inspiration & influences
May 20th, 2012

Cecil Balmond on Intuition

Intuition is a more evolved sophisticated level of instinct. Instinct is immediate; it is an instant recognition of pattern. Essentially it is pattern for survival. Intuition is something different. It is a force that deliberately extends those patterns of survival. The spur of creativity, the hidden catalytic is intuition. The sharper and more honed the intuition is, the more creative the choices. The person with the sharper intuition will create more, because they are navigating those paths for survival. Pattern is fundamental to us; it is everything. There are those patterns which, as we grew from Neolithic man, existed as physical, geographic location patterns. On one level, we learned through trial and error that certain repeats are safe. We changed our action then repeated those changes. Finally, we grew an awareness of recognition and pattern. We instinctively recoiled from dangerous patterns, this primed our senses. Gradually the priming evolved to a more sophisticated level. Now it’s the admittance of the dissimilar which pushes evolution forward, otherwise the pattern would ossify; we wouldn’t evolve. So the evolutionary force also seems to be a willful search for schisms and ruptures in the steadiness of the repeats. Instinct recognizes that the patterns have evolved.

As a designer, I have evolved to this moment in time by extending those patterns, whatever those patterns are, in a broad, abstract sense. I keep extending and pushing, pushing to get it right.

Instinct is conncected to the sub-conscious, and intuition is connected to the conscious brain. I’m absolutely convinced the conscious brain has its own subversive elements; it will not accept repeat as completely safe. Intuition gets better, sharper and more refined. But it needs nurturing, it needs fertility, it needs irregularities. It will accept repeat for a while, but somewhere something happens, we want a change; it is absolutely primal to us, to seek change.

When on the journey, there is always that risk you don’t know. You trust that through the rigor it will be a journey that could be interesting, that’s the trust. If the rigor wasn’t there it would be highly speculative and whimsical; you might hit it because you just happen to get the parts right, but there are more chances of getting it wrong. It goes back to my evolutionary theory at the beginning and the survival patterns. The rigor gives you a certain safety in playing, in the journey, if you like, and still allows the ambiguity to come in, the generative. There is a risk element in it, risk by invitation, but we’re not philosophers, we work in the real and need the rigor, otherwise everything would just spin out of orbit.

Cecil Balmond in Models vol. 11

May 20th, 2012

on community design centers

One mainstay of community service through architecture is the community design center, some of which have existed for over twenty years and contributed a unique body of knowledge and great depth of experience. CDCs have come to represent great potential for a new form of professional practice.

Participatory design engages the public in decision making about the built environment. By valuing neighborhood and community leadership as essential to long lasting, useful social change, and creating alternative markets for investments, CDCs serve as advocates for social justice in an adversarial system of adjudication. The CDC advocates for something previously thought unlikely, if not impossible.

CDCs should remain small and focused on integrative planning and research. Problem and service based learning is a way of defining the problems of a community and is a continuous process for all participants. In order to generate community-based alternatives to proposals developed by non-residents; local values, interests, needs and concerns are vital. What is necessary is a locally controlled community development corporation with the capacity for comprehensive and integrative development. This often means creating affordable housing through preservation as well as development. The idea is to achieve a sustainable community building process that argues for balance and human dignity by defining the social demography surrounding each site in relationship to the constituency of the organizer.1

1 Rex Curry on Community Design Centers; Good Deeds, Good Design: Community Service through Architecture

December 18th, 2011

art as experience, john dewey (1934)

Art is prefigured in the very processes of living. A bird builds its nest and a beaver its dam when internal organic pressures cooperate with external materials so that the forms are fulfilled and the latter are transformed in a satisfying culmination. We may hesitate to apply the word “art”, since we doubt the presence of directive intent. But all deliberation, all conscious intent, growns out of things once performed organically through the interplay of natural energies. Were it not so, art would be built on quaking sands, nay, on unstable air. The distinguishing contribution of man is consciousness of the relations found in nature. Apart from relations of cause and effect in nature, conception and invention could not be.

The intervention of consciousness adds regulation, power of selection, and redisposition. Thus it varies the arts in ways without end. But its intervention also leads in time to the idea of art as a counscious idea- the greatest intellectual achievement in the history of humanity.

November 30th, 2011

the emotional character of a building


“we like the idea that our work starts from an awareness of the emotional character of buildings, from the associations that we make with their form and material. when the appearance, the acoustic, the smell of a building recalls a past experience or memory, one can be overtaken by a rush of emotions. our work rejects an abstract or diagrammatic architecture in favor of an architecture that is richly associative. the modernist pursuit of the ideal and the new for its own sake seems to us hopeless and irrelevant. we prefer characterful ugliness to calculated perfection.

quote from architects adam caruso & peter st. john
images by jenniferdowland

November 17th, 2011

rehab of galaxy inn on vine street for permanent housing

galaxy inn

The Board of Supervisors Tuesday approved the rehabilitation of a 34-unit motel in Hollywood as permanent housing for the mentally ill homeless, including veterans. The three-story Galaxy Inn at 1057 Vine St., now uninhabitable, will be renovated at a cost of $250,000 to create 32 efficiency units, each with a bathroom and kitchenette, and two manager units. The ground floor will include community rooms, offices, a commercial kitchen and a cafe open to the public.

