Friday, 29 January 2010

+ Ha-Ha


ha-ha: a sunk fence; that is, a ditch with one sloping side and one vertical side into which is built a retaining wall; a ha-ha creates a barrier for sheep, cattle, and deer while allowing an unbroken view of the landscape.(http://faculty.bsc.edu/jtatter/glossary.html)
The Ha-ha is an expression in garden design that refers to a trench, the inner side of which is vertical and faced with stone, with the outer face sloped and turfed, making the trench, in effect, a sunken fence or retaining wall. The ha-ha is designed not to interrupt the view from a garden, pleasure-ground, or park, and to be invisible until seen from close by.
The ha-ha consorted well with Chinese gardening ideas of concealing barriers with nature, but its European origins are earlier than the European discovery of Chinese gardening.[1] The ha-ha is a feature in the landscape gardens laid out by Charles Bridgeman, the originator of the ha-ha, according to Horace Walpole (Walpole 1780) and by William Kent and was an essential component of the "swept" views of Capability Brown.(http://en.wikipedia.org/wiki/Ha-ha)
Stowe Landscape Gardens and ha-ha

+ The Draughtsman's Contract/ Peter Greenaway





(http://petergreenaway.org.uk/draughtsman.htm)
The Film
An Article

Wednesday, 27 January 2010

+ From Cabinet of Curiosities


A corner of a cabinet, painted by Frans II Francken in 1636 reveals the range of connoisseurship a Baroque-era virtuoso might evince(http://commons.wikimedia.org/wiki/File:Frans_Francken_d._J._009.jpg)
The highly characteristic range of interests represented in Frans II Francken's painting of 1636 (illustration, left) shows paintings on the wall that range from landscapes, including a moonlit scene— a genre in itself— to a portrait and a religious picture (the Adoration of the Magi) intermixed with preserved tropical marine fishes and a string of carved beads, most likely amber, which is both precious and a natural curiosity. (http://en.wikipedia.org/wiki/Cabinet_of_curiosities)

Sunday, 24 January 2010

+ Man Ray / PHOTOGRAMS/ RAYOGRAPHS

(http://www.geh.org)

1921: Man Ray begins making photograms ("rayographs") by placing objects on photographic paper and exposing the shadow cast by a distant light bulb; Eugegrave;ne Atget, aged 64, assigned to photograph the brothels of Paris(http://webpages.maine207.org/east/departments/art/literacy%20website/art%20documents/Photo%20timeline.htm)

+ Golf Swing / Harold Edgerton


"Densmore Shute Bends the Shaft, 1938"
Dr. Harold Edgerton,
the M.I.T. professor who pioneered the art of high-speed photography

Advances in technology have allowed us to observe a level of glorious detail in God's creation that has been previously hidden from us. Dr. Harold Edgerton at M.I.T. pioneered the art of high speed photography, allowing us to see the remarkable movements of the hummingbird, the golfer's swing, and a bullet's path of destruction through an apple.(http://pietyandhumanity.blogspot.com/2009/04/slow-down-and-behold-glory-of-god.html)
* 1931: development of strobe photography by Harold ("Doc") Edgerton at MIT. By adjusting the frequency of the strobe's flashes to the rotation speed of the whirling parts of a motor, he was able to observe the parts as if they were stationary. In 1931 he developed and improved strobes and used them to freeze objects in motion so that they could be captured on film by a camera. HEE designed the first successful underwater camera in 1937 and deep sea electronic flash equipment in 1953. He developed special sonar applications to facilitate location of underwater objects and devised pingers to enable underwater cameras to be accurately positioned above the sea floor. In 1953, he worked alongside oceanographer Jaques Cousteau.(http://webpages.maine207.org/east/departments/art/literacy%20website/art%20documents/Photo%20timeline.htm)

