It became a collection book with over 200 polaroids and eighty-four poems, called 'I journey with you here'. I just love polaroids, and I love the milky dreaminess of this journal, it makes you want to travel, travel, travel...
söndag 19 april 2015
Accidentely on purpose / comme par hasard by Kate McBride
Not long ago one of our friends had an exhibition at La Chambre Claire in Paris, her name is Kate McBride and she is based in Florence. She has since the early 1980's taken polaroids and written short poetic narratives as a travel journal. The polaroid being an instant medium, it catches exactly that moment and feeling of the place and the landscape.
It became a collection book with over 200 polaroids and eighty-four poems, called 'I journey with you here'. I just love polaroids, and I love the milky dreaminess of this journal, it makes you want to travel, travel, travel...
It became a collection book with over 200 polaroids and eighty-four poems, called 'I journey with you here'. I just love polaroids, and I love the milky dreaminess of this journal, it makes you want to travel, travel, travel...
tisdag 14 april 2015
We were there - Porto
Three years ago we visited Leça Swimming Pools by Alvaro Siza, north of Porto, Portugal.
Porto is a fantastic place to go for architectural visits (go if you haven't been!)
The pools were finished in 1966, but they have aged gracefully and do not feel decayed, despite the Atlantic oceans tough treatment.
The area is completely sunken down, out of view of the cityscape on the side and disconnected from the city, melting into the ocean as apart of it.
You are lead as in procession through the changing rooms, via a ramp down towards the ocean.
The pools are molded into the the cliffs with concrete of the same color as the stone, mixed with the natural water gatherings of the ocean side, it is sensational place.
I would love to revisit in the summer, it was early spring when we were there.
Porto is a fantastic place to go for architectural visits (go if you haven't been!)
The pools were finished in 1966, but they have aged gracefully and do not feel decayed, despite the Atlantic oceans tough treatment.
The area is completely sunken down, out of view of the cityscape on the side and disconnected from the city, melting into the ocean as apart of it.
You are lead as in procession through the changing rooms, via a ramp down towards the ocean.
The pools are molded into the the cliffs with concrete of the same color as the stone, mixed with the natural water gatherings of the ocean side, it is sensational place.
I would love to revisit in the summer, it was early spring when we were there.
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| Photo credits: Camilla Levin |
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| Photo credits: Camilla Levin |
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| Photo credits: Camilla Levin |
onsdag 18 mars 2015
You framed it so now I can see it
Krijn de Koning is exhibiting in Paris right now at Centquatre until the beginning of april.
When I woke up this morning I was looking at images of his Het groene huis from 2014 and it completely captivated me.
The effect that colors has on me (you as well?) is amazing and the way that he works with the environment around, the light and the perspectives framing it altogether is dreamlike to me.
He often works with rich environments like nature and ruins and in these photos,
it's just like scenography or footage.
When I woke up this morning I was looking at images of his Het groene huis from 2014 and it completely captivated me.
The effect that colors has on me (you as well?) is amazing and the way that he works with the environment around, the light and the perspectives framing it altogether is dreamlike to me.
He often works with rich environments like nature and ruins and in these photos,
it's just like scenography or footage.
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| Photo credit: http://www.krijndekoning.nl/ |
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| Photo credit: http://www.krijndekoning.nl/ |
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| Photo credit: http://www.krijndekoning.nl/ |
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| Photo credit: http://www.krijndekoning.nl/ |
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| Photo credit: http://www.krijndekoning.nl/ |
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| Photo credit: http://www.krijndekoning.nl/ |
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| Photo credit: http://www.krijndekoning.nl/ |
tisdag 17 februari 2015
American Bar by Adolf Loos
I went to Vienna last year and got a chance to re-visit Adolf Loos American Bar.
The first time I was there was in 2006 when I just started studying architecture.
This time I traveled alone and I decided to go back in the middle of the day.
This place definitely deserves a blog post of it's own, Loos created something so unique in my opinion.
When you come in, it's like entering into another world, where you feel jet lagged or something reminiscent of it, time stands still.
It always has the same light and atmosphere that lingers, no matter what time of day. The noble marble and the glass above the door gives of this jewel-like glow, like jasper stone or amber carnelian. The space is in fact small, but the use of mirrors creates an illusion that it goes on for ever.
I can just imagine cigar smoke and early 20th century cocktails, but as time stands still it works just as well now.
Dignity, but not of an intimidating kind, more like you just want to be there, stay around in a very comforting way and pass your time there. I just love it, the warm wood, down to the leather, illuminated tables and brass handles.
The first time I was there was in 2006 when I just started studying architecture.
This time I traveled alone and I decided to go back in the middle of the day.
