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Discussion in 'Streetwear and Denim' started by sipang, Dec 8, 2011.

  1. dwyhajlo

    dwyhajlo Senior member

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    2 people like this.
  2. sipang

    sipang Senior member

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    Bye bye Leb​



    [QUOTE name=source' url="http://bldgblog.blogspot.be/2012/10/lebbeus-woods-1940-2012.html"]Lebbeus Woods, 1940-2012

    By Geoff Manaugh l BLDGBLG

    Like many people, I was—and remain—devastated to have learned that architect Lebbeus Woods passed away last night, just as the hurricane was moving out of New York City and as his very neighborhood, Lower Manhattan, had temporarily become part of the Atlantic seabed, floodwaters pouring into nearby subway tunnels and knocking out power to nearly every building south of 23rd Street, an event seemingly predicted, or forewarned, by Lebbeus's own work. [...]

    Lebbeus mentored and taught many, many people, and I am, by every measure, the least qualified of any of them to write about his influence; but learning that Lebbeus has passed away, and under such utterly surreal circumstances, with his own city—literally, the streets all around him—flooding in the darkness as the oceans rose up, compelled me to write something for him, or about him, or because of him, or to him. [...]

    Speaking only for myself, Lebbeus is a canonical figure in the West—and I mean a West not of landed aristocrats, armies, and regal blood-lines but of travelers, heretics, outsiders, peripheral exploratory figures whose missives and maps from the edges of things always chip away at the doomed fortifications of the people who thought the world not only was ownable, but that it was theirs. Lebbeus Woods is the West. William S. Burroughs is the West. Giordano Bruno is the West. Audre Lorde is the West. William Blake is the West. For that matter, Albert Einstein, as Leb would probably agree, having designed an interstellar tomb for the man, is the West. Lebbeus Woods should be on the same sorts of lists as James Joyce or John Cage, a person as culturally relevant as he was scientifically suggestive, seething with ideas applicable to nearly every discipline.

    In any case, it isn't just the quality of Lebbeus's work—the incredible drawings, the elaborate models—or even the engaged intensity of his political writings, on architecture as politics pursued by other means or architecture as war, that will guarantee him a lasting, multi-disciplinary influence for generations to come. There is something much more interesting and fundamental to his work that has always attracted me, and it verges on mythology. It verges on theology, in fact.

    Here, if I can be permitted a long aside, it all comes down to ground conditions—to the interruption, even the complete disappearance, of the ground plane, of firm terrestrial reference, of terra firma, of the Earth, of the very planet we think we stand on. Whether presented under the guise of the earthquake or of warfare or even of General Relativity, Lebbeus's work was constantly erasing the very surfaces we stood on—or, perhaps more accurately, he was always revealing that those dependable footholds we thought we had were never there to begin with. That we inhabit mobile terrain, a universe free of fixed points, devoid of gravity or centrality or even the ability to be trusted.

    Architecture, for Lebbeus, was a kind of counter-balance, a—I'm going to use the word—religious accounting for this lack of center elsewhere, this lack of world. It was a kind of factoring of the zero, to throw out a meaningless phrase: it was the realization that there is nothing on offer for us here, the realization that the instant we trust something it will be shaken loose in great convulsions of seismicity, that cities will fall—to war or to hurricanes—that subways will flood, that entire continents will be unmoored, split in two, terribly and irreversibly, as something maddeningly and wildly, in every possible sense outside of human knowledge, something older and immeasurable, violently shudders and wakes up, leaps again into the foreground and throws us from its back in order to walk on impatiently and destructively without us.

    Something ancient and out of view will rapidly come back into focus and destroy all the cameras we use to film it. This is the premise of Lebbeus's earthquake, Lebbeus's terrestrial event outside measured comprehensibility, Lebbeus' state of war.

    Because what I like about Lebbeus's work is its nearly insane honesty, its straight-ahead declaration that nothing—genuinely and absolutely nothing—is here to welcome us or accept us or say yes to us. That there is no solid or lasting ground to build anything on, let alone anything out there other than ourselves expecting us to build it.

    Architecture is thus an act—a delirious and amazing act—of construction for no reason at all in the literal sense that architecture is outside rational calculation. That is, architecture—capital-A architecture, sure—must be seen, in this context, as something more than just supplying housing or emergency shelter; architecture becomes a nearly astronomical gesture, in the sense that architecture literally augments the planetary surface. Architecture increases (or decreases) a planet's base habitability. It adds something new to—or, rather, it complexifies—the mass and volume of the universe. It even adds time: B is separated from C by nothing, until you add a series of obstacles, lengthening the distance between them. That series of obstacles—that elongated and previously non-existent sequence of space-time—is architecture.

    As Lebbeus himself once wrote, it is through architecture that humans realize new forms of spatial experience that would have been impossible under natural conditions—not in caves, not in forests, not even while out wandering through fog banks or deserts or into the frigid and monotonous vacuity of the Antarctic. Perhaps not even on the Earth. Architecture is a different kind of space altogether, offered, we could say, as a kind of post-terrestrial resistance against unstable ground, against the lack of a trustworthy planet. Against the lack of an inhabitable world.

