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Mies van der Rohe on construction visibility

Joseph Beuys, Intuition, 1986, multiple of wooden box with pencil additions, 30 x 20.9 x 5.8 cm

Every human being is an artist, a freedom being, called to participate in transforming and reshaping the conditions, thinking and structures that shape and inform our lives”

- Joseph Beuys

Mies van der Rohe on education at the Illinois Institute of Technology

Charles & Ray Eames, House: After 5 years of living,1955, both the stills and the Eameses animation of the construction
Charles & Ray Eames, Lucia Chase Vignette, 1976
Demetrios, walk-through film, 2007

artmastered:

Henri Rousseau, La Tour Eiffel, 1898, oil on canvas, [no dimensions], Museum of Fine Arts, Houston. Source
The Eiffel Tower was only around nine years old when Rousseau painted this particular study of the structure and its surrounding land. Somebody take me to Paris, please?

artmastered:

Henri Rousseau, La Tour Eiffel, 1898, oil on canvas, [no dimensions], Museum of Fine Arts, Houston. Source

The Eiffel Tower was only around nine years old when Rousseau painted this particular study of the structure and its surrounding land. Somebody take me to Paris, please?

Jan RothuizenSoft Maps, hand-drawings, Amsterdam

"De gewoonte heeft als eigenschap dat ze dingen onzichtbaar maakt. Sommige mensen gaan daarom op vakantie. Ze reizen niet alleen om weg te zijn, maar ook om hun eigen leefomgeving weer met een nieuwe blik te kunnen zien. Een andere manier om je leefomgeving opnieuw te beleven is door vast te leggen wat je weet en ziet. Loop eens in gedachten, met je ogen dicht, een route die je dagelijks aflegt. Je zult versteld staan hoeveel informatie er in je opgeslagen zit."
 
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Jan Rothuizen

Philippe HalsmanDali Atomicus, 1948, gelatin silver print, 25.8 x 33.3 cm

Salvador Dalí, Leda Atomica, 1949, oil on canvas, 61.1 cm × 45.3 cm, Dalí Theatre and Museum, Figueres 

"Six hours and twenty-eight throws later, the result satisfied my striving for perfection. (…) My assistants and I were wet, dirty, and near complete exhaustion—only the cats still looked like new".
 
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Philippe Halsman

Via Artmastered
Sassoferrato, The Virgin in Prayer, 1640-50, oil on canvas, 73 x 57.7 cm, The National Gallery, London.

Via Artmastered

SassoferratoThe Virgin in Prayer, 1640-50, oil on canvas, 73 x 57.7 cm, The National Gallery, London.

René Magritte, Le Chant de l’Orage (Song of the Storm), 1937, oil on canvas, 65 x 54cm, Menil Collection, Houston

René Magritte, Le Chant de l’Orage (Song of the Storm), 1937, oil on canvas, 65 x 54cm, Menil Collection, Houston

ek wil nie meer as

’n melodie wees nie

laat my sing

straal

beweeg

in ’n brose stilte

agterbly

gaan stort

drink

met vriende praat

slaap

wakker word

die kinders sien


by Herman van Veen, Ek Wil Nie, Uit: In Vogelvlucht, 2002

Oeuffice, Kapital, Italian Marble and Stone Edition, 2014

Jan de Jong, woonhuis met kantoor, Schaijk 1962-67

Photos (c) Kim Zwarts

Bas PrincenPetra, 2011
Bas Princen,
 Pillar Petra, 2011
Anne Holtrop, Batara model, 2012
Bas PrincenBatara, 2012
Anne Holtrop, the making of Batara (Four Walls), Wageningen 2013
Anne Holtrop, Batara (Four Walls), Wageningen 2013

Architecture is predominantly a construction, an assemblage of materials. The opposite of constructing is perhaps the appropriation of found space, a natural cavity to give shelter. In between these two opposites many variations can be found. 

In the 19th century Petra was rediscovered by a Swiss traveler. It must have been amazing to dig the sand away and gradually unearth the grave tombs and temples that were hewn out of the mountains. Somehow redoing what the Nabataeans did so long ago, making space by taking away material, either sand or stone. 

The wind and the sand did not leave the temples and tombs untouched and faded away the looser stone parts. When walking there you see changing combinations of natural shapes, rocks and stone, sharply cut out spaces, openings hewn out of it. As if it wants to show us all the different possibilities on how the two can coexist.

By casting pigmented plaster directly in sand, I made form by first taking away the sand. This work relate to my earlier inkblot drawings, both are unrestricted in their shape, however the casts are more ambiguous with their double-faced appearance. The cast ‘walls’ are cut, with occasional openings made and loosely arranged as if a modernist house. With photographs of Bas placed alongside.

- Anne Holtrop

ALFREDO PIRRI, Passi, 2011, broken mirror tiles, Galleria Nazionale d’Arte Moderna, Rome.

Giorgio de Chirico, La Torre del Silenzio (Tower of Silence), 1937, oil on canvas, 33 x 38 cm, National Gallery of Modern Art, Rome

”..an aware man who feels the legacy of centuries, who sees clearly into the past, into the present and into himself.” - Giorgio de Chirico on the modern artist

Giorgio de Chirico, La Torre del Silenzio (Tower of Silence)1937, oil on canvas, 33 x 38 cm, National Gallery of Modern Art, Rome

”..an aware man who feels the legacy of centuries, who sees clearly into the past, into the present and into himself.”
 
- Giorgio de Chirico on the modern artist