Monday, April 30, 2007
If you haven’t yet seen the Alvar Aalto exhibition at the Barbican, you really should - at least if you have the slightest interest in architecture and design, and in exploring how this can be combined with a thoroughly humanistic worldview. Aalto’s design of the Paimio Tuberculosis Sanatorium from 1933 shows an architect concerned with usability and aesthetics but more than that with a concern for the human being. The patients’ room are designed with the comfort of the patient in mind; lights are placed high on the wall and are upturned so as to not bother the eyes, curtains can be stowed away – all so that the patient, who would be lying down for most of the time, can be as relaxed as possible. To Aalto, architecture is for everyone - not just the privileged should live in beautiful, comfortable surroundings.
The exhibition has been curated by the Japanese, American-based architect Shigeru Ban. Ban is the winner of the competition launched by the Centre Pompidou in Paris, to create a new arts centre in Metz. The Barbican has a small showing of Ban's independent works as well as an investigation into the similarities to style and approach in Ban and Aalto's works. Highly impressive are Ban's paper structures, most of which function as temporary shelters, office spaces and exhibitions. The Paper Church, which was built to serve as a community centre/church shortly after the Kobe earthquake in 1995, has since been used in Taiwan and can be folded and/or recycled after use. Ban has also built shelters for tsunami victims in Sri Lanka and is generally concerned with using architecture in humanitarian aid.
Alvar Aalto: Through the Eyes of Shigeru Ban is at the Barbican until 13th May.
The exhibition has been curated by the Japanese, American-based architect Shigeru Ban. Ban is the winner of the competition launched by the Centre Pompidou in Paris, to create a new arts centre in Metz. The Barbican has a small showing of Ban's independent works as well as an investigation into the similarities to style and approach in Ban and Aalto's works. Highly impressive are Ban's paper structures, most of which function as temporary shelters, office spaces and exhibitions. The Paper Church, which was built to serve as a community centre/church shortly after the Kobe earthquake in 1995, has since been used in Taiwan and can be folded and/or recycled after use. Ban has also built shelters for tsunami victims in Sri Lanka and is generally concerned with using architecture in humanitarian aid.
Alvar Aalto: Through the Eyes of Shigeru Ban is at the Barbican until 13th May.
If there is a God then why does he allow one sock to go missing in the laundry?
At least he could take a pair.
How do you fashion a butterfly out of papier-mâché?
Why does the bus always arrive the moment you've lit a cigarette?
There is now a place for you to go for answers to these all-important questions. Advicebooth on Brick Lane will make sure that you're never in doubt again and will even throw in a lollipop! It will only cost you a pound and you will be given this vital information on a typewritten piece of paper for you to consult from time to time. The good folks behind Advicebooth will be at your service every Sunday. You can track opening hours and activity on their myspace page.
At least he could take a pair.
How do you fashion a butterfly out of papier-mâché?
Why does the bus always arrive the moment you've lit a cigarette?
There is now a place for you to go for answers to these all-important questions. Advicebooth on Brick Lane will make sure that you're never in doubt again and will even throw in a lollipop! It will only cost you a pound and you will be given this vital information on a typewritten piece of paper for you to consult from time to time. The good folks behind Advicebooth will be at your service every Sunday. You can track opening hours and activity on their myspace page.
Saturday, April 28, 2007
Watching Martin Crimp's 1995 play Attempts on Her Life at the National in London, is not unlike zapping the remote. 16 seemingly disconnected scenes attempt to show various part of the life of Anne, or various types of Annes, or, in a broader sense, how we all are constructed by what we like, where we go, who we know and how we do what we do. Consequently, Anne is shown to be a terrorist, the girl next door, a type of car even, and is characterised mainly by her absense - there is no definitive Anne. The one weakness within the production is not the liberal use of references as such but how precise the references are. Creating a scenario that is pitch-perfect Newsnight Review is funny but when Tom Paulin and Germaine Greer are so clearly being impersonated, one feels as if watching Bremner, Bird and Fortune. If I should ever want to watch Bremner, Bird and Fortune (which is unlikely)I should hope to find them at a market fair for free. Similarly the musical scenarios are tiresome, especially the ABBA segment - haven't we seen that time and again?
In the 21st century theatre, not many people are offended by swearing or the occasional nudity (unless this is undertaken by Harry Potter) but what does offend is when people cannot decipher what is going on. If they cannot root the action somewhere recognisable (in time, in space), they cannot comprehend how they are supposed to feel. Attempts on Her Life does not tell you how to feel or how to act but notices society the way it is right here and now. The flaw in an otherwise interesting 2007 production is that it seems as if we were still in 1995. This is mainly due to the direction of the play and however much I admire Katie Mitchell I wish she would have acknowledged how interesting this play still is by keeping it all fresh and new.
In the 21st century theatre, not many people are offended by swearing or the occasional nudity (unless this is undertaken by Harry Potter) but what does offend is when people cannot decipher what is going on. If they cannot root the action somewhere recognisable (in time, in space), they cannot comprehend how they are supposed to feel. Attempts on Her Life does not tell you how to feel or how to act but notices society the way it is right here and now. The flaw in an otherwise interesting 2007 production is that it seems as if we were still in 1995. This is mainly due to the direction of the play and however much I admire Katie Mitchell I wish she would have acknowledged how interesting this play still is by keeping it all fresh and new.
Powered by Bravenet
