Saturday, April 7, 2007
Leftover Landscapes
I realize now that my project made a paradigm shift from being about the highway to leftover landscapes when I first began cutting the voided landscapes out of highway interchange plans, and used them as a scrim for the projection of light. Similarly to these leftover highway landscapes, the site is a leftover landscape; a residual slice from the surrounding corporate development.
Tuesday, April 3, 2007
The Return to Irwin...
“My art has never been about ideas… my interest in art has never been about abstraction; it has always been about EXPERIENCE… my pieces were never meant to be dealt with intellectually as ideas but to be considered EXPERIENCIALLY.”
-Robert Irwin, Reshaping the Shape of Things
phenomenological EXPERIENCES of an art museum:
interplay of light and shadow
path and movement throughout becomes spectacle, melodic
interaction/reaction of people, place, and artifact
temporality
Irwin on Site
Conditioned/Determined
“Here the sculptural response draws ALL of its cues (reasons for being) from its surroundings. This requires the process to begin with an intimate, hands-on reading of the site. This means sitting, watching, walking through the site, the surrounding areas (where you will enter from and exit to), the city at large, or the larger country side. Here are the numerous things to consider; what is the site’s relation to applied and implied schemes of organization and systems of order, relation, architecture, uses, sense of scale? … What kinds of natural events affect the site — snow, wind, sun angles, sunrise, water, etc.? What is the physical and people density? The sound and visual density (quiet, next to quiet, busy)? What are the qualities of surface, sound, movement, light etc.? What are the qualities of detail, levels of finish, craft? What are the histories of prior and current uses, present desires etc. A quiet distillation of all of this determines all the facets of the “sculptural response”… whether the response should be monumental or ephemeral, aggressive or gentle, useful or useless, sculptural, architectural, or simply the planting of a tree, or maybe even doing nothing at all.”
- Robert Irwin, Being in Circumstance
What does it all mean?
The gallery as a landscape, experimentation of viewer/artifact relationship
Exploration of the artifact as an object in space
The highway [primary circulation] as a surreal interaction with the city, impersonal, fluid, suspenseful Disconnected oblique views into the city
The urban street [secondary circulation] as a personal relationship with the city, submerged, vis-à-vis
Movement sporadic yet rhythmic
-Robert Irwin, Reshaping the Shape of Things
phenomenological EXPERIENCES of an art museum:
interplay of light and shadow
path and movement throughout becomes spectacle, melodic
interaction/reaction of people, place, and artifact
temporality
Irwin on Site
Conditioned/Determined
“Here the sculptural response draws ALL of its cues (reasons for being) from its surroundings. This requires the process to begin with an intimate, hands-on reading of the site. This means sitting, watching, walking through the site, the surrounding areas (where you will enter from and exit to), the city at large, or the larger country side. Here are the numerous things to consider; what is the site’s relation to applied and implied schemes of organization and systems of order, relation, architecture, uses, sense of scale? … What kinds of natural events affect the site — snow, wind, sun angles, sunrise, water, etc.? What is the physical and people density? The sound and visual density (quiet, next to quiet, busy)? What are the qualities of surface, sound, movement, light etc.? What are the qualities of detail, levels of finish, craft? What are the histories of prior and current uses, present desires etc. A quiet distillation of all of this determines all the facets of the “sculptural response”… whether the response should be monumental or ephemeral, aggressive or gentle, useful or useless, sculptural, architectural, or simply the planting of a tree, or maybe even doing nothing at all.”
- Robert Irwin, Being in Circumstance
What does it all mean?
The gallery as a landscape, experimentation of viewer/artifact relationship
Exploration of the artifact as an object in space
The highway [primary circulation] as a surreal interaction with the city, impersonal, fluid, suspenseful Disconnected oblique views into the city
The urban street [secondary circulation] as a personal relationship with the city, submerged, vis-à-vis
Movement sporadic yet rhythmic
Monday, April 2, 2007
Unsuccessful Models - Can anything be learned?
Weaving evokes motion and fluidity of freeway movement
Could the space of the weaving be inhabited?
The weave needs a loom.Space truss introduced
Expressway ramps provide arterial circulation to the gallery spaces
Courtyard fenestration as a snapshot of expressway movement.
