Andrew Davis

Sant'Angelo

Brash, mercurial, risk-taking, Giorgio Sant'Angelo was a supernova of the seventies fashion world. He loved color, fabric, and fringes; hated zippers; and aimed to set women free from the traditional wardrobe. But it took until now for the current fashion flock — from John Galliano to Marc Jacobs — to catch up to his genius.

http://www.thefashionspot.com/forums/f116/1933-1989-giorgio-di-sant-angelo-41848.html?s=14fefaac903806fd3a89f30a2b924164

hotel in palmyra

BAUKUH
Place: Palmyra, Syria. Task: preliminary project. Client: Jabry family. Program: hotel. Cost: 4.000.000 $.

Palmyra is well known worldwide as one of the most impressive roman cities. The plot for the hotel is about 2 km south of the ruins, the oasis is in-between them. The land is flat, young olive trees on a grid, the desert around. The shape is an elongated rectangle, 70 meters north and south, almost 400 in the other direction. The brief suggested as many rooms as possible facing the ruins on the north and obviously a certain Arabic taste. We proposed for the first phase a four levels compact building on the northern part of the site, with 39 panoramic rooms and a basement on the south with courts and interior gardens, hosting all the facilities. The second and third phases complete the building with two long wings, a porch, a swimming pool and two big gardens, adding 20 ground floor rooms with private open space, a second restaurant and a spa.
The relation between the building and the landscape, how the building organizes the system of open spaces, is resembling roman and renaissance samples, establishing a clear connection even with Umayad and Sassanid palatial architecture. The openings in the elevation facing the ruins are based on geometrical patterns derived from motifs of the first Islamic decoration, thus resembling atomic models. A ionic gate acts as entrance door. The exterior material is mud plaster, similar to the color of the desert, except for two walls, covered with tiles, one pink and one black.
The building was considered too modern.
Next time, do not forget to add some Arabic arches.

kashiwa sato

"Born in Tokyo in 1965. In 1989 graduated from Tama Art University with a degree in graphic design. After working for Hakuhodo Inc., Japan's second largest advertising agency, established the "SAMURAI" creative studio in 2000 His major works are TV commercial films (ex. Honda's Step Wagon), designing art works for musicians (ex. SMAP and Mr. Children), from product development to advertising campaign (ex. Kirin Beer and Kirin Beverages), creating visual identity and space direction (ex. TSUTAYA TOKYO ROPPONGI), product design of cellular phones (FOMA N702iD, N703iD and Kids Phone SA800i), creative direction (ex. UNIQLO SOHO NY, UT STORE HARAJUKU.), creating corporate identity (Rakuten Group and First Retailing), art direction and creating the character "Kebo and Mocchi" for NHK Educational TV program "Let's Play in English," creating the symbol for the National Art Center, Tokyo, engagement in renewal projects of Meiji Gakuin University and Fuji Kindergarten, and so on. His expanding visions and total creative works by visual creative abilities in various fields is highly acclaimed His latest work of totally producing Senri Rehabilitation Hospital (to be opened in November 2007) attracts a big attention as a project to propose new possibilities for medical environment His latest book is "Kashiwa Sato's Ultimate Method for Reaching The Essentials" published by Nikkei Publishing, Inc He received many prizes such as Mainichi Design Award, Tokyo ADC Grand Prix, Asahi Advertising Award, Kamekura Yusaku Award, Japan Package Design Award Gold Medal He is also a visiting professor of Meiji Gakuin University, member of Tokyo Art Directors Club, member of Tokyo Type Directors Club, and member of Japan Graphic Designers Association.
SITE

Cy Twombly, blooming, 2007

"On n'est pas tres sûr de ce que cela nous dit
mais ce qui est important c'est la trace que ça laisse en nous"
Michel Boujut (critique de cinéma)

Puerto Rico / Nataniel Fuster

http://www.dwell.com/homes/renovations/9335396.html

50 000 000 £

Damien Hirst, For the love of God

artifice

Inez Van Lamsweerde / Vinoodh matadin
+ portfolio new york times

The Forest, 1995

Inez Van Lamsweerde, The Forest : Marcel, Rob, Andy, 1995

Christie's

FIRST OPEN POST-WAR AND CONTEMPORARY ART SALE

Richard Prince, Untitled (Cowboy), 1999 2/2
Estimation: 100 000 - 150 000 U.S. dollars

is business business?