    Architecture, if you will, is a Wile E. Coyote moment where you look down and realize the universe is missing—that you are standing on empty air—so you construct for yourself a structure or space in which you might somehow attempt survival. Architecture is more than buildings. It is a spacesuit. It is a counter-planet—or maybe it is the only planet, always and ever a terraforming of this alien location we call the Earth. [...]

    If you were to walk through an architecture school today—and I don't recommend it—you'd think that the height of invention was to make your building look like a Venus flytrap, or that mathematically efficient triangular spaceframes were the answer to everything, every problem of space and habitability. But this is like someone really good at choosing fonts in Microsoft Word. It doesn't matter what you can do, formally, to the words in your document if those words don't actually say anything.

    Lebbeus will probably be missed for his formal inventiveness: buildings on stilts, massive seawalls, rotatable buildings that look like snowflakes. Deformed coasts anti-seismically jeweled with buildings. Tombs for Einstein falling through space.

    But this would be to miss the motivating absence at the heart of all those explorations, which is that we don't yet know what the world is, what the Earth is—whether or not there even is a world or an Earth or a universe at all—and architecture is one of the arts of discovering an answer to this. Or inventing an answer to this, even flat-out fabricating an answer to this, meaning that architecture is more mythology than science.

    Architecture is about the lack of stability and how to address it. Architecture is about the void and how to cross it. Architecture is about inhospitability and how to live within it.

    Lebbeus Woods would have had it no other way, and—as students, writers, poets, novelists, filmmakers, or mere thinkers—neither should we. [/QUOTE]












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    Havana, Radical Reconstruction (1994)



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    15 people like this.
  3. jet

    jet Senior member

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  4. snowmanxl

    snowmanxl Senior member

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    1 person likes this.
  5. reedobandito

    reedobandito Senior member

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    God that stuff is amazing, I wonder how many of his projects are actually put into motion lol
     
  6. sipang

    sipang Senior member

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    None.



    Well, not exactly. The Light Pavillon (2008) in Chengdu, China, is his first and only build work, it was actually completed earlier this month.


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    He also did several installations in the past but his main contribution remains theoretical first and foremost. It's always been more about widening the field of what architecture could be than creating concrete buildings. That's why his vision borrows from archeology, urban planning as well as science fiction (he actually worked on the pre-David Fincher Alien 3 as conceptual architect but his designs logically don't appear in the finished film).





    Here's what he had to say about some of his theoretical work from 20 years ago


     
  7. the shah

    the shah Senior member

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    a bit unorthodox maybe even for this thread but this documentary was interesting anyway

    Blind U.S. bluesman masters throat-singing of Tuva

    First, what is Tuvan throat singing ? A style in which one or more pitches sound simultaneously over a fundamental pitch, producing a unique sound. Example:

    [VIDEO][/VIDEO]

    The feature presentation is about the journey of blind American singer Paul Pena to the isolated Asian nation of Tuva due to his interest in Tuvan throat singing after hearing it on the radio and remarkably being able to almost immediately imitate what he heard. It won the 1999 Sundance Film Festival Audience Award for a Documentary. It was also nominated for an Academy Award in 2000 in the Best Documentary Feature category.

    [VIDEO][/VIDEO]
     
    Last edited: Nov 4, 2012
    1 person likes this.
  8. MS007

    MS007 Senior member

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    1 person likes this.
  9. fishbones

    fishbones Senior member

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  10. slstr

    slstr Senior member

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    Love Hamada's photos, there are a lot cooler photos in that series though!

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    More photography please!​
     
    Last edited: Nov 6, 2012
    2 people like this.
  11. slstr

    slstr Senior member

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    [​IMG]
    Are you a photographer yourself? [​IMG] you should post a few of your photos!
    Would love to see more art/whatever by people who post here.
     
    1 person likes this.
  12. artishard116

    artishard116 Senior member

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    ^could be a good thread
     
  13. Guy Burgess

    Guy Burgess Senior member

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    i'd love to have that thread on sw & d
     
    Last edited: Nov 8, 2012
    1 person likes this.
  14. sipang

    sipang Senior member

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    4 people like this.
  15. snowmanxl

    snowmanxl Senior member

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    wow. sip-san, you are incredible.
    im trying to remember a name of a ceramicist...shes female, belgium, dead, works were all white and her family still produces limited runs of her original works...GO!

    seriously, do you know who it is? :eek:
     
  16. sipang

    sipang Senior member

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    Hmmm nothing comes to mind. How recent ?
     
  17. snowmanxl

    snowmanxl Senior member

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    she died a while ago, 19-something
    i cant remember where i saw the article, magazine or online. if i find her i'll report back!
     
  18. sipang

    sipang Senior member

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    Last edited: Nov 17, 2012
    1 person likes this.
  19. jwjp

    jwjp Senior member

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    232
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    last series of The Thick of It got off to a slow start but last few episodes were superb. penultimate episode was probably some of the best television ever
     
  20. momentoftruth

    momentoftruth Senior member

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    Tejas
    QFT. I miss that show already
     

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