estimfalos: Vivienda en Tarifa, A-cero

Thu, 16 May 2013 15:03:02 +0100

Vivienda en Tarifa, A-cero

Photo

Thu, 16 May 2013 14:59:19 +0100

architizer: Check Out This Phenomenal Pool House by MDU...

Thu, 16 May 2013 14:49:02 +0100

Photo: Pietro Savorelli. Prato Poolhouse by MDU ARCHITETTI. 2007.

Photo: Pietro Savorelli. Prato Poolhouse by MDU ARCHITETTI. 2007.

Photo: Pietro Savorelli. Prato Poolhouse by MDU ARCHITETTI. 2007.

Photo: Pietro Savorelli. Prato Poolhouse by MDU ARCHITETTI. 2007.

architizer:

Check Out This Phenomenal Pool House by MDU ARCHITETTI!

“The place, a lot with a fine view located in the Bisenzio river’s valley; the landscape is a sequence of wooded areas, fields, olive-groves. The land is articulated through terraces with stone walls. The project is a silent insertion inside this landscape.” Click through to read more!

"You might need me more than you think you will"

Thu, 16 May 2013 09:42:21 +0100

“You might need me more than you think you will”

- The National

Diary - iPhone

Thu, 16 May 2013 09:41:33 +0100

Diary - iPhone

evaluation

Wed, 15 May 2013 23:58:00 +0100

I started this project with what I thought were exactly one hundred percent set intentions, and for the first time ever I feel like I am able to say that this has been an actual journey; an eduacational journey of discovery, consistent development, and more importantly, a ‘process’ in which I have built upon and strengthened my body of work over the course of this academic year.

As explained in my original statement of intent and then my proposal, and be it extremely broad to say at first, my point was to study and dwell upon the significance of our existence - my only original boundary being that it would be from a personal, more philosophical perspective. This was still quite broad, yet encouraged me to be quite proactive even if only in my thinking and research, and not as much through the making of work. With the concept being so broad, it was also very engaging and left a lot of room for creativity in visual communication through my ideas of symbolism etc.

After working to only those guide lines for a little while, the constrictions I decided to add where of the sectionising of my concept; I put my philosophical beliefs into four major sub-chapters. These sub-chapters are what I feel to be the most important outline to our significance: Feel, Create, Wonder/Question, Experience/Discover.

Feel being a depiction of emotion, Create portraying everything surrounding reproduction and the creation or even ending of life, Wonder/Question targetting a visually communicative sub-series on dwelling on extra torrestrial signs of life and then question being what it is to Question the concept of God, and lastly, Experience/Discover aiming at putting across how important I feel Experiencing true joy and discovering our Earth and habitat is to our being.

This was all to be portrayed under another guide line being my usual style of what I feel is quite romanticised, contemporary, bleak, minimalistic, ambiguous fine-art picture making.

Moving through the project, this was working very well for me and the work was being made very slowly but quite surely. However I started to get extremely inspired by my dissertation, as I was basing this on a theory of ‘the sublime’, which when thinking about aesthetical judgement, very much applied to my work.

Towards the end of my first work book for the final major project, I introduced a major update on my proposal and added that the underlying factor to my work should be that of, firstly carrying on with the way I was currently making the work, however to a greater degree (made evident in the increase of picture making), and secondly to, when baring in mind the overall concept being a philosophical take on our significance, the visual outcome should be taking into account the theory of the sublime. The sublime is a theory that suggests it is something beyond the comprehendable beauty - something that is beyond beauty as a form. Popular belief amongst this theory is that the sublime is something of aesthetical value refering to ambiguously sometimes quite overwhelming light or occurances, where as beauty is something of form, usually understandable by touch, and generally something manmade. A work of art somewhat. Over time, I also went about keeping a diary of recording cryptic light and scenarios which I felt gave me a feeling of the sublime when experiencing them or seeing them, so I could refer back and maintain an understanding of the subject.

As you wil see in my work book, I made a point of elaborating upon my understanding on the sublime by targetting a few necessary philosophers of interest. I also did this with artists of relevance, kept track of Professional Development Plan Correspondence, and held a consistency in shooting and reflecting/analysing.

In some senses, I have learnt not to plan more than physically possible, however I have equally learnt that when staying proactive from day one, so much more is possible and I start to really show my true potential, as opposed to the times I’ve left the idea of starting work until merely a month before the deadline, and I am aware that it shows.

I think all I might have done differently would have been to manage my time even better again, to make what seems like the impossible task of fitting in all my planned shoots happen without doubt. However that being said, I do not feel I under achieved and am very happy with the outcome that will in turn work as originally desired in a beautiful, book or zine depicting the mere small amount of relevant, necessary work to this study. Quality over quantity that will speak for itself and hopefully create impact, question and reasoning among the viewer through romanticised aesthetic and ambiguity. - All represented by one extremely large overwhelming exhibition print.

My choice to shoot on traditional medium format film has still stayed the same through the whole project, and has been the only thing I have shot on. I feel it’s down to the perfectionist in me and my attention to detail when thinking of the value film naturally bestows on one’s work. I have also kept to Kodak negative film for every shoot I have done, for consistancy in soft, neutral tones throughout.

My point behind printing nearly everything by hand in the colour darkroom was again for the rich, original tones/colours/details found when enlarging the negative directly to paper, but also for the feeling of great satisfaction it has given me when experiencing my results, and the constant engagement kept through having these six hour printing sessions - it’s managed to keep me extremely inspired, and quite honestly made me almost question the idea of my career path in the Royal Marines. I feel truely thankful that I have once again been able to feel the warmth of inspiration