#Kazys Varnelis

[thefakefactory]

STEFANO FAKE & THE FAKE FACTORY -IMMERSIVE OPTICAL ROOM (2002-today) from the fake factory on Vimeo.

STEFANO FAKE, “IMMERSIVE OPTICAL ROOMS” (2002 > today)

STEFANO FAKE pays homage to the optical art developed in the period 1960-1970 by legendary artists such as Victor Vasarely, Bridget Riley, Jesus-Rafael Soto, Richard Joseph Anuszkiewicz, Omar Rayo Reyes, Jean-Pierre Vasarely, Marina Apollonio, Edna Andrade, Ludwig Wilding, Alejandro Otero, Michael James Kidner, Kazys Varnelis, Antonio Asis, Miroslav Sutej. FAKE reinterprets the geometric transpositions of tradition, invading the spaces around the visitor, who finds himself immersed in vibrant and visually exciting room.

Stefano Fake transforms rooms with hypnotic installations featuring optical illusions. Considered a pioneer in the field of computer-generated art, Stefano Fake’s career spans over 25 years. His room installations explore concepts like modularity and repetition, altering the visitor’s perspective of architecture which is the primary medium of his art. By using hypnotizing line designs, FAKE tackles the viewer’s perception. Set upon the walls, floors and ceilings, the lines — mostly in black and white — create a feeling of undefined movement.

STEFANO FAKE rende omaggio all'arte ottica sviluppata nel periodo 1960-1970 da artisti leggendari come Victor Vasarely, Bridget Riley, Jesus-Rafael Soto, Richard Joseph Anuszkiewicz, Omar Rayo Reyes, Jean-Pierre Vasarely, Marina Apollonio, Edna Andrade, Ludwig Wilding, Alejandro Otero, Michael James Kidner, Kazys Varnelis, Antonio Asis, Miroslav Sutej. FAKE reinterpreta le trasposizioni geometriche della tradizione, invadendo gli spazi attorno al visitatore, che si ritrova immerso in ambienti vibranti e visivamente stimolanti.

Stefano Fake trasforma le stanze con installazioni ipnotiche caratterizzate da illusioni ottiche. Considerato un pioniere nel campo dell'arte generata al computer, la carriera di Stefano Fake dura da oltre 25 anni. Le sue installazioni in camera esplorano concetti come modularità e ripetizione, alterando la prospettiva dell'architettura del visitatore che è il mezzo principale della sua arte. Utilizzando linee ipnotizzanti, FAKE affronta la percezione dello spettatore. Incastonate su pareti, pavimenti e soffitti, le linee, per lo più in bianco e nero, creano una sensazione di movimento indefinito.

-----

FAKE 重新诠释了传统的几何变换，侵入了游客周围的空间，他们发现自己沉浸在充满活力和视觉刺激的房间中。

Stefano Fake 使用具有视觉错觉的催眠装置改造房间。 Stefano Fake 被认为是计算机生成艺术领域的先驱，其职业生涯跨越了 25 年。他的房间装置探索了模块化和重复等概念，改变了参观者对建筑的看法，而建筑是他艺术的主要媒介。通过使用迷人的线条设计，FAKE 解决了观众的感知问题。设置在墙壁、地板和天花板上的线条——主要是黑色和白色——营造出一种不确定的运动感。

-----

FAKE는 전통의 기하학적인 전이를 재해석하여 방문자 주변의 공간을 침범하고 방문자는 활기차고 시각적으로 흥미로운 방에 몰입하게 됩니다.

스테파노 페이크(Stefano Fake)는 착시 현상이 나타나는 최면 설치로 방을 변화시킵니다. 컴퓨터 생성 예술 분야의 선구자로 여겨지는 Stefano Fake의 경력은 25년이 넘습니다. 그의 방 설치는 모듈성 및 반복과 같은 개념을 탐구하여 그의 예술의 주요 매체인 건축에 대한 방문자의 관점을 바꿉니다. FAKE는 최면을 거는 선 디자인을 사용하여 보는 사람의 인식을 다룹니다. 벽, 바닥, 천장에 설치된 선들은 대부분 흑백으로 되어 있어 정의되지 않은 움직임을 느끼게 합니다.

