The development of technology in design field brings enormous changes. It makes it easier faster and economical to create complex forms, that is by using computer program, it can be measured precisely and manufacturers become able to calculate the exact amount of material.
These days, there are many products and architecture which have complicated forms that might not be realized without the help of computer in the past. They are all incredibly beautiful and functional. I feel like they are from the future because of their shapes and I come to wonder that which is first new forms or computer program. Finally, I find that there are some similarity between buildings and products from 3D modeling and nature. Nature looks very chaotic, random and complicated but we can see definitely rules and orders in it. Likewise, architectures like Frank Gehry’s, for example, seem to consist of randomly arranged curves seemingly but if I look carefully, I can see that there are orders among cursive lines. From this resemblance, the pursuit of harmonization with nature seems to play a role as a result of digital evolution. In this sense, these designs are more humane although they are made in virtue of a computer which sometimes stands for inhuman things than box-shaped ones.
The Cinderella Table is manufactured by using CNC machine. The form of this table looks impossible to be made by hands with tools. It is unusual but also familiar because it comes from classic European style. It is like Neo- Classic mode in that the design of Cinderella Table steps up further thanks to digital innovation.
The use of computer program create a lot of possibility for visualizing ideas so, the limit of manufacture becomes nothing because ideas which are not realized are dead.
Sunday, July 22, 2007
Response
Eyebeam Museum of Art and Technology Project
Even though it is different between the intention of the artist and my point of view, this modeling, which seems to be real landscape by video montage, shows the atmosphere when the building is completed on the site. Because of architecture is dealing with unreal and expected space, we had just imagined until actual construction would finished. However, this kind of imagined anticipation can be prospected and corrected by evolution of computer software and CAD plan in more detail. This artwork illustrates how the real space can be transformed when the actual space and virtual structure are coexisted; in advance of just virtual image modeling on the computer monitor. I am not sure that this technology is the practical use in contemporary architecture industry, but this technology allows people to more actualize their plan; it is not only bringing the physical convenience but also making possible the things one time could not come true.
Now, designers can spread their idea, apart from structural and material issues, and computer aid system has the duty instead. In fact, I am not using this technology even though I am living in this digital era. In fact, my initial design tendency is like more physically touchable and instantly accessible way rather than formal output by computer; this kind of inclination brings more cordial and artistic feeling, although it is not keen and accurate in comparison to computer rendering or modeling. However designers need to know and learn this technology. This innovated technology makes possible even unimagined design before, and the technology itself can be another way of art.
Even though it is different between the intention of the artist and my point of view, this modeling, which seems to be real landscape by video montage, shows the atmosphere when the building is completed on the site. Because of architecture is dealing with unreal and expected space, we had just imagined until actual construction would finished. However, this kind of imagined anticipation can be prospected and corrected by evolution of computer software and CAD plan in more detail. This artwork illustrates how the real space can be transformed when the actual space and virtual structure are coexisted; in advance of just virtual image modeling on the computer monitor. I am not sure that this technology is the practical use in contemporary architecture industry, but this technology allows people to more actualize their plan; it is not only bringing the physical convenience but also making possible the things one time could not come true.
Now, designers can spread their idea, apart from structural and material issues, and computer aid system has the duty instead. In fact, I am not using this technology even though I am living in this digital era. In fact, my initial design tendency is like more physically touchable and instantly accessible way rather than formal output by computer; this kind of inclination brings more cordial and artistic feeling, although it is not keen and accurate in comparison to computer rendering or modeling. However designers need to know and learn this technology. This innovated technology makes possible even unimagined design before, and the technology itself can be another way of art.
John Maeda
John Maeda(1996)
He pursuits a humanistic technology as an artist and a scientist. He explores how the technology and an art can be for a contemporary human’s life. One of his themes is simplicity. Nowadays, a machine, software or a technology is very complicate to use with one’s intuition. Before we use it, the preparation is needed, reading lots of manual pages and too many menus. As a technology improve, it is too complicated. Also he criticizes how people show off their amount knowledge and get artificial satisfaction in over-expressive way, gathering and adding tremendous research information. Even if a technology has been developed to get more, it is dysfunctional if human cannot use it easily. In this point, he asks what the improvement is. It cannot be said as a true improvement. People want to get more from technology and get an easy access to approach to technology. He redefines improvement as something between complexity and simplicity under the principle of “needing less and actually getting more”, suggesting the direction to the future technology”.1.
In his “The Law of Simplicity”,
Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products--how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."2.
Then what’s the meaningful simplicity? I want to quote his comment about creativeness. His teacher, Ikko Tanaka told him that he has very creative, but there is two coin sides in creativeness. Good thing is a talent to think in various ways, but that ability interrupts you to complete. Even if you get an initial idea, another new ideas come over and over again. Finally the thought became more complex and remain as incompletion. However, Maeda asserts not to think any more, because you maybe already thought a lot and just do what you really want to do, depending on your intuition. This personal story is link to his perspective to think about technology. Human create computer and make it more complex by human’s creativeness. As Human expect computer to do more and more, a computer also became too complex for human to use. It makes us more confuse and drive us far from our fulfillments. In this case, human’s creativeness is incomplete because technology has been developed too much with absence of consciousness of a human’s simple goal.
John Maeda stress out a meaningful human’s life with technology. That is the technology can meaningful friend, not just a machine. To do so, human try to be an alchemist who have ability to extract something really meaningful.
1.http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10933
2.http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10933
He pursuits a humanistic technology as an artist and a scientist. He explores how the technology and an art can be for a contemporary human’s life. One of his themes is simplicity. Nowadays, a machine, software or a technology is very complicate to use with one’s intuition. Before we use it, the preparation is needed, reading lots of manual pages and too many menus. As a technology improve, it is too complicated. Also he criticizes how people show off their amount knowledge and get artificial satisfaction in over-expressive way, gathering and adding tremendous research information. Even if a technology has been developed to get more, it is dysfunctional if human cannot use it easily. In this point, he asks what the improvement is. It cannot be said as a true improvement. People want to get more from technology and get an easy access to approach to technology. He redefines improvement as something between complexity and simplicity under the principle of “needing less and actually getting more”, suggesting the direction to the future technology”.1.
In his “The Law of Simplicity”,
Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products--how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."2.
Then what’s the meaningful simplicity? I want to quote his comment about creativeness. His teacher, Ikko Tanaka told him that he has very creative, but there is two coin sides in creativeness. Good thing is a talent to think in various ways, but that ability interrupts you to complete. Even if you get an initial idea, another new ideas come over and over again. Finally the thought became more complex and remain as incompletion. However, Maeda asserts not to think any more, because you maybe already thought a lot and just do what you really want to do, depending on your intuition. This personal story is link to his perspective to think about technology. Human create computer and make it more complex by human’s creativeness. As Human expect computer to do more and more, a computer also became too complex for human to use. It makes us more confuse and drive us far from our fulfillments. In this case, human’s creativeness is incomplete because technology has been developed too much with absence of consciousness of a human’s simple goal.
John Maeda stress out a meaningful human’s life with technology. That is the technology can meaningful friend, not just a machine. To do so, human try to be an alchemist who have ability to extract something really meaningful.
1.http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10933
2.http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10933
Big Belt House, White Sulfur Spring, Montana
This century, we call the digital age, and when we look around, we find the connection with digital media easily. However, I am still not skilled in this technology, so when I see the exhibition “Digitally Mastered: Recent Acquisitions from the Museum’s collection” in MOMA, I am shocked by such developed techniques. Among the exhibitions, I am attracted by “Big Belt House, White sulfur spring, Montana”, an exhibition of an architectural model made out of laser-cut acrylic.
First, it does not look like an architectural model, because the under corners of this model have metal materials which seem machine- made. However, the body of the architecture is beautiful. There are many curves and lines. The characteristic of the material in this model is translucence, so the inside space which is hardly visible makes the viewers more interested.
Secondly, it looks like a mountain range. At this point, I can define the technological innovation. This model’s purpose is to “Visually rhyme”. The importance of this architecture is connection with the background. In order to do this, Massie examined the physical features of this area using a global positioning system. The real technological innovation in the architecture is developing with the surroundings and being concerned with the surroundings. The Willian E, Massie work is always concerned with the landscape, and the ideas of the house frame is also from the landscape; it is not just a curved structure. What I want to do after looking at this model is to consider the basic characteristics of that space first, and then use for that space, applying innovative technology. In this way, I can develop my skills and ideas more and more.
First, it does not look like an architectural model, because the under corners of this model have metal materials which seem machine- made. However, the body of the architecture is beautiful. There are many curves and lines. The characteristic of the material in this model is translucence, so the inside space which is hardly visible makes the viewers more interested.
Secondly, it looks like a mountain range. At this point, I can define the technological innovation. This model’s purpose is to “Visually rhyme”. The importance of this architecture is connection with the background. In order to do this, Massie examined the physical features of this area using a global positioning system. The real technological innovation in the architecture is developing with the surroundings and being concerned with the surroundings. The Willian E, Massie work is always concerned with the landscape, and the ideas of the house frame is also from the landscape; it is not just a curved structure. What I want to do after looking at this model is to consider the basic characteristics of that space first, and then use for that space, applying innovative technology. In this way, I can develop my skills and ideas more and more.
The Cinderella Table.
material : birch plywood, 57 layersdimensions: 132cmX100cmx81cmproduced by: ID PRODUCTIONS.
photo: IMM Clogne 2006, Ideal House
The"Cinderella Table" is on display in the Philip Johnson Architecture and Design Galleries on the third floor in MOMA. Jeroen Verhoeven,a founding designer of the Demakersvan (a design team comprised of three 29-year-olds, Joep Verhoeven,Judith de Graauw and himself)is inspired by 17th and 18th century Rococo-style shapes of tables. He used sketches of traditional table shapes to make the Cinderella Table's elegant lines. For making these delicate lines and shapes, he simplifies their outlines and puts them into a computer program. It translates the outlines into a three dimensional form. In this way, he is able to make the this industrialized piece of furniture with craftsmanship.
The "Cinderella Table" is manufactured by using CAD-CAM (computer-aided design and computer-aided manufacturing). The "cinderella table" is designed digitally, on screen. The computer files representing its shape in two dimensions are used to control the robot line that make its three dimensional form. Using birch wood,the table is sliced and “each of the 57 slices, each 8omm thick (a total 0f 741 layers of plywood) is manufactured by CNC (computer numerically controlled) cutting machines." There are normally used to shape steel, wood, other materials, “working on three, and sometimes five axes. Each slice is cut from the front and from the back to perfect the curves and undercuts, pushing the boundaries of the technology.” All the slices are glued together to form table and the whole table is finished by hand. Through these steps, he is able to make a wonderful curved shape and a hollow form.
In terms of using high tech machine, it is attractive to make details, something uniquely shaped as well as having a exaggerated lines. Even though we are worried about the lack of craftsmanship in technological time, we are able to make the special curved and decorated shapes as well as good designed quality in a brief period of time compare to hand-made crafts. It is also economical for mass production. By using computer, we are free to make geometric shapes and design something special to combine crafts and machines. As Jeroen Verhoeven said "the CAD-CAM is (in his words) a new modern craft". The "Cinderella Table" represents the possibility of using a high tech method as “craft”.
Seeing The "Cinderella Table" at first time, I am really interested in its design having the natural curve movements but now I am attracted by its concept and methods about connecting traditional shape and high tech machine. we have to develop connection between the designs and the computer programs in our modern society. However we also keep in mind that machines start working for us ,instead of following ourselves to be led by them, as so often happens these days.
Picture a city
Video for Bradford city Centre Master Plan, Bradford, West Yorkshire, England 2003
Single-channel video projection
Alsop Ltd., London
Squint /Opera, London
est. 2002
Squint / Opera made this short film as a part of the city project by the Alsop Architects. The film is about the renewal of Bradford city, an industrially depressed city in England. The derelict buildings in the city are deleted through the computer techniques and the new landscape is created instead. The master plan is composed of the four basic elements – the bowl, the Market, the Valley and the Channel. Alsop designed each zone having the specific scheme about the public facilities like parks, schools and residential sections. This film was commissioned by Bradford Centre Regeneration.
When I saw this video for the first time, it seemed my dream came true. My hometown Seoul, the capital city of South Korea, is too crowded. Most industries and facilities are concentrated and 10 billion people live in this small city. I used to imagine breaking all the signboards with neon sign, disordered apartments along the Han River, too many cars etc. While seeing this short video, my eyes are drawn into the revival of my imagination. Technological innovation can be explained through my experience I mentioned above. Producing something that is existed in only people’s imagination is literally “technological innovation”.
