Kolin neilt tänavailt ära.

Tahaks endale ka sellist ämbritäit värvilisi pliiatseid.
Foto vanalinnast. Vanalinn on põnev.

Veel sügist ja Pärnu randa.
Seaweed and Seashells.

The stormy sea.
Vaatamisväärne rannavalveputka.

Septiembre

Septiembre from Toots on Vimeo.

Tegin eile video.
Natuke psühhootiline. Parim kõrvaklappidega kuulamiseks. Lühike. Lugu on Dan Auerbach - Because I should.

Vihmase ilma kaaslane. Videos võiksid need imelike peadega olevused siiski olemata olla. Ainult värviline lõng. Või niit. Ja mets.

Oli väga palav suvi. Mis nüüdseks on muidugi ammu sügisega asendunud, aga Lomos peitunud slaidifilm sai alles eile lõpuks ilmutatud. Sellel fotol on Klooga rand. Mäletan, et mul oli nohu, aga ma läksin ikkagi merre.

Vestluseid II

KUMU lift.

Vene pere (isa, ema, teismeline laps) ja mina koos liftis.
Ema tütrelt (vene keeles): "Kas sulle meeldib Eesti kunst?"
Tütar (pead raputades ja naerdes): "Ei."
Ema (ka naerma hakates): "Mulle ka mitte!"
Ja ka isa hakkas naerma.

Fotod on Konrad Mäe maalidest KUMU näituselt "Neoimpressionismi jälgedes. Mägi ja Finch."

Vestluseid I

Tondi-Ülemiste tramm.

Mina: "Vabandage, kas ma tohin Teie kutsikast pilti teha?"
Noor neiu (üllatuse ja uhkusega): "Jaa, muidugi."
Mina: "Aitäh. Teil on nii äge kutsikas."

Ja nii sündiski mu esimene koerafoto. Tegelikult tegin vist Barcelonas ka ühe pildi lihaleti all passivast ülekaalulisest nähvitsast.

Gaudí New York

Väike kirjeldus lisaks eelmisele postitusele, mille ma leidsin Rem Koolhaasi teosest "Delirious New York":

"In 1908 a delegation of American businessmen visits Antonio Gaudí in Barcelona and asks him to design a Grand Hotel in Manhattan. No site is known for the project; the businessmen may merely want an initial sketch, to raise money on and match later with a location. It is unlikely that Gaudí is aware of the quantum leaps and breakthroughs Manhattanism has produced; the businessmen themselves must have recognized the affinity between Gaudí's hysteria and Manhattan's frenzy.

But in his European isolation, Gaudí is like the man in Plato's cave; from the shadows of the businessmen's descriptions and requierments he is forced to reconstruct a reality outside the cave, that of an ideal Manhattan. He synthesizes a premonition of the true Skyscraper that applies both the lobotomy and the mutant branch of interior design not only on the ground floor but in layers throughout the interior.

His hotel is a sheaf of stalagmites, combined to form a single conoid that is, unmistakably, a Tower. It inhabits a podium or island, connected by bridges to the other islands. It stands aggressively alone.

Gaudí's design is a paradigm of floor-by-floor conquest of the Skyscraper by social activities. On the outer surface of the structure, low floors provide individual accomodation, the hotel rooms; the public life of the hotel is located at the core on enormous interior planes that admit no daylight.

The inner core of the Grand Hotel is a sequence of six superimposed restaurants. The first is decorated with a concentrate of European mythologies that will be reinforced by the choice of menu and European music, played by a large symphony orchestra. Each of the other restaurants, with its own hermetic iconography, represents another continent; the stack together represents the World.

A theater and exhibition hall are superimposed over the world of the restaurants. The whole is topped by a small observation sphere that awaits the moment when the conquest of gravity will be no longer metaphor but fact."

Utoopia.

Midagi kummalist

Aastal 1908 valmis Antoni Gaudí projekt New Yorgi hotelli jaoks. Kui see oleks teostatud, oleks tegemist olnud tolle hetke maailma kõige kõrgema hoonega. 1931 valmis seal kõrval The Empire State Building, mis oleks muidugi tiitli kohe üle võtnud. Huvitav on ka see, et hotell planeeriti praeguse Ground Zero ehk endiste World Trade Center'i kaksiktornide asukohta. Raske on ette kujutada sellist massiivset ja jässakat sagradafamilialikku hoonet New Yorgi linnasiluetti sobitumas.



[piltide allikas]

Viimased lillherned. Mu lemmikud.

Barcelona

"Meanwhile*, in Barcelona, the regional implications of urban regularization were being developed by the Spanish engineer Ildefonso Cerdá, the inventor of the term urbanización. In 1859 Cerdá projected the expansion of Barcelona as a gridded city, some twenty-two blocks deep, bordered by the sea and intersected by two diagonal avenues. Driven by industry and overseas trade, Barcelona filled out this American-scale grid plan by the end of the century. "

Kenneth Frampton, "Modern Architecture. A Critical History."

*jutt käib ajast, mil Haussmann Pariisi keskaegsed tänavad vägivaldselt bulvarite ja avenüüdega asendas.

Manhattan

"The Grid makes the history of architecture and all previous lessons of urbanism irrelevant."

Rem Koolhaas, "Delirious New York".