about

2AeM is a cooperative design effort composed of the 3 young Midwestern-sprung, spread-the world-out, out-and-out Architecture student-architects: nicholas m. reiter, Jessie Wilcox and Peter Nguyen. The team base was originally Milwaukee, WI but since has become a mobile abstraction or a state of mind. 2AeM is sometimes physical, sometimes sober, partially virtual, usually vocal, and all-the-time IN-it.

We are track jumpers, demons, villains and observing you right now. Design is the New and so are the Stakes.
Showing posts with label craft. Show all posts
Showing posts with label craft. Show all posts

Saturday, November 19, 2011

ofuro

Custom Japanese Ofuro by Bath in Wood of Maine, LLC, at CustomMade.com

custom japanese ofuro [bath]
bath made of wood.  so nice.  i soak a while in that.
apparently, baths don't come in endless varieties like shoes.  too bulky to store in warehouses and keep on show room floors means only the strongest [sellling] survive leading a lack of diversity.


this deep cedar bath is an elegantly crafted solution for an applicance that takes up plenty of household real estate.




some other examples of ofuros can be seen through custommade:ofuro.

Tuesday, June 14, 2011

linear house: patkau architects




i've been waiting to hear something more about this patkau project. i first was exposed to the linear house during good ol' boy - kenneth frampton's 80th birthday party at GSAPP. the north american anthology. that was a great day! terrific firms presenting a broad range of work from all over the upper american continent.



so the linear house. ran across it again on archdaily (big surprise there right?). it's this very clean form - a line - nestled in the threshold between old growth douglas firs and a canadian prairie. the house almost disappears into the landscape. i wish the diagram they showed during their lecture would've made it to the web. it captures the essence of the project in such a clear and straightforward manner.




the shadowy palette of the exterior of the fibre-cement panels are contrasted with the luminous acrylic panels on the interior and sky lights. nice touch... and it's pretty bad ass that the whole house can open up via folding panels create a dialog with the surrounding environment; an open air pavilion of sorts.

one thing i admire about these architects is their ability to capture and highlight the essence of site. and, amplify the contextual highlights (orchard, prairie, views between the trees) through clean, simple, well-detailed designs. their sensitivity regarding materiality is always refreshing. in this case, the design reminds me of todd williams and billie tsien's work. the lexicon wood glass, wood and stone is a combination i will always love.


© James Dow

Saturday, April 2, 2011

The Art of Unemployment 3: Georges Bataille and a Night of Excess

The Art of Unemployment 3: Georges Bataille and a Night of Excess

This piece in the series is a party invitation. In keeping with the series material process themes, this work made me learn a new crocheting stitch and required the leisure time to create several hand-made objects in a smaller time frame. The party was themed on the thought-work of George Bataille: that of excess, of destruction and the joys of debt and not being sober or entirely 'civil'. The piece itself was a meditation on his philosophy. Why have an invitation that was readable at will? To get the party information, one had to destroy the structure of the invitation and pull it apart in order to get at the most important part: the tumor, or excess, of the sphere.

The information itself called for black-tie and insinuated bringing costly and overly extravagant food and drink. Get down with Bataille. And drink, dress, smoke, feed and sex yourself into oblivion.











Art of Unemployment 2: interactive portrait



This multi-media piece is the second in my art of unemployment series. Just like the first, it showcases over-worked detail/structure and material process that comes from environments one may only frequent when at leisure. The flowers were pressed weeks before the idea came about.

This piece is a birthday "card" for a dear friend. Our faces on the caterpillars' bodies are laminated and Velcro-ed to be changed with the users mood and at the users leisure. The faces come in angry, stoic, happy, kissy and pensive. mix and match is encouraged.

Wednesday, October 13, 2010

appeal [for] the real

i didn't know what to expect sitting down in woord auditorium to hear a lecture titled; appeal of the real. my interest was peaked - i guess - by the fact that i have a few freinds getting their degrees at MIT and since speaker sheila kennedy is a faculty member there i'd try and make some connections between our two institutions.

she says the title of the lecture is a little mis-leading, but i think it works - she shows projects that take very theoretical concepts and [attempts to] makes them concrete. maybe the title should have read; appeal for the real. the projects she chose to show dealt mostly with the fine line between prototyping and production and "explores architecture, digital technology and emerging public needs."

her firm,
KVA; MATx boasts a large r&d department - which is a little unorthodox for a mid-sized firm - generally. it works though, MATx is producing some truly incredible and liberating design concepts; the interactive wall @ PENN's SOE, the east river ferry project, their ocean [in]sight competition entry, the portable light initiative, and their soft house competition win -for example.

