#building review

[calvinpo]

An exhibition/pavilion review:

Ringing Hollow: A Review of Black Chapel, the 2022 Serpentine Pavilion

Calvin Po

It’s perhaps an unfortunate coincidence that on my way to this year’s Serpentine Pavilion, Black Chapel, designed by Chicago-based artist Theaster Gates, I had a rather more spiritual experience when I passed by a group of street preachers on the square next to Speaker's Corner. With their Union Jack bunting draped all around their assembly, placards with JESUS IS LORD, large banners of the English flag adorned a patriotic lion and names of the all the London boroughs proudly proclaiming LONDON SHALL BE SAVED. Puncturing through even my atheistic, bemused scepticism, the blaring music and odd bursts of song had a patriotic, messianic energy that was electric. By the time I got to the Chapel I came to see, it had simply been upstaged.

Pavilions have often mattered more for the reason they are built, than the actual functions they house. From completing the composition of a Picturesque landscape, to Mies van der Rohe’s Barcelona Pavilion itself becoming a manifesto, the purpose of pavilions often exists beyond the building itself. In the case of the Serpentine Pavilion, it is more about the annual cycle of patronage by the London cultural elite as they pat the “emerging architect” of the year on the back. So I was intrigued when Gates claimed a loftier, more sacred ambition of creating a ‘Chapel’, a “sanctuary for reflection, refuge and conviviality”, for “contemplation and convening”, on top of the usual purpose as a place to sit and buy an expensive coffee.

The pavilion’s imposing 10.7m high cylindrical form, clad in all-black timber has an immediate presence as I approach. Gates claims the form references inspirations as eclectic as “Musgum mud huts of Cameroon, the Kasubi Tombs of Kampala, Uganda [...] the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.” Perhaps the subtlety of these references is lost on me, but the Pavilion mostly evokes an industrial structure, like a water tank or gasometer, especially with its external ridges of timber battens  and internal ribs of timber and metal composite trusses. Yet despite the grand gesture of an open oculus in the roof, letting light into the inky, voluminous interior, it fails to move me in that transcendental way that even a modest place of worship can. 

Is it perhaps the quality of the execution? Serpentine Pavilions are often put together on hasty timescales, with six months from conception to completion. Little details give this away: boards of the decking and cladding not quite lining up, the black-stained timber a bargain basement imitation of yakisugi (Japanese technique of timber charring). Perhaps this can be forgiven of a non-permanent structure: in a nod to sustainability credentials, this year the designers have taken care to ensure the structure is demountable, down to the reusable, precast concrete foundations. But seeing that the Pavilions are almost always auctioned off to recoup the costs and relocated to the grounds of private collectors and galleries, this seems more a convenient commercial expediency, than an environmental one. Perhaps it is difficult to be spiritually moved by a structure that is sold and delivered like a commodity, with little rootedness in its physical and congregational geographies. 

Or could it be the atmosphere, a lack of drama? One of Gate’s flourishes, such as his seven silvery ‘Tar Paintings’ that are suspended in the inside walls of the space like abstract icons, are a nod to his father’s trade as a roofer, and Rothko’s chapel in Houston. Yet these self-referential gestures seem lost on the throngs of sun-seeking Londoners taking brief shelter from the heat and wilted grass, with hardly anyone giving them a second glance. Most seemed more interested in the shade than symbolism. For a project that also emphasises “the sonic and the silent”, the acoustic atmosphere of the space I found wanting, perhaps because of the sound that leaks out of the two full-height openings that puncture straight through the volume: its acoustic experience had neither the reverberant, sanctified silence once expects from a chapel, nor the sonic presence that the street preachers managed to carve out of a busy corner of a London with just their vocal chords. Instead, all I heard was the low chatter of visitors going about their own business. The Pavilion is being programmed with “sonic interventions” (read: music performances), and the jury is out on whether or not the Pavilion can serve as a suitable venue for sounds with a more explicit, ceremonial intentionality.

