Richard Wentworth: making do

Richard Wentworth Caledonian Road, London, 2007. Lisson Gallery, 2013

Richard Wentworth has been photographing tiny interventions in the inadequate way our urban world works since 1973.  A boot holds a door open, a small dog is tied to a heavy shopping bag: one cannot leave without the other – that sort of thing.  This photo, of intercessionary bricks on a set of stone steps is, of course, completely baffling.  Can it be that it simply pleased someone to do it? It renders the capacious steps dangerous; it makes the bricks beautiful in their variety.  

Kemnay Quarry, 1939Above is a 1939 photograph of Kemnay Quarry on the eastern edge of the Cairngorms.  We are looking at, according to the description, grey muscovite-biotite granite, a 122m deep pit and a pile of tailings at the top.  In the foreground curbstones and setts are tidily stacked. 

We are very used to monolithic surfaces that pour onto our streets and sidewalks, are flattened down and then harden into great impervious sheets of grey, where every street becomes a culvert.  The re-examination of permeable paving for all sorts of reasons, water management and urban forestry being the main ones, could lead us back to the hand units: bricks, setts, cobbles and paving slabs, except that such systems are labour-intensive.  Modern processes increasingly point in the direction of automation: the macro-scale of production and results, something almost guaranteed to increase the number of desperate little solutions to uncongenial habitats.

Enrico Scaramellini: Wardrobe in the Landscape

Enrico Scaramellini, Wardrobe in the Landscape. Northern Italian Alps, 2012. photo by Marcello Mariana.

Scaramellini says, 'Great is the land, the landscape: small is the place, the space.'
Plans and beautiful photos of this house set between two barns are on dezeen: it appears to borrow a room on the second floor from the adjacent barn, and the house flares slightly to the back, but the idea of a house as a door and a window is completely magical – a child's view of the world.

dancing

Ruth St Denis on the beach, 1916. NYPL digital gallery Image ID: DEN_0543V

This is Ruth St Denis dancing on the beach in 1916.  Unlike classical ballet where energy flows off the body in smooth waves, St Denis, who changed dance radically with Ted Shawn in the 1920s, flings off energy from her body but then snaps it back with a tweak of her wrists.  

It is similar to what one sees in some of the drawings of Patkau Architects in the 90s: a retaining wall shoots across the plan and then, when normally it would subside with a sigh into the ground where the topography finally meets the level, the Patkaus would crank the end and all the energy of the weight behind that retaining wall would jerk back toward the house.

It is a powerful ploy, no less in dance than in architecture, to embody resistance.  What was Ohm's Law?  resistance = voltage/current?  This is the problem with going with the flow, no voltage, no resistance, no energy.  Things change when energy is interrupted.

not a dogfight, a seek and destroy mission

The above image was on Vintage Everyday last week: they post images without much explanation, but a lot of their material seems to come from Life magazine files, and this image was in a set with what appeared to be US WWII pictures.  So, what are these planes?  A Messerschmidt and a Spitfire? not quite, according to various aircraft spotting posters.  So, while I think the rounded wings could be a Spitfire, the other stick-like plane resembles nothing I can find in either German, British, American or Japanese aircraft recognition manuals. It has a strange tail.

However, on the way to discovering that I know nothing about aircraft, I found a wonderful site: Collect Air, Friend or Foe? Museum, vast and detailed with everything one would want to know about aircraft recognition models, manuals, diagrams, board games, playing cards, cartoons, kits.  For example, below, pocket recognition models at 1:432.  How did they pick that scale?

1:432 plastic "pocket" recognition models, manufactured by Cruver, 1943 to around 1993.Nonetheless I still haven't been able to find the plane that looks like it is constructed out of steel strap.  But, life is short; must move on.

22.02.2012: Tim Atherton has identified the stick insect as a V1 flying bomb.  See his comment to this post.

spaniels

Cigarette cards: little pieces of cardboard meant to stiffen packages of cigarettes when they came as 5s and 10s in paper wrappers.  They were done in series: this from one on sporting dogs, where they all look tremendously noble, demonstrating perfect form.  As we all know, dogs sometimes look noble and often look muddy, tatty, wet and full of burrs.  

Bewick, in his Birds of Britain, 1797-1804, captured the sometimes manic look spaniels can have when faced with a bird within reach.  Genes kick in. 

