was greg lynn ever about anything other than form?.....i don't think he has ever denied his passion for glossy, blobular forms...it's just that now he doesn't even try to pass it off as architecture anymore. now it's just playing with play-doh and calling it an exhibit. Duchamp and Warhol would be proud....
Do you even know what those projects are?
That's not Greg Lynn's work. This was part of a show called Intricacy, curated by Greg Lynn two years ago. Those "red globby things" are called Scumak a project by artist Roxy Paine he builds machines that reproduce the vagaries of man-made actions. His work is amazing.
Some googling around might "enlighten" this thread.
have fun!
If it helps el jeffe, I'll camoflauge my haiku, with one line sentence.
Sep 23, 05 5:53 pm ·
·
Yeah, Roxy Paine is heavily into reenactment (whether he knows it or not).
Anyone here also actually visit/see the Intricacy exhibit? I wasn't all that impressed. "Force fit" often came to my mind, besides reenactment, that is.
Rita,
I was able to see Roxy's work here (I'll take what I can as it blows thru the high desert like a tumbleweed) but tell me more about the reenactment reading.
Sep 23, 05 6:28 pm ·
·
el jeffe, I want to tell you more, but right now I'm not sure if I'm confusing Paine with another artist. There is an artist that devised a machine that 'reenacted' the human digestive system, which ultimately produced turds. I can't readily find any exact reference online right now (but I know its in a magazine I have somewhere). This digestion machine looks a lot like the blob making machine of Paine, so maybe that's why I'm (possibly) confused.
Paine's aluminium tree and the specimen display cases of "second nature" have a strong reenactment quality. Plus the whole notion of "second nature" implies a reenactment (albeit with degrees of separation) of "first nature".
If I'm correct in thinking that Paine also did the digestion machine, then the notion of reenactment within his work is even more sound.
in some of the other conversations there are heated discussions about why architects can't command respect from the general public, why we don't make more, and why people think architecture is frivolous. should i just link them to this thread?
i mean - the greg lynn exhibit at the top and that pic lifeform posted (which i hope is the work of an artist) - wtf are we doing? if it's experimental and can lead to something useful, great, but let's keep it to ourselves for now, shall we? don't want the public to see what 'architecture' is about if this is what we've got.
'slowly i am
losing the respect i had
for greg lynn
and his endevours
which are being
reduced to form finding only'
as far as i can remember, greg lynn has always been greg lynn ( greg lynn as we know him - rather than a naurical creature,from shore to shore. as in gehry or graves ).
your respect lost must have nothing to do with how much more or less form finding he does now.
a columbia graduate who describes something as 'amazing' and 'globby'. what are they teaching kids these days. they probably smoke some hashish between max and maya tutorial *shock horror*.
if i care, i would have believed warhol wouldn't really have cared. first he was too much of an egoist to admire or admit much that wasnt of his making or publicizing(even garbage) and secondly it doesnt strike me as being his sense of humour. lynn seems a bit too goodie two shoes. and cummon, those forms are every bit dirtyminded as i am virginal. they're ultrahygienic. even alessi cutlery is more 'erotic'.
What are all of you scared of? Krisitx!, why does this exhibition and the work shown frighten you so much that you feel the need to try and contain it through being hateful? The most enlightening fact about those of you who put this exhibition down is how little you actualy knew of it, who the artists were, what work belonged to whom, etc...which is what makes me believe that you simply are scared of what you dont know, instead of honestly critical or the work shown.
Confront your fears. Youll enjoy life and architecture much more.
dear whore:
As you might have noticed the term "globby" was intented to fit more with the crowd usually found around these posts. Nothing usefull ever comes out from these threads given the fact that a grand majority relies on this posts to express their frustrations with the profession and architectural academia.
PS: I have to say that the dildo shown above works quite nicely as a "near figure" approach to architecture...gotta love the baroque. ;)
"Nothing usefull ever comes out from these threads..."
...talk about posts to express denial.
I'm not an expert, but I am interested in the subliminal effect of costly tuitions. I mean, how can you not automatically defend that which cost you so much to learn?
No one ever tells you how much fun it is to bite all the hands that don't feed you.
