Mad Girl's Love Song

"I shut my eyes and all the world drops dead;
I lift my lids and all is born again.
(I think I made you up inside my head.)

The stars go waltzing out in blue and red,
And arbitrary blackness gallops in:
I shut my eyes and all the world drops dead.
I dreamed that you bewitched me into bed
And sung me moon-struck, kissed me quite insane.
(I think I made you up inside my head.)

God topples from the sky, hell's fires fade:
Exit seraphim and Satan's men:
I shut my eyes and all the world drops dead.

I fancied you'd return the way you said,
But I grow old and I forget your name.
(I think I made you up inside my head.)

I should have loved a thunderbird instead;At least when spring comes they roar back again.
I shut my eyes and all the world drops dead.
(I think I made you up inside my head.)"

MoMA

'ONE LEG COCKED HER ARSE SWAYING OUT LEFT SO THE SKIN FOLDS WHERE HER RIBS MEET HER HIP FACE SOAKED IN SHADOW HALF INDIVISIBLE FROM HAIR LIGHTLY SWAYING FROM LEFT TO RIGHT. SHADOW SHIFTING LIGHT COMING DOWN ONTO THE CROWN OF HER HEAD, AND FOREHEAD. HAIR FALLING DOWN OVER HER SHOULDER AS IF SPILLED. FOREHEAD. SO THAT HER EYE IS COVERED. THE OTHER EYE JUST BYSECTED, JUST BLINKING, FLASHING WHITE WET EYE, SMEARED SHADOWS SHINING UNDERNEATH, FRINGED DARK, SKIN AT THE LEFT EYES EDGE. SHATTERING INTO A ZILLION CREASES TO MAKE TINY BLACK LINES, RESTORED FOR AN INSTANT HER EYES FLASH CLOSED, LIDS PALEST VEIN BLUE, SO THIN, LIPS JUST TOUCHING SEPARATED BY A PUCE SEAM, NOT SMILING, BUT ALMOST, KNECK, THIN, MAUVE, BONY, CHEST LIFTING AND FALLING AS THE AIR PASSES THROUGH IT. FROM HEAD TO TOE SHE'S HALF CLOAKED IN SHADOW, SO IT'S HARD TO DIVIDE HER FROM THE SHADOW BEHIND, BLUE, GRAY, BROWN, ALL COLOURS ROLLED INTO ONE. BRIGHT COLOURLESS HIGHLIGHT STRIKES HER OTHER SIDE, SILVER ON HER CHEST AND STOMACH. LIGHT CRACKING BETWEEN HER LEGS, WIDENING TO A TRIANGLE, ENDING AT THE FLOOR. FEET APART SUCKED TO THE FLOOR. TOES TURNING OUT JUST SLIGHTLY. SHADOW ARCHING UP THE INSTEP. VEIN SNAKING UP O TOP OF THE FOOT BUSTING THROUGH THE SKIN, DISAPPEARING THEN APPEARING AGAIN AT THE BONY ANKLE, CALF CURLING HAIR STRAGLING OUT ONTO HER SMOKE GRAY THIGH. PINK SKIN BEHIND, DARK PURPLE, RED, BROWN, WHATEVER, SHADOW RUNNING DOWN HER INNER THIGH, TAPERING AS IT GETS TO HER KNEE, THEN BLOOMING OUT ONTO HER CALF, AND RUDDY ANKLE. UNTIL IT MERGES WITH THE POOL OF BLACK ON THE FLOOR. SHE'S LEANING BACK ONTO THE HEEL OF HER FOOT. SO THAT THE WEIGHT RUNS ALONG HER LEG, AND UP HER SPINE, LEAVING THE LEFT SIDE OF HER BODY TO HANG LOOSE. ARM DANGLING SLACK AT HER SIDE; THE AIR DARK BETWEEN HER HAND AND HER THIGH. FINGERS SO BONY AND RUDDY COMPARED TO THE RUDDY WHITE THIGH. HER HIP, FINGERS SPLAYED ON THE WHITE FLESH. EVERYTHING, EVEN THE SHADOW BEHIND BREATHING WITH HER AS SHE STRETCHES AND CONTRACTS STOMACH RISING AND FALLING UNEVENLY, ALMOST INVISIBLY WITH EVERY LITTLE BREATH.'

