More at http://www.mymodernmet.com/profiles/blogs/25-magnificent-modern-day
Thursday, September 24, 2009
Sunday, September 20, 2009
Living bridges
I do hope this is not a hoax or anything, because it is lovely.
North-Eastern India is one of the wettest places on earth. There bridges aren't built - they're grown.
The living bridges of Cherrapunji in India are made from the roots of the Ficus elastica tree. This tree produces a series of secondary roots from higher up its trunk and can comfortably perch atop huge boulders along the riverbanks, or even in the middle of the rivers themselves.
Go to http://rootbridges.blogspot.com/ to see more pics.
North-Eastern India is one of the wettest places on earth. There bridges aren't built - they're grown.
The living bridges of Cherrapunji in India are made from the roots of the Ficus elastica tree. This tree produces a series of secondary roots from higher up its trunk and can comfortably perch atop huge boulders along the riverbanks, or even in the middle of the rivers themselves.
Go to http://rootbridges.blogspot.com/ to see more pics.
Sliding house
Inspirational.
The Sliding House, by dRMM Architecture, may look like a simple timber barn or shed, and you may not be impressed by it — until you discover that it contains a surprise within it. The design of this home is so unique that, well, there is no real actual architectural term to describe it. In fact, the best way to describe it is to say that the house slides!
You see, what appears to be house’s exterior walls and roof are actually a second skin that slides across a longitudinal axis to reveal a second facade. Sliding back and forth, the mobile exterior offers the house’s residents incredible flexibility with the look and behavior of the building. The lighting and mood of the interior spaces can be altered with the simple movement of the exterior. The building’s architectural trick also mean the heating and cooling loads of the house can be manipulated throughout the year.
The house was designed by London-based practice de Rijke Marsh Morgan for a client who desired a retirement home. The house is made up of three buildings arranged along a longitudinal axis, with a garage set perpendicularly, off to the side. A small patio was located in front.
Glass and red rubber work in unison with the timber of the roof/wall enclosure to create a pleasing and unassuming shape that resembles the barns and sheds of the rural countryside. The entire house sits on a concrete bed, which partially hides the surprising mechanism that allows the home to reveal a second facade.
If achieving a flexible outcome within tight planning constraints is truly the hallmark of a great architect, then dRMM architects can clearly take a bow. We absolutely loved this one.
Text from inhabitat: http://www.inhabitat.com/2009/02/20/residence-sliding-house-drmm/
Architect: drmm - http://www.drmm.co.uk/
The Sliding House, by dRMM Architecture, may look like a simple timber barn or shed, and you may not be impressed by it — until you discover that it contains a surprise within it. The design of this home is so unique that, well, there is no real actual architectural term to describe it. In fact, the best way to describe it is to say that the house slides!
You see, what appears to be house’s exterior walls and roof are actually a second skin that slides across a longitudinal axis to reveal a second facade. Sliding back and forth, the mobile exterior offers the house’s residents incredible flexibility with the look and behavior of the building. The lighting and mood of the interior spaces can be altered with the simple movement of the exterior. The building’s architectural trick also mean the heating and cooling loads of the house can be manipulated throughout the year.
The house was designed by London-based practice de Rijke Marsh Morgan for a client who desired a retirement home. The house is made up of three buildings arranged along a longitudinal axis, with a garage set perpendicularly, off to the side. A small patio was located in front.
Glass and red rubber work in unison with the timber of the roof/wall enclosure to create a pleasing and unassuming shape that resembles the barns and sheds of the rural countryside. The entire house sits on a concrete bed, which partially hides the surprising mechanism that allows the home to reveal a second facade.
If achieving a flexible outcome within tight planning constraints is truly the hallmark of a great architect, then dRMM architects can clearly take a bow. We absolutely loved this one.
Text from inhabitat: http://www.inhabitat.com/2009/02/20/residence-sliding-house-drmm/
Architect: drmm - http://www.drmm.co.uk/
Sunday, September 13, 2009
Heaven of Delight
Royal Palace in Brussels with Jan Fabre's Heaven of Delight - with the ceiling decorated with jeweled scarabs.
