Showing posts with label iron. Show all posts
Showing posts with label iron. Show all posts
Tuesday, February 11, 2014
if I had a million dollars
I would buy...{the tabletop edition: paperweights}
An apple weight, from Alder & Co.
J. L. Lawson & Co.'s the modern top paperweight.
A vintage brass bunny, from Salt and Ginger.
Bear paperweights from Rare Device.
And Oji Masanori brass paperweights, from Mjolk.
Monday, July 1, 2013
Tobias Tovera
Deepening Undercurrent, Pigment on panel, 60"x 60," 2008
Entering the Stream, Pigment on panel, 48"x 48," 2011
Rupture, Pigment on Panel, 48"x 48," 2011
I recently fell for San Francisco-based artist Tobias Tovera's moody Diffusions of Pigment paintings after seeing them on Design*Sponge. What a fantastic use of color! These led me to his portfolio site, where I was won over even more by another incredible series, Permutations on Iron. It's remarkable how such a similar feeling can be created using completely different materials.
Ruthenium, Pigment, mineral, solvent, on panel, 36"x 48," 2013
Marrow I, Pigment, mineral, solvent, on panel, 48"x 48," 2012
Nimbus, Pigment, mineral, solvent, on panel, 36"x 36," 2012
See more on Tovera's website.
Tuesday, October 16, 2012
if I had a million dollars
I would buy...{the gardening edition: planters}
One of Pigeon Toe Ceramics' Scribble Hanging Planters.
A neon Plant-A-Saurus Dinosaur Planter, from ShelterBlack.
One of Terrain's Antique Patina Pots.
A Glass Terrarium, from West Elm.
And one of ShelterBlack's Gardenstate Hanging Pots.
Wednesday, August 1, 2012
Francesco Librizzi - interior with stairs
(Via Design Milk. Photographs by Giovanna Silva for domus)
Friday, April 20, 2012
Designer of the Month: Antoni Gaudí
Week 3: Casa Batlló and Casa Milà
While the Palau Güell brought a high level of visibility to Antoni Gaudí, the response wasn't all positive. The building was the source of much speculation and curiosity during its construction, and for a time, it even served as as a source of many jokes. The daily paper La Vanguardia stated that a dungeon and lion's cage from Biblical times has been discovered on the site, while the satirical magazine ¡Cu-Cut! published a cartoon of the facade with the remarks of two astonished citizens: "This looks like a jail," one proclaims; "No it's the house of a gentleman," the other replies.[1] Not that any of this criticism and satire seemed to bother Gaudí. He not only refused to be put off by others' reactions, but became known for his own witticisms and rejoinders.
But Palau Güell was just the first of what would be many prominent residences with which Gaudí would decorate the streets of Barcelona. In 1904, Gaudí was commissioned by Josep Batlló Casanovas to make dramatic alterations to a building that he owned on the fashionable Passeig de Gràcia, an open-air avenue where Barcelona's high society gathered to stroll and be seen.[2] As with earlier projects by Gaudí, the construction of Casa Batlló (1904-1907) was eagerly followed by Barcelona's residents, and it's safe to say that the finished product did not disappoint. From the slender columns of sandstone and balconies suggestive of human bones, details which earned it the nickname Casa dels Ossos (House of Bones), to its scale-like multicolored slate whose sinuous form evokes the figure of yet another dragon, Casa Batlló is a shimmering, fantastical residence.[3] And of course, in addition to creating this remarkable facade, Gaudí was just as meticulous with the interior of Casa Batlló, designing such features as undulating, sculptural rooms; impressive stained-glass windows; a multi-toned, glass-tiled well; and over 60 arches that make up the loft-like interior of the roof.[4]
Upon seeing the unique residence that Gaudí had designed for Batlló, Pedro Milà Camps, not to be outdone by his friend and business partner, promptly commissioned an apartment building of his own on the same avenue, but in an even more visible location.[5] Once again, the city went wild with speculation. Casa Milà (1906-1910), also known as La Pedrera ("The Quarry"), was characterized as everything from a hanger for zeppelins and an Easter cake to the result of an earthquake - none of these descriptions, however, do the building proper justice.[6] With its undulating facade of stone (hence, the nickname), punctuated by fanciful wrought iron balconies, there have been many theories as to Gaudí's inspiration for its design, which vary from ocean waves to that of a mountain crowned by a cloud.[7] As Lluís Permanyer describes this unique structure:
[1] Lluís Permanyer, "Introduction: The Man and the City," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 9.