One of the advantages in this single-channel video projection is that the difficult architectural concept can be understood clearly only in a few minutes by not only the developers but also the uninterested public. The other merit is that this short film can bring up the 3D images from the 2D sketches and make people imagine their stories in it. Indeed, these films can be used any stage in development of designer’ concept. For my major, interior architecture, I could also use these innovative techniques as a means of impact for my clients and the quality of my design. However, I think the most important thing is that designers can communicate with people in interactive ways.
These days, design processing is being combined together. In this case, Alsop used architectural and film programs like Max, Maya and Houdini (a parametric modeling program) for the computer animation. Techniques enhance the rapid changes of the design world and these changes accelerate themselves. Therefore, designers are required to learn many different skills and have the point of view as the unity of design - i.e. art, technology and science.
http://www.squintopera.com/
Technologically innovative : Rapid Manufacturing
Technologically innovative is to bring advantage to designers (producers), consumers, and environment. Technologically innovative gives new challenges and flexible ideas to designers, no limited choice to consumers, and no waste of materials to environments. Many impossible aesthetical or complex products become real.
I chose two products used by ‘Rapid Manufacturing (RM)’, one of the most significant technologically innovative in an industrial revolution for the Digital Age. One is CS Solid Chair (2004) with epoxy resin by Patrick Jouin. Another is One-shot MGX Stool (2006) with laser-sintered nylon by Patrick Jouin. These products are intricate compositions and seem not to be mass products because of an originally innovative shape, looking like a sculpture. The spaces between lines of the products project beautiful shadow.
Rapid manufacturing (RM) is the use of rapid prototyping, rapid tooling and the direct use of layer manufacturing technologies to produce final products quickly. The process of RM is to scan 2D profiles and make 2D 3D under computer control without human labors. By using RM, products increase range of material, size, durability and design, and producers cut cost and time, make mass products in the short time, do not require considerable skilled hand labor, and reduce waste of materials.
In the past time, technology innovative satisfies people just in that it is to produce more rapidly, more easily and cheaper. However, now, people require that technology innovative is not only flexible choices for designers and consumers under rapid manufacturing, but reduction of waste materials. Behind mass production and mass consumption, mass disposal always coexist. Its problem is very serious at any age. Therefore, it is vital that technologically innovative maintain the balance of the desire of designers and consumers, and the attention of environment, and also develop together.
I chose two products used by ‘Rapid Manufacturing (RM)’, one of the most significant technologically innovative in an industrial revolution for the Digital Age. One is CS Solid Chair (2004) with epoxy resin by Patrick Jouin. Another is One-shot MGX Stool (2006) with laser-sintered nylon by Patrick Jouin. These products are intricate compositions and seem not to be mass products because of an originally innovative shape, looking like a sculpture. The spaces between lines of the products project beautiful shadow.
Rapid manufacturing (RM) is the use of rapid prototyping, rapid tooling and the direct use of layer manufacturing technologies to produce final products quickly. The process of RM is to scan 2D profiles and make 2D 3D under computer control without human labors. By using RM, products increase range of material, size, durability and design, and producers cut cost and time, make mass products in the short time, do not require considerable skilled hand labor, and reduce waste of materials.
In the past time, technology innovative satisfies people just in that it is to produce more rapidly, more easily and cheaper. However, now, people require that technology innovative is not only flexible choices for designers and consumers under rapid manufacturing, but reduction of waste materials. Behind mass production and mass consumption, mass disposal always coexist. Its problem is very serious at any age. Therefore, it is vital that technologically innovative maintain the balance of the desire of designers and consumers, and the attention of environment, and also develop together.
Saturday, July 21, 2007
Rapid Manufacturing
C2 Solid Chair 2004
(Epoxy resin, Manufactured by Materialise NV, Belgium)
Patrick Jouin
French, Born 1967
Rapid manufacturing is an additive fabrication technique for manufacturing solid objects by the sequential delivery of energy and material to specified points in space to produce that part. Current practice is to control the manufacturing process by computer using a mathematical model created with the aid of a computer.
To explain it simplely, different from the 2D printer which can output a digital file onto a plant medium, rapid manufacturing can output a digital file to a 3D model. Actually, the thoery of this new technique is not new. I think this technique is inspired from traditional sculpture technique which enlarge a sculpture model by the help of contour line. In rapid manufacturing, the digital 3D file in computer is just like the sculpture model, which can be cut into many layers with different shape of contour line. The process of rapid manufacturing is just output the different layers using a certain kind of powder, which can be fused under certain temperature. And then the layers will deposit to form a real 3D model.
This technological innovation can not only accelerate the traditional production to be “Rapid”, but also can bring a new kind of aesthetic revolution. In our history, the appearance of a new technique or material always lead a new aesthetic movement. For example, the futurism was inspired by the mass application of machine. The concept of modernism architecture is based on the appearance of new materials.
Compared with traditional production, the most unique characteristics of Rapid Manufacturing is the disappearance of the process steps and modulus unit. Because the inner structure and external surface of the final product will be outputted simultaneously. Maybe in the future, a factory just need one department to output the final products, while the other works have been finished in computer. This kind of nonlinear production will inspire designers every much. For example, getting rid of the limitation of modulus and standardization, the architects can be more free to design some fancy, complicated, even “impossible” shape. For a simple example, with the help of Rapid Manufacturing machine, we can make a absolutely concealed box, which can conceal another smaller box inside simultaneously and it is not necessary to open the bigger box to made the small one. Based on this new possibility of design, I believe a new aesthetic movement is coming.
Tuesday, July 17, 2007
David Zwirner gallery-A point in pace is a place for an argument
Chelsea
525 West 19th Street, 212-727-2070
June 28 - August 10, 2007
Opening: Thursday, June 28, 6:00PM - 8:00PM
David Zwirner gallery, opened in 1993, is one of famous gallery on Chelsea in New York. This gallery tries to exhibit the art pieces of new artists regardless of their nationalities. And the artists have participated in many important exhibitions.
The Current exhibition, A point in space is a place for an argument, brings a main theme from the book, Tractatus Logico-Philosophicus by Ludwig Wittgenstein and about thirty artists gathers for this exhibition. They are Lynda Benglis, Niki de Saint Phalle, Vincent Fecteau, Al Taylor, Isa Genzken, Raoul De Keyser, Katy Schimert, Jason Rhoades, John Chamberlain, Lee Lozano, Hans Accola, Forrest Bess, Julien Bismuth, Andre Cadere, Fred Sandback, Paul Thek, Mary Heilmann, Eva Hesse, Alfred Jensen, Mike Kelley, Rachel Khedoori, Michael Mahalchik, Gordon Matta-Clark, Paul McCarthy, Bruce Nauman, Claes Oldenburg, Joe Overstreet, Steven Paarrino, Dieter Roth, Cathy Wilkes.
Wittgenstein explain the relationships between an object and a space stressing the situation of object; certain elements, color, tactile, form.., distinct the object from other world. Moreover, he insists that a description of the world is a fact that is true of the world and facts are before objects. Explaining relationships between language and reality, language describes only reality by virtue of sharing a logical form. Taking a picture of a sunset and real sunset for an example, he says that a proposition and what is represents share a similar logical form but not contents. Also, he claims the important distinction between saying and showing and at the same time the upshot of this distinction is that we can only say things about facts in the world; logical form cannot be spoken about, only shown. Opposing universalist conception of logic, he believes logic is all form no content.
For the last five decades, the visual works present several ways by which artists have approached the object in space and questions of materiality, form, and function.
This exhibition is about subverting preconception of material occurring from language. Appreciating the art works of the exhibition, you might want to compare original feelings that you have had from certain material to ones that the works with the material give you. I am sure that you will become to know that not all knowledge defined is fact. According to Ludwig Wittgenstein’s philosophy, you will see that everything depicted by language in the world is only form and it cannot be fixed contents.
1. http://www.davidzwirner.com/
2. http://www.sparknotes.com/philosophy/tractatus/summary.html
3. http://chelseaartgalleries.com/David+Zwirner/A+Point+in+Space+Is+a+Place+for+an+Argument.html
525 West 19th Street, 212-727-2070
June 28 - August 10, 2007
Opening: Thursday, June 28, 6:00PM - 8:00PM
David Zwirner gallery, opened in 1993, is one of famous gallery on Chelsea in New York. This gallery tries to exhibit the art pieces of new artists regardless of their nationalities. And the artists have participated in many important exhibitions.
The Current exhibition, A point in space is a place for an argument, brings a main theme from the book, Tractatus Logico-Philosophicus by Ludwig Wittgenstein and about thirty artists gathers for this exhibition. They are Lynda Benglis, Niki de Saint Phalle, Vincent Fecteau, Al Taylor, Isa Genzken, Raoul De Keyser, Katy Schimert, Jason Rhoades, John Chamberlain, Lee Lozano, Hans Accola, Forrest Bess, Julien Bismuth, Andre Cadere, Fred Sandback, Paul Thek, Mary Heilmann, Eva Hesse, Alfred Jensen, Mike Kelley, Rachel Khedoori, Michael Mahalchik, Gordon Matta-Clark, Paul McCarthy, Bruce Nauman, Claes Oldenburg, Joe Overstreet, Steven Paarrino, Dieter Roth, Cathy Wilkes.
Wittgenstein explain the relationships between an object and a space stressing the situation of object; certain elements, color, tactile, form.., distinct the object from other world. Moreover, he insists that a description of the world is a fact that is true of the world and facts are before objects. Explaining relationships between language and reality, language describes only reality by virtue of sharing a logical form. Taking a picture of a sunset and real sunset for an example, he says that a proposition and what is represents share a similar logical form but not contents. Also, he claims the important distinction between saying and showing and at the same time the upshot of this distinction is that we can only say things about facts in the world; logical form cannot be spoken about, only shown. Opposing universalist conception of logic, he believes logic is all form no content.
For the last five decades, the visual works present several ways by which artists have approached the object in space and questions of materiality, form, and function.
This exhibition is about subverting preconception of material occurring from language. Appreciating the art works of the exhibition, you might want to compare original feelings that you have had from certain material to ones that the works with the material give you. I am sure that you will become to know that not all knowledge defined is fact. According to Ludwig Wittgenstein’s philosophy, you will see that everything depicted by language in the world is only form and it cannot be fixed contents.
1. http://www.davidzwirner.com/
2. http://www.sparknotes.com/philosophy/tractatus/summary.html
3. http://chelseaartgalleries.com/David+Zwirner/A+Point+in+Space+Is+a+Place+for+an+Argument.html
Ezra Stoller
Ezra Stoller (16 May 1915 — 29 October 2004) was an American architectural photographer, born in Chicago.
Stoller studied to be an architect at New York University in 1938, but while a student he began making lantern slides and photographs of architectural models, drawings and sculpture. From this time he concentrated on photographing architectural landmarks such as Ludwig Mies van der Rohe's Seagram Building, Frank Lloyd Wright's Falling Water, and Alvar Aalto's Finnish Pavilion at the 1939 New York World's Fair.
There is a critic said that “no moder building is complete until it is ‘stollerized’”. BUT I want to say that “no stollerized modern building is complete”
Ezra Stoller said: 'While I cannot make a bad building good, I can draw out the strengths in a work that has strength, but I never claimed my work is art. The art is the architecture'. So I think it is more advisable to comment his work through an Architecture angle rather than a photography angle.
First, I want to cite the definition of modernism architecture from Wikipedia:
Modern architecture, not to be confused with 'contemporary architecture', is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building.
We can detect the a part of characteristics of modernism architecture through reading Ezra Stoller’s photography, for example the rejection of ornament, the simplification of form and elimination of "unnecessary detail", the adoption of expressed structure.
But I think two core characteristic of modernism architecture are ignored in his photos.
1: the ignoring of architecture’s function
In the Modernism Architecture concept, building is a living machine. Therefore function of a building is much more important than its shape or form. But, in his works, he just show the buildings’ external aesthetic aspects, such as the changing of abstract lines, the contrast of volume and the texture of materials. But we can not see how people live in it and use it. Those buildings just like huge sculptures without any function and reject people to get in.
2: the ignoring of the motion in the buildings.
I think the modernism architects are very care about the people’s moving in the building and those functional, visual, and psychological changing during the moving. However, the builds appeared in his works show a stable, balance and dead scene rather than a flexible, and kinetic scene.