Suspended volumes in the wall animated both the courtyard and interior street
Double weave. Could this be structural on its own and also function as circulation?
Circulation weave.
Based upon movement of traffic on the expressway it is both experiential and arterial. provides longitudinal and vertical circulation to the gallery [landscapes]
Sunday, March 25, 2007
Vertical Suburb
Modular Housing defines the speed of an automobile consumed society. . .
The concept is to lift the two story suburban home, complete with yard and stack them vertically to create the condo tower. Exterior circulation links the units to the elevator core which is a vertical expressway.
Formal Studies
too ordered and rigid, but emerging ideas about stacking, so as the roof of the unit below forms an outdoor garden for the unit above.
Chaotic Order
The Cubic Module
Although appearing random an chaotic, there is an underlying order to the system. There is a sense of porosity at certain angles, where at other angles, the tower appears dense. Again, the roof of the unit below becomes a garden for the unit above.
The concept is to lift the two story suburban home, complete with yard and stack them vertically to create the condo tower. Exterior circulation links the units to the elevator core which is a vertical expressway.
Formal Studiestoo ordered and rigid, but emerging ideas about stacking, so as the roof of the unit below forms an outdoor garden for the unit above.
Chaotic Order
The Cubic Module
Although appearing random an chaotic, there is an underlying order to the system. There is a sense of porosity at certain angles, where at other angles, the tower appears dense. Again, the roof of the unit below becomes a garden for the unit above.
CARchitecture- take two
Light/Shadow Studies
The negative space surrounding the interchange was removed to form a template for the projection of light/shadow onto varying surfaces which were captured on film.
The images capture the speed, fluidity and movement of the freeway interchange, and begin to read as potential interior spaces and circulation.
The negative space surrounding the interchange was removed to form a template for the projection of light/shadow onto varying surfaces which were captured on film.
The images capture the speed, fluidity and movement of the freeway interchange, and begin to read as potential interior spaces and circulation.
CARchitecture
A museum that is designed around a society's dependency on the automobile.
Broadway Boogie Woogie by Piet Mondrian (1942-43)
Mondrian came to New York City after the beginning of World War II; and became fascinated with American Jazz Music, in particular the Boogie-Woogie.
Bands of stuttering pulses , paths of red, yellow, & Blue interrupted by light grey suggests the city grid and the syndicated movement of traffic to a jazz beat; while the staccato vibration of colour evokes the blinking lights of Broadway.
Intersection:
1. A PLACE where two roads meet; especially where one is a major junction.
2. ANY place of intersection or the ACT of intersecting.
3. Mathematics:
a) Also called MEET: the set of elements that two or more sets have in common
symbol: ∩
b) The greatest lower bound of two elements in a lattice
CROSSROADS, CROSSING, CORNER
Intersection of PLACE
Intersection of MATERIALS
Intersection of PATHS
Intersection of MUSEUM + HOME
Orange County Boogie Woogie, The intersection or interchange of I-405 and Route 22 next to the site. Unlike the melodic, rhythmic stop- and -go traffic patterns of NYC characterized by Mondrian's Broadway Boogie Woogie, the suburban freeway culture of California is fluid.
How do we respond . . .
The CAR as fashion accessory
The CAR as a replacement for legs
The CAR defines identity
Early Sketch Models
Broadway Boogie Woogie by Piet Mondrian (1942-43)Mondrian came to New York City after the beginning of World War II; and became fascinated with American Jazz Music, in particular the Boogie-Woogie.
Bands of stuttering pulses , paths of red, yellow, & Blue interrupted by light grey suggests the city grid and the syndicated movement of traffic to a jazz beat; while the staccato vibration of colour evokes the blinking lights of Broadway.
Intersection:
1. A PLACE where two roads meet; especially where one is a major junction.
2. ANY place of intersection or the ACT of intersecting.
3. Mathematics:
a) Also called MEET: the set of elements that two or more sets have in common
symbol: ∩
b) The greatest lower bound of two elements in a lattice
CROSSROADS, CROSSING, CORNER
Intersection of PLACE
Intersection of MATERIALS
Intersection of PATHS
Intersection of MUSEUM + HOME
Orange County Boogie Woogie, The intersection or interchange of I-405 and Route 22 next to the site. Unlike the melodic, rhythmic stop- and -go traffic patterns of NYC characterized by Mondrian's Broadway Boogie Woogie, the suburban freeway culture of California is fluid.How do we respond . . .
