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[SOON , A TITLE HERE ] - Page 50

post #736 of 1310
i think they are modelling yohji clothes.
post #737 of 1310
Thread Starter 
I think it's from an old catalogue, the photographer is probably Max Vadukul

edit: google proved me right ! Y's autumn 2000 catalogue
post #738 of 1310
robot. unicorn. attack.

what will the human mind think of next?

post #739 of 1310

* * *

post #740 of 1310

i always thought it was a bit strange why he has dat creepy ass smile when he takes a photo, like if you are going to take a professsional photo why the hell do you ahve to smile like a total creep.
post #741 of 1310
Just a little something for Levon Helm. Went for this instead of the version from The Last Waltz because this is all Levon

post #742 of 1310
post #743 of 1310

One of the few remaining outlaw images of the outtakes from Infinite Jest.
post #744 of 1310
lel. that song makes me feel wistful. thx .

tempted to post some good tech house in here...:
Edited by BreezyBirch - 4/24/12 at 12:50am
post #745 of 1310
Thread Starter 
Shot in the aftermath of May '68 in the dark forests of Germany, Le Révélateur was twenty-year-old Garrel’s first post-barricades production. The dream-like silent experimental film projects an atmosphere of menace and persecution. A young couple and their child run through a deserted landscape as if pursued by unseen forces. Much of the film was shot at night on a sensitive film stock and with a flashlight/moving spotlight held on the actors as only light source, as if they were animals caught in a car's headlights or fugitives fleeing from the state's roving gaze. When they find temporary forms of shelter, the parents turn upon each other, reproducing the conflicts of the external world. In contrast to the frantic, desperate activity of his parents, the child playfully responds to these circumstances, indicating that a better world is still possible. The title is a French pun on the chemical used to develop celluloid – it reveals images, it reveals life, but the threat of annihilation, of the loss of light, remains. Perhaps Garrel's greatest movie, Le Révélateur articulates personal and political anxieties in an opaque yet expressive vision.

I mean, look at that first low angle shot, it's almost like they're ascending the stairs, and where does it lead ? Madness.
Edited by sipang - 4/24/12 at 4:02pm
post #746 of 1310
some good stuff here
post #747 of 1310

I have to plead ignorant here, that´s from a videogame, right? Why is it in español?

post #748 of 1310
Thread Starter 
Some architecture spam for yall. This is my thread, I don't care.

I'm really digging the stuff below by this almost unknown and forgotten Danish municipal architect. The idea of "beauty in function", or rather the accidental beauty of purely functional designs, is something that I find extremely appealing. Corrugated iron roofs are wonderful. Arte Povera. The close-up on an airplane wing with its seams and rivets. The buildings pictured below all have something of very tactile to me. There's also something here that reminds me of the "vernacular minimalism" (?) of Peter Zumthor and Salter (both started out as municipal architect too apparently, maybe there's something there...) and some of Terunobu Fujimori stuff too maybe although to a much lesser extent.



All texts and pics from Seier+Seier Flickr

According to the limited sources I have, Hans Christian Hansen's career was less than spectacular. Being awarded 2nd prizes won't bring lasting glory and Hans Christian Hansen won plenty. His career never took off. He entered a large office and stayed there for the rest of his professional life without making partner, doing nothing but utilitarian structures on minuscule budgets.

What sounds like a surefire way of erasing oneself from architectural history, didn't quite work out that way. The large office was the Copenhagen municipal architects department and they had a policy of always naming the job architect, so unlike other big offices. That's how we know about Arne Jacobsen's earliest work, and that is how we know about Hans Christian Hansen.

That, and the fact that his buildings stand out.

Over the 40 years he spent with the department, his designs became more and more personal, his use of cheap, off-the-shelf materials more and more radical. I think the advent of brutalism helped him define where he was going, but the material unity demanded by the klint school underlies much of his work and obviously predates any modern influence.


A slow starter with a great finish, his story as well as his works deserve attention, at least in Denmark. This tiny country was so rich in architectural talent throughout the 20th century, but the masters didn't build all that much compared with what the idiots managed, and we cannot afford to overlook the poetic brutalism of Hansen, whether we do so out of ignorance or because it does not seem to fit with all the neat brickwork -- what Banham called exquisite craftsmanship...harnessed to a conception of architecture so middle-of-the-road as to be entirely characterless.

Whatever you think of Hansen's architecture, it was never characterless. he saw artistic opportunity where others saw mere technical installations and he did not waste it, setting an example for the rest of us.

Nyborggade transformerstation marked his beginning as an architect of major technical buildings. It is an anonymous structure and apart from obvious functional qualities, lauded at the time, its architectural moves are almost too subtle: it is a background building and meant as one.For those of us who have by now seen several of his designs, the moves are more obvious: the dense order of verticals, this time actual concrete columns; the care taken when turning corners; the angle of the infill brickwork.

Originally Posted by source View Post

while remaining unfashionably faithful to the architectural elements that made up his earliest, original projects, hans chr. hansen never stopped changing the way he applied them. contrary to the eventful hanssted school and ringbo nursing home, his final buildings are silent and enigmatic, none more so than svanemøllen.

hansen's dense web of verticals across the elevation is immediately recognizable; we have seen it elsewhere in bronze , concrete and painted wood. no doubt this repeated pattern represents a translation of sorts of the modular nature of hansen's architecture, though I also read into it a reference to the gothic and, more specifically, to the ruskinian neo-gothic of p.v. jensen-klint. as such, we are looking at that rare bird in modern architecture, the personal voice, all the more surprising in hans chr. hansen's case since he was a mere job architect, working for the municipality.

evidently, svanemøllen is repetition with a difference. gone is the careful craft of the facade of his nyborggade neighbour and in its place an endless pattern of cheap pressure-treated wood envelopes the structure. tempting as it is to see the changes in hansen's approach as the reflection of a personal development, I suspect he was responding to outside circumstances. the sixties saw building cost accelerate to a point which finally brought about the industrialized construction, modernists had preached and promised for decades. wages played a significant part in this, but so did demands for better performing building parts, not least in terms of insulation.

we are still caught up in these violent changes to our trade, struggling to make sense of the loss of craft and to tame the fundamental inhumanity of industrial production, all while aiding our clients in milking it for every penny of profit possible. at svanemøllen, we meet hansen at the point of inception, only eight years after the neat brick infill of nyborggade, and his response is less of a mystery than the blind facade would have you think.

the wood here is neither cladding nor part of the supporting frame. rather, it is the actual shuttering which the concrete walls were cast against, left in place - the process quite literally becoming the architecture. the layers of svanemøllen's exterior walls are - from the outside - wood shuttering, left in place; tar paper; hard insulation batts; concrete. the inside formwork was dismantled as it played no part in fastening or protecting the insulation.

current demands for insulation and the overall performance of the building envelope have effectively divorced the cladding of a building from its structure, forcing architects to play post-modern games with their facades, often against their own will. modernism had nothing to hide, but architecture today is often all skin, no bones - the structural order of a building hidden in shame behind images of perceived correctness formed in thin sheet metal or similar materials. hans chr. hansen, at the brink of this development, appears to be telling us that a careful look at the process of construction may rescue the integrity of the facade yet, providing us with alternatives to mere cladding.

post #749 of 1310
those facades drool.gif
post #750 of 1310
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