Monthly Archives: August 2011

Nana Wall

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Fotos by Nana Wall

NanaWall Systems Launches First Folding Glass Wall System WA67 That Meets Passive House Standards

MILL VALLEY, Calif. (May 5, 2011) — NanaWall Systems, the industry leader in opening glass walls, announces its newest product for architects and builders: NanaWall WA67 with triple glazing and a foam layer to meet Passive House Standards.

Incredible website! Incredible product! Five stars!

http://www.nanawall.com/

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I close my eyes

 then I drift away…

Sleep is…romantic… nomadic… the journey of life…

“I forgot about beds and tried to think about sleep. I asked lots of people what sleep meant to them. Invariably the answers contained words like floating, cosy, romantic, rocking, trusting. My design thoughts started with these feelings.”

Sleep…to dream enclosed…cocooned in this haven…wherever that may be…

“Sleep is a voyage through dreams when we wholly give ourselves up in trust, lying curled up in our bed vessel feeling safe and cosy. It can be ten minutes in the office, an hour on the lawn or all night in any place we pull our cradle to.”

Sleep…enfolds…embraces…encircles us…

“A bed is a liferaft that bears us safely through the terrifying storms of nightmares and the blissful calm of gently waking on a summer afternoon.”

– David Trubridge – Designer.

In exploring what sleep means to people, David came to the conclusion that beds needed to be more romantic, and more flexible in their design and application. The design elements drawn on in his concept come from the idea that the bed could be moved and used wherever required. The concept forms a cocooning space that gives a feeling of security and serves the purpose of sheltering sleep from the elements, creating a private sleep space within another space.

Float is hand crafted from sustainable harvest New Zealand native Totara; a water resistant timber that requires little maintenance in its natural state. Acrylic fabric finished in Teflon encloses the base and canopy of Float. This fabric is superior colour fast fabric from Meridian, Italy (www.mokumtextiles.com) designed for outdoor use. The open-cell foam core mattress structure is suitable for exterior use and promotes fast moisture transportation and evaporation. The operating mechanism is in Stainless Steel.

To find out more about David Trubridge and his designs you can visit www.davidtrubridge.com. What a beautiful website this man has.

for survival

In a planet overloaded with material things what justification is there for one more new design? Can we afford to squander our dwindling resources on ephemeral fashion changes? – on something new for the sake of being new? Energy and raw materials are used both in an object’s creation and in its (invariably too soon) disposal. The only justification for me is not the object itself but its message. If it acts in some way as an agent for change, if maybe it causes a few thoughts and reflections then it has a value. The waters that are parted by a sailing boat’s passage come together in its wake and leave no trace of its passing. I would like to live like this and yet I see a trail of litter behind me and an irreversible change on the planet.

So, look – enjoy the “pleasing” form. But think too . . . .

Why will a fishtrap always be necessary? . . . . . but a supermarket trolley become redundant?

Rock in the cradle of our childhood . . . . . in the forests of our ancestors.

Be comforted by our past of self sufficiency. There was a time when individuals were vulnerable but the planet was strong. Now we are stronger and less threatened by nature, but the planet has become vulnerable.

There was a time when our survival depended on the things we made . . . . . for shelter, to catch food, and to store it safely.

There was a certain comfort in that dependence . . . . . . we found around us the materials to make and repair those things. The form of the objects had a logic . . . . . that was how they were made and they had to be like that to function.

If the things I make rekindle some of these emotions and memories, then maybe they will dispel flippancy . . . . make us think and act with wisdom and responsibility.

Step lightly with a delicate footprint.

David Trubridge

Okooko’s inspiration for their designs come from nature and are constructed with natural materials. Each year Okooko chooses one New Zealand designer to create a concept that challenges how we sleep. Each designer is chosen on the basis that their personal and design values are aligned with those of Okooko. Stunning bed designs made from sustainably harvested wood and all natural materials. Green sleep.

Okooko ~ Sleep Dream Live

If we turn left at Albequerque

we’ll just keep on driving right past the neon,

 and after that last hamburger stand fades away,

we’ll be going back in time

the road will be climbing though Ghost towns

we’ll make Santa Fe before breakfast

I am so feeling like a road trip…

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“The seeds of creativity lie within every living human being……”

Mining the Unconscious

Mining the Unconscious: A Creative Path to Self Knowledge, is a Summer 2011 program birthed by four Santa Fe, New Mexico artists, Belinda Edwards, Michele Altenberg, Harriett Tsosie and Laura Langdon beginning in Spring of 2010. Inspired by the stunning and visionary magnum opus of the Swiss psychiatrist, Carl G. Jung, The Red Book, the women approached the Santa Fe Art Commission with a formal proposal to create an exhibit of artwork that referenced archetypal images, symbols, dreams, myths, prophecies, alchemy, spirituality and shamanism…all themes explored by Jung during his seminal journey that began almost 100 years ago into what he described as his “confrontation with the Unconscious”.