But perhaps the coup de grâce was the decision to relocate a bell from St Laurence, a now-demolished Catholic Church from Chicago’s South Side. Sited next to the entrance, it is to be “used to call, signal and announce performances and activations at the Pavilion throughout the summer.” Gates explains this decision as a way to highlight the “erasure of spaces of convening and spiritual communion in urban communities.” But now mounted on a minimal, rusty steel frame like an objet d’art, I can’t help but feel a cruel irony that a consecrated object that once used to convene a lost community is now used as a performative affectation for the amusement of London’s arts and cultural gentry. This perhaps exemplifies a deeper ethical issue at the heart of the Pavilion’s concept: narratives of collective worship, cherry-picked from across communities and cultures, are sanitised, secularised and aestheticised in a contemporary art wrapper for the tastes of the largely godless culture crowd. The curator’s spiels of a creating “hallowed chamber”, if anything ring hollow.

As I leave Hyde Park, I pass by again the assembly of street preachers, who have now moved on to delivering a sermon. Gates said of his Pavilion, “it is intended to be humble.” Yet I can’t help but but feel how much more these preachers have achieved, with so much less.

[villagesong]

people criticising the world-building in bottoms as if that wasn't the entire Point. it's supposed to be stupid and silly. the classes are 10 minutes long, their textbooks were all burnt conveniently, no-one has parents except hazel, nobody gives a fuck if jeff's car burnt down or if they killed a bunch of guys, etc etc. it's supposed to be silly in the way shitty romcoms usually are! and it fucks so

[bug-babie]

genuinely sobbing, look at him

(in case anyone wants the scam axolotl)

[squash1]

ok book club <3 what are we reading that’s actually good and would maybe fill the trc shaped hole in my soul???? and don’t say reread. unless you say reread the dreamer trilogy because i’m so close to giving into the urge.

please. please. give me your suggestions.

as a frame of reference here are non-trc books i love & would recommend (different content, same soul):

watch over me by nina lacour

in memoriam by alice winn

under the whispering door by tj klune

these violent delights by micah nemerever

the anthropocene reviewed by john green

summer sons by lee mandelo

a tale for the time being by ruth ozeki

i need an actual book club but tumblr took away my group chats :(

anyway love you please give me suggestions!!!!!

[shepherds-of-haven]

Happy New Year, everyone! I thought it would be fun to do a little retrospective on the game's progress over the last year... Shepherds of Haven has grown so much from the little demo I posted in January 2018, and it continues to steadily build and flourish in so many different and exciting ways! Here's a look at just some of the things we accomplished in 2023!

I added 143,151 words to the game (2.5 main chapters, 8 new character interludes) in 2023: the equivalent of writing the longest Lord of the Rings book in one year! We also broke our huge 1 million word milestone—without including code—meaning Shepherds of Haven is now officially twice as long as War and Peace, and almost as long as the entire 7-book Harry Potter series... and all in a single game!

A lot goes into game creation behind the scenes, including the coordination and creation of visual assets for the game—like character cards, codex entries, maps, portraits, and backgrounds—fun stuff for the fans (like the MC info template we created), and songs for the official soundtrack. As the game creeps slowly and determinedly towards its initial completion, that also means learning new things as a solo developer to prepare for the future, like learning to build an official website, researching business and tax practices, and beginning to think about how to conduct testing, publishing, and marketing down the road. Much of what I enumerate here hasn't been made public yet and will continue to cook in the background for a while, but I'm very proud of the work I've gotten done this year and will be excited to unveil more in the future!

And of course, for even more Shepherds of Haven content, I've added and completed even more stories for our little library on Patreon (which also has sizable word count at this point): The Bridge of Bones (a Trouble and Riel murder mystery), O Happy Dagger (a dark adventure featuring Briony, Chase, and Red), and The Hunt (a wild tale involving Tallys, Halek, Shery, and new kinds of spirits, fey magic, and Elves) were all serial stories completed in 2023, while Some Kind of Virus is a cyberpunk zombie apocalypse AU that will continue to be updated with new chapters monthly.

A full list of the Shepherd short stories and serial novellas (with links) can be viewed here!

