March 08, 2013

SCULPTURAL IMAGERY BY NICHOLAS ALAN COPE & DUSTIN EDWARD ARNOLD




LESSONS IN SCULPTURAL IMAGERY
NICHOLAS ALAN COPE & DUSTIN EDWARD ARNOLD


B

LESSONS IN SCULPTURAL IMAGERY BY NICHOLAS ALAN COPE & DUSTIN EDWARD ARNOLD
Lessons In Sculptural Imagery, Chemical Photography And The Ressurection Of Still Life By Cope/Arnold
Photographer Nicholas Alan Cope and creative director Dustin Edward Arnold have come to be known as a groundbreaking duo within the visual arts world. Both with wide-ranging backgrounds in photography and design, they originally met through a commercial project in 2007 and began their first collaboration in 2009 when they formed the artistic partnership known as Cope/Arnold. They decided to join forces due to a mutual desire to go beyond the commonplace and take photography to places it had never been before. '' We have a classical approach to making work '', they point out, where ''there’s a lot of planning, a lot of preparation''. Their approach to image creation, however classical, still manages to break the confines of conventional photography. Each working beyond their respective discipline, they inventively combine the mediums of painting, chemistry, sculpture, fashion and installation as a part of their image-making process, without being afraid to constantly evolve and experiment with new approaches and techniques that they have never tried before.
Combining traditional art making practices and digital craft into one space, their work is further consolidated by a compelling conceptual framework that goes far beyond what meets the eye. Through their imagery they orchestrate captivating visual storylines based on an omnipresent interest in the abstract which is elusively highlighted by scientific, spiritual and cosmological undertones. The aesthetic of their shoots is made up of a combination of atmospheric lighting, rich textures and attention to detail. Heavenly lights complement and at the same time juxtapose dramatic shadows and exaggerated close-ups, thereby creating a series of mesmerizing imagery that shies away from ordinary editorial and flirts with fine art.
Since joining forces, they have amassed a body of autonomous work that references the past, twists the present and projects well into the future. So today, we are very excited to present an overview of their breathtaking imagery.

http://www.cope-arnold.com/






VEDAS 2011










VEDAS 2011


A 
PROJECT VEDAS 2011
VEDAS (2011), which means knowledge in Sanskrit, is a striking ongoing photography series that presents the duo’s distinctive take on fashion photography. The series is a broad exploration of the subject of knowledge, especially inspired by the alternative mindset offered by Copernicus in his book ‘De revolutionibus erbium coelestium’ (On the Revolutions of the Celestial Spheres) that reassessed man’s place in the cosmos.
As the duo proclaims,
'''... knowledge it seems, is at once both expansive and contractive. It is a value exchange. For some it shakes foundations, de-stabilizes values and opens up the sheer terror of possibility. For others it signifies hope, advancement and discovery''.

In their images, knowledge is a ray of light reflected from the orbit of celestial bodies, illuminating dark spaces and the corners of the mind. Its power, glorious and resplendent, restrictive but also infinite, sculpts mentality and space into pristinely pure vessels of life, where soft light, or even the absence of it, sets the scene for hauntingly captivating fashion imagery with cosmological undertones. Figures that appear sacred and regal seemingly assume the role of high priests amidst monochromatic new-age temple-like sceneries set somewhere in-between light and darkness. Shrouds, veils, visors and masks form a protective armour that enfolds the spirit. Faceless models and indistinguishable silhouettes now become universal, gracefully emerging out of the darkness poised and humbled, as if standing in awe in front of the daunting gravitas of knowledge. Through photographing sculptural garments of their own design, Cope and Arnold tell a story of spirituality, revelation and alternative belief systems, where the mystical co-exists with the scientific.



VEDAS 2011




VEDAS 2011










VEDAS 2011




VEDAS 2011






VEDAS 2011




















Both with varying backgrounds in photography and design Nicholas and Dustin met through a commercial project in 2007 and began their first collaboration in October of 2009. 
Each working beyond their respective discipline they combine the mediums of painting, chemistry, sculpture, fashion and installation as a part of their image-making process.
Their first project Putesco (2009) explores classical composition and aesthetics through decomposing still lives. Aether (2010) is a mixture of painting, chemistry and photography, dealing with perception of the abstract. Stamen (2010) takes that same interest in the abstract applied to conventional floral arrangements, while Vedas (2011) marked their move into fashion imagery through photographing
sculptural garments of their own design.
They are currently working on a number of projects and collaborations due for release inlate 2012 and early 2013. 
http://www.cope-arnold.com/info.html




