Tuesday, December 7, 2010

Pompidou’s Huts

Architectural haiku by Tadashi Kawamata, Centre Georges Pompidou, Paris

Architectural haikus by Tadashi Kawamata, 2010
Centre Georges Pompidou
Place Georges-Pompidou
Quartier Saint-Merri, 4th arrondissement
Paris, July 2010

“Tadashi Kawamata, a Japanese sculptor and installer, is known for creating urban spaces that utilize simple materials. Often times, Kawamata selects an single item, whether it is a material or an object, that becomes the basic module of a huge construction. His latest spaces are occupying the external façade of the Centre Pompidou in Paris. These timbers huts, which are lined with cardboard, attach on to the existing structural framework, like a parasite, and morph into something entirely new. These precariously hanging wooden huts strongly contrast the highly technical aesthetic of Piano’s and Rogers’ facade. ‘From his reflections on the architecture of the Pompidou Center, its location in the urban fabric, its intimate memory, the Japanese artist invests more locations within the Centre: the Children’s gallery, Forum and exterior facades’, explained the museum.” (Pompidou’s Huts, ArchDaily)

Monday, December 6, 2010

The Bard

William Shakespeare by Giovanni Fontana, Leicester Square Gardens, London

William Shakespeare by Giovanni Fontana, 1874
Leicester Square Gardens
London, October 2009

“A statue of William Shakespeare, by the sculptor Giovanni Fontana after an original by Peter Scheemakers, has formed the centrepiece of Leicester Square Gardens in London since 1874. The marble figure, copied from Scheemakers's 18th-century monument to Shakespeare in Poets' Corner, Westminster Abbey, stands on a pedestal flanked by dolphins at the centre of a fountain. It is the result of improvements to the gardens made by the financier Albert Grant, who bought the Square in 1874 and had it refurbished to a design by James Knowles. The scroll held by Shakespeare is inscribed with a quotation from Twelfth Night (Act IV, Scene II), ‘There is no darkness but ignorance’, where the original in Poets' Corner has a misquoted passage from The Tempest. The Leicester Square statue also differs from its model in omitting portrait reliefs of Henry V, Richard III and Elizabeth I from the plinth on which Shakespeare rests.” (Statue of William Shakespeare, Wikipedia)

Sunday, December 5, 2010

Laocoön and His Sons

“Laocoonte ed i suoi figl” (Laocoön and His Sons), Vatican Museums, Vatican City, Rome

“Laocoonte ed i suoi figli” (Laocoön and His Sons)
Vatican Museums, Vatican City
Rome, September 2010

“The statue of ‘Laocoön and His Sons’, also called the Laocoön Group (Italian: Gruppo del Laocoonte), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height. The sculpture depicts the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. The Laocoön Group has been called "the prototypical icon of human agony" in Western art. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering here suggests neither redemption nor reward. The agony is conveyed through the contorted facial expressions, particularly Laocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining. Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date (27 BC to 68 AD) now being the preferred option. Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.” (Laocoön and His Sons, Wikipedia)
See also: Museums Staircase - Musei Vaticani

Saturday, December 4, 2010

Supervisor

NYPD supervisor's car, United Nations, First Avenue, New York

NYPD supervisor's car
United Nations
First Avenue
New York, September 2007

Friday, December 3, 2010

Poussez

Pharmacie de l'Olivier, rue Monge, Paris

Pharmacie de l'Olivier
Rue Monge
Quartier du Jardin-des-Plantes, 5th arrondissement
Paris, July 2010

Thursday, December 2, 2010

Orme Court

Orme Court, Bayswater, London

Orme Court
Bayswater
London, October 2009

“Orme Court is a low-rise period building that's been converted into a collection of apartments and offices. Its location is highly sought-after, with Hyde Park, Notting Hill and Paddington all within walking distance. The apartment block is also just moments away from both Queensway and Bayswater tube stations for the Central, District and Circle lines.” (Orme Court, HomeViews)

Wednesday, December 1, 2010

Portraits

Portrait artists, Piazza del Duomo, Florence

Portrait artists
Piazza del Duomo
Florence, December 2009