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  • Introducing: GLASGOW DIALECTOG Introducing: GLASGOW DIALECTOGRAMS

    • From: MitchMiller
    • Description:

      Even if the 'form' was already well known, previously discovered, carved from 'commonplaces' before the interior poetic light was turned upon it, it was a mere object for the mind. But the soul comes and inaugurates the form, dwells in it, takes pleasure in it...

      From The Poetics of Space

      If you want to impress someone with an idea (and deflect any difficult questions) there is no better idea than to agglutinate and make up a word. Exhibit A: the Dialectogram!

      Glasgow Dialectograms explore the use of illustration as record, but also the belief that we all have an 'interior poetic light', a capacity we all have to create poetic images from the world around us - to infuse an object with meaning, importance and significance.  Superficially a pastiche of scientific, anthropological and architectural illustrations, Glasgow Dialectograms depict the public, private, personal and unexpected parts of the city by creating an extremely detailed schematic style drawings. These include both subjective and objective information into a single piece. They show facts, thoughts and feelings. They use a deliberately loose and organic ‘anti-architectural’ drawing style to describe not just what it is there, but who uses it, what a particular space means to someone, and how relationships between people shape their environment. The term ‘Psycho-Geography’ applies, but put simply, they are made by talking to people, sharing ideas and processing them into visual forms – a diagram, a dialogue, a dialectic, but also a dialect of technical drawing – hence, Dialectogram...

      Enh - It's probably best if I just show you and quit with all the theorising. This is a preliminary drawing for a dialectogram of an office in the Red Road Flats in Glasgow that should give a feel of what I'm trying to do.

      Preliminary Drawing of the Concierge Station, Red Road

      Over the next few weeks and months I will be documenting the progress of the project as I attempt to draw three 'damned' urban spaces in Glasgow:

      Glasgow’s Showland: My home turf. This will pick up where my first drawing (featured in How'S the Ghost? at Market Gallery and in An Tobar in March 2010) left off. Check the thumbnail out to take a look -

      Backcauseway

      There are around 54 such places in the Dalmarnock, Bridgeton, Carntyne and Shettleston areas of the city. I will draw another two yards and redraw Backcauseway to depict changes over periods of time (as caravans move on and off, according to the needs of work, or changing family relationships) and use the medium to shed light on a hidden, and at times much misunderstood community. As I belong to it, this will also be the aspect of the project where I am most subjective, and will struggle to ‘universalise’ certain experiences and feelings about these places.

      Red Road: I have already been invited by the Red Road project (subject to securing appropriate funding) to visit the scheme and meet with its workers and tenants. They would like me to produce 4 drawings of individual flats, floors and offices in the block using the basic technique piloted before. As this deals with a municipal space, one bounded by much more rigid architecture, this will require an adaptation of the basic approach first used in drawing the yards.

      The Barras: I have long been a fan of the legendary market and would like to produce 4 drawings showing floor plans of the markets and highly detailed compositions of individual stalls, with the full cooperation of the market traders.

      I have a wordpress blog but will keep posting to Central Station, for those who might be interested!

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  • In Search of England In Search of England

    • From: D.Agnew
    • Description:

      Despite having no real affinity for the South East, I have never been shy of visiting its historic market towns. In recent years I have travelled to Canterbury, Dover, Brighton, Eastbourne and more recently Cambridge. On arriving at the Cambridge train station and walking a mile and half towards the historic city centre, I realised I was deluded from the outset. Deluded by my own expectations, where I always hope to find an H.V. Morton version of England but leave disappointed every time. Almost immediately on arriving in Cambridge, I was reminded of a previous trip to Canterbury, where I went in search of Geoffrey Chaucer but found myself overwhelmed by the awesome triumph of American consumerism.

      Canterbury Cathedral is curtained off by medieval walls but is surrounded by a pedestrianised shopping centre full of New Labour corporate chains. Such is the grim familarity of these stores, I often find myself dangerously nostalgic for a golden era I never knew, and regretting the triumph of motorways and supermarkets. Behind the sparkling windows of discount signs and fairy lights, is the banal realisation that almost every town centre in England looks exactly the same. When visiting the Roman cities of Bath and York, the corporate chains are still there, but you will find bourgeois gift shops, walking tours and posh delicatessens serving chocolate in sweet plastic bags.

      Cambridge offers a similar gift shop experience and on exploring their beautiful university colleges, it is still possible to find a postcard moment from selective angles. While Cambridge has largely maintained its medieval architecture and religious landmarks. Most traditional local stores appear to have disappeared and replaced by the likes of Boots, Clinton Cards, Slug and Lettuce, H&M, Top Shop and Costa Coffee. These stores represent economic growth, jobs and progress. Everybody uses them. Its just a source of regret that you can now close your eyes in any English city and be virtually anywhere from Newcastle upon Tyne to Southend upon Sea.

