I forgot to mention that I woke up at the crack of dawn last Friday to attend a talk on Buildability, at the Walbrook building. Again, my dedication to architecture astounds me (and perhaps let's say I was swayed even further by the promises of complimentary patisserie) . An hour long informative discussion, chaired by the chair of NLA himself, Peter Murray led an insight into one of the new buildings to grace London's ever growing vast diverse skyline: 100 Bishopsgate.

Img Copyright: Allies and Morrison

There was a flurry of information given to the audience, some of which I can't quite remember now (I should have really took a notepad...) but fundamentally the table discussed adaptability of buildings and how  focusing on using structures to their full potential is of the utmost importance. This seems like an increasingly popular notion, with William Mann discussing this at an architectural lecture only a few weeks ago: See Here

One of the first ideas brought up that morning was this idea of the "death of an icon" in contemporary architecture. So, if we take 100 Bishopsgate and 1 Canada Square for example,they are simply referred to by their location, rather than giving it an iconic title and hereby dropping its address upon referral. Quite an antithesis of The Gherkin (30 St Mary Axe respectively), don't you think?

Labels: 100 Bishopsgate, AAD, All you can eat croissants, Allies and Morrison, Breakfast Talk, Buildability, Death of an Icon, London Skyline, New London Architecture, NLA

Celebrations were due to be underway that Saturday afternoon, so I went over to the New London Architecture Centre on Tottenham Court Road that morning. Which was absolutely beautiful, I spent about half an hour just admiring Pipers Central London model (and searching in vain to see whether Finsbury Park had made it onto the 1: 1500 scale centrepiece. Alas, it only reached King's Cross...darn)

Too cute to eat, surely? A selection of sweet stuff prepared by the  Chisenhale Crew

Entrance at Victoria Park

What I Wore Today: A breton top, because I actually have a Helmsmans Certificate.

Anyway, things in Victoria Park were pretty cool. I've got such an urge to try out the (£15!) zipwire there, although I imagine I'll have a Boris Johnson moment and inevitably get stuck halfway...
The ska band by the main entrance were pretty awesome too, although this photograph I took doesn't quite show the capacity, the audience were fairly huge.


http://ikonslowboat.com/2012/
http://www.chisenhale.org.uk/
http://www.ikon-gallery.co.uk/

Labels: AAD, ART DESIGN AND ARCHITECTURE, Breton Tops, Chisenhale Gallery, Hertford Union Canal, Ikon Youth Programme, London 2012, NLA, Propeller, Slow Boat, Vermeer's Sponge, Victoria Park

Wish Tree (2012)

Hang the paper on the wish tree

Ask a friend to do the same

Keep wishing.

I rather like it when galleries stop visitors from taking photographs. Of course, if every gallery applied that rule then blogging could become a wee difficult...
Basically, I liked that cameras are a no-go at Yoko Ono's retrospective at the Serpentine Gallery. The exhibition was PACKED last Sunday afternoon, so to explore it without hearing the snapping of 27 SLRs in your immediate environment made it feel quite a breezy few hours.

I wish all wishes were like this one.

I never really knew much about Yoko Ono's presence in the art world until a few years ago- a brief stint undertaking some archiving work experience at The Bluecoat one winter I ended up learning loads about her brilliant relationship with them. Seeing her work at The Serpentine was really interesting and different. I had no idea what to expect, but some of her work still surprised me somehow.

An incredibly clever work that I really liked was Ceiling Painting, conceived in 1966. It's placed in the centre of one of the first galleries you see. It consists on a ladder, covered in a quick layer of white emulsion. On the ceiling directly above the ladder sits a silver frame, with a rather large magnifying glass affixed to one of the picture frame's bolts. It (the magnifying glass) hangs loosely, almost reaching one of the top of the ladder steps. The step that it touches has 'FLY' written upon it in embossed letter tape, which you can practically grasp with your hand.
I avert my eyes to just behind the glass lens and notice that there's a small inscription in the centre of the picture frame! I focus my eyes a little more... (NB: for someone who's never had an eye test in my life, my vision is bloody fantastic) ... and see that Yoko Ono has etched 3 letters in black ink. Yes

If you can't quite visualise any of that, then I'm sorry. If I get enough emails about it then I'll upload a drawing...



