Collection: PART 2

Research

Collision of Species (2017) / Keita Miyazaki / Combining Materials - Rosenfeld Porcini

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Details - Number137d (2012) / Leonardo Drew / Rosenfeld Porcini

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Number 137d / Leonardo Drew

Leonardo Drew is mostly known for his monumental wood pieces and use of recycled materials such as found objects, discarded materials affixed to paper surfaces. In this piece in particular is a 61x61x12.4cm it includes found fabric, painted paper, safety pins, rust, fur and plastic assemblage on panel. What I loved most about this piece is the smaller details rather than the piece as a whole, the found fabric with visible wear and tear, juxtapose the clear rigid structure of the large chunks of wood; not only this but in relation to corduroy the piece has raised and dipped surfaces like the structure of the corduroy fabric and in smaller sections there were rolls of fabric joined together with stitch in a straight line, corresponding to the "multiple cords laid parallel to each other and then stitched together" definition I found on corduroy at the minimap stage of the project.

Knitwear Jewellery / Maria Joao Ribeiro

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Al Fakher Shisha Pot / Wrapped Cord Pipe

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Shisha Pipe behind beaded curtain / Own Image

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Paul Rudolph Office Spacial Design

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Himba Women / Northwestern Namibia

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Corduroy Pleated Taqiyah/Kufi / Inspired by Paul Rudloph's Boston Church

The Arabic word for muslim skullcap is Taqiyah which translates to "dome", however these hats are sometimes called Kufi and are worn by men in countries such as Afghanistan, China, Indonesia, Bangladesh, Pakistan, Somalia, Sudan, Turkey ect.In West Africa, a kufi cap is the traditional hat for men, and is part of the national costume of most of the countries in the region. When looking at the architectural layout of the Paul Rudolph church, I created a link in my brain to the hexagonal shape in the architecture to that of the top of a kufi hat and many of these are made of Corduroy such as the one above as it has been pleated and connected with a hexagon shape.

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Barcelona Pavilion Study Drawings 1986 Architect: Paul Rudolph

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Barcelona Pavilion Study Drawings 1986 Architect: Paul Rudolph

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Process of making Corduroy Concrete / Paul Rudolph

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Colour Theory / Culture: India / Pink

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Southall /Colour In My Environment

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Colour Theory / Culture: India / Yellow

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Fake News / Conspiracy Theory / Fruit Machine

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TIM WALKER / Mrs Lishman in Her Flying Saucer / Northumberland UK /British Vogue, October 2009

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1977 Alien Broadcast Live on ITV Southern / Conspiracy Theories

Van Allen Belt dosimeter / Biomedical Results of Apollo

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Radiation-Survey Meter / Biomedical Results of Apollo

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Newspaper Headlines / JFK conspiracy theory

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JFK assassination / Film still from Zapruder film

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Area 51 / Concpiracy Theories / Fruit Machine

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Lauren Wolk’s “Camelot Sea Star” was made with salvaged materials from JFK’s Hyannis Port, Massachusetts home

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JFK home renovation castoff sculptures / Recycled Materials / HYANNIS PORT, Mass

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Typed draft of the speech on Artists role in society, edited in Kennedy’s own hand (Courtesy of John F. Kennedy Library)

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Personal Images / Astronaut Costume

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janne schafer and kristine agergaard the space consists of a circle that travels in time / Prayer Mat

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Scan of authentic Palestinian Stamps / Culture Swap

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Culture Swap / Singapore

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Forest Hill / Personal Images

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Spirit People Sculpture / Lisa Lapointe

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Collision of Species 2017 (155x110x78cm) / Keita Miyazaki

This sculptural piece is made of car parts, felt, paper, stainless steel and a speaker system. The discarded car engine components are welded together and combined with colourful origami-like folded paper and sewn felt, fashioning sculptures of beguiling contradiction and unique aesthetic intrigue.

Cecile Dachery - Les trophées

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Shisha Hose Pipe / Own image

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Italian Metallic Wrapped Cord

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First Church, Boston, MA, USA (1972) / Paul Rudolph

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Close-Up Corduroy Concrete / Paul Rudolph

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Hair Braiding

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Architecture Yale Sketch / Paul Rudolph

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Extract of the interview to Paul Rudolph by the architect Peter Blake published in the Book 'Paul Rudolph: The Late Work".

"Peter Blake: And when architects try to organize it or give it some kind of form, they seem to ruin it.

Paul Rudolph: We have certain limitations as architects. That is part of what I mean by "spirit". It is the corrective factor of human intelligence, in all fields.

 

PB: So there we have it: site, scale, structure, function, and spirit. Have you noticed every time you talk about one of those things, you seem to touch upon or refer to Mies's Barcelona Pavilion in one way or another? Why is that?

PR: To me, the Barcelona Pavilion is Mies' greatest building. It is one of the most human buildings I can think of -a rarity in the twentieth century. It is really fascinating to me to see the tentative nature of the Barcelona Pavilion. I am glad that Mies really wasn't able to make up his mind about a lot of things - alignments in the marble panels, or the mullions, or the joints in the paving. Nothing quite lines up, all for very good reasons. It really humanizes the building.

 

PB: My guess is if he had had a chance to redesign it about twenty years later, he might have messed it up - made it too regular, aligned everything...

PR: Possibly. The courtyards and the interior space cast a spell on you which you will remember forever.

