weblog content varies
This is where I keep things I find.
It's a journal about the creative act and the creative artifact.

In a flood of digital debris, this is a way of saving and cataloging the images, sounds, videos, words, and ideas that I find most inspiring. With this filtered survey of architecture, art, and design media, my goal is to bring to light projects and clips that might encourage critical discussion with friends. Thanks for looking.

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Austrian architecture studio Splitterwerk made this “holiday residence which relates to the slope in an alternative way”.

I can’t verify how well it works as a house, but I think they did a nice job in taking what could be very alien looking and composing it in a way which somehow mediates between our boxy requirements and the uneven earth.

And I wouldn’t mind if I stumbled across it in the wilderness. There’s something so sterile about it that gives it such a good juxtaposition with the land beyond. That’s the kind of unexplainable mystery that I really enjoy when I find buildings I don’t understand — these structures that seem to draw from many typologies and end up becoming more iconic in the way they respond to their context.








I’ve been hiding.

Getting used to the short windows of free time I have these days.
So this site has been on the back burner.
You understand.

But I hope to get some images and thoughts up more often now that I’m a bit more settled where I am.

This series of hides and stands in the field is from German photographer Rainer Wengel.  I admire the unpretentiousness, the raw materiality, the impromptu nature of some of them, and the common need for a slightly more elevated survey of the surrounding landscape.

I know for me as child, I would never want to enclose myself, but to get higher. Trees worked well to some extent, but there was also that basic instinct to build with the branches lying around on the ground. And what better complement to a tree than a ladder and a platform?












“12 rooms”, photographed by Jeremy Blakeslee.

Not sure what the building is, or where, but I love the honesty of the rooms being documented as-is, and the straight-forward and repetitive composition. It’s really nice how the photographer’s framing places the architecture in the role of “control”, bringing out all the subtle changes in light and decaying detail across the 12 rooms.  You start to wonder if you would have really noticed all the nuances of a room if it hadn’t been compared so strictly to similar spaces.

It’s a great study in natural light, and a perfect example of statistician and infographic artist Edward Tufte’s principle of small multiples.

By the way, Christina and I recently picked up a copy of one of Tufte’s books, Envisioning Information… highly recommended.

There’s an extreme close up of someone’s mouth - a man with a 5-o’clock shadow, pronouncing the “ü” sound, in different words in different languages.

Now another person, an attractive woman’s jaw and mouth with pale lipstick, also saying similar “ü” sounding words like “moose”, “brooding”, “bündesliga”, “unidos”, “bündner kunstmuseum”, or “Chur”.

Faster… different people saying this “ü” sound… all kinds of mouths at different speeds… cutting from one person to the next but never showing more than the nose, mouth, and chin.

Suddenly the scene is pulled back, and I am somehow a judge, sitting along a table of other judges, like something from the olympics. We are all watching and listening as a person speaks these words while standing at a low diving platform, above a huge swimming pool. Our judges table is also along the side of this pool. The pool is not calm, and its jostling surface seems to be emitting a bright glow from under the water, as if the floor of the pool is fitted with fluorescent tube lights. It’s the only light in the space, and casts an ominous flickering tint on everyone’s faces from below.

It’s in this cool diffuse light that I start to notice the rest of the room. It’s a cavern, a grand concrete hall with a ceiling so high that the pool’s animated glow doesn’t reach it. The surface is old and weathered, and long white streaks of efflorescence paint the in situ concrete down from the darkness. The stoic traces of board formwork seem so heavy and still as a backdrop for the energetic motion of the bluish light from the pool.

As I look around the room I hear an echo, and suddenly realize that I am supposed to be listening to this person pronounce these words, and judge him on his accuracy and tone. All of a sudden I focus in again on the mouths, the hundreds of strange faces and mouths reciting these phrases out of context.

Trying to hear them, I’m immediately frustrated by the echo in the huge space. I am intensely aware of the size of the room as I listen to the sound come off the tongue, hit the water, and bounce into an endless concrete ricochet all around us.

My mind races, trying desperately to listen to the impossibly inaudible words. I seem somehow alone my exasperation. The other judges watch calmly and write notes here and there, while the speaker seems even calmer and more calculated in the delivery of each phrase, as if to tease me with the slow yet indistinct speech.

It becomes unbearable, the endless reflection of sound… it become a din of “s” and “ü” sounds that I can’t take anymore. I jump over the table and into the pool, and the huge splash is drowned out by the echos. Underwater I hear nothing but that calm heavy sound of my own blood in my ears. Relief.

As I open my eyes underwater, I feel an acidic sting of chlorine. I see that the orator has jumped in also, and continues to speak to me though the water’s muffled thickness.

Dream log #2

Found this photo today.

I was really really moved by it.  It just struck me as very powerful and wonderful, that the space where he is sitting doesn’t exist anymore.  Just that he decided to sit there, holding a piece of rebar as some kind of offering, and meditate in the center of his pre-solid volume…  Maybe it’s just me but I felt this great sense of spirituality in the fact that he is somehow consecrating the birth of that slab, really sensing the strength and openness of the rebar as it enjoys it’s last moments of air.  

And for him, later on, to know that he has been inside the place where the concrete now fills… a solid which is never again inhabitable. It’s something very human to idealize a void like that, as a way to nirvana. I don’t know, I just got chills thinking about it. 

