskarrette-Viva Ferrari"
1985
Jean Tinguely
n.d.
(from here onMONDOBLOGthank you!)
2011年2月21日星期一
Just What Is It that Makes Today's Homes So Different, So Appealing?
The collage consists of images taken mainly from American magazines. The principal template was an image of a modern sitting-room in an advertisement in Ladies Home Journal for Armstrong Floors, which describes the "modern fashion in floors". The title is also taken from copy in the advert, which states "Just what is it that makes today's homes so different, so appealing? Open planning of course - and a bold use of color." The body builder is Irwin 'Zabo' Koszewski, winner of Mr L.A. in 1954. The photograph is taken from Tomorrow's Man magazine, September 1954. The artist Jo Baer, who posed for erotic magazines in her youth, has stated that she is the burlesque woman on the sofa, but the magazine from which the picture is taken has not been identified. The staircase is taken from an advertisement for Hoover's new model "Constellation",and it was sourced from the same issue of Ladies Home Journal, June 1955, as the Armstrong Floors ad. The picture of the cover of Young Romance was from an advertisement for the magazine included in its sister-publication Young Love (no 15, 1950). The TV is a Stromberg-Carlson, taken from a 1955 advert. Hamilton asserted that the rug was a blow-up from a photograph depicting a crowd on the Whitley Bay beach, but this cannot be confirmed. The image of planet Earth at the top was cut from Life Magazine (Sept 1955).[5] The original reference image for the collage from Life Magazine supplied to Hamilton is in the John McHale archives at Yale University. It was one of the first images to be laid down in the collage.[5] The Victorian man in the portrait has not been identified. The periodical on the chair is a copy of The Journal of Commerce, founded by telegraph pioneer Samuel F. B. Morse.[5] The tape recorder is of known make, but the source of the image has not been identified. The view through the window is a widely reproduced photograph of the exterior of a cinema in 1927 showing the premiere of the early "talkie" film, The Jazz Singer starring Al Jolson.
2011年2月17日星期四
2011年2月11日星期五
2011年2月8日星期二
2011年2月7日星期一
Justin Bell, Bartlett Student Unit 17
BARTLETT UNIT 17 YEAR 5 2009/2010
The project is an immigration centre, located in the post-flood alluvial landscape of a near-future Rio de Janeiro. The city developed with dream-like rapidity through colonialism, slavery, monarchy, military dictatorship and modernism. It is to be thought of not as a collection of discrete architectural objects, but rather as a single artifact, the dynamic and evolving product of cultural accretion.
Key to the generative process of the project has been the accessing and layering of this multitude of cultural, urban and architectural histories. Each period is accessed through the narrative of an individual protagonist. Through these players, common themes of landscape and flooding, arrival and encounter, are revealed then extended.
The imagined flood uncovers layers of the built, the unbuilt and the demolished. These are treated as equal and are brought into multi-perspectival dialogue with the new. Instrumental modernist projects and boundaries dissolve. Ships, as vessels of culture, become absorbed into the building fabric. Post-colonial theories of hybridity and dialogism are explored for their architectural potentialities, both through methodologies and through drawing itself, paper as microcosm of city. The architectural artefact is itself, like the city, a product of accretion
The project is an immigration centre, located in the post-flood alluvial landscape of a near-future Rio de Janeiro. The city developed with dream-like rapidity through colonialism, slavery, monarchy, military dictatorship and modernism. It is to be thought of not as a collection of discrete architectural objects, but rather as a single artifact, the dynamic and evolving product of cultural accretion.
Key to the generative process of the project has been the accessing and layering of this multitude of cultural, urban and architectural histories. Each period is accessed through the narrative of an individual protagonist. Through these players, common themes of landscape and flooding, arrival and encounter, are revealed then extended.
The imagined flood uncovers layers of the built, the unbuilt and the demolished. These are treated as equal and are brought into multi-perspectival dialogue with the new. Instrumental modernist projects and boundaries dissolve. Ships, as vessels of culture, become absorbed into the building fabric. Post-colonial theories of hybridity and dialogism are explored for their architectural potentialities, both through methodologies and through drawing itself, paper as microcosm of city. The architectural artefact is itself, like the city, a product of accretion
2011年2月6日星期日
2011年2月4日星期五
Hiroshi Nakamura
Dancing trees,Singing birds
Located in Ebisu, Tokyo, Bird Park is an apartment where people and birds can live in total harmony. We believe that the pleasure of living with nature can be communicated through architecture, and by living face to face with nature can raise the awareness of sustainable living in each individual. Architecture is usually seen to be concerned only with humans, but by expanding the target to plants and animals, we thought it could familiarise more people to architecture. It is an apartment sympathetic to both human and to the environment.The site is located in the very central district of Tokyo surrounded by trees over 20m high. We felt that such greenery was a precious asset to a crowded city like Tokyo, and wanted to preserve this forest ? to build with it rather than to build on it.We began the process by measuring the shape and the location of each and every tree with a laser pointer and created a three dimensional computer model from the collected information. Then we consulted a tree doctor and discussed how we could build without damaging the roots.The ‘huts' were constructed according to the location of the branches, leaving enough room for the trees to sway in the case of tropical rainstorm. Towards the top of the building, we located small birdhouses echoing the shapes of the ‘huts'.Living with the forest; to be able to smell the flowers, to hear the leaves blowing in the wind, and to be able to listen to the birds sing. Bird Park became a place where people and nature can form a close and intimate relationship with each other, and by forming such relationship, I hope to enhance the quality of life in each individual.
2011年2月3日星期四
New Local NY
2011年2月1日星期二
Video: The New City
Chapter 1: The New City focuses on the way we live, and how it will impact the way we move. Part of a four film series about the future of mobility “Wherever You Want To Go” is the first release under BMW Documentaries.
From the minds of some of the most influential scientists, academics, pioneers, and entrepreneurs of our time, this four-part documentary paints a unique picture of technology, culture, cities, our past, present and how it all relates to the future of mobility.
“Wherever You Want To Go” is not meant to provide definitive answers, but rather, to ask the right questions from the right people in an attempt to generate discussion, provoke thought and stir the imagination. As part of the Activate the Future website, viewers are also encouraged to click and comment on various points throughout the documentary.
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