Landseer, the well-known Victorian artist who painted lachrymose set pieces of man's best friend looking soulful and human, did this lovely sketch of a dashing spaniel.  This one is so true. 

E H Landseer, Running Spaniel. drawing. n.d.

CEF formation patches

3rd Canadian Division, 9th Canadian Infantry Brigade flashes, WWI. Player's Cigarette Cards, 2nd Series, No. 120.

These were the badges worn on sleeves and berets, painted on trucks and on signs identifying the units.  They had to be readable at a distance and when found on a body lying in the mud in a trench, so they couldn't be too fussy.  The Division patches of the Canadian Expeditionary Force followed a simple ordering system: the square colour block indicates the division, the brigade is the colour above it, the shape above it indicates the battalion.

3rd Division, CEF. 1914-1918

All very tidy in the diagrams, what they looked like on the uniforms is somewhat more makeshift.

85th Battalion, 4th Canadian Division, formation patch

wood matches and plastic lighters

The remains of an albatross © Photo: Chris Jordan - http://www.chrisjordan.com

Went to buy some matches yesterday, looked all over the supermarket, none to be found.  Asked, told that all 'smoking paraphernalia' was over in the gas bar.  Trudged through the slush to the gas bar, asked for a box of matches: what a strange request.  The girl had to find a ladder to get them from a locked top shelf.  I could buy two huge boxes or ten little boxes, no the packages can't be divided.  
I said, this is winter, we light candles and kindling; matches aren't smoking paraphernalia, they light fires.  Here is the answer: people use disposable lighters or, for candles, those long butane filled wands.  

Which is better for this world, a match made of wood or cardboard, or a lighter made of plastic, metal and lighter fluid?

Midway Atoll is located in the North Pacific Gyre, one of five floating continents of plastic litter and chemical and organic waste.  Midway is an albatross colony: pieces of plastic, about the size of disposable lighters evidently look similar to squid, the main component of an albatross diet.  This plastic is eaten and then regurgitated to feed albatross young.  Who die.  The corpse decays and as it was stuffed with plastic, a tidy collection of matter incapable of decay is left on the beach.  

Plastic never goes away, it just gets smaller and smaller and thus is ingested by smaller and smaller animals.  Who die.  And while we seem to be able to sample the debris in each of the oceanic gyres, there is so far no solution for its collection.

The photo above is by Chris Jordan, who has made a film about Midway.  I heard about it on Radio Netherlands' Earth Beat a few weeks ago. 

june loves geoff

Tiny, tiny message, pencil on brick, seemingly indelible. 

Who has been named June since 1946? Geoff spelled the English way. The J and the G as taught by the MacLean's Compendium of Penmanship.  This on the side of Sevenoaks Court, a commodious brick mansion block in east Calgary. 

Where do these impulses to speak the hidden in public come from, these declarations of selfhood?  This one so small and so easily overlooked, but so permanent. 

marbles

My house was built in 1929.  When I got it the back yard was lawn from picket fence to picket fence.  It is now stuffed with biomass: apple trees, carraganas, roses, raspberries, peonies - the prairie gardener's friend, lilacs, little pieces of lawn for the dogs.   Still, and this is after 30 years of a lot of digging for vegetable patches and for moving things around, one cannot stick a fork in the ground without turning up a marble.   
Not surprisingly, given that playing marbles mostly involves shooting marbles into holes in the ground, many are lost, only to turn up decades later clutched by roots and earthworms.

Of those found in my yard, some are quite old, a couple are clay, most are well worn. When I was little, crystals were really special but now, with my collection of back yard marbles, I quite like the china ones – the ones that look like china rather: white glass with fat slashes of colour. I suppose if one was a marble archaeologist one could date them, but I think the marble playing heyday started to wane by the late 1960s.

I was rubbish at playing marbles, never really got the game.  It was also the new postwar era of marketting toys to children: bolo bats, hula hoops: cheap toys with built in obsolescence.  Marbles, clearly, are indestructible, subversive anti-consumer products. Their only problem was in getting lost.

mediterranean blue

The thin papery string used to tie up elegant little boxes of pastries about 20 years ago in Barcelona. It always matched the packaging and the signage in the shop itself.

