Sunday, December 26, 2010

Stacks of beach boulders in the snow

 Reading through issue zero of San Rocco magazine, with the White U house on the cover, 
a building I never understood until I knew it was a basically a mourning cave for Toyo Ito's sister
(at OMMU)
 then serendipitously bumping into an article on Hans Hollein's 3 travel agencies, (meanwhile I've been working on a tourism-related project)
 and an interesting reading of Artiga's Balneario in Jau
 moving through the stack to Peter Friendl's Secret Modernity, and finally the english language catalogue of Drifts and Derivations
and really learning more about the Vaiparaiso School of Architecture and stacks of beach boulders in the snow.

Friday, December 24, 2010

Hand House

A curious mix of nature and structure, Los Angeles is the place where glorious sunshine surrounds the darkness of failed ambitions. Young men and women arrive with stars in their eyes, only to end up serving coffee in Starbucks. Real time stars run from the paparazzi, but go home to expose themselves on Twitter and reality television.

Reyner Banham’s seminal book on Los Angeles “The Architecture of Four Ecologies” could be updated with a fifth ecology, Vanitopia. Ambitionville? Los Angeles is a metropolis planned by infrastructure and guided by celebrity. Mulholland Drive, was named after chief water engineer William Mulholland who devised L.A.s reservoir system.

David Lynch made a movie with the same name, about an actress waitress’ paranoid hallucinations in Los Angeles.

Case Study House attempts to sum up a portrait of Los Angeles as a city of infrastructural crisis, impending disaster and celebrity paranoia.
The first gesture on the site is purely infrastructural: The site line is offset into a thick, double layered concrete base that turns the lower part of the property into a water basin, a reservoir.

On a thunderous February night, a mudslide is imagined and part of the basin fills with earth, forming an impromptu beach. Under the beach lie a four car garage, and a system of corridors to bunker windows and surveillance paraphernalia.
Above the reservoir, fiction suddenly takes over and the concrete hand of a giant girl angrily punches through the little mountain of Wetona Drive.

By studying the cave that was formed, we understand that the punch came from the direction of the Hollywood sign. Now the gigantic hand has calmed down, and appears to be coming out of the water, elegantly holding a serving tray, as if the statue of Liberty became a waitress and her hand holds up a building, perched over the cliff like a billboard.
The house occupies this serving tray and the punched-out cave, two distinct, almost bipolar parts, connected by the reservoir. The mudslide reservoir has now turned into a large swimming pool, complete with its own sandy beach. The billboard, the infrastructural support, the beach and the unrequited narcissism of fame tumble together into a house. All the parts of the Los Angeles portrait are now in place, and the result manages to equally reference Charles Jencks’ postmodernist manifesto on roadside curiosities “Bizarre Architecture” (Rizzoli 1979), Jim Heimann's Califrnia Crazy as well as Kazys Varnelis’ “The Infrastructural City” (Actar 2009).

The section of the house that sits on the tray is reserved for social interaction and networking. The Glass box represents the moment when the celebrity exposes herself to the paparazzi, like the young actress who posted photos of her new haircut on twitter while pretending to avoid the paparazzi, who her agent alerted to where she was anyway. The Glass box sits on the concrete platform as a forgotten piece of infrastructure, perhaps part of a crane from the LA harbor, though the only thing it holds up right now are gauze thin curtains to tease the helicopter paparazzi flying by, hoping to get a snap of the resident celebrity.

A staircase leads down from the social platform, onto the beach and back into the cave section of the house. There, a large living area mixes dining, lounging, reading and perhaps working; while the back opening of the cave leads up to a great view of the Hollywood sign. Two large manufactured boulders organize the space into segments, while hosting service areas inside their hollow volumes. Behind the boulders are doors to excavated bedrooms, places of total isolation and darkness.
The House acts as a psychological ecosystem where internet era social practices coexist with infrastructural references and a history of natural disasters. The residents enjoy total privacy together with total exposure, a day on the beach and a night in the cave, the entire city of Los Angeles abbreviated like a Twitter post inside the limits of their property.

published in PINUP Fall2010

Angelidakis Studio
Design team
Andreas Angelidakis,
Sotiris Vasiliou
Thanks to David Hargrove for site photos

Thursday, December 02, 2010

PINUP Number 9 and the Case Study Houses

 Run, don't walk to the newsstands, the spanking new, L.A. Special, issue of PinUp is here

featuring iconic LA neighborhoods by iconic observers such as Sylvia Lavin talking about Venice Beach (who, if memory serves me well, was on my thesis review a million years ago, in Venice Beach)

 Jeffrey Deitch on his new life and casa in LA

 photographer Lisa Eisner' incredible garden

a black knit poodle on a white staircase  
a green moss pool
 great interview and portfolio by Hedi Slimane

some Tripoli ruins by Cyril Duval
and 5 Case Study Houses, commisioned for the special issue, by 5 specially non Los Angeles architects such as Sam Causer Studio from London with House n1.1

 Emilio Marin from Santiago de Chile 
with Miss Lonelyhearts'

Architecture at Large from New York with Transformer House

 Etienne Descloux from Berlin with DonJon House
and yours truly Angelidakis studio from Athens 
with Hand House

Wednesday, December 01, 2010

Drop City Serendipity

Just the other day I was browsing a1968 copy of Architecture d'Aujourd'hui

and I happened on a post on Drop City,

the Colorado Geodesic Folk Phychedelia Hippe Commune
which I have written about in the past,

the article had some cute drawings, so I decided to re-post
Then a few days later an email arrives from Joan Grossman, who together with Tom mcCourt are shooting a documebtary on Drop City, and have started a KICKSTARTER page to collect funds, and could I please mention something on my site? Well obvioulsy I would!

Sunday, November 28, 2010

Τεχνης Πολιτικη @ EMST

(Vlassis Kaiaris and Kostis Velonis)

Other works in the Τεχνης Πολιτικη exhibition, curated by Anna Kafetsi include
great drawings by Yannis Psychopaidis
mixing communist manifesto with 80's lifestyle accidents
Vangelis Vlachos
Shirin Neshat
great Kendells Geers

barbed wire parthenon

Giorgos Harvalias metal pillow overdrive

Vlassis Kaniaris
Kostis Velonis
Walid Raad
with a work on craters
Dimitris Alithinos
and Thodoros

Saturday, November 27, 2010

Sandbox and Soft Ruin at the National Museum of Contemporary Art

Here's Sandbox, a collection of my Second Life buildings from 2007 to 2009
arranged as a wall-bound puramid of plinths and projections

at EMST National Museum of Contemporary Art current "Politics of Art" exhibition

Also in the same show is Soft Ruin (2005),  

a seating system made up from soft domino frame fragments