Ahhh, and this year's pavilion is the epitome of cool. Now in its twelfth year, this year's chosen design is by Herzog & de Meuron and Ai Weiwei to create this. A brilliant space, it plays with the idea of thinking about the space beneath the gallery, rather than just using scraping the surface slightly. Weirdly enough, it's so well integrated that if you were unaware of its temporary state, you would assume it had always been part of The Serpentine's serene landscape...

Image © Iwan Baan

Labels: AAD, Ai Weiwei, ART DESIGN AND ARCHITECTURE, Hyde Park Cycling, Ono Retrospective, Serpentine Gallery, Serpentine Pavilion, Sunday in Hyde Park, Yoko Ono

Feeling Summery at St. Luke's (Bombed Out) Church, Liverpool (2010)

What with Britain having a plethora of sunny weather, I've suddenly felt rather happy and inspired this week. As of today I've decided to improve my (currently rusty) French once and for all. I reckon that if I've mentioned it in my blog, the fact that it's out on the internet could give me the willpower to succeed... of course, rather than dig out my old French grammar manual I've started a little more realistic (i.e- ordering a copy of Coco Before Chanel off Amazon earlier).

Also- I'm really into these reclaimed wood stools from Hen and Hammock at the moment. Not only are they ridiculously pared-down-chic, they're also rather versatile, being adjustable to suit both the bar and dinner table*!

© Hen and Hammock

p.s. I saw Yoko Ono's retrospective at The Serpentine Gallery on Sunday. Photos to follow...

*if you have a bar in your house. Which I imagine no one does. Unless you live in South Kensington.

Labels: AAD, Adjustable Chairs, ART DESIGN AND ARCHITECTURE, CHAIRS, CLOTM, Coco Before Chanel, French, Hen and Hammock Bar Stool, Kitchen Interiors, Reclaimed Wood, St. Luke's Bombed Out Church, Summer 2012

Finally getting into the swing of blogging regularly again.
Anyway, I went to Carroll / Fletcher's private view last Thursday night for Natascha Sadr Haghighian's solo show.

de paso (2012)

This is de paso (2012), the first work we see on first entering the gallery. A rather bizarre piece, it appears on first viewing that the suitcase crushes the bottle and simultaneously moves about the gallery floor, gradually pulling itself through the space. The sound of the plastic being manipulated is recorded, then amplified throughout the entire room through the microphone. Plutôt intelligent, oui? 

Empire of the Senseless Part I (2006)

The Microscope (2006)

The photograph on the right depicts a detail of Empire of the Senseless Part I, Haghighian's gallery installation of lights switching themselves off in structured intervals. As I type this, I realise that I've made it sound quite Martin Creed. Which it isn't. Rather than place these floodlights in a single room, Haghighian has used the gallery staircase which she has then connected to a sensor, so they trigger whenever anyone ventures down to the gallery's basement. On following the direction of the light, the viewer is lead to the other aspect of Empire of the Senseless Part 1, which is a large amount of text, painted on in phosphorescent paint and extracted from the novel Empire of the Senseless by Kathy Acker.

Haghighian explores these notions of identity, corporatism and this recurring sense of manipulations through a vast variety of media. Here, on first viewing The Microscope (Top left photo) we assume that this is a classic object trouvé, but on closer inspection  the microscope amplifies what appears to be a discussion through the eye piece.

Vice/Virtue (2001)

Unternehmen:Bermuda (Bermuda: Venture) (2000)

Blueberry Cupcake, £2

www.carrollfletcher.com

Labels: AAD, ART DESIGN AND ARCHITECTURE, Baking and Patisserie, Carroll Fletcher Gallery, Eastcastle Street, Natascha Sadr Haghighian, Oxford Circus, Thursday Night PVs

At the time of typing this on a sunny Saturday evening, 117 miles in Birmingham away a 72ft narrow boat had began making an epic voyage at an average speed of 4mph...

Meanwhile 117 miles away in London's Whitechapel Gallery, I was listening to a lecture given by William Mann (of Witherford Watson Mann Architects) entitled Piece by Piece: The Case for Incrementalism. 

