Furthering of diagrams
PowerPoint presentation for Thursday
-Hopefully a rough draft tomorrow afternoon/evening
-Theory/thesis statement finalized
-Graphical analysis 'complete'
-Slide show in order
Analysis of connections
-2 sides meeting
(Berlin Wall/Transcontinental RR)
-3rd voice and interaction/intervention
User groups
-Further justification
-More concise uses and benefits of local population
-Tourism justification
-Case studies:
Loop; My Studio
Serra
Jansen
Tacha
MoMA
Mass MoCA
GFS
Beacon
Turrell (Roden)
Monday, November 26, 2007
Tuesday, November 20, 2007
Richard Serra
Richard Serra sculptures being installed at MoMa
http://www.youtube.com/watch?v=l1sBpsyRNfM
Monday, November 19, 2007
Today's Plot/Site Images
Not sure why it looks like a negative, but you get the general idea... Ill post more to the Snapfish site tomorrow and label the ones above.
11.19 Meeting Reactions
Site Investigation 'conclusions'
This week/next meeting agenda:
Complete/near complete diagrams of the following
Edge conditions
Interesting areas
'Nolli' map
Where I almost got hit
Where photos were taken
Why sites/details are interesting
Cultural pockets
All with muted palette/grayscale for clarity
Site images as they pertain to 'Making Strange'
Reading offering the total freedom of such a wide variety of sustained, continually changing artwork and infrastructure, as well as a tourist/community/cultural base to allow it to continue its redevelopment towards the center of the yard.
Note: Norflk Southern corporation actually had a similar site in Lancaster, PA that the director of PR was telling us about. The site divided the city into differing sides forming a large, detrimental void in what turned into a rough city. The heads/ higher-ups of NS Corp got together with some city and redevelopment committees and formulated a plan to solve this. The solution actually involved NSC moving their site approximately 2 miles to one side, allowing the city to 'heal the wound' the train yard had formed. A possibility to be pitched for the Reading Yard. The tracks can remain to allow for cargo/material/artwork transport, and, if successful enough down the road, the implementation of passenger lines to and from the city (and to other major cities) as a revamping of tourism and sustainable aspects of public transport. This can also help with the endlessly rising costs of fuel, etc.
Other things that may help/come into play:
"The walls between art and engineering [architecture] exist only in our minds."
-Theo Jansen
The 'scruffy' neighborhood of immigrants and artists is where the most diverse/'beautiful' specimens of urban art/spraypaint graffiti were lining the walls (Kreuzberg)
-Sounds a lot like the Reading situation, tons of graffiti, large immigrant population base, great possibility of artistic expression and cultural identity. Opens the door for artwork that can continually change with the changes in population base/incomes/economic influences, et.
These are pretty rough thoughts so far, but I will work out the kinks more tonight and this week/weekend.
This week/next meeting agenda:
Complete/near complete diagrams of the following
Edge conditions
Interesting areas
'Nolli' map
Where I almost got hit
Where photos were taken
Why sites/details are interesting
Cultural pockets
All with muted palette/grayscale for clarity
Site images as they pertain to 'Making Strange'
Reading offering the total freedom of such a wide variety of sustained, continually changing artwork and infrastructure, as well as a tourist/community/cultural base to allow it to continue its redevelopment towards the center of the yard.
Note: Norflk Southern corporation actually had a similar site in Lancaster, PA that the director of PR was telling us about. The site divided the city into differing sides forming a large, detrimental void in what turned into a rough city. The heads/ higher-ups of NS Corp got together with some city and redevelopment committees and formulated a plan to solve this. The solution actually involved NSC moving their site approximately 2 miles to one side, allowing the city to 'heal the wound' the train yard had formed. A possibility to be pitched for the Reading Yard. The tracks can remain to allow for cargo/material/artwork transport, and, if successful enough down the road, the implementation of passenger lines to and from the city (and to other major cities) as a revamping of tourism and sustainable aspects of public transport. This can also help with the endlessly rising costs of fuel, etc.
Other things that may help/come into play:
"The walls between art and engineering [architecture] exist only in our minds."
-Theo Jansen
The 'scruffy' neighborhood of immigrants and artists is where the most diverse/'beautiful' specimens of urban art/spraypaint graffiti were lining the walls (Kreuzberg)
-Sounds a lot like the Reading situation, tons of graffiti, large immigrant population base, great possibility of artistic expression and cultural identity. Opens the door for artwork that can continually change with the changes in population base/incomes/economic influences, et.
These are pretty rough thoughts so far, but I will work out the kinks more tonight and this week/weekend.
Friday, November 16, 2007
This Weekend
Further site analyses;
Edges
Comfort zones
Discomfort
Nodes
Restaurants/cultural pockets
Layers
Built forms
Voids
More on exterior/surrounding city near the yard
Site visit Monday 9 am
I have also been in contact with the owners of the locomotive repair shops at the Reading Yard (the large building forming the northwest edge of the site) in an attempt to enter/analyze the facility.