The CAR as fashion accessory
The CAR as a replacement for legs
The CAR defines identity
Early Sketch Models
Monday, February 19, 2007
MOCA LA
http://www.moca-la.org/index.php
The Museum of Contemporary Art (MOCA) is a contemporary art museum in and near Los Angeles, California. The museum has three locations. the main branch is located on Grand Avenue in Downtown Los Angeles near Walt Disney Concert Hall. MOCA's original space, initially planned only as a "temporary" exhibit space while the main facility was built, was retained and is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles. The Pacific Design Center facility is in nearby West Hollywood.
The museum's exhibits consist primarily of American and European contemporary art created since 1940.
In 1979, at a political fund raising event at the Beverly Hills Hotel, Los Angeles Mayor Tom Bradley, Councilman Joel Wachs, and local philanthropist Marcia Simon Weisman happened to be sitting at the same table. Throughout the evening, Weisman passionately discussed the city’s need for a contemporary art museum. In the following weeks the Mayor’s Museum Advisory Committee was organized. The committee led by William A. Norris set about creating a museum from scratch including locating funding, trustees, directors, curators, a gallery, and most importantly an art collection.
The following year the fledgling Museum of Contemporary Art, Los Angeles, was operating out of an office on Boyd Street. The city’s most prominent philanthropists and collectors had been assembled into a Board of Trustees and set a goal of raising $10 million in their first year. A working staff was brought together; Richard Koshalek was appointed chief curator; relationships were made with artists and galleries; and negotiations began to secure artwork and an exhibition space.
Since the museum’s inception, MOCA’s programming has been defined by a multi-disciplinary approach to contemporary art. With cutting-edge exhibitions, and popular evening events MOCA is a place to experience contemporary art.
MOCA Grand Avenue
The MOCA downtown Los Angeles location is home to almost 5,000 artworks created since 1940, including masterpieces by classic contemporary artists, and inspiring new works by emerging and mid-career artists from Southern California and around the world.
In 1986, the celebrated Japanese architect Arata Isozaki completed the downtown location's sandstone building to international critical and public acclaim, marking a dramatic achievement in the contemporary art world and heralding a new cultural era in Los Angeles.
As the Los Angeles Times declared "There isn’t a city in America—not New York, not Chicago, not Houston, not San Francisco—where a more impressive museum collection of contemporary art can be seen."
The Grand Avenue location is used to display pieces from MOCA's substantial permanent collection, especially artists who did much of their work between 1940 and 1980. Included within the permanent collection are works by influential artists such as Jean-Michel Basquiat, Willem de Kooning, Richard Diebenkorn, Kim Dingle, Sam Durant,Sam Francis, Arshile Gorky, David Hockney, Jasper Johns, Ellsworth Kelly, Franz Kline, Roy Lichtenstein, Agnes Martin, Piet Mondrian, Robert Motherwell, Elizabeth Murray, Claes Oldenburg, Raymond Pettibon, Jackson Pollock, Robert Rauschenberg, Mark Rothko, Julian Schnabel, George Segal, Joel Shapiro, Frank Stella, and Cy Twombly
http://en.wikipedia.org/wiki/Los_Angeles_Museum_of_Contemporary_Art
The Museum of Contemporary Art (MOCA) is a contemporary art museum in and near Los Angeles, California. The museum has three locations. the main branch is located on Grand Avenue in Downtown Los Angeles near Walt Disney Concert Hall. MOCA's original space, initially planned only as a "temporary" exhibit space while the main facility was built, was retained and is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles. The Pacific Design Center facility is in nearby West Hollywood.
The museum's exhibits consist primarily of American and European contemporary art created since 1940.
