Bartlett (Chris)

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    PLEASE CRIT THIS - 2: Kevin Kelly

    Chris Hildrey
    Aug 4, '10 9:25 PM EST

    Unfortunately, due to Kevin Kelly recently impersonating the Bartlett and threatening me with legal action in their name I have decided to remove his work from my blog.

    These legal threats concerned comments I made in an interview with the guys over at Boidus and were made from behind the veil of an anonymous alias ( Please be warned if you get any similar threats from this email account as Kevin is claiming to be able to represent the Bartlett School of Architecture and is threatening legal action and removal from the school should his demands not be met. These claims are false and should be ignored.



    I'm still unsure what Kevin's reasons for doing this were. I had considered him a good friend until I found out by chance he was behind these threats; I'm just sorry that his actions have led to the removal of this post. That said, I'll leave the comments to the original post up (there were 5 at the time of this edit) as there were some interesting discussions made by others.



    • The drawings once again, are extremely well rendered and beautiful. Your class has some talented artists from the small sample you have provided.

      I understand that this is about decadent hermits, and their opulent hermit palaces, sanctuaries of seclusion. I typically imagine hermits alone in their huts, avoiding the prying eyes of society. This scenario puts a grand staircase and entrance, beckoning strangers to enter. Can you be a hermit and embody this kind of architecture? Perhaps the architecture of the secluded individual is more ritualistic and circular, though it's possible that this particular hermit is obsessed with a long grand processional entrance, rising to his domain separate from the ground and the rest of society.

      The DIY recyclable / gaudi aesthetic works well together. The later images read more as character/scene drafts from a pixar movie than an architectural representation.

      Is the general purpose of this project to interpret the architecture of a piece of literature?

      Aug 6, 10 1:57 am

      I love the imagery, but I'm left wondering how the fantasy becomes reality, as an architectural proposal. Speaking of Zumthor, what are the structures made of? How would they be constructed?

      Aug 6, 10 4:25 pm

      i find it intriguing that we are returning to the role of narrative versus performative process as a means of exploring architecture. it is fresh in this way similar to looking at dziga vertov's film is both fresh and old at the same time. that being said, i think the architectural quality of tom's project spoke more to the artful imagination of a divergent architectonic hypothesis with clear rules and goals. kevin's project seems a bit more like a set-design piece. it is conceptually beautiful and has a quality which reminds me of great science fiction imagery, but sadly the architectural qualities of it are more akin to the type of baroque wizadry of elizabethan fashion...which i feel means it is somewhat of a monologue. the rules of the game are very much internalized and hold to a logic held by the author, he is very much the hermit within his project. the artifacts, although beautiful, are meant to be singularly resistant to external examination. in such, it is difficult to comment on them except as an internalized "artful" means of mental catharsis for the artist. in this way, i would like to hear what his intention was for the project...what demons he was wrestling and if the project served its purpose to loosen these demons in a manner that might allow a continuation of the project into an open forum.

      this all being said, i like the explorations that i am seeing and it very much recalls the work being done at cooper union in the late 70s and early 80s. this work is singularly important, in my view, as it's explorations very much laid the groundwork for our current period. in this, i think the re-involvement of narrative devices holds great promise, but also great potential failures. the question seems to become of extent, narrative at its best begs to become a dialogue which establishes the framework for an alternate world which we as readers (or viewers) are encouraged to inhabit or experience...the best of these examples allows the visitor an ability to leave behind his own traces or re-assemble the narrative in his own manner. sadly, the worst of this type of work becomes isolationist and jargon-wrought monologues or overly prescriptive text-books that state only a particular world-view which will be dated quickly. i would be interested to see where this new interest in narrative goes and if we learn from the successes and failures of the past in our re-visitation.

      Aug 6, 10 9:18 pm

      real question is how much of the time spent drawing was exercised exploring the issues of hermetic architecture?

      and why the cheesy architectural-spec human silhouettes? should be some grimey looking mother fuckers, boils and all

      dope drawings none-the-less

      Aug 14, 10 5:09 pm
      Kevin Kelly

      I've been meaning to try and answer some of your questions for awhile now. Here goes...

      These architectures or spaces are deliberately saught by Hermits (to allow them to practice virtues)in the reality that i created. As was asked in one of my crits "what would happen if a group of school kids wandered into one of these spaces?". The answer being that there are no school kids - it is a reality where people live in hermitic isolation.

      I don't necessarily believe the baroque / elizabethian decorative comparison to be a negative one. Personally i am much more interested in the maximilist neo-artifice that current technology allows us to create.

      As for being a monologue - it is deliberately so and you are correct i am the hermit within the project. I deliberately positioned myself as the hermit to explore "hermitic construction" as best i could. It would not be possible (within the timeframe of university) for me to embark on a journey like that of Don Justo.

      As an architect i wanted to find a way to construct these spaces in reality. Of course it is impossible to construct an alternative reality in our reality. So i decided to use a hermitic construction method to build, within our reality, a representation of the spaces in my self created alternative reality.

      With each drawing i tried to take it further with more detail and more texture and more light and shadow. Some of the drawings are 2 meters long and took more than 2 weeks with 8 - 10 hours a day with a 0.025mm tiped pen.

      It was mentioned in every crit that my drawings were inpenetrable. It was not until the final crit that the panel began to enjoy this quality as it allowed them to have a certain enjoyment from the drawings and at the same time allowed me to retain a higher level of hermitic enjoyment from them.

      The construction process of the drawings was hermitic but the construction of the spaces used a symbolic axiomatic approach. The nature of this type of process is such that qualities are extracted from symbols related to the desired program and reassembled into axioms. The axioms do not have to be true as their purpose is to come together to provide us with new possibilities - in this case new spatialities.

      I'm not sure if any of that makes sense. I hope it helps you understand the project. It is quite hard to explain a years worth of thinking and work in a few paragraphs. At best i hope it sparks some dialogue as is the point of these forums.

      Many Thanks


      Sep 3, 10 1:00 pm

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