//task _1_// 8x favourite
Kicking off the year is exploration of what makes us, US. We were asked to shortlist of our various Favourites.
The collection represents inspiration, aspiration, emotional connection and simply what we like for reasons sometimes unclear to ourselves! (and these are perhaps the best ones, allowing pure enjoyment without in-depth forensic style analysis to which we are so used to in academia).
Assembling the THINGS provided a moment for reflection and crystallization of the core 'I'- surprisingly choosing just one item for each category was not as easy and obvious as expected! Results of hours of pondering are:
1: drawing by
me :
sketch of The Fallingwater House/ Kaufmann Residence by F. L. Wright [sketch c. 2004]
The streamline classic structure fuses the 'in' & 'out' through expanses of picture windows and cantilevered planes allowing for feeling immersed in the surroundings. Although the house does not directly reflect the organic landscape in its immediate vicinity, it it focuses attention on the relationship between the two by contrast. Aesthetic and philosophy principles guiding the project still hold currency after 74 years since completion. I have always found it utterly inspiring and beautiful. Additionally, this is one of the drawings I made in preparation for sitting exams as part of university application, and nostalgic memories of the nerves and excitement of what was to be a deciding point in my life make this sketch of special value to me.
2a: drawing by
someone else :
painting Peinture 162x310, 14 Aug 1979 by Pierre Soulages [1979]
"Soulages, who works in southern France in a studio looking out over the sparkling Mediterranean, is famously known for switching direction halfway through his career to emphasise how light is reflected from the colour black - a concept he calls "ultra black", or outrenoir."
I have been lucky enough to see the painting in flesh- and it is captivating. The thick layers of black on black paint are irresistible. It look all the strength not to physically experience the tactile quality of the artwork's sections created by use of different brushes.
/source// http://www.pierre-soulages.com/images/repros/p162x310_14aout1979.html & http://www.telegraph.co.uk/expat/expatnews/6325178/Black-is-the-new-black-for-Pierre-Soulages-Frances-best-known-living-artist.html /
2b: drawing by
someone else :
litograph Relativity by M. C. Escher [1953]
The composition represents my fascination with human perception and how it can be manipulated or affected by each person's predispositions, experiences or through external processes/ technologies (e.g. 'Inception'). The drawing also delivers ongoing play with our eyes- chasing the end of stair flights, attempting to establish a definite stable point of reference...It is just so much fun!
/source// http://en.wikipedia.org/wiki/Relativity_(M._C._Escher) /
3: built object :
Fallingwater House, F. L. Wright
please refer to point 1.
/source// http://art.state.gov/exhibitiondetail.aspx?id=105500®ion=EUR&pid=109 /
4: designed object :
silver & black Swarovski stone ring by W. Kruk [c.2007]
Intricate feminine silverwork and simple faceted stone with masculine character. The strength of the opposites.
5: book on
architecture :
The thinking Hand by J. Pallasmaa [2009]
Pallasmaa highlights the importance of the brain (inner self)- hand- pencil connection in artist's everyday life: understanding through to conveying ideas. Departure from engaging the hand as part of the thinking, designing, outlet skill set in favour of the digital tools leads to architects handicapping themselves.
"In this book Pallasmaa progresses his case for a multi–sensory approach to architecture, espoused in The Eyes of the Skin , by taking a wider view of the role of embodiment in human existential reactions, experiences and expressions as well as the processes of making and thinking. ‘ The Thinking Hand ’ is a metaphor for the characteristic independence and autonomous activity of all our senses as they constantly scan the physical world. Many of our most crucial skills are internalised as automatic reactions that we are not consciously aware of. Even in the case of learning skills, the sequence of movements in a task is internalised and embodied rather than understood and remembered intellectually. Prevailing educational philosophies continue to emphasise conceptual, intellectual and verbal knowledge over this tacit and non–conceptual wisdom of our embodied processes, which is so essential to our experience and understanding of the physical and the built."
/source// http://www.amazon.co.uk/Thinking-Hand-Architectural-Design-Primer/dp/0470779292 /
6: book on
non-architecture :
Pin-up Grrrls by M. Buszek [2006]
This is an ongoing reading. For a while now I have been interested in the 50s-60s art of pin-up. Despite being seen as derogatory to women the book (any a multitude of other mateirals on the subject) point out how the pin-up has been a source of power and expression of independence of women since long before the mid 20 century. It is both entertaining and informative (and wonderfully cheeky!)
7: film:
Inception by Ch. Nolan [2010]
Origami City: This idea of bending rules of reality without being caught, alternating one's memories and life, rummaging through one's subconscious but above all: recreating one's world make this movie an absolute favourite of mine. The way in which it was filmed and sequence such as mirrored townscape of Paris, building bridges as you go and rotating corridors touch on the subject of Necker Reality or perceptual psychology. City as designer's (literal) playground is an enticing concept.
/source// http://www.impawards.com/2010/inception_ver14_xlg.html /
8: hero :
TGV Terminal, Satolas by Santiago Calatrava [1989-94]
I first came across Calatrava's work at the very beginning of my architectural education as part of a building study assignment. The case study was the Satolas terminal complex, which demonstrates the architect/ engineer's flair and ability to push building materials and structural elements to their maximum capacity. Dynamic forms, which are a signature of this dually trained artist, are a statement to the power of knowledge. Deceptively fragile elements he designs serve to show that strength and finesse can be one and the same.
I would not consider him as my personal hero, but respect and a level of awe are definitely present.
/source// http://www.flickr.com/photos/62102025@N08/5643934505/in/photolist-9AJD6B-bD5CtU-bRZof4-bD5DoS-bD5CAQ-bD5CV9-bRZkrB-bD5zXJ-bD5xsw-bRZg9p-bRZgmM-bRZnKv-bRZkjF-bD5zJh-bRZgWM-bD5yn3-bD5xEY-bRZn6z-bD5A7m-bRZhdV-bD5zr3-bRZngF-bRZjHB-bD5yxL-bRZmkr-bRZo4i-bD5z7s-bRZkbZ-bRZjzK-bRZjun-bRZnUT-bRZnC8-bRZgNt-bRZgzr-bRZmL6-bRZjRZ-bFjn8a-bWnpSS-bWnoU1-bWnnC3-bWnrgf-bD5yZ5-bD5BZf-bD5yNC-a7hLpy-a7eKkk-a7hFmY-a7hHhQ-a7hKFq-a7eSkH-a7eM2p /