[2] Ibid., 9, 128.
[3] Casa Batlló online, "Enjoy Yourself: CB Top 10, Special Corners," http://www.casabatllo.es/en/special-corners/, (accessed April 19, 2012).
[4] Casa Batlló online, http://www.casabatllo.es, (accessed April 19, 2012).
[5] Lluís Permanyer, "Introduction: The Man and the City," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 9-10.
[6] Ibid., 10.
[7] Lluís Permanyer, "The Works: Illustrations and Commenteries," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 150.
[8] Ibid., 158-160.
Antoni Gaudí, Casa Batlló, 1904-1907, Barcelona. Photo © Adrian Beesley/iStockPhoto.com. Courtesy of About.com.
While the Palau Güell brought a high level of visibility to Antoni Gaudí, the response wasn't all positive. The building was the source of much speculation and curiosity during its construction, and for a time, it even served as as a source of many jokes. The daily paper La Vanguardia stated that a dungeon and lion's cage from Biblical times has been discovered on the site, while the satirical magazine ¡Cu-Cut! published a cartoon of the facade with the remarks of two astonished citizens: "This looks like a jail," one proclaims; "No it's the house of a gentleman," the other replies.[1] Not that any of this criticism and satire seemed to bother Gaudí. He not only refused to be put off by others' reactions, but became known for his own witticisms and rejoinders.
But Palau Güell was just the first of what would be many prominent residences with which Gaudí would decorate the streets of Barcelona. In 1904, Gaudí was commissioned by Josep Batlló Casanovas to make dramatic alterations to a building that he owned on the fashionable Passeig de Gràcia, an open-air avenue where Barcelona's high society gathered to stroll and be seen.[2] As with earlier projects by Gaudí, the construction of Casa Batlló (1904-1907) was eagerly followed by Barcelona's residents, and it's safe to say that the finished product did not disappoint. From the slender columns of sandstone and balconies suggestive of human bones, details which earned it the nickname Casa dels Ossos (House of Bones), to its scale-like multicolored slate whose sinuous form evokes the figure of yet another dragon, Casa Batlló is a shimmering, fantastical residence.[3] And of course, in addition to creating this remarkable facade, Gaudí was just as meticulous with the interior of Casa Batlló, designing such features as undulating, sculptural rooms; impressive stained-glass windows; a multi-toned, glass-tiled well; and over 60 arches that make up the loft-like interior of the roof.[4]
Upon seeing the unique residence that Gaudí had designed for Batlló, Pedro Milà Camps, not to be outdone by his friend and business partner, promptly commissioned an apartment building of his own on the same avenue, but in an even more visible location.[5] Once again, the city went wild with speculation. Casa Milà (1906-1910), also known as La Pedrera ("The Quarry"), was characterized as everything from a hanger for zeppelins and an Easter cake to the result of an earthquake - none of these descriptions, however, do the building proper justice.[6] With its undulating facade of stone (hence, the nickname), punctuated by fanciful wrought iron balconies, there have been many theories as to Gaudí's inspiration for its design, which vary from ocean waves to that of a mountain crowned by a cloud.[7] As Lluís Permanyer describes this unique structure:
Casa Milà is actually two buildings, each arranged around a curvilinear central patio, and each with a central entrance...if one of the characteristics of the modernista period was indeed a lack of structural innovation, Casa Milà is not only avant-garde but truly revolutionary in this respect. Thanks to a framework of pillars and steel girders, Gaudí was able to eliminate bearing walls, and thus could alter the distribution of space on each floor as much as he liked. The same asymmetry that governs the facade also characterizes the interior.[8]
[1] Lluís Permanyer, "Introduction: The Man and the City," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 9.
