Sketches

Sketches

155/211

thematic album:

Stefano Mirtis facebook wallhttps://www.facebook.com/stefano.mirti.3/media_set?set=a.10150204215571216.312008.634251215&type=3

We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always a sketch. No sketch is not quite the right word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch of nothing, an outline with no picture. ~ Milan Kundera

Stefanos facebook album Sketches 155/211

2005/on-going

Ailadi Cortelletti, Various Illustrations


2005/on-going

Ailadi Cortelletti, Various Illustrations

-more at: http://www.ailadi.it/-


1988

John Hejduk, Drawings from the Vladivostok Project


Paris, 1989

Rem Koolhaas, Sketches for the Competition of the Bibliotheque de France


Paris, 1989

Rem Koolhaas, Sketch for the Competition of the Bibliotheque de France


Japan, 1987

Kisho Kurokawa, Sketches for Nagoya City Art Museum


Del Rio, Texas, 1988

Carlos Jimenez, Sketches for the House along Rio Grande


Kazuo Shinoara, Sketches for Centennial Hall, Tokyo Institute of Technology


Kazuo Shinoara, Sketches for Helsinki Contemporary Art Museum


Kazuo Shinoara, Sketches for House under Hig-Voltage Lines


Kazuo Shinohara, Various Sketches


1980

Ettore Sottsass Jr., Formal Exercise Nr 2. Catalogue for Decorative Furniture in Modern Style 1978-1980

-cover; curated by Ettore Sottsass Jr. and Studio Alchimia, published by Studio Forma / Alchimia-


1980


-sketch from publication; curated by Ettore Sottsass Jr. and Studio Alchimia, published by Studio Forma / Alchimia-


1980



I have designed a number of pieces of furniture which, in my personal history, imagined or not, represent (for the moment) teh final point of thoughts and actions experienced either alone or with friends, in a period at least ten and perhaps fifteen years and which, for want of a better name, we called radical design or sometimes


counterdesign or things like that. (Ettore Sottsass Jr., from his introductory essay in the book)


Certainly, this furniture that I have designed represents (as far as I am concerned) an attempt to get out of, or rather an attempt to re-enter the crux of the matter. It is an attempt to get back into design, bringing with me everything that has happened and maybe also everything that has not.(Ettore Sottsass Jr., from his introductory essay in the book)


1980



I have tried again to design objects, things, furniture, and to have them made.I have made them big and heavy, with pedestals and bases to save them from the kitsch of bourgeois and petty bourgeis dcor.(Ettore Sottsass Jr., from his introductory essay in the book)


1980



There is almost nowhere you can put them and in any case they don't "match" and they can't even produce coordinates. (Ettore Sottsass Jr., from his introductory essay in the book)


1980



They only go by themselves, like monuments in squares, and they don't even manage to create style (nobody infact buys them, apart from the odd collector of desultory Hollywood film star).(Ettore Sottsass Jr., from his introductory essay in the book)


1980



They are also decorated, because in this way I can convey different cultural states (in an anthropological sense), according to cases and to real functional necessities.(Ettore Sottsass Jr., from his introductory essay in the book)


1980


-curated by Ettore Sottsass Jr. and Studio Alchimia, published by Studio Forma / Alchimia-

I have chosen for the drawing of the decorations (plastic laminate designed and especially produced by Abet Laminati in Italy), extracts from a figurative iconography found in spaces uncorrupted by the sophistication of the standard culture of private interior design.(Ettore Sottsass Jr., from his introductory essay in the book)


1980



They are areas abandoned, that is, by any inetllectual intent of expectation; a kind of no man's land, an extra-human cultural wasteland.(Ettore Sottsass Jr., from his introductory essay in the book)


1980



So I have chosen textures like the grit and the mosaics of public conveniences in the underground station of big cities, like the tight wire netting of suburban fences, or lke the spongy paper of government account books, and detective stories, and then I have chosen colours like those of the chair in the dairy under my


house where they sell eggs, margarine, bottles of mineral water, miscellaneous detergents, spaghetti and liquorice and, naturally, soft cheese and milk. In the dairy you can even sit down and have a coffee.(Ettore Sottsass Jr., from his introductory essay in the book)


These zones of non-culture, of "no man's culture" do exist. But on this plane, I have not - for the moment - succeeded in getting much further. In fact, everything has maybe turned out differently from what I had expected.


June 1980Ettore Sottsass Jr.

(from his introductory essay in the book)

-page from publication; curated by Ettore Sottsass Jr. and Studio Alchimia, published by Studio Forma / Alchimia-


1980


-back-cover; curated by Ettore Sottsass Jr. and Studio Alchimia, published by Studio Forma / Alchimia-


1974

Cedric Price


Cedric Price, Topolski Screen

A scheme with the illustrator Feliks Topolski in London's Waterloo, on the circular site where an IMAX cinema has now been built. Topolski's sketches would be projected on the interior of the cover, whose semi-translucence would ensure it was illuminated at night, wheter open or closed.


Cedric Price, Competition Entry for a New Museum in Lincoln

WWe juxtaposed the cathedral and the multi-storey car park. Lincoln Cathedral is a focal point: the car park is a stopping point. It seemed the perfect metaphor for a museum.

Agricultural machinery can be higly responsive to farming needs, changing its tasks depending on season.

Cedric Price


Kroller Muller Museum, Otterlo, The Netherlands

Cedric Price, Dubuffet's 1974 Jardin d'email Sculpture

I once gave a lecture there.


Cedric Price, ...Again and Again...

Sketches

Documents

Transcript of Sketches