A flame in microgravity
In the year 2000 the National Aeronautics and Space Administration (NASA) of the United States discovered that gravity plays an indirect role in flame formation and composition. The common distribution of a flame under normal gravity conditions depends on convection, as soot tends to rise to the top of a flame (such as in a candle in normal gravity conditions), making it yellow. In microgravity or zero gravity environment, such as on a circular orbit , convection no longer occurs and the flame becomes spherical, with a tendency to become bluer and more efficient. There are several possible explanations for this difference, of which the most likely is the hypothesis that the temperature is sufficiently evenly distributed that soot is not formed and complete combustion occurs. Experiments by NASA reveal that diffusion flames in microgravity allow more soot to be completely oxidized after they are produced than do diffusion flames on Earth, because of a series of mechanisms that behave differently in microgravity when compared to normal gravity conditions. These discoveries have potential applications in applied science and industry, especially concerning fuel efficiency.
Text from tywkiwdbi, who got it from wiki. Link below.
http://tywkiwdbi.blogspot.com/2009/01/flame-in-microgravity.html
Thursday, August 20, 2009
Archi blink.
Below taken from BldgBlog http://bldgblog.blogspot.com/2009/07/architecture-of-blink.html
An article posted today on New Scientist suggests that, over the course of a 150-minute film, audience members will miss an incredible fifteen minutes simply through the act of blinking – but also that people watching a film tend to blink at the same time.
It's called "synchronized blinking," and it means that "we subconsciously control the timing of blinks to make sure we don't miss anything important" – with the addendum that, "because we tend to watch films in a similar way, moviegoers often blink in unison." That is, they blink during "non-critical" moments of plot or action, creating a kind of perceptual cutting-room floor.
On the one hand, then, I'm curious if this means that clever editors, like something out of Fight Club, might be able to insert strange things into those predicted moments of cinematic calm – moments deemed safe for blinking – simply to see if anyone notices, but I'm also left wondering if there is an architectural equivalent to this: a spatial moment inside a building in which it seems safest for us to blink.
In other words, do people not blink when they first walk into a space like Rome's Pantheon or into Grand Central Station – or is that exactly when they do blink, as if visually marking for themselves a transition from exterior to interior?
It would seem, then, that if film has moments of synchronized blinking, then so might architecture – but when do we choose to blink when experiencing architectural space, and do those moments tend to occur for all of us at the same time?
How could we test this?
Further, if there is, in fact, a moment inside a building somewhere where almost literally everyone blinks– say, in the lobby of the Museum of Modern Art, or in a bathroom corridor in the history building at your own university – could we say that that space is somehow yet to be fully seen?
It is the spatial equivalent of those fifteen minutes of a film that no one realized they missed.
After all, perhaps there's a detail in your own house that you've never actually seen before – and it's because you tend to blink as you walk past it. Your own body assumes, outside conscious awareness, that this must be a safe space for blinking; it's near a window, or the colors are very dull. Perhaps that's how spiderwebs build up: you literally don't see them.
On a much larger scale, meanwhile, are there stretches of highway somewhere outside town where the scenery gets a bit boring – and so everyone starts to blink, more or less at the same time, thus visually removing from collective cultural awareness that McDonald's, or that abandoned house, tucked away over there beside the trees?
And could you locate that exact moment of blindness – could you find blinkspots throughout the urban fabric – and start to build things there? Architecture becomes a three-dimensional test landscape for the neurology of blinking.
For instance, if people driving 65 mph travel, say, five feet with every blink, then what spatial and architectural possibilities exist within that five feet?
What are the spatial possibilities of the blink?
I'm reminded of certain zoning laws in which you need to consider the exact amount of shadow your building will cast on the neighborhood around it before beginning construction.
But what about zoning for blinks? Can you zone a building for maximum blinks?
Or perhaps the opposite: a new genre of architecture, specially designed for Halloween fun houses, in which it's too stressful to close your eyes even for a micro-second...
An article posted today on New Scientist suggests that, over the course of a 150-minute film, audience members will miss an incredible fifteen minutes simply through the act of blinking – but also that people watching a film tend to blink at the same time.
It's called "synchronized blinking," and it means that "we subconsciously control the timing of blinks to make sure we don't miss anything important" – with the addendum that, "because we tend to watch films in a similar way, moviegoers often blink in unison." That is, they blink during "non-critical" moments of plot or action, creating a kind of perceptual cutting-room floor.
On the one hand, then, I'm curious if this means that clever editors, like something out of Fight Club, might be able to insert strange things into those predicted moments of cinematic calm – moments deemed safe for blinking – simply to see if anyone notices, but I'm also left wondering if there is an architectural equivalent to this: a spatial moment inside a building in which it seems safest for us to blink.
In other words, do people not blink when they first walk into a space like Rome's Pantheon or into Grand Central Station – or is that exactly when they do blink, as if visually marking for themselves a transition from exterior to interior?