The project is a partnership of Step Up on Second, a nonprofit mental health provider that has developed and operated permanent supportive housing for more than 15 years, and the Hollywood Community Housing Corp. Step Up on Second will provide built-in furnishings for each unit and two free meals a day for residents. The staff will also assess residents’ mental health needs and offer life skills and vocational programs and social and recreational activities. The funds come from a $20 million allocation pledged by the board in 2005 for the construction or renovation of year-round emergency shelters and additions to the support system for the homeless.

text from Curbed LA

November 15th, 2011

gerard caris and pentagonism

gerard-caris-pentagonism-studio

Armed with a fascination for the pentagon, Dutch sculptor and artist, Gerard Caris amassed an extensive portfolio charting the evolution of his geometrical studies in the form of paintings, relief sculptures, 3D sculptures and even architecture. Believing that he has introduced a new chapter in the history of art, he named his artistic pursuit Pentagonism.

gerard caris

November 13th, 2011

candilis-josic-woods and the epistemology of the everyday

The work of Candilis-Josic-Woods represents and attempt to inscribe architectural design within a perspective of knowledgeable and meaningful everyday spatial practices. Such practices are regarded as the interaction of a certain situation and a system of cultural dispositions. Inscribing architectural design within this perspecive means questioning architecture’s aptitude to turn a project into space. It means questioning the ability of architecture to ‘spatialize’ a project and thus recognize its limits. From this perspective, the criteria for architectural design are no longer the aesthetic or ethic presets or norms that are valid within the professional realm of architecture. Rather architecture’s ability to contribute to, and operate in, the realm of everyday spatial practices is at stake.

excerpt from Another Modern by Tom Avermaete

November 13th, 2011

esther mccoy at MAK center & new book printed by paperchase

“The MAK Center celebrates writer and historian Esther McCoy, the pre-eminent voice of 20th century California architecture. Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design, the first exhibition to present the life and work of Esther McCoy (1904-1989), recognizes an American original and affirms her unassailable role as a key figure in American modernism.”

show:
Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design
September 28, 2011 – January 08, 2012
This exhibition is the first to focus on the formidable range of architectural historian Esther McCoy’s practice, and affirm her unassailable role as a key figure in American modernism. Co-curators writer Susan Morgan and MAK Center director Kimberli Meyer have worked closely with the Esther McCoy papers–an invaluable primary source comprised of thousands of documents and photographs–housed at the Smithsonian Institution’s Archives of American Art, as well as local archives. Through photographs, drawings, texts, videos, and audio interviews, Sympathetic Seeing will highlight the extraordinary range and importance of McCoy’s work. The exhibition covers McCoy’s activist journalism focusing on fair labor practices and Los Angeles slum clearances in the 1930s; her work with Schindler first as a draftsperson and later a critic and historian of his work; the Arts & Architecture magazine years and the rise of innovative domestic architecture; her campaign to save Irving Gill’s 1916 Dodge House; and her always incisive stories that deliver an irresistibly compelling, first-hand view of American modernism.

Sympathetic Seeing is part of Pacific Standard Time. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.

Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

and new book:
esther_mccoy_book
Check out the MAK Center website and Paper Chase Press

November 5th, 2011

ordinary and banal

That the architecture of the next step is in pursuit of the ordinary and the banal does not mean that it has lost sight of its objective. Ordinariness and banality are the art source for the new situation.

a & p smithson from Another Modern

October 31st, 2011

happy halloween!

happy-halloween

by jennifer | Posted in design | No Comments » | Tags: , ,
October 31st, 2011

poison ivy!

poison ivy

by jennifer | Posted in rock | No Comments » | Tags: , ,
October 31st, 2011

shut up by george shaw

George-Shaw-014

George Shaw is a painter of nostalgia; his subject matter is drawn exclusively from a half–mile radius around Tile Hill, a post-war housing estate on the edge of Coventry in the West Midlands that was Shaw’s home until the age of 18.

reference: george shaw in focus

george shaw paintinggs_2011

shut up by george shaw

October 30th, 2011

aldo van eyck

aldo_van_eyck

In 1947, the architect Aldo van Eyck built his first playground in Amsterdam, on the Bertelmanplein. Many hundreds more followed, in a spatial experiment that has (positively) marked the childhood of an entire generation growing up in Amsterdam. Though largely disappeared, defunct and forgotten today, these playgrounds represent one of the most emblematic of architectural interventions in a pivotal time: the shift from the top down organization of space by modern functionalist architects, towards a bottom up architecture that literally aimed to give space to the imagination.

aldo_zaanhof

Immediately after the war, Dutch cities were in a state of dereliction. The housing stock was falling dramatically short in both quantitative and qualitative terms, which combined with a dysfunctional infrastructure, presented planners with the situation of an outright emergency. On top of that, this ravaged urban context was soon to be confronted with the birth peak of the postwar baby boom, whereas almost no space for children was available, neither inside nor outside the house. At that time, some playgrounds existed in the city, but almost all of them were of a private nature and based on membership of the fortunate few. Van Eyck’s playgrounds, initially build on temporarily unused plots of land, can therefore be seen as an emergency measure, but they had a significance far beyond that of a creative solution in a time of need.

source:aldo van eyck and the city as playground

aldo van eyck

October 30th, 2011

team 10

team 10
In 1974 Team 10 gathered in Aldo van Eycks garden in Loenen aan de Vecht.

Team 10

October 19th, 2011

richard prince

painting by richard prince

painting by richard prince


painting by richard prince

painting by richard prince

painter richard prince

by jennifer | Posted in painting | No Comments » | Tags: , ,





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