Hadid architecture

Born in 1950, Hadid continues to be a driving force in the conceptualization and production of complex curvilinear geometrical space. Having travelled and taught all over the world, Hadid serves on the board of trustees for the Architecture Foundation and teaches currently at the University of Applied Arts in Vienna, Austria. She is principal of Zaha Hadid Architects located in a renovated Victorian school building in Clerkenwell, London, established in 1980.

She is also in the top 100 most powerful women in the world.

Often described as planetary, Hadid’s designs are clearly an embrace of the irrational with a refinement that feels compellingly weightless. Her sketches are reminiscent of cubist drawings, however as the structures are introduced to the third dimension, the structures create a relationship with the natural gravitational forces as if it is hovering. Le Corbusier described this interaction as “Liberation from the ground.“

Rosenthal Center for Contemporary Art, Cincinnati, Ohio

Vitra Fire Station, Austria

Bergisel Ski Jump, Innsbruck, Austria

“Without ever building, Zaha Hadid would have radically expanded architecture’s repertoire of spatial articulation. Now that the implementation in complex buildings is happening, the power of her innovation is fully revealed.”  –  Rolf Fehlbaum

The Cardiff Bay Opera House sketch, Wales, Great Britain

Hadid’s presentation sketches are reminiscent of cubist paintings with more focus on the exaggerated perspective of the crystalline forms emerging from the base structure.

With current technology, the futuristic forms that Hadid incorporates into her structures are digitally accessible. Because of the complexity of forms layered and built out of the base structure, having a three dimensional model is quite beneficial, and something Lissitzky and Le Crbusier would have imcorporated had the technology been as advanced as it is today.

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Senior Exhibition

Well, the time has been approaching and now it is here. Join the UTC seniors as they present work for their thesis exhibition. Presentations will be held prior to the gallery opening at 4:30 pm in room 356 located in the Fine Arts Center. We look forward to seeing you there.

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revised statements

These forms represent a synaptic moment; a spark of awareness inspired by the intricacies of nature and the physical movement of matter through space. A lack of verbal communication implies a need to visually convey my passion for acting on creative impulses. Through experimenting with pigment I gain an understanding of the seemingly arbitrary nature of its disposition. The pigment’s fluidity lacks control; however, it captures a moment suspended in space, and thus provides the foundation for an aesthetic experience by way of form, space, and color.

“Presumably oneself is not so unique that, if one organizes it so it is meaningful to oneself, there won’t be some other people who will also find it meaningful to look at and experience that way.” – Robert Motherwell



I came across this artist via Bobby Solomon’s blog, The Fox Is Black. Theo Altenberg uses an interesting technique of allowing oil pigment to interact via planar forms juxtaposed on one another. This work resonates quite well with me as it provides the viewer with an experience based solely on preconception. His pieces are quite beautiful.

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Statement revisited

That last post came off somewhat pretentious. I apologize and assure you that it was truly heartfelt and genuine, however I have revised the previous post after some more introspection.

Due to preconceptions, living objectively is impossible. It is difficult to see exactly what is going on in someone else’s head. As an artist, this is an idea that I have confronted often. Although quite abstract, these forms represent a creative moment, a synapse, a spark of awareness inspired by the intricacies of nature and the movement of entities through space. These experiments are fundamental in the making sense of the experiences from within the physical and social truths of existence, and therefore are interconnected in a cerebral environment, communicating and existing as a network. Through the process of experimentation I find truths in the arbitrary and objective disposition of the medium. It seems relevant that I attempt to visually communicate what it is that is going on in my head

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The impossibility of living objectively causes a completely insular existence for us. It is quite difficult to truly understand what is really going on in someone else’s head because of a relativity that exists regarding anyone’s interpretation. Through a consistent process of experimentation, I have come upon this idea frequently. Art worth sharing is a rare experience; however, when the pieces achieve a level of validity allowing the viewer a direct view into the creative spirit of the artist, a point of communication exists beyond visual language. Though abstract, the forms represent a creative moment, a synapse. Inspired by the intricacies of nature and the movement of entities through space, these experiments are a way of making sense of my experience existing within the physical and social constraints of life. The nature of science is so exact, yet nebulous, and for us to observe the dynamic quality of liquids illustrates both quite well.