[tusseninbovenop]

kazys varnelis

[architecture-anddesign]

John Carl Warnecke, AT&T Long Lines Building, Manhattan, 2006. Photo Kazys Varnelis [1120x1500]

[philosibies]

John Carl Warnecke, AT&T Long Lines Building, Manhattan, 2006. Photo Kazys Varnelis [1120x1500] via /r/ArchitecturePorn https://www.reddit.com/r/ArchitecturePorn/comments/auxwye/john_carl_warnecke_att_long_lines_building/?utm_source=ifttt

[celebsage-blog]

Doug Satcher Doug Satcher Biography, Height, Weight, Age, Measurement, Family, Affairs, Net Worth, Career, Profile, Wiki & Much More! Don't forget to read other exclusive Articles about Tom Dempsey, Marcus Hinton, Sidney Johnson, Kazys Varnelis (artist) and Stanley Daniels Biography. Read Full Articles from https://celebs.bio/people/doug-satcher/

[tecnourban-blog]

new hybrid infrastructures and technologies are not public goods; rather it is mostly through commercialized services that we start to experience the city

 Varnelis, Kazys, ed. 2008. Networked Publics. Cambridge, Mass: MIT Press.  

[lifetimesaway-lithuania-blog]

day 5 & day 6

the past two days have been so busy, we’ve hardly had time to sleep! yesterday was amazing: we visited the home, museum, and workshop of Kazys Varnelis, an amazing artist and dear friend of Milda. he passed away a few years ago, but he left his entire collection and all of his own works to the public in an amazing museum gallery. the house the museum is housed in is unlike anything i have ever seen; room after room filled with unbelievable art collections. i was able to see original sketches from Los Caprichos, a really famous series by Spanish artist Francisco de Goya. i wrote a research paper on the series, but never in a million years did i ever think i would get to see any of the works in person. seeing the sketches was probably the most excited i have been on this trip so far- if im being completely honest i nearly cried. there is nothing more satisfying than studying works in a textbook for months and then getting to see them in real life. 

we have visited so many different cathedrals since getting here i can hardly differentiate one from another, but it is definitely important to note that yesterday, we visited the Chapel of St. Casimir in Vilnius Cathedral. St. Casimir is the patron saint of Lithuania, so it is a very big deal for religious individuals to visit this chapel and pray to him. the Chapel was breathtaking (as most are here), and even though i don’t associate with Christianity, i could definitely feel the overwhelming energy that emanated from the chapel.

after running around the city all morning, we ate a huge lunch at an amazing traditional Lithuanian restaurant called Neringa. Neringa has been open since 1959 and still serves a handful of dishes that have the same recipe as they did back then. the classic beef stroganoff i had was not only delicious but a once in a lifetime opportunity to time travel food-style. yum!!

that night, we went to the studio of the famous Lithuanian paper cutter, Klaidas Navickas. Klaidas does not speak English, which made the visit a bit challenging, but nonetheless we were able to learn about the vast history of paper cutting and even try it ourselves. and let me tell you, this is NOT the type of paper cutting you did in school to make paper snowflakes. the work Klaidas does is so intricate and so detailed; we could not believe how hard it is to even attempt to create a design similar to his. needless to say, i think im going to stick to what i know and leave the traditional cultural artforms to the pros. 

today was equally as eventful: we walked to a traditional Lithuanian museum where we were able to study the many different classical outfits that Lithuanian women wear and wore in the past, and we also saw many different types of art by Lithuanian artists. the most interesting thing about this country from an artistic perspective is that as a result of the multiple Soviet and German occupations Lithuania suffered, the timeline of artistic expression is extremely skewed. for example, the Cathedral we saw this morning was ornate Baroque and Rococo at the same time, which is odd enough, and in addition to that, the entire structure was built 100 years after both of those movements took place. the same goes for painting; surrealism, impressionism, and expressionism are considered revolutionary in Lithuania decades after they were trending in the global art community.

