Tuesday, January 22, 2013

Ultima Thule - Journal of Architectural Imagination


Vol 2, No 1 (2012)

To The Islands: The Architecture of Isolation



Imagined Geographies: Melancholy, Allegory, Psychogeography and the Island of Ogygia

Jacky Bowring

Avian Monstrosities: hatching and dispatching the machined interior

Michael Chapman, Michael Ostwald

Malevich_ToTheIslands

Russell Lowe

The Pull of a Secret Tide

Ross T. Smith

The Island and the Dacha: subjectivity and the home in Tarkovsky’s cinema

James Wilfred Swinson

An Architectural Singularity: Digital Monsters of Architecture

Sean Pickersgill

Monday, January 21, 2013

On Slow Landscapes: Satantango....



Bela Tarr's film of Laszlo Kraznahorkai's book ...  the long, slow, lingering melancholy of Hungary ... rain, silence ... sinister, enigmatic ...

Wednesday, January 11, 2012

Delaney Davidson

(Last seen live at Cassels & Sons Brewery, New Year's Eve ... excellent... )

Tuesday, January 3, 2012

Combinatorium II: Ether

Ether: "the rarefied element formerly believed to fill the upper regions of space b : the upper regions of space : heavens ....  a light volatile flammable liquid C4H10O used chiefly as a solvent and especially formerly as an anesthetic" (Merriam Webster)

The cotton pad over the face. Ether.  Counting down to going under.  An anaesthetic from another era, the smell triggers nostalgia like some perverse version of  Proustian involuntary memory ... And with the anaesthesia, lost time.  Only an unaccounted for period of existence, and a residue of pain.


Cotton pads over the jars.  Chloroform.  Inside the jars were cicadas, captured for the purposes of zoological examination.  The best place for capturing cicadas was in the Valley of the Moon. The road up was steep, gravel, following the bluffs that face out to the sea, and then beyond was a more lush realm, with a stream running through it. Abuzz with cicadas. Trapped in the jars they would flutter for awhile before entering their own insectivorous reverie. Kept in their slumber for their journey south to the university, where their fantastically veined wings and crisp carapaces would be carefully explored. Drawn perhaps, as in the epitome of delineation, AWB Powell’s Native Animals of New Zealand, published by the Auckland Institute and Museum. First published in 1947, and seemingly unchanged for the decades to follow, it offered a litany of creatures, each carefully detailed in a simple, precise line drawing, and accompanied by a paragraph of description. Scale is irrelevant to AWB Powell. A whale and a starfish, a kiwi and a flatworm, are all given the same amount of space, the same degree of detail. Not badgers, moles and beavers, as in the other books of childhood.  Here are weka and weta, penguins and paua.


Large Cicada

Monday, January 2, 2012

Combinatorium I: Meths

“Who are we, who is each one of us, if not a combinatoria of experiences, information, books we have read, things imagined? Each life is an encyclopedia, a library, an inventory of objects, a series of styles, and everything can be constantly shuffled and reordered in every way conceivable.”
Italo Calvino, Six Memos for the Next Millennium, 1993


The spirit lamps were always burning in the Dental Clinic. Inside the small wooden building there were two dental chairs, each flanked by swivelling tables and lights, extending out from the chair prosthetically. Through the windows, no foreground, no activity - only the ocean, the horizon, sky.

The spirit lamps were entrancing, mystical. Like a priest’s censer, they united a sense of holy inscrutability with an evocative odour. The lamps’ glass reservoirs held a sublimely ethereal liquid: methylated spirits dyed a divine pale purple. Gentian Violet. The swivelling table was always set out perfectly with the spirit lamp, the heavy milk-white glass, the small crucible for mixing amalgam. A mouth full of mercury. Quicksilver.

Passing the dental instruments through the flame and into the mouth drew some of the smell with it. The strange smell of burning meths. The ritualised procedures. The flame, the water. The dental nurse in her nun-like uniform. A glass is offered. Lifted to the lips. Rinse. Spit. The smell of the meths, the mysterious instruments, the lighting, the head scarf. A fusion of something sacred and unknowable, a mysterious order.

Friday, December 9, 2011

Tuesday, November 15, 2011

When A City Falls



The film of Christchurch's earthquakes...

Saturday, November 12, 2011

Side Effects: The Memory of Place: a Preview

Side Effects: The Memory of Place: a Preview: In order to entice any potential readers into buying my forthcoming book, "The Memory of Place" (official release date: 15/01/12), Amazon.c...

