socks-studio

Roberto La Forgia “Il signore dei colori”

by fosco lucarelli

comics, illustrations, literature, magazines

Roberto La Forgia is one of those artists whose indisputable talent needs some time to completely bloom. Knowing him since almost six years now we’ve always thought he’s one of the best illustrators and comic artists around, but still, until some days ago, you wouldn’t find a lot of material by him out there. This is no critique at all. Conversely, in a epoch of widespread bulimic production, he used the exact time he needed to investigate and refine his technique, to work on the details, to wait humbly for the moment everything was at its right place, like an old artisan. We remember we received a draft copy of the book he was working on, almost a year ago for a preview. The boards were complete and he only needed some technical overtime to get them ready to print. But Roberto wasn’t completely satisfied with the result and he took his friends’ reviews and comments so seriously he decided to go back and rework half of it. This is something only those few would dare.

Yes, until some days ago, because it happens that his first book – “Il signore dei colori” – is out now and we bet it’s as good as it looks.






“Il signore dei colori” (Lord of colors) is the story of three youngsters becoming adults during a summer. A summer bound to reveal their weaknesses: one will understand he’s not as cool as he thought, another will be humiliated by a little girl, and the third will discover that the love of the adults may hide dark zones, pulsions that one can defend from, only if armed by a genuine naïvety.

The following is the last issue of Mosso, Roberto’s and friend free online magazine, featuring a presentation of the work with comments by Igort, Vincino, Ferruccio Giromini, and Daniel Pellegrino.
Click to download:






































Thomas Carpentier’s “L’homme, mesures de toutes choses”

by fosco lucarelli

architecture, illustrations, information graphics, politics, psychogeographies, satire, visions

Thomas Carpentier’s graduation project at ESA questions the normatization of the human body proportions introduced by early Modernist Architectural manuals such as Neufert‘s, or the “Architectural Graphic Standards” or by the anthropometric scale of proportion devised by Le Corbusier with the name of Modulor.

The ambition of identifing an idealized human proportion was the alleged basis upon which building a new rational and sanitized architecture, but the mere concept of finding a norm out of an ideal body is in fact paradoxical and even discriminatory. Despite that, the Neufert’s manual easily encountered a widespread success, and the standardization today involves not only the human anatomy but also men’s behaviour.






Without futher addition to what has been already and more exhaustively written by Léopold Lambert twice in his blog (“The Modernist Ideology of a Normative Body” and “A Subversive Approach to the Ideal Normatized Body“), we leave you with the work of Thomas Carpentier.

As a parody to the normatization of the body, Thomas focuses his attention to out-of-standard but iconic character’s bodies, such as the one of a culturist, Jabba the Hutt’s, Oscar Pistorius’, Borg Queen’s or David Toole’s. Around their real or fictitious proportions he then re-imagines or create architectural spaces whose main purpose is to accomodate their other standards.

Related:

Frederick Kiesler. Architecture, “Biotechnique”, and a Peek into the Future of the Computer, 1940. Thanks to Ethel Baraona for signaling!

























Past Forward 2012 / The Peak by Zaha Hadid (Domus 1983)

by fosco lucarelli

architecture, illustrations, magazines, past futures, visions

Friends of Think Space, the annual conceptual competition program from Zagreb, Croatia (see our project Grundrisse), have recently unveiled the theme of their 2012 cycle: Past Forward.

Curator Adrian Lahoud looked back to the recent history of architecture and asked the participants to revisit “three competitions that radically transformed architectural culture: The Peak (1982), Yokohama Port Terminal (1994) and Blur Building (1999).” All three winning entries emerged under unique conditions to take up critical positions on the predominant tendencies of their time.”







From the brief:

“The last three decades saw significant change across social, political, and environmental registers. The conjunction of capital flows, mass urbanization and increasingly interconnected cultural and financial networks have reshaped the way we understand, produce and discuss architecture resulting in a breathless cycle of formal and aesthetic transformations. This restless appearance of change conceals an increasing sense of inertia or perhaps even of confusion, in that an intellectual project has yet to accompany the overiding sense of technical virtuosity.”

More infos on Think Space 2012 site.