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    • 2 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
    • Description:

      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
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    • 3 days ago
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  • Fabricate Books Fabricate Books

    • From: Martin_Reid
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      Fabricate Books

      Retailer of art, design, photography, architecture books, limited edition art prints and t-shirts.
      Design work included: 
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      • Corporate stationery
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    • 3 days ago
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  • On Shapes and Things On Shapes and Things

    • From: stuartdfallon
    • Description:

      On Shapes and Things

      Richard Healy and Gemma Holt

      Sierra Metro

       

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      The sixth chapter of E.H. Gombrich’s 1979 book The Sense of Order: A Study in the Psychology of Decorative Art provides a ‘unique language’ through which Richard Healy and Gemma Holt (in a new creative collaboration instigated and supported by the gallery) have considered the bonds and hierarchies that exist between pattern and object, whilst effecting to explore the divergent and often contentious relationship that exists between fine art and design practice.

      Gombrich’s chapter begins with discussion of the kaleidoscope. Invented in 1816 as a scientific tool and named after the Ancient Greek for ‘beautiful form’, it quickly became appropriated as a toy, creating thrills and wonderment at its ability to subvert the natural order and familiar ways of seeing. Similarly in Shapes and Things, common and familiar order has been displaced and recontextualised, and whilst there is beauty here, it’s of a strange, awkward type, characterized by compositional peculiarity and visual clashes- a beauty that necessitates observation from many perspectives and allowed to unravel and reveal itself over time.

      The ‘fruitful tension between functional and ornamental hierarchies’ noted by Gombrich, appears to be of significant concern in the exhibition. Objects sit awkwardly in this interstice between function and ornament- the mirrors, the pouffes, the lighting, even the curtains have an inferred domestic purpose- yet their installation in the gallery renders them untouchable and facile. Two polarized exceptions exist: Holt’s hexagonal plinth, built and utilized with the specific purpose of serving Healy’s projection, and the fake wall segment installed by Healy, adorned by his Studio Plant Study II, which sits uniquely as an object of sheer decoration.

      Closer consideration and inspection of the designed elements themselves, provides further disquieting distancing from the familiar. Etched into the mirrors is a malevolent arrangement of sawtoothed forms, the three pouffes- stripped of their cordial covers sit together like naked chopped sections of a superfluous ornamental pillar, the curtains hover at a disconcerting height above the floor like mischievous apparitions, purposefully concealing segments of the space. This conflicting disposition in the objects occurs similarly in the artists’ use of colour. The clash of coral against grey strains and upsets the eye- yet the vibrant glow of the lunar pendant, first encountered as a haze through a curtain or a tantalizing reflected blaze in a mirror, prompts a desire to bask in its glow. Its night-light blush, rhythmically seeping from fuchsia into aquamarine and turquoise, intimating warmth and comfort against the cold stone background.

      As time passes, a considered grouping of objects becomes apparent. Each of the three curtains is paired with its ‘own’ selected elements that it shields and protects. Despite these individual arrangements, there is a distinct sense of lopsidedness to the composition overall. Given that Gombrich remarks that ‘symmetry implies cohesion’, it would seem that the artists have consciously shunned a more predictable order in favour of something more dynamic and less visually comfortable. Gombrich also discusses the importance of the ‘centre’- how the kaleidoscope draws the eye into the middle and how we unconsciously esteem centrality more generally (in religious iconography, ceremonial events etc). Shapes and Things has no centre. The middle of the gallery is empty of objects- barring a curtains edge hanging vaguely nearby- from this central viewpoint the balance of the objects presented is out of line.

      Healy’s projected video seems to act as something of a synopsis of the exhibition content. It presents a perpetual conveyor of analogous elements: fractal geometric shapes, minimalist creations and monochromatic segments of pattern. The effect is immersive and hypnotic, and once you lose yourself in the visuals they work to echo, not only the close vicinity, but provide a kaleidoscopic vision of works in festival exhibitions elsewhere: the fragmented architecture of Coleman & Hogarth’s Staged, Iran do Espirito Santo’s gradated monochrome wall, the hunks of marble set to create Martin Creed’s new Scotsman Steps glide systematically across the screen.

      Overtime the disjointed temporary contents of Shapes and Things begin to converse with their surroundings- revealing and highlighting the peculiar idiosyncrasies of the gallery space itself. Healy’s pulsating orb acts as an inadvertent parody of the bright redundant buoys hanging outside the window, whilst there is a previously overlooked awareness of how three white pillars abruptly defy the comfortable symmetry of the other six.  Other patterns, shapes and shades from the work play-off the heavy permanent wooden fixtures, coatings of dark mustard paint and the frosted floral glass panels.

