Friday, 11 December 2009

G&W: FUTUREPROOF (NWSP)

Collective Gallery (Guest Room), Edinburgh, 2009 -in association with PLACE Projects
Brought together by the PLACE Projects, Katherine Gallacher and Ric Warren present FUTUREPROOF: an exhibition featuring selected outcomes of a collaborative research project exploring current trends in the revitalisation of urban landscapes. The installation explores various strategies to re-think Edinburgh's historic urban skyline in order to synchronise the city with the new millennium.
Futureproof (Ambition, Modernity & Novelty), 2009 - Detail
Inspired by homogenous approaches to contemporary town planning that employs a process of building glimmering façades of ‘progress’, we created this tongue-in-cheek proposal for a futuristic cityscape. Concerned with the lack of longevity of such regeneration projects we used aluminium foil to create our crudely produced vision of the future. Aluminum foil has an initial aesthetic deception of a resilient glimmering precious metal contrasted with its actual properties as a cheap, flimsy and ephemeral material. This ‘town planner’s table’ attempts to blur the distinction between sculpture and architectural proposal.

Modes of Regeneration, 2009
These glittering models are loosely based on architectural features of Glasgow’s regenerated river Clyde, but are intentionally not direct copies. Instead, they are intended to cross-reference a fashionable vernacular of architecture that is played out across many post-industrial cities. This work is intended to highlight to the homogeny of contemporary urban planning that tends to use tried and tested formulas of urban reform that involve such conscious in-your-face symbols of futurity that can be considered as glittering façades of ‘progress’.
Left to Right: Futureproof (Ambition, Modernity & Novelty) / Cycles of Transformation / Modes of Regeneration, 2009
Installation View
Strategies of Futurity, 2009 &
Re-encoding the Skyline, 2009

"...the image of the city can arise from changes in perception, as well as from physical alterations. The skyline of a city traces the visual signature of its identity. It offers an immediate reading of its ambition, modernity and novelty through which economic, social and aesthetic meanings are signified. Accordingly, urban imaginaries are constituted by visual narratives – summary readings of history and futurity encoded in the skyline, both as its is and how it might be.”

David Parker & Paul Long : ‘The Mistakes of the Past? Visual Narratives of Urban Decline and Regeneration’

Thursday, 19 November 2009

Malevich


Architecton "Beta" 1926


Architecton "Gota" 1927


Two Architectons 1923-1927

Wednesday, 18 November 2009

Futurama


New York World Fair 1939




Futurama Exhibit, 1939



Aerial Views

Whitfield, Dundee

Cooling Tower



Shopping Centres


Mall shopping centre, Livingstone


Shopping centre, Livingstone



Gracemount shopping centre, Edinburgh

Variations Upon an Architectural Form





taken at Design Museum, London, October 2009

Tuesday, 3 November 2009

Bedwyr Williams



Nimrod, 2009 Mixed media, dimensions variable



Forklift, 2007 performance during Frieze Art Fair

Monday, 2 November 2009

La Antena






City sets from La Antena, written and directed by Esteban Sapir , 2007


Saturday, 17 October 2009

Friday, 9 October 2009

Venice



Friday, 25 September 2009

BECHER







BESCHER, Bernd and Hilla.

Monday, 21 September 2009

RUSSIA UTOPIA: A DEPOSITORY



CHASNICK, I. Architectron, 1920s.



AVVAKUMOV, Y. KUZIN, Y. PODYOMSCHIKOV,S. Tribune for a Leninist, 1989.

The Russia Utopia is an archive of 480 architectural projects from the last 300 years of Russian history that have never been carried out. Curator: Yuri Avvakumov
www.utopia.ru/english/

LISSITZKY



LISSITZKY El, Lenin Tribune (Proun no.85), 1924.

Wednesday, 9 September 2009

KLUCIS



KLUCIS, Gustav Gustavovich, « Design for Screen-radio Orator n°5», 1922, The George Costakis Collection, Russian Avant-Garde Art, New York, Thames and Hudson, 1976.



KLUCIS, Gustav Gustavovich, « Design for Radio Orator n°7», 1922, The George Costakis Collection, Russian Avant-Garde Art, New York, Thames and Hudson, 1976.