Filed under: Bethan Wood, cars, public space, temporary Pattern, Uncategorized
these images are from a piece of Art work by maider lopez (auto.dream and material). They show her artifical traffic jam constructed in the mountain. She worte a public announcment in losal papers of the area asking for people to take part in her work. 160 cars came to conjest areas of normal tranquility , they were aranged in coloures and pictures were taken in 5 different locations.
image © maider lopez
Filed under: knitting machine project, Merel Karhof, Uncategorized, windmill project
Logo for the wind knitting factory
Filed under: Merel Karhof, Nature, public ownership, public space, Uncategorized, windmill project
cul-de-sac / dead end / no exit
While I was trying to walk in a straight line from College to Kensington Olympia, I was confronted with lots of Cul de sacs. Interesting to me was the way the wind blows in these Cul de sacs. The wind blows in and out the street this causes an extra strong draft.
The word “cul-de-sac” has inspired metaphorical uses in literature and in culture.
Cul-de-Sac – Roman Polanski
Making the wind visible with paper windmills
harvesting the small amounts of energy
Wind creating a product
Making the energy you produce as a human, while you walk, visible with a windmill brooch
Performance South-Kensington, London.
Wind creating a product
the first products
wind knitting factory on an empty facade in London
Designing the wool for the wool knitting factory
Filed under: Bethan Wood, Nature, public space, super fake, Uncategorized | Tags: fake, landscape, Nature, public space
Superficelle by Michel de broin.
made with glue mirror and cement, the rock reflects the woodland that surrounds it,
fragmenting its surrounds it disappears/ melts away to leave a different view a surreal of the
natural. for more of his work go to http://micheldebroin.org
Filed under: Community, Lucia Massari, public space, Uncategorized | Tags: city, public space, transport
black cab: the london pride +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
The city constantly renew itself its inhabitants find their own routes, their own streets, plans which have a multitude of meaning for them.. the taxi drivers are the ones who connect the city with the people.
5 years is how long the average london cab driver spends learning the knowledge. “the knowledge” is the in-depth study of London’s myriad of streets in a six-mile radius of Charing Cross, and places of interest that taxi-drivers in that city must complete to obtain a licence to drive a black cab.
This is the “Knowledge boy” is the Taxi-driver applicants, usually follow these routes around London on a motor scooter, and can be identified by the clipboard fixed to the handlebars and showing details of the streets to be learned that day.
The taxicab driver is required to be able to decide routes immediately in response to a passenger’s request or traffic conditions, rather than stopping to look at a map, rely on satellite navigator or ask a controller by radio. that’s what distinguish a cab driver from a mini cab driver.
they have a London Knowledge Map instead
of cards, for example”.
David Shrigley’s book
his vision of central London’s streets
the jigsaw is solved
HOW MUCH IS IT?
I took the cab at the beginning of commercial road , and i jumped off by the very end of it
COMMERCIAL ROAD COSTS £7, 20
wouldn’t be nice to know how much all the street of London are?
MISTER H. my cab driver and his very nice daughter Gemma
I met mister H. and his daughter today at costa cafe.
He explained me the way he visualises the map of London into his brain.
He mixes visual landmarks with mental connections.
We were laughing a lot about the article i read about the taxi driver who drove his car into a
river after following his sat.nav.
Filed under: Kieren Jones, Uncategorized | Tags: amateur, Amateurism, Cinema, Community, film, Folk
The La Charrette movie theater, which was known as the smallest cinema in Wales, finally had to shut down its operation recently.
It was started up in 1953 by the late Gwyn Phillips in the little town of Gorseinon near Swansea. The townsfolk had no local cinema to attend during those golden days of the movies, so Phillips purchased an old railway carriage and had it dragged into the yard behind his townhouse and converted it into a 23-seat movie palace.
It has served the community well for over 50 years, lately operated by his widow. But the old railcar has been crumbling and reached a state where it wasn’t feasible to repair it any further. So it announced that it would have to darken its projectors and shut down.
A noted BBC film critic, Mark Kermode, heard about it and organized a grand exit for the old flickerhouse. After contacting all the movie moguls in the UK, he arranged for La Charrette’s final screening to be a World Premier of a science-fiction comedy starring Kenneth Branagh and Courtney Cox. And they did it up right, with Mr. Branagh attending the formal affair. They even had the wide, red carpet laid from the street, through the spacing between the houses up to the the carriage. The locals were treated to Limo’s & the longest serving member officially opened the film.
Filed under: Kieren Jones, Uncategorized | Tags: amateur, Amateurism, Folk, furniture, Model, Mulvany & Rogers, Versailles
The King’s Study at Versailles is one of the most opulent rooms in the world, – featuring a genuine marble fireplace, Swarovski-crystal chandelier & gold-guild wallpaper.
However, now being sold for £250,000.00, this one is actually a model created by Susie Rogers & her partner, Kevin Mulvany!
Taking 3 months to complete, it is extraordinary in its detail, an exact replica of the one in Versailles. At a recent exhibition of their work, A presumptuous woman, craning into the Versailles room, said, ‘Just one thing I must point out to you. You have made a little mistake here.’ At those words, the world stopped temporarily for model-maker Kevin. The bustle of the doll’s house exhibition ceased. ‘Oh really,’ he said. ‘What is that?’ This woman knew her architectural history. ‘Well, in the 18th century they didn’t have the technology to make huge sheets of glass, so all the mirrors would be split in at least one place.’ Mulvany smiled and asked her to look a little closer. There, almost invisible, was a thin line that separated the panes of glass. Perfect to the tiniest detail.
The first step in the design of new benches for the inside and outside of the Barking Learning Center, has been to map the industrial area of Creekmouth in Barking.
I have been researching and collecting all the production facilities and the people interested in taking part of the project. The idea was to create, by putting together small production facilities, a bigger production plan. Where every single people or workshop is considerated as a step in a larger scall process.
As a reaction to ‘designed with fear’ public furniture I decided to focuse on what the new benches will actually provide to the community of users. What one could really get from the public instalation. Producing every single bit from the bench localy allows me to search for more deliberatly fragile (in the choice of the materials), and users-considering solutions. If, at somepoint, anything get damaged or vandalized, it could be replace quickly and easily by the concerned manufacturer. We can also from there envisage the public space as an evolving space and not so much set in stone environment. A bench might have to change depending on observation of use or misuse. So that the structure provided could be re-adjusted to users senarios.
The design of the benches are made from library’s users behaviour observation on site. I want to provide a structure able to give a respond to people behaviour in the library. And create, from there, some interesting configuration of exchange and sharing within the different users. The different benches are designed to blur the border inbetween the behaviour inside and the outside the library. They are made from a very similar structure, but are clothed with different material regarding their environment.