He partly represented Modernism Architecture, but I do not think photography is a right medium to represent that kind of buildings. They can mislead viewers to understand the Modernism Architecture.
So that is why I say that “no stollerized modern building is complete”.
Danziger Projects Gallery
Danziger Projects gallery opened in November 2004 in the heart of the Chelsea art district. Focusing primarily on artists working in photography, but also exhibiting video and painting, Danziger Projects combines the presentation of new work with the rediscovery and re-assessment of work by established voices.
As a project space, the gallery maintains a collaborative relationship with its own artists as well as with other galleries and artists. Outside collaborations include a publishing project and exhibition with Jack Pierson (in association with Cheim and Read) and the exhibition of Harry Callahan's "Women Lost in Thought" series (in association with Pace MacGill).
The gallery follows the highest standard of connoisseurship and brings its experience and expertise to a range of visual projects including film and publishing.
521 West 26th StreetNew York, New York 10001 USA
http://www.danzigerprojects.com/history/
the introduction of artist is coming soon
As a project space, the gallery maintains a collaborative relationship with its own artists as well as with other galleries and artists. Outside collaborations include a publishing project and exhibition with Jack Pierson (in association with Cheim and Read) and the exhibition of Harry Callahan's "Women Lost in Thought" series (in association with Pace MacGill).
The gallery follows the highest standard of connoisseurship and brings its experience and expertise to a range of visual projects including film and publishing.
521 West 26th StreetNew York, New York 10001 USA
http://www.danzigerprojects.com/history/
the introduction of artist is coming soon
Sorry
Sorry everyone, I missed the due day. Now I am writting the post and I will post it early to night. If you do not have time to read, I would like to introduce the gallery and artist tomorrow on the bus. So, forgive me:)
Monday, July 16, 2007
Andrew Kreps Gallery- Ellen Gronemeyer and Michael Hakimi
Andrew Kreps Gallery is located in Chelsea, New York city. Andrew Kreaps is the owner and director of this gallery and there are 4 more staffs are cooperating. Andrew Kreps has an appreciative vision which selects art works are not easy to understand. The exhibition of Ellen Gronemeyer and Michael Hakimi is a good example of it.
Ellen Gronemeyer is a Germen painter, living in London and she is exhibiting her painting works which are thickly painted humane shapes and abstract images. Most of her works are dark and alternated with some layers of pell-mell with oil colors and etched. The paintings are abstract but the shapes are quite understandable. Her works are most about personal figures staring distant outside of the frame. She describes human shape in interior space with half-abstract shapes. According to the gallery curator, the works represent created spaces, but reflects viewer’s coexisted experience in the real gallery.
Michael Hakimi is also a German artist in Berlin and he is exhibiting his installations which were originally a part of a bigger art piece in Center Pompidou in Paris. His most works are sky lines of skyscrapers in city space and paper based abstract Found Art made with ordinary objects to symbolic and esthetical work. Hakimi uses two- dimensional graphic prints and slight three dimensional architectural spaces for viewers to understand his works. The piece I was impressed is “Skyline” (stencil, 2006) which is based on a piece of recycled newspaper and the townscape is cut out for stencil. It has desaturated sprayed silhouette for represent a scene of the suffering city. He made it like a stretched upper cloth but its edge expresses skyline.
For understanding and finding a connected theme of these two artist’s works, I had to see their works on the website again and again, but I couldn’t find the clear mutual theme except for their origin. They seem to be representing the loneliness of modern people and their living place, city. Ellen's thick painted texture seems to be people's closed and heavy suffer, and Hakimi's recycled materials initially seeme to quite green art but its meaning is quite desperate.
Andrew Kreps Gallery
525 West 22nd Street, New York, NY 10011
Citation
http://www.andrewkreps.com/index.html
http://www.nytimes.com/2007/07/06/arts/design/06gall.html?ex=1184644800&en=8bf677d9f4006589&ei=5070
Ellen Gronemeyer is a Germen painter, living in London and she is exhibiting her painting works which are thickly painted humane shapes and abstract images. Most of her works are dark and alternated with some layers of pell-mell with oil colors and etched. The paintings are abstract but the shapes are quite understandable. Her works are most about personal figures staring distant outside of the frame. She describes human shape in interior space with half-abstract shapes. According to the gallery curator, the works represent created spaces, but reflects viewer’s coexisted experience in the real gallery.
Michael Hakimi is also a German artist in Berlin and he is exhibiting his installations which were originally a part of a bigger art piece in Center Pompidou in Paris. His most works are sky lines of skyscrapers in city space and paper based abstract Found Art made with ordinary objects to symbolic and esthetical work. Hakimi uses two- dimensional graphic prints and slight three dimensional architectural spaces for viewers to understand his works. The piece I was impressed is “Skyline” (stencil, 2006) which is based on a piece of recycled newspaper and the townscape is cut out for stencil. It has desaturated sprayed silhouette for represent a scene of the suffering city. He made it like a stretched upper cloth but its edge expresses skyline.
For understanding and finding a connected theme of these two artist’s works, I had to see their works on the website again and again, but I couldn’t find the clear mutual theme except for their origin. They seem to be representing the loneliness of modern people and their living place, city. Ellen's thick painted texture seems to be people's closed and heavy suffer, and Hakimi's recycled materials initially seeme to quite green art but its meaning is quite desperate.
Andrew Kreps Gallery
525 West 22nd Street, New York, NY 10011
Citation
http://www.andrewkreps.com/index.html
http://www.nytimes.com/2007/07/06/arts/design/06gall.html?ex=1184644800&en=8bf677d9f4006589&ei=5070
Three for Society in 303 Gallery
Three for Society in 303 Gallery
In 303 Gallery, “Three for Society” is exhibited. It’s group show in which eleven artist participate, Robert Boyd, Rebecca E. Chamberlain, Anne Chu ,Hans Peter, Feldmann, Tom Gidley, Mary Heilmann, Florian Maier-Aichen, Collier Schorr, Agathe Snow, David Thorpe. Jakub Julian Ziolkowski. The title of this show is derived from the non-fiction book, “Walden” written by Henry David Thoreau and published in 1854. 1.He is an american essayist, poet, and practical philosopher, renowned for having lived the doctrines of Transcendentalism as recorded in his masterwork, Walden and for having been a vigorous advocate of civil liberties, as evidenced in the essay “Civil Disobedience” (1849). He depicts almost two years life in Walden Pond, not far from family and friend. Isolating himself from the civilized world, he criticizes the contemporary western world with clear perspective. Dealing with the phenomenon that they not only destroy and consume nature but also dehumanize people and ignores their solitude for civilization, he let contemporary society rethink about better life. 2.He provides his original perspective on the meaning of work and leisure and describes his experiment in living as simply and self-sufficiently as possible, asserting meaningful life.
In Walden, a sentence, 3. “I had three chairs in my house: one for solitude, two for friendship, three for society.” link to “Three for Society”, the title of this exhibition. 4.He goes on to discuss his experience of having guests in his intimate interior space and his observations of communication indoors versus out of doors. It is divided into outdoor as social stage and indoor as personal shelter. The former is all about domineering and the latter is full of absence, loneliness and discomfort.
1.http://www.britannica.com/eb/article-9072230/Henry-David-Thoreau
2.http://www.britannica.com/eb/article-7231/Henry-David-Thoreau
3.http://www.303gallery.com/exhibition.php?exh_id=44
4.http://www.303gallery.com/exhibition.php?exh_id=44
In 303 Gallery, “Three for Society” is exhibited. It’s group show in which eleven artist participate, Robert Boyd, Rebecca E. Chamberlain, Anne Chu ,Hans Peter, Feldmann, Tom Gidley, Mary Heilmann, Florian Maier-Aichen, Collier Schorr, Agathe Snow, David Thorpe. Jakub Julian Ziolkowski. The title of this show is derived from the non-fiction book, “Walden” written by Henry David Thoreau and published in 1854. 1.He is an american essayist, poet, and practical philosopher, renowned for having lived the doctrines of Transcendentalism as recorded in his masterwork, Walden and for having been a vigorous advocate of civil liberties, as evidenced in the essay “Civil Disobedience” (1849). He depicts almost two years life in Walden Pond, not far from family and friend. Isolating himself from the civilized world, he criticizes the contemporary western world with clear perspective. Dealing with the phenomenon that they not only destroy and consume nature but also dehumanize people and ignores their solitude for civilization, he let contemporary society rethink about better life. 2.He provides his original perspective on the meaning of work and leisure and describes his experiment in living as simply and self-sufficiently as possible, asserting meaningful life.
In Walden, a sentence, 3. “I had three chairs in my house: one for solitude, two for friendship, three for society.” link to “Three for Society”, the title of this exhibition. 4.He goes on to discuss his experience of having guests in his intimate interior space and his observations of communication indoors versus out of doors. It is divided into outdoor as social stage and indoor as personal shelter. The former is all about domineering and the latter is full of absence, loneliness and discomfort.
1.http://www.britannica.com/eb/article-9072230/Henry-David-Thoreau
2.http://www.britannica.com/eb/article-7231/Henry-David-Thoreau
3.http://www.303gallery.com/exhibition.php?exh_id=44
4.http://www.303gallery.com/exhibition.php?exh_id=44
Sunday, July 15, 2007
"Role Exchange"
Sean Kelly
528 West 29th street, chelsea
June 24th through Aug. 3
Sean Kelly gallery was established in New York in 1991 by Britished –born Sean Kelly. At first, the gallery was started with a strong of six artists. The lager the gallery grew, the more roster artists the gallery had. Sean Kelly gallery has been included in international exhibitions and held sixty solo exhibitions and fifteen group shows in its spaces, and the gallery has many international experiences that coordinate with famous museums. The exhibitions at the gallery are often challenging and unconventional, and there are various media like photography, video, and performance. Now, we have “Role exchange”, a group show at this gallery.
The role exchange show concerns about questions of identity and role- playing and changes of traditional roles. These interesting ideas of show are created by fictional personas, especially in camera-based work. This exhibition shows from June 29th to August 3rd. There are twenty-seven artists since the late 1960s, and they are separated into four groups to explain about identity. One of the groups expresses traditional gender roles, and another group presents basic family relationships. A third group examines identity by introducing the use of imaginary characters, and the last group inhibits characters that are blurred the real and the hypothetical. For example, Marina Abramovic transforms places with Amsterdam prostitute, and Leigh Bowery in the last group strikes the eye of lizard- green satin and falling blue paint from the top of the head in a photograph by Fergus Greer. The exhibition looks different, but each group in the show expresses a process to find themselves. When I see the pictures, I recognize there are two parts of whole show, because some of the pictures look crazy and other pieces look easygoing. Especially, my attractive aspect of this show is the group expressing about the gender. “ Self portrait in drag” by Andy Warhol reminds me of the movie “Hedwig And The Angry Inch”, and I can rethink about the traditional husband and wife being roles by two women and two men. While we are looking at this exhibition, we can look back over our own identity.
http://www.skny.com/lasso-bin/home.lasso
http://www.nytimes.com/2007/07/06/arts/design/06gall.html?pagewanted=2&ei=5070&en=8bf677d9f4006589&ex=1184644800
Gagosian- Summer Show
JENNY SAVILLE
Suspension, 2002-2003
Oil on canvas
115 x 178-3/8 x 3-1/4 inches
Suspension, 2002-2003
Oil on canvas
115 x 178-3/8 x 3-1/4 inches
I want to introduce the Gagosian gallery. It is located in a corner on the westernmost end of 24th street with 30,000 square feet of exhibition space. Gagosian has galleries in London, Beverly Hills, and currently two in New York. They already have gallery in Chelsea and so, because of plenty of activity in the buyer's room, they also converted a warehouse into a gallery in the Chelsea district of the New York. We will visit Gagoisan’s fifth gallery worldwide, its third in New York, and its second in Chelsea,the contemporary –art mecca of New York. The art world’s leader in exhibition space, the Gagosian Gallery marks modern and contemporary paintings, sculpture, photography and mixed-media works on paper by American and European artists.
