Anish Kapoor
Form
and
Curiosity
Monday 30 March 2009
Richard Wentworth: Making Do Getting By
Richard Wentworth:
Making Do
Getting By
Since the mid 1970s London-based artist Richard Wentworth has been documenting aspects of everyday life in an on-going project called Making Do and Getting By. As well as an outdoor video projection, a selection of photographs were exhibited at Jonathan Smart Gallery, High Street. In 2001, these same works were placed in dialogue with photographs by Eugène Atget who documented life in Paris at the turn of the twentieth century - the exhibition Faux Amis (The Photographers' Gallery, London) revealed an on-going fascination with city life. For Atget it was fin-de-siècle Paris, a working, living city with its newly constructed boulevards and tiny laneways: for Richard Wentworth, a century later, it is the discoveries he makes in
built-up city environments
where simple everyday objects
are made to do unlikely but
extraordinarily useful tasks.
If Atget's images capture the 'adaptable, recyclable city', Wentworth's are a celebration of the pragmatic, of an irrepressible DIY human ingenuity. As one writer has suggested, 'no object exists in the world that cannot be used, reused, disassembled, altered, or adapted once it has served its original purpose...no, even while it serves its original purpose'. The fact is, economising and improvisation are basic human traits...or as Wentworth says: it's about making do, getting by.
Making Do
Getting By
Since the mid 1970s London-based artist Richard Wentworth has been documenting aspects of everyday life in an on-going project called Making Do and Getting By. As well as an outdoor video projection, a selection of photographs were exhibited at Jonathan Smart Gallery, High Street. In 2001, these same works were placed in dialogue with photographs by Eugène Atget who documented life in Paris at the turn of the twentieth century - the exhibition Faux Amis (The Photographers' Gallery, London) revealed an on-going fascination with city life. For Atget it was fin-de-siècle Paris, a working, living city with its newly constructed boulevards and tiny laneways: for Richard Wentworth, a century later, it is the discoveries he makes in
built-up city environments
where simple everyday objects
are made to do unlikely but
extraordinarily useful tasks.
If Atget's images capture the 'adaptable, recyclable city', Wentworth's are a celebration of the pragmatic, of an irrepressible DIY human ingenuity. As one writer has suggested, 'no object exists in the world that cannot be used, reused, disassembled, altered, or adapted once it has served its original purpose...no, even while it serves its original purpose'. The fact is, economising and improvisation are basic human traits...or as Wentworth says: it's about making do, getting by.
Case study: My website
Good example of showing
my works and building my
own website
http://www.lissongallery.com/#
my works and building my
own website
http://www.lissongallery.com/#
Thursday 19 March 2009
Thursday 12 March 2009
Wednesday 11 March 2009
Sunday 8 March 2009
Slow Scape 1st Exhibition
My
Slow Scape
1st Exhibition
06-03-09
Ravensbourne
College
Slow scape03: Experiment of triangle form
Slow Scape02: Sunken scape
Experiment of shape and surface
Slow scape booklet: Analysis and ideas behind the project
Slow Scape
1st Exhibition
06-03-09
Ravensbourne
College
Slow scape03: Experiment of triangle form
Slow Scape02: Sunken scape
Experiment of shape and surface
Slow scape booklet: Analysis and ideas behind the project
Non-Standard Architecture Exhibition, Paris
Photos
from the opening of the
Non-Standard
Architecture Exhibition,
Pompidou Centre,
Paris, 2003.
Prototypes
The
Exhibition
&
Audiences
Photos from Mr. Rory Hyde
http://www.flickr.com/photos/roryrory/
Friday 6 March 2009
Case Study: FOA Foreign Office Architects Yokohama International Port Terminal Yokohama, Japan
Case Study
Foreign
Office
Architects
Yokohama
International
Port Terminal
Yokohama,
Japan
Site Plan
First Floor Plan
Second Floor Plan
Sections
The brief of the Yokohama International Port Terminal asked for the articulation of a passenger cruise terminal and a mix of civic facilities for the use of citizens in one building. The site had a pivotal role along the city's water front that, if declared a public space, would present Yokohama City with a continuous structure of open public spaces along the waterfront.
