The School of Valparaíso
The Open City of Amereida
Ritoque, Chile
1969
“The Open City of Amereida is one of the most singular experiences of 20th century Latin American architecture. It is a heterogeneous group of more than forty constructions –including open spaces (agoras), workshops, living spaces (hospederías and cubículas), places of worship and sculptures– located in a beautiful landscape in Ritoque, Chile, facing the Pacific Ocean. These buildings have all been particularly designed in a participatory process (in ronda), without a predefined shape, by a community of professors and students of the Pontificia Universidad Católica de Valparaíso inspired by symbolism, Dadaism, surrealism and the Situationist International, among other artistic protest movements of the 1960s. In Open City, this human group brings life, work and study together, assigning a poetic significance to architecture”
[x]
The Open City of Amereida
Ritoque, Chile
1969
“The Open City of Amereida is one of the most singular experiences of 20th century Latin American architecture. It is a heterogeneous group of more than forty constructions –including open spaces (agoras), workshops, living spaces (hospederías and cubículas), places of worship and sculptures– located in a beautiful landscape in Ritoque, Chile, facing the Pacific Ocean. These buildings have all been particularly designed in a participatory process (in ronda), without a predefined shape, by a community of professors and students of the Pontificia Universidad Católica de Valparaíso inspired by symbolism, Dadaism, surrealism and the Situationist International, among other artistic protest movements of the 1960s. In Open City, this human group brings life, work and study together, assigning a poetic significance to architecture”
[x]
❤2
Sol Lewitt
from Six Geometric Figures in Superimposed Pairs
1977
from Six Geometric Figures in Superimposed Pairs
1977
❤3
“…Though Andy Goldsworthy has made enormous and relatively durable works such as those in Grizedale Forest (AR September 1985), some of his sculptures are tiny, even inconspicuous, and the vast majority - like those described above - are ephemeral. For most of us they exist only second hand in photographs. Originals lodge only in the memory of the artist, and maybe of a few fortunate others. Some sculptures are so ephemeral - such as rainbowed splashes, or loose clusters of thrown sticks - that they can be appreciated fully only in a prolonged instant frozen on film.”
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
❤4
Andy Goldsworthy, Ice points, held upright in muddy pond bottom, Helbeck, Cumbrial. January 1983
“Crystalline shards of ice, precariously poised beside a pond, form an arch that glistens and sparkles in the sunlight. Soon each face melts, shards slip past each other, and the whole crashes into a chaos of scattered fragments that slowly seep into the earth. On the next day, thin sharp shards project as a cluster of small translucent sails from the cold waters into which they are steadily dissolving. In another season, coloured leaves or petals stuck by spittle form chains or patches of contrasting colours that soon break up as the parts curl up or blow away. A chain of leaves slides slowly over the still surface of a pond, or even floats away in a conga dance on the surface of a stream, casting a shadow that leaps over pebbles and bright winking wave patterns in a self-destructive and frenzied fandango.”
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
“Crystalline shards of ice, precariously poised beside a pond, form an arch that glistens and sparkles in the sunlight. Soon each face melts, shards slip past each other, and the whole crashes into a chaos of scattered fragments that slowly seep into the earth. On the next day, thin sharp shards project as a cluster of small translucent sails from the cold waters into which they are steadily dissolving. In another season, coloured leaves or petals stuck by spittle form chains or patches of contrasting colours that soon break up as the parts curl up or blow away. A chain of leaves slides slowly over the still surface of a pond, or even floats away in a conga dance on the surface of a stream, casting a shadow that leaps over pebbles and bright winking wave patterns in a self-destructive and frenzied fandango.”
— Peter Buchanan, The nature of Andy Goldsworthy, for The Architectural Review
[x]
❤3
Unfold
Artefacts of a New History
2016
“The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…”
[x]
Artefacts of a New History
2016
“The limited edition Artefacts of a New History (2016) is a collector box featuring nine different intricate ceramic 3d prints produced using Unfold’s finest printing capabilities. The collection resembles a set of artefacts like those you might find in a natural history museum, on one hand they look ancient, like fossils, but on closer inspection they reveal their strange technical nature…”
[x]
❤3
There’s a peaceful land of maidens crystal-pure,
where children are as unbreakable as steel
where snake-victors kneel and drink
the wine of angels in silent, frozen halls.
There’s a peaceful land of grasses
where the dragon sings for eternal hours.
He waits, his wise head bowed,
powerful wings embroidered with flowers.
Monks dwell in cells among burgundy rocks.
Fire burns inside their stone bowls.
And the wine of angels can’t been tasted or seen
like tears in a river or in our dead souls.
Here no victories or failures prevail.
The scorpion sleeps at the foot of the rhododendron.
And in the window’s light—a sacred darkness,
like writing on a scorpion’s scales.
Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press
where children are as unbreakable as steel
where snake-victors kneel and drink
the wine of angels in silent, frozen halls.
There’s a peaceful land of grasses
where the dragon sings for eternal hours.
He waits, his wise head bowed,
powerful wings embroidered with flowers.
Monks dwell in cells among burgundy rocks.
Fire burns inside their stone bowls.
And the wine of angels can’t been tasted or seen
like tears in a river or in our dead souls.
Here no victories or failures prevail.
The scorpion sleeps at the foot of the rhododendron.
And in the window’s light—a sacred darkness,
like writing on a scorpion’s scales.
Natalka Bilotserkivets, from Eccentric Days of Hope and Sorrow, Dzvinia Orlowsky (Ukrainian translation), Lost Horse Press
❤4