+ Slow motion with high speed camera

http://www.youtube.com/watch?v=s37PU6f2ZfU&feature=player_embedded

+ Magnetic Sculpture

http://www.youtube.com/watch?v=XliOko5xrr0

+ 'Magnetricity' observed for first time - physics-math - 14 October 2009 - New Scientist

'Magnetricity' observed for first time - physics-math - 14 October 2009 - New Scientist

+ The most extreme life-forms in the universe - space - 26 June 2008 - New Scientist

The most extreme life-forms in the universe - space - 26 June 2008 - New Scientist

Wednesday, 20 January 2010

+ Gilpin's picturesque


Penrith castle in 1772 from Gilpin's book on Cumberland and Westmoreland.
In 1768 Gilpin published his popular Essay on Prints where he defined the picturesque as '"that kind of beauty which is agreeable in a picture" and began to expound his "principles of picturesque beauty", based largely on his knowledge of landscape painting. During the late 1760s and 1770s Gilpin travelled extensively in the summer holidays and applied these principles to the landscapes he saw, committing his thoughts and spontaneous sketches to notebooks.
Gilpin's tour journals circulated in manuscript to friends, such as the poet William Mason, and a wider circle including Thomas Grey, Horace Walpole and King George III. In 1782, at the instigation of Mason, Gilpin published Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770 (London 1782). This was illustrated with plates based on Gilpin's sketches, etched by his nephew William Sawrey Gilpin using the new aquatint process. There followed Observations on the Lake District and the West of England and, after his move to Boldre Remarks on Forest Scenery, and other woodland Views ... (London 1791).

For Gilpin, both texture and composition were important in a "correctly picturesque" scene. The texture should be "rough", "intricate", "varied", or "broken", without obvious straight lines. The composition should work as a unified whole, incorporating several elements: a dark "foreground" with a "front screen" or "side screens", a brighter middle "distance", and at least one further, less distinctly depicted, "distance". A ruined abbey or castle would add "consequence". A low viewpoint, which tended to emphasise the "sublime", was always preferable to a prospect from on high. While Gilpin allowed that nature was good at producing textures and colours, it was rarely capable of creating the perfect composition. Some extra help from the artist, perhaps in the form of a carefully placed tree, was usually required.

In contrast to other contemporary travel writers, such as Thomas Pennant, Gilpin included little history, and few facts or anecdotes. Even Gilpin's descriptions can seem quite vague, concentrating on how scenery conformed to picturesque principles rather than its specific character. In one much-quoted passage, Gilpin takes things to an extreme, suggesting that "a mallet judiciously used" might render the insufficiently ruinous gable of Tintern Abbey more picturesque. In the same work he criticises the poet John Dyer for describing a distant object in too much detail. Such passages were easy pickings for satirists such as Jane Austen demonstrated in Northanger Abbey as well as many of her other novels and works. (Elizabeth Bennet, in Pride and Prejudice, notably refuses to join Mr. Darcy and the Bingley sisters in a stroll with the teasing observation, "You are charmingly group'd, and...The picturesque would be spoilt by admitting a fourth.")

Although he came in for criticism, Gilpin had published at the exactly the right time. Improved road communications and travel restrictions on continental Europe saw an explosion of British domestic tourism in the 1780s and 1790s. Many of these picturesque tourists were intent on sketching, or at least discussing what they saw in terms of landscape painting. Gilpin's works were the ideal companions for this new generation of travellers; they were written specifically for that market and never intended as comprehensive travel guides.