It would seem, then, that if film has moments of synchronized blinking, then so might architecture – but when do we choose to blink when experiencing architectural space, and do those moments tend to occur for all of us at the same time?
How could we test this?
Further, if there is, in fact, a moment inside a building somewhere where almost literally everyone blinks– say, in the lobby of the Museum of Modern Art, or in a bathroom corridor in the history building at your own university – could we say that that space is somehow yet to be fully seen?
It is the spatial equivalent of those fifteen minutes of a film that no one realized they missed.
After all, perhaps there's a detail in your own house that you've never actually seen before – and it's because you tend to blink as you walk past it. Your own body assumes, outside conscious awareness, that this must be a safe space for blinking; it's near a window, or the colors are very dull. Perhaps that's how spiderwebs build up: you literally don't see them.
On a much larger scale, meanwhile, are there stretches of highway somewhere outside town where the scenery gets a bit boring – and so everyone starts to blink, more or less at the same time, thus visually removing from collective cultural awareness that McDonald's, or that abandoned house, tucked away over there beside the trees?
And could you locate that exact moment of blindness – could you find blinkspots throughout the urban fabric – and start to build things there? Architecture becomes a three-dimensional test landscape for the neurology of blinking.
For instance, if people driving 65 mph travel, say, five feet with every blink, then what spatial and architectural possibilities exist within that five feet?
What are the spatial possibilities of the blink?
I'm reminded of certain zoning laws in which you need to consider the exact amount of shadow your building will cast on the neighborhood around it before beginning construction.
But what about zoning for blinks? Can you zone a building for maximum blinks?
Or perhaps the opposite: a new genre of architecture, specially designed for Halloween fun houses, in which it's too stressful to close your eyes even for a micro-second...
Monday, August 17, 2009
Yahoo Answers.
Below taken from Yahoo! Answers.
http://answers.yahoo.com/question/index?qid=20070712203757AAmGU16
Question: Why, oh why, didn't I take the blue pill?
Best answer chosen:
Great question!!!
The choice between a red/blue pill is the basic dilemma faced by atheist and believer in choosing between reality or fantasy. Should we choose the red pill of wisdom (free thinker / skeptic / atheist), or the blue pill of happiness (believer / religion / faith / not questioning)? In a nutshell, do humans want to be wise or happy? As your question notes, many willingly choose the blue pill or the philosophy of 'ignorance is bliss'.
http://en.wikipedia.org/wiki/Redpill
“The use of a red pill is an allusion to the use of a similar device in Alice's Adventures in Wonderland. The Matrix movies commonly use references from this other work of fiction. For instance, when Morpheus offers the red pill to Neo, he says that by taking the red pill, he would show Neo "how deep the rabbit hole goes." The red pill also features in the movie Total Recall. In this movie the protagonist Quaid is purported to be having a schizo-paranoia episode, resulting in the situation he finds himself in on Mars. The red pill is, here, the path 'out' of this episode and back to a normal life.”
Cypher: I know what you're thinking, 'cause right now I'm thinking the same thing. Actually, I've been thinking it ever since I got here: Why oh why didn't I take the BLUE pill?
Morpheus: The Matrix is everywhere, it is all around us. Even now, in this very room. You can see it when you look out your window, or when you turn on your television. You can feel it when you go to work, or when go to church or when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth.
Neo: What truth?
Morpheus: That you are a slave, Neo. Like everyone else, you were born into bondage, born inside a prison that you cannot smell, taste, or touch. A prison for your mind. (long pause, sighs) Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. This is your last chance. After this, there is no turning back.
(In his left hand, Morpheus shows a blue pill.)
Morpheus: You take the blue pill and the story ends. You wake in your bed and believe whatever you want to believe. (a red pill is shown in his other hand) You take the red pill and you stay in Wonderland and I show you how deep the rabbit-hole goes. (Long pause; Neo begins to reach for the red pill) Remember -- all I am offering is the truth, nothing more.
(Neo takes the red pill and swallows it with a glass of water)
The Matrix can also be a metaphor for religion. e.g. replace “Matrix” w/ “religion” in the paragraph below.
"Morpheus: The Matrix is a system, Neo. That system is our enemy. But when you're inside, you look around, what do you see? Businessmen, teachers, lawyers, carpenters. The very minds of the people we are trying to save. But until we do, these people are still a part of that system and that makes them our enemy. You have to understand, most of these people are not ready to be unplugged. And many of them are so inured, so hopelessly dependent on the system, that they will fight to protect it."
