Patrick Dougherty

Combining his carpentry skills with his love of nature, Patrick Dougherty began to learn about primitive techniques of building and to experiment with tree saplings as construction material. Beginning about 1980 with small works, fashioned in his backyard, he quickly moved from single pieces on conventional pedestals to monumental site-specific installations that require sticks by the truckload. To date he has built over two hundred such massive sculptures all over the world.
His home base is his handmade house of log in Chapel Hill, NC where he lives with his wife Linda and son Sam.




Right in our Own Back Yard Folks


WASHINGTON, DC - Dumbarton Oaks announces a new contemporary art installation by sculptor Patrick

Dougherty. Dougherty's project for Dumbarton Oaks was created and installed in the Ellipse, one of the most

familiar features of the Dumbarton Oaks Gardens. Originally designed by landscape architect Beatrix Farrand during the 1920s and surrounded by a sprawling boxwood hedge, the Ellipse was transformed by architect Alden Hopkins in 1956 by the removal of the boxwood and the addition of a double row of pleached hornbeams. Dougherty, well known for sculptures of woven saplings, responded both to the monumentality and the static quality of the space by adding a series of what he describes as "running figures," or twisted architectural elements, that rise into the trees and pursue each other actively and gracefully around the Ellipse.

The sculpture was constructed in 21 days in September with a team of volunteers using a variety of saplings, chiefly maples. It evokes some of the oldest forms of building and garden design and is particularly evocative of the organic or rustic architecture that was a feature of 18th century garden arbors, pavilions, and furnishings, especially in England. The sculpture will be on view through the spring of 2011 during public hours.



 


Call of the Wild

Museum of Glass, Tacoma, WA, 2002.
Photographer: Duncan Price.



Childhood Dreams

Desert Botanical Garden, Phoenix, Arizona, 2007.
Photographer: Adam Rodriguez.

Crossing Over

American Craft Museum, New York, New York, 1996.
Photographer: Dennis Cowley.



Ain't Misbehavin'

Winthrop College, Rock Hill, SC, 2010.
Photographer: Zan Maddox.



Easy Does It

Hollywood Art & Culture Center, Hollywood, Florida, 1998.
Photographer: John Lawrence.



Nine Lives

Franklin Park Conservatory, Columbus, Ohio, 2006.
Photographer: Greg Sailor.




Na Hale 'o waiawi

(Roughly translated from the Hawaiian language to mean: Wild Dwellings Built from Strawberry Guava).
The Contemporary Art Museum, Honolulu, Hawaii, 2003.
Photographer: Paul Kodama.



Trailheads

North Carolina Museum of Art, Raleigh, NC, 2005.
Photograph: Courtesy of the North Carolina Museum of Art.

Uff-Da Palace

Minnesota Landscape Arboretum of the University of Minnesota, Chaska, MN, 2010.
Photographer: Todd Mulvihill.

For more information check click on this link:

http://www.stickwork.net/news.php

Why does everyone hate modern architecture?

TFIG

Modern Architect David Chipperfield wants to know...

Turns out that he thinks it’s because the "low quality dialogue in matters architectural and urban”.  He goes on to show a beautiful old building re-purposed as a museum with an extensive design process and a very involved public. The Neues Museum by David Chipperfield Architects.



Do you hate Modern Architecture or just the insidious influence it has had? Is it just that more public scrutiny would result in a better build environment? Is it that more money spent equals better results? or just that museums are better than office buildings and the invisible hand of the market dictates?


thank you Gretchen Pfaehler for today suggestion..

The Stavros Niarchos Foundation Cultural Center / Renzo Piano

TGIW


SNF Cultural Center in Athens by Renzo Piano from ArtefactoryLab on Vimeo.

park it

and what would you put in those parking spaces? Architects have sometimes given that some thought. Here are the thoughts from two of the most influential architects of the twentieth century. and Zaha.

Le Corbusier

 

Voiture Minimum

 

Front View


 

Side view.




Frank Lloyd Wright





Zaha Hadid



 Of course there is the Dymaxion Car by Bucky... what other crazy cars are out there?

Paved, but Still Alive

 TGIF!


This is Y.our E.nvironment O.f the W.eek:  Taking Parking Lots Seriously




http://news.discovery.com/autos/tech-turns-parking-lot-hell-into-a-haven.html

 

There are said to be at least 105 million and maybe as many as 2 billion parking spaces in the United States. 
A third of them are in parking lots, those asphalt deserts that we claim to hate but that proliferate for our convenience. One study says we’ve built eight parking spots for every car in the country. Houston is said to have 30 of them per resident. In “Rethinking a Lot,” a new study of parking, due out in March, Eran Ben-Joseph, a professor of urban planning at M.I.T., points out that “in some U.S. cities, parking lots cover more than a third of the land area, becoming the single most salient landscape feature of our built environment.”
Absent hard numbers Mr. Ben-Joseph settles on a compromise of 500 million parking spaces in the country, occupying some 3,590 square miles, or an area larger than Delaware and Rhode Island combined. If the correct number is 2 billion, we’re talking about four times that: Connecticut and Vermont.
Either way it’s a lot of pavement.
As the critic Lewis Mumford wrote half a century ago, “The right to have access to every building in the city by private motorcar in an age when everyone possesses such a vehicle is the right to destroy the city.” Yet we continue to produce parking lots, in cities as well as in suburbs, in the same way we consume all those billions of plastic bottles of water and disposable diapers.
What to do? Check on the link to read the rest:  Paved, but still Alive

--MICHAEL KIMMELMAN
 

See slideshow here: Parking

Steilneset Memorial by Peter Zumthor and Louise Bourgeois

TGIF!

Today's YEOW will be covering the Steilneset Memorial by Peter Zumthor and Louise Bourgeois






Architect Peter Zumthor designed this memorial on an island in Norway to commemorate suspected witches who were burned at the stake there in the seventeenth century (photographs by Andrew Meredith).
The Steilneset Memorial in Vardø comprises two structures, one conceived entirely by Zumthor and a second housing an installation by the late Louise Bourgeois (1911-2010).



The first structure comprises a pine scaffolding framework, inside which is a suspended fabric cocoon containing a long oak-floored corridor.



 

Inside this corridor, light bulbs hang behind 91 windows to represent each of the men and women that were put to death during the witch trials.

A plaque accompanies each lamp to record the individual stories of every victim
The installation by Bourgeois, entitled The Damned, The Possessed and The Beloved, occupies the smoked-glass-clad second structure.




 

To see more, please visit this link below:
http://www.dezeen.com/2012/01/03/steilneset-memorial-by-peter-zumthor-and-louise-bourgeois/