Formé comme architecte à l’École des Beaux-arts de Paris, François Dallegret se consacre depuis 1964 au design d’intervention, tirant son inspiration des arts plastiques et des arts dits technologiques. Ses créations ne sont pas des œuvres d’art visant d’abord la beauté, mais plutôt des « ouvrages d’art », des fabrications qui suscitent réactions, interrogations, interrelations. L’objet de tous les jours se voit investi d’une charge symbolique inusitée              

Jul 30, 2013

francois d electric table

francois d blu

francois d chair


francois d tables


francois d

So interested in Francois Dallegret lately.  A friend recommended his work and said it made him think of ROLU… he used the word omnivorous. Made me happy :-) I bought GOD & CO Francis Dallegret Beyond the Bubble, a book published on the occasion of an exhibition that took place at the AA School of Architecture. Totally recommend it.  Here’s an excerpt / glimpse.  It’s perfect for me too because rather than a bunch of critical essays, it’ a really long interview.

And I always love an architect who never really builds anything.

Please enjoy the Time and Space.

designers seem to be warming up to wood’s rustic charms again. pin-up went for a long walk and brought home a selection of the most interesting new or updated designs, including stools, chairs, benches … as well as some sculpture for good measure….              

Dec 1, 2011

pin-up  magazine fall/winter  issue # 11 is available now!  buy it!

part of rolu’s primarily/primary (after carol bove, scott burton and sol le witt) is featured.
the complete work is available through the phillips de pury shop.
please enjoy the time while it passes.
posted by matt olson

carlos scarpa refused to take the architecture exam administrated by the italian government. consequently, he was not permitted to officially practice architecture and those who worked with him, clients, associates, etc, called him "professor" as a title.              

Aug 15, 2011

carlos scarpa?  amazing.  thanks for the reminder patrick (& clemens!) 
top image via viviane.  
lower image from here where there’s a bunch more.
please enjoy your time.
posted by matt olson

the artist may or may not know everything that lies in their work simply because they are as much an author as a medium for the channeling of different currents and energies (originating elsewhere in time and space and coming to inhabit their practice)…              

Jul 15, 2011

 kito sogo bank morioka branch 1970

mon chapeau (ebihara house) 1969

architext 00 spring 1972

plaza house (w. co. hakone lodge) 1968

villa moby dick (mr. i’s second house) 1966

house of “akari” (tatematsu house) 1967
our old friend a young hare  (formerly known as rolu’s “nic the intern”) made a beautiful post that touched on a bunch of my favorite things.  disintegration / regeneration and the role that memory and time play, the image or photograph as a symbol for something we may believe we know but have never experienced, the coercive nostalgia present in the missing information of a picture that’s been copied too many times… all awesome stuff. 
his post brought so many things to mind. pierre hugye’s the third memory, john cage’s ideas about the space in between the notes in music, uta barth’s description of her work’s exploration of light and shadows… “subtle information, as it is being erased, as it disappears from view, disappears from the world.”  also christine kozlov’s 1970 work – information: no theory and amalia pica’s work dialogue (paper and mountain). and even hauntology, the term jacques derrida coined in spectres of marx  to describe the ghost like traces of the past that accumulate while we are moving into the future.  it’s a term that’s often used in relation to music by ariel pink or john maus (whose new record is fantastic btw.) 
part of nic’s post involves a piece he put together in october 2009 for the rolu blog about toyo ito’s “u house” – gorgeous architecture made even more beautiful by the heartbreaking story that led to its realization.  it is one of my favorite posts he did while he was here.  those distorted images he scanned in the library hung in the rolu studiofor a long time. 
but what i like the most right now is that i’ve never seen the original images of the u house with their visual information still intact… 
i can’t help but think of the scans i share here from an issue of architext 00 spring ’72. nic and i had been obsessed with a lot of the clip, stamp, fold (radical architecture zines from the 60s and 70s) related stuff before he made those ito scans.  for us, the images we loved from those publications started out the way nic’s scans of ito’s house ended up.  
in information theory, the loss of information is described as entropy. 
“if it is true that with each language that disappears from the world, something of the imaginary in the world disappears with it, then it is likewise true that with every language that is translated into another, that imaginary gets enriched, namely by an odyssey of searching and a subsequent fixing of meaning. translation means jumping, and thus means beautiful renunciation. the beauty of this renunciation is what can perhaps at least be discerned in the act of translation.” – édouard glissant
please enjoy the time as it passes, and its memory when it is gone.
all scans taken from scans of architext–00 spring 1972
posted by matt olson

eternal, fragile, mysterious, and clear.              

Jun 5, 2011

music of japan. drops of slow honey
or of invisible gold are dispersed
in a miserly way from a water clock,
and repeat in time a weaving that is
eternal, fragile, mysterious, and clear.
jorge luis borges from music box
translated from the spanish

the picture above is about as mystical looking as architecture photography could get. unreal. it almost looks like the kind of surreal photo you see on a poster in a corporate meeting room with some inspirational saying on it.

maybe i’ll make one with this photo for our office and it will say: dos hombres caminaron por la luna

the picture sets the stage for the following daydream:
i’ve been wandering through the woods alone for days listening to the new espers record, or maybe white magic, or maybe even motohiro nakashima…, and someone wanders out of the house with a lantern and offers me a place to stay for the night and a bath…of course, i’m wearing a thick wool pancho (made in iceland) and a bolero hat…

wow this house is cool isn’t it?
so, usually when i have time to sit down and write about something here, it’s very late, i’m probably slightly manic, most of me is a walking a.d.d. med commercial and yet, i’m really happy (you can probably tell by my previous paragraphs). it’s rare that i get to focus on just one thing for very long and so i love these few moments each week writing here.
hopefully you’ll forgive me for forgetting where i got the pictures of this unbelievable house. even better, maybe you can even help me remember. please. do you know anything about this house? 
i remember the firm’s site being in japanese. i think.
speaking of cool things, here we are on the architectural record web site. thanks to preston koerner aka jetson green. i wonder if he’s related to spider john koerner. i watched him play once in the legendary jim ruiz’s living room. 