      When discussing the general response to the effect of the kaleidoscope, Gombrich notes that people ‘usually respond with delight, but after a few exclamations of ‘ah’ and ‘oh’ they put it aside and talk of other things.’ Healy and Holt’s Shapes and Things provokes a similar initial reaction, however, there is enough intriguing conflict and intelligent construct here to hold the viewers interest long after this original impression has passed.

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      Image credits:

      Shapes and Things, Richard Healy and Gemma Holt, 2010

      Installation view, Sierra Metro, Edinburgh

      Images courtesy the artists and Sierra Metro

      Photography: Chris Park 

       

       

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  • expanded architecture 03: skew expanded architecture 03: skewed screen01

    • From: sarahbreenlovett
    • Description:


      A scrolling wilderness of light and shadow transports the viewer from horizontal to vertical coign of vantage.
      Elements not visible during the day come into view as night falls. A questioning of the rectangular cinematic image,
      a visceral relationship between day and night, architecture and viewer.

      Curated by Archetype Gallery Chauvel Cinema : Paddington, Sydney.

    • 4 days ago
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  • EXPANDED ARCHITECTURE 02: LOOS EXPANDED ARCHITECTURE 02: LOOS PLEASURE

    • From: sarahbreenlovett
    • Description:

      Response to Adolf Loos Ornament and Crime paper and his design for Josephine Baker House in 1928. Toilet is transformed from amenity to entertainment in an architectural peep show of the unbuilt designs. Vanishing Point Gallery Newtown Sydney 2010

    • 5 days ago
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  • cast01.jpg cast01.jpg

    • From: GraphicalHouse
    • Description:

      We designed these almost a year ago now, we’d kind of forgotten about them so it was a nice surprise to see these shots. For a community building designed by Collective Architecture, these 4m tall pre-cast concrete panels have a repeat pattern that takes inspiration from iron ore, paying reference to the industrial his...tory of Lanarkshire. The building should be finished in spring.

    • 5 days ago
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  • cast02.jpg cast02.jpg

    • From: GraphicalHouse
    • Description:

      We designed these almost a year ago now, we’d kind of forgotten about them so it was a nice surprise to see these shots. For a community building designed by Collective Architecture, these 4m tall pre-cast concrete panels have a repeat pattern that takes inspiration from iron ore, paying reference to the industrial his...tory of Lanarkshire. The building should be finished in spring.

    • 5 days ago
    • Views: 9
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  • cast00.jpg cast00.jpg

    • From: GraphicalHouse
    • Description:

      We designed these almost a year ago now, we’d kind of forgotten about them so it was a nice surprise to see these shots. For a community building designed by Collective Architecture, these 4m tall pre-cast concrete panels have a repeat pattern that takes inspiration from iron ore, paying reference to the industrial his...tory of Lanarkshire. The building should be finished in spring.

    • 5 days ago
    • Views: 5
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  • EXPANDED ARCHITECTURE EXPANDED ARCHITECTURE

    • From: sarahbreenlovett
    • Description:

      Call for Submissions of short films 5min or under41600_129019340469156_8872_n.jpg that are related to the theme of EXPANDED ARCHITECTURE.

      EXPANDED ARCHITECTURE - the intersection of avant-garde film, expanded cinema and architecture.

      Next exhibition at the EXPANDED ARCHITECTURE International Architectural Film Night Carriage Works Sydney 6th November 2010.

      Deadline for submission for consideration to exhibition 15th September 2010
      upload to expanded architecture on Vimeo.  http://www.vimeo.com/groups/expandedarchitecture

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    • 6 days ago
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  • EXPANDED ARCHITECTURE EXPANDED ARCHITECTURE

    • From: sarahbreenlovett
    • Description:

      Call for Submissions of short films 5min or under41600_129019340469156_8872_n.jpg that are related to the theme of EXPANDED ARCHITECTURE.

      EXPANDED ARCHITECTURE - the intersection of avant-garde film, expanded cinema and architecture.

      Next exhibition at the EXPANDED ARCHITECTURE International Architectural Film Night Carriage Works Sydney 6th November 2010.

      Deadline for submission for consideration to exhibition 15th September 2010
      upload to expanded architecture on Vimeo.  http://www.vimeo.com/groups/expandedarchitecture

    • Blog post
    • 6 days ago
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  • 41600_129019340469156_8872_n.j 41600_129019340469156_8872_n.jpg

  • embrace embrace

    • From: sam_hart
    • Description:

      photomanipulation. 2008

    • 1 week ago
    • Views: 17
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