30.5.12
29.5.12
26.5.12
COO COO KITCHEN **Pilot Episode**
23.5.12
I know how I can steal ideas from America
Grandma would only play cherry slot in Niagara.
Butter lambs with Clove Eyes,
If you let it,
across the American Landscape
Operable Windows,
Hawaiian Standards,
black Men
Please Don't Apply.
so monumental,
yard sales, food, stamps,
privacy for either place,
good bleach,
swimming pools, cut n fill,
fuckn' huge
deep -fried, crunch-wrapped,
bullshit tacos,
clear as mud,
In the jungles of grocery store aisles,
what we grew to know
was separate from what we (did).
She has a devil baby,
before the sun blow up.
floor jacks
When I was a child,
I would skip so fast, so hard
that I could fly, float, hover,
a levitation,
physical, fantastical reality.
Continue
2.5.12
23.4.12
12.4.12
4.4.12
3.4.12
2.4.12
Any ideas?
I want to combine collage scenes in some way with those clock drawings. (Merging "illustrations" of two separate texts.) The final product will be 3 18x12 drawings. 3 ideas involve [1] laser-cut and layered drawings using the clock lines as templates. [2] convex/concave images, as if the scene is warped by time/speed. [3] Using lines from the clocks to fracture and warp the image.
Continue
Any ideas? Here's an example of where collages are heading. (More saturated than before, pulling from the colors that form naturally inside clocks from enamel interacting chemically with copper, brass, etc.)
19.3.12
Clock drawings cont.
A seminar class called Measured Representation asks us to select a text and derive a drawing. The text I chose is from the 2010 Pulitzer novel, 'Tinkers":
"Lay the clock facedown. Unscrew the screws; maybe just pull them from the cedar or walnut case, the threads long since turned to wood dust dusted from mantels. Lift off the back of the clock like the lid of a treasure chest. Bring the long-armed jeweler’s lamp closer, to just over your shoulder. Examine the dark brass. See the pinions gummed up with dirt and oil. Look at the blue and green and purple ripples of metal hammered, bent, torched. Poke your finger into the clock; fiddle the escape wheel (every part perfectly named -- escape; the end of the machine, the place where the energy leaks out, breaks free, beats time). Stick your nose closer; the metal smells tannic. Read the names etched onto the works: Ezra Bloxham-1794; Geo. E. Tiggs-1832; Thos. Flatchhart-1912. Lift the darkened works from the case. Lower them into ammonia. Lift them out, nose burning, eyes watering, and see them shine and star through your tears. File the teeth. Punch the bushings. Load the springs. Fix the clock. Add your name."
A few antique clocks from the Pickens jockey lot and some teeny tools from Home Depot have me scrunching up my eyes to dismantle the metal and springs, scan in all the components, and document them. In the next few weeks, these technical representations will be combined with a collaged scene which represents a second selected text. The idea is to merge, via invented sections and delicate layers, the dual sense of time: its illusory and/yet rigid nature.
15.3.12
thesIS done
“The melody begins, an undulant, endless melody. [It] loses itself horizontally, escapes from our hands as we see it withdraw from us toward a point of common longing and perfect passion” –Federico Garcia Lorca
13.3.12
10.3.12
2.3.12
1.3.12
building form!
so trying to get a solid grasp of what my thesis is going to become -
so My thesis discusses the need for preemptive design and community development before the event of a disaster. Time and time again, in disaster recovery situations, the culture of the area and the peoples' needs are often over looked in the rush to save lives and return to normality. After a disaster we have the ability reinvent our communities for a more sustainable future, however this often isn't the case because the rules are not in place before hand. I am proposing a new civic presence in Portland could help support planning how to redevelop in case of disaster. This would be actualized as an urban resource center where people can go to find out more about their community and sustainable living, and local businesses can find support and information on emergency preparedness. Connected to this will be open park space with a local market to promote a place used regularly by the community. The program will be able to change over time and will be a central emergency aid location. The structure will be lightweight and playful and interactive, and can be resilient. The building will be able to function in a disaster situation and smaller 'pods' of the building will be located throughout the city as smaller aid locations.
the form is derived from a circle and a canopy - structurally seems to make sense, i love circles,.... the canopy is comprised of circular arches supporting a space-frame with some type of membrane roof. any suggestions
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