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Monthly Archives: April 2013

Photo: Phoebe Chard

Photo: Phoebe Chard

Photo: Phoebe Chard

Photo: Phoebe Chard

Photo: Phoebe Chard

Photo: Phoebe Chard

Casting large sections of concrete is normally done in stages, where the previous pour is left to partially set before casting the next section. The Hoover dam was cast continuously in multiple sections, with careful temperature control, but it is an exception. The joint between the new and previous pour is tricky if the aim is to produce a monolithic continuity. The top of the previous pour has relatively little force on it, while the bottom of the new pour on top of it has the weight and pressure of all the concrete above it, pushing the formwork out further than the top of the previous pour. You can see that in this example in Winnipeg, where the second pour starts to fill the gap of the pushed out formwork, and the thickness of the wall increases at the bottom of the second pour. This example is for a housing project, but this similar examples can be found all over the Prairies in the bases to grain silos, where the sort of care normally taken in architectural situations is not required. Once solidified, the forces of formation are petrified in the joint.

Thanks to Phoebe chard for the Photos.

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

The Happiest Man

In the deepest bowels under the University of Westminster on the Marylebone Road is Ilya and Emilia Kabakov’ “The Happiest Man”. The space is largely filled with old cinema seats. The large screen shows segments of rousing Soviet films of rural progress from several decades cut fairly seamlessly together. To one side of the seats (see top picture) is a large box, which contains a room with an atmosphere resonant with several of their previous installations. You can see the film through the window. As with much of their other work, the construction provokes delightfully strange and conflicting thoughts. Well worth a visit if you in London, open until 21st April.

 

Details www.p3exhibitions.com

Clyde Chase Studio, Schindler House

Clyde Chase Studio, Schindler House

A stereo view of Clyde Chase’s studio in the Schindler House. The tilt slab wall sections can be seen through the open canvas screens in the middle.

To view the stereo images, go cross-eyed until one image registers perfectly over the other. You will see three images- concentrate on the middle one. Focus and relax until the three dimensional image appears. If you are having difficulty make the images smaller.

When building his own house in Kings Road, Hollywood (see here and here), Schindler used Irving Gill’s tilt slab method of casting his walls on the floor slab they had already cast. They started casting in Clyde Chase’s studio, where you can see evidence of the burlap separating layer in the castings. Schindler’s studio was the last on the list, by which time they had worked out the process. In Marion Chase and Pauline Schindler’s studios you can see how they got there. Here are samples from Clyde Chase and Rudolph Schindler’s studios.

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Clyde Chase Studio

Rudolph Schindler's Studio

Rudolph Schindler’s Studio

Rudolph Schindler's Studio

Rudolph Schindler’s Studio

Rudolph Schindler's Studio

Rudolph Schindler’s Studio

 

 

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

Lemons

A collection of peeled lemons from 17th century still life paintings at the Ashmolean Museum in Oxford. Sorry about the reflections – most of the photographs are taken looking upwards and there is a myriad of spotlights in the room.

 

VAB

VAB

An interior view of the VAB at Cape Canaveral, made up from five photographs. It is a hard space in which to gauge the scale, but if you look at the handrails for each vertical bay you begin to get an idea.

Quite a thrilling space.