The tape is actually ten fine threads wide, held together with a thin wash of starch – a really simple product, so important to the sensibility of the city.

delicate landscapes

Georg Gerster. Orchard in Jordan, 2004

Clifford Wiens, grand old man of Saskatchewan modernist architecture, did a campsite on the Trans-Canada Highway west of Maple Creek, that looked like this orchard.  I stayed in it in the mid-80s and all the trees were thin and weedy, indigenous species such as poplar and aspen, saskatoons and willows.  The layout was like a miniature version of the Dominion Grid, each camp site a section.  It was enchanting, so deeply rooted in a historic organisation of land, so proud of prairie trees that flutter in the relentless wind, so very orderly and in its way, unsentimental about what is needed when one pulls off the highway after a long day of driving. Strangely I seem to have forgotten completely the heroic concrete entry pavilion that usually represents this project:

Trans-Canada Highway Campground Maple Creek, 1964. Photo courtesy OFOF Clifford Wiens and John Fulker.

In 2001, driving back from Halifax, I tried to find it, actually to camp in.  This after a whole day of driving across Saskatchewan and finding the network of small towns that had existed just fifteen years before completely gone, and this campsite abandoned.  The trees were tall and untended, some had fallen, one ripped off my radio aerial as I drove in thinking I might stop there anyway.  But it felt haunted, a tragic failure of provincial pride.  A most uneasy site.   It had been a small thing, approached with a brave sort of rigour.

books on holiday

R. de Salis, photographer. London Library book on vacation. August 2007, Morea, Greece.

Now here is a nice project.  This enigmatic photo is of a book from the London Library, written by Patrick Leigh Fermor who recently died.  The book is his 2003 Words of Mercury, which I gather in 2007 Fermor took on holiday to Morea in Greece.

In 1933 Fermor walked to Constantinople, carrying Horace's Odes and the Oxford Book of English Verse.  During WWII and in the SOE he was posted to Crete and conducted wholly novelistic underground operations eventually made into a movie starring Dirk Bogarde.  This is a kind of British life I'm not sure exists much any more – or at least isn't heroised in quite the same way as it was throughout the twentieth century.  

Books on holidays: a chance to fade in the sun for a bit, a break from the dim stacks.  And books do travel: a friend who had done his three year sentence at the University of Manitoba for his BES took a year out working on a fishing boat off the west coast.  He arrived in London to start at the AA, carrying with him a Laurence Durrell book borrowed from the Vancouver Island Regional Library branch in Tofino.  As my father was the director of this regional library system and used an honour-based borrowing system for all 30 branches (you didn't have a library card, you just signed your name; he came from a Patrick Leigh Fermor world) the arrival of this book in my one-up one-down in South Kensington was completely magical.  I doubt it left London, Tony certainly didn't. 

The book had returned to its site of publication, better travelled than most people.

hand prints

Bridal mehndi

The fingerprint, the handprint, somehow we feel they make us unique.  However, nothing is like the henna designs on hands, arms and feet found at a Muslim wedding.  I think the picture above is a traditional Pakistani design, a tradition that has exploded across cultures, subject to fashion trends, co-opted by all and sundry as a kind of temporary tattoo.  Arabic designs look to me more like Victorian lace fingerless mittens.  Modern fashions seem to tilt towards floral sprays scrolling away over the body. 

There are zillions of mehndi sites.  The one the picture comes from (above) gives us a look at the extreme decorativeness of Pakistani, Indian and Arabian wedding jewellery, saris and mehndi: ornate, elaborate, fanciful, arduous to produce, signs of great attention and no doubt wealth.

It is all about the hand, our interface with the world, the holder of our fortunes.  The good luck khamsa of Morroco, below, is at once a handprint, a mehndi hand and a hand held up to warn off misfortune.

Morrocan khamsa charm

more identity

Yves St Laurent. Fingerprint necklace, 2011.

Well, what have we got here? 
Issues of identity are in the air. 

architecture and identity

T E Lawrence. Cloud's Hill, from a BBC Documentary, One Foot in the Past. 1997

Identity is the theme of the current issue of On Site review – very slippery, very mutable, it starts with a question: do you fit where you live?

A couple of days ago I mentioned T E Lawrence's house in Dorset, Cloud's Hill.  Here is a clip from a BBC program, quite a while ago if Ralph Fiennes' lovely youthfulness is anything to go by.  It isn't embedded, as that has been disabled, but the image is linked to the video. 