a few highlights were;

the portable light initiative. it seeks to replace the fire as a source of illumination is rural and developing areas. the technology utilizes flexible pv panels in a modular, flat packed assemby that soaks up the sun during the day and gives a family light at night. new versions now incoroprate usb plug-ins for recharging phones. now the idea is being adapted all over the world from applications in handbags, to hospitals blankets.

yeosu; living ocean comp. the marcus prize group - silofill will like this one. the repurpose a set of silos in korea with emphasis on advancing knowledge and technology concerning the oceans and coasts. it's a really bold proposal. the inhabitable space is surrounded up ocean water that is pumped up via pv and creates a visually stunning effect. it also reflects the local vernacular of rooftop water towers prevelant in the area. it's called
ocean[in]sight

lastly. they've recently won the iba hamburg competition with their proposal; soft house. it's pretty incredible infrastructure for local energy generation. cleaver and seductive in the design - it uses pv embedded curtains to generate power as well as a LED display to simulate the wind [similar to the PENN project].

happy hunting.

Tuesday, October 5, 2010

art of unemployment 1: Vegan Cow

Quitting my final service job in order to devote a couple months to grad school preparation was not without its dry consequences. I do not want to do my portfolio all the time, nor can I make myself do it. Along side my responsibilities to express myself well enough for my top-choice schools, I've begun several art projects to keep my mind in the sanity zone. Here is a sample: Vegan Cow.



Vegan cow sculpture uses one of the most plentiful materials known to me in the upper midwest: Common Bluegrass. Yes, lawn. In order to raise a cow, it needs around 167 lbs. of grass per day (25 lbs. of dry matter). I used substantially less. The sculpture is based on a unit system, the unit being one blade of grass, each being braided into long strands and held together with tension (thread). The process was time consuming and done in a few choice places representative of my unemployment: the park, the bed and the bus. Finally, it became a gift to a vegan friend, a perfect expression of folly on raw energy, time and the consumption of grass by livestock.

Monday, July 12, 2010

Thursday, July 8, 2010

tension; sculpture + sketches

i really enjoyed this work. came across this artist on daily serving - great resource for contemporary art.

the artist's works sit in a strange spot between tense and placid. they're so simple and elegant. some work is on digital display now as part of the ratio3 gallery in san francisco.

Mitzi Pederson
Untitled, 2008
Cement and ribbon
Installation view
36 x 36 x 139 inches
Mitzi Pederson
Untitled, 2008
Wood and flitter
48 x 3.5 x 0.75 inches
Mitzi Pederson
Untitled, 2007
Graphite on mylar over paper
11 x 8.5 inches

currently, an exhibition titled; they knew what they wanted spreads across four galleries hosting numerous works curated by robert bechtle.


seth curcio of dailyserving says the following:
"the exhibition exists without many surprises or profound connections, but is interestingly interrupted through the work of sculptor mitzi peterson and the painter garth weiser. the inclusion of peterson and weiser complicates the exhibition through abstraction. these two artists’ work are reductive and formal, but continue to engage the greater exhibition in terms of both landscape and the mundane, adding new dimension to the exhibition and requiring the viewer to actually work to extract content through context." mmmmmmmm...



Mitzi Pederson
Untitled, 2009
Wood, silver leaf, string, and bells
127 x 11.5 x 2.5 inches

Wednesday, June 9, 2010

Kengo Kuma installation



what an amazing installation!!! GO KENGO KUMA

honestly reminds me of final fantasy games... but maybe thats just me...

Tuesday, March 2, 2010

home remedies

we moved to riverwest about a year ago. loving the neighborhood. the corner bars. the co-op. the parks. the activism. the artists. the general level of humility and outrage existing in some symbiotic tension.

we moved into a refurbished 'unit' above an emergency sign distributor. the place used to be an old irish tavern. the labels are still on the breaker boxes. a funky mix of wood panelling and cream city brick - painted creamier - keep us warm and out of the wind.














... that be said our rooms were small... so, we put our minds and hands to work. check out the conversion.

[before; up]
[after; down]

no more stuff on the floor.

Sunday, February 14, 2010

product_sculpture

this post is long over due, but only recently caught a chance to snap some photos.
for those interested; dimensions are roughly 6' x 8'. it weighs more than you'd care to know, but i've got it up on casters.

i've repurposed some found shipping pallets from a nearby residence doing some remodeling. ripped them down. and integrated a set of 36 plaster tiles i cast from clay, coated in 2 part rubber, and filled with plaster. more on the process.

the piece is rough, raw, and simple connections all honor the same inherent qualities of the palettes. i was interested in using repetition as a visual quality and complement the warm, raw nature of the wood with the white, smooth qualities exhibited by the plaster.

for now. enjoy the photos.

side.01
[plaster]
[full view]

[lighting effects]

[context]



[tile details]

side.02
[wood]
[full view]

[lighting effects]

[latent beauty]

[shadow detail]

comments appreciated...

