Ando Tadao

 

Church on the Water. Tadao Ando, 1988, Tomamu, Japan

"In architecture, there is a part that is the result of logical reasoning and a part that is created through the senses. There is always a point where they clash. I don't think architecture can be created without that collision." -Tadao Ando

 

 

Church of the Light. Tadao Ando, 1989, Osaka, Japan

이 건축물에는 자신이 있습니다만, 하나님께 드리는 예배가 있기에 제가 바라던 것 이상의 훌륭한 건축물이 완성되었다는 것을 알았습니다. 앞으로 저희 사무실에 견학에 관한 문의가 오면, 예배에 참석하도록 그래야만 비로소 이 건축물의 진정한 모습을 알 게 된다고 그렇게 전하겠습니다.

Water Termple, 1309-1 Ura, Higashiura-Cho, Tsuna-gun, Hyogo Prefecture, Japan



http://www.egodesign.ca/en/article.php?article_id=356
http://abduzeedo.com/architect-day-tadao-ando
http://www.europaregina.eu/books/tadao_ando.htm

'Veil of Tears'

 

Susie Freeman and Dr Liz Lee's works- 'Veil of Tears' (2007)

CAROLINE BROADHEAD

CAROLINE BROADHEAD

 

CAROLINE BROADHEAD

Born in Leeds, West Yorkshire

Lives in London

Education / Formazione e studi

1969 - 72 Central School of Art and Design, London


Work Experience / Esperienze lavorative
1996 -  present     teaching at Goldsmiths College, University of London
1987 -  present     teaching at Middlesex University, London

Selected Exhibitions / Esposizioni selezione
2003    The Empty Dress, University of Essex Gallery, Colchester
2002    The Uncanny, Pitshanger Manor, London and Bowes Museum, Co Durham / Capolavori, Palazzo Brichesario, Turin, Italy
2001    Chiaroscuro, Barrett Marsden Gallery, London (solo)
2000-1999   Flexible 3, Close to the Body, Landesmuseum Linz, Austria and tour
2000    Between Light and Dark, Galerie RA, Amsterdam, Netherlands (solo)
1999       Addressing the Century, 100 years of Art and Fashion, Hayward Gallery, London  / Weaving the World, Yokohama Museum of Modern Art, Japan / Life Cycles, Galerie fur Zeitgenossische Kunst, Leipzig / Bodyscape, Angel Row Gallery, Nottingham and Sunderland (solo)
1998       Beyond Material, Oriel Mostyn, Llandudno, Wales and tour / Addressing the Century, 100 Years of Art and Fashion, Hayward Gallery, London and tour  
1997       Jerwood Prize for the Applied Arts: Textiles, Crafts Council Gallery, London
1996       Under Construction, Crafts Council Gallery, London and tour
1993       On the Edge, Crafts Council Gallery, London and tour
1990       Three Ways of Seeing, withFred Baier and Richard Slee, Crafts Council Gallery, London
1986        Conceptual Clothing, Ikon Gallery, Birmingham and tour

Selected Performances
2003         Court, collaboration with Angela Woodhouse, Barratt Marsden Gallery, London and tour
1997         The Waiting Game, collaboration with Angela Woodhouse, Upnor Castle, Kent
1995         Unlaced Grace, collaboration with Claire Russ, Mill Arts Centre, Banbury
1991         Stranded, collaboration with Rosemary Lee, Ballroom Blitz, South Bank Centre, London

Selected Publications / Pubblicazioni (selezione)
1998 New Textiles, Chloe Colchester, Thames and Hudson
1998 Cloth, Norwich Documents 01, Norwich Gallery School and Art Design
1998 Me and My Shadow, Ideas in Making, Practice and Theory ed. Pamela Johnson
1999 Seeing Things, Pamela Johnson, Fibrearts magazine
1999 50 Years of British Creativity, Michael Raeburn, Thames and Hudson
2000 Art Textiles of the World, Great Britain, Volume II, ed. Jennifer Harris, Telos Art Publishing
2001 Caroline Broadhead, Portfolio series, essay by Jeremy Theophilus, Telos Art Publishing

The Fountain of Youth Santa Ana chapel on the grounds of the Cartuja monastery 1st Biennial of Seville, 2004

The Fountain of Youth
Santa Ana chapel on the grounds
of the Cartuja monastery
1st Biennial of Seville, 2004

The Santa Ana chapel is deserted. Even Columbus, who was originally buried here, has had his last resting place changed. Old car, television and computer parts have gathered around a camp-fire. From the midst of this rises the fountain of youth, which sheds its gravity and soars up to the cupola like smoke into the air. Here, by way of exception, one can fall asleep on, and not in front of the television.

