Architecture and Geometry | Leonie Polah
Monad | rmf
The Hollow | rmf
Ilkka Halso is a Finnish artist who investigates the relationships between architecture, technology and nature, through photo-realistic renderings and collages set in natural environments. In “Tree Works”, light structures are built around existing trees with the aim of protecting them and, at the same time, of turning them into a sort of “living museum” of nature explorable by a public. Nature is somehow commodified and transformed into a spectacle to admire from very close. The architectural language is that of the scaffolding, transitional structures used to build a construction or to refurbish it: the act of connecting metal poles to natural environments engages a surreal discourse based on man’s paradoxical attempt to preserve what he’s currently destroying.
These enigmatic pencil drawings by Kristin Arestava are an interesting experiment in architectural visualization. The abstract volumes are represented without ever defining a contour, but through the repetition of vertical lines drawn with different intensity to give a vibrancy to the single surfaces.
The southern end of the San Francisco Bay Area is known for expensive real estate, tech companies, and aerospace engineers. Less well known is its salt content.
Yet the salt industry has been a vital part of the South Bay for more than a century. Fly into any of the region’s airports and evidence of this appears as a vibrant quilt of briny pools in acid green, ochre, and shades of red that look toxic. These algae-infused intake and evaporation ponds, crisscrossed by channels and levees, are a surreal landscape seen best from the air.
Photographer Cris Benton has studied and documented this fascinating area for over 10 years, using cameras held aloft by large handmade kites. In his new book, Saltscapes: The Kite Aerial Photography of Cris Benton (Heyday Press), the retired architecture professor explains that kite aerial photography “fuels my fascination with photography’s capacity to reveal patterns and phenomena that lie beyond the capacities of our native senses.”
The sunk cost fallacy is most dangerous when we have invested a lot of time, money, energy, or love in something. The investment becomes a reason to carry on, even if we are dealing with a lost cause. The more we invest, the greater the sunk costs are, and the greater the urge to continue.
Rolf Dobelli - The Art of Thinking Clearly
Easier said than done.
Berlin Blur | Judi Marks
Integrating specific programmatic desires with complex formal expression, the two projects presented below couldn’t have happened outside of 2D representation. Previously featured in SOILED, Joergensen’s drawings extract value from every line. Pay specific attention to the role of pattern in both denying space and subverting conventions masterfully deployed. Each drawing clearly coalesces the power of the diagram with the capacity of architectural representation to blur the boundaries between the literal and the abstract.
Villa Müller | Adolf Loos | Socks Studio
Villa Müller in Prague was designed by architect Adolf Loos, assisted by architect Karel Lhota, in 1930 for František Müller and his wife, Milada Müllerová. The client was the owner of a company specialized in reinforced concrete, so the house was to be a showcase of this (at the time) pioneering technique as well as of the influent architect’s theories. The Villa, with its cubic shape and its white and austere façade, embodies in its exterior appearance the principles exposed by the architect in his seminal essay “Ornament and Crime”.
A strong contrast is staged between the simple, almost hermetic façade and the rich and complex interiors cladded in marble for the public areas and wood for the private rooms. The distribution is based on the principles of the Raumplan (spatial plan) already applied by Loos for the Ministry of War (“Kriegsministerium”) in Vienna in 1907. The Villa Mueller’s Raumplan is a complex exercise set to avoid the organization in separated floors and structure the space in a sequence of stepped areas while differentiating the height of the ceiling in relation to different functions.