Robinson in Ruins



Patrick Keiller talks about the film here

Friday, October 7, 2011

Lana

To the Islands

To the islands:
The Architecture of Isolation

Artists
Urs Bette
Jacqueline Bowring
Margit Bruenner
Michael Chapman
Jennifer Harvey
Russell Lowe
Michael Ostwald
Sean Pickersgill

Curators
Jennifer Harvey and Sean Pickersgill

Writers
Karen Burns, Jennifer Harvey & Sean Pickersgill

Exhibition launch
6pm Wednesday 28 September

Exhibition open
Tuesday 27 September - Friday 21 October

This exhibition will explore the latent architectural qualities in the idea of the 'island'. The participating artists and architects were asked to examine the text of Lucian of Samosata's 'True Stories' and the surreal islands described in the voyage. The artists have brought the thematics of these texts into contemporary experience, exploring the idea that islands may represent both symptoms and solutions to the experience of isolation.

SASA Gallery

Tuesday, June 28, 2011

Saturday, June 18, 2011

Wednesday, May 18, 2011

Monday, May 16, 2011



(Because sometimes you need The Jam....)

Saturday, May 14, 2011

Of Time and the City



Terence Davies (2008) Of Time and the City
.... thinking of memories, hauntings, things gone astray ....

Tuesday, March 29, 2011

[Meta]Physics



What is the threshold between the laws of physics and those of metaphysics? At what point is the crossing into the world of the seemingly impossible, incomprehensible, ineffable? Where is the boundary between life and art? The image, above, is not (intentionally) an environmental art work ... but the rubble of my home, sitting on the driveway fractured by the force of the quake. Following the earthquake the house, the core of 'dwelling' is metamorphosed. The physical boundedness evaporated, and the building subsequently distilled, decanted, into a mere pile of materials. The material becomes immaterial, in both senses of the word. Things become simultaneously without tangible form, and also inconsequential. The prior priorities of what dwelling implied are re-formulated. Aspirations to an ambience of beautifully proportioned spaces, volumes of light, a garden of different pleasures, gives way instead to the most rudimentary of concerns. The garden transformed into a toilet, the house made into a kind of shed for living. Nothing else really matters. Thoughts turn inwards into the contemplative realm, of a wish to transcend the banality of existence, to somehow rise above this.


The earthquake not only shattered life, but also profoundly spoke of a temporal existence beyond the ephemerality of our own lives. Of something ancient. The violent shaking, this geological Tourette's syndrome of abrupt episodes of random utterances, brings about thoughts of mythological dimensions. The earthquake inevitably morphs into a sinister presence.


It all just seems too impossible, too abstract, too surreal. Might it be that this is all an elaborate performance art exhibit. At some time soon the sky cloth will be pulled back to reveal our 'real' city still intact behind, the lives, the buildings, all returned?


Tuesday, March 22, 2011

Phantom Limb

It has gone. It is no longer there, but I still sense it. We are not allowed to go there, into the inner city. Still cordoned by an iron ring of ironically camouflaged army personnel, the city is off limits. Too dangerous, still, one month later. Too tragic. Those who have been admitted inside the cordon, the rescuers, those with a vital task, say we will not believe how awful it is. It has gone, nearly everything has gone. The beloved big moments and small moments that make the city, that were a vital part of what we were, amputated. The smell, they say, is unbearable. Fish markets, butcheries, cafes, now for a month with no electricity. The flowers sit outside florists, or tumbled onto the footpaths. Cafe tables and chairs where they were left...

But unable to ground truth it, to confirm it with my own eyes, it remains phantasmic. Although I did manage to stare down towards the Cathedral, and yes there was no spire. As though someone had photoshopped it out, erased it, it seems so impossible. Is the entire event a piece of theatre? Will we sometime soon sail into the sky cloth like Truman Burbank? Suddenly it will be revealed that this was staged, like the moon landing? It is so traumatic, so spectral, so invasive, so evasive? At our homes there is no respite. Things here are profoundly abnormal. It is, as they say, business as unusual. The new normal. The defamiliarised, the strangely unbeautiful... where are the edges of such a thing?

Friday, March 18, 2011

Inside the Red Zone

14 minute video played at the opening of the outdoor Memorial Service for those lost in the 22 February earthquake, in Hagley Park, Christchurch, yesterday. There were plans for a walk-through of the area within the Red Zone - the core of the CBD which is still out of bounds - but it is still too dangerous. So ... turn up the sound ... Inside the Red Zone...

Sunday, February 27, 2011

Christchurch Earthquake


For those wanting to help after the devastating earthquake here in Christchurch on 22nd February 2011, donations are very much needed, and the government has set up an international appeal: Christchurch Earthquake Appeal

Many thanks.