Image via strange eyes.

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Just updated my print shop and added a few sketches for anyone who is interested.

Check it out here: RYPAT SHOP

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Münich-based Marcus Buck made these amazing portraits of party walls. In each photo, we’re presented with a pretty common urban condition: the residual traces of a demolished building on it’s surviving context. 

Aside from the purely aesthetic genius of these unconscious works of art, the colors and forms on these walls are also a visceral reminder of the real contact that was once made to connect the structures. Not only have the interiors been protected from the elements, but they have gained the character and specific alterations of individual rooms and structural elements. 

When a data on a digital hard drive is deleted, it is not completely gone… There is a remnant of data left a a result of the erasure, holding bits of information about the contents of those files. In these walls I see that same evidence of life and function. Here it’s just so startling because so rarely do we actually see a physical section of a building in one-to-one scale.

And while totally possible in rural areas, its really a unique condition to the city. Whenever I come across these, I get a really bittersweet feeling… like an exciting signal of new growth along with a quietly exposed vigil of the building’s life and death. The secrets of section that are finally made public.

If the drama of posthumous architectural voyeurism doesn’t do it for you, maybe you can think of the visible remains of a building as a drawing. How often can can the architect visibly recognize his 2-dimensional work on the site? As the process of construction is inherently solid and perspectival, it can’t be read as easily a pure translation from the paper. With the combination of dense urban fabric and the indiscriminate act of demolition, you suddenly have an unveiling of the marks made years ago by contractors. So in fact the alteration of the party wall itself and years of interior customization literally create a physical poché, realizing an actual cut along the surface of the wall.

Thanks to Marcus Buck for the photos and Pruned for the link.

Related: Gordon Matta Clark




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Indigo Hotel - Puerto Natales - Chile - 16


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When I get a chance to visit Chilean Patagonia (hopefully soon), I’m definitely going to plan a stop in Puerto Natales. Aside from incredible Andean vistas along the Fjord of Última Esperanza, there is a really amazing boutique hotel there called Indigo.

I love almost everything about the place. The interior atrium is a collection of all the things I crave about architecture: the ability to climb and overlook, sets of meandering stairs and traversing catwalks, and perfect material choices that complement each other while maintaining a strong tactile identity. I can just tell from these pictures that the building has an excellent section drawing somewhere, with a tall, angular chasm cutting through and providing relief from the datum of the regular guest rooms.

Also, since it’s in Patagonia, the hotel’s branding and signage seems to take more than a few hints from the graphic language of maps and coordinate systems. The bold, functional aesthetic calls to mind the colorful gear of modern mountain hardware and the precise numerical output of a global positioning system. 

I can easily see myself winding down here for a few days after an exhilarating trek through the Torres del Paine.



Zone 0: Lower Manhattan
Team: Adam Yarinsky and Stephen Cassell (ARO), and Susannah Drake (dlandstudio)
Proposal: “New Urban Ground”





Zone 1: Liberty State Park
Team: Paul Lewis, Marc Tsurumaki, and David J. Lewis (LTL Architects)
Proposal: “Water Proving Ground”





Zone 2: Kill Van Kull and Bayonne
Team: Matthew Baird (Matthew Baird Architects)
Proposal: “Working Waterline”





Zone 3: Sunset Park, Bay Ridge and Staten Island
Team: Eric Bunge, Mimi Hoang (nARCHITECTS)
Proposal: “New Aqueous City: A Zoning Ordinance for a Regional Metropolis”





Zone 4: Gowanus Canal and Buttermilk Channel
Team: Kate Orff (SCAPE / LANDSCAPE ARCHITECTURE PLLC)
Proposal: “Oyster-Tecture”



This is so great:

MoMA and P.S.1 Contemporary Art Center joined forces to address one of the most urgent challenges facing the nation’s largest city: sea-level rise resulting from global climate change. Though the national debate on infrastructure is currently focused on “shovel-ready” projects that will stimulate the economy, we now have an important opportunity to foster new research and fresh thinking about the use of New York City’s harbor and coastline. As in past economic recessions, construction has slowed dramatically in New York, and much of the city’s remarkable pool of architectural talent is available to focus on innovation.
An architects-in-residence program at P.S.1 (November 16, 2009–January 8, 2010) brings together five interdisciplinary teams to re-envision the coastlines of New York and New Jersey around New York Harbor and to imagine new ways to occupy the harbor itself with adaptive “soft” infrastructures that are sympathetic to the needs of a sound ecology. These creative solutions are intended to dramatically change our relationship to one of the city’s great open spaces.
This installation presents the proposals developed during the architects-in-residence program, including a wide array of models, drawings, and analytical materials.

I am now incredibly inspired. Kudos to MoMA and PS1, for realizing the opportunity for such a collaborative and highly relevant challenge. They are so right: it’s times like these, when offices are struggling to find immediate work, when big-picture plans are often neglected. Instead, what they’ve done is in the same vein as the projects themselves: turned a worst-case scenario into a prospect for change — an endless recession into an extended design charrette, and keeping the gears turning and pushing ideas forward until the funding comes around again. Rising Currents is defined by its ethos of “Optimistic Innovation” and I think the same should be true of all of us looking for things to do in this industry right now. 

Check out all the info and updates on the Rising Currents Blog, and if you are in New York between now and October 11, definitely check out the exhibition at MoMA