I heard he was working on a Buffalo Boat off the coast of Iceland?

i think vindpust is a softer side of per who can get pretty upset if somebody question his ideas... i think vindpust is a bit more creative too. and that means triple genius considering per is pretty out there himself.
sincerely,
abra

I agrea a one eyed view of things a one eyed perception of things -- still when so much is visual by core, and the infomation is processed from two eyes ,then think about how much extra brain volume this offer a one eye sight person ; So much thinking are visual, so many other things are, so using the brains power that othervise are used processing the information from two eyes for processing just the information from one eye only ; now that offer a good overwiev. In theorie a one eye sight person shuld be double as clever as a two eye sight one.

i wrote the following essay on 20 july 2005 and posted it to a thread called Hi all you fancy graphics lovers...but since it's buried about 1000 posts into the thread, i thought i'd let it re-surface here:

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a short essay on the work of per corell
by puddles

although i do not yet claim to fully understand per's 3d honeycomb (and admittedly allowing per some slack in his renderings/images) i have to admit that given some time to reflect on the matter, i am beginning to see the "danish-ness" of this potential architecture that per has been so faithfully proselytizing. as an additional caveat, i should point out that i am drawing heavily on christian norberg-schulz's text "nightlands, nordic building"* since i haven't actually visited denmark (although i have spent time in the rest of scandinavia: norway, sweden, and finland). even so, i'm going to take a stab at adding another perspective to the work of per corel.

amongst the fundamental characteristics of nordic architecture is an inspiration from nature and obviously the 3d honeycomb is evocative of the natural structure employed by bees in their hives. further, the anti-classical north would seem to be congruent with the topological potential of the honeycomb structure. more particular to denmark, the land's repetitive order has informed a building tradition of half-timbering, a skeletal-like construction method that uses a bay of constant width (typically without interior support). half-timbering achieves order via its repetitive modules while remaining open-ended. though this building tradition has its roots in the rural, it also informs denmark's urban building which also exhibit orderly rhythms and adjacent facades of similar heights. disregarding the formal immaturity of many of per's images which like to feature such fantasy shapes as airplanes, eastern (russian) churches, or ice ceam cones, i feel that the similarities between the 3d honeycomb and the danish building tradition are, surprisingly, quite evident if prejudices against bad form are, at least temporarily, suspended.

now, although per's 3d honeycomb expands the gestalt qualities of the danish building tradition by effectively merging the ideas of, one, repetitive window openings and, secondly, a unifying roof into one cohesive mesh, it remains to be seen how per (or another danish architect) might articulate the secondary links within this system, the use of infill, and details. moreover, the question of material cannot be easily dismissed as wood has long been a staple of nordic building tradition as opposed to the implicit permanence of stone in southern europe. still, these are not necessarily limitations, but rather opportunities for maintaining a pliable building tradition rather than reverting to historicist nostalgia or foolishly embracing the new for its own sake in a desperate attempt to be as modern as everybody else.

moreover, even the method by which per has been inviting us to his process, allowing the 3d honeycomb to evolve in a public forum (sometimes at an admittedly glacial pace) has exhibited a braveness for the unknown, a sympathy for the unfinished, and a comfort with the search that may well be called nordic. still, i can't shake the idea that per might actually be onto something more than most of us are recognizing (although it may also be beyond per's ability to communicate to us.) perhaps his biggest mistake is simply in straying too far from home...the internet is a great universal forum and has a broad reach, but i suspect that the real potential in the 3d honeycomb needs to be explored locally first. one cannot conquer the world without first conquering the neighborhood. if per and his fellow danes take this seriously, in ten or twenty years we may be considering 3d honeycomb not as an internet oddity commemorated by t-shirts and inside jokes but as an exemplar of contemporary design working within a pliable building tradition that many other places could only wish they could replicate.


* norberg-schulz, christian. nightlands: nordic building. cambridge, massachusetts: massachusetts institute of technology press, 1996. of particular importance were the first three chapters. images on pages 54 through 59 succinctly demonstrate the relevant characteristics of danish building tradition

"urban building which also exhibit orderly rhythms and adjacent facades of similar heights."

"the land's repetitive order has informed a building tradition of half-timbering, a skeletal-like construction method that uses a bay of constant width (typically without interior support). half-timbering achieves order via its repetitive modules while remaining open-ended. though this building tradition has its roots in the rural, it also informs denmark's urban building which also exhibit orderly rhythms and adjacent facades of similar heights."

Thanks.

You are quite right , I been around this for months again and again, becaurse ---- if you think of an arial foto of an urban arear , the repetive patterns the all alike houses ,it don't have to be like that. With timbers and floors it is obvious we are locked in what crafts allow ,what way's there are to put things together and I guess we also have to respect the wish for square rooms for a pattern just to find places but true --- with almost any of the early 3D-H examples there are a cirtain limit they do follow conventions and none of the roofs reach the sky.

Still remember how it is, I do have a brother who is acturly a gifted painter , but I simply newer had the same aproach to perspective I simply don't judge size and perspective as most others so I guess I have had to "build" my own understanding of perspective into the structures and yes I see how this limit . So the early examples are not realy suggestions but examples -- and those who followed some of the early treads also know, that I been using this to exchouse the "further" expance ,these things I know is possible ; floors at various hight ,walls at no cost aso. and I regret I gone further into the trivial things such as cost and side effects while it is easier to write about these, than draw examples. ------- also being so focused describing what I find the most important thing, the structure and the options when floors and walls just apear without no one laying a floor ,when a floor don't anymore need the tradisional structural supports --- then exchouse me, sometimes it simply have been as an Escher graphic and also please understand that it is my obligation to transverse again and again , not to find the obvious such as my limited ability in projecting, but to look for fact practic limitations -- so I agrea I am not an architect .