I hope you enjoyed this session of Shepherds of Haven Wrapped! Honestly, this doesn't actually cover everything I've been working on, but some things can't be packaged and listed out neatly, or otherwise won't seem very interesting to anyone else but me! 😂 As we inch through Chapter 9 and get more interludes done (only a few more main chapters to go), I'm hopeful that I'll also be able to find time to work on my next novel, but we'll see if the Shepherds schedule ends up ramping up or settling down as we work steadily towards finishing the main story!

One important thing before wrapping up is to acknowledge your guys' role in this wonderful, wild journey. I want to express my heartfelt gratitude to each and every one of you for your invaluable contributions to the development of Shepherds of Haven. Whether you took the time to share links to the game, supported its growth on Discord or Patreon, left encouraging messages or asked interesting questions, reported bugs, or showcased your remarkable works of fanfiction or fanart, I am sincerely thankful for the unwavering support from this amazing community! Your collective efforts have played a pivotal role in shaping the world of the game into what it is today. Words cannot adequately convey my gratitude for your support, and I am truly blessed to have such a passionate community surrounding this project.

As we step into 2024, I am filled with anticipation for the developments awaiting Shepherds of Haven. Big things are on the horizon, and I am so excited to share these experiences with you! Thank you for being an integral part of this journey, and here's to the continued growth of our shared little world. Cheers to 2024—may it be a year filled with creativity, adventure, and joy! 🎊

[tare-anime]

SxF Mission 90

(Beware spoilers)

It's Yor, Anya, and Bond's day ouuuttt!!!

Finaaaalllyyyy!!!

I've been wanting for this for so loooonnggg!!!

Thank you Endoooo!!! 😭😭😭😭

It's really nice to see Yor act as the awesome mother that she is. And how she shows compassion to other people, and in a way, teach Anya to do the same.

At the same time, we are shown that having a mind reader ability can be useless if the person is having dementia. Aside that Anya is still to small, and doesn't know how to comprehend complicated information.

Maybe, when one day she has become a true psychiatrist, then Anya can really help these elders 🥰🥰

Such a wonderful warm chapter.

Details:

1. Bond really needs to do more workouts to boost his endurance 😅😅

2. Endo just loves to slip in angst anywhere anytime eeehh?? 😭😭😭

Grandparents for Anya is canon! Buuuutttt.....

Nooooo Yoooorrr!! 😭 Notice that once again Yor is shown to be so selfless. She knows that what it's like to not have parents nor grandparents, but she doesn't want Anya to experience the things she did. 😭😭😭😭😭

3. Propaganda is a scary thing indeed

How this children can easily point fingers at strangers and judge them as spy? And how scared the elder is? And then, how PROUD this children is for doing "something good" for their country!! Oooffff kinda like Yuri, eh? Scary.... scary things....

4. Ostania is also a victim during the war

At the end, no good results will ever come out of war. There will always be victims everywhere. Trauma. And destruction.

Ouch. A subtle yet powerful reminder that will always linger throughout the story. How Endo will always emphasize the importance of peace.

Wonderful warm chapter!!!

But will this be the opening of new arc, or be a stand alone chapter? We shall see!

Last but not least, TwiYor should really learn from this elderly couple, that it IS possible to have a happy long lasting relationship with your other half 🥰🥰🥰

[rotten-hearts-sharp-teeth]

Someone You Can Build A Nest In:

I have never once annotated a book before, but I was struck with the inspiration while reading this one. I planned to only annotate when something caught my attention, and well... it got out of control pretty fast.

It was a beautiful Sapphic ACE horrormantasy told from the POV of the monster Shesheshen. Parts of the story are cozy, but it also contains graphic body horror/gore throughout and massive family abuse with broken characters. If you are a fan of tentacle, shape-shifting inhuman monsters, check it out!

Edit: I forgot to include mentions of oviposition and vore. Which I love but I know is not everyone's cup of tea

[gofancyninjaworld]

Meta for the Ninja Arc (so far)

I thought about reviewing the chapters 195-202 (fan numbering), but summarising the action was annoying me, so let's just skip to the good stuff! This arc has been a grower: what it lacks in up-front showiness it makes up for in depth once you take the time to reread and think about it. I'm just going to pick up on a few things.