It is of course, no small coincidence that the occupation of "carpenter" was inserted by the writers.
"Religion is but a desperate attempt to find an escape from the truly dreadful situation in which we find ourselves. Here we are in this wholly fantastic universe with scarcely a clue as to whether our existence has any real significance. No wonder then that many people feel the need for some belief that gives them a sense of security, and no wonder that they become very angry with people like me who say that this is illusory."
— Fred Hoyle
"What I conclude is that religion has nothing to do with experience or reason but with deep and irrational needs."
— Richard Taylor
http://answers.yahoo.com/question/index?qid=20070712203757AAmGU16
Question: Why, oh why, didn't I take the blue pill?
Best answer chosen:
Great question!!!
http://en.wikipedia.org/wiki/Redpill
“The use of a red pill is an allusion to the use of a similar device in Alice's Adventures in Wonderland. The Matrix movies commonly use references from this other work of fiction. For instance, when Morpheus offers the red pill to Neo, he says that by taking the red pill, he would show Neo "how deep the rabbit hole goes." The red pill also features in the movie Total Recall. In this movie the protagonist Quaid is purported to be having a schizo-paranoia episode, resulting in the situation he finds himself in on Mars. The red pill is, here, the path 'out' of this episode and back to a normal life.”
Cypher: I know what you're thinking, 'cause right now I'm thinking the same thing. Actually, I've been thinking it ever since I got here: Why oh why didn't I take the BLUE pill?
Morpheus: The Matrix is everywhere, it is all around us. Even now, in this very room. You can see it when you look out your window, or when you turn on your television. You can feel it when you go to work, or when go to church or when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth.
Neo: What truth?
Morpheus: That you are a slave, Neo. Like everyone else, you were born into bondage, born inside a prison that you cannot smell, taste, or touch. A prison for your mind. (long pause, sighs) Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. This is your last chance. After this, there is no turning back.
(In his left hand, Morpheus shows a blue pill.)
Morpheus: You take the blue pill and the story ends. You wake in your bed and believe whatever you want to believe. (a red pill is shown in his other hand) You take the red pill and you stay in Wonderland and I show you how deep the rabbit-hole goes. (Long pause; Neo begins to reach for the red pill) Remember -- all I am offering is the truth, nothing more.
(Neo takes the red pill and swallows it with a glass of water)
The Matrix can also be a metaphor for religion. e.g. replace “Matrix” w/ “religion” in the paragraph below.
"Morpheus: The Matrix is a system, Neo. That system is our enemy. But when you're inside, you look around, what do you see? Businessmen, teachers, lawyers, carpenters. The very minds of the people we are trying to save. But until we do, these people are still a part of that system and that makes them our enemy. You have to understand, most of these people are not ready to be unplugged. And many of them are so inured, so hopelessly dependent on the system, that they will fight to protect it."
It is of course, no small coincidence that the occupation of "carpenter" was inserted by the writers.
"Religion is but a desperate attempt to find an escape from the truly dreadful situation in which we find ourselves. Here we are in this wholly fantastic universe with scarcely a clue as to whether our existence has any real significance. No wonder then that many people feel the need for some belief that gives them a sense of security, and no wonder that they become very angry with people like me who say that this is illusory."
— Fred Hoyle
"What I conclude is that religion has nothing to do with experience or reason but with deep and irrational needs."
— Richard Taylor
Sunday, August 16, 2009
Milk crates
Text from http://mathieugallois.com/diy_8.html
Light weight, strong, stackable and easily modified, the iconic milk crate – the starting point of so much DIY stuff! Used universally as a seat in the street, a handy container – and a thousand other users; the milk crate in Australia is the object that comes closest to transcending notions of individual or corporate ownership (in the eyes of most, but perhaps not milk distributors).
The generic milk crate 'belongs' to a fluid zone reminiscent of the White Bicycle Plan started in the 1960s by Luud Schimmelpenninck in Amsterdam, the Netherlands. This so-called White Bicycle Plan was possibly the first large-scale community bicycle program. It provided free bicycles that were supposed to be used for one trip and then left for someone else.
Below picture from http://www.freshbump.com/featured/special-features/25-innovative-re-purposed-home-fittings-designs/
Light weight, strong, stackable and easily modified, the iconic milk crate – the starting point of so much DIY stuff! Used universally as a seat in the street, a handy container – and a thousand other users; the milk crate in Australia is the object that comes closest to transcending notions of individual or corporate ownership (in the eyes of most, but perhaps not milk distributors).