Now, Gagosian Gallery is showing the Summer Show, “a group exhibition featuring work by Tom Friedman, Douglas Gordon, Damien Hirst, Mike Kelly, Jenny Saville, Alec Soth and Franz West chosen for their emphasis on the physical form”
Now, Gagosian Gallery is showing the Summer Show, “a group exhibition featuring work by Tom Friedman, Douglas Gordon, Damien Hirst, Mike Kelly, Jenny Saville, Alec Soth and Franz West chosen for their emphasis on the physical form”
The big blue figure of Tom Friedman is made of Styrofoam. It marks a flexibility of line, wrinkle and exaggerated body proportion. In detail, the eye of the sculpture has a tiny figure, which one can see in his other work. He regularly uses experimental materials. Most his works are based on art and life. Douglas Gordon‘s video blue II (featuring Franz West and Guests) shows the promise of a peaceful summer by hand gestures. Damian Hirst draws a triptych. The Sun, The Moon and The Earth use real butterflies that are metaphors for instability balance of nature and life as well as death. Most of his works have the use of real butterflies and flies. Mike Kelly’s farm girl expresses the themes of Day is Done. Using mixed-media, he represents the untruth of identity and the nature of memory through an incomplete girl’s body. Among the summer show works, Jenny Savalie’s work gives me a strong impression. So I will never forget her impressive vivid color painting. Suspension, It is composed of a slaughtered pig instead of a human figure using . The best part of her paintings are the rough strokes as well as blood and decay of physical world. Alec Soth’ photograph represent a nude, middle age couple. His work Michele and James reflects an unsettled feeling of reality and humanity. His photographs express contradictions of beauty and poverty, anonymity and familiarity. Lastly,Franz West displays his furniture piece, the Divan. His earliest works are mainly sculptures about a subject of adaptiveness. he makes comfortable and colorful furniture for example couch and chairs for viewing art in galleries, museums and public spaces.
Gagosian Gallery is exhibiting unique artist’s works. Although I can not understand their featuredworks enough by the photographs, I would like to comprehend thoroughly all of the displayed works through visiting the gallery.
Gagosian Gallery is exhibiting unique artist’s works. Although I can not understand their featuredworks enough by the photographs, I would like to comprehend thoroughly all of the displayed works through visiting the gallery.
“E Pluribus Venom” by Shepard Fairey
“E Pluribus Venom” by Shepard FaireyJonathan LeVine Gallery
Gallery I / Solo Exhibit
June 23, 2007 through July 21, 2007
Jonathan LeVine Gallery exhibits Shepard Fairey’s first solo show in there named “E Pluribus Venom”. Furthermore, this exhibition is also held in the Dumbo Installation Space (June 21 – July 7), so we can see his collections, including stencils, paintings, mixed media on canvas as well as large-scale murals. Jonathan LeVine Gallery of Chelsea exhibits works inspired by some comic books, illustration, graffiti etc. The original name of the gallery was the Tin Man Alley Gallery of Philadelphia and New Hope, PA. After four years later in Pennsylvania, the gallery moved to Chelsea in 2005 and now, the owner and curator, Jonathan LeVine brings fresh atmosphere of art from famous and unknown artists. Exhibitions usually rotate every six weeks.
Shepard Fairey (1970- ) is a contemporary well-known artist in America because of his “Obey Giant” street campaign. In 1989 he first started his experiment with stickers of “Andre the Giant has a Posse” when he was a student at RISD. After that, he became a famous artist using the slogan “The Medium is the Message” and we can find his stickers or some parodies easily around the streets all over the world.
The OBEY stickers can be seen as experiments in phenomenology. People wonder about the meaning of the sticker and try to find out the relationship between the sticker and the environment around them. Actually the sticker means nothing. It is a kind of commercial for nothing and people just react to it. This tiny vandalism can make people perceive their view of value or personalities.
According to the introduction by the gallery, the title of the exhibition “E Pluribus Venom”, which means “out of many, poison,” is derived from the early motto “E Pluribus Unum” (“out of many, one”) by the American government and we can see this slogan on dollar bills. Fairey thinks that becoming one in a mechanical society is the symptom to the decline of the city. Therefore, he refers to a metaphor about the poison of American system and the people affected by the system. We can see the symbols and implication about politics and humor of American dreams. Also we can hear Fairey’s critique about people who support blind nationalism and war.
When I saw his works for the first time, I could not enjoy his art because the concept is hard to understand. I am not familiar with political problems and the perceptions about society like capitalism, fascism. Actually I like his sticker campaign because stickers are so simple as a medium but they give the public the meaning of the artwork easily. However, after reviewing the gallery introduction and some articles, I started to be interested in the clear meaning of his works. You might feel that his works are very similar, but you could find some clues to understand his thought. I want you to take time in the gallery and experience phenomenology while seeing his works.
bitforms gallery (NYC): Summer 2007 Group Show
The bitforms is in Chelsea, NY, U.S. and in Seoul, Korea. The beginning of the gallery in NYC was 6 years ago. After that, one in Seoul started 3 years ago. The bitforms gallery remains a destination for those seeking art historical connections to visual new media practice today. The gallery is devoted to emerging and established artists who embrace new media and contemporary art practice, resulting in new language and artistic experiences. In 2001, the bitforms gallery became the first commercial art gallery to champion art impacted by and designed with digital tools.
The bitforms gallery in NYC has held Summer 2007 Group Show on May 25 th to July 21 st, 2007. 6 artists participate in this summer exhibition: U-Ram Choe, Michael Joaquin Grey, Rafael Lozano-Hammer, Lynn Hershman Lesson, James Paterson, C.E.B Reas, and Bjorn Schilke. Although their themes are different, they extend art field with digital media, such as software.
U-Ram Choe is Korean artist. He makes the intricate kinetic sculptures. In this exhibition, he displays Edition of 5. In this work, his inspiration evokes from United Research of Anima-Machines, U.R.A.M, having recently released a remarkable study in relation to the discovery of a new in organic creature. U.R.A.M has named the new machine-organism ‘Urbanus’, meaning ‘a lover of the urban’.
Michael Joaquin Grey is American artist. He has been creating work that extends and plays with the boundaries of art, science and media. In this exhibition, he displays Autonomic Yoke (male-female) and Gametes. His investigations center on the development and the origins of life, such as language and form, related to natural and complex system.
Rafael Lozano-Hammer is Mexican and electronic artist. He has been creating large-scale interactive installations in public space and usually deploying new technologies and custom-made physical interface with robotics, Internet, cell phone and other devices. His work’s aim is to provide temporary anti-monuments for alien agency.
In this exhibition, he displays Amodal Suspension, 2007. This project is related to Rafael Lozano-Hammer’s Amodal Suspension, 2003, created to commemorate the opening of Japan’s Yamaguchi center for Arts & Media in 2003.
Lynn Hershman Leeson is American artist. In this exhibition, Graph to Early Sings of Stress (1975) is displayed. This work is among the 150 artifacts of transformation and identity documenting Roberta Breitmore’s existence between 1974 and 1978. This work, the portraiture, in this project pushes historical boundaries of social construction and archival stability. Her work becomes later known as a cyber-feminist.
James Paterson is American artist. In this time, he displays Untitled (drawings from 2005, No.1). His work is a large black and White print on vinyl wallpaper that merges the artist’s passion for software and ink drawing. His work is very flexible. There is little formal separation between drawing, animation and programming.
C.E.B Reas is American artist. In this exhibition, he exhibits Process11 (Software 2), 2006. New work from his ongoing process series explores the dialectical relationship between naturally evolved systems and those that are engineer and synthetic. His inspiration comes from transformation, and visualizes systems in motion and at rest.
Bjorn Schulke is German artist. He displays Solar-Space- Mobile, 2007 in the gallery. He designs objects that playfully transform live spatial energy into active responses in sculptural form. His work speaks powerfully to today’s environmental concern.
http://www.bitforms.com/index.php#id=34&num=1
http://en.wikipedia.org/wiki/Bitforms_gallery
The bitforms gallery in NYC has held Summer 2007 Group Show on May 25 th to July 21 st, 2007. 6 artists participate in this summer exhibition: U-Ram Choe, Michael Joaquin Grey, Rafael Lozano-Hammer, Lynn Hershman Lesson, James Paterson, C.E.B Reas, and Bjorn Schilke. Although their themes are different, they extend art field with digital media, such as software.
U-Ram Choe is Korean artist. He makes the intricate kinetic sculptures. In this exhibition, he displays Edition of 5. In this work, his inspiration evokes from United Research of Anima-Machines, U.R.A.M, having recently released a remarkable study in relation to the discovery of a new in organic creature. U.R.A.M has named the new machine-organism ‘Urbanus’, meaning ‘a lover of the urban’.
Michael Joaquin Grey is American artist. He has been creating work that extends and plays with the boundaries of art, science and media. In this exhibition, he displays Autonomic Yoke (male-female) and Gametes. His investigations center on the development and the origins of life, such as language and form, related to natural and complex system.
Rafael Lozano-Hammer is Mexican and electronic artist. He has been creating large-scale interactive installations in public space and usually deploying new technologies and custom-made physical interface with robotics, Internet, cell phone and other devices. His work’s aim is to provide temporary anti-monuments for alien agency.
In this exhibition, he displays Amodal Suspension, 2007. This project is related to Rafael Lozano-Hammer’s Amodal Suspension, 2003, created to commemorate the opening of Japan’s Yamaguchi center for Arts & Media in 2003.
Lynn Hershman Leeson is American artist. In this exhibition, Graph to Early Sings of Stress (1975) is displayed. This work is among the 150 artifacts of transformation and identity documenting Roberta Breitmore’s existence between 1974 and 1978. This work, the portraiture, in this project pushes historical boundaries of social construction and archival stability. Her work becomes later known as a cyber-feminist.
James Paterson is American artist. In this time, he displays Untitled (drawings from 2005, No.1). His work is a large black and White print on vinyl wallpaper that merges the artist’s passion for software and ink drawing. His work is very flexible. There is little formal separation between drawing, animation and programming.
C.E.B Reas is American artist. In this exhibition, he exhibits Process11 (Software 2), 2006. New work from his ongoing process series explores the dialectical relationship between naturally evolved systems and those that are engineer and synthetic. His inspiration comes from transformation, and visualizes systems in motion and at rest.
Bjorn Schulke is German artist. He displays Solar-Space- Mobile, 2007 in the gallery. He designs objects that playfully transform live spatial energy into active responses in sculptural form. His work speaks powerfully to today’s environmental concern.
http://www.bitforms.com/index.php#id=34&num=1
http://en.wikipedia.org/wiki/Bitforms_gallery
Thursday, July 12, 2007
Robert Moses, Chelsea galleries and NYC
For those who are interested in Robert Moses, check out this article (from Metropolis Magazine) here:
Robert Moses Lives
For more info on the Chelsea gallery district, including those we will see on Wednesday:
Chelsea Art Galleries
Finally, for the mother of all documentaries about NYC:
American Experience: NYC
Robert Moses Lives
For more info on the Chelsea gallery district, including those we will see on Wednesday:
Chelsea Art Galleries
Finally, for the mother of all documentaries about NYC:
American Experience: NYC
Wednesday, July 11, 2007
“The nature and Functions of Synesthesia in Music”
B.M. Galeyeu. “The nature and Functions of Synesthesia in Music” Leonardo Vol 40, No. 3, pp285-288, 2007
Yuni Kwon(DM)
Synesthesia is one sense evokes another sense and the combination of senses occurs synergy effect, mixing sensors. Hearing a sound, one is able to imagine color, shape, or structure of the sound. The association of several senses makes for us to call psychic metaphors. During the process of combining different sensors, those correspond with not only personal characters but also general contexts where one exists. Thus, the principle of association has some particular sensory modality which reflect social communication to one’s interpretation of a sound, As to say, how psychic bond arise in one’s imagination depends on subjective probabilities in the historical and cultural conditions.
Similarity between a sound and color, shape, or structure engenders one’s mind special product of imagination according to co-sensation. Emotional impression of a sound such as timbre is translated another nature, visuality which has a parallel quality of a sound. One of the obvious examples is “Color Hearing”. It is a phenomenon in which while listening the music, one feels the contiguous property of color with a sound in the aesthetic sense. Also, “Pitch-size association” is about a shape of sound as well as color. A low pitch is related to big, thick structure; otherwise high pitch has a connection with small and thin volume. Such kind of synesthesia comes from language of the physical world. It is easy to expect if object is corpulent, spatial-gravitationally heavy, it makes low-pith sounds. Depending on a physical object size, weight or sound can get another visual perception. Moreover, in literally sense, meaning of big in music can be once more extended to darker. Paradoxically, terminologies used in field of color, size, dimension or sound is not separated and go together since the metaphoric contiguity between similar words links them together in subconscious and emotional level.
