CW Lab Notes

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9 Park Ave
Highland Mills, NY 10930

(845) 928-2627

(845) 928-9754

NY Times article about urban camoflage in Japan.

Rauminszenierungen

rethinking utilities: large concrete drain pipes as a hotel… reserve a room

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Martin Hendrijks show called Enough Room for Space about

“Displacement of residents, whether they are gentrifying artists priced out of Soho or the poor and unemployed excluded from New York altogether, is no random by-product of gentrification but its structural condition. Decay, disinvestment, abandonment . . .prepare the way for profitable reinvestment . . . Like all the social relations that art supposedly transcends, housing is one of the historical circumstances of its existence”. Rosalyn Deutsche, “Alternative Space”

“And howsoever oppositional we architects may be, as long as we fail to challenge basic elements of society, such as the concept of private property, nothing will improve. This is a great paradox for me”. Achim Felz, “IKAS: An Experiment in Extra-Parliamentary Architectural Opposition”

 incognito roof skylight research

I am researching air rights, roof design, and building code issues related to my rooftop aspirations with skylines of horizonal inspiration.

I just finished the 1999 Anthony Dunne’s 1999 Hertzian Tales, with his “aesthetics of functionality” which allows critical, imaginative discussion around the values embodied in objects. If designers are “providers of new behavioral opportunities,” these critical objects of use certainly do “challenge the monopoly of established reality.” (marcuse)

mask show james cohen

The MASK show approaches a functional typology in the gallery context, leaving room for speculation about the entire production of a “museum” show, with it’s labels (this time referencing context rather than material). The oldest working smoke mask next to a matthew barney pushes the line between pragmatic utility and tools for mood in a surrealist narrative.

Tanya Bonakdar’s obsession with designed objects and complex visual language produced a group show called Office, but I was more impressed by the individual artists’ catalogs than the mash up of their works sitting side by side. Mark Manders, for example, is my new favorite! His visual language is so nuanced (and luckily he can articulate it with spoken language as well) that he created his own newspaper for his papeir mache objects. He says about one piece:
“I purposely arranged the rugged still life in a typically …