Sunday, 17 January 2010

+ Stowe Garden

Charles Bridgeman's plan of Stowe, as it appeared in Views of Stowe, 1739, published by Sarah Bridgeman. The area by the ouse, in the lower part of the plan, contains 'Dutch' canals and parterres, while the upper part derives from the Forest Style.
(http://www.gardenvisit.com/history_theory/library_online_ebooks/tom_turner_english_garden_design/garden_design_mid_in_eighteenth_and_nineteenth_century#ixzz0dAlAnoiM)


Waddesdon Manor


Temple of British Worthies


Rotunda with statue of Aphrodite at Stowe Landscape Gardens
(http://artnarchclub.wordpress.com/2009/03/30/trip-to-waddesdon-manor-and-stowe-landscape-gardens/)


Map locations
1. Concord and Victory
2. Grotto
3. Gothic Temple
4. Temple of British Worthies
5. Temple of Ancient Virtue
6. Palladian Bridge
7. Chinese House
8. Temple of Friendship
9. East Lake Pavilion
10. West Lake Pavilion
11. Articial Ruins
12. Stowe House
Stowe House

Temple of Ancient Virtue

Temple of British Worthies

Palladian Bridge

Gothic Temple

(http://www.bbc.co.uk/oxford/content/image_galleries/stowe.shtml)

+ Picturesque


(The Old Mill, Ambleside 1798, watercolour, University of Liverpool Art Gallery Linithglow Palace c. 1806-7, oil on canvas, Walker Art Gallery)
The picturesque was a concept that emerged in the eighteenth century, embodying a new attitude towards beauty in nature. Theorists such as Gilpin and Uvedale Price encouraged tourists to search for that quality of the natural landscape which was capable of being illustrated in a painting.
The idea was not to make an exact reproduction of the natural landscape but for artists to rearrange a composition as they saw fit. According to Gilpin, the picturesque was distinguished by roughness and ruggedness, as in the outline and bark of a tree or the craggy side of a mountain - qualities illustrated in Turner's, The Old Mill, Ambleside of 1798.
Towards the end of the 1790s, artists began to challenge the notion of the Picturesque, finding more expressive and direct means of depicting the landscape. By the end of the first decade of the new century, Turner had largely abandoned the concept.(http://www.liverpoolmuseums.org.uk/walker/exhibitions/turner/landscape.asp)
(http://www.gardenvisit.comhistory_theorylibrary_online_ebookstom_turner_english_garden_designlandscape_style_of_repton_price_and_knight)

Wednesday, 13 January 2010

+ Toyo Ito / Tower of Winds(1986)


Friedrich Schelling's famous quote, "Architecture is Frozen Music" attempted to find a relationship between the solidity of architecture and the intangibility of music in his era. While the Baroque, and subsequent Rococo, styles in architecture contain a plasticity and flow of ornament that seems to validate the statement, it does not go beyond purely surface characteristics. If we look at the purpose, goal and process of both music and architecture, finding clear relationships is difficult, though this does not deter architects from finding inspiration in music, and vice-versa. A good example of both is Toyo Ito's Tower of Winds, in Yokohama, Japan, and Savvas Ysatis and Taylor Deupree's album of the same name.
During the day the Tower of Winds stands as a 21m tall opaque object, its aluminum cladding shielding the mirrored plates and lights within. At night the lights and reflective surfaces dance to the music of the city, computer-controls reacting to both man-made and natural forces: ambient sounds, wind forces, time of day and season. The images that follow illustrate the variety of patterns and degrees of transparency achieved by a combination of over 1,000 lamps, twelve neon rings, and thirty flood lights, the last situated on the ground and directed upwards within the tower. Ito created a work of art/architecture of simplicity that reflects the complexity and nature of the city and its inhabitants. His influence is the music of the environment combined with our interaction and effect upon it.
http://www.archidose.org/Apr01/040901.html

We will be designing the time just as we design the space?http://www.designboom.com/eng/interview/ito_statement.html