Cloud's Hill was, to Lawrence, part of himself: it was him.  It was like him, he made it, it corresponded directly with his values and his identity.  It is not often that can be said of where we live. 

rooms with a view

Virginia Woolf's writing lodge, Monk's House, Sussex, 1921-1941Virginia Woolf's writing room at Monk's House in Sussex.  Originally a tool shed, evidently it was full of garden distractions in the summer, cold and damp in the winter.  But it was hers.  And her £500 a year income was inherited from her aunt.

She wrote in A Room of One's Own, 'Intellectual freedom depends on material things. Poetry depends on intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time'.

Like the vote, we have so many of the material things that people around the world are dying to achieve. and we do so little with them.

Cloud's Hill, Dorset

Cloud's Hill, T E Lawrence's cottage, photographed after his death in 1935

Thinking about T E Lawrence, buried in Moreton, Dorset, about the great European carve-up of the Middle East that he and Gertrude Bell were part of in the 1920s, and his cottage, near Bovington Camp, that he renovated while serving out his last few years in the RAF in the early-1930s.  He had finally got it right, installing a porthole from HMS Tiger in what he called a slip of a roomlet, not having a bedroom, when he was killed, in 1935, in a hit and run motorcycle accident.

Interiors did a photo-essay of Cloud's Hill years ago – it is a National Trust Property and open to visitors.  I remember that the cottage did not have a kitchen, just a wood counter with three beautiful glass cheese bells in a row.  In 1933 he wrote to a friend,  'I have lavished money these last . . . months upon the cottage, adding a water-supply, a bath, a boiler, bookshelves, a bathing pool (a tiny one, but splashable into): all the luxuries of the earth. Also I have thrown out of it the bed, the cooking range: and ignored the lack of drains. Give me the luxuries and I will do without the essentials.'

This seems about right I think.

It was quite small, this cottage: two rooms up and two down, upstairs was opened into one room, the book room, lined with bookshelves.  The downstairs was the music room. He was delighted by its austerity and self -sufficiency: '...books and gramophone records and tools for ever and ever. No food, no bed, no kitchen, no drains, no light or power. Just a two-roomed cottage and five acres of rhododendron scrub. Perfection, I fancy, of its sort.'

Perfection, but also a kind of punishment, but perhaps he had lived too much and needed something elemental out of life and house.  It is curious, one's house should not be one's life, yet it inevitably is.

Ceal Floyer 2

Ceal Floyer. Overhead Projection, 2006. Incandescent light bulb and overhead projector

the Jompy

David Osborne. The Jompy water heater.This was one of the entries into the Shell World Challenge last year.  It is very clever: a flat coil of hardened aluminum alloy, like a flat skillet, that sits between the fire and the cooking pot.  What looks like a handle is attached to water, cold or contaminated which circulates through the coil, is heated and comes out of the other end of the coil hot and boiled. 

Although in use in South Africa, Kenya and India, in theory it is the same as the hot water on demand burners which are slowly replacing the elephantine hot water tank that lurks in most basements.  The Jompy is much more minimal however, and consequently more adaptable to different conditions and uses. 
David Osborne, a plumber and gas fitter from Troon in Scotland was on his honeymoon in a water-challenged part of Africa and figured out this inexpensive way of boiling water with fire already doing some other task such as cooking food. 

The website, celsiussolar.com is a bit cumbersome, but all the information is there, plus various videos, including the World Challenge introduction.  

David Osborne. The Jompy in demonstration in Kenya by Celsius Solar's enthusiastic representative, Kalfan Okoth, just reminding everyone that this is a Scottish product.

Sarajevo Survival Tools

Isak Albahrij's Oven, 1992.The Sarajevo survival tools project is both an exhibition and a virtual archive of the tools, implements and re-inventions from the Sarajevo siege of 1992-1996. 

Seige, whether by war as in the 3-year seige of Leningrad or by sanctions as in the last forty years for Cuba or by environmental disaster as is now unfolding in Japan, means a lack of everything: food, water, medicine, fuel.  It shouldn't be that total deprivation makes people creative, but it does. 

Sarajevo survival tools run from the watering can made out of a cooking oil tin delivered as humanitarian aid,  to a sat phone left behind by fleeing UN workers and quickly appropriated.  There is a double-barrelled rifle, minimal in the extreme, and a hand crank flashlight made out of a bicycle lamp.  This isn't a return to primitive technology, many of the materials are taken from electronic equipment and re-engineered with considerable sophistication.  However, even making an oven out of an aluminum drum results in an object that sustains life and therefore is necessarily beautiful.

Isak Albahrij's Oven, 1992.