Does anyone know why sometimes an image post is successful, then the next day gives you an ad like the angelfire one above? Is there a way to circumvent this?
cognitions and judgements must, along with the conviction that accompanies them, admit of universal communicability; for otherwise there would be no harmony between them and the Object, and they would be collectively a mere subjective play of the reepresentative powers, exactly as scepticism desires. But, if cognitions are to admit of communicability, so must also the state fo mind, i.e. the accordance of the cognitive powers with a cognitiongenerally, and that proportion of them which is suitable for a representation(by which the object is given to us) in order that a cognition may be made out of it-admit of universal communicability. For without this as the subjective condition of cognition, cognition as an effect could not arise. This actually always takes place when a given object by means of Wense excites the Imagination to coolect the maniflod, and the Imagination in its turn excites the Understanding to bring about a unity of this collective process in concepts. But this accordance of the cognitive poweres has a different proportion according to the variety of the Objects which are given.
the plasters gettin harder and my love is perfection.
a token of my love for her collection.
plaster caster plaster caster
grab hold of me plaster faster
if you wanna see my love just ask her
The only problem I have with Greg Lynn is that in all of his experimentation with form, his ideas very rarely become an inhabitable building. Because his work relies so heavily on machining, it's hard to emulate the same intent at a larger scale.
The Dildo was a good comparison, everything is already phallic.
Greg Lynn Form VS Dildo Arch-Studio
Can you find the difference between this
and this
...so difficult...
and population is growing
slowly i am
losing the respect i had
for greg lynn
and his endevours
which are being
reduced to form finding only
the latter object actually has a function
ochona so you're a girl...like...
sameolddoctor,
you once had respect for Greg Lynn?
was greg lynn ever about anything other than form?.....i don't think he has ever denied his passion for glossy, blobular forms...it's just that now he doesn't even try to pass it off as architecture anymore. now it's just playing with play-doh and calling it an exhibit. Duchamp and Warhol would be proud....
Aside from Greg Lynn curating an exhibition, why does Roxy Paine get dragged down into this?
the second picture
would make me think of my own
if I were a girl
his office IS called form...pretty sure he knows what he is doing.
i've seen "the office", i know what that thing is.
Do you even know what those projects are?
That's not Greg Lynn's work. This was part of a show called Intricacy, curated by Greg Lynn two years ago. Those "red globby things" are called Scumak a project by artist Roxy Paine he builds machines that reproduce the vagaries of man-made actions. His work is amazing.
Some googling around might "enlighten" this thread.
have fun!
you know what girls say...
it's the girth and not the length
so that dildo rocks!
M_M,
Is today your day off? You're gonna need to get seriously drunk to get the 5-7-5 OCD outta your head tonight.
BTW, that's Preston Scott Cohen's model above Roxy's work.
Yep. A lot other projects were part of this exhibition, Peter Eisenman, Karl Chu and many other artists as well.
if i'm not mistaken, the initials on the -- um -- onanism assistance device -- say "OJ".
If it helps el jeffe, I'll camoflauge my haiku, with one line sentence.
Yeah, Roxy Paine is heavily into reenactment (whether he knows it or not).
Anyone here also actually visit/see the Intricacy exhibit? I wasn't all that impressed. "Force fit" often came to my mind, besides reenactment, that is.
Rita,
This remined me of you when I came across it today.
You can change the form all you want M_M...
[list=1]
[*]that's fine then el jeffe
[*]that's exactly what I'll do
[*]even with bullets!
[/list]
CONFOUNDED MACHINES!
ha!
you blinked!!!!
Thanks el jeffe, and the link you offered then remined me of this.
And here's some more on Intricacy.
Rita,
I was able to see Roxy's work here (I'll take what I can as it blows thru the high desert like a tumbleweed) but tell me more about the reenactment reading.
el jeffe, I want to tell you more, but right now I'm not sure if I'm confusing Paine with another artist. There is an artist that devised a machine that 'reenacted' the human digestive system, which ultimately produced turds. I can't readily find any exact reference online right now (but I know its in a magazine I have somewhere). This digestion machine looks a lot like the blob making machine of Paine, so maybe that's why I'm (possibly) confused.
Paine's aluminium tree and the specimen display cases of "second nature" have a strong reenactment quality. Plus the whole notion of "second nature" implies a reenactment (albeit with degrees of separation) of "first nature".
If I'm correct in thinking that Paine also did the digestion machine, then the notion of reenactment within his work is even more sound.
