harrythomasday:

The Restored Commonwealth Club

http://adamjbell.tumblr.com/

 

Members enter the club and undergo a number of rituals to depart their original realm and enter the realm of the club, the cloakroom is the main point of transition, disrobing and re-assembling. 

The club has gone through a number of transitions in line with the state of the empire and the development of the Commonwealth, the ideological charge is released through the club’s details.

The realm of the Restored Commonwealth is manipulated by the movement of the Empire Clock.

The hands do not just indicate the time (past / present / future) they also dictate the spaces that occupy the realm at that given moment.

This results in a realm that is in a constant state of flux, jumping time, space and gravity.

The mnemonic details of The Restored Commonwealth Club considers the design of human / non-human interfaces fusing the role of the member and the detail, resulting in the interwoven fabric of the gentlemen’s/non-anthropocentric club.

The Restored Commonwealth Club - film

http://vimeo.com/97053372

reality-is-not-real:

SR003 | LIGHT

© lc + gbdh

marianbijlenga:

2004-2006

Spatial Drawings: Marian Bijlenga’s Textile Structures

Marian Bijlenga’s work defies the usual categories. She makes graphic, transparent structures, but where another might do that with a pencil or brush, she ‘draws’ with thread, horsehair and fabric. It is a surprising combination of drawing and material, and one for which her name is known around the world. Enigmatic signs guide the way to meaning, networks condense back into themselves, rasters vibrate with impromptu encounters and hair-thin lines. The eye is continually spurred on to unravel structures in crisscrossing lines, to make connections amongst fragments that balance perfectly on the edge of chaos.

Textiles were the first art form with which Marian Bijlenga came in contact. In Loenersloot, where she grew up, she knew Herman and Desirée Scholten, both textiles artists. When she studied art at the Rietveld Academy in Amsterdam, textiles were the field she chose. But seeking a more direct approach, she had no interest in the loom. She experimented instead with techniques for knitting and making felts, and began arranging threads dipped in glue. In these works, the motion of the hand is immediately transposed in a rhythmic pattern, a working method closely related to writing. For inspiration, Bijlenga made countless series’ of drawings of handwriting. In the act of writing, she watched how the line crystallized into letters, into words, and again into lines of writing, but she also kept her eye on the white spaces that remained. ‘I make spatial drawings. The wall is for me what a sheet of paper is to someone else,’ she explains. Suspending the flexible textile work a small distance away from the wall, she then adds another dimension. Her patterns become paraphrased in quivering lines of shadow.

Later, Marian Bijlenga began reinforcing her textile structures with horsehair, a material that offered her new visual challenges. These long, thin filaments work for her as crosshatching does for a draughtsmen, creating shadows and a sense of three dimensions. Turbulent lines alter themselves in swirls of eddying water. Stones magically rise up, evoked from angular forms. Wispy lines suggest a face you recognize. The patterns became increasingly complex.

Marian Bijlenga then sought the trail back home, and her work became limited to pure pattern, or to something perhaps even more minimalistic – empty spaces within frames. ‘The dot represents silence and the interruption of a fluid argument,’ wrote Kandinsky in his famous Bauhaus text, ‘Punkt und Linie zur Fläche’, published in 1926. The work of Marian Bijlenga originates in a flowing dialogue between word and act, a continual process of becoming that can be compared to processes of growth in nature. ‘The purpose of theoretical research is to find the life,’ claimed Kandinsky. He would agree that Marian Bijlenga has succeeded in doing that, not through theory, but seemingly with no effort at all.

Anne Berk 2004

archidose:

Chyna Izundu, University of Westminster, DS17
The Botanical Vivarium, 2014

archidose:

Chyna Izundu, University of Westminster, DS17

The Botanical Vivarium, 2014

icancauseaconstellation:

Instituto del Patrimonio Cultural de España

Fernando Higueras (1930-2008) and Antonio Miró (1931-2011)

Madrid, 1960-1990

Source

(Fuente: wherearchitectureisfun)

nevver:

Summer over the city, George Steinmetz

likeafieldmouse:

Brendan Austin - Mirage (2012)

ryanpanos:

Moshav Villages of Israel | Via

Moshav is a type of agricultural community in Israeli consisting of a group of individual farms. The moshav is generally based on the principle of private ownership of land, emphasis on community labor and communal marketing. Workers produce crops and goods on their properties through individual or pooled labour and resources, and use profit and foodstuffs to provide for themselves. The farmers pay an amount of tax and this money is used to provide agricultural services to the community, like buying supplies and marketing the farm produce.

The first moshav was established in the Jezreel Valley in 1921. During the period of large-scale immigration after the creation of Israel  in 1948, the moshav was found to be an ideal settlement form for the new immigrants, almost none of whom were accustomed to communal living. By 1986 about 156,700 Israelis lived and worked on 448 moshavim.

arkitekcher:

Popular Cable Car Station & Civic Center | Architectureyes
Location: Rio de Janeiro, Brazil  |  Video

- The transportation system is an excellent demonstration of how the built environment can influence our daily lives. In the context of the extensive Brazilian “favelas”, where a large amount of population is isolated in the bowels of the city, it is necessary the presence of strong cores of urbanity and connectivity.