absolute clarity. i think living in this house would solve all my problems. it’s about as close to my idea of perfection as i can get right now. pure and boiled down to almost nothing. 
last night i watched richard serra on charlie rose and he declared that “anything that has any utilitarian function at all is simply not art”. i’m a fan of mr. serra’s work (he did kind of bug me during the interview) and i’m usually a fan of people who make sweeping, bold proclamations, but i disagree with him on this. both these structures are art and speak to me in a way that words can’t.

this one called the 20×20 house is really amazing too. i don’t think i’d have chosen red though for the interior. 
it’s hard to imagine it was designed to be a guest house. 
the architect, felipe assadi, is creating a lot of brilliant work right now he’s definitely a favorite of mine. chile seems like a very inspired place right now.

even just looking at both of these minimalist homes helps to calm me down a bit.

this image of the 20×20 sets the stage for the following daydream:
i’ve been wandering through the calera de tango region alone for days listening to the new airrecord or maybe, montag, or maybe benoit pioulard, or maybe keren ann  or maybe beach house… and of course, i’m wearing vintage gucci loafers and a brightly colored caftan… i’m not sure if it’s morning or dusk but the lights are on so…
thank you and goodnight.
posted by matt.

รวมมิตรเว็บ archizoom \(^o^)/ รวมเว็บไซต์ archizoom ♥♥ ข้อมูลเว็บไซต์ archizoom มากมาย ที่นี่ รวมมิตรเว็บ สารบัญเว็บไทย แหล่งรวบรวมเว็บไซต์ ค้นหา archizoom ง่าย หาอะไรก็เจอ. รวมมิตรเว็บ archizoom \(^o^)/ รวมเว็บไซต์ archizoom ♥♥ ข้อมูลเว็บไซต์ archizoom ม              

Apr 20, 2011

andreas angelidakis (he’s kept me busy lately 1 2 3 ) turns up fresh archizoom.
it’s snowing in minneapolis today.  wow.
please enjoy the day… i’m trying.
posted by matt olson

for many architects modernism was a physical manifestation of human progress … to quote from the architecture of good intentions, “the architect could stipulate an intrinsic connection between the form of their buildings & the condition of society."              

Apr 14, 2011

morning routine, le corbusier, palace of the assembly, chandigarh [2010] – iwan baan

panarama cinema (2009) – frédéric chaubin

concrete islands curated by elias redstone analix forever, paris.
would love a copy of this newsprint catalog!
more here.
please enjoy.
posted by matt olson

proportion – is not size – is not weight – is not form – is not an idea – is not studied planning (is planning in itself) – is not large or small (is large and small is grand) – is not heavy or light (is weightless) is not much or little (is everything!)              

Sep 28, 2010


Words that mean more than words by Juliaan Lampens my favorite architect as of late.
More on him and a new book about him later in the week.
Please enjoy the time and space.
posted by Matt Olson

"the neurosis i sought to describe in red desert is above all a matter of adjusting. there are people who do adapt, and others who can’t manage, perhaps because they are too tied to ways of life that are by now out-of-date." antonioni              

Feb 11, 2010

Copy of Global Tools Bulletin no.1 (cover)
There are two strikingly different interpretations of Antonioni’s 1964 film, Il Deserto Rosso.  Many felt the movie highlighted the oppressive and unnatural qualities of Italy’s industrialized landscape in the postwar years.  However, Antonioni intended to show how “even factories can be beautiful.  The line and curves of the factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing.”  The sentiments surrounding this film highlight the simple but important theme of adjusting and the fact that there are those who accept change and those who don’t.
In 1973, a large group of architects, designers and artists gathered “to bridge the alienating gap which has been created between the functions of the hands and those of the mind.”  Known as Global Tools this was the second most important moment for the radicals.  It took place one year after Italy: The New Domestic Landscape, the unifying exhibition which gave rise to the radical’s fame.  in attendance at Casabella’s headquarters in Milan were Lapo Binazzi and the rest of UFO, Germano Celant, Ugo la Pietra, Alessandro Mendini, Franco Raggi, Ettore Sottsass Jr, Archizoom Associati, Remo Buti, Riccardo Dalisi, 9999, Gaetano Pesce, Gianni Pettena, Press, Superstudio and Azigguratt.
The size of the group was massive and scope of the project was highly focused.  The goal was to form a series of seminars and workshops addressing “the study and use of natural techniques and materials” Symbolized by rudimentary tools like a hammer.  Superstudio began acquiring and documenting the simple tools found in southern italian towns, eventually concentrating on the walking stick as an artifact.
Unfortunately Global Tool’s vision was too particular and Superstudio was not the only group.  It seems impossible to have groups like Archizoom, who embraced the effects of modernization collaborating with Superstudio or Gianni Pettena.  Global Tools eventually failed in 1975 after only a single seminar and two magazines.  This moment also highlighted the divisions amongst what seemed to be a focused and unified group of radical architects three years prior at indl.
While groups like Superstudio and Archizoom are often shown in tandem, they seem more like foils.  Archizoom chose to explore the new tenants of a modern Italy, whereas Superstudio began to turn to the past.  I wonder how they each reacted to iI Deserto Rosso.
Enjoy the weekend.
Posted by Nicolas Allinder