[2] Ibid., 9, 128.
[3] Casa Batlló online, "Enjoy Yourself: CB Top 10, Special Corners," http://www.casabatllo.es/en/special-corners/, (accessed April 19, 2012).
[4] Casa Batlló online, http://www.casabatllo.es, (accessed April 19, 2012).
[5] Lluís Permanyer, "Introduction: The Man and the City," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 9-10.
[6] Ibid., 10.
[7] Lluís Permanyer, "The Works: Illustrations and Commenteries," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 150.
[8] Ibid., 158-160.
Friday, April 13, 2012
Designer of the Month: Antoni Gaudí
Week 2: the patronage of Eusebi Güell
Antoni Gaudí graduated from Barcelona's Escola d'Arquitectura in 1878 and launched directly into a career as an architect. 1878, in particular, would be an important year for Gaudí. It was the year he designed the cast iron and bronze street lamps for the Plaça Reial, his earliest existing works, as well as the year that Gaudí would come into contact with Eusebi Güell, a man who would become his most significant patron.[1] Now, while it's easy to focus on just the designer and skim over the other people who had a hand in his career, the vital nature of patronage for Gaudí simply can not be underestimated. As Lluís Permanyer explains,
Although one can clearly see the influence of the many different architectural styles that were fashionable throughout Gaudí's life within his work - Art Nouveau, Gothic Revival and Modernisme, most clearly - it's important to remember that Gaudí's work was, and still is, quite unlike anything else. Güell was especially influential to Gaudí simply because he was so enamored of Gaudí's designs, allowing him the freedom to create commissions that were significant in both their scope and diversity.[3] This included not only work that Gaudí was given because of Güell's patronage, but personal projects as well, such as Finca Güell, Palacio Güell, Park Güell, and Colonia Güell. The first of these commissions, Finca Güell (1884-87), was a large project that included such features as a wall marking the property boundaries, three entrance gates, an arbor and foundation, and modifications to the residences; today, only the main gate, flanked by a caretaker's lodge and coach house with stables are the spectacular remnants of a remarkable estate.[4] While the brick structure of the caretaker's lodge, covered in a beautiful array of ceramic tiles and mosaics, is a striking example of Gaudí's early architectural aesthetic, it's the gate itself that captures most people's imaginations. Composed of cast wrought iron plates, each stamped with the image of a rose, the gate boasts an extraordinary wrought iron dragon as its guard, a reference to the mythological garden of Hesperides.[5]
Güell was so pleased by the work that Gaudí had done on Finca Güell that he then commissioned the architect to design a new town house for his family. The Palau Güell (1885-90), conceived of as a venue for social gatherings and as a contemporary symbol of the family's status, was designed to compliment and be linked to the Güell's existing house on central Barcelona's famous la Rambla.[6] Although, with its Gothic sensibilities, the palace and its interiors represent a very different style of architecture than what can be seen in Finca Güell, Gaudí's influence in all aspects of the building's design is evident at every turn. As Permanyer explains about the unusual nature of this structure:
[1] Lluís Permanyer, "Introduction: The Man and the City," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 8, 15.
[2] Ibid., 7.
[3] Ibid., 8.
[4] Lluís Permanyer, "The Works: Illustrations and Commentaries," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 34.
[5] Ibid., 34.
[6] Ibid., 44.
[7] Ibid., 46.
[8] Ibid., 44.
Antoni Gaudí, Finca Güell Caretaker's Lodge, 1884-87, Barcelona. Courtesy of Gaudí: Designer.