Recontextualisation

I have been thinking a lot about how much what we make of the information we receive depends on what we already understand [1]. I've written a bit about ONE's use of salience within the story. This arc though, I'm going to talk about recontextualisation and how important it is to be able to look back and understand events and even people anew in the light of new information.

This has been a huge thing for Flashy Flash. Many years ago, he and Sonic sneaked into a forbidden section of their village and saw many strange things that made no sense to them at the time. It's only very recently, after hearing about the enemy that is 'God' and Blast's efforts to counter him (chapter 173) that things started to make sense to him.

It's only after seeing Gale Wind and Hellfire Flame, not as monsters, but as the former security guards who had trounced them for trespassing that 'where' he'd seen the cube before came back to Flashy Flash, as did the significance of the sights they'd seen. And then it all started to fall into place, reinforced by his going back to the Village to find it destroyed in what he had now come to recognise as Blast's signature attack pattern.

Of course, Flashy Flash has terminal Main Character Syndrome, so he's tried to organise things so that he's the one who takes down Empty Void and reaps the accolades. It's kinda backfired but we'll come back to that in a bit.

There's another bit of recontextualisation that is not so explicit but I think is just as important. It's clear that the Tenninto were no match for Flash and that he could have killed them any time. It's also been established that Flash has never hesitated to kill anyone who came after him. It's been his policy after all. So what gives in his sudden rush to mercy?

As the chapters have gone on, it's become clear that Flashy Flash has come to see the Tenninto as fellow victims of Evil Void's dehumanising process intended to turn them into potential vessels for 'God'. Something else that Flashy Flash is probably responding to is that rehabilitating Village members was once Sonic's dream, and there's a part of him that would love nothing more than to help make it happen. Of course, if you point that out to him he'll tell you to stop being stupid.

It's amazing but Flash is outraged at the way he and his fellow victims are seen as things to be used, abused, and discarded as Void pleases, and he's looking to get justice for all of them.

Ah yes, Sonic. It's been clear that Sonic has been a much better friend to Flash than he has to Sonic, and yet, yet it would seem that Sonic is the one person he cares most deeply about: anything bad happening to Sonic would devastate him. He just has a funny way of showing it.

An irresistible vision. To think that in his heart, this is what Flashy Flash most wants.

We hope he comes to do better.

Insight

Let's talk about Sonic now. For many years now I have been hoping that something would happen to shock Sonic out of his futile rounds of attacking Saitama, being beaten by Saitama, training maniacally, attacking Saitama... his world has become very small and circular, like a round circle.

I had fantasised about maybe Genos grabbing him mid-attack and stuffing him into a narratively-convenient bin without so much as breaking stride. Something so outrageous that he could no longer ignore the need for him to change. The webcomic has sidestepped solving this problem by gifting Sonic some magic scrolls and a sword and just not having him cross paths with Saitama again. The manga is tackling the problem head-on.

Something I have loved, loved, loved about ONE is that he hasn't hesitated to give characters what they've earned. There's been enough morons bellyaching about the two not being neck-and-neck in skill like they were in the webcomic. Sonic's not weak in the manga -- Flashy Flash has experienced more battles and has had to struggle and learn more and so he's been able to progress to the point that he's left his friend in the dust.

Translation: The Back Of A Friend I Once Stood Shoulder-to-Shoulder With. There'd have been a lot less bellyaching if the translators had translated this bit.

That's the shock Sonic needed to open his eyes to the stupidity of his actions. More than that shock, seeing what Flashy Flash has been able to achieve has given Sonic the inspiration to strive for, achieve, and surpass what Flash has accomplished. His fire is back in a good way.

More than that though, the disrespectful way in which Sonic was offered more monster cells rather than a more interesting vision peaks to two things, external and internal.

Externally, it speaks to the way that we tend to think that people are only what they first show us while we understand ourselves to be complex creatures with many competing moods and wishes. Empty Void had heard that Sonic had once reached for a monster cell and assumed that he knew the sort of guy Sonic was: someone whose inferiority complex was such that he'd reach for any offer of power. But of course, that's not Sonic. Sonic has been the stubbornest person ever, who has been able to keep his sense of self despite the Village's best efforts. He reached for a monster cell because even the strongest person can despair, at least for a while.

