helmo

* will macivor _ alphaville triptych. click all three to play simultaneously.

"..this drive was a revealing experience. The road and much of the landscape was artificial, and yet it couldn't be called a work of art. On the other hand, it did something for me that art had never done. At first I didn't know what it was, but its effect was to liberate me from many of the views I had had about art. It seemed that there had been a reality there which had not had any expression in art.
The experience on the road was something mapped out but not socially recognized. I thought to myself, it ought to be clear that's the end of art. Most paintings look pretty pictorial after that. There is no way you can frame it, you just have to experience it."
Tony Smith 1966 _ describing a drive on the unfinished new jersey turnpike in 1951.
permalink

ugo rondinone

michael ondaatje _ elimination dance.
scanned from the cinnamon peeler: collected poems

“.. a piece of architecture is not architectural because it seduces, or because it fulfils some utilitarian function, but because it sets in motion the operations of seduction and the unconscious.” - Tschumi 1977




* kahn _ salk institute 1966.
photos july 2007.

michael heizer _ displace replace



michael heizer _ double negative 1970
"It is interesting to build a sculpture that attempts to create an atmosphere of awe. Small works are said to do this but it is not my experience. Immense, architecturally sized sculpture creates both the object and the atmosphere. Awe is a state of mind equivalent to religious experience, I think if people feel commitment they feel something has been transcended. . . . I think that large sculptures produced in the '60s and '70s by a number of artists were reminiscent of the time when societies were committed to the construction of massive, significant works of art." michael heizer, in an interview with julia brown. via

rothko _ black on maroon 1958

michael heizer _ foot kick gesture


huge respect to yuji adachi at 9031.com for creating fliqlo; the most elegant + perfectly functional screen-saver of all time.

u.s. library of congress flickr photostream

le corbusier _ plan voisin for paris, 1925

stuyvesant town _ manhattan 1945. fucking brutal, but a 'success'?

norman wilkinson _ dazzle camouflage paint, ww1
"According to Deleuze and Guattari, smooth space is occupied by intensities and events. It is haptic rather than optic, a vectorial space rather than a metrical one. Smooth space is characteristic of sea, steppe, ice and desert. It is occupied by packs and nomads. It is a texture of "traits" consisting of continuous variation of free action. The characteristic experience of smooth space is short term, up close, with no visual model for points of reference or invariant distances. Instead of the metrical forms of striated space, smooth space is made up of constantly changing orientation of nomads entertaining tactile relations among themselves." via christian hubert

smooth vs striated
'architecture is an art of distinctions within the continuum of space.' _ w.j. mitchell

from LA NOW v.4 _ thom mayne + ucla dept of architecture

* sketchbook scan circa 2002

richard box

tunak tunak tun

national geographic scans ca. 1960-70

* self-promotions department

pieter hugo

el tono y nuria


hall and oates

"i'm the juice. i gave you things you couldn't even pronounce"

"Some scientists said this phenomenon will lead to apparency of new materials, which will change the humanity way of life" [sic]

"what you see is what you see" _ frank stella

robert irwin

frank stella

tulip farms in holland

tokyo summerland wave pool

son of tam

* will macivor _ forbearance 2.o

* will macivor _ shazam

"The transformation from rural to urban life was so sudden, and so wrenching, that the only thing society could do to manage was to drink itself into a stupor for a generation. The stories from that era are amazing-- there were gin pushcarts working their way through the streets of London.

And it wasn't until society woke up from that collective bender that we actually started to get the institutional structures that we associate with the industrial revolution today. Things like public libraries and museums, increasingly broad education for children, elected leaders--a lot of things we like--didn't happen until having all of those people together stopped seeming like a crisis and started seeming like an asset.

It wasn't until people started thinking of this as a vast civic surplus, one they could design for rather than just dissipate, that we started to get what we think of now as an industrial society."

Gin, Television, and Social Surplus _Clay Shirky

axel antas
the majority of this material has been collected over the past few years and saved in an unorganized 'from the web' folder. apologies for not giving credit where credit is due.