sarahhabib-blog

[sarahhabib-blog]

[sarahhabib-blog]

Some of my photo work will be shown at a group show in NYC from July 25th to Sept. 10th. I’ll be in town 7/29 - 8/3 and will check it out then! (photo entitled “Patriot" model: Lila H. :) gallery~>See // Exhibition Space. 26-19 Jackson Ave. LIC, Queens)

[sarahhabib-blog]

Seen in SoHo

[sarahhabib-blog]

Lisa Kellner Twitter: jemmacraig03 Instagram: jemmacraig

[sarahhabib-blog]

Bone. Paper & adhesive. 2009. Richard Sweeney.

[sarahhabib-blog]

Normative Fluidity (top view) by Graham Billings

[sarahhabib-blog]

Superhuman Enticement (plan) by Julia Koerner

[sarahhabib-blog]

Connected by Edhv

[sarahhabib-blog]

Graphics for Barcelona’s fashion designers at Paris Fashion Week 2011 by Tania Alvarez

[sarahhabib-blog]

Fast Twitch, Elevation Study by Perry Kulper 

[sarahhabib-blog]

“Copied from Perry Kulper’s facebook”

Fast Twitch: Desert Dwelling Assisted by: Sen Liu

The impetus for this ‘fast twitch’ project is an interest in working quickly with a limited framework of ideas and intentions. Partially a form of self-reflection, the approach is meant to augment other methods and techniques for the spatial production, specifically the ‘content to form’ approach evident in some of my earlier work. Linked to pedagogical and practiced interests in broadening the architect’s versatility (both the methods and results), this work is meant to open analogic and intuitive means for producing architecture in short periods of time.

The architecture, garden and landscape proposal lie somewhere between a camp-site, a survival kit and a ‘house’. My interests developed and found bearing through speculations on ground, horizon and sky relations. As a result of beginning simply, a number of things occurred. Interests in ground, sky and horizon blossomed into a range of considerations through the making of the drawings, yielding a range of ideas not originally foreseen or predicted. These interests include the potential for hybrid archetypes, diverse subtleties in perceptual awareness in a desert landscape, a tensional play between exile and place, ‘stranded’ temporalities, incompleteness and a movement between rhetorical structuring and embodied experience.  A series of conceptually and materially ‘milled’ garden-like surfaces, objects and architectural elements attempt to structure these potentials. Initially, the garden surfaces and some cactus are milled by landscape scale milling machines. Then, chromed shadows with materialized building reflections (of three future buildings) are constructed followed by the arrival of a cast bronze bi-plane (10’ wingspan), a 6’ diameter billiard ball, a wench and ‘real’ cactus. Finally, the three buildings are built. The buildings are physically coordinated with the previously constructed chromed shadows, but are ‘mis-coordinated’ with the building reflections that were materialized in those chromed shadows. More recently the project is evolving through forms of material erasure (in the three buildings) towards increasing the sense of ‘stranded’ temporalities, amplifying the sense of domestic vulnerability and furthering qualities of indeterminacy in the desert. Analogic references (important and advantageous in the ‘fast’ parts of the work) and architectural/ landscape elements include paired cocoons, storage sacks and ‘petticoats’, an empty game board, wind ‘throats’, an oscillating/ vibrating ‘occupant’, a permanent rhetorical shadow, continuously re-milled garden surfaces and three domestic ‘housings’ (sleeping/ dreaming, food preparation/ storage/ consumption and wondering about/ at a ‘distance’… a space of/ for exile compliments this triad of functional dwelling elements).

[sarahhabib-blog]

Enric Miralles

4. Miralles claims his drawings operate in a non-representative register. He claims his drawings are not representations but operations. They are not a static description of an idea originating elsewhere. The drawing is a kind of calculation.

“I feel I am a participant in the tradition that prizes doing, manufacturing, as the source of thought… Shifts and turns make the paper lose its sheet nature. It is a working structure. Its rules are those of economics and commodity. On these planes there is no concern to represent… it is a task of multiplying a single intuition: of seeing it appear in all its possible forms… of aligning acrobatically, like a game, all the rays of lines that go in a direction… of keeping all the aspects of one’s project on paper. It is not a question of accumulating data, but of multiplying them; of enabling what you had not thought of to appear”

[sarahhabib-blog]

Robert Montgomery

[sarahhabib-blog]

Yo “corazón” la ciudad de Paul Noble: Nobson Newton