Components:
• bones from the abattoir in Seville and from the cork oak forests near Castillo
• dried plants from the monastery garden
• abandoned television sets and dinosaur eggs from a Punto Limpio (recycling point)
• artificial plants from the department store El Corte Inglés
• some of the plants from “Giardino calante”
• crystal solution from “Heimatmaschine”
• car parts from various car repair workshops in Seville



http://www.steinerlenzlinger.ch/eye_fuente.html

Joutsenlampi (Swan Lake) ARS06 Kiasma Helsinki, 2006

Joutsenlampi (Swan Lake)
ARS06 Kiasma Helsinki, 2006

In pre-Christian times, death was perceived as a deep, healthy sleep. Hence, death did not really exist, just sleep and the waking up into a new life. Therefore one had to be on guard when going to sleep; because there was only a subtle difference between the sleep of life and the sleep of death, one had to take care to wake up in the morning. The protector of the sleep of life was a bird, and the sleeper was protected by a wooden carving of a bird next to the bed.

In many cultures, the transition from life to death is symbolised by a river. There are no upper or lower worlds like heaven and hell. Crossing the river erases all memories. It is not possible to write in water. A guard on the river ensures that no living people trespass into the realm of death. In Finland, the swan Laulujoutsen was the guardian of the other world, Tuonela. The Finnish swan – once almost extinct – has returned as the mythical national bird, struggling to defend its habitat against the invasion of its slightly larger, orange-beaked cousins from Central Europe.


http://www.steinerlenzlinger.ch/eye_joutsenlampi.html

Giardino calante Kirche San Staë am Canale Grande 50. Biennale von Venedig, 2003

Giardino calante
Kirche San Staë am Canale Grande
50. Biennale von Venedig, 2003

Der Doge (Mocenigo) brauchte eine Kirche, um sich ein Grabmal bauen zu können, die Kirche (San Staë) brauchte einen Heiligen, um gebaut zu werden, der Heilige (San Eustachio) brauchte ein Wunder, um heilig gesprochen zu werden, das Wunder brauchte einen Hirsch, um gesehen zu werden, und wir bauen den Garten für den Hirsch.

Der Besucher liegt auf dem Bett über dem Dogengrab, und der Garten denkt für ihn.

Zutaten: Plastikbeeren (Indien), Kuhfladen (Jura), Abfallpapier (Venedig), Baobabsamen (Australien), Birken-, Holunder- und Magnolienäste (Uster), Dornen (Almeria), Nylonblüten (Preisparadies), Schweinezähne (Indonesien), Algen (Seoul), Orangenschalen (Migros), Düngerkristallblumen (home grown), Taubenknochen (San Staë), Seidenknospen (Stockholm), Rohrkolben (Ettiswil), Katzenschwänze (China), Selleriewurzeln (Montreal), Potenzrinde (Karibik), Wildschweinborsten (Zoo), Bananenblätter (Murten), Gummischlangen (Cincinnati)... Falling Garden
San Staë church on the Canale Grande
50th Biennial of Venice, 2003

The Doge (Mocenigo) needed a church so as to be able to have a monumental tomb built for himself, the church (San Staë) needed a saint so as to be able to be built, the saint (San Eustachio) needed a miracle so as to be pronounced a saint, the miracle needed a stag in order to be seen, and we built the garden for the reindeer.
The visitors lie on the bed above the doge’s gravestone, and the garden thinks for them.

Components: Plastic berries (India), cow pads (Jura), waste paper (Venice), baobab seeds (Australia), beech, elder and magnolia branches (Uster), thorns (Almeria), nylon blossoms (one-dollar-shop), pigs’ teeth (Indonesia), seaweed (Seoul), orange peel (Migros shop), fertilizer crystals (home grown), pigeons’ bones (San Staë), silk buds (Stockholm), cattail (Ettiswil), cats’ tails (China), celery roots (Montreal), virility rind (Caribbean), wild bore quills (zoo), banana leaves (Murten), rubber snakes (Cincinnati)...

http://www.steinerlenzlinger.ch/eye_giardino.html

Aqua Creations

http://aquagallery.com

Pakayla Biehn

Painted _Double Exposure Series

youshouldtakecare.com

Jim hodges

 

 

Installation art_Claire Morgan

Rehearsal

 _Rehearsal for tomorrow work  (Dec 11)

Deep blue silk 6m x 5 - Shepherd's bush market 

Black dress and underwear - American Apparel 

Pictured by Mia with Nikon D90

It was difficult to choose silk colour and dress. There was no blue like ultramarine deep. I choose two kinds of blue. Size also different from each other. 
Darker one - 3 peices
Brighter one - 2 peices

 I tried put put point-colour silk with main blue pieces. (hot-pink, silver) it didnt go well together. No meaning for using red colour and silver colour silk.