More case studies:
More on Berlin Wall, Athena Tacha, Christo & Jeanne-Claude, use of space and schedule of installations at Grounds For Sculpture
Dia Beacon
Approximate site size is 200 acres, give or take...
I will print my writings to this point for whoever is interested as well.
Edges
Comfort zones
Discomfort
Nodes
Restaurants/cultural pockets
Layers
Built forms
Voids
More on exterior/surrounding city near the yard
Site visit Monday 9 am
I have also been in contact with the owners of the locomotive repair shops at the Reading Yard (the large building forming the northwest edge of the site) in an attempt to enter/analyze the facility.
More case studies:
More on Berlin Wall, Athena Tacha, Christo & Jeanne-Claude, use of space and schedule of installations at Grounds For Sculpture
Dia Beacon
Approximate site size is 200 acres, give or take...
I will print my writings to this point for whoever is interested as well.
Wednesday, November 14, 2007
New/Detailed Analysis of 'Making Strange'
I stood between them,
the one with his traveled intelligence
and tawny containment,
his speech like the twang of a bowstring,
and another, unshorn and bewildered
in the tubs of his Wellingtons,
smiling at me for help,
faced with this stranger I’d brought him.
Then a cunning middle voice
came out of the field across the road
saying, ‘Be adept and be dialect,
tell of this wind coming past the zinc hut,
call me sweetbriar after the rain
or snowberries cooled in the fog.
But love the cut of this traveled one
and call me also the cornfield of Boaz.
Go beyond what’s reliable
in all that keeps pleading and pleading,
these eyes and puddles and stones,
and recollect how bold you were
when I visited you first
with departures you cannot go back on.’
A chaffinch flicked from an ash and next thing
I found myself driving the stranger
through my own country, adept
at dialect, reciting my pride
in all that I knew, that began to make strange
at the same recitation.
–Seamus Heaney, “Making Strange”
Stanza 1:
I stood between them,
the one with his traveled intelligence - [history]
and tawny containment,
his speech like the twang of a bowstring, - [intellect]
Speaks of the Reading yard; Rich in history, experienced with the surrounding city, old, wise, etc. Image revealed of 'well-dressed intellectual,' articulate, yet unable to communicate with the city in a continual/adaptive manner
Stanza 2:
and another, unshorn and bewildered
in the tubs of his Wellingtons,
smiling at me for help,
faced with this stranger I’d brought him.
City of Reading, unsure, inexperienced with current state of the site and interactions with it, bewildered, in search of help and unable to decide its next move.
Line 8:
faced with this stranger I'd brought him.} Extensive void of Reading Yard, barrier between east and west
Stanza 3:
Then a cunning middle voice
came out of the field across the road
saying, ‘Be adept and be dialect,
tell of this wind coming past the zinc hut,
Intervention, connection between the two men (city and site) directions for where to go/what to do to address interactions and program.
Line 11:
saying, ‘Be adept and be dialect,} Details, vernacular, ease of speaking about site and program
Line 12:
tell of this wind coming past the zinc hut,} Winds show a change in program and layout, evolution and change, variety and spotlighting. Zinc: deterioration, reflection, staining, oxidation, etc.
Stanza 4:
call me sweetbriar after the rain
or snowberries cooled in the fog.
But love the cut of this traveled one
and call me also the cornfield of Boaz.
Speaks f the site and its age, as well as finding beauty and purpose within that age; a sweetbriar has a prickly stem, but beautiful blooms spotted by raindrops; the site as a gemstone.
Line 15:
But love the cut of this traveled one} - embracing of the void this site has created, and avoiding forced redevelopment, typical solutions.
Line 16:
and call me also the cornfield of Boaz.} - provision of sustenance for many people over many years. The railroad as the former heartbeat of Reading and a very important piece of industrial America / the world (international link to Philadelphia). Much has survived and grown out of this corporation though it no longer exists.
Stanza 5:
Go beyond what’s reliable
in all that keeps pleading and pleading,
these eyes and puddles and stones,
and recollect how bold you were
Line 17:
Go beyond what’s reliable} Surpass comfort zone and what is typical/expected to be placed on the site for economic renewal (hotel, casino, parks, golf courses, etc.)
Line 18:
in all that keeps pleading and pleading,} Pleading - conditions overlapping between city and site; a plea for help (specifically from the site, despite its intelligence and wisdom)
Line 19:
these eyes and puddles and stones,} Those on/near/connected to the site in some manner, and its built forms [stones] and voids [puddles] - Puddles filled with water for lack of program and misuse of site.
Stanza 6:
when I visited you first
with departures you cannot go back on.’
A chaffinch flicked from an ash and next thing
I found myself driving the stranger
Line 23:
A chaffinch flicked from an ash and next thing} Symbolizes his departure, percussive retreat from comfort and natural settings towards the unsure or strange.
Line 24:
I found myself driving the stranger} Departure
Stanza 7:
through my own country, adept
at dialect, reciting my pride
in all that I knew, that began to make strange
at the same recitation.