Tuesday, 12 January 2010

+ Salamander


(Scott Camazine web.mac.com/camazine)
Salamander is a common name of approximately 500 species of amphibians. They are typically characterized by their slender bodies, short noses, and long tails. All known fossils and extinct species fall under the order Caudata, while sometimes the extant species are grouped together as the Urodela.[1] Most salamanders have four toes on their front legs and five on their rear legs. Their moist skin usually makes them reliant on habitats in or near water, or under some protection (e.g., moist ground), often in a wetland. Some salamander species are fully aquatic throughout life, some take to the water intermittently, and some are entirely terrestrial as adults. Uniquely among vertebrates, they are capable of regenerating lost limbs, as well as other body parts.
Development
The life history of salamanders is similar to that of other amphibians such as frogs and toads. Most species fertilise the eggs internally, with the male depositing a sac of sperm in the female's cloaca. The most primitive salamanders, grouped together as the Cryptobranchoidea, instead exhibit external fertilisation. The eggs are laid in a moist environment, often a pond, but sometimes moist soil, or inside bromeliads. Some species are ovoviviparous, with the female retaining the eggs inside her body until they hatch.[2]
A larval stage follows in which the organism is fully aquatic or land dwelling, and possesses gills. Depending on species, the larval stage may or may not possess legs. The larval stage may last anything from days to years, depending on the species. Some species (such as Dunn's Salamander) exhibit no larval stage at all, with the young hatching as miniature versions of the adult.
Neoteny has been observed in all salamander families, in which an individual may retain gills into sexual maturity. This may be universally possible in all salamander species[7]. More commonly, however, metamorphosis continues with the loss of gills, the growth (or increase in size) of legs, and the capability of the animal to function terrestrially.
Mythology and popular culture
Main articles: Salamander (legendary creature) and Salamander (legendary creature) in popular culture
Numerous legends have developed around the salamander over the centuries, many related to fire. This connection likely originates from the tendency of many salamanders to dwell inside rotting logs. When placed into a fire, the salamander would attempt to escape from the log, lending to the belief that salamanders were created from flames - a belief that gave the creature its name.[9]
Associations of the salamander with fire appear in the Talmud as well as in the writings of Aristotle, Pliny, Conrad Lycosthenes, Benvenuto Cellini, Ray Bradbury, David Weber, Paracelsus and Leonardo da Vinci.(http://en.wikipedia.org/wiki/Salamander)
1)"Phylogenetic relationships of the salamander families: an analysis of the congruence among morphological and molecular characters". Herpetological Monographs 7 (7): 77–93. 1993. c1993.
2)Lanza, B., Vanni, S., & Nistri, A. (1998). Cogger, H.G. & Zweifel, R.G.. ed. Encyclopedia of Reptiles and Amphibians. San Diego: Academic Press. pp. 60–68.
7)http://www.uoregon.edu/~titus/herp_old/neoteny.htm
9)Ashcroft, Frances (2002). Life at the Extremes: The Science of Survival. Berkeley, CA: University of California Press. p. 112.

+ Super Chameleon

http://www.youtube.com/watch?v=KMT1FLzEn9I
Chameleons give camouflage a run for its money, and this little guy is a champion in the art of adapting to the colors of his environment.(http://www.spikedhumor.com/articles/177800/Coolest-Chameleon-Ever.html)

