20110831

YENDO’S NATURE « LEBBEUS WOODS


YENDO’S NATURE
by  LEBBEUS WOODS

There are several levels on which we lcan approach this small series of drawings by Masahiko Yendo. Made at the same time as his celebrated projects published in Ironic Diversion, these virtuoso pencil drawings are lyrical visions of a harmonious meeting of human and natural worlds. In them the natural landscapes seem as constructed as the buildings seem to have grown and evolved through geo-tectonic processes. While they remain distinctly different from one another, the buildings and landscapes interact creatively, somehow dependent on each other. The drawings’ lyricism—their exaltation of form and texture and meaning—differentiates them from actual situations where industrial architecture pollutes virgin landscapes. Something in the drawings convinces us that they belong together, even though our experience insists that they do not. Here we touch on Yendo’s sense of the ‘ironic’ or, perhaps the paradoxical nature of reality, which emerges from contradictions that can only be resolved through art and the heightened sensibilities it inspires.

Of the many pathways these drawings open for exploration is that of drawing. I have no interest or intention of reopening old discussions of the pros and cons of hand versus computer drawings—they simply go nowhere. I’m willing to grant, for the sake of exploration, that one day a computer will be able to draw exactly like Masahiko Yendo. I repeat, exactly, with all the infinitely varied tonality and all the nuance of texture, shading, and illusion of light and darkness. For that to happen, of course, the pixels of the computer drawing would have to be infinitely small, creating the actual spatial continuity of the hand drawing. Assuming that this technological feat could be achieved, what difference would there be between the hand and the computer drawing?

Absolutely none—if we consider only the drawing itself, as a product, as an object, which—in our present society—is our habitual way of perceiving not only drawings, but also the buildings they describe.

I repeat: absolutely none. IF, however, we think of drawings—even the most seductively product-like ones shown here—as evidence of a process of thinking and making, the difference is vast. Indeed, there is no way to close the gap between them. In the hand-drawn image, every mark is a decision made by the architect, an act of analysis followed by an act of synthesis, as the marks are built up, one by one. In the computer-drawn image, every mark is likewise a decision, but one made by the software, the computer program—it happens in the machine, the computer, and does not involve the architect directly. In short, in the latter case, the architect remains only a witness to the results of a process the computer controls, learning only in terms of results. In the former case, the architect learns not only the method of making, but also the intimate connections between making and results, a knowledge that is essential to the conscious development of both.

LW




20110829 Remake - Michael Bech Collage Sketch



20110829 Remake - Michael Bech Collage Sketch
Mapping Highrise

20110827

vernacular security : James D. Griffioen






vernacular security : James D. Griffioen:




In Detroit, the battle against diabolical intruders does not end until there is no more metal or anything else of value inside a structure. Somewhere between traditional measures of security and total abandonment, property owners use whatever resources and materials they have at their disposal to secure a building. This has resulted in a unique typology of buildings protected by an unintentionally beautiful array of defenses.

'via Blog this'

Google

Google:

'via Blog this'

20110825

Pinc House - The Lifestyle Developer




The Black Barn Prefab House, from the Pinc House Prefab , Black Barn is a modern adaptation of the Viking longhouse with exposed ceiling beams and strategically placed windows.. This beautiful yet simple structure comes in black calcimine with a tarred wooden roof and visible beams.



Landscape+Urbanism

Landscape+Urbanism:

'via Blog this'

20110821

boiteaoutils: # Building Landscapes by Lebbeus Woods



boiteaoutils: # Building Landscapes by Lebbeus Woods: Lebbeus Woods released a new article on his blog entitled "Building Landscapes" featuring works of Thom Mayne, Peter Eisenman, Robert Smithson and some of his beautiful drawings for the Korean DMZ.


Freedom Tower - Daniel Libeskind


Freedom Tower - Daniel Libeskind
Wilson Diniz




Save The Words



Save The Words

20110820

Damon Ginandes - Abztract

Damon Ginandes - Untitled


Damon Ginandes - Outpost
Abztract

20110819

Ruth Asawa . Asawa's Art . Crocheted Wire Sculpture



In the 1950s, Asawa focused on experimenting with crocheted wire sculptures like the ones shown here. She made the sculptures at home while looking after her six young children. Asawa had learned from Josef Albers, her teacher at Black Mountain College, to experiment using commonplace materials in new and original ways. These sculptures are made from iron, copper, brass and other types of wire. Asawa considers these sculptures three-dimensional drawings. Instead of the lines moving across the paper, the lines move through three-dimensional space. “I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.” If you could see these sculptures in person, you could view them at different angles and observe how they continuously change depending on your viewing angle.
Living room San Francisco 1969

Asawa learned the basic technique for making these sculptures in Toluca, Mexico in 1947. The Mexican villagers used a crocheting technique to make egg baskets from galvanized wire. The outside form of these sculptures comes from patterns that she drew as a young child on the farm. “We had a leveler,” she explained. “It was pulled by four horses. Any bump in the rows made it impossible to irrigate. The rows had to be even so every plant got watered. I used to sit on the back of the leveler with my bare feet drawing forms in the sand, which later in life became the sculptural forms that make up the bulk of my sculptures.” As the leveler advanced, Asawa swung her feet out and brought them closer together, so that the two lines in the sand diverged and converged and diverged again. The basic shape she drew in the earth can be seen in the hourglass form of her crocheted wire sculptures.
Ruth Asawa, Study, 1950.
Ink drawing based on paperfolding.

20110818

BLDGBLOG

BLDGBLOG: ARCHITECTURAL CONJECTURE
URBAN SPECULATION
LANDSCAPE FUTURES

BLDGBLOG ("BUILDING BLOG") IS WRITTEN BY GEOFF MANAUGH. THE OPINIONS EXPRESSED ON BLDGBLOG ARE MY OWN; THEY DO NOT REFLECT THE VIEWS OF MY EDITORS, EMPLOYERS, PUBLISHERS, FRIENDS, OR COLLEAGUES, WITH WHOM THIS BLOG IS NOT AFFILIATED.

concept robots

concept robots

Tony Fretton Architects - The Red House, Chelsea, London

The Red House, Chelsea, London 

As in a Dutch canal house or Venetian palazzo, the Red House offers a formal, composed facade to the street through which private life is brought discreetly into contact with the life of the city. Incomplete references to other familiar buildings and adjustments to the interior rooms’ formal themes capture the unexpected beauty of chance relationships. The rooms of the house are not fully fixed in purpose in order to make themselves available to personal experience and interpretation.

Tony Fretton Architects - DETAIL.de:

20110802

Print-Process / Product / Thierry Henry / Adrian Newell

Print-Process / Product / Thierry Henry: "Thierry Henry's 226 Individual goals scored for Arsenal.

Manchester based graphic designer, Adrian Newell has produced this
on-going project titled Scoreline, which graphically interprets goals scored in major football games."

Floda och Gagnef - Trafikverket Museer

Hängbron över Västerdalälven, Dala-Floda