this photoset sums up Magic tournaments so perfectly
This is too much
Eric Blum（American, b.1956）
Weft (Nº617) 2011
Untitled Nº624 2012
Assumptions (Nº578) 2009
ink, silk & beeswax on panel
PERRY KULPER at the Bartlett
I went to Kulper’s lecture at the Bartlett a week or so ago and found myself bowled over yet again by the sheer infinity of his imagination. Most of the work I had seen before, but hearing him talk about it helped me to understand it on a whole new level.
How Kulper sees architecture is true interdisciplinary, open-minded practice. Rather than talking about architects and engineers communicating better, he speaks of how he likes to think about Corbusier’s 5 points, Lady Gaga and a cow grazing in a dust garden - all in the same sweep. Collaboration should be a sensory conversation, not a melting down of both individual responses.
In Kulper’s world, even gravity is negotiable, and not just in drawings. But he should not be dismissed as a “artist architect” for what Kulper is actually doing goes much further than that. His inspirations are wide and his thinking even deeper. The discussions raised in his work challenge what the scope of architecture can be and in order to do that, he challenges the very preconceptions of the architectural drawing. The very naming of buildings/rooms/drawings immediately restrict the architect and we unthinkingly go to the default solutions instead of what is right for the situation. We forget that drawings can be generative, not just descriptive (or as Kulper says, “farmable”, and true enough every time I stare at his drawings I find something new).
Most importantly, he highlights the dangerous habit we have got ourselves into of over-simplifying situations. Life is not as easy as a straightforward plan or section, there are numerous relationships of many types, weights and durations at any one given point in time or space, and these must be taken into account if designs are to last and to be successful.
I was also intrigued by Kulper’s answer to a question at the end as to why his work is so populated by animals and not humans. The answer was, firstly, having grown tired of thousands of years of architectural dominance by the “all-knowing” architects eye, the traditional, arrogant approach that the architect knows best. Secondly (stemming from this), boredom with the human scale and perspective of drawings. Kulper noted a tutor’s comment once that his architecture should be able to be adapted/used by future alien life forms if necessary. And thirdly, he is interested not only in human bodies, but in other bodies (animals, ghosts, objects) and no bodies - what happens when we are not there?
Here’s a few of his works that I don’t think I have posted before.
Somewhere on the southern tip of the Sinai Peninsula in Egypt, nestled at the foot of a desert mountain range, sits a peculiar sight that is almost completely out of place: hundreds of seats for an outdoor movie theater. Estonian photographer Kaupo Kikkas recently visited the desolate location and brought back these amazing shots of a decaying dream. He shares via his blog that the theater was built not too long ago by a man from France with considerable means. Tons of old seats and a generator were hauled in from Cairo, not to mention a giant screen that looked like the sail of a ship.
Everything was set for opening night, with one small problem. Kikkas says the locals weren’t particularly keen on the whole idea and decided to discreetly sabotage the generator. A single movie was never screened. So now it sits in the middle of a desert, a random movie theater in the middle of nowhere. You can still see it on Google Maps.
these are beautiful, the spacial qualities are wonderful.
Stripping the forms