Lloyds Building: the epitome of adaptability? Img courtesy of Wikipedia

Beginning with an anecdotal talk about the rich history of East London, Mann spoke about a need for adaptability in the buildings that we inhabit ourselves with. Using Whitechapel Gallery as a paradigm for this, he explored the notion of rather than buildings being fit for one purpose, we should look to buildings as a structure which can at times, be flexible. We are rapidly expanding, and are thus building upwards to accommodate more of our daily needs as a society.

There were mentions of old and new buildings co-existing harmoniously (like The Whitechapel, which used the old Passmore Edwards library next door to form its great expansion plan during 2007-2009) Mann's talk shifted slightly, with a gentle reminder that nowadays buildings are simply knocked down altogether and rebuilt, rather than adapting them to fit the needs of the contemporary user. Buildings with a lifespan of no more than 25 years are becoming depressingly common...

Not long after this, Mann had delved further into how space is used in East London, with particular focus on the developments around Shoreditch between the 18th and 20th Century. Myself (and the rest of the audience included) laughed with Mann as he wittily remarked that on Commercial Street 'a bombsite had been transformed into a NCP car park'.

La Sagrada Família: Still a building site after 130 years

Just as we were learning more about the peculiarities of land around Stratford , the talk was put on a momentarily pause whilst the sounds of cheer and applause radiating from Whitechapel High Street became too loud to bear: the Olympic Torch had just passed us by.

Mann also argued the case that when the structure of a building has been complete, this is in fact the beginning of its life rather than the end. If buildings do in fact continue to grow, expand and develop then we can't assume that just by laying the foundations of a building that this process of development has truly started.... which kind of got me thinking about my trip to La Sagrada Família last month. Gaudí began this monumental basilica back in the 4th quarter of the 19th Century, and yet still it is incomplete. But we generally do not regard it as incomplete; it is visited by thousands of people each week, and even though it is essentially a construction site, it's frequently used by Roman Catholics as if it were whole.

Anyway I'm just going to sign this bit off with a brilliant quotation from the beginning of the lecture, regarding Stratford and its immediate surroundings:

It's a landscape like no other I've seen before in London... a landscape of juxtaposition.

(William Mann, 2012)

From Landscape to PortraitChris Wilkinson (RA) Price: £180, 000

From Whitechapel, I went straight to the Royal Academy for their late opening to catch this year's grand Summer Exhibition. If last year's 2 1/2 hours spent there was anything to go by, I figured that it would be best to allow at least that much time to look around this year.

Now, whilst I have every intention of writing an excruciatingly long write up of what I thought about the works, I've decided to keep it sweet with my three favourite pieces.

© Katharine Morling

Above is Katharine Morling's edition of 100, simply entitled Matches. I actually hadn't even noticed this work at all when walking through the galleries- it was the 50 red stickers next to the work that caught my eye (NB: a circular red sticker in the galleries indicates that a work has been purchased). On closer inspection, we see that Morling has delicately handled the ceramics to create this work. It is subtle, unpretentious and to be frank: quite cute.

©ARTnet.com

Who doesn't love Johannes Vermeer? This contemporary take on the classic Milkmaid by Raeda Saadeh is brilliantly put together.

And my third favourite work? Is a piece by Yosef Cohen called 'The End' which sits in its main exhibition space (Room 3). I've yet to find an image of it, but the work can be viewed on Cohen's website here. Being the cold, unemotional soul that I am, it's rather rare that I audibly react to artworks. But Cohen's work even made me chortle a wee bit. It basically consists of the shell of an alarm clock mounted to the wall. The time indicates that it's 10:40, and we see the second hand ticking from where the '6' would be on the clock all the way through to '10'. And then the second hand falls limply back to where it began, repeating this process... the clock has a mere capability of 20 seconds.

Of course, just like last year there were some brilliant works by Wearing and Craig-Martin. But less so by Martin Creed, who for this year had put one of his neon signs on sale for the exhibition. This one being 'Work no. 623, DOGS', which flashed in a vivid shade of green.... it's £66, 000 (and an edition of 3 as well). I much preferred his stacked chairs from last year's Summer Exhibition (alas, I can't remember how much those sold for).

...and then I cycled through Hyde Park during dusk on the way back. Twas lovely.

Labels: AAD, ART DESIGN AND ARCHITECTURE, Gaudi, Hyde Park Cycling, Slow Boat, Summer Exhibition Royal Academy, Whitechapel Gallery, Witherford Watson Mann Architects