Thursday, January 31, 2008
just ran across this today--in the march 2007 issue of dwell, sarah rich contributed a short blurb about the last [mid] western city before the great divide. denver art museum's curator lewis sharp acts as the armchair tour guide, offering his own perception as well as some public assumptions of the transforming city.
one year later in the march 2008 issue, bldgblog author geoff manaugh contributes a conversation with mcart architect david adjaye, and speaks about doing more public buildings, and the relatively low impact LEED has had on the construction industry in the US:
"LEED certification is lower standard than what I would want to do in a building, to be honest. It is the way a building should already be. We're on track to get a Gold certification [mcart denver]-which is the first for a contemporary art museum in this country [sorry david, i think the GRAM beat you]. i find that hilarious, considering the amount of museums being built here [europe]...
...the problem is that there is no body or guild which seems to be educating the industry. it's a cost-driven, lowest common denominator culture-which gives you efficiency in terms of capitalism, but it doesn't give you evolution. And we have to evolve the notion of construction. Really, builders should be bringing these things to architects..."
on a side note-the new format for dwell magazine has been altered and the size has been slimmed down considerably. it reads more like a collection of short blog posts, which we suppose is a sign of the times, but is it as successful in print format?
the slimmer profile tends to mean fewer ads and more focus on stories, so it's a good thing right?
more "tv" with fewer commercials is always welcome.
Tuesday, January 22, 2008
Steel wire cables, anchored on the upper part of the riverbanks, will cross the river and serve as attachment for the fabric panels. The woven fabric panels, sewn in advance, with rows of grommets at the edges perpendicular to the river, will create shimmering waves of fabric, 8 to 25 feet (2.4 to 7.6 meters) above the water. The 5.9 mile (9,4 kilometer) long stream of successive fabric panels will be interrupted by bridges, rocks, trees, and bushes and for esthetic reasons, creating abundant flows of light.
Wide clearance between the banks and the edges of the fabric panels will create a play of contrast allowing sunlight to illuminate the river on both sides. When seen from underneath, standing on the rocks, at the edge of the river, at water level or by rafting, the luminous and translucent fabric will highlight the contours of the clouds, the mountains and the vegetation.
i couldn't resist posting these preliminary sketches done by the artist. whether one supports the efforts of the artists or not, the renderings exude an ethereal quality which captures the imagination of actually being there. plus--they seem like they would be some damn good eye candy to the architecture crowd! the wind that blows through the fabric panels not only distracts the viewer from the water [and the obstacles] ahead, but reveal the more invisible forces which are present in the canyon.
when contemplating the artists' body of work, at first it seems to be just a one trick pony--superficial "wrapping" of large objects [ie the pont neuf project or the wrapped reichstag], hiding detail and reducing a monument to a ghost of its previous self. within their more later works [re: the gates] the concept of revealing the invisible forces of each artworks' individual site becomes wondrous, rather than an inquisitive masquerade. from the website:
Christo and Jeanne-Claude's works are entire environments, whether they are urban or rural. The artists temporarily use one part of the environment. In doing so, we see and perceive the whole environment with new eyes and a new consciousness...
the sheer scale of this thing enormous. some of the numbers include:
-2,029: number of pages in the submittal to the bureau of land management
-10: number of agencies [state and federal] the proposal must satisfy for permit
-962: total number of fabric panels
-50: number of miles the project will actually stretch
-4,375: [sf] area of the largest fabric panel
-5/8: diameter [in inches] of largest steel cable supporting the panels
-1,750: number [in feet] of longest panelized section
-14: number of days the installation will be open
-250,000: expected number of visitors in that same time period
-3: years of actual construction
-??? million: budget of the project, provided solely by the artists, partially funded by sales of drawings, renderings and lithographs of the proposal
then, there is always the opposition. rags over the arkansas river[http://www.roarcolorado.org/] make the case that there will be a "traffic nightmare" on highway 50, desecration to the wildlife population, safety hazards and difficulties for emergency personnel, increase in human litter, and negative impact on local recreational activities.
evidently christo and jean claude have been to colorado before in 1971, and the people there have not forgotten. rifle gap curtain.
so what happens when a project of this scale becomes reality? does the lustre of the image become overshadowed by real logistics and environmental impact?
in other words: art at what cost?
Wednesday, January 02, 2008
The Best of Cutler Anderson Architects
Outside the Pale: The Architecture of Fay Jones
Unprecedented Realism: The Architecture of Machado and Silvetti
The Eyes of the Skin: Architecture and the Senses
Building: 3000 Years of Design, Engineering and Construction
posts that are of worth some inkling of substance should resume by january 12. 2008