"Je n'ai pas la moindre idée de ce que nous avons investi, et pour ce qui me concerne, l'argent n'a rien à voir avec l'art. Tôt ou tard, les gens qui n'achètent que pour investir se ramassent la figure. L'art exprime des idées - certaines très visionnaires - , des idéaux nobles, une perspicacité politique et des émotions profondément vécues. En tant que tel, il ne devrait pas porter d'étiquette de prix.
Je me demande parfois combien de collectionneurs achètent aujourd'hui un "Cowboy" de Richard Prince en comprenant vraiment son message sous-jacent. S'ils le comprenaient ils ne surpaieraient peut-être pas aussi grossièrement certaines oeuvres!

Nous avons acheté en dollards et vivons en Suisse. Toute personne intelligente comprendra que nous n'avons sûrement pas gagné d'argent en vendant la collection, dans la mesure où le dollar a perdu la moitié de sa valeur au fil des ans. Je n'ai pas acheté ni vendu pour gagner de l'argent, j'ai acheté par passion et j'ai vendu pour des raisons personnelles."

Baronne Marion Lambert

"L'art tourne autour de la vie, le marché de l'art tourne autour de l'argent."

Damien Hirst

Parangoles

Helio Oiticica.
Jerônimo de Mangueira covered with P 08 Parangolé Cape 05"Mangueira" (1965), artist Antonio Manuel with P 01 Parangolé Cape 04 (1964), and Robertinho clad in P 11 Parangolé Cape 07 "Sexo, Violência..." (1966) at Aterro do Flamengo, Rio de Janeiro, 1966

Déconstruction VS Défonce

Haroldo de Campos, poète et critique littéraire brésilien explique très bien la démarche déconstructive d'Oiticica :
"Il avait cohabité avec la favela, avec Mangueira, avec le samba, fête corporelle, avec ce que, pour employer un mot agressif de l'argot actuel, on appelait désbum [défonce], qui a quelque-chose à voir avec la déconstruction ; il déconstruisait le corps avec le désbum, désbum est un mot tropical qui ferait naturellement peur aux Français philosophant à la manière de Derrida, c'est un nom tropical comme la dévoration, l'anthropophagie d'oswald, pour indiquer ces phénomènesde déconstruction, de destruction des patrons, des schémas qui apparaissent quand l'art passe de l'intellect au corps. "
Se défoncer fait partie de l'expérience de vie, de la vivência, aller aux limites, à la recherche. In-corporer. Le "desbunde" de Oiticica serait-il la déconstruction tropicale?

Paola Berenstein Jacques, Esthétique des Favelas, 2002

BRANZI / DGF

Domique Gonzalez-Foerster
Untitled, 1985
Vase, flower, clock
Courtesy Mariann Goodman

Entretien Andrea BRANZI Vs Catherine GEEL (in Transmission #1 France Culture)

AB Faire un carré autour d'un petit vase, c'est une manière de réaliser une autonomie visible.

CG Quand, par exemple, dans des projets plus monumentaux, vous alignez de grands vases, comme dans les jardins du musée des Arts appliqués de Gand ou le projet de l'an 2000 à Ségur, ils sont chacun comme des réceptacles et des diffuseurs de mémoire. Or, ils sont tous alignés et enfermés dans une structure...

AB Oui, c'est une grille très simple. Ces grands vases, ce projet dont une partie a été réalisée représente l'idée de l'autonomie des petits objets comme les vases. Ils appartiennent à une territoire, un royaume absolument séparé de l'architecture et les vases, ces petits objets, ont un rôle fondamental dans la culture anthropologique. Les vases sont présents dans toutes les cultures de toutes les civilisations. On voit qu'il y a eu des sociétés qui n'avaient pas de ville, des sociétés qui n'avaient pas d'architecture, mais il n'existe pas de société qui n'ait pas eu de vases : petits ou grands, décorés ou non... et je crois que cela n'a pas nécessairement à voir avec l'architecture, ou avec l'art ; il s'agirait plutôt d'une présence ! Elle peut être comprise comme une présence fonctionnelle. Mais on voit que sur ces objets souvent très simples, et qui semblent n'avoir pas d'ambition artitistique, se réalise au contraire un grand effort de narration, de décoration, pour leur donner une noblesse, un charisme.