later we visited  Uzupis, which is the art neighborhood of Vilnius- think of it as a Soho-type neighborhood. not surprisingly, this is my new favorite part of Vilnius. it has so much green space mixed in with an incredible amount of public art. we had a ceramics lesson with a local artisan that was so fun, relaxing, and definitely a lot easier than paper cutting. 

after some more walking around and smaller activities, we finally ended off the evening by visiting Biruté’s beautiful apartment that is right across from Vilnius  University. she introduced us to her third son, served us a few different traditional Lithuanian foods, and showed us her own personal art collection and many of the Lithuanian artifacts that have been passed down through her family over the generations. her apartment has been standing in Vilnius since the 1500s, and her husband renovated the entire thing on his own. it’s really remarkable!! 

tomorrow we’re traveling outside the city for the first time since getting here. rural Lithuania, here i come!

[rollingg-blog1]

Atemporality at Work

Kazys Varnelis’ collage of architectural drawings

bird’s eye view. blueprint.

[shellmc]

Crowdsourcing in times of crisis

‘Crowdsourcing Disaster Response: Mobilising Social Media For Urban Resilience’, [image], Tierney, T 2014, viewed 17th February 2017, <http://www.europeanbusinessreview.com/4911/>.

Social media in times of crisis has played a critical role in leveraging information from users of Twitter, Facebook & YouTube to generate community crisis maps and implement an interagency map that allows organisations to share key information and execute shared missions. An interagency map acts as an intermediary between the public and relief organisations. Social media crowdsourcing allows requests to be collected and then shared with organisations to coordinate with each other and take actions to aid when disaster strikes (Gao; Barbier & Goolsey, 2011).  

Crowdsourcing is defined as ‘the practice of obtaining needed services, ideas, or content by soliciting contributions from a large group of people and especially from the online community rather than from traditional employees or suppliers’ (Merriam Webster, 2017).

For example, when Hurricane Sandy hit NYC and completely destroyed parts of the neighbourhoods, while sparing other parts, as news spread of the destruction – particularly when people saw images of it on their social media accounts – New Yorkers who were still with power and water rallied to volunteer by the thousands to help those in need (Huffington Post, 2012).

‘Crowdsourcing Disaster Response: Mobilising Social Media For Urban Resilience’, [image], Tierney, T 2014, viewed 17th February 2017, <http://www.europeanbusinessreview.com/4911/>.

Citizen journalists ventured into waist high water to document the damage using snapshots from their mobile phones and uploading it to Instagram (an image-sharing social network), serving as visual windows allowing a glimpse into the destruction Sandy caused.  “Instagram bonded users together in a participatory, networked public,” blogged urban theorist Kazy Varnelis from New York (11/4/2012).

YouTube <https://youtu.be/9ZRX4hQjh1I>.

I myself have witnessed this type of crowdsourcing in use on my social media when my town experienced flooding a few years ago and I was also able to participate in sharing information and images as a citizen journalist. Social media gives power back to the people when times of disaster or crisis hits and can be more informative and relevant than many mainstream news media outlets. The developments of crowdsourcing communication from social media platforms allows information to flow through an increasing number of channels – especially when communication systems go down – and is vital not only emergency services but also mainstream news media who are increasingly innovating its use to gather information in real time and brings communities together to devise tools and actions to support help and relief to the areas and people affected, such as the Japanese tsunami, QLD floods and the Victorian bushfires.

‘2011 QUEENSLAND FLOODS: THE BIG WET’, [image], Masey 2011, viewed 17th February 2017, <http://masey.co/2011/01/2011-queensland-floods-big-wet/>.

REFERENCES

H. Gao, G. Barbier and R. Goolsby, "Harnessing the Crowdsourcing Power of Social Media for Disaster Relief," in IEEE Intelligent Systems, vol. 26, no. 3, pp. 10-14, May-June 2011, viewed 17th February 2017, <http://ieeexplore.ieee.org.ezproxy.lib.swin.edu.au/document/5898447/authors>.