This place definitely deserves a blog post of it's own, Loos created something so unique in my opinion.
When you come in, it's like entering into another world, where you feel jet lagged or something reminiscent of it, time stands still.
It always has the same light and atmosphere that lingers, no matter what time of day. The noble marble and the glass above the door gives of this jewel-like glow, like jasper stone or amber carnelian. The space is in fact small, but the use of mirrors creates an illusion that it goes on for ever.
I can just imagine cigar smoke and early 20th century cocktails, but as time stands still it works just as well now.
Dignity, but not of an intimidating kind, more like you just want to be there, stay around in a very comforting way and pass your time there. I just love it, the warm wood, down to the leather, illuminated tables and brass handles.
söndag 8 februari 2015
Petra, Jordan / a rose-red city half as old as time
It seems no work of man’s creative hand,
by labour wrought as wavering fancy planned;
But from the rock as if by magic grown,
eternal, silent, beautiful, alone!
Not virgin-white like that old Doric shrine,
where erst Athena held her rites divine;
Not saintly-grey, like many a minster fane,
that crowns the hill and consecrates the plain;
But rose-red as if the blush of dawn,
that first beheld them were not yet withdrawn;
The hues of youth upon a brow of woe,
which man deemed old two thousand years ago,
match me such marvel save in Eastern clime,
a rose-red city half as old as time.
—John Burgon, 1845
by labour wrought as wavering fancy planned;
But from the rock as if by magic grown,
eternal, silent, beautiful, alone!
Not virgin-white like that old Doric shrine,
where erst Athena held her rites divine;
Not saintly-grey, like many a minster fane,
that crowns the hill and consecrates the plain;
But rose-red as if the blush of dawn,
that first beheld them were not yet withdrawn;
The hues of youth upon a brow of woe,
which man deemed old two thousand years ago,
match me such marvel save in Eastern clime,
a rose-red city half as old as time.
—John Burgon, 1845
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| Al Khazneh or The treasury at Petra, 1st century AD Photo credits: http://www.ereduvoyage.ch |
.jpg) |
| Photo credits: http://www.unp.me |
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| Photo credits: http://www.unp.me |
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| Photo credits: http://www.unp.me |
onsdag 28 januari 2015
The eucalypt forest
This winter we went to Australia for a month. It was hot, but up in the Blue mountains the air was cool.
The Blue mountains north-west of Sydney is a national park (of 267,954-hectare) with mountains, rivers, waterfalls, an abundance of magical scenery and natural beauty.
The Blue mountains name derives from the sheer blue haze over the mountains, said to be produced by the dense forest of oil bearing eucalyptus trees.
This summer after a walk, the rain came down heavy and as I walked by the eucalyptus trees I could breathe in the fresh eucalyptus fragrance that the big eucalypt forest was giving away. Like a big, blue healing lung. That's sublime.
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| Photo by Emelie Nielson 2014 |
tisdag 25 november 2014
Nesting
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| Photo credits Niclas Rosander / http://niclasrosander.se |
He brings up many things that I walk around with on my mind.
His manifesto back to primitive architecture, something called 'Primitive future', is about the relationship between the space and the body. He talks about, how in the beginning when humans lived in caves it was us who adjusted to the spaces we inhabited, found our way to use them and claimed certain spaces for specific functions.
It is this thought of the cave vs. the nest (where the nest has been prepared for human habitation, and a cave is the opposite) the cave requires a creative act on behalf of a human.
The cave alters the behavior of its occupant by offering no indication of how to use the space. Although to some degree this ambiguity is inherent in all spaces, the cave is completely undefined. He calls these creative acts of appropriation the beginning of architecture.
And so by nature humans start to nest - to appropriate and claim space, to give it a smaller - human scale.
It is this human scale, or the variety of scales found in nature (example: trunk/branch/twig/leaf/vein) that makes us somehow feel at ease, in our element.
Fujimoto suggests that is is this duality and coexistence of opposite things that creates the richness and makes us feel safe.
So that in going back to the primitive, and finding its order (or non-exisitng order) and the diversity of scales, accompanied by the duality of openness - closeness (protectetness) is the recipe for the future - primitive future.
Fujimoto is so inspiring and his simple almost childish way of boiling things down to their essence and never ceasing to ask questions about how we use and define space creates something so rich...
It just proves how the process is the most valuable part of a project, how important it is to give thoughts time and room to grow into maturity.
Fujimotos ongoing exploration of this primitive architecture constantly gives birth to new projects and takes him further in his thought process.
It is this process of nourishing an idea, understanding it and being able sort out it's architectural abstraction (which then would have the inherit richness of the original idea) that I am after.
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