Internally, man, the bleakness of Sonic's life is such that he doesn't have anyone to offer him a nice fresh monster cell and the monster cells must perforce cook themselves to offer themselves to him... he looks to no one and believes in none. That's painful to see.

When we think of how close he and Flash used to be, the bitterness of his mocking the prisoners for depending on each other grows sharper every time we learn a bit more about him. I don't know if he'll ever forgive Flash for betraying him.

Yes, there's a betrayal right on screen now: that of Blast by Empty Void. Blast thought they were in the business of putting God out of business but Void was using him to obtain cubes so as to raise an apostle of God.

Longer Blast: I'm not mad. I'm just very, very, very disappointed.

That said, I'm not going to let Blast off the hook entirely. He has some explaining to do!

Complicity

Blast has a lot of explaining to do. Sure, he's been refreshingly honest about what he's been doing with monster experiments, and his link to 'That Man'.

I have a feeling that Flash has been too quick to absolve Blast of blame.

We know that Blast and Empty Void went back at least 20 years. And yeah, we can just about buy that he didn't know his partner was fixing to betray him. However, given that we know that the Village takes young boys and that there were at least 43 graduating classes before Flashy Flash escaped years ago, that means that the Village had been a thing for at least 50 years. How long has Blast known about Empty Void's activities? Did he turn a blind eye to it? Or was it not a problem until it bit him in the ass? [2] What else is Blast permitting that shouldn't be?

We need answers.

I am very invested in seeing how this arc ends and what else it'll lead to.

Asides

[1] A very neat non-fictional example: this man escaping from his pursuers by lying down and thus changing their understanding of him to 'homeless guy'.

[2] A part of me notes that Blast falling out with Empty Void and beating the shit out of him coincides neatly with the time Blast's son was born. Maybe shit became a bit too real for him to ignore.

[aye-of-newt]

I think the solution to all the Hargreeves’ problems would be for Klaus to continuously live stream his day. He is out there actively attempting to avoid the plot and then trips over vital information on the way to the bathroom.

[dragonkid11]

In this episode of Lancer Custom Werks, Stortebeker, a frame that seeks to shoot and slash through it all with truesilver piercing their armor, what can you do with this mech?

[calvinpo]

For the Architectural Review

Bass Coast Farmhouse in Victoria, Australia by John Wardle Architects

Calvin Po

For the architectural profession, building on the unceded lands of Indigenous people is a conflicting proposition, yet one that is almost inevitable for architects in Australia. Bass Coast Farmhouse, by John Wardle Architects, is one such project, built on former farmland among coastal heath reserves off the Bass Strait in Victoria. As they do with all their projects, the architects acknowledge the Traditional Owners, in this case the Boonwurrung people of the Kulin Nation.

Between the role of the architect, duty to their client, and wider questions of postcolonial ethics, these tensions permeate the house’s character and its distinctive relationship to the land. The Kulin Nation’s Tanderrum ceremony extends to outsiders a welcome to Country conditional on honouring the land and its intertwined relationships with its people: ‘The land ... is our mother. These cliffs are like our cathedrals, this is our church.’ On this sacral land, the architect’s exploration of ‘the nature of building on terra firma’ is not just an architectural fantasy, but a reflection of this quandary, and rejection of colonial myths of terra nullius – the land is not a blank slate.

From ecological footprint to the architectonics, this sensitivity is omnipresent. The house is entirely off-grid and the construction is largely prefabricated to minimise onsite waste and disturbance. The house sits gingerly on the ridge of a dune, making only the necessary contact with the ground. It is then cantilevered as the dune falls beneath the house. The cantilever, with its barn-like void and its suspended walkway, evokes an archaeological shelter, spanning over and shielding artefacts, and framing them for display. To enter the house, a set of stairs descends from this walkway as if down into geological strata of times past.