art gallery of ontario

Postmodernism is among other things a sick joke at the expense of ... revolutionary avant-gardism

space is process

olafur eliasson is a designer and artist who is concerned with space. how we measure space, react to space and interact with it. what makes a space hospitable, comfortable, intriuing, hostile or undesirable? does the way people behave in a space make a difference?

in new york a temporary waterfall was installed under the brooklyn bridge to 'measure' space. flowing water has a fairly consistent speed which can be understood differently at different distances. in this way we can perceive how far away the waterfall is and grasp some kind of notion of the distance between you and the water or the distance between brooklyn and manhattan.

 project in the tate modern, london. a mirror sphere illuminated like the sun hangs from the ceiling and fog is distributed evenly across the space. the fog makes the space visibe whilst the mirror shows us how we react to the space and our impact on it.

advertisements for architecture

in the 1960s, a small oppositional element in architecture forged its own counterculture by turning its energies away from building and towards writing. born of a desire to foreground the intellectual dimension of  toward writing soon engaged architecture with broader questions of pop culture, mass media, advertising and emerging technologies.

architecture cannot be fully understood through two-dimensional representation. until experienced, architecture only exists within our imagination, from pictures and drawings. a person's desire to experience architecture comes from the idea displayed in a photograph or drawing, which advertises the building.

 can words and images that do not relate to the building sell architecture in the same way?

tschumi explores the language of advertisements to discover if they can create the desire to see or to be inside a building. with reference to the strongest of human emotions, such as desire and fear tschumi provokes and intrigues as a method to explore the boundaries of architecture in the human psyche.

'it is not the clash between fragments of architecture that counts, but the invisible movement between them. desire.'



'the value of all things lies in their purpose

in the germinating seed

the fundamental principle is

from the inside out

everything in life is in essence biological

the biology of the plan or section

its as necessary or as obvious as that

of a creature of nature.

the introduction of the word biology

illuminates all researches in the

field of building.

living, working,

cultivating body and mind,

moving from place to place, are

parallel processes to those of the blood,

nervous and respiratory systems.'

corbusier 1960

saint peter's seminary cardross, 2011

now derelict, saint peter's seminary has become an icon of scottish architecture. the building was completed in 1966 by architects gillespie, kidd and coia. the building served as a seminary for twenty years and then a drug rehabilitation unit after that.



st andrews

cityscape - cowcaddens, glasgow

the destructors

"They worked with the seriousness of creators and destruction after all is a form of creation. A kind of imagination had seen this house as it had now become.”

conceptual grid model of perth

life drawing

mediator project

this is a snippet from the final video for the mediator group project in first year. i have been trying to get a hold of the final piece which had quite a successful outcome.

basement II

jamais

home is where the heart is

lilybank terrace, glasgow

this building was my primary school. i grew up here.

this was the first building i learned about. it comprised of 4 victorian styled apartments - 3 storeys high. corridors were opened between each 'house' to make the building a whole and function as a school.

the windows to the front facade face west to enjoy the evening sunset. bedrooms were orientated east to catch the sunrise.

each house hosted an entertainment room for guests on the first floor, big enough to play music and serve dinner.

maids worked in the basement, where the kitchens could be found, and slept in the attic.

there was a special billiards room in the first house and each house still possessed ivory fireplaces and original, ornate ceiling sculptures.

the building was a beautiful, affluent victorian residence and was later to be used as a school for girls with due respect and pride for its history.

the school closed in 2005 and was set on fire after several months of lying empty. the original sandstone facade remains and is now being renovated and turned back into apartment blocks.

these are the architects drawings for the new 3 bedroom apartments.

sunday afternoon

caladh centre