The Drawing Machine

Harvey Moon's new Drawing Machine is one of the coolest new artistic contraptions that I have recently come across.  Essentially, he designed computer software algorithms to control a pen, which can produce pretty amazing results.  How it works: the computer reads an image file and interprets it into a sketchy yet realistic and accurate replication. One thing to note about his machine is that it actually works (according to the video on his site).  I have seen similar devices like this in the past, but the images that they produced hardly compare to the quality that is on his Kickstarter page.  

[images: The Drawing Machine]

Trey Anastasio's New Guitar

For those of you that follow the band Phish, you might have noticed the new look of the lead guitarist's - Trey Anastasio - guitar.  Paul Languadoc, a luthier and former sound engineer of Phish, built him his new axe this last year and gave it to him to play this summer.  The body and neck are carved out of koa, an expensive wood from Hawaii, while the fretboard, bridge, and tailpiece are carved from ebony.  Trey has owned a number of different versions of this Languadoc design with the main differences being the wood selections and the electronics.  The original prototype, built in the 1980's for Trey was based off of the Fender Starcaster.  For a more detailed specification of his rig visit strangedesign.org.  Enjoy...   

[images: the fifth corner]

Mapping Friends

If you haven't seen this yet it's worth taking a look at. It is an image titled The Facebook Map of the World, and was released earlier this month by the web giant Facebook. Essentially, it maps connections made through "friends" on the website, the densest of which are in the white areas of the map. It's interesting to note that the map does not contain any geographical or political borders at all, but instead just "friend" connections. Take a look...

[image: fastcodesign.com]

Apocalyptic Architecture

As quoted by Jean-Pierre Roy at length:


'My paintings are the result of a life spent wanting to know what forces make up the cosmos. They are totems to the sublime nature of change, and pictoral meditations meant to slow our passage through the 4th dimension. It is the search for a balance of opposing forces - atomic cohesion vs. repulsion, the manufactured vs. natural systems of organization, precision vs. abstraction, hard vs. soft, and broken vs. whole - that drives my desire to discover the divine systems of the universe.


While asknowledging their cinematic escapist influences, my dystopian constructions of a new American Mythology join a more psychological tradition of apocolyptic self-exploration and spectacle...a 'romantic landscape' born of a post-Hollywood age.'

I Never Meant to Remember All This, oil on panel

Dream of Parted Steal, oil on canvas, 2008

We Make Our Own Meridians, oil on panel, 2008

The End of the Old Model, oil on canvas, 2008

The Parade of the Blind Traveller, oil on canvas, 2007

The Defeat of Anthropy, oil on canvas, 2007
[All photos by Jean-Pierre Roy]

OFF THE RADAR - Kanner Architects

To start, this is the first of what will be called my "Off The Radar" series. As the title implies, it is only going to include new and noteworthy projects in the construction phase that haven't (or almost haven't) been published. One of the perks of living in Los Angeles is that I often see these eye catching projects while driving around in my car. Let me rephrase that: because of the traffic in Los Angeles I am often sitting in my car and I am able to look at mostly hideous architecture, although sometimes credible and inspiring architecture too.


This condo building is almost completed with the exception of a few minor landscaping punch list items. As I stated before, I drove past this building and made a mental note to head back some day and take a gander with my camera. I knew that I would eventually write a blog entry, so it made sense.

The condo complex was designed by Kanner Architects, a well known firm of 20, located in Santa Monica, CA. They are familiar with condo design and it shows. They are known for certain project types with colorful a exterior and a softer, more neutral interior. Apparently the starting price, which might be subject to change in this economy, is $529,000. That's actually not too bad for LA. The only unfortunate part is the site - it's almost underneath the 405 freeway. We'll see how these sell off...


It's definitely a well done condo building. Have yet to see any floor plans...

All four facades have a smooth coat plaster finish, stainless steel windows, metal sills and metal coping. The depth and intricacy of the four facades is mainly achieved by the use of color and syncopated massing. Although the building is mainly a monolithic block, the solid and void interplay on the facade give it interest.

[Photos: The Exposition, 22 - Architectural Flex-space Condos; image source]

RHODES ARCHITECTURAL STONE

This last week, a representative from Rhodes Architectural Stone gave a lunch hour presentation that had a little more oomph than your average talk. Going against all expectations, this one hour talk about stone was definitely worth my time. He started off by giving some facts about the main architectural stones used today - limestone, sandstone, and granite - and then talked about water and how these stones react to it. He then shifted the talk to using the correct proportions for a stone, which was pretty subjective, depending on the project type and location. He stated that many architects get the proportions completely wrong when it comes to stone, giving the overall project a less credible appearance. An example of his was how a stone lintel should extend a bit beyond the opening to give it a realistic look. It sounds obvious, but then he supported it with a series of pictures showing how many noted architects get it wrong. He's absolutely right. From there he talked about the grain of the stone and how crucial it is to the cut and placement of the stone on a facade, patio, pool coping or any other use. He noted that H.H Richardson must have really understood stone, mainly because he understood the grain of stone. If the grain (esp. in limestone) is not taken into consideration when writing specifications then we leave that to the hands of the sub-contractor, who can and usually does get it wrong. In the case of limestone, if it's used on a facade with the grain running vertically, then it could slowly peel away over the years. Finally, he talked about how they specialize in reclaimed stone from all over the world. In some cases, the stone was taken from parts of China and is 2000 years old. Apparently the more orange patina a stone has (like granite, for example), the older it is. It was a very informative talk on a fairly mundane topic. Who knew?

[images from RAS] 

CORTEN STEEL

Over the past 8 years the new look of rust in architecture has really begun to be accepted. Below are a few dynamic examples of the material.

[Iglesia de Santa Monica in Madrid, Spain by Vicens + Ramos / photograph by z.z.]

[Tubac House by Rick Joy Architects / image source]

[Casa Jax by Rick Joy Architects / image source]

[Safari Drive in Scottsdale, AZ by Miller Hull Partnership, LLP / photograph by hellothomas]