March 03, 2013

PITCH' S HOUSE DESIGN BY INAQUI CARNICERO




PITCH’ S HOUSE DESIGN BY INAQUI CARNICERO

A
B
PITCH’ S HOUSE DESIGN BY INAQUI CARNICERO
The design of these two semi – detached houses is adressed in a non – conventional manner. From the beginning, the two units were conceived as a single Project, and although the program for both residences is identical, the layout is asymmetrical. The finished design answers to the client’ s needs, as well as offers the possibility of being transformed into a single house, envisioning a wider range of plausible scenarios in the future.
The house is located in Los Penascales – ‘’rocky area ‘’ in Spanish – on a slope with many outcrops and oriented to the South. The building, however, does not relate to them, but rather turns its back to the immediate surroundings, interacting with the distant Pardo forest and with Madrid’ s skyline. While the design denies the abrupt topography of the site and the immediate context, the structure delicately leans on the existing rocks with large horizontal planet hat defines the footprintof the building.
Once this datm has been established, the house is organized in two independent units. Car parking and other services are located underneath, and the living areas are put above in a single volüme. Relating to the ‘’ footprint plane ’’ the size, shape, and placement of this hermetic, horizontal prism provides fort he rest of the program: bedrooms, the main bathroom, study rooms, and a little toilet. In this piano nobile, where the Daily life goes on, the floor is covered with White calcareous stone. A unique by window located 1,40 meters fromthe floor trims the skyline of the landscape and uniformly illuminates the concrete ceiling.
Resting against the hillside, the hanging concrete box serves as a canopy to protect the ground floor from the sun, while stimulating views into the horizon. The horizontal void created practically spans the whole building, bringing natural light into the first floor and allowing it to enter the ground floor diagonally though the central double – height space. This as well as other double – height volumes put in relation the two rather independent levels.
Between these segregated worlds, the entrance appears around a huge rock and through a slightly hidden stair. Inside, objects are clustered and related to one another in multiple ways. In the ground floor, the furniture is reduced to a single element with various functions: storage, kitchen counter, sitting area, and entrance windbreak, in the first floor, all the wardrobes are concentrated in one single strip that is attached to the facade, improving the thermal behavoir of the building, and therefore reducing its energy consumption.  This buiding hosts two dwelling units, but lacks the typical scale of a house. By abstracting traditional dwelling elements, the visitor is mislead and his attention redirected to the specificity of the enviroment.
------------------------------------------------------------------------------------------------
You may visit  Inaqui Carnicero's project of Matadero Art Center Neva 16 Madrid to click below link from my blog archive.

A






 A
 A
 A
 A


 A
A
B








A






A


A
A
 A








IÑAQUI CARNICERO 
Active in both the academic field and a professional practice, Iñaqui Carnicero has been an associate professor of design at the School of Architecture, Polytechnic University of Madrid since 2000. A year after graduating Carnicero earned his first commission through a competition for the construction of a university building in Madrid, which was accompanied by his participation in the Venice Architecture Biennale, 2000.
Carnicero has won several competitions and completed many projects, including CEU University, social housing, a high school, the restoration of an Arab tower, a district attorney’s office in Madrid’s City of Justice, a cultural multi-use center in a former slaughterhouse of Madrid, and the Pitch´s house. He is cofounder of the architecture platform “Symmetries,” relating roman and contemporary procedures.
His Ph.D. dissertation focuses on Louis Kahn and Robert Venturi’s discoveries in Rome regarding the perception of size in architecture.
PUBLICATIONS ( SELECTED )
“Ragusa´s Secret,” COAM magazine nº 359, Kahn y Venturi (April 2010)
“A New Scale from Rome,” 10 tesis en curso. AAVV. Editorial Mairea (2011)
“Symmetries manifesto” www.symmetries.es
AWARDS, GRANTS, AND FELLOWSHIP ( SELECTED )
Rome Prize, Spanish Academy in Rome (2007)
Design Vanguard Award, Architectural Record (2011)
Selected Emerging Architecture Awards, Architectural Review (2011)
Hauser Award (2012)
Final stage, FAD Awards (2012)
EXHIBITIONS AND PRESENTATIONS ( SELECTED )
RIBA exhibition International Emerging Architects, London (2011)
Architecture week in Prague International exhibition (2011)
International 2012 Emerging Future, GA gallery, Japan (2012)