The house of Peter Swinnen (51N4E), Brussels
Living in a house involves extracting the maximum possible from a limited space. The decision to live here was carefully thought out: the location and the view are for me worth more tan a garden or my own roof. Living in a compact space, with an intelligent ecological footprint that is as small as possible, gives rise to a perfect quality of life. This always has to come first. The apartment building dates from Expo 58 and it perfectly reflects the spirit of the time - a solid faith in quality of life that is perhaps a little naive, but also compelling. In addition to the appartments, the building offers various other elements that add to one’s comfort, including a solarium (a communal roof terrace with a panoramic view) and a sort of small hotel on the ground floor reserved for the occupants’ guests. This residential building is a good example of intelligent architecture, since the design offers various extra possibilities. As a result, this is an extremely contemporary way of living. But there is still room for improvement: we are planning for example to create a green roof next to the solarium to use the space more effectively and act as an energy buffer. This is a building that can evolve with its inhabitants - and there aren’t many buildings like that.
- Peter Swinnen (51N4E)
Own scans from here
The house of Nicolas Firket in a previous post
Edward Hopper, Rooms By The Sea, 1951
Anni Albers, Play of Squares, 1955
Louise Nevelson, Fondazione Roma, Palazzo Sciarra Roma 2013
"Art is everywhere, except it has to pass through a creative mind."
- Louise Nevelson
The practice of assemblage, brought to linguistic quality by Duchamp, Picasso, Schwitters and other sculptors, became for Lousie Nevelson the characteristic form of expression. Her sculptures, in fact, are made out of recycled objects to which she has given a new “spiritual” life. She created works with the use of different materials such as aluminium and plexiglass, although her favorite material is without a doubt wood. Since the fifties, she also introduced in her works the symbolic function of the monochrome going from matte black (years ‘55-‘59) to white (years ‘59-‘60), gold (‘61-’60s) and making the boundaries between sculpture, collage and relief blur.
Erwin Heerich, Museum Insel Hombroich, Germany 1982-1987
scans from: Architecture and Urbanism, November 1998
Carl Theodore Sørensen, De Geometriske Haver, 1984 Herning
Henri Rousseau, The Dream, 1910
Duane Michals, A Visit With Magritte, 1965
If I indulge myself and surrender to memory, I can still feel the knot of excitement that gripped me as I turned the corner into Rue Mimosas, looking for the house of Rene Magritte. It was August, 1965. I was thirty three years old and about to meet the man whose profound and witty surrealist paintings had contradicted my assumptions about photography.
Josef Albers, Interior, Interior B, Window, 1929
The origin of art:
The discrepancy between physical fact and psychic effect
The content of art:
Visual formulation of our reaction to life
The measure of art:
The ratio of effort to effect
The aim of art:
Revelation and evocation of vision
space&matter, Common Fence, 2013
Photos (C) Martijn van Wijk
Space&matter was asked to make a temporary infill for a vacant construction site in Leiden, the Netherlands. Since the budget was nill, they decided to use the fence that usually borders construction sites as our main constructive element. By turning around its function from excluding people to including people, we reclaim a piece of land for the public domain. This reclaimed space will be used and programmed by residents for a period of two weeks. After two weeks the fence is taken down again and will return to its common state of exclusion.
Bart van der Leck, De Kat, 1914
OFFICE X HOCKNEY
David Hockney, A Bigger Splash, 1967
Office KGDVS, Office 56, 2012
Photo (C) Bas Princen
Taiyo Onorato & Nico Krebs, Blockbuster, 2012
A similar game with fore- and background in the flat surface of the image is used by the duo in their 16 mm black-and-white film installation Blockbuster (2012). In the film, a man standing on a stepladder swinging a hammer, appears to be hitting buildings. The man’s gestures are transformed by the camera from an action in the three-dimensional urban space to the two-dimensional space of the flat surface. Additionally, the soundtrack of the film is played by a separate hammer machine, referencing the early days of cinema, when sound was performed live during the film screening.
Taiyo Onorato & Nico Krebs, Building Berlin, 2009-2012
The duo has worked together since 2003 on a variety of projects on the cutting edge of photography, sculpture and installation art. From 2009 onwards the urban environment takes up a prominent role in their oeuvre. For the series Building Berlin/Constructions (2009-2012) they installed wooden structures on waste land which followed the contours of the buildings in the background. In the pictures, taken with an analogue large format camera, they play with architecture, proportions, emptiness and references to socialist iconography. The viewer is invited to decipher the various layers within the flat surface of the images.