Advice taken from middle voice
Lines 25 & 26:
through my own country, adept
at dialect, reciting my pride} Telling of memories and conditions, preserving / surviving through them - "Fuses, rather than conjoins an intimate vernacular with cultural sophistication." (Cadwell, xviii)
Does not give 'adept at dialect a description [voice], this is what the program will become and ultimately address for the site and city.
**"New voice will not make a world intelligible by returning it to the familiar or by linking it to an existing order. New voice will render a new imaginative territory compelling by conserving [preserving] its strangeness" (Cadwell, xviii-xix).**
the one with his traveled intelligence
and tawny containment,
his speech like the twang of a bowstring,
and another, unshorn and bewildered
in the tubs of his Wellingtons,
smiling at me for help,
faced with this stranger I’d brought him.
Then a cunning middle voice
came out of the field across the road
saying, ‘Be adept and be dialect,
tell of this wind coming past the zinc hut,
call me sweetbriar after the rain
or snowberries cooled in the fog.
But love the cut of this traveled one
and call me also the cornfield of Boaz.
Go beyond what’s reliable
in all that keeps pleading and pleading,
these eyes and puddles and stones,
and recollect how bold you were
when I visited you first
with departures you cannot go back on.’
A chaffinch flicked from an ash and next thing
I found myself driving the stranger
through my own country, adept
at dialect, reciting my pride
in all that I knew, that began to make strange
at the same recitation.
–Seamus Heaney, “Making Strange”
Stanza 1:
I stood between them,
the one with his traveled intelligence - [history]
and tawny containment,
his speech like the twang of a bowstring, - [intellect]
Speaks of the Reading yard; Rich in history, experienced with the surrounding city, old, wise, etc. Image revealed of 'well-dressed intellectual,' articulate, yet unable to communicate with the city in a continual/adaptive manner
Stanza 2:
and another, unshorn and bewildered
in the tubs of his Wellingtons,
smiling at me for help,
faced with this stranger I’d brought him.
City of Reading, unsure, inexperienced with current state of the site and interactions with it, bewildered, in search of help and unable to decide its next move.
Line 8:
faced with this stranger I'd brought him.} Extensive void of Reading Yard, barrier between east and west
Stanza 3:
Then a cunning middle voice
came out of the field across the road
saying, ‘Be adept and be dialect,
tell of this wind coming past the zinc hut,
Intervention, connection between the two men (city and site) directions for where to go/what to do to address interactions and program.
Line 11:
saying, ‘Be adept and be dialect,} Details, vernacular, ease of speaking about site and program
Line 12:
tell of this wind coming past the zinc hut,} Winds show a change in program and layout, evolution and change, variety and spotlighting. Zinc: deterioration, reflection, staining, oxidation, etc.
Stanza 4:
call me sweetbriar after the rain
or snowberries cooled in the fog.
But love the cut of this traveled one
and call me also the cornfield of Boaz.
Speaks f the site and its age, as well as finding beauty and purpose within that age; a sweetbriar has a prickly stem, but beautiful blooms spotted by raindrops; the site as a gemstone.
Line 15:
But love the cut of this traveled one} - embracing of the void this site has created, and avoiding forced redevelopment, typical solutions.
Line 16:
and call me also the cornfield of Boaz.} - provision of sustenance for many people over many years. The railroad as the former heartbeat of Reading and a very important piece of industrial America / the world (international link to Philadelphia). Much has survived and grown out of this corporation though it no longer exists.
Stanza 5:
Go beyond what’s reliable
in all that keeps pleading and pleading,
these eyes and puddles and stones,
and recollect how bold you were
Line 17:
Go beyond what’s reliable} Surpass comfort zone and what is typical/expected to be placed on the site for economic renewal (hotel, casino, parks, golf courses, etc.)
Line 18:
in all that keeps pleading and pleading,} Pleading - conditions overlapping between city and site; a plea for help (specifically from the site, despite its intelligence and wisdom)
Line 19:
these eyes and puddles and stones,} Those on/near/connected to the site in some manner, and its built forms [stones] and voids [puddles] - Puddles filled with water for lack of program and misuse of site.
Stanza 6:
when I visited you first
with departures you cannot go back on.’
A chaffinch flicked from an ash and next thing
I found myself driving the stranger
Line 23:
A chaffinch flicked from an ash and next thing} Symbolizes his departure, percussive retreat from comfort and natural settings towards the unsure or strange.
Line 24:
I found myself driving the stranger} Departure
Stanza 7:
through my own country, adept
at dialect, reciting my pride
in all that I knew, that began to make strange
at the same recitation.
Advice taken from middle voice
Lines 25 & 26:
through my own country, adept
at dialect, reciting my pride} Telling of memories and conditions, preserving / surviving through them - "Fuses, rather than conjoins an intimate vernacular with cultural sophistication." (Cadwell, xviii)
Does not give 'adept at dialect a description [voice], this is what the program will become and ultimately address for the site and city.
**"New voice will not make a world intelligible by returning it to the familiar or by linking it to an existing order. New voice will render a new imaginative territory compelling by conserving [preserving] its strangeness" (Cadwell, xviii-xix).**
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