The generic milk crate 'belongs' to a fluid zone reminiscent of the White Bicycle Plan started in the 1960s by Luud Schimmelpenninck in Amsterdam, the Netherlands. This so-called White Bicycle Plan was possibly the first large-scale community bicycle program. It provided free bicycles that were supposed to be used for one trip and then left for someone else.
Below picture from http://www.freshbump.com/featured/special-features/25-innovative-re-purposed-home-fittings-designs/
Tuesday, August 4, 2009
Twisted Princess
Came across this. Amazing. Here are three of my favourite. I guess Snow White could have been darker.
Go to http://jeftoon01.deviantart.com/gallery/#Twisted-Princess to see the whole range.
Go to http://jeftoon01.deviantart.com/gallery/#Twisted-Princess to see the whole range.
Saturday, July 18, 2009
Tuesday, June 23, 2009
Tim Burton's Alice in Wonderland
Tim Burton's Alice in Wonderland featuring Johnny Depp as the Mad Hatter, Helena Bonham Carter as the Red Queen, and Anne Hathaway as the White Queen. Also included are three more pieces of concept art.
The article explains that the March 5, 2010 release, co-starring Michael Sheen, Mia Wasikowska, Matt Lucas, Crispin Glover, Stephen Fry and Alan Rickman, is almost like a sequel to the original story:
The traditional tale has been freshened with a blast of girl power, courtesy of writer Linda Woolverton (Beauty and the Beast). Alice, 17, attends a party at a Victorian estate only to find she is about to be proposed to in front of hundreds of snooty society types. Off she runs, following a white rabbit into a hole and ending up in Wonderland, a place she visited 10 years before yet doesn't remember.
Source http://www.comingsoon.net/news/movienews.php?id=56475
The article explains that the March 5, 2010 release, co-starring Michael Sheen, Mia Wasikowska, Matt Lucas, Crispin Glover, Stephen Fry and Alan Rickman, is almost like a sequel to the original story:
The traditional tale has been freshened with a blast of girl power, courtesy of writer Linda Woolverton (Beauty and the Beast). Alice, 17, attends a party at a Victorian estate only to find she is about to be proposed to in front of hundreds of snooty society types. Off she runs, following a white rabbit into a hole and ending up in Wonderland, a place she visited 10 years before yet doesn't remember.
Source http://www.comingsoon.net/news/movienews.php?id=56475
Wednesday, June 10, 2009
Sunday, May 24, 2009
Bri(n)ck
Bri(n)ck at Graduate School of Design, Harvard University
I don't really like brick.. It's generally so solid and boring. I do like the uniformity of it... That sense of order. And it's warm. This particular design shows how damn CAD can help.. I think this will be an area I'd love and loathe to explore.
Love the curves lines, the play of light and the materiality of it.
Go to http://www.dezeen.com/2009/05/11/on-the-brinck-at-graduate-school-of-design-harvard-university/
I don't really like brick.. It's generally so solid and boring. I do like the uniformity of it... That sense of order. And it's warm. This particular design shows how damn CAD can help.. I think this will be an area I'd love and loathe to explore.
Love the curves lines, the play of light and the materiality of it.
Go to http://www.dezeen.com/2009/05/11/on-the-brinck-at-graduate-school-of-design-harvard-university/
Saturday, May 23, 2009
Sunday, May 10, 2009
Sydney, May 09
So, my 50% assignment was over on Wednesday. Big load off my shoulders. Prasad was in Sydney so I thought why not go visit - I really wanted the break.
In case you don't already know the train ride to Sydney is a bum-breaking three hours. I get bored. I patch up the holes in my clothes, sew back the buttons that have come off from my clothes... And then take random photos. Like this one: It's not just of my thumb, it's of my thumb that was stumped. Lol. Well, I kinda injured it a couple of many weeks ago... And basically that whole area that is discoloured is hollow! There's actually hair that got in there! (I don't know how.) So I basically spent a good deal of my time inserting a safety pin into that crevice to try and get the hair out. I didn't succeed. Yeeaash.
Ok, I'll skip all the small details about the arrival and all that, but I really had a good time on this trip.
I spent the whole Saturday afternoon in the Art Gallery of NSW, the Fern Garden at the Botanic Gardens (which weren't much, but I got to see the largest bats in the world nesting.) and the Power House Museum, with most of my time at the art gallery.