This extraordinary community based event stirred the collective imagination of the community of Santa Fe such that the call for artists yielded 150 portfolios for consideration for the art show to be hung at the Santa Fe Community Gallery, an unprecedented number and more than ever received for a gallery exhibit. The level of enthusiasm generated by this exhibit compelled the organizers to create 2 more exhibit opportunities in gallery spaces in Santa Fe, resulting in 3 exhibits of dynamic expressions of art seeded by mining the unconscious.

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“From one came three…”

In the Spring of 2010 four New Mexico artists were seized with the vision of mounting an exhibit of artwork inspired by the seminal and extraordinary Red Book, created by the eminent Swiss founder of Analytical Psychology, Carl Jung. From that gem of an idea, a full-blown, ambitious multi-media event, including three art exhibits, was born. The response to the initial call for artists for what was to be the only exhibit yielded 150 portfolios for consideration, the largest response ever received for any exhibit at the Community Gallery.

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“The years, of which I have spoken to you, when I pursued the inner images,were the most important time of my life. Everything else is to be derived from this. It began at that time, and the later details hardly matter anymore. My entire life consisted in elaborating what had burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me. That was the stuff and material for more than only one life. Everything later was merely the outer classification, the scientific elaboration, and the integration into life. But the numinous beginning, which contained everything, was then.” These are the words of the psychologist C. G. Jung in 1957.

Mining the Unconscious” will be on exhibit at the Community Gallery through August 21, 2011. For more information, contact the Community Gallery at 505-955-6705, email rdlambert@santafenm.gov or visit http://www.SantaFeArtsCommission.org


Soundscapes: Burning Man

Absolutely amazing post from Nick Sowers..

the sonance of architecture

“The Golden Mean,” art car by Jon Sarriugarte and Kyrsten Mate,Burning Man, 2010. [photo by Luke Szczepanski]

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Every year, tens of thousands of people converge on the Black Rock Desert in northwestern Nevada to participate in the collective art project, social experiment, temporary city and — let’s be honest — continuous week-long party known as Burning Man. (See Nate Berg’s essay for Places, published earlier this week.) At the entrance gates, the greeters say, “Welcome Home.”

I think of Burning Man not as home but as nowhere. Nowhere is a place, and it is far from empty. Upon arrival, I am surrounded by giant robots, roving grand-pianos and clowns with air horns on stilts. I am subjected to a soundtrack of nonstop house music emanating from all directions. If I want to sleep (and why sleep, the music begs to ask?), I had better bring ear plugs. Noise complaints? Disturbing the peace? Forget about it.

One reason people come to build this temporary city in the desert is to forego the ordinances and codes that govern life back home. Burning Man has very few physical or cultural boundaries. For architects, who typically depend on constraints to arrive at a form, the great challenge here is to create in an environment where anything is possible. Sure, Burning Man produces some unsightly, sprawling constructions. At night, however, the only thing that matters is how bright are your lights and how loud is your sound. Architecture-as-structure gives way to architecture-as-effect. (Venturi and Scott-Brown would love it.) Hearing about this place of nowhere, my curiosity was piqued. I had to find out what sort of architecture this city could make.

Sound has become my medium of choice for exploring and documenting new places. Recording sound as a means of observing spatial conditions de-emphasizes the visual realm and opens up another dialogue with place, one that is haptic and time-based. Images of a place are formed by listening to sound recordings, but these images are fleeting and ambiguous. Since I have carried microphones to over two dozen countries, I thought: Why not carry them to Burning Man as well? It’s as exotic a place as any I have been to.

“Infinitarium,” installation by Big Art Studios, Burning Man, 2010. [photo by Nick Sowers]

By the end of the first day I doubted whether it would be worthwhile to record anything at all. The task, as I discovered on day two, was finding ways to listen to the noise until it no longer became noise. WWJCD — What Would John Cage Do? This question governed the rest of my week at Burning Man. I tried various strategies. Once, I stood still, eyes closed, as a sea of mad people surged around me. Other times I walked to the furthest edges of the city, until all the sound sources merged into one continuous mass of sound, and I simply listened to its drone.

