◌ New Clear Dawn
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16:41
18 Apr 2012
8 notes Deconstructing Reality by Gordon Matta-Clark
15:54
29 Mar 2012
14 notes i worked from home on Mies van der Rohe’s 126th birthday, so i wasn’t in the office to have a celebratory cup of tea in my Farnsworth House mug. I’ve also run out of tea, so not only am i late to the party, but i’ve brought a mug full of beer. (please excuse my dead eyes)
12:24
26 Jan 2012
17 notes
13:50
22 Jan 2012
4 notes The Connection of Painting to Architecture by Solomon Nikritin Also, before I forget, this was the other standout piece in the exhibition. This thing was huge, nearly two metres tall. I’ll let the exhibition audio commentary do the talking: This painting is a manifesto in itself. At first glance, it may seem like a collection of geometric forms.  But as you continue looking, you can see a human figure almost vertically dividing the canvas into two.  The figure is reminiscent of cubist experiments, especially the face, which is recorded from several angles at once.  At the bottom however, the form – and the geometry surrounding it – is drawn in a more schematic way, more like an architect’s plan.  The title then isn’t surprising:  The Connection of Painting to Architecture. Solomon Nikritin made the work between 1919 and 1921.  Nikritin was a Suprematist — but unlike many Suprematists who turned to producing functional art, he never abandoned painting.  In fact, he was interested in mass production and how painting might accommodate itself to it. Surprisingly, his inspiration came from a capitalistic source:  American mass production car manufacturing. There was this American engineer, Frederick Taylor, who had a theory for a new system of how to increase the productivity and this theory was taken later on by Ford who did the cars, who invented this belt in the factories for better organised production, that you produce more with less movement.   Nikritin tried to apply this theory to the arts.  His experiments were perhapsmost clearly understood in theatre, where he asked actors to move less and make fewer gestures — in order to express more.  Complicated as it sounds, he also tried to use this principle in his drawings and paintings.  He suggested ideas for organising materials according to various types, and believed that painting and architecture could work together so as to create objects for mass production — to do more with less. i’m slightly annoyed that i couldn’t find a version that wasn’t watermarked.
13:38
15 Jan 2012
203 notes
11:02
15 Jan 2012
2,241 notes melaniegarza: ryanpanos: Subterranea | Excavating spaces from the depths of the mind « dpr-barcelona Subterranea by Rick Gooding. Courtesy of Woodbury University School of Architecture In an era of digital representation, Gooding celebrates the precise and beautiful craft of manual drafting. He works without rulers or measuring devices and carefully constructs his drawings using the most basic architectural drafting tools: a straight edge, a 314 pencil, and an eraser and erasing shield. Gooding works exclusively in black and white. The simple palette occasionally produces Escher-esque qualities. Subversive flips of figure/ground and slips in optical logic confuse the readings of these rigorously constructed drawings. Click link.
10:54
15 Jan 2012
17 notes
17:12
13 Jan 2012
644 notes
19:15
09 Jan 2012
122 notes
17:26
04 Jan 2012
6 notes Philip Johnson’s sculpture gallery (1970), photographed by Julius Shulman