+ Chameleon- 80th Kasou Grand Prix/ 2nd prize

http://www.youtube.com/watch?v=Y-9pJvNExdM

Sunday, 10 January 2010

+ Ephemeral Lifestyle


Aster satellite image of the new volcanic island called "Home Reef"(NASA/GSFC/METI/ERSDAC/JAROS and U.S./Japan ASTER Science Team,2006)
Ephemeral
adj.1. Lasting for a markedly brief time: "There remain some truths too ephemeral to be captured in the cold pages of a court transcript" (Irving R. Kaufman).
2.Living or lasting only for a day, as certain plants or insects do.
n.A markedly short-lived thing.
[From Greek ephēmeros : ep-, epi-, epi- + hēmerā, day.]
ephemerality e•phem'er•al'i•ty or e•phem'er•al•ness n.
ephemerally e•phem'er•al•ly adv.
Ephemeral things (from Greek εφήμερος - ephemeros, literally "lasting only one day"[1]) are transitory, existing only briefly. Typically the term is used to describe objects found in nature, although it can describe a wide range of things.(http://dictionary.reference.com/browse/ephemeral)
Geographical examples
An ephemeral waterbody is a wetland, spring, stream, river, pond or lake that only exists for a short period following precipitation or snowmelt. They are not the same as intermittent or seasonal waterbodies, which exist for longer periods, but not all year round.
Examples of ephemeral streams are the Luni river in Rajasthan, India, Ugab River in Southern Africa, and a number of small ephemeral watercourses that drain Talak in northern Niger. Other notable ephemeral rivers include the Todd River and Sandover River in Central Australia as well as the Son River, Batha River and the Trabancos River.
Lake Carnegie in Western Australia and Lake Cowal in New South Wales are ephemeral lakes. Lake Tuzkan and Mystic Lake in California are ephemeral.
There are also ephemeral islands such as Banua Wuhu and Home Reef. These islands appear when volcanic activity increases their height above sea level, but disappear over the course of several years due to wave erosion. Bassas da India, on the other hand, is a near-sea level island that appears only at low tide.
Biological examples
Many plants are adapted to an ephemeral lifestyle, in which they spend most of the year or longer as seeds before conditions are right for a brief period of growth and reproduction. The spring ephemeral plant mouse-ear cress is a well known example. Animals can be ephemeral, with brine shrimp being an example.
Ephemeral artifacts
Ephemeral can also be used as an adjective to refer to a fast-deteriorating importance or temporary nature of an object to a person. Brands are notoriously ephemeral assets, magazine publishing was once much more ephemeral than it is today, as was television programming.
A number of art forms can be considered ephemeral because of their temporary nature. Early land art and all sand sculptures, ice sculptures and chalk drawings on footpaths are examples of ephemeral art. G. Augustine Lynas and Duthain Dealbh create ephemeral sculptures.(http://en.wikipedia.org/wiki/Ephemeral)
Ephemeral Arts
Arts which are temporary or short lived, based on a specific occasion or event and transitory in nature.(http://www.ephemeralarts.com/about.htm)
Ephemeral Architecture

A surrealistic work(http://shadowness.com/AegisStrife/ephemeral-architecture)

Wednesday, 6 January 2010

+ Fairy Chimneys


Cappadocian Volcanic Province is characterized by several ignimbritic eruptions that extend large areas with different properties such as thickness and welding. One of the most distinguished features of these ignimbrites is the development of fairy chimneys which are erosional landforms of ignimbrites developed in certain localities within the Cappadocia.
Fairy chimneys formed at different ignimbrites have different shape and size. Both geological and geomorphologic factors played roles on the formation of the fairy chimneys. Evolution of the chimneys occurs in two stages. The first stage is the formation of a suitable surface over which the fairy chimneys are formed. Three main factors that control the formation this surface are degree of welding, thickness of the ignimbrite and amount of topographic slope. In the second stage several other factors play roles to shape the fairy chimneys. (Sayin, 2008)(http://tez2.yok.gov.tr/)
The pictures have taken from http://www.avanosevi.com/tr/kapadokya and http://www.pvv.ntnu.no/~bct/ataturk/imagepages/image28.htm

+ Chirico


The case of Giorgio de Chirico is one of the most curious in art history. An Italian, born in 1888 and raised partly in Greece. He had studied in Munich, and in his early twenties, under the spell of the Symbolist painter Arnold Böcklin, he began to produce a series of strange, oneiric cityscapes. When they were seen in Paris after 1911, they were ecstatically hailed by painters and poets from Picasso to Paul Éluard; before long de Chirico became one of the heroes of Surrealism. De Chirico's painting was appreciated by all the major Dadaist and Surrealist artists and also by the German artists of "Magic Realism", those of the "Bauhaus" and of the "New Objectivity". (http://www.italica.rai.it/eng/principal/topics/bio/dechirico.htm)
(The pictures have taken from http://www.artchive.com/artchive/D/de_chiricobio.html)