Wednesday, December 23, 2009

Wednesday, December 9, 2009

work + process

i've been back in school working towards completing a sculpture minor as a supplement to the architectural design degree we three have [or are working towards]. i'd like to share some photos of the work in progress.













'tiles' made from a plaster cast
[clay tile + two part rubber + plaster]













modification for connection













structure + surface













variation_complexity through repetition


the work complete and illuminated to follow shortly.

Saturday, November 7, 2009

botany + architecture

stumbled upon this project on inhabit




eco-architects, Mitchell Joachim, Lara Greden, and Javier Arbona, designed the structure combining contemporary digital technologies with some great concepts drawn from various vernacular sources. The result, a living, growing structure: a microcosm of ecology and high technology.




TerreformONE, the collective, is a non-profit design group... wow. according to the site, "Terreform ONE is a unique laboratory for scientists, artists, architects, students, and individuals of all backgrounds to explore and advance the larger framework of green design. The group develops innovative solutions and technologies for local sustainability in energy, transportation, infrastructure, buildings, waste treatment, food, water, and media spaces."

here's a link to their blog

Wednesday, September 23, 2009

midway furniture project



as i alluded to in a previous post. russell mahoney is a recent graduate of the frank lloyd wright school of architecture. it's has been a long standing tradition for the apprentices to design and build structures to live in down in the desert. taking that mentality into midway's failing silo structure, he has designed a series of platform based on the principles of tinker toys. over-designed components allow platforms to be interchanged and elaborated as the need arises.





russell has been sympathetic to the historical fabric/enclosure that is the silo. light filters in through the clerestory windows near the top of the structure and filters down through layers of platforms creating a soft, pleasant and comfortable atmosphere for studying, reading and sleeping.



to elaborate on the education post by jessie [see below]. i feel like this is an excellent exercise for students to really engage in designing and building; something lacking, at least, in the education at uwm.

[ Photos copyright 2009 Russell Mahoney + Eric Oxendorf ]

Tuesday, September 22, 2009

On Education

Nick's post on his first visit to Taliesin has given me a reminder about the thoughts I've been developing on Architectural education and my misgivings. While it was Nick's first visit, I've been a staple guest over the past few years. I've attended lectures, know the students and fellows as friends and have participated in the community there many times more than I can discern from memory. One thing that strikes me as positive in their cirriculum is the immense intamacy they have with their environment. In any architectural school, there is a tendency to over-stay your welcome in regards to your health, social life and sleep schedule, and a connection with the people and place you all share is close and taken for granted. But the very roof under which the students at FLLW School is a lesson-- and I mean that not as it was constructed by FLLW, but because they acutally have to help rebuild it. The buildings on the estate are part of the laboratory of the school. It is not necessarily my place to go into the details of politics and problems this may bring up amongst the broader community of people and the preservation-minded and musuem-minded who want things fixed quickly and definitvely, but it is my opinion that the experimentation and lessons the students learn by working on their own place of life has been something missing from an education like my own, for instance.

On a broader level, the idea of learning should very rarley be associated with a museum-like quality. One cannot simply look at ideas under a glass case, nor should one be asked to understand things 'later' or without tactile input. Most career-oriented programs in higher education require some sort of internship, apprenticeship or mentorship program. Architectural school tend to pretend they have this covered with studio work, IDP, and the insistance of learning from work. But non of these have any weight in the physical realm. Architecture needs to actively insist on buidling. Turning out idea-makers does not mean we can not turn out craftsmen. Some have this ability, but it needs to be common. Structure classes cannot be simply statics and codes and politics and the age-old "look it up in your construction companion text." It needs to be classes in wood, in steel, in concrete, in alternative and non-traditional materials. And objects, shelters and stand-up construction should happen. I feel robbed of this, and I only now see that I will have to take it into my own hands to learn the tools of these crafts. No wonder the post-modern world is full of office buildings of post and beam and manufacturer-standed components. Money is the easy answer, but I contest it is the quality of thought and practice of our recent past. We don't know how to build anymore, and builders who are craftsmen or engineers who are passionate are rarely asked to use their whole skill or knowledge, and no one seems to ask them (or are educated in how to ask them) what alternatives and solutions there are to join two things together or make things stand up. We simply don't know. That is a problem.