^
the artist is wim delvoye.
see also AVL, under new projects/total faecal solution.
wish i had....experienced...this.
you sure you dont mean the uberorgan by tim hawkinson:
great idea for the science fair.
in some of the other conversations there are heated discussions about why architects can't command respect from the general public, why we don't make more, and why people think architecture is frivolous. should i just link them to this thread?
i mean - the greg lynn exhibit at the top and that pic lifeform posted (which i hope is the work of an artist) - wtf are we doing? if it's experimental and can lead to something useful, great, but let's keep it to ourselves for now, shall we? don't want the public to see what 'architecture' is about if this is what we've got.
wait a minute....somebody actually had respect for greg lynn prior to his dildo exhibit?
'wtf are we doing?'
who is this we? when did we become we?
'slowly i am
losing the respect i had
for greg lynn
and his endevours
which are being
reduced to form finding only'
as far as i can remember, greg lynn has always been greg lynn ( greg lynn as we know him - rather than a naurical creature,from shore to shore. as in gehry or graves ).
your respect lost must have nothing to do with how much more or less form finding he does now.
a columbia graduate who describes something as 'amazing' and 'globby'. what are they teaching kids these days. they probably smoke some hashish between max and maya tutorial *shock horror*.
if i care, i would have believed warhol wouldn't really have cared. first he was too much of an egoist to admire or admit much that wasnt of his making or publicizing(even garbage) and secondly it doesnt strike me as being his sense of humour. lynn seems a bit too goodie two shoes. and cummon, those forms are every bit dirtyminded as i am virginal. they're ultrahygienic. even alessi cutlery is more 'erotic'.
yeah but electric light orchestra was pretty damn good.
What are all of you scared of? Krisitx!, why does this exhibition and the work shown frighten you so much that you feel the need to try and contain it through being hateful? The most enlightening fact about those of you who put this exhibition down is how little you actualy knew of it, who the artists were, what work belonged to whom, etc...which is what makes me believe that you simply are scared of what you dont know, instead of honestly critical or the work shown.
Confront your fears. Youll enjoy life and architecture much more.
you scare me hotsies.
scares me too....is he suggesting we all buy dildos?
dear whore:
As you might have noticed the term "globby" was intented to fit more with the crowd usually found around these posts. Nothing usefull ever comes out from these threads given the fact that a grand majority relies on this posts to express their frustrations with the profession and architectural academia.
PS: I have to say that the dildo shown above works quite nicely as a "near figure" approach to architecture...gotta love the baroque. ;)
David, I think you gotta love dildos, right?
"Nothing usefull ever comes out from these threads..."
...talk about posts to express denial.
I'm not an expert, but I am interested in the subliminal effect of costly tuitions. I mean, how can you not automatically defend that which cost you so much to learn?
No one ever tells you how much fun it is to bite all the hands that don't feed you.
lifeform: uberorgan was a great exhibit... gotta love MassMOCA
Does anyone know why sometimes an image post is successful, then the next day gives you an ad like the angelfire one above? Is there a way to circumvent this?
isn't the Real Thing much more aesthetic, and holy (yes: holy) than some abomination fashioned out of plastic??
cognitions and judgements must, along with the conviction that accompanies them, admit of universal communicability; for otherwise there would be no harmony between them and the Object, and they would be collectively a mere subjective play of the reepresentative powers, exactly as scepticism desires. But, if cognitions are to admit of communicability, so must also the state fo mind, i.e. the accordance of the cognitive powers with a cognitiongenerally, and that proportion of them which is suitable for a representation(by which the object is given to us) in order that a cognition may be made out of it-admit of universal communicability. For without this as the subjective condition of cognition, cognition as an effect could not arise. This actually always takes place when a given object by means of Wense excites the Imagination to coolect the maniflod, and the Imagination in its turn excites the Understanding to bring about a unity of this collective process in concepts. But this accordance of the cognitive poweres has a different proportion according to the variety of the Objects which are given.
vado, i prefer the song lyrics.
Blah blah blah form blah blah blah dildo... blah blah anal beads
okay from kant to kiss:
the plasters gettin harder and my love is perfection.
a token of my love for her collection.
plaster caster plaster caster
grab hold of me plaster faster
if you wanna see my love just ask her
The only problem I have with Greg Lynn is that in all of his experimentation with form, his ideas very rarely become an inhabitable building. Because his work relies so heavily on machining, it's hard to emulate the same intent at a larger scale.
The Dildo was a good comparison, everything is already phallic.
This still would be a good exhibit to see.
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