We’re glad to use this occasion to bring back into surface an old article from the 60′s, 70′s and 80′s architecture magazines archive of the Fabrizi family: here’s the winner of one of the three competitions: The Peak, by Zaha Hadid, a hard-edged suprematist vision for a leasure club in Hong Kong, (Domus 642/1983)

Click to enlarge:


















David Gissen’s Reconstruction of the Mound of Vendôme

by fosco lucarelli

architecture, land art, past futures, people, politics, social, urban chronicles

David Gissen, teacher at CCA, author of Subnature and editor of HTC Experiments, proposed a project of radical reconstruction, a pragmatic statement “drawn from the idea of radical history, the history of politically radical social movements“.

From the descriptive text (read below)
“The term radical reconstruction draws from the idea of radical history — generally, the history of politically radical social movements. A radical reconstruction relates to this tradition but further suggests the reawakening of radical historical thought through acts of architectural or urban reconstruction.”

I’m personally doubtful about the possible outcome of such a project: in fact rather than suggesting the reawakening of radical historical thought, I guess it would end up facilitating the fetishization of radicals spontaneous manifestations.

The following texts are the description of the project and a Petition.













The Mound of Vendome
David Gissen

The Mound of Vendôme (2012) is a project exploring a radical reconstruction of a heap of dirt built by the Commune de Paris in 1871 in front of the Vendôme Column.

Before they toppled the column – a hated symbol of imperialism -, the Communards built the mound to cushion the street and surrounding buildings from the demolition’s impact. Following the suppression of the Commune, the Vendôme Column was rebuilt in 1873. We hope the mound will be rebuilt in 2013. The project to reconstruct the mound consists of an image of a physical proposal (shown at left) and a petition to the Department of Heritage and Architecture for the City of Paris (included below). The petition further explains the purpose of the mound and the reasons why the Commune destroyed the column.

The term radical reconstruction draws from the idea of radical history — generally, the history of politically radical social movements. A radical reconstruction relates to this tradition but further suggests the reawakening of radical historical thought through acts of architectural or urban reconstruction.

The Mound of Vendôme project also positions radical reconstruction more specifically within traditions of 1970s land-art and mail-art. The contemporary collage image was made along with the petition, which explains the project more fully and its ambitions. The historical images that follow the collage image provide more contextual background on the situation of the Vendome Column, the mound, and the Paris Commune.

PETITION

DATE: February 18, 2012
TO: Mr. Jacques Monthioux,
Director of Heritage and Architecture, City of Paris
FROM: David Gissen, Associate Professor, CCA
RE: Rebuild the Mound of Vendôme

In May of 1871, members of the Commune de Paris voted to destroy the Vendôme Column – a towering symbol of Napoleonic military might and triumph. In preparation for the demolition, the Communards built a mound of hay, sand, and urban detritus along the ground, directly in front of the column. The mound protected the windows and walls of the neighboring buildings from vibrations as the column was toppled and pulled to the ground.

Following the column’s reconstruction in 1873, various groups have called for the Vendôme Column to be destroyed again. But instead of destroying this rebuilt monument once more, we ask that another reconstruction join the reconstructed column: We, the undersigned, ask that the Mound of Vendôme be rebuilt in the plaza to commemorate the historical and radical events of 1871. The mound is a symbol of revolution and the column’s destruction, but it is also a symbol of the Communard’s interest in urban care, preservation, and the future of their city. It should be built again.














Already blogged on Socks:
LANDSCAPE FUTURES. INSTRUMENTS, DEVICES AND ARCHITECTURAL INVENTIONS

Technologic wizardries at Paris 1900′s Exposition Universelle

by fosco lucarelli

architecture, electronic arts, past futures, psychogeographies, technology, urban chronicles, visions, world weird itself

Electric machines and light installations, mechanic sidewalks, ramps and escalators, metropolitan lines and hot air ballons were among the urban scale technological achievements showcased at the 1900 World Fair in Paris.

The excitement procured by the merveilles at the Exposition was so high that the concomitant Olympic Games came almost unnoticed by the public.

On an opposite (small) scale, the exposition also introduced the widely famous Matryoshka doll (Russian Nesting Doll).

There’s a lot of material available online, thanks to Things Magazine