In 1979, at a political fund raising event at the Beverly Hills Hotel, Los Angeles Mayor Tom Bradley, Councilman Joel Wachs, and local philanthropist Marcia Simon Weisman happened to be sitting at the same table. Throughout the evening, Weisman passionately discussed the city’s need for a contemporary art museum. In the following weeks the Mayor’s Museum Advisory Committee was organized. The committee led by William A. Norris set about creating a museum from scratch including locating funding, trustees, directors, curators, a gallery, and most importantly an art collection.
The following year the fledgling Museum of Contemporary Art, Los Angeles, was operating out of an office on Boyd Street. The city’s most prominent philanthropists and collectors had been assembled into a Board of Trustees and set a goal of raising $10 million in their first year. A working staff was brought together; Richard Koshalek was appointed chief curator; relationships were made with artists and galleries; and negotiations began to secure artwork and an exhibition space.
Since the museum’s inception, MOCA’s programming has been defined by a multi-disciplinary approach to contemporary art. With cutting-edge exhibitions, and popular evening events MOCA is a place to experience contemporary art.
MOCA Grand Avenue
The MOCA downtown Los Angeles location is home to almost 5,000 artworks created since 1940, including masterpieces by classic contemporary artists, and inspiring new works by emerging and mid-career artists from Southern California and around the world.
In 1986, the celebrated Japanese architect Arata Isozaki completed the downtown location's sandstone building to international critical and public acclaim, marking a dramatic achievement in the contemporary art world and heralding a new cultural era in Los Angeles.
As the Los Angeles Times declared "There isn’t a city in America—not New York, not Chicago, not Houston, not San Francisco—where a more impressive museum collection of contemporary art can be seen."
The Grand Avenue location is used to display pieces from MOCA's substantial permanent collection, especially artists who did much of their work between 1940 and 1980. Included within the permanent collection are works by influential artists such as Jean-Michel Basquiat, Willem de Kooning, Richard Diebenkorn, Kim Dingle, Sam Durant,Sam Francis, Arshile Gorky, David Hockney, Jasper Johns, Ellsworth Kelly, Franz Kline, Roy Lichtenstein, Agnes Martin, Piet Mondrian, Robert Motherwell, Elizabeth Murray, Claes Oldenburg, Raymond Pettibon, Jackson Pollock, Robert Rauschenberg, Mark Rothko, Julian Schnabel, George Segal, Joel Shapiro, Frank Stella, and Cy Twombly
http://en.wikipedia.org/wiki/Los_Angeles_Museum_of_Contemporary_Art
MCAS Tustin Hanger
The Air Station was established in 1942 as Santa Ana Naval Air Station, a base for airship operations in support of the United States Navy's coastal patrol efforts during World War II. NAS Santa Ana was decommissioned in 1949. In 1951, the facility was reactivated to support the Korean War. It was the country's first air facility developed solely for helicopter operations. By the early 1990s, MCAS Tustin was a major center for Marine Corps helicopter aviation on the Pacific Coast. Its primary purpose was to provide support services and material for the 3rd Marine Aircraft Wing and for other units utilizing the base. About 4,500 residents once lived on the base, and the base employed nearly 5,000 military personnel and civilians. In addition to providing military support, MCAS Tustin leased 530 acres to farmers for commercial crop development. For many years, agricultural lands surrounded the facility. However beginning in the 1980s residential and light industrial/manufacturing areas developed adjacent to the station.
In 1991 and again in 1993, under the authority of the Defense Base Closure and Realignment Act of 1990, it was announced that MCAS Tustin would be closed. Operational closure of the MCAS occurred in July 1999. Of the approximate 1600 acres, approximately 1294 acres have been conveyed to the City of Tustin, private developers and public institutions for a combination of residential, commercial, educational, and public recreational and open-space uses. The remaining 300-plus acres will be conveyed to other federal agencies, the City of Tustin and public institutions for the same uses.
from: http://en.wikipedia.org/wiki/Marine_Corps_Air_Station_Tustin
Saturday, February 17, 2007
The Column Revealed
Revealing the white concrete
Before the acrylic rods are trimmed
Notice the process cast on to the surface... stitching, fabric print, and ink
The acrylic rods immediately begin to glow.
The column and I
Copyright Nathan Dykstra 2007
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