Tramps like Theo Jansen
The reenactionary aspects of the process/work--"emulate natural selection"--are expertly represented. Is terrestrial locomotion really then a 'trickle-down effect' of increasingly larger global and cosmic motions? Is life itself some almost inexplicably autonomous interface/machine between terrestrial and cosmic forces (initiated by a big bang)?
Makes me wonder how one might go about designing a 'beast' that interfaces the act of visual perception.
Are Sand Beasts like a well crafted publicity machine? Produce a work and then get some publicity wind behind it and watch it go (on forever?).
"So what does it do?"
"Why it generates publicity, of course!"
I loved trash day when I was a kid. Once a week the block-long driveway in the back became like another world where lots of stuff was somewhat neatly assembled at each house and essentially free for the taking. Trash-picking is so ur-recycling and the whole communal process was like some proto modern art installation/performance. And then the big truck came and gobbled everything up--a true finale. And then it was like suddenly all quiet (until next week).
the sequel: What a Dump!
Did deconstruction turn into blobitecture some time in the 90's?
Personally, I find architecture's continual / simultaneous diversity of directions fascinating. If you look at architecture on a global scale and throughout history, there's never been just one direction at any given time, rather many simultaneities.
Deconstructivism did not stop where Blobitecture began. Right now, Blobitecture and Deconstructivism are still sharing a simultaneity along with a fairly wide range of other types of architecture.
Architecture Art and Earthquakes
It seems that the Bennesse Art Site is more [about] muse[um]ification "has saved the day" rather than "architecture has saved the day."
"The impossibility of using has its emblematic place in the Museum. The muse[um]ification of the world is today an accomplished fact. One by one, the spiritual potentialities that defined the people's lives--art, religion, philosophy the idea of nature, even politics--have docilely withdrawn into the Museum. "Museum" here is not a given physical space or place but the separate dimension to which what was once--but is no longer--felt as true and decisive has moved. In this sense, the Museum can coincide with an entire city (such as Evora and Venice, which were declared World Heritage Sites), a region (when it is declared a park or natural preserve), and even a group of individuals (in so far as they represent a form of life that has disappeared). But more generally, everything today can become a Museum, because this term simply designates the exhibition of an impossibility of using, of dwelling, of experiencing.
Thus in the Museum, the analogy between capitalism and religion becomes clear. The Museum occupies exactly the space and function once reserved for the Temple as the place of sacrifice. To the faithful in the Temple--the pilgrims who would travel across the earth from temple to temple, from sanctuary to sanctuary--correspond today the tourists who restlessly travel in a world that has been abstracted into a Museum."
Giorgio Agamben, "In Praise of Profanation" (2007).
In more than a few ways, the sentiments of the quotation relate directly to the (objectives of) the Bennesse Art Site, where even the (new) architecture now carries the added function of being a 'museum piece'. This is not to negatively criticize for what the art site is doing, but to bring what it's doing into finer focus.
Muse[um]ification (and the tourism that comes with it) may indeed become more and more a solution to the types of problems places like Inujima present. And then, beyond that, that is once the muse[um]ification has taken place, "The antidote then may well be to simply use museums."
Flint Flat Lot: What won and what got built.
I actually took the time to look at the photos offered, and I enjoyed looking at them, especially because they all seem very objective, i.e., very close to the reality--sometimes the structure looked to have it's intended effect, and sometimes it didn't; the unintended waviness of the surface, however, more often than not detracted from the mirror/reflective effect. What I did not expect was that the site itself is such a dud.
Did this project want to emulate the Kapoor mirror blob thing in that Chicago park? That's what I thought when I first read this thread. Kapoor's piece in Chicago probably cost a lot more than $25,000.
Funny, too, most of the architectural world wouldn't even know of the structure in Flint if it hadn't gone all wavy. Better yet, wouldn't it be great if the architects started having a very lucrative business designing wavy-mirrored houses?
"There's no such thing as bad publicity."
The Sydney Opera House by J°rn Utzon Celebrates Its 40th Anniversary
...I've come to realize that the Sydney Opera House is for sure one of the greatest works of architectural hyperbole.
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