Then, why do people try to make a bridge between these kinds of sensors although these senses are totally independent? Human being is in-between mind and body. Existing in the middle of ideal and substantial world, people try to connect the separation. People want to embody their mentalities to actual thing. Unconscious attempt for actualization is appeared on audiovisual mechanism. An invisible sound simultaneously engenders a visual image and a shape and, since music’s primary nature is ephemeral and constantly changing, it corresponds with a movement. Thus, music is a kind of a moving architecture or a body. Even though a music or sound is an expression from one’s mind to external world, it is absence of actualization. These non-substantiality and temporariness of a sound is comparable with nature of mind, spirit and unconsciousness. The synesthesia perception of audiovisuality is from desire to physically express an evidence of invisibility.
Yuni Kwon(DM)
Synesthesia is one sense evokes another sense and the combination of senses occurs synergy effect, mixing sensors. Hearing a sound, one is able to imagine color, shape, or structure of the sound. The association of several senses makes for us to call psychic metaphors. During the process of combining different sensors, those correspond with not only personal characters but also general contexts where one exists. Thus, the principle of association has some particular sensory modality which reflect social communication to one’s interpretation of a sound, As to say, how psychic bond arise in one’s imagination depends on subjective probabilities in the historical and cultural conditions.
Similarity between a sound and color, shape, or structure engenders one’s mind special product of imagination according to co-sensation. Emotional impression of a sound such as timbre is translated another nature, visuality which has a parallel quality of a sound. One of the obvious examples is “Color Hearing”. It is a phenomenon in which while listening the music, one feels the contiguous property of color with a sound in the aesthetic sense. Also, “Pitch-size association” is about a shape of sound as well as color. A low pitch is related to big, thick structure; otherwise high pitch has a connection with small and thin volume. Such kind of synesthesia comes from language of the physical world. It is easy to expect if object is corpulent, spatial-gravitationally heavy, it makes low-pith sounds. Depending on a physical object size, weight or sound can get another visual perception. Moreover, in literally sense, meaning of big in music can be once more extended to darker. Paradoxically, terminologies used in field of color, size, dimension or sound is not separated and go together since the metaphoric contiguity between similar words links them together in subconscious and emotional level.
Then, why do people try to make a bridge between these kinds of sensors although these senses are totally independent? Human being is in-between mind and body. Existing in the middle of ideal and substantial world, people try to connect the separation. People want to embody their mentalities to actual thing. Unconscious attempt for actualization is appeared on audiovisual mechanism. An invisible sound simultaneously engenders a visual image and a shape and, since music’s primary nature is ephemeral and constantly changing, it corresponds with a movement. Thus, music is a kind of a moving architecture or a body. Even though a music or sound is an expression from one’s mind to external world, it is absence of actualization. These non-substantiality and temporariness of a sound is comparable with nature of mind, spirit and unconsciousness. The synesthesia perception of audiovisuality is from desire to physically express an evidence of invisibility.
Sunday, July 8, 2007
The Glass House Menagerie
Kaufman, Dean. "The Glass House Menagerie." Dwell Magazine March 2007: 138-145
Is being contemporary about reinterpreting the past (whether they are experiences, ideas, movements, designs or objects) through one’s own lens, creating new experiences, ideas, movements, designs or objects to choose from? Or is it more about finding one’s own place in this world, creating out of pure imagination rather than pseudo-referencing the past? I have a funny feeling it is both.
Enter Philip Johnson and his Glass House. An undisputable icon, the Glass House was certainly contemporary for its time and as Kaufman writes, “…a home and an experiment.” Located upon 47 acres in New Canaan, Connecticut (and recently open to the public this past June), the Glass House is both landmark and estate. The article informs any reader who might visit the house about its history and how the estate grew from 5 to 47 acres, including the addition of the many architectural project that adorn the estate. Perhaps more importantly, it gives the reader insights into the man who called the Glass House home.
Simply put, the Glass House is a rectangular box dominated by glass walls. Although the house’s columns are painted black, they seemingly read as fine lines rather than substantial structure. Preceding Mies van der Rohe’s classically designed Farnsworth House by 2 years, Kaufman notes the similarities the two; yet, Johnson breaks with traditional expression of “home”. He eliminates the stairs, porch and walls, creating an expressive container within the carefully constructed landscape. This may explain why Johnson decided to use glass in the first place. With the exception of the brick cylindrical hearth rising out of its insides, he creates a seamless transition between interior and exterior space. Regardless of whether the house is a glorified shelter or bandstand, it is in the transitions—between interior and exterior, materials choices and architectural styles—which allowed Johnson to gain the fame and notoriety he so desired.
See www.philipjohnsonglasshouse.org for more information.
Is being contemporary about reinterpreting the past (whether they are experiences, ideas, movements, designs or objects) through one’s own lens, creating new experiences, ideas, movements, designs or objects to choose from? Or is it more about finding one’s own place in this world, creating out of pure imagination rather than pseudo-referencing the past? I have a funny feeling it is both.
Enter Philip Johnson and his Glass House. An undisputable icon, the Glass House was certainly contemporary for its time and as Kaufman writes, “…a home and an experiment.” Located upon 47 acres in New Canaan, Connecticut (and recently open to the public this past June), the Glass House is both landmark and estate. The article informs any reader who might visit the house about its history and how the estate grew from 5 to 47 acres, including the addition of the many architectural project that adorn the estate. Perhaps more importantly, it gives the reader insights into the man who called the Glass House home.
Simply put, the Glass House is a rectangular box dominated by glass walls. Although the house’s columns are painted black, they seemingly read as fine lines rather than substantial structure. Preceding Mies van der Rohe’s classically designed Farnsworth House by 2 years, Kaufman notes the similarities the two; yet, Johnson breaks with traditional expression of “home”. He eliminates the stairs, porch and walls, creating an expressive container within the carefully constructed landscape. This may explain why Johnson decided to use glass in the first place. With the exception of the brick cylindrical hearth rising out of its insides, he creates a seamless transition between interior and exterior space. Regardless of whether the house is a glorified shelter or bandstand, it is in the transitions—between interior and exterior, materials choices and architectural styles—which allowed Johnson to gain the fame and notoriety he so desired.
See www.philipjohnsonglasshouse.org for more information.
Respond: simply visual langage by glass
Glass (The Urban Glass Art Quarterly), #107: Urban Glass, New York Contemporary Glass Center, summer 2007.
In the case of glass, contemporary means that artists clearly have their themes. The themes of glass artists tend to be ambiguous, because almost glass artists concentrate only techniques and the characteristics of glass materials, such as fragility, transparency and reflection. Compared with other materials, ceramic, metal, textile and wood, it is difficult for artists to control glass well. Therefore, glass artists cannot regard glass as medium. Artists fit glass with their works, as if they forgot their themes.
This article is about Jun Kaneko, a Japanese glass artist. His work is vertical and hulking glass planks. It has many horizontal and vertical lines inside glass, looking like the Morse code. He is materially a maximalist, but conceptually a minimalist. He, as if he were a pictorial linguist, expresses simply visual language by glass. He seems to make his work by a new semantics that he invents. The source of his work is the process of vocabulary building when he could not speak English. He knows what it means to build vocabulary and learn a language. In his work, all of glass pieces seem to speak themselves and talk each other, namely communication. He has a firm concept and uses glass to express his ideas. The translucence of glass interests him. He wants viewers not only to see inside the shape, but also to look at inside his creative process. That is why he chooses glass as medium.
This article let readers tell new potentialities in glass. Jun Kaneko is free from the characteristic of glass. Rather, he uses glass as if he drew a picture. I have never seen artists using glass to express simply visual language. He does not depend on glass materials, but he extracts the good characteristics of glass. It might be that glass artists reach other material artists.
In the case of glass, contemporary means that artists clearly have their themes. The themes of glass artists tend to be ambiguous, because almost glass artists concentrate only techniques and the characteristics of glass materials, such as fragility, transparency and reflection. Compared with other materials, ceramic, metal, textile and wood, it is difficult for artists to control glass well. Therefore, glass artists cannot regard glass as medium. Artists fit glass with their works, as if they forgot their themes.
This article is about Jun Kaneko, a Japanese glass artist. His work is vertical and hulking glass planks. It has many horizontal and vertical lines inside glass, looking like the Morse code. He is materially a maximalist, but conceptually a minimalist. He, as if he were a pictorial linguist, expresses simply visual language by glass. He seems to make his work by a new semantics that he invents. The source of his work is the process of vocabulary building when he could not speak English. He knows what it means to build vocabulary and learn a language. In his work, all of glass pieces seem to speak themselves and talk each other, namely communication. He has a firm concept and uses glass to express his ideas. The translucence of glass interests him. He wants viewers not only to see inside the shape, but also to look at inside his creative process. That is why he chooses glass as medium.
This article let readers tell new potentialities in glass. Jun Kaneko is free from the characteristic of glass. Rather, he uses glass as if he drew a picture. I have never seen artists using glass to express simply visual language. He does not depend on glass materials, but he extracts the good characteristics of glass. It might be that glass artists reach other material artists.
Two critics assess Jane Jacobs and her legacy
This article introduces evaluation of Jane Jacobs who has many names which are a sociologist, an urbanist and an environmentalist. Also, a lesson from her thoughts is very appealing to me in terms of the relationship between human and surroundings.
Jane Jacobs, the author of The Death and Life of Great American Cities, is a memorable woman preventing one of notable architects, Robert Moses, from performing his project in New York with her clearly organized defense against his deft antithesis. Robert Moses planed to change New York’s Greenwich Village with high-tech design by paving expressway and replacing blocks. However, his plan was frustrated by Jane Jacobs’s strong belief in different idea about good cities. She supports the terms which are initiative, smaller population, true complexity (reality) and harmonization between social and physical components of a city and these are what Robert Moses should have consider.
There are many designers and architects overlooking these words while they focus on their own design languages related to the process of design. They try to make our life and cities better place with the tools that they have sharpened but the lack of consideration of good cities and good designs bear excessive development and this excess occurs other social problems. According to Jane Jacobs, what is important is keeping our eyes on reality and experiencing the world as it is rather than trying to shape world by abstract theories like those of Le Corbusier and other principled moderns. I agree with her partly because I need some ground to prove it is wrong that I learned about design which was based on kind of abstract theories. However, it is definitely true what Jane Jacobs suggests about what the ideal world has to be.
Reading this article, I remind some designers who choose materials considering just the shape of their works but the relation to environments. They literally seem to compete to be famous regarding uniqueness as all about design. They need to think about the purpose of their works; design for whom and what.
Jane Jacobs, the author of The Death and Life of Great American Cities, is a memorable woman preventing one of notable architects, Robert Moses, from performing his project in New York with her clearly organized defense against his deft antithesis. Robert Moses planed to change New York’s Greenwich Village with high-tech design by paving expressway and replacing blocks. However, his plan was frustrated by Jane Jacobs’s strong belief in different idea about good cities. She supports the terms which are initiative, smaller population, true complexity (reality) and harmonization between social and physical components of a city and these are what Robert Moses should have consider.
There are many designers and architects overlooking these words while they focus on their own design languages related to the process of design. They try to make our life and cities better place with the tools that they have sharpened but the lack of consideration of good cities and good designs bear excessive development and this excess occurs other social problems. According to Jane Jacobs, what is important is keeping our eyes on reality and experiencing the world as it is rather than trying to shape world by abstract theories like those of Le Corbusier and other principled moderns. I agree with her partly because I need some ground to prove it is wrong that I learned about design which was based on kind of abstract theories. However, it is definitely true what Jane Jacobs suggests about what the ideal world has to be.
Reading this article, I remind some designers who choose materials considering just the shape of their works but the relation to environments. They literally seem to compete to be famous regarding uniqueness as all about design. They need to think about the purpose of their works; design for whom and what.
Respond : Roadside Attraction
“Ability to adapt to certain site conditions in an elegant way”. This is the benefits that David Baird, architect who operates his design firm PLUSone Design+Construction, sees in modern architecture. Indeed, he and his family have carved out their lives in the city of Baton Rouge through the project of Interstate. When I saw pictures of the article, I thought that it was one of the green designs because of grass on the whole house and their sylvan yard. However, it is more than that.
The place is a little unusual site, backing up to the interstate and on the hinge between a commercial area and a residential area. However, these bars shaped structures block the view and noise of the interstate highway creating calm island both interstate-side and street-side.
The key points of his working are “affordable housing” and “community development”. Baird did not want to spend much money on the house and he actually used most of materials and hardware from the Home Depot. This is a good example for frugality. Especially in his house, the spot lit billboards are also interesting. These cheap frames are like clothing of the house softening the hard edges and making artistic atmosphere.