As for what is being sheltered – the dune and a scattering of stones – they too become imbued with new significance. After centuries of European colonisation, few traces of Boonwurrung heritage remain. It is the land itself, and the Boonwurrung people’s intergenerational custodianship of it, which is left to be protected. A critical part of the project is repairing parts of the site degraded by modern agricultural extraction, with a specialist advising on a massive replanting project for carefully restoring indigenous grass, shrub, and tree species. In contrast with the landscape, the house’s timber cladding (already silvering in the antipodean sun) and the corrugated galvanised steel roof seem to acknowledge its fleeting presence, relative to the long histories of the Kulin Nation.

The house is the antithesis of being ‘monarch of all [it] surveys’, to quote William Cowper’s poem on Alexander Selkirk, the British castaway in the Pacific. The Anglocentric ideals of Capability Brown’s Picturesque landscapes, where the earth itself is reshaped for the pleasure of the house’s gaze, are rejected. All the outward-facing windows, including the living room’s picture window, can be shuttered at a moment’s notice. For a house surrounded by expanses of nature and the coast, it is surprisingly introspective, with its primary aspect oriented around the central courtyard. The house is also extensive for a single-storey family home, with beds and bunks in polished, timber-panelled rooms, accommodating over a dozen people. But rather than bearing down on the terrain or asserting its panoramic dominion, the house seems to recognise that the views and the land are on loan, not owned.

John Wardle Architects, with its recently inaugurated Reconciliation Action Plan, joins others in Australia in re-evaluating their relationship with First Nations. But in the end, the impact a private house can have on reconciliation is limited. As Carolyn Briggs, a senior Boonwurrung elder, once reflected, ‘I’m always trying to find markers that inform me that we still have a part in this place. ... I think it would be amazing if you can start to read the land and wonder about the history of the people who lived and died before we were here. Hopefully one day you’ll know it. But we can’t see that now in the built environment.’

Link to original article here.

[simwithshan]

Highschool Years 👩‍🎓 | School Uniform's Mod

Want your Sims to wear their Highschool UNIFORMS every time they attend an active school day? Now they can with this mod!!!

THE REVIEW:

https://www.youtube.com/watch?v=VhYlIlUbUu8&feature=youtu.be

LINKS ♡

Twitter.com/SimWithShan

SimwithShan.Tumblr.com/

THE MOD - https://lot51.cc/mods/fashion-authority

[mfjenks]

I really love this mutual respect and warmth between Oliver and Maxine. He really values and cares about her opinion that he even invites her to sitzprobe, which "is never done", scares Donna and Cliff and actually is done at Oliver's own peril. Maxine is critical, vitriolic, true to her own opinion, but still attentive to Oliver's feelings, she sees and sincerely appreciates his passion, she wants to see soul put into the production which is really there in the musical version and which is actually an essential part of Oliver's personality. According to what we have seen and heard, Maxine is really what critic should be: picky, discerning, but compassionate and giving a value to this "singing", a soul And this interaction just proves Oliver to be competent as a director, unsecured, caring about critics, lovable and ultimately passionate, which makes people who really know him to actually value him and follow him (as Charles said, "The world needs Oliver Putnams")

[citizen-of-the-fandom]

Playing No Man's Sky, sending my little frigates out into the galaxy on expeditions, gathering resources to build fancy work stations for my freighter, going through and fixing the colors in all the corridors, working out a trade network: *happy little wiggle*

[3-aem]

thinking about my exit interview that was super informal but at one point i was like okay i will say something positive about the team and my ex manager was like okay

and then we both sat there in silence for a solid minute

[tare-anime]

SxF Mission 87

(Beware if spoilers)

World building or plot wise, in this chapter, we do get the thing Twilight has been trying to get since chp 67

The files of special VIP patients.

And these patients relates to Melinda, I guess.

Part of plan C

So maybe... maybe with Fiona is out of commision, we will see how Twilight use this information, and somehow Yor might get an even more advace info?

A.k.a

We might be get more Melinda soon. With Lady patriot society?

Will we focus on Yor??

A lady patriot society ball??

Sylvia meeting Yor for the first time???

Or... ooooorrrr???? Garden involvement???

(Ok, I'll stop here before I go too far 🤣🤣🤣)

Anyway, Endo is cooking something. And I can't wait to see it.