Showing posts with label Space. Show all posts
Showing posts with label Space. Show all posts

Monday, 3 October 2011

In the introductory lecture to the seminar series time[space] this video encapulates an idea of time and space by inferring a real time narrative whilst traversing the city.  It also suggests dual time zones with a split screen and the rhythms of the city are also present.
Phaseone - Sugar


PHASEONE - SUGAR from Vadim Gershman on Vimeo.
Directors: Vadim Gershman & Ryan Powell
Writers: Vadim Gershman & Lea Sorrentino
Editor: Ryan Powell
Music: Phaseone
Track: Sugar
Produced by Vadim Gershman, Ryan Powell & Andrew Jernigan
http://phaseonenofun.tumblr.com/
http://vadimgershman.info
http://dmndtv.com

Tuesday, 15 December 2009

Wednesday, 25 March 2009

The Spaces between Buildings

In the book The Spaces between Buildings, Professor of geography Larry R. Ford analyses the role of Space. The book encompasses three photographic essays: Buildings and the Spaces around Them, Lawns, Trees, and Gardens in the City and Places for Driving, Strolling and Parking.

Ford focuses on particular aspects of Urban Spaces, highlighting the importance of the Spaces in between buildings, as well as the actual physical buildings themselves. For instance, Ford questions 'when does "space between buildings" become "open space containing buildings?"...


Well worth a look...


Ford, L. (2000) The Spaces between Buildings. London: The Johns Hopkins University Press.

Wednesday, 4 March 2009

PCAD 500 Course Content: Session 6 (Click Here)

Sited Art/Sculpted Space: The final session in the series revisits land art; public art; commissioned art for the public realm and the oeuvre of non-galleried, situated artwork.

http://www.guardian.co.uk/artanddesign/2007/may/15/art1

Antony Gormley: Event Horizon, 2007
Sited art discourse is murky territory in that it questions a particular artwork's connectedness to site, that is to say, it is often intangible and irrelevant. What are these spaces, then, if not art 'zones' or, critically, 'zoos' for art; the designated, government funded and sanctioned spaces set aside for creative output having neither connection to or empathy with their respective settings. Do we now view the legacy of land/public art as a rethinking of land/'scapes', temporary or permanent, or are they now looked on as mythological places that can neither be visited or experienced unless we embark on pilgrimages to such inaccessible and distant sites? Read Gormley's comments in the Independent and think on...

Friday, 30 January 2009

Place and Space

Whilst researching place and space this week, I came across an artist called Krzysztof Wodiczko. His projected images are integrated into the architecture of the building or monument, whether a facade, an arch, a column, a flight of steps, or a statue. These buildings or monuments have often become part of the scenery for passers-by (space). Through images the artist raises questions that renew and update the building's basic function. In a way he enriches, transforms and manipulates the initial message of public architecture in order to shock, to denounce and to arouse public opinion.

Thursday, 29 January 2009

American Land Art Movement Part 2

Robert Smithson’s ‘Spiral Jetty’ is another iconic land art work. Tons of earth and basalt were moved to create a large spiral in the great Salt Lake, Utah. The materials used were local. The work has been changed over time by the formation of salt crystals and the changes in water level, as the artist intended.



Christo & Jeanne-Claude also made many interventions in the landscape which dramatically altered the appearance of the space. They are famous for wrapping buildings- notably the Reichstag, altering it’s appearance and changing perception of what it stood for. They made many works in the landscape, often dividing areas - Valley curtain in Colorado and Running Fence in California - with large sheets of nylon and other materials. The surrounded islands in Florida are very spectacular. The strong message is about boundary and territory. Their works are temporary and involve the use of much labour and materials, but do not leave any impact.


www.channel4.com/culture/microsites/B/bigart/gallery_2_gallery_2.html
www.independent.co.uk/news/world/americas/its-a-wrap-the-wonderful-world-of-christo-489276.html
www.christojeanneclaude.net/errors.html

Wednesday, 21 January 2009

Group Identity and Stereotypes

Pensioner – Pensioners have a very negative image. ‘Pensioner’ conjures up a group of white-haired elderly people, probably having lost many of their faculties, perhaps living in retirement homes – all sat in chairs around a room. Social events portrayed are usually things like bingo or lunch clubs. Many of the problems that pensioners face – poverty, isolation, ill-health are real and contribute to this image. If older people are active and leading interesting lives they are often treated in a very patronizing manner, particularly by the media. There are numerous older people living rewarding and constructive lives, but as a group they are generally considered apart and not on the same wavelength as the rest of the population.

Pensioner Space.
In America there are ‘retirement communities’ where the whole population is over 55. Although at first sight these look a bit like ‘the Trueman Show’, there are many benefits for people living in these communities. You have to be quite comfortably off to afford to live in such a place, but the facilities are excellent, there are sports activities and social activities of all kinds and they are set in large acreages, often in areas with a good climate such as Florida. Here pensioners do not have to face the many difficulties of the wider world that older people often fear– random crime, aggression, isolation. However it is very false to live with such a limited range of similar people in a small community.
http://www.thevillages.com/

Southerner. I was born in Brighton and consider myself a southerner and feel more at home in the south. The general image of southerners, particularly those from the south east is probably slightly stand-offish and well-off as opposed to friendly, down-to-earth northerners with ever open doors. These are both a false stereotypes, but reinforced by advertising and television programmes.
I lived in Norfolk for 25 years, a county notorious for being unwelcome to non-Norfolk people and having a ‘drawbridge’ mentality. Geography is often cited as the reason for the closedness of Norfolk society – Norfolk is not on the way to anywhere else, it is the end of the road. I had a good life there and did have some good friends who were Norfolk-born, but most of my friends were incomers whose husbands job’s had taken them to Norfolk and who were more open to outsiders. The Norfolk accent is very particular. Regional (and class) accents are another way a group of people can recognise each other and join together or exclude others.

Tuesday, 6 January 2009

Watch 'Powers of Ten' Here

This film is a stalwart of architecture schools everywhere. Notions of scale and spatial relativity bring a micro / macro view of our world.
© 2006 Lucia Eames dba Eames Office