Similar to the concept of oulipo, the pigment’s fluidity and viscosity present arbitrary behavior by creating physical constraints when in contact with the surface of the paper and other materials like felt pens.

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Football is not throwball

I have recently acquired an internship here in Chattanooga with a local design studio. Widgets&Stone is run by Paul Rustand, who not only is a pleasure to work with, but also loves his football (more commonly known as soccer down here in the South.) This has been my main focus since joining the team a few weeks ago. This is the Chattanooga Football Club’s third year and I have been in charge of designing banners, event tickets, programs, etc. and getting them in order and ready for print. I even have been able to spend some quality time on the old Vandercook letterpress (Note: I am spoiled now and never want to go back to digital).

The club is actually hosting a Major League Soccer (MLS) match tonight at Finley Stadium. Even if you don’t care for soccer all that much, it would be great if everyone came out to support their local clubs. Pictures are soon to come if you don’t make it out due to the occasional flood warning or bitter breeze.

4:00pm –

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mechanical movement

I recently stumbled across Maurizio Bongiovanni some time ago, and I have just recently rediscovered his work. Birds are really fascinating creatures. Their movement is quite mechanical. It seems as if they are constantly taking in their surroundings which makes sense. There are a lot of predators out there.

This technique seems to capture a moment in time. That moment is then stretched as if pixels are stretched in Photoshop. This technique allows the viewer to grasp the individual layers, which would be otherwise overlooked because of the quick mechanized motion that is characteristic of avian species. There is of course a graffiti element to these pieces with the dripping paint, however the drips are meticulous which makes me think that they are more intentional than not.

Parting notes: It is interesting how birds are always watching you. Birds instinctually make eye contact. Something our species, on the other hand, seems to avoid. I am making a point to work on that.

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recent activity

So I had a really productive day in the studio laying some paint down. Graduation in May, first requires a final exhibition of my work in the Cress Gallery on campus. Despite all the design work that I do, I feel that it is extremely important to disconnect from the digital. Think of it as analog creativity. My best friend Bill and I have been experimenting with a technique of laying down acrylic in such a way that it’s viscosity creates very interesting forms by pushing and pulling pigment across the surface of all different kinds of materials. The current favorite medium in the studio would be MDF board. It is cheap and porous, which is great for handling thinned out pigment. As the medium absorbs the acrylic, translucent layers form and create a very celestial depth.

This piece is a collaboration that I am working on with Bill. It has actually been in progress for four or five months almost. We hauled it back into the studio just today actually to try and get it finished up. This image and the following illustrate the technique of flowing pigment onto the surface.


Look at this tree growing up through the masonry in this abandoned hotel. This is the rear of the St. George hotel on Market Street in downtown Chattanooga. This decrepit structure looks as if it could collapse at any moment, especially if the tree knocks down that lad bearing pilaster. Still though, it is an interesting juxtaposition of nature existing alongside refined man made materials.

Final words: Trees are resilient.

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Let me tell you something. Creating a halfway decent looking branding guide is incredibly difficult.

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Last evening was the show opening at the Cress Gallery of an exhibition by Ian Pedigo (pronounced, “eye-an”). An Alaskan native originally, he has since moved about and rooted himself in New York where he builds sculpture.

I was initially drawn to how he handles geometry within his work. Beyond the fact that the material he uses is primarily found, the subject matter of the work seems to be focused on nature juxtaposed with the urban environment, with which we are so familiar. An interesting point to make is that the materials used to create our vast urban environments are all made of natural resources that have been refined. The origin is the same however. Ian spoke directly about his process which is always interesting to hear because of the importance it holds in the physical creation of the work. “I arrange until forms emerge on their own.” The end result is abstract, but the process is influential.

“[There are] inherent possibilities within the materials themselves.”

Ian’s later work takes on another medium by searching through his repository of images, he scans and enlarges to accentuate the color separation of printed images. Again incorporating the theme of nature, Ian creates these installations resembling window panes, which abstract the already veiled image due to the quality in which it is printed. they are strikingly beautiful.

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Flickr Photos