Huffington Post, 2012, Humans Of New York And Tumblr Sandy Fundraiser: Brandon Stanton’s Photos Inspire Viral Campaign (PHOTOS), <http://www.huffingtonpost.com/2012/11/19/humans-of-new-york_n_2161537.html>.

Tierney, T 2014, ‘Crowdsourcing Disaster Response: Mobilising Social Media For Urban Resilience’, viewed 17th February 2017, <http://www.europeanbusinessreview.com/4911/>.

IMAGES

‘2011 QUEENSLAND FLOODS: THE BIG WET’, [image], Masey 2011, viewed 17th February 2017, <http://masey.co/2011/01/2011-queensland-floods-big-wet/>.

‘Crowdsourcing Disaster Response: Mobilising Social Media For Urban Resilience’, [image], Tierney, T 2014, viewed 17th February 2017, <http://www.europeanbusinessreview.com/4911/>.

[environmentguru]

Designing Realities: Games, Simulations and Architecture—In Conversation with Kazys Varnelis

Designing Realities: Games, Simulations and Architecture—In Conversation with Kazys Varnelis http://www.environmentguru.com/pages/elements/element.aspx?utm_source=dlvr.it&utm_medium=tumblr&id=4530804

[mrmichaelmbarnes]

Book Briefs #28: A Half-dozen Journals

"Book Briefs" are an ongoing series of posts with two- or three-sentence first-hand descriptions of some of the numerous books that make their way into my library. These briefs are not full-blown reviews, but they are a way to share more worthwhile books than I'm able to review. The Cornell Journal of Architecture 10: Spirits edited by Caroline O’Donnell | Cornell AAP Publications, distributed by Actar D | 2016 | Amazon In the introduction to Spirits, O'Donnell and her fellow editors assert the issue "examines a range of spirits haunting architecture today." Colin Rowe, who taught at Cornell for much of his life, must be one of those spirits, for the editors find phantoms in his writings, occupying the realm between buildings and the interaction or people "reading" them. Heady stuff but a great starting point for a mélange of essays on the theme of spirits, ranging from data and the Anthropocene, to Louis Sullivan and meloncholia in cities, to haunted houses and the uncanny in Gothic romance novels. And what would a journal called Spirits be without an essay on The Shining's Overlook Hotel? GSD Platform 9: Still Life edited by Jennifer Bonner with Michelle Benoit and Patrick Herron | Harvard GSD, distributed by Actar D | 2016 | Amazon It goes without saying that the output of the Harvard GSD is voluminous. So when it comes time to assemble some of it into a year-end document to share with the world outside of Cambridge, Massachusetts, the ways of organizing the information are extremely important. And given that we're talking about architecture, each Platform cannot repeat its predecessors. Last year the editors organized the student projects, faculty information, guest lecturers, exhibitions, and so forth like an index, so it resembled a dictionary or encyclopedia. This year the projects and other materials are presented in "compositional groupings" based on still lifes of primarily models, with chapters like "Form Ruckus," "Glam Craft," and "Hold the Color." Given that not all of the student projects on display in the still lifes are presented in detail in the pages that follow, it's too bad these pages were not made into gatefolds or small posters so the overlooked projects were larger on the page. Kerb 23: Digital Landscapes edited by Georgia Aldous, Sophia Horomidis, Rebecca Pike and Robert Williamson | Actar | 2016 | Amazon Unlike architecture, which has a plethora of journals devoted to the field, landscape architecture could use more of them, particularly since the profession is one of the few with the ability to deal with this century pressing ecological problems. Kerb, "an annual cross-disciplinary design publication produced by the RMIT University School of Architecture and Design," is one of the few journals devoted to landscapes, one I've appreciated since discovering their 16th issue, on "future cities," when I was in grad school. Their 23rd issue tackles "digital landscapes," which I take as a focus on the tools that landscape architects use to not only design landscapes but also understand the ecologies that their designs are a part of. No profession today is free from the digital realm, even something as earthbound as landscape architecture. Nevertheless, how