I was blown away at the art gallery, and there's the Archibald Prize going on right now. Wiki says it "is regarded as the most important portraiture prize, and is the most prominent of all arts prizes, in Australia... first awarded in 1921." But anyway, the main point of this is that I came across last year's finalist, Vincent Fantauzzo, and his triple portrait of Heath Ledger.
http://www.nydailynews.cojavascript:void(0)m/gossip/2008/05/08/2008-05-08_portrait_of_heath_ledger_wins_australian.html
I simply love it and If I had $115 to blow I'd spend it on the framed print of this. In case I wasn't clear, this is a painting. So since I couldn't afford a framed print I bought 5 postcard instead. I would have bought the print alone since it was ony $25, but then I would crease it and then there'd be bo point...
Go to http://www.thearchibaldprize.com.au/home to see this years' finalist.
Also I was at Martin's Place just off George St, right at the fountain where The
Matrix was filmed. That's right! It's in the first Matrix, the scene with the Woman in the Red Dress. I compared my pics and the scene in the movie.. And realise the flooring was different. The amazing wiki tells me the fountain was redone after the film. Why would they want to redo it?! But still, you can identify the details of the columns in the adjacent building.
I did something I've not done in awhile too. I watched a movie on my own again. Was nice.
This trip has made me think more about archi and where I want to study in the future and I'm pretty sure I don't want it to be in Newcastle. I mean, Newcastle is awesome to build the foundation and ground yourself. But it's just too secluded, cut off from the whole art scene. Good place to lay the foundation, but not grow from there.
I did seem to want to type more.. At least more fluidly, but I am getting tired. And you will forgive me since it's 5am.
TTFN.
In case you don't already know the train ride to Sydney is a bum-breaking three hours. I get bored. I patch up the holes in my clothes, sew back the buttons that have come off from my clothes... And then take random photos. Like this one: It's not just of my thumb, it's of my thumb that was stumped. Lol. Well, I kinda injured it a couple of many weeks ago... And basically that whole area that is discoloured is hollow! There's actually hair that got in there! (I don't know how.) So I basically spent a good deal of my time inserting a safety pin into that crevice to try and get the hair out. I didn't succeed. Yeeaash.Ok, I'll skip all the small details about the arrival and all that, but I really had a good time on this trip.
I spent the whole Saturday afternoon in the Art Gallery of NSW, the Fern Garden at the Botanic Gardens (which weren't much, but I got to see the largest bats in the world nesting.) and the Power House Museum, with most of my time at the art gallery.
I was blown away at the art gallery, and there's the Archibald Prize going on right now. Wiki says it "is regarded as the most important portraiture prize, and is the most prominent of all arts prizes, in Australia... first awarded in 1921." But anyway, the main point of this is that I came across last year's finalist, Vincent Fantauzzo, and his triple portrait of Heath Ledger.
http://www.nydailynews.cojavascript:void(0)m/gossip/2008/05/08/2008-05-08_portrait_of_heath_ledger_wins_australian.html
I simply love it and If I had $115 to blow I'd spend it on the framed print of this. In case I wasn't clear, this is a painting. So since I couldn't afford a framed print I bought 5 postcard instead. I would have bought the print alone since it was ony $25, but then I would crease it and then there'd be bo point...
Go to http://www.thearchibaldprize.com.au/home to see this years' finalist.
Also I was at Martin's Place just off George St, right at the fountain where The
Matrix was filmed. That's right! It's in the first Matrix, the scene with the Woman in the Red Dress. I compared my pics and the scene in the movie.. And realise the flooring was different. The amazing wiki tells me the fountain was redone after the film. Why would they want to redo it?! But still, you can identify the details of the columns in the adjacent building.I did something I've not done in awhile too. I watched a movie on my own again. Was nice.
This trip has made me think more about archi and where I want to study in the future and I'm pretty sure I don't want it to be in Newcastle. I mean, Newcastle is awesome to build the foundation and ground yourself. But it's just too secluded, cut off from the whole art scene. Good place to lay the foundation, but not grow from there.
I did seem to want to type more.. At least more fluidly, but I am getting tired. And you will forgive me since it's 5am.
TTFN.
Friday, May 1, 2009
Pictures that caught my attention.
"Misfits", Thomas Grünfeld
"Accident", Ricochet Studio
"Stalin + Mao", Peter Saul
"Poster Girl", Jasper Goodall
"Letterpress", Cameron Moll
Art for T.I. Papertrail, Ian Wright
All pics sourced from http://baxterfinley.typepad.com/baxter_finley/
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