He also wanted to engage the neighborhood and the community, so he used his abilities of art to facilitate an appetite for art in the community. That is my favorite part of the article because he thinks that architecture can create an open community space and he realizes his ideal. Local residents can wander in during his family’s art events and he can be happy with that.
Finally, he got the humanistic goal in this project by making private and public space. Now his children, Bo and Sky do artworks on the custom sliding doors and Baird relaxes in the bright living room. He has vitalized the city remained as a vacant site for years.
The place is a little unusual site, backing up to the interstate and on the hinge between a commercial area and a residential area. However, these bars shaped structures block the view and noise of the interstate highway creating calm island both interstate-side and street-side.
The key points of his working are “affordable housing” and “community development”. Baird did not want to spend much money on the house and he actually used most of materials and hardware from the Home Depot. This is a good example for frugality. Especially in his house, the spot lit billboards are also interesting. These cheap frames are like clothing of the house softening the hard edges and making artistic atmosphere.
He also wanted to engage the neighborhood and the community, so he used his abilities of art to facilitate an appetite for art in the community. That is my favorite part of the article because he thinks that architecture can create an open community space and he realizes his ideal. Local residents can wander in during his family’s art events and he can be happy with that.
Finally, he got the humanistic goal in this project by making private and public space. Now his children, Bo and Sky do artworks on the custom sliding doors and Baird relaxes in the bright living room. He has vitalized the city remained as a vacant site for years.
reponse to 'Extend Memory'
Accuracy and Flexibility
David Mather, “Extended Memory: Early Calculating Engines and Historical Computer Simulations” Leonardo, Vol. 39, No.3 pp236-243, 2005
Except the difference of physical structures, the main distinctness between a human’s brain and a computer is the ability of abstract thinking. Although the computer does accurately in information gathering, data analyzing and result calculating, hardly can it pursue the human brains’ ability of abstract logic, emotional memory and flexible thinking. However benefiting from the dramatic development of computer techniques, this gap is shortened little by little.
According to this article, the author tries to analyze the distinction between accuracy and flexibility by means of comparing the early development of computer and the advanced Virtual Reality technique.
In nineteen Century, the rudiment of computer, actually the calculating engines, could deal with some simple mathematical calculation via the mechanical operations. In term of limited information source, this machine could be viewed as our mind’s extension, which helped us to observe, analyze and summarize our world accurately. However, facing to complicated and divers world, a question became puzzling us simultaneously---does this accurate cognitive technique make us approaching to the essential facts of our world or apart from? Actually, the more effort we pay out, the less fruit we get. There was increasing demand of a computer which can calculate and analyze more abstractly and flexiblely. To meet this demand, Analytical Engine, a rudiment of modern digital computer, which can calculate abstractly, was invented in 1834.
A similar change happened in the field of Virtual Reality applications, which emphasize on the representation historical events. For example, to reopen the investigation of the Blood Sunday, which is a terrible violent event happened twenty years ago, the court developed a virtual reality program, which simulated the environment of the day, to help 900 witnesses to recall the accurate facts of that incident. Based on the historical photos, maps, architectural drawing and closed-circuit television record, the program is flexible and changeable. In one hand, this virtual reality environment help witnesses to recall the fading memories, in the other hand, they can correct the incorrect information and perfect the program to approach to the accurate fact. Actually, in here, the ‘memory’ did no longer belong to either an individual witness or an official record document. In stead, it was ‘a collective memory system’, which used a flexible measure to guarantee the accuracy and justice of the law.
Our world is complicated including too many information. To recognize it accurately, hardly can we have an accurate way to realize this goal directly, because of countless veneers covered on the fact. Therefore we have to try deal with that through a flexible way.
David Mather, “Extended Memory: Early Calculating Engines and Historical Computer Simulations” Leonardo, Vol. 39, No.3 pp236-243, 2005
Except the difference of physical structures, the main distinctness between a human’s brain and a computer is the ability of abstract thinking. Although the computer does accurately in information gathering, data analyzing and result calculating, hardly can it pursue the human brains’ ability of abstract logic, emotional memory and flexible thinking. However benefiting from the dramatic development of computer techniques, this gap is shortened little by little.
According to this article, the author tries to analyze the distinction between accuracy and flexibility by means of comparing the early development of computer and the advanced Virtual Reality technique.
In nineteen Century, the rudiment of computer, actually the calculating engines, could deal with some simple mathematical calculation via the mechanical operations. In term of limited information source, this machine could be viewed as our mind’s extension, which helped us to observe, analyze and summarize our world accurately. However, facing to complicated and divers world, a question became puzzling us simultaneously---does this accurate cognitive technique make us approaching to the essential facts of our world or apart from? Actually, the more effort we pay out, the less fruit we get. There was increasing demand of a computer which can calculate and analyze more abstractly and flexiblely. To meet this demand, Analytical Engine, a rudiment of modern digital computer, which can calculate abstractly, was invented in 1834.
A similar change happened in the field of Virtual Reality applications, which emphasize on the representation historical events. For example, to reopen the investigation of the Blood Sunday, which is a terrible violent event happened twenty years ago, the court developed a virtual reality program, which simulated the environment of the day, to help 900 witnesses to recall the accurate facts of that incident. Based on the historical photos, maps, architectural drawing and closed-circuit television record, the program is flexible and changeable. In one hand, this virtual reality environment help witnesses to recall the fading memories, in the other hand, they can correct the incorrect information and perfect the program to approach to the accurate fact. Actually, in here, the ‘memory’ did no longer belong to either an individual witness or an official record document. In stead, it was ‘a collective memory system’, which used a flexible measure to guarantee the accuracy and justice of the law.
Our world is complicated including too many information. To recognize it accurately, hardly can we have an accurate way to realize this goal directly, because of countless veneers covered on the fact. Therefore we have to try deal with that through a flexible way.
Saturday, July 7, 2007
respond : article "going for the green"
I chose an interesting article “going for the green” introducing the 2008 Beijing Olympic architectures.The reason I chose the article not simply introduces Beijing Olympic architectures but interprets various meanings of Beijing Olympic architectures. Architect Dennis Pieprz , a principal sasaki associates inc in Boston – winner of the international competition to design the urban plan for the 2008 Beijing Olympic is completing the Beijing Olympic architectures reflecting three point meanings .
First of all, the most important thing of Beijing Olympic architectures is the” Green Olympic “as the title of article. The Nature and environment always make major issues of all parts to us. For the world and human, there are perfectly familiar with and concurrently reserved and protected by human. 2008 Beijing Olympic sets policy by the green Olympic. For this policy, architects are being constructed with green design- the national aquatic center will heat the pools and interior with solar power and filter and recycle the water collected on the roof , the velodrome also will use slapping solar panels. They are solving well a hard and important problem about nature the human is confronted with.
Secondly, they indicate green design as well as spaces for residents in Beijing. The Beijing Olympic stadium is nestlike architecture using still. Surrounding the stadium, the green, extensive of forest park locates on both sides. The huge, crowded Beijing was filled by green. As a result, the Beijing Olympic stadium is familiar used by the citizens of Beijing and tourists.
Thirdly, Beijing Olympic architects take aim at new development future in Beijing. They said “the post Olympic part of the project was of great interest and significance for us in Beijing”. They consider that great subjects of Beijing Olympic are not only the Green Olympic but also the post-Olympic. Among gritty competitors, they were chosen by a novel project integrating the post-Olympic plan into Beijing. The Sydney Olympic was regarded as one of the most successful Olympics. However, The nice main stadium used only 30times a year because of they did not think enough about the post Olympic. (The Sydney also is beginning projects to revitalization.) Architect indicated Beijing Olympic plan based on the Sydney and the Barcelona that always applied full use of buildings and produced great success. Through Adding facilities and readjusting the division of land, they are preparing not just the 2008 beijing Olympic but the post Olympic.
After reading article, I am really looking forward to see the2008 Beijing Olympic and the future.
First of all, the most important thing of Beijing Olympic architectures is the” Green Olympic “as the title of article. The Nature and environment always make major issues of all parts to us. For the world and human, there are perfectly familiar with and concurrently reserved and protected by human. 2008 Beijing Olympic sets policy by the green Olympic. For this policy, architects are being constructed with green design- the national aquatic center will heat the pools and interior with solar power and filter and recycle the water collected on the roof , the velodrome also will use slapping solar panels. They are solving well a hard and important problem about nature the human is confronted with.
Secondly, they indicate green design as well as spaces for residents in Beijing. The Beijing Olympic stadium is nestlike architecture using still. Surrounding the stadium, the green, extensive of forest park locates on both sides. The huge, crowded Beijing was filled by green. As a result, the Beijing Olympic stadium is familiar used by the citizens of Beijing and tourists.
Thirdly, Beijing Olympic architects take aim at new development future in Beijing. They said “the post Olympic part of the project was of great interest and significance for us in Beijing”. They consider that great subjects of Beijing Olympic are not only the Green Olympic but also the post-Olympic. Among gritty competitors, they were chosen by a novel project integrating the post-Olympic plan into Beijing. The Sydney Olympic was regarded as one of the most successful Olympics. However, The nice main stadium used only 30times a year because of they did not think enough about the post Olympic. (The Sydney also is beginning projects to revitalization.) Architect indicated Beijing Olympic plan based on the Sydney and the Barcelona that always applied full use of buildings and produced great success. Through Adding facilities and readjusting the division of land, they are preparing not just the 2008 beijing Olympic but the post Olympic.
After reading article, I am really looking forward to see the2008 Beijing Olympic and the future.
Four houses and a future
When I look at the “Four Houses and a Future” in a magazine, they look more expensive than the other neighboring houses because they seem to be special and unique. Beat Schenk and Chawon Kim, two of the hardest working architects in America, had many problems to overcome from costs to zoning laws. Yet they successfully built X-small, Small, Medium, and Large in the Cambridge area.
They did not have much money nor were they licensed. In general, if people don’t have enough money to build, they look for cheaper land. However, they did not give up. They started building themselves in almost all cases. For example, they did not employ laborers, so they could save about fifty percent of their money. However, if I had to build a house of that size without laborers, I probably could not build it. The couple tried to use recycled wood, such as old joists from one of the consulted house in the four houses. The houses made of wood look like the part of nature.
There are very strict zoning laws in the Cambridge area. However, they found a way to sell the house they made and they bought another house nearby again. Then, they made four houses in the two lots area. The properties are connected to each other through a translucent Polygal corridor. They remind me of a traditional Korean house, because a Korean house has four or five buildings.
The couple is concerned about the landscape. In Korea, there are a lot of high buildings, so people argue with their view. However, the duo saw the empty space between the neighboring houses and they seized an opportunity to see the landscape twisting the each floor of the X-small. So, the problem of landscape in Korea can be solved in the same way of twisting the each floor toward its own view.
I am glad to gain new ideas I didn’t have before. We can build the buildings with a hand-on approach, and even though there are a lot of buildings in the area, we can solve the problems presented by the landscape.
by yunji Jeong
They did not have much money nor were they licensed. In general, if people don’t have enough money to build, they look for cheaper land. However, they did not give up. They started building themselves in almost all cases. For example, they did not employ laborers, so they could save about fifty percent of their money. However, if I had to build a house of that size without laborers, I probably could not build it. The couple tried to use recycled wood, such as old joists from one of the consulted house in the four houses. The houses made of wood look like the part of nature.
There are very strict zoning laws in the Cambridge area. However, they found a way to sell the house they made and they bought another house nearby again. Then, they made four houses in the two lots area. The properties are connected to each other through a translucent Polygal corridor. They remind me of a traditional Korean house, because a Korean house has four or five buildings.
The couple is concerned about the landscape. In Korea, there are a lot of high buildings, so people argue with their view. However, the duo saw the empty space between the neighboring houses and they seized an opportunity to see the landscape twisting the each floor of the X-small. So, the problem of landscape in Korea can be solved in the same way of twisting the each floor toward its own view.
I am glad to gain new ideas I didn’t have before. We can build the buildings with a hand-on approach, and even though there are a lot of buildings in the area, we can solve the problems presented by the landscape.
by yunji Jeong
Respond: ARCHITECTURAL RECORD 05/2006
This article deals with contemporary young architects in Los Angeles who are in question. According to author, young vigorous architects are being excessively attended, though they are imperfect and effortless. This young group is compared with its senior group, includes some famous architects, in terms of this young generation’s lack of practicing with other architects and exploring the city’s neighborhoods. Even though Los Angeles is a perfect city to test appropriate and suitable architectural experiments, this young group doesn’t satisfy the expectations. The author suggests some schemes to this generation. They may need some time to change how life is lived in L.A with their architectures. And they also need some commitments include burrowing, head-down and long-term commitment. Besides this group might need some apprenticeships with bigger firms before they make their own firms.