digital tools are used in landscape design is up for debate, as evidenced by at least a few essays and projects in the pages of this issue. MAS Context 28: Hidden edited by Iker Gil | MAS Context | 2015 As in all of its other issues, number 28 of MAS Context is geared around a one-word theme. Hidden asked contributors to explore things not readily visible, be it tunnels and other infrastructural elements, spaces where people can hide from authorities, lives lived outside of the everyday realm, or even hidden tracks on records and CDs. The acts of revealing the hidden in the issue come across primarily visually, with only the occasional text-based essay; most contributions are photo essays, with a few architectural projects thrown in for good measure. Standing out on red pages near the middle of the book is a highlight: Sergio Lopez-Pineiro's "Archipelagos of Detritus," which presents a wide variety of leftover spaces, from highway interchanges and crawl spaces to those "virtual" disk fragments that build up over time on computer hard drives. MAS Context 29: Bold edited by Iker Gil | MAS Context | 2016 One of the best parts of the inaugural Chicago Architecture Biennial in 2015 was BOLD: Alternative Scenarios for Chicago, which I described as an "exhibition within an exhibition." Although Chicago was host to the Biennial (and will be again later this year for the second go-around), many of the participants were from outside the city. But Iker Gil's BOLD exhibition focused purely on local talent, with projects by such familiar names as Stanley Tigerman, Margaret McCurry, Helmut Jahn, and Krueck + Sexton, as well as studios, such as UrbanLab, PORT Urbanism, Weathers, and Design With Company, which are making marks inside and outside the city. While I was fortunate enough to visit the inaugural Biennial, many people were not, so this special issue of MAS Context is very welcome. It's also beautiful, with some of the journal's best graphic design (which is saying a lot) and big images of the various speculative projects. Like other MAS Context issues, a free PDF is available, but I recommend ordering one of the limited-edition printed copies for the full effect. New Geographies 07: Geographies of Information edited by Ali Fard and Taraneh Meshkani | Harvard GSD | 2015 The seventh issue of New Geographies, the journal of the doctoral New Geographies Lab at Harvard GSD, would go nicely with the above issue of Kerb. Just as digital information and data flows impact landscape architecture, they are integral to our understanding of geography, in both physical and virtual spaces. Geographies of Information touches on just about every digital aspect affecting places: data centers and other physical network infrastructures (both contemporary and historical); the oft-buzzed-about big data, smart cities and internet of things; surveillance; representation through digital technologies; and social aspects of digital technologies. Familiar experts (familiar to me, at least) are found in these pages, including Stephen Graham (on data centers), Adam Greenfield (on Uber) and Kazys Varnelis (on historical networks). They are part of an ambitious issue that reveals the how the production of space works in a world driven by information and its communication. from A Daily Dose of Architecture http://ift.tt/2jdLRls

[celebsage-blog]

Tom Dempsey Tom Dempsey Biography, Height, Weight, Age, Measurement, Family, Affairs, Net Worth, Career, Profile, Wiki & Much More! Don't forget to read other exclusive Articles about Marcus Hinton, Sidney Johnson, Kazys Varnelis (artist), Stanley Daniels and Odis Crowell Biography. Read Full Articles from https://celebs.bio/people/tom-dempsey/

[nageshpolu-blog]

via Twitter @nageshpolu

[wowtto-blog]

Wowtto goes museums. A fantastic Friday visit to the Kazys Varnelis Home-Museum & Exhibition of Žilvinas Kempinas @ Vartai

[lleigha]

Detachment, the latest exhibition by The Network Architecture Lab (Kazys Varnelis and Leigha Dennis), has been installed at the Contemporary Art Centre in Vilnius, Lithuania since June 17 and is on view until August 14, 2016. Visit the Netlab website for more information and preliminary documentation, along with Kazys’ initial thoughts on his blog. 

[katieeejane-blog]

Kazys Varnelis