The story is set in Marseille between 1947 and 1951, when Charles-Edouard Jeanneret (best known as Le Corbusier) could progressively watch - being erected from the surface of this dry soil - the old-fashioned human scaled vision of what he would conceptualize a "Habitat System". Affectionately nicknamed "La Maison du Fada" (The House of the Crackpot) by south of France locals, it fully seizes Le Corbu's inheritage for international architecture. Seen through the lense of photographer Elise Toïde, is an aesthetical reinterpretation filled with sci-fi minimalism. A composite piece of art based on this grayish concrete structure containing 337 apartments of 23 different types.
Another Architectural Spacetime
Post-WW2 was a real need for innovation - making the people dream, gathering them to live together, working with the barest materials on tough financial schemes and re-thinking the extension of the biggest cities - fully embodied by the Cité Radieuse as thought by Le Corbusier and his teams. Le Corbusier would himself declare that "a house is a machine for living" - so would the vision of this imaginary amphibious spaceship. Landed on earth early 50s, it could somehow find its way through the undulating landscape until the closest body of water before a safety ignition system would contact and have it vanishing in the cosmos.
The Manned Spacecraft & the Extra-Modulor
Dignified heir of Leonardo da Vinci - the full conceptualization is based on a system baptized Modulor - an obvious Vitruvian Man derivative enforcement. Mainly made up by the Master in a crave for universality - intending to overcome the two measurement systems that divide the planet - it is also a vow to the well-being of manhood. Modulor thus is a system calculated over the golden ratio - with scale following Fibonacci numbers adapted to human measurements.
Obsessed by the needs of humanity, Le Corbu would arrange its interiors by precisely defining the areas of accessibility and facilitating everyday in-house actions by lowering the efforts.
would arrange its interiors by precisely defining the areas of accessibility and facilitating everyday in-house actions by lowering the efforts.
Travelling Through Present Days
Initially thought as a vertical village - filled with interior streets, a daily, a library, a hotel, a school and a nursery - the roof used to be a public area filled with a pool & playground and 360° vision over the valley. On this open Air Space is now settled the MAMO Audi talents award. Created by Ora Ito, this laboratory where science and creation meet, offer young and established talents a place of exhibition and sharing.
Le Corbusier's consideration about architecture finds its logical evolution - "You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say: "This is beautiful." That is Architecture. Art enters in." - not only Art entered in, Art is now on top.
Poetry and self-derision lay side by side with ancestral values in both the worlds of Victoria Andrejeva (the founder designer of Cherevitchkiotvichki) and Harry Pontefract.
She, on the shoeside would play the organic Mother Nature; while he, on the women style, would elaborate a sartorial reintepretation of objects and pieces of clothes from the past. Likewise is his appearance of a wandering child in the serious costume of an astounded knight - some heroic character who could pass through time without gaining a wrinkle at least.
Altogether displaying their respective collections, offer an obvious - yet mise-en-scene - visual experience where the roughness of their creations accompany the genius feeling of an ancient British theatrical universe.
Opening the brand to a new range of materials, Victoria would scatter her own horizons into experimenting new fields of researches. On her regular basis of development, she invited her team into another experimental process where natural stains are able to withstand the test of time. Avocado bark, nuts, black beans, blueberries or melted copper are the responses to a gradation of organically refined colours.
But Victoria also plays a part into showing the elaborated craftmanship of Michael Moir and his spouse Helen. Lecturer of the London College of Fashion, Michael assembled along his carreer an impressive collection of shoes in the private archives of his London-based studio. Re-thinking the styles altogether with Victoria, they presented as well a small selection of their collaborations - under the auspices of this cobber, mastering the highest skills into his longstanding specialty.
The untitled first collection by Harry Pontefract is the quintessential evocation of nostalgia. Memory is a leitmotiv of the revocability of old fabrics and materials that lived many lives, thus carry per se an intense wave of souvenirs. All is precociously made by hand to render the coarse aspect of a dreamy yet comfortable wardrobe. Natural tones from light beige to marroon leather depict these neo-middle-aged inspirations.
Built between 1967-1972, The national HQ for the Parti Communiste Français by Oscar Niemeyer is characterized as a monument to what are now the vestiges of the French Communist Party. The material vocabulary of the building is in that of the early 20th century modernists: a sermon of concrete, steel and glass. However, the lyrical forms poetically sculpted
by Niemeyer’s sensual thought are of a different language; more so a response to the ascetic rationalism pervading architecture hitherto. Perhaps it is proper testament to Niemeyer’s ethos of a ‘form following beauty’, a beauty which he found inextricably linked with the voluptuous curves of a beloved woman and the mountainous terrain of his native Brazil.
Formally, the edifice is composed of tortuous billows of white concrete in structures which seem to suggest a diaphanousness and litheness rather than