Reading this article, I was very interested to know about young architects’ issue in this country, since I just dive into this new field, architecture. To me, contemporary is a present issue which is absorbing most significant attention. As I previously commented, most urgency in young architect group in L.A is their unconsciousness what they have to do before make their own firms. The reason that contemporary issue is important is because present can change the future. If young generation constantly makes no progress, architectural society will be not developed. Besides designers or architects have to remark contemporary for their better works. Every aspects of creativity are related to current issues. For being a successful designer, we need to give attention to contemporary.
Reading this article, I was very interested to know about young architects’ issue in this country, since I just dive into this new field, architecture. To me, contemporary is a present issue which is absorbing most significant attention. As I previously commented, most urgency in young architect group in L.A is their unconsciousness what they have to do before make their own firms. The reason that contemporary issue is important is because present can change the future. If young generation constantly makes no progress, architectural society will be not developed. Besides designers or architects have to remark contemporary for their better works. Every aspects of creativity are related to current issues. For being a successful designer, we need to give attention to contemporary.
Monday, July 2, 2007
Tim Hawkinson's “Uberorgan”
Tim Hawkinson
The Tim Hawkinson’s work, especially the light sensitive piano in “Uberorgan” make me remind me childhood’s memory. When I was a little girl, a music box was pretty fantastic to me. It was really curious how the sound come out of that kind of tiny box. Furthermore, what much more fascinated me is the structure of the music box. As I rotate a ratcher lever and let it go, then it start making a ringing sound according to position of a set of pins on the cylinder, striking a steel comb. I assumed that a set of pin is a kind of secret codes and these codes translate to magical sounds. Listening the sounds, I felt that I’m now decoding a secret as a blind who is reading brailles.
Likewise, watching Tim’s “Uberorgan” , I assumed that it is a kind of huge and exaggerated music box. Tim replaces the set of pins with the black color on the huge transparent sheet. As the sheet rotates to the up and down, the gigantic musical instrument produces sounds. The special principle of it is based on light. That is to say, it is responsive to the light. For instance, the black painted part is unable to make a sound since the light cannot penetrate that part. Otherwise a transparence part reacts to the light and produce sounds. This process is very similar with the process of visual perception. Through the light, an eye can visually recognize an object. However, in this work, what is sensitive to the light is not an image but a sound and what is recognizable by light is a sound. The sound is heard by the light. Actually, the sense of hearing is totally not relevant to light. People can hear sound without light. In this point, he emphasizes how the visibility affects to the hearing and eyesight block the sense of hearing. That is to say, what we see is what we hear. I assume that a set of printed image is a kind of secret code and these codes translated to strange sounds. Watching the printed images, I felt that I’m now encoding secret as deaf who is reading images.
The Tim Hawkinson’s work, especially the light sensitive piano in “Uberorgan” make me remind me childhood’s memory. When I was a little girl, a music box was pretty fantastic to me. It was really curious how the sound come out of that kind of tiny box. Furthermore, what much more fascinated me is the structure of the music box. As I rotate a ratcher lever and let it go, then it start making a ringing sound according to position of a set of pins on the cylinder, striking a steel comb. I assumed that a set of pin is a kind of secret codes and these codes translate to magical sounds. Listening the sounds, I felt that I’m now decoding a secret as a blind who is reading brailles.
Likewise, watching Tim’s “Uberorgan” , I assumed that it is a kind of huge and exaggerated music box. Tim replaces the set of pins with the black color on the huge transparent sheet. As the sheet rotates to the up and down, the gigantic musical instrument produces sounds. The special principle of it is based on light. That is to say, it is responsive to the light. For instance, the black painted part is unable to make a sound since the light cannot penetrate that part. Otherwise a transparence part reacts to the light and produce sounds. This process is very similar with the process of visual perception. Through the light, an eye can visually recognize an object. However, in this work, what is sensitive to the light is not an image but a sound and what is recognizable by light is a sound. The sound is heard by the light. Actually, the sense of hearing is totally not relevant to light. People can hear sound without light. In this point, he emphasizes how the visibility affects to the hearing and eyesight block the sense of hearing. That is to say, what we see is what we hear. I assume that a set of printed image is a kind of secret code and these codes translated to strange sounds. Watching the printed images, I felt that I’m now encoding secret as deaf who is reading images.
Summary -Art criticism and education
Art criticism and education. Yuni Kwon-DM
An art criticism is more regarding to a work’s considerable aspect under the critical criteria. Comparing an art review that is a more about an objective description of a work without serious judgments, on the contrary, an art criticism is inclined to explore the a work by various ways of approach to what the work is. It is divided by three types of criticism, which are from a personal perspective and an artwork itself to a particular context.
First of all, diaristic criticism is approach to use biographical and personal impression in a formal way. It arose in 19c against officially artistic and intelligent academic critic, rebelling stereotypical doctrine. Emphasizing the subjectivity, “I” is the most absolute criterion to valuate a work. One’s own emotion, intuition and bodily sensation are the most important elements to criticize a work. These elements can make for viewers to deeply move inside of a physical object, not abiding on the surface of it. Diaristic criticism prefers a kind of sprit journey or mental experience throughout a work in personal way. However, its informality, gossip and specific observation according to personal interests bring a chief drawback of diaristic criticism. It loses much of disciplinary value to at least point out what is the core of a work to enjoy.
Second is formalist art criticism that contributes to discussions of modern art. The Critics such as Roger and Clement Greenberg insist that mostly within artwork, conception and form determine significance of a work. The form is a method that allows figuring out artist intention. Then the quality of work depends on how the expressive from is successfully translated from an artist’s vision, feeling and idea, examining from the surface and the appearance of a work to core identity of the work. The structure analysis about from needs to be reasonably relevant to artist’s personal perception in this formalist art criticism. Despite of its explicit way of criticism, formalism needs a contextual consideration than aesthetic value of artwork itself.
The contextual art criticism is associated with art history, sociology, psychoanalysis and so on. Interpretive perspective from these different disciplines is main structure of the contextual art criticism.
Throughout the art history criticism, a disposition of artwork is conveyed within tradition. In that context, it is determined how the work can have a meaning.
And, in the sense of psychoanalytical art criticism, the understanding of unconscious psychological motive of artist and the hidden symbolic import of their works is most important things. The reasonable evidence is discovered in artwork itself and gives credibility on the psychological interpretation.
And, the ideological art criticism deals in not only political issue but also religious, gender, class and race concern. A work is analyzed as reflection of sociopolitical attitude in the sense of the ideological art criticism.
In a conclusion, these all kinds of criticisms are the sorts of effort to illuminate art. To distill complexity of art, more open-minded pragmatic critics are infinitely extending still now.
An art criticism is more regarding to a work’s considerable aspect under the critical criteria. Comparing an art review that is a more about an objective description of a work without serious judgments, on the contrary, an art criticism is inclined to explore the a work by various ways of approach to what the work is. It is divided by three types of criticism, which are from a personal perspective and an artwork itself to a particular context.
First of all, diaristic criticism is approach to use biographical and personal impression in a formal way. It arose in 19c against officially artistic and intelligent academic critic, rebelling stereotypical doctrine. Emphasizing the subjectivity, “I” is the most absolute criterion to valuate a work. One’s own emotion, intuition and bodily sensation are the most important elements to criticize a work. These elements can make for viewers to deeply move inside of a physical object, not abiding on the surface of it. Diaristic criticism prefers a kind of sprit journey or mental experience throughout a work in personal way. However, its informality, gossip and specific observation according to personal interests bring a chief drawback of diaristic criticism. It loses much of disciplinary value to at least point out what is the core of a work to enjoy.
Second is formalist art criticism that contributes to discussions of modern art. The Critics such as Roger and Clement Greenberg insist that mostly within artwork, conception and form determine significance of a work. The form is a method that allows figuring out artist intention. Then the quality of work depends on how the expressive from is successfully translated from an artist’s vision, feeling and idea, examining from the surface and the appearance of a work to core identity of the work. The structure analysis about from needs to be reasonably relevant to artist’s personal perception in this formalist art criticism. Despite of its explicit way of criticism, formalism needs a contextual consideration than aesthetic value of artwork itself.
The contextual art criticism is associated with art history, sociology, psychoanalysis and so on. Interpretive perspective from these different disciplines is main structure of the contextual art criticism.
Throughout the art history criticism, a disposition of artwork is conveyed within tradition. In that context, it is determined how the work can have a meaning.
And, in the sense of psychoanalytical art criticism, the understanding of unconscious psychological motive of artist and the hidden symbolic import of their works is most important things. The reasonable evidence is discovered in artwork itself and gives credibility on the psychological interpretation.
And, the ideological art criticism deals in not only political issue but also religious, gender, class and race concern. A work is analyzed as reflection of sociopolitical attitude in the sense of the ideological art criticism.
In a conclusion, these all kinds of criticisms are the sorts of effort to illuminate art. To distill complexity of art, more open-minded pragmatic critics are infinitely extending still now.
Sunday, July 1, 2007
Art 21 Respond: Kara Walker
Kara’s work seems to be somewhat cute doll’s silhouette though; you will aware soon it is not that just lovely piece. In her narrative black shadow formed piece, we can see the character is like Victorian age style and the process of making it is from also some fashion illustrations of the age. She draws several people’s silhouette on the huge black paper on the wall and the people’s action is very awful; they are fighting, cutting a part of body, killing, running away from the killer and even some figure has an intestine! And then she cut the silhouette and pastes it on the wall. In the gallery, she uses a projector for add some landscapes. When the visitor comes in the gallery, he becomes a part of the story by his shadow. I guessed she intended it to involve the viewers into her work and viewers become one piece of the terrible tale without awareness. I thought this unconsciousness is reflecting our modern society where violent and horrible issues are continually happening. However her intention was more. According to the interview with her in video, basically she wants to show her life as an African-American woman by black paper and the bowels from the body. Actually I couldn’t get this part very well. Why is the part of body connected with her representation of African-Americana? For understanding it, I think I have to know her identity which is somewhat different from white. I guessed the terribly separated internal organs from the body means her separated life as a weak foreigner, a young black woman in this country. I am also an weak Asian alien, though I didn’t get that feeling that much, and I just started to live in this foreign country. After a while I think I might be able to understand more than now.
by Katie Kim
by Katie Kim
Respond: Art Criticism and Education
Respond
This article about art criticism tells me how to deal with and understand the work of art critique. Actually I have studied art since I was very young though, didn’t understand the critique well but wanted to know about how to criticize other’s works. I realized that the art criticism is more than comment and different from just reviewing art. Critique is interpretation which is telling about meaning, purpose and how the work was processed. Especially, I was interested in contextualism criticism which is focused on the art work has symbolic or special meaning and even social, political and psychological aspects. Although I had have only a little knowledge about it, I am happy to get information about art criticism and I’m going to try to understand with this study of art criticism, when I encounter with a case of critique from now on.
This article about art criticism tells me how to deal with and understand the work of art critique. Actually I have studied art since I was very young though, didn’t understand the critique well but wanted to know about how to criticize other’s works. I realized that the art criticism is more than comment and different from just reviewing art. Critique is interpretation which is telling about meaning, purpose and how the work was processed. Especially, I was interested in contextualism criticism which is focused on the art work has symbolic or special meaning and even social, political and psychological aspects. Although I had have only a little knowledge about it, I am happy to get information about art criticism and I’m going to try to understand with this study of art criticism, when I encounter with a case of critique from now on.
Respond: Article (Art Criticism and Education)
The principal aim of this article is what art criticism is and how to describe it. To criticize well, we begin to comprehend art criticism itself. This article brings to us the first step to understand what art criticism is, by using description about types, examples and history of art criticism.
Respond: Art 21 (Kiki Smith)
Kiki Smith is the most interested artist among Art 21 artists. My first impression of her works is just grotesque and erotic. However, her works appeal to me what death and birth are, regeneration. She is interested in the relationship of human and nature. She contains a lot of metaphor about social issues, especially women in her works. Also, her works look like storytelling. I am strongly interested in a metaphor in her works. That is why I chose Kiki Smith.