Antoni Gaudí graduated from Barcelona's Escola d'Arquitectura in 1878 and launched directly into a career as an architect. 1878, in particular, would be an important year for Gaudí. It was the year he designed the cast iron and bronze street lamps for the Plaça Reial, his earliest existing works, as well as the year that Gaudí would come into contact with Eusebi Güell, a man who would become his most significant patron.[1] Now, while it's easy to focus on just the designer and skim over the other people who had a hand in his career, the vital nature of patronage for Gaudí simply can not be underestimated. As Lluís Permanyer explains,
Gaudí was fortunate to have lived at a time in which he received the patronage of clients who gave him a great deal of latitude, financially and aesthetically, to produce audacious and often unorthodox work. He caught the attention of prominent members of a bourgeoisie that enjoyed ever-increasing prosperity, self-confident men who wanted to distinguish themselves in every way possible. These successful merchants and industrialists found in architecture not only a form of investment, but also a significant and visible medium through which to convey their identity.[2]
Antoni Gaudí, Finca Güell Gate, 1884-87, Barcelona. Courtesy of Gaudí: Designer.
Although one can clearly see the influence of the many different architectural styles that were fashionable throughout Gaudí's life within his work - Art Nouveau, Gothic Revival and Modernisme, most clearly - it's important to remember that Gaudí's work was, and still is, quite unlike anything else. Güell was especially influential to Gaudí simply because he was so enamored of Gaudí's designs, allowing him the freedom to create commissions that were significant in both their scope and diversity.[3] This included not only work that Gaudí was given because of Güell's patronage, but personal projects as well, such as Finca Güell, Palacio Güell, Park Güell, and Colonia Güell. The first of these commissions, Finca Güell (1884-87), was a large project that included such features as a wall marking the property boundaries, three entrance gates, an arbor and foundation, and modifications to the residences; today, only the main gate, flanked by a caretaker's lodge and coach house with stables are the spectacular remnants of a remarkable estate.[4] While the brick structure of the caretaker's lodge, covered in a beautiful array of ceramic tiles and mosaics, is a striking example of Gaudí's early architectural aesthetic, it's the gate itself that captures most people's imaginations. Composed of cast wrought iron plates, each stamped with the image of a rose, the gate boasts an extraordinary wrought iron dragon as its guard, a reference to the mythological garden of Hesperides.[5]
Antoni Gaudí, Palau Güell Facade, 1885-90, Barcelona. Courtesy of Gaudí: Designer.
Güell was so pleased by the work that Gaudí had done on Finca Güell that he then commissioned the architect to design a new town house for his family. The Palau Güell (1885-90), conceived of as a venue for social gatherings and as a contemporary symbol of the family's status, was designed to compliment and be linked to the Güell's existing house on central Barcelona's famous la Rambla.[6] Although, with its Gothic sensibilities, the palace and its interiors represent a very different style of architecture than what can be seen in Finca Güell, Gaudí's influence in all aspects of the building's design is evident at every turn. As Permanyer explains about the unusual nature of this structure:
In the interior spaces, Gaudí's highly individual approach and rejection of precedent is evident in every detail. The main entrance leads down to the basement, as well as up to the formal rooms of the palace. The stables were located below, reached by a spiral ramp, and the space is surprisingly beautiful. Through the use of humble materials such as brick and tile, Gaudí was able to attain an unwonted expressiveness. The broad, unadorned columns preside with aplomb over this unique complex.[7]A significant work for both patron and architect, as well as Gaudí's largest commission to date, Palau Güell established Gaudí as a highly visible presence within the city.[8]
[1] Lluís Permanyer, "Introduction: The Man and the City," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 8, 15.
[2] Ibid., 7.
[3] Ibid., 8.
[4] Lluís Permanyer, "The Works: Illustrations and Commentaries," from Gaudí of Barcelona, ed. Lluís Permanyer, (New York: Rizzoli International Publications, Inc., 1996.), 34.
