vanderpoel's posterous

Floris van der Poel / Kantoor FLORIS VAN DER POEL

Alessandro Gnocchi's Tagliere degli Affari * Piazza degli Affari is the adres of the Italian stock exchange.

Chopping board resembling the typical Italian marble street plate. 
It represents the end of the capitalism. The end of its symbols [...It makes me feel greedy].

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The single-minded image...Kazuo Shinohara's Ashitaka House_1977_SAN ROCCO format.

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Generally regarded as an 'architect's architect', Shinohara was content in his early work to ring the changes on reductively modernized versions of the traditional Japanese house. This changed, however, with his so-called House with a Big Roof in 1961, Tokyo. Thereafter his houses tended to be identified not by the place where they were built but by the single-minded image that was the basis of their design. He subsequently produced eccentric works with earthen floors and strange, high-pitched interior volumes entirely devoid of furniture. This obsession with an existential iconic architecture reached its apotheosis in a series of stark concrete houses designed between 1970 and 1976: Incomplete House and House at a Crooked Corner, both in Tokyo, a house in Uehara and one in Ashitaka. Together they formed a monumental series that brought this phase of his work to a conclusion.


UNULAUNU_Houses D & G... Nifty Geometry.

House D_Targu-Mures_RO. 

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House G_Tiganesti_RO.

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The Post-Olgiati_school of Romina Grillo and Liviu Vasiu. There is some Pascal Flammer in there too. Like it. Like it a lot. 

MAKRO HQ_Trappen_In Werf_Q1/2012.

Simple Strip, Non-Möbius department. In opdracht van Ruby van den Munckhof. Geproduceerd en gemonteerd door NTO Metaal Specials_vader en zoon Nieuwenhuyse.

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The secluded garden overlooking an Emerald green pool in Alentejo_SAN ROCCO format.

Valerio Olgiati research_2009_Emerald is a variety of the mineral beryl (Be3Al2(SiO3)6) colored green by trace amounts of chromium.

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Isamu Noguchi... and his way of looking at the world with an eye for 'ONENESS.'

'Everything is sculpture' said Isamu Noguchi. 'Any material, any idea without hindrance born into space, I consider sculpture.' Noguchi believed the sculptor's task was to shape space, to give it order and meaning, and that art should 'disappear', or be as one with its surroundings.

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 Isamu Noguchi [1904 LA_1988 NYC] assistant to Constantin Brancusi in Paris 1927_1929.

 

...On Writing... by John Steinbeck.

Steinbeck_stamp

1. Abandon the idea that you are ever going to finish. Lose track of the [400] pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.

2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.

3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.

4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.

5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.

6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.