Kiki Smith is one of the most famous sculptors in the world. She is an American artist classified as a feminist artist, a movement with beginnings in the 20th century. Her works’ character is human bodies and animals. Human bodies are her original, narrative women. Animals are very precise. She embodies her feelings with humans and animals. Her works often black and white sculptures and prints. Black and white colors are very strong color. These colors strongly appeals to audience. A black sculpture, Tied to Her Nature, strongly impressed me. This sculpture is that a girl and a goat are tied on a tread. They look like holding each other and sex. I think a goat represents a man and a girl symbolizes a metaphor as a woman’s week position in a society. Also, her work, Born, is interesting. This work is a representation of a small deer giving birth to a life-size woman. This situation is very weird. This works allude to the recently complex and difficult relationship of human and nature. Also, she is interested in death, such as Crow.
Her works are a little difficult for me to understand what she thinks and what her theme is. However, once her theme is realized, I can image her works’ stories. And, She uses a metaphor. That is exactly why I understand her works.
The principal aim of this article is what art criticism is and how to describe it. To criticize well, we begin to comprehend art criticism itself. This article brings to us the first step to understand what art criticism is, by using description about types, examples and history of art criticism.
Respond: Art 21 (Kiki Smith)
Kiki Smith is the most interested artist among Art 21 artists. My first impression of her works is just grotesque and erotic. However, her works appeal to me what death and birth are, regeneration. She is interested in the relationship of human and nature. She contains a lot of metaphor about social issues, especially women in her works. Also, her works look like storytelling. I am strongly interested in a metaphor in her works. That is why I chose Kiki Smith.
Kiki Smith is one of the most famous sculptors in the world. She is an American artist classified as a feminist artist, a movement with beginnings in the 20th century. Her works’ character is human bodies and animals. Human bodies are her original, narrative women. Animals are very precise. She embodies her feelings with humans and animals. Her works often black and white sculptures and prints. Black and white colors are very strong color. These colors strongly appeals to audience. A black sculpture, Tied to Her Nature, strongly impressed me. This sculpture is that a girl and a goat are tied on a tread. They look like holding each other and sex. I think a goat represents a man and a girl symbolizes a metaphor as a woman’s week position in a society. Also, her work, Born, is interesting. This work is a representation of a small deer giving birth to a life-size woman. This situation is very weird. This works allude to the recently complex and difficult relationship of human and nature. Also, she is interested in death, such as Crow.
Her works are a little difficult for me to understand what she thinks and what her theme is. However, once her theme is realized, I can image her works’ stories. And, She uses a metaphor. That is exactly why I understand her works.
Reponse
ART CRITICISM
Art criticism is the critical standard that explains art work’s quality and significance in comparison with art review, and classify three basic types generally ; diaristic, formalist, contextualist. Although they are not clearly distinguished, they introduce art to us on the printed page vividly. Also art criticism is helpful to educate the public to a deeper understanding of art.
ART21 - KARA WALKER
Kara Walker is one of the promising artists of the world and she is famous for her paper-cut silhouettes. These black figures are pretty simple and cartoonish at a glance, but their captured images show horrible stories. This ironic works gave me a little shock because Kara’s calm appearance and delicate processing did not look like dealing with the heavy social problem including American racial, gender and power tensions.
Kara’s processing of the work can be seen easily. She draws her images from romantic historical fictions with a white pencil on large piece of black paper, cuts them out and adheres to on the wall. However, the whole installation is her own ability that creates space and history of her life. In every her works, black and white colors convey clear meaning to us through the high value contrast– fear, power, etc, but in her woks at Guggenheim museum, she used overhead projection to make colored transparent shadows. These vibrant lights make the depth of the work and the viewer’s shadow so that people feel like they walk in her exhibition and mingle with the figures. This is my favorite part because it makes possible for people to exist in real space and can be a part of the work in panoramic view.
I do not think that Kara is a very creative artist in comparison with others, but she creates her perception of the world in her own style through the simplified details. I think she always concentrates her voices from her heart and is sensitive to her identity; American-African. That’s why I chose her.
Art criticism is the critical standard that explains art work’s quality and significance in comparison with art review, and classify three basic types generally ; diaristic, formalist, contextualist. Although they are not clearly distinguished, they introduce art to us on the printed page vividly. Also art criticism is helpful to educate the public to a deeper understanding of art.
ART21 - KARA WALKER
Kara Walker is one of the promising artists of the world and she is famous for her paper-cut silhouettes. These black figures are pretty simple and cartoonish at a glance, but their captured images show horrible stories. This ironic works gave me a little shock because Kara’s calm appearance and delicate processing did not look like dealing with the heavy social problem including American racial, gender and power tensions.
Kara’s processing of the work can be seen easily. She draws her images from romantic historical fictions with a white pencil on large piece of black paper, cuts them out and adheres to on the wall. However, the whole installation is her own ability that creates space and history of her life. In every her works, black and white colors convey clear meaning to us through the high value contrast– fear, power, etc, but in her woks at Guggenheim museum, she used overhead projection to make colored transparent shadows. These vibrant lights make the depth of the work and the viewer’s shadow so that people feel like they walk in her exhibition and mingle with the figures. This is my favorite part because it makes possible for people to exist in real space and can be a part of the work in panoramic view.
I do not think that Kara is a very creative artist in comparison with others, but she creates her perception of the world in her own style through the simplified details. I think she always concentrates her voices from her heart and is sensitive to her identity; American-African. That’s why I chose her.
Art Criticisim and Its Uses ---respond
This article is all about art criticism. It introduces several types of art criticism adding appropriate examples which are real articles written from the nineteenth and twentieth centuries. Each of articles as an example is easy to understand. Reading this, I was able to get to know that what art critique is, how itshould be written and what kind of perspective I should have about art critique. What is important is not to be exclusive among types of art criticism.
Paul Pfeiffer
"Long Count"
I am attracted by Paul Pfeiffer’s Long Count because I can learn that things deleted and the evidence of erasure can be something attractive but nothing.
Paul is a media artist who succeeded in a different attempt in terms of erasing images but adding them. One of his art pieces, Long Count, shows a scene of boxing match which is held on a boxing ring. Things showed in Long Count are two boxers’ silhouette and the background which is a large audience and the ring than the movement of them. For me, this scene is fresh and makes me question myself many things; why the artist chooses boxing match, why he deletes two figures who are main subjects and what makes him leave the shadow of boxers. I could suppose the answers about the questions I ask even though the answers might not be correct. Two boxers in Long Count seem to reflect people living in current society that is the boxers beating each other can match people competing to survive in infinitely competing society. The figures erased can be our portrait losing humanity and silhouette remained can be a nature of human beings which the artist seeks for and means pure and unable to carry untruth. While erasing the figures frame by frame, he could find something new and it is clearer than those that are not erased. That is, the boxing match losing main subject image is more memorable than normal one. Also, I wonder what if the artist erases both the boxers and the shadow of them. Would it have same effect like Long Count? I guess not. Essential impression of shadow itself is natural and intact (although there are more) and in this piece this impression seems to be stressed.
Paul Pfeiffer
"Long Count"
I am attracted by Paul Pfeiffer’s Long Count because I can learn that things deleted and the evidence of erasure can be something attractive but nothing.
Paul is a media artist who succeeded in a different attempt in terms of erasing images but adding them. One of his art pieces, Long Count, shows a scene of boxing match which is held on a boxing ring. Things showed in Long Count are two boxers’ silhouette and the background which is a large audience and the ring than the movement of them. For me, this scene is fresh and makes me question myself many things; why the artist chooses boxing match, why he deletes two figures who are main subjects and what makes him leave the shadow of boxers. I could suppose the answers about the questions I ask even though the answers might not be correct. Two boxers in Long Count seem to reflect people living in current society that is the boxers beating each other can match people competing to survive in infinitely competing society. The figures erased can be our portrait losing humanity and silhouette remained can be a nature of human beings which the artist seeks for and means pure and unable to carry untruth. While erasing the figures frame by frame, he could find something new and it is clearer than those that are not erased. That is, the boxing match losing main subject image is more memorable than normal one. Also, I wonder what if the artist erases both the boxers and the shadow of them. Would it have same effect like Long Count? I guess not. Essential impression of shadow itself is natural and intact (although there are more) and in this piece this impression seems to be stressed.
RESPOND
respond article.
Until now, I thought that art criticism was just an art review -a description of the work on exhibit. However, after I read the handout, I now know the various types of art criticism with a fine example. Above all, I can make a clear and correct art criticism of artcriticism ,when I understand them perfectly. Through this opportunity, I can feel a great interest in art criticism.
respond ART21 - paul pfeiffer.
The reason I chose paul Pfeiffer was that I was interested in media art. It was difficult for me to understand media art until I saw his work. However, his works were easy to understand and made interests about media art.
First of all, his work shows relationship between space and media art. Dutch Interior (2001) is video project that show typical, normal home interior from second floor down the stairs to the entrance on a large, free standing projection wall. A tiny hole draws people toward the wall and People take a peek through a hole. Inside hole displays the location of the projected interior. Through small hole, we can show a different angle of invisible space from the doorway to up the stairs. As the change in scale, arrangement of same space, his work expresses relationship between person's eye perspective and space construction. Expressing elements that I thought I felt difficult through a way of unique media art was so impressive. Especially I really liked the way of combining the elements of interior with the media art.
Secondly, his work shows media art through really attractive sports scene. I felt a great interest in his work Fragment of a Crucifixion (after Francis bacon).the reason I like his work was making an easily sympathy and humorous. Fragment of a crucifixion is basketball player Larry Johnson celebrating a slam dunk on perpetual motions. Through Basketball players with sensitive, extreme expression of face, he expresses the further suggestion in the title to a 1950 work by post-war British painter Francis Bacon. Jump over age, he concentrates on not only compositional similarity but also space similarity using different materials and elements by through medium of the figure’s screaming. When I saw this work at first time, I liked a witty composition of scene. After understanding his work, I was really surprised by his remarkable sense of art.
Thirdly, he represents connections between time and media art. Morning after the deluge for which he made film of the shinning followed the change of time. It opens with a white-hot sun suspended mid- frame in a brilliant red sky. A deep blue waves scroll down from the top of frame to the bottom of frame. When scrolling disappears at the bottom and the top of the frame, the sun is left temporarily separated from the sky. The process reappears over and over again. So we can see endless and impossible sunrise and sunset. I can feel a good interest in His incredible process of the works in computer media art.
respond article.
Until now, I thought that art criticism was just an art review -a description of the work on exhibit. However, after I read the handout, I now know the various types of art criticism with a fine example. Above all, I can make a clear and correct art criticism of artcriticism ,when I understand them perfectly. Through this opportunity, I can feel a great interest in art criticism.
respond ART21 - paul pfeiffer.
The reason I chose paul Pfeiffer was that I was interested in media art. It was difficult for me to understand media art until I saw his work. However, his works were easy to understand and made interests about media art.
First of all, his work shows relationship between space and media art. Dutch Interior (2001) is video project that show typical, normal home interior from second floor down the stairs to the entrance on a large, free standing projection wall. A tiny hole draws people toward the wall and People take a peek through a hole. Inside hole displays the location of the projected interior. Through small hole, we can show a different angle of invisible space from the doorway to up the stairs. As the change in scale, arrangement of same space, his work expresses relationship between person's eye perspective and space construction. Expressing elements that I thought I felt difficult through a way of unique media art was so impressive. Especially I really liked the way of combining the elements of interior with the media art.
Secondly, his work shows media art through really attractive sports scene. I felt a great interest in his work Fragment of a Crucifixion (after Francis bacon).the reason I like his work was making an easily sympathy and humorous. Fragment of a crucifixion is basketball player Larry Johnson celebrating a slam dunk on perpetual motions. Through Basketball players with sensitive, extreme expression of face, he expresses the further suggestion in the title to a 1950 work by post-war British painter Francis Bacon. Jump over age, he concentrates on not only compositional similarity but also space similarity using different materials and elements by through medium of the figure’s screaming. When I saw this work at first time, I liked a witty composition of scene. After understanding his work, I was really surprised by his remarkable sense of art.
Thirdly, he represents connections between time and media art. Morning after the deluge for which he made film of the shinning followed the change of time. It opens with a white-hot sun suspended mid- frame in a brilliant red sky. A deep blue waves scroll down from the top of frame to the bottom of frame. When scrolling disappears at the bottom and the top of the frame, the sun is left temporarily separated from the sky. The process reappears over and over again. So we can see endless and impossible sunrise and sunset. I can feel a good interest in His incredible process of the works in computer media art.
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