"Our proposal for the project start by declaring the site as an open public space and proposes to have the roof of the building as an open plaza, continuous with the surface of Yamashita Park as well as Akaranega Park.
The project is then generated from a circulation diagram that aspires to eliminate the linear structure characteristic of piers, and the directionality of the circulation." FOA
The project starts with what the architects have named as the "no-return pier", with the ambition to structure the precinct of the pier as a fluid, uninterrupted and multi-directional space, rather than a gateway to flows of fixed orientation. A series of programmatically specific interlocking circulation loops allow the architects to subvert the traditional linear and branching structure characteristic of the building. Rather than developing the building as an object or figure on the pier, the project is produced as an extension of the urban ground, constructed as a systematic transformation of the lines of the circulation diagram into a folded and bifurcated surface. These folds produce covered surfaces where the different parts of the program can be hosted.
The relation between the skin and the areas established by the structural folds of the surface is one of the most important arguments of the project in that the folded ground distributes the loads through the surfaces themselves, moving them diagonally to the ground. This structure is also especially adequate in coping with the lateral forces generated by seismic movements that affect the Japanese topography.
The articulation of the circulation system with the constructive system through this folded organisation produced two distinct spatial qualities; the continuity of the exterior and the interior spaces and the continuity between the different levels of the building.
The architects have used a very reduced palette of materials and details in order to explore further the continuity produced by the topography. Single finishes extend on the upper or lower side of the topography regardless of exterior or interior condition.
All secondary system that are applied to the steel topography, mainly wood-deck flooring system, glazing system and fencing/handrail system use a single detail along the length of the building and only vary to explore the geometrical variation across spaces. The ambition was to construct continuous but differentiated spaces along the length of the pier.
Foreign
Office
Architects
Yokohama
International
Port Terminal
Yokohama,
Japan
Client: The City of Yokohama Port & Harbour
Bureau Construction Department, Osanbashi
Passenger Vessel Terminal Maintenance Subdivision
Gross external floor area: 438,243 m2
Competition First Prize: 1995
Consruction start: 2000
Completed: 2002
Site PlanFirst Floor PlanSecond Floor PlanSectionsThe brief of the Yokohama International Port Terminal asked for the articulation of a passenger cruise terminal and a mix of civic facilities for the use of citizens in one building. The site had a pivotal role along the city's water front that, if declared a public space, would present Yokohama City with a continuous structure of open public spaces along the waterfront.
"Our proposal for the project start by declaring the site as an open public space and proposes to have the roof of the building as an open plaza, continuous with the surface of Yamashita Park as well as Akaranega Park.
The project is then generated from a circulation diagram that aspires to eliminate the linear structure characteristic of piers, and the directionality of the circulation." FOA
The project starts with what the architects have named as the "no-return pier", with the ambition to structure the precinct of the pier as a fluid, uninterrupted and multi-directional space, rather than a gateway to flows of fixed orientation. A series of programmatically specific interlocking circulation loops allow the architects to subvert the traditional linear and branching structure characteristic of the building. Rather than developing the building as an object or figure on the pier, the project is produced as an extension of the urban ground, constructed as a systematic transformation of the lines of the circulation diagram into a folded and bifurcated surface. These folds produce covered surfaces where the different parts of the program can be hosted.The relation between the skin and the areas established by the structural folds of the surface is one of the most important arguments of the project in that the folded ground distributes the loads through the surfaces themselves, moving them diagonally to the ground. This structure is also especially adequate in coping with the lateral forces generated by seismic movements that affect the Japanese topography.
The articulation of the circulation system with the constructive system through this folded organisation produced two distinct spatial qualities; the continuity of the exterior and the interior spaces and the continuity between the different levels of the building.
The architects have used a very reduced palette of materials and details in order to explore further the continuity produced by the topography. Single finishes extend on the upper or lower side of the topography regardless of exterior or interior condition.
All secondary system that are applied to the steel topography, mainly wood-deck flooring system, glazing system and fencing/handrail system use a single detail along the length of the building and only vary to explore the geometrical variation across spaces. The ambition was to construct continuous but differentiated spaces along the length of the pier.
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