Some views of the three experimental sound mirrors at Denge near Dungeness. When I first visited you could walk out to them (in the middle of a gravel pit). There is no longer any mining there and a swing bridge keeps the island with the mirrors on secure. They were built as a way of listening out for and locating hostile aeroplanes. but they were made redundant by the emerging radar technologies. There are a few more dotted along the coast. The largest mirror (to the left in the bottom view) is 200 feet across.
A plaster stair model from the museum La Cité de l’Architecture et du Patrimoine in Paris.
I noticed that over the past year people from one hundred countries have visited this blog – thank you for taking an interest!
The Beinecke Rare Books and Manuscripts Library at Yale University in New Haven was opened in 1963. It was designed by Gordon Bunshaft of SOM. The marble wall panes are one and a quarter inches thick. The views show daylight coming through the marble.
A very old drawing i just found from when i started working with Polaroid Transfers. The original image is from a book on mannequins. This is from around the time I started the first body projects and was wondering if all the pieces would be inside or outside the body. The airbrushing is quite crude, with very little reflected colour in the shadows. This one is made from 669 Polaroid – for the body projects I used type 59. It is a pity the material is not still made or that the Impossible Project have not revived the peel apart films.
I hope the new instruments will be up and running before too long, but these are the last three throws of paint I made, almost two years ago. In each of them there is a similar amount of paint and the paint catapult is left on the same settings. You can see how repeatable the aim is, and although the character of the flight of paint varies it is also more consistent than the earlier throws. In switching from projecting light to paint one of the reasons was to make the shadow (splatter) a less controlled event but also I anticipated that my catapult would not be as accurate and repeatable as it turned out. During my work with the sequence of paint-throwing instruments I learnt more about how to control them, so I have been building a more sophisticated version that I hope will lose control a bit more for the next series, although inevitably the process will repeat itself.
I should confess i am not a great Neutra fan. I suspect it might be because I compare him too much with Rudolph Schindler, whose best work I admire immensely and the ideas that you read in Neutra’s work you experience more directly in Schindler’s. Neutra’s VDL Research House in Silverlake, Los Angeles, is full of effects and while these might not individually be satisfying, the slightly awkward assembly of the parts is very charming.