The development of the "Moratorium Foundation" & the process of letting "304 Merry Dr" go, is a process. My photographic exercises have been limited to using the cell phone to communicate images [design progressions & questions] to my wife. I haven't walked through the "church" with a dslr in over a year, even though it's always been with me.
I'm starting local, without ideas, moving the camera towards 'the' interesting.
Because my photographic galleries are more of a general library, rather than a study of visual articulation, I'm guiding my visual organization(s) into domains of elevated specificity.
I'm counting on the power of specificity to generate intentional framing beyond a single image and to focus ideas beyond the skin of structures.
Today, my finest styles of surprise leap out of a 12 string guitar.
With just over two years' worth of implementing design choices, using chucnks of time ranging between two to six weeks, form is slowly becomig the driver, over function.
There are no blueprints to follow; each macro and micro element progresses with the curiosity of, "What's next for the space?"
Working from the ground level [concrete lower level] on up to the roof [Membrane / Metal], each choice is a lessson, every maneuver a decision.
Galleries are in chronological order, Gallery 1 is the beginning.
“Images in the 20th century had a unique power where image became divorced from reality, and often more important than reality...Buildings were judged - at least by members of our own profession - more by the way they looked in magazines than by the satisfaction people felt when using them."
Taliesin West is a reminder that an educational community can evolve with a purpose, in this case architectural & building progressions. Students' hands were often raw from working with materials and fingers sore because of [musical] performance. It once was an example of an experientially-based, community driven, architectural education.
The doors throughout Cranbrook's campus inform [my] considerations of stylized transitions. I'd like to believe his doors and subtly sculputed walls are foundational premises to [visually] guide inside pathways; they open a contemplation for how spatial qualitites communicate with each other.
The Disney Concert Hall resonates a cliche contemporary harmonic, void of both using and complimenting local, naturally-defined, elements. With its symphony of metallic curved planes, it enables a sharp juxtaposition as an overt narrative. It is the very idea of an "overt narrative" that can transform a dead space into one that's engaging [for the mind].
I was curious if someone [industry] had come in and offered some love to this inviting section of town.
Exercised my Class B (with S & P Endrosements) for the Camping and Education Foundation
I only had the intention of doing a walk around the building; I was fortunate enough to sit in on a script reading from Kitchen Dog Theater folk.
It had just rained; people were scarce and reflections glorious.
I just couldn't find much of an engaging walk around Morton H. Meyerson Symphony Center, designed by I.M. Pei. So, I just kept walking, getting lost, and looking somemore.
An art department building was open as was the Meadows Museum.
Project Row House is stellar; I wish I had access to such varied interiors as a teenager who rearranged his room regularly. I never considered how an interior space can [strive] to mirror a cross section of community.
Its contemporary interior & exterior architecture, coupled with the art it displays / rotates, rarely ceases to engage, regularly resulting in smiles. Next round I'm spending more time within the Cullen Sculpture Garden.
MFA Opening Exhibit for University of Houston Graduate Students
The interior is stellar, with furnishings and structural designs as provocative as the art it exhibits. Although its square footage isn't enormoous, the exhibitions seemingly have an ease of [intellectually] feeding one another - their connective tissue is accessible without knowing anything about the art or artists. I can experience a merging of sculpture, painting, photography, video installation, fiber arts, and drawings, all within a single visit.
This MFAH experience has provoked me to think about the role architecture has on how art pieces are experienced.
It's a wide open garden with steel and glass buildings for backdrops.
I'm looking forward to its architectural upgrades happening in the futue.
Interesting ideas...I was surprised to learn the cairns were developed via fabricated rocks; it changed my read.
I'm trying to create an image that's pleasing to look at, before articulating the athletes.
I walked across to the other side of the river, becasue the spray painted walls were bright.
I thought about juxtaposing designs of "living" in a hotel room against downtown architecture.
Following a walkaround shoot, I noticed folk entering the theater's main doors; I assumed they were entering because they could, as tourists. I walked in and was informed everyone there was to enjoy a script reading of "Venus" [written by: Steve Yockey], featuring Kitchen Dog Dog Co-Artistic Director Tina Parker and KDT Founder Sally Vahle. Whomever I spoke with gave me permission to sit in.
I tucked my carmera under the seat of my chair. After the reading, I hit record on my phone, excited by what I had just experienced. The audio quaility is pretty poor (even after washing it).
This was my first script reading with a subsequent q/a with the writer and actors.
From entering to exiting, it was inspiring.
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Phone number : + 575.654.0531
Email : tylersbingham@gmail.com