[5] Ibid., 34.
[6] Ibid., 44.
[7] Ibid., 46.
[8] Ibid., 44.
Tuesday, October 4, 2011
if I had a million dollars
I would buy...{the furniture edition: coffee tables}
This vintage industrial coffee table, from brandMOJO interiors.
An icon of design, the Noguchi Table, available at Design Within Reach.
One of bookhou's random patterned steam bent tables.
The clever Three Sixty Table, available at The Future Perfect.
And any of Palo Samko's incredible pieces, such as the 5 Birds Coffee Table.
Monday, September 19, 2011
plantable
The Plantable reintroduces nature back into the experience of gathering, cooking and eating a meal. It takes a currently domesticated object and enables nature to claim it back.
The space provided for plants to grow in the four legs reflects on the distance we place between ourselves and the processes involved in making our food. We’ve tried and tested climbers, tomatoes, herbs and sweet peas.
(Via contemporist)
Thursday, June 9, 2011
slow wood
(Via sfgirlbybay)
Wednesday, June 1, 2011
cafeteria kitchen table
Wednesday, July 22, 2009
rust never sleeps
As promised, although a day late, here are some more Penland pictures:
As I've mentioned before, iron is a pretty new medium for me. I'd done a little bit of playing around with it and little bit of welding before, but not much more than that. Normally, I'm a glassblower, and so while I actually did manage to (mostly) stay out of the glass studio and focus my attention on iron, I did like to go and occasionally watch a demo or two. As you can see, the class was all about sculpting, and this glass Ganesh, made by the class's instructors, was so amazing that I had to take a picture.
My forging area. You can see my little anvil and hammer up front. The beginnings of a fire in the forge are in the background.
I really have never seen so many crazy looking bugs in my entire life as there seem to be in the mountains of North Carolina. This moth is nothing compared to some of the giant guys I've seen, but I thought that he looked nice on the vice.
Some instructions on the beginnings of a piece that I was working on, drawn on the floor for me by my instructor.
These are all work done by my instructor, Nathan Blank. You can get a good idea by looking at this of the types of things that he demoed for the class: drawer pulls, knobs, spatulas, towel racks, candle sticks, and many other household items.
And this is what I took home with me. Two hooks, two different types of bottle openers, and one toilet paper holder. I also made a towel rack, which went into an auction, some barbecue skewers, which I gave to my dad for his birthday, and a whole lot of other hooks, which all got traded for other things. Not bad for someone who basically started out knowing nothing about blacksmithing to make over a two week period.
As I've mentioned before, iron is a pretty new medium for me. I'd done a little bit of playing around with it and little bit of welding before, but not much more than that. Normally, I'm a glassblower, and so while I actually did manage to (mostly) stay out of the glass studio and focus my attention on iron, I did like to go and occasionally watch a demo or two. As you can see, the class was all about sculpting, and this glass Ganesh, made by the class's instructors, was so amazing that I had to take a picture.
My forging area. You can see my little anvil and hammer up front. The beginnings of a fire in the forge are in the background.
I really have never seen so many crazy looking bugs in my entire life as there seem to be in the mountains of North Carolina. This moth is nothing compared to some of the giant guys I've seen, but I thought that he looked nice on the vice.
Some instructions on the beginnings of a piece that I was working on, drawn on the floor for me by my instructor.
These are all work done by my instructor, Nathan Blank. You can get a good idea by looking at this of the types of things that he demoed for the class: drawer pulls, knobs, spatulas, towel racks, candle sticks, and many other household items.
And this is what I took home with me. Two hooks, two different types of bottle openers, and one toilet paper holder. I also made a towel rack, which went into an auction, some barbecue skewers, which I gave to my dad for his birthday, and a whole lot of other hooks, which all got traded for other things. Not bad for someone who basically started out knowing nothing about blacksmithing to make over a two week period.
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