Ce n'est pas simple à comprendre, dans l'utilisation quotidienne que l'on a d'un vase, pour l'eau, pour les fleurs ou pour y mettre le vin...Je crois aussi que, comme dans la société indienne, il y a identification entre la vie, la vision du cosmos, la religion et les tissus, cette idée de ce mouvement qui ne s'arrête jamais...

CASE: Lafayette Park, detroit

	EXCERPT From the Introduction, by Charles Waldheim In 1955 Ludwig Hilberseimer was commissioned to plan the “renewal” of one of Detroit’s deteriorating downtown neighborhoods. Hilberseimer’s plan applied the theoretical principles he had developed as an urban planner, architect, and educator to a federally underwritten project that would come to be known as Lafayette Park. His plan fundamentally reconceived the urban pattern for this portion of the “motor city” and orchestrated the contributions of a talented interdisciplinary design team assembled for the project. This team, composed of Mies van der Rohe, Alfred Caldwell, and developer Herbert Greenwald, produced a still vibrant mixed-income, mixed-race community of publicly subsidized housing in the midst of Detroit’s ongoing deterioration. In light of renewed critical interest in the superblock as a strategy of modernist urban planning, the ongoing demolition of modernist housing projects in the United States, and the popular acceptance of “new urbanist” models for the reconstruction of the city, Lafayette Park offers a unique counterpoint that recommends a thoughtful reconsideration of the presumed failures of modern architecture and urbanism. The largest collection of Mies van der Rohe’s buildings, and Ludwig Hilberseimer’s most significant planning commission, Lafayette Park is also the most fully realized U.S. example of a superblock strategy for the decentralizing postwar city. Hilberseimer’s planning and Alfred Caldwell’s planting create a project foreshadowing contemporary interest in landscape urbanism: landscape conceived and designed as the primary ordering element for decentralized urbanism. In this work, landscape and transportation infrastructure replace architecture as the spatial and organizational means through which urban order is constructed. Mies’s architecture of high-rise apartment slabs, two-story townhouses, and ground-level courtyard houses, not insignificant in their own right, benefit from the context created by Hilberseimer’s planning, Caldwell’s landscape, and developer Herbert Greenwald’s social vision. This volume in the CASE series critically reexamines the history of this overlooked project of modern architecture, planning, and landscape, while evaluating the relevance it holds for the social and environmental problems facing the contemporary city. Edited by Charles Waldheim

OASE 71

editorial


A basic and recurring theme in architectural discourse – particularly since the advent of the modern city – is the issue of public space. The story is well known. The rise of the modern city is characterized by the disappearance of self-evident collective clusters (family, local community), which were part and parcel of more traditional and often agrarian societies. Other, 'light communities' arise and insert themselves within the anonymous sphere of the modern city. Collective experience is transformed, though not suppressed, by the increasing importance of individuality. A new form of 'collectivity' arises, not defined by inevitability, but rather through self-chosen communities. Giving form to this new collective sphere is an important challenge for contemporary architecture.

This OASE highlights the 'old question' of public space and the role of architecture within it. This is not without reason. In the past decade, remarkably negative opinions were voiced on the condition of public space. In the 1990s, Michael Sorkin's well-known book Variations on a Theme Park was given the subtitle 'The End of Public Space', Rem Koolhaas spoke of the 'evaporation of the public realm' in his essay 'The Generic City', and Bruce Robbins named his book The Phantom Public Sphere. This wave of publications has made it seem as if public space has suffered permanent erosion and loss of quality, and is no longer a matter of concern to architects.