Door to Nowhere
On day one, I explored the art projects scattered in the open desert, which extend a few miles beyond the camps. I encountered a door with a small porch and wooden threshold. It’s a gimmick standing there all by itself. I felt silly opening this door which separates nothing from nada, but I did it anyway. As you can hear on this track, a bell jingled as the door closes against the threshold. There was no interior; there was no exterior. Therein lies a metaphor for a sonic experience. On either side of the door, there was only a constant, thrumming, merciless sound, the background noise of life at Burning Man. In the second half of this track, you hear the background spectrum of sound amplified, as if you were to occupy an underwater space filled by it.

Door to Nowhere Audio

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Link to full article and Nick’s amazing recordings

http://places.designobserver.com/feature/soundscapes-burning-man/23868/#.TjjOvmHhjO4.email

Living in Glass Houses

You know what they say about people in glass houses…

In this video RISD president John Maeda narrates a visit to Philip Johnson’s Glass House in New Canaan, CT. Maeda shares his impressions and talks about how it relates to his thoughts on simplicity. Meanwhile, we explore the site (there are actually several buildings on the property in addition to the Glass House), shot over a couple picture perfect spring days.

http://philipjohnsonglasshouse.org/history/buildings/glasshouse/

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The Glass Pavilion is a redefining structure within modernism. It is a benchmark building that sets the bar as to what modernism is and can be. Set within a 3.5 acre estate of oak groves in Montecito and boasting 15,000 square feet under roof, this home is impressive beyond words. An almost entirely glass home, it allows the occupants to be comfortably inside while completely enveloped within nature. As you drive down the long gated driveway, the home slowly comes into view. You are immediately confronted with a large all glass home floating above gently rolling lawns. The site of it is awe-inspiring. Architect Steve Hermann calls this glass-walled home in Montecito, Calif. his ‘opus.’

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http://online.wsj.com/article/SB10001424052748704868604575433410650321600.html#%2F4

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One of the most iconic homes of the Case Study program, CSH #22 was also one of the most radical and innovative in design and construction. Pierre Koenig’s reductive plan and specs for the home were influenced by its location high up in the Hollywood Hills of Los Angeles. The steel framework held 20-foot wide modules of glass, which allowed for sweeping views of the city below from both private and public areas of the home. The L-shaped interior surrounds the swimming pool and outdoor terraces and a concrete footbridge over the pool connects the entrance to the carport. The two wings of the home are separated into public and private. The bedrooms along with a dressing room and master bath occupy one wing, while the living room and dining area sit in the opposite wing with the kitchen and utility core at the corner. A freestanding steel fireplace dominates the living room and dining area, and can be seen from the open kitchen.

The house is 2600 square feet + 1500 square car port and covered area.

Original owners: Mr. & Mrs. C.H. Stahl

Landscape & Pool: Pierre Keonig, architect.

Structural engineer: William Porush

General Contractor: Robert J. Brady

Richard Neutra’s Staller House

Everyone from Huffington Post to the ReMax is talking about this exceptional

example of International Modern Architecture being on the market.

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We just wanted to see it.

from Huffington Post

New to the market is Richard Neutra’s Staller House for $10.9 million. Built in 1955, this post and beam style home was renovated by Irish architect Lorcan O’Herlihy of LOHA in 2001, according to Triangle Modernist. The Staller House was subject to additions prior to LOHA’s renovation, states Curbed LA. The current owner, film producer Gary Levinsohn is best known for the award winning “Saving Private Ryan” and anticipates continued success with his upcoming “Blackbird” staring Olivia Wilde and Eric Bana.

The Staller House features 6,674 square feet of living space on over an acre of Bel-Air land. The five bedroom, seven bathroom house has a guest house, pool, spa, parking for twelve, and an extensive wine room. The Staller House is one of a few Richard Neutra-designed properties currently on the market. The Pacific Palisades Troxell House and the Kronish House in Beverly Hills are also listed for sale.

Photos by Simon Berlyn courtesy of the official listing with Ginger Glass of Coldwell Banker Beverly Hills North and John Williams of Coldwell Banker Previews International.

Link to slide show

http://www.huffingtonpost.com/2011/06/13/richard-neutras-staller_n_874868.html#s290403

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Homes designed by Richard Neutra combined Bauhaus modernism with Southern California building traditions, creating a unique adaptation that became known as Desert Modernism. Neutra’s houses were were dramatic, flat-surfaced industrialized-looking buildings placed into a carefully arranged landscape. Constructed with steel, glass, and reinforced concrete, they were typically finished in stucco.

Exceptional Article here from Triangle Modernist Houses

 http://www.trianglemodernisthouses.com/neutra.htm