Material Matters: Architecture and Material Practice

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Research Research. Research My research is concerned with materiality and technology, and their intersections with architectural concepts, practice and design. Teaching Teaching. Teaching With extensive prior experience in BA studio teaching, I currently teach history and theory at all levels in the architecture programme from Stage 1 to PhD. Tijana Stevanovi? Publications Publications. Industries of Architecture. London and New York: Routledge, London and New York: Routledge, , pp.

Lloyd Thomas K, Beech N. Architecture and Culture , 3 3 , Lloyd Thomas K, Amhoff A. Writing Work: Changing practices of architectural specification. In: Peggy Deamer, ed. London and New York: Bloomsbury, , pp. Lloyd Thomas K. Casting Operations and the Description of Process.

Material Matters: Human Values and the Longer View

Journal of Architecture , 20 3 , Rendered Plastic by Preparation: Concrete as constant material. Parallax , 21 3 , In: Rawes, P, ed. I wished to include them in my installation in Athens, Drawing a Line through Landscape , because I was drawing the sea during the performance. They became a reminder of the constant battle between migrants, refugees, and authorities. I suspended these boats on a fishing line as if they were floating but also flying. This game should be played as a poetic act.

Its principle is the idea that poetry can be made by all. Every card has an abstract image made by the students and professors in Open City.

That was the beginning of our series of acts for the Paper Pavilion presented in Athens. The idea is that any person can look at the picture on the card and give us a word, or an idea with words. Then, the poet of the group provides the connectives between the words and creates a poem. That poem is the world where all the participants are safe. On the back of each card we have nine points connected differently, all unique. People presented us with a word and we draw lines connecting the points and creating a sign. These given words on the cards can also be used to make a poem.

This was our poetic vocabulary in Athens. We made an act and from there we drew relationships that were fed with content. The material of the work is the act, the union of the place and people present. The poetic act or game is the basis of our work. In this sense, the core idea is poetry developed in acts, in poetic places, in public spaces, always collectively.

We start by playing this poetic game in the space and the present time, present place, present people are the main material.

Materials Matter

The construction—our paper pavilion—gives or takes form illuminated by the poetry made in the act. Moyra Davey Material: Notebook. Bonita Ely Material: Found plastic objects. I decided to send a package of plastic litter I found on the streets of Sydney. My artworks, my sculptures, are made out of this plastic rubbish—what I am trying to show in the work is not just that plastic is polluting the environment but also how foolish we are—so many things made out of plastic are absolutely useless, or could be made out of materials that would not pollute the environment.

Why use a plastic bottle when we can drink tap water out of a reusable container? Why use plastic bags when you can use a cloth shopping bag? I could go on and on—you know all these things. For example, I found this cute, soft toy on the street. When you put synthetic fabrics into a washing machine, the fibers break down. The water that goes into the ocean after being treated at wastewater processing plants cannot remove these tiny, micro bits of plastic. Fish and all the creatures in the rivers and oceans are ingesting those invisible pollutants.

Then we eat those fish and the pollutants go into our digestive system.

Background

Aboubakar Fofana Material: Indigo textiles, indigo leaves and seeds, hand-woven roll of textile. One goes before another, someone else follows One follows another but someone else precedes Beat the pedals. Someone leaves whilst another arrives Someone arrives and another person leaves Sings the shuttle. Someone rises up and another falls down Someone falls down whilst another rises up Say the shafts. Nothing is as valuable as these This was how the world was built, this is how it will end This is how the world was born, this is how it will finish hammers the beater.


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I contributed a quilted fabric embroidered by Jogi women. My Jogi friends are nomadic people who live in the desert of Western Rajasthan. They are some of the oldest nomads to roam the world, and by several accounts, the ancestors of the Roma people in Europe.

Material Matters: conference on material concerns in painting - Announcements - Art & Education

In Lunkaransar, where this cloth was embroidered and stitched, women traditionally gather scraps of old cloth from the home and make a patchwork fabric, which can be used for many purposes. It is inspiring to see that although it is recycled from old material, and has utilitarian value, the women still put labor into making it beautiful. The hope is to create a self-sustaining cooperative for young women and to offer another livelihood. I sometimes see photography as my own form of embroidery, and the process of using film and paper in the darkroom to make prints, akin to craft—in its slowness, its use and acceptance of the human hand, and in how accidents are intrinsic to the process and embedded within what is created.

Irena Haiduk Material: Book, seal, graphite. This is a seal and a manifesto I made in and , after the subprime mortgage crisis hit the United States. The bureaucratic seal is the logo and emblem for the Gesture Guild GG. This work was an occult consultancy, preparing visitors for the moment when factory wages equalize in the so-called First and Third Worlds.

The seal features two swans bleeding in puddles, pierced by GG. For me, swans represent the fluffy poetics I associate with good manners, politesse, and cowardice; things that are not nourished by the realism in my work. What I deal with most often, materially, is the issue of weight. We are crushed by the weight of everyday life, political and economic problems, that the task I set before myself is often to lift that weight and liberate movement. Bon Ton Mais Non is an instrument of levity. It has the punishing humor of sirens. I find hope to be one of those things that is a weight on our shoulders, because in the societies I have lived in, hope immobilizes, and placing you in a holding pattern, yearning for the promised futures that never arrives.


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Gordon Hookey Material: brushes. I thought that contributing these would be a nice gesture because they are the actual brushes that we used for the work. I put red, yellow, and blue, which are the primary colors, on the brushes. Of course, when you mix these colors you can create orange, green, and purple to form the rainbow, which, along with the clenched fist, is one of the central images in my mural. The symbolism of the rainbow is wide-ranging.

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Thus, the rainbow becomes a symbol of prosperity. I come from Aboriginal ancestry. We have stories of strong ancestral spirit beings and one is called the rainbow serpent. One story says that when the rainbow serpents, one male and the other female, go up in the sky, they take the spirit of everything living in the world and they make love and reproduce. When it rains, the rain gives birth and renews every spirit that had gone up into the sky with them.

Anupama Kundoo - Material matters in architecture

Andreas Ragnar Kassapis Material: Telephone. This object is a phone commonly used in Greece in the s and s. It came to my attention because it was in my studio when I moved there and it belonged to the people who used the space before me. For me, this phone is a symbol of distance. It is a mechanism of distance in collective and personal memory.

During my early research in Areng Valley in Cambodia, I was looking for any material cultural indicators of the indigenous Chong. I noticed they did not have a discernable tangible culture in the present aside from one instrument and wondered why. Surely they must have had something in the past—what did they wear?

The only officially recognized material object in Chong culture is an instrument.