Despite this negative tone, architects have continued to think through, conceptualize and shape the collective sphere and public space. This begs a number of questions: Is the treatment of the public sphere in architecture still determined by the negative discourse of the 1990s, which proclaimed the end of public/collective space, or is a shift visible? How should the erosion of the public sphere be understood, when an increasing number of buildings explicitly attempt to express a 'collective identity' or play a 'community-forming role' (regardless of the question whether that is even possible today)?

In this issue we address a number of these questions, and sketch out a few contemporary approaches in thinking and practice. Central to the issue are not the social structures that underpin the collective sphere, but the urban formations of large (semi-)public buildings that form the public domain. At the intersection of architecture and urban design, questions are posed about how the collective sphere is shaped. To what extent do the design disciplines truly give form to public life? What role do they play in relation to the many faces of collectivity that seem to arise in the interstices of the urban realm?

Approaches to the collective sphere from the field of architecture prove to be diverse both in subject and style, but above all they are marked by continual development. François Claessens and Wouter Davidts explore the role of the monument as a locus for the collective imagination and the public debate. Lara Schrijver discusses the implicit presence of the collective in the work of Ungers and Koolhaas. Maurice Harteveld examines whether there are spatial interventions that define space in such a way that a public and sometimes even collective life spontaneously arises. The research of ZUS (Zones Urbaines Sensibles) illustrates the relationship between the various interests of private and public clients and their relation to collective interests. Fransje Hooimeijer orchestrated a conversation with Edzo Bindels, Ruurd Gietema and Floris Alkemade about the contribution of architecture and urban planning to the public and collective domain. Two contributions pointedly illustrate the role of architecture in framing or creating the public space of the city (Tine Cooreman, Guy Chatel). The question of collectivity is made directly visible by two contributions that examine the images of collective expression (Paul Meurs, Tim Eshuis).

Do the articles bear witness to a change from the negativist discourse of the nineties? The reader may judge for himself. The fact is that all the texts offer a specific fascination for the collective sphere, not only as the setting of continual social transformation but in particular as an essential architectural element of urban formation.

Tom Avermaete, Fransje Hooimeijer, Lara Schrijver

Articles in this issue

Sampa's Solids Paul Meurs

The Archipelago City Piecing together Collectivities Lara Schrijver

Public Moulds and Monuments On Jan de Cock's Denkmal 9 and Henry van de Velde's Ghent University library Wouter Davidts

What is Collective? photo essay Tim Eshuis

Designing the Collective Domain Floris Alkemade, Edzo Bindels and Ruurd Gietema in conversation Fransje Hooimeijer

On Bigness and the City Tine Cooreman

The Forum, or the Figuration of a Public Architecture Guy Chatel

Reinventing Architectural Monumentality Francois Claessens

Bigness is All in the Mind Bigness viewed in terms of public space Maurice Harteveld

Laboratorium Rotterdam: Decode Space! In search of new perspectives on/for public space. Case study: Erasmus Medical Centre Zones Urbaines Sensibles

OASE urban formation - collective spaces

roman de gare

"Enfin, regardez. Nous sommes là tous les trois, il fait doux, la terre est ronde, nous sommes en bonne santé, nous sommes heureux... Pourquoi toutes nos relations ont-elles cet air affamé, traqué... que se passe-t-il?
- Par pitié, Dorothy, dit la voix geignarde de Paul, je n'en sais rien. Lisez les journaux, c'est bourré d'enquêtes à ce sujet."

Sagan, le garde du coeur, 1968.

The Simple Life 4 finale part1

culte... 30 years later

Ann-Margret, Rain Champagne (Tommy)

Culte...

Fernando & Humberto CAMPANA

Fernando (1961) et Humberto CAMPANA ( 1953) font partie des designers sud américains les plus connus. Depuis 1983, Fernando, architecte, et Humberto, étudiant en droit, ont évolué dans le monde du design. Dans leur atelier de Sao Paulo, ils développent un univers d’ameublement emprunté à des ré-interprétations plus ou moins littérales de la nature. (végétaux et minéraux). La plupart de leurs produits sont édités par Edra ou Cappelini.