 

PB: If you were to put your finger on it, what do you think you learned from the Barcelona Pavilion?

PR: I made a few sketches that are meant to illustrate the impact of the actual building (as rebuilt in 1992 on the same site as the original 1929 Pavilion), which is very different from drawings, photos, etc. The Barcelona Pavilion is religious in its nature and is primarily a spatial experience. We have no accepted way of indicating space, and therefore the sketches made are very inadequate. One is drawn by the sequence of space through it. Multiple reflections of the twentieth century modify the architecture of light and unprecedented in architecture and the greatest of all of Mies' buildings.

 

PB: Your first drawing is a series of diagrams showing the circulation through the building. On the east is the more familiar entrance, used by the general public; on the west is the entrance for the King and Queen of Spain and used by other dignitaries at the time of the opening.

PR: Yes. The circulation from the east leads you up a flight of steps that leads to the platform on which the PAVILION STANDS. The flight of stairs is spatially compressed, and when you reach the top of the platform, the pool causes you to turn 180 degrees. This turn prepares you for the compressed entry with a glass wall on the right and the green. Tinian marble wall on the left, all modified by reflected trees. This squeezed space leads directly into the larger dominating space that contains the major function of the Pavilion. This flow of space continues all the way through the building in a highly disciplined way; nothing is left to chance. In my diagram the compressed space, the liberated space, the movement of space diagonally, vertically, and curved space modify the rectangular plan in a very clear and surprising fashion. The space is revealed but also hidden. The density of space is greater as it approaches the defining planes that form the Pavilion. The inward pull to the defining planes is offset by the reflective surfaces, so that most of the surfaces vibrate. I have tried to define the essential fluidity of these spaces and the interconnection of the inside and the outside. This highly disciplined flow of space is all-pervasive a natural constriction and release of space that leads you on everything is in motion, and you are carried along almost by unseen felt forces.

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Colour Theory / Film Study

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Fake News / Conspiracy Theory / Fruit Machine

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Nam June Pair 1932-2006 / Nixon 1965 - 2002 / Tate Modern

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Flight to Mars 1951 / Film Still

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DIY Children's Alien Costume / Fruit Machine

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DIY Children's Alien Costume / Fruit Machine

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Nam June Paik / NIXON

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Flying Saucer Golf Cart / Peter Menzel / Burning Man Festival / Nevada USA

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Robert Rauschenberg / Retroative 1964

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Apollo Interiors / Fruit Machine

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Lunar Module 2011 Blueprints

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NASA Released / Apollo Astronauts / Fruit Machine

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Dome of the Rock (Jerusalem) The World of Islam - Bernard Lewis (CSM Library)

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Conspiracy Theory Documentary / Did We Land on the Moon? / Film Still

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Three Eggs / Nam June Pair / 1975-1982 / Tate Modern

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WALL: Israeli and Palestinian Illustration Book / CSM library

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Scan of authentic Palestinian Stamp / Personal Photograph

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Forest Hill / Personal Images

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The Warrior / Giclee Print / 310gsm Photo Rag Museum Grade Paper

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Al Fakher Shisha Pot / Madaloun Lounge

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Joana Vasconcelos / Florence Nightingale

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Peter O'Toole1962 - Lawrence of Arabia

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Al Fakher Shisha Pot / Tassel Embellished Wrapped Pipe

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Corduroy Pleated Kufi / Shukr

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Corduroy Textured Walls / First Church, Boston, MA, USA (1972) / Paul Rudolph

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Form (work) Bench / Melissa Shin & William Mudge / Inspired by Paul Rudolph

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Form (work) Bench / Melissa Shin & William Mudge / Inspired by Paul Rudolph

The Form(work) bench was inspired by the unique corduroy-textured concrete walls of Paul Rudolph’s Yale Art and Architecture Building. Each 1/2″ plywood profile fits precisely into the spacing of the wall’s texture (a nod to the original wooden concrete formwork) and articulates a sitting surface for two people. The surface emerges as a thickening of the wall’s sectional relationship between verticality and horizontality, and juxtaposes the roughness of the wall with the smoothness of NURBS surface geometry.

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Colour Theory / The Darjeeling Limited / Film Still

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The Darjeeling Limited /

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Colour Theory / Culture: India / Blue

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Southall Quality Foods / Colour in my Environment

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Aladdin / Richmond Theatre

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Southall Broadway Market / Colour in my Environment

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UFO / Libary Section TAG

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1970's Sythesizer

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NASA Released / Footprint on the Moon

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The Shining 1980 / Danny Apollo Sweater / Film Still

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Roswell & Area 51 protesters / Conspiracy Theories / Fruit Machine

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1950's Inflatable Space Boots

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Vintage Apollo Inspired Children's Toy

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“When I look at Leigh’s collages, it’s as if I’m looking through a window, and all of a sudden everything I know goes fuzzy— the world I see is slippery, ephemeral, and pulsing with doubt. It’s a disorientating place. It’s a place where unreliability reigns; where systems of knowledge are put into question, and where intuition is bewildered like a deer caught in the headlights.”

— KLEA MCKENNA, IN THE MAKE

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Deception (111008) / Leigh Wells

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WALL: Israeli and Palestinian Illustration Book / CSM library

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Image

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Palestinian Women / Western Clothing with Hijab

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Forest Hill / Personal Photos

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Masjid, Singapore

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