ARCHITECTURAL HORIZON

During my undergraduate career I majored in biological sciences and took an eclectic mix of courses in an attempt to discover my passions. The truth is, this was unnecessary because I’d been in love with art and architecture for years. What I needed to find was not my passions, but the courage to abandon the future my mom and I had planned for me and accept my desire to enter an unfamiliar world. I found the courage I needed during my junior year of college and I’ve been actively learning about and pursuing a career in the art/architecture ever since.

My pursuit is a kind of journey on which I meet, develop and let flourish my inner artist. Architectural Horizon (AH) is a space to document and share my journey of self-exploration and empowerment, as I develop a personal artist style, with others. In it you will find posts on the works of artists and designers in various fields, evaluations of my own art pieces and other relevant and sometimes tangent topics. Welcome!
February 17

Sitting in the Works of Giants

This week I had the opportunity to appreciate and salivate over some of modern designs most amazing pieces of furniture. The Knowlton School of Architecture’s (KSA) library has a chair collection that would make all, not just most, architecture, art and design enthusiasts’ hunter green with envy. I, however, have no reason to be envious because I can enjoy them any time I please (as long as the library is open). Nonetheless, I secretly possess the red hot desire to haul at least one piece of furniture out the library’s glass doors, down the endless brutalist concrete ramps, out the door pass the classical columns and into the back of a U-hal. Because this desire will never come to fruition, for a number of reasons, I have to settle for using, abusing and enjoy them during library hours with fellow students, faculty and ordinary people. KSA library is now my favorite place in Ohio.

So I entered the library at KSA expecting to see the usual: books, tables and students engaged in a variety of activities. Suddenly, I realized I’d overlooked something. That chair had a subtle distinction, “It’s made of cowhide,” I thought. “Wait, that’s not just any cowhide chair. It’s THE cowhide chair, as in LE CORBUSIER’s cowhide chair.” So I turned around to my tour guide, so shocked I was unable to verbalize my thoughts, and said “Cowhide?” But I could not pay even the slightest bit of attention to his response because I noticed something else of great importance and beauty in the distance behind him.

The De Stijl’s simplified reds, blacks, blues, yellows and its distinctive dynamic diagonal planks danced a fast, sharp, and simple ballet behind him. “It’s RIETVELD’S famous chair!” As I return to the conversation I heard my guide explaining that the school has a chair collection and commenting, quite approvingly, on my eye and knowledge of historical design (thank you Cornell University). I, of course, was baffled and incapable of acknowledging his compliment. Cutting him off, I asked, “Can I sit in it?” Fortunately for me, he answered, “Yes.” Had he answered no, I would have proceed to put my hind parts into the chair, which undoubtedly would end in me being escorted off the premises and kissing good bye to any educational future at OSU.

This experience was equivalent to having what I call, a Rachel Zoe moment. That instance, so common on her reality show, when she finds impeccable vintage couture and cannot stop talking about how fabulous and amazing the pieces are. Unlike Ms. Zoe, however, I did not go in search of such pieces. Rather, I was smacked silly by the presence of modern design’s best pieces. I’m in Ohio for god sake! I NEVER imagined that so early in my architectural transition, pre-professional, pre-educational career I would be in the vicinity of such great works; that I would have the opportunity to sit in the works of giants, architectural giants, that is.    

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The images above contain my three favorite pieces from the KSA chair collection. The first is Gerrit Rietveld’s 1917 chair in which I sat. It was surprisingly comfortable; the angles are perfectly placed to enhance comfort, relaxation, and enjoyment. Nevertheless, a cushion would further improve the long-term experience.

The bottom left chair is Mies Van der Rohe’s 1929 Barcelona chair. It is quintessentially Meis, refined, luxurious, and simple with understated merriment. 

The bottom right chair is the first chair I noticed, Le Corbusier’s 1929 Basculant armchair. Cowhide never looked so good. This chair is the epitome of quality and ultra refined luxury. Perfect for a minimalist bachelor pad or masculine office.   

(Source: library.osu.edu)

January 12

Walden, here I come!

In my college yearbook my classmates loved ones quoted Henry David Thoreau, “go confidently in the direction of your dreams,” like Frasier quoted Froid. As I read the quote page after page and many times twice or thrice on the same page, I thought “How cheesy.” Fortunately for me, I have had a change of heart. Now I think, “How wonderful!,” as I quote Thoreau with pride, as I live that quote, loving it more and more each time I whisper it to myself, silently contemplating its wisdom and inspiration and smile with pure joy. Thoreau, in all his idealistic ramblings, struck a cord with that quote that I so easily overlooked when I read Walden my sophomore year of college – maybe because I read for an environmental ethics course to which that quote does not apply. His words, his idealistic ramblings, now fill me with untamable inspiration and excitement for my future; fills me with such dogged and irrepressible determination that I fear for those who and that which stand in my way because they will be relentlessly surmounted.

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“ I learned this, at least, by my experiment; that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.” ~ Walden, Henry David Thoreau
January 10

Nature and edifice shall become one flesh. Therefore, what RG has put together, let not man put asunder - the designs of Rene Gonzalez

In recent weeks I have had the pleasure of coming across the work of Miami architect, Rene Gonzalez (RG). I find his work amazingly sensual, naturalistic, innovative and breathtaking! Frank Lloyd Wright would be jealous of Rene’s signature, a blend of edifice and nature in which neither the design nor the surroundings mimic or overshadow the other. Instead, both become one flesh, one spirit, and one space. To achieve this, Rene goes beyond the use of large windows and moving glass walls. Nature enters the edifice and the edifice enters the natural environment. 

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A united piece, architecture and environment as one entity, is RG’s signature. He accomplishes this in materiality, color, and innovative design in both furniture and architecture (both landscape and edifice). The top image is my second favorite project by RG and currently my desktop image. What appears to be a continuous space is actually four spaces in succession, two indoor and two outdoor, with the succession ending in an outdoor space that extends into an infinity view of the sea. Such is the RG signature! Brilliant! 

The Key Biscayne Residence (lower image) is a Dorian Gray of design in its beauty and reflectivity. What I initially thought to be a ceiling glass is actually a light chamber that reflects the changing colors of the sky throughout the day. Thus, bringing nature into the space and giving those inside the sensation of being outdoors. In this manner, the indoor space becomes one with its surrounding.

These two images do not exhaust RG’s innovation and design sense. Do yourself a favor and check out his work at renegonzalezarchitect.com. It will leave you feeling weightless and joyful.  

(Source: renegonzalezarchitect.com)

December 2
“ A goal is a dream with a deadline.” ~ Napoleon Hill
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It’s not a dream! It’s a goal.

Passion, ambition, and optimism coursed through my body, made my hairless arms bumpy, my eyes bright, my mind hunt fervently for knowledge, and persuaded me to start this blog. My vehement soul also made me disillusioned with its impatience so I was as zealous as I was disillusioned because immediate satiation was intangible. It was impossible to instantly satisfy my soul’s desire to actively partake of the architectural world and so my goal became a dream, my destination a horizon and that abraded my soul and it cried out in self-afflicted agony.

In my first post I referred to my plan to be an architect as a dream and I viewed my pursuit of that dream as a horizon I could never reach. That was a mistake.

I saw the journey ahead was long; I despised the wait; the years that would pass before I could practice architecture and I began to loathe my soul. I longed for the girl who wanted to be an architect so badly that she took drawing classes even though she had no drawing ability. The person who said, “I don’t care whether or not I can draw. I will learn and even if I’m never as good as Degas or Matisse, I will work until I obtain an ability to draw sufficient enough to be an architect.” And then I read the wise wise words of Martha Beck. “Let go of the need to figure out how [your soul’s desires] might be fulfilled [for] the sooner we let go of the process, the sooner it will happen. And it will happen.”

Although, for me, it wasn’t the process that confounded me, but rather the length of time, I too must let go. I must let go of the wait. I know the journey is long but I must accept it, embrace it, make peace with it and so I have. But the soul is a powerful being. Ever so often, it wails for immediate gratification to which I respond, “It will happen.” Then I close my eyes; I take three yoga breaths, slow inhale and e  -  x  -  h  -  a  -  l  -  e; and I refocus.

Because this tacit will not suffice forever, nor would I want it to, I have made steps to ensure that I no longer convert my goal to a dream. I established deadlines; goals have deadlines. Though I am still in the process of determining the exact details, (i.e. dates for GRE, the order in which I will take the necessary coursework, and so on), my Graduate applications will be submitted in Fall 2013. My journey’s end remains blurry but I see the next stage clearly and that’s enough for now. 

October 5

The Artist Paradox: Appreciating My Work

“As an artist it is difficult, sometimes, to appreciate your own work.” ~ Harriet Korman

No truer words have been stated, at least in my case. Similar to an ignorant patient diagnosing himself, I declared myself a non-draftsman, void of artist ability. But who was I to make that call? I was but and still am a dilettante, just beginning to increase my knowledge of art history and developing my fine art skills. I know nothing about the criteria for judging or skill set that produces a Henri Matisse or Leonardo da Vinci.

The ‘artist paradox,’ as I have labeled it, is the inability of a talented artist to recognize and/or appreciate the quality of his work. I decided, uncertainly, that this is the root of my denial. The reason for my inability to identify or acknowledge my talent.

Rather than accept the paradox, I’ve decided to confront it. “How?” You ask. “How will I confront myself?” By learning to appreciate my work.  The first step is to accept that I am learning and that I will get better with practice. Done!

Then I will employ a business strategy-esque approach to documenting and charting my progress. This may seem counterproductive but it is through the disassociation of myself from my work that I will be able to truly value it. My plan is to evaluate my pieces every week. Evaluations will consist of identifying my weaknesses and my strengths. After an extensive, but not self-depreciating or derogatory, assessment, I will correct the problem areas and perfect those in which I demonstrate little difficulty. This method ensures progress, allows me to see my progress, recognize my growth, and appreciate my work. 

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WEEK 1  This is what I produced at the first meeting of my life-drawing course this semester. It was also my first serious attempt at life drawing. The features are overgeneralized and the overall image is far from accurate. I am aware of the movement in the spine and outline of the body but unable to provide specific details that would make this drawing distinct. For example the knees, shin, and calves lack definition. I struggled with proportions, the upper body is too large for the lower half or the lower body is too small, depending on your point of view. I prefer the latter. As drawn, the lower half is insubstantial; it is incapable of supporting the upper body. Adding to the insufficiency of the lower body, the legs are far too short and the feet are too small. However, given that it’s my first attempt, I think it’s okay.  

WEEK 1 

This is what I produced at the first meeting of my life-drawing course this semester. It was also my first serious attempt at life drawing. The features are overgeneralized and the overall image is far from accurate. I am aware of the movement in the spine and outline of the body but unable to provide specific details that would make this drawing distinct. For example the knees, shin, and calves lack definition.

I struggled with proportions, the upper body is too large for the lower half or the lower body is too small, depending on your point of view. I prefer the latter. As drawn, the lower half is insubstantial; it is incapable of supporting the upper body. Adding to the insufficiency of the lower body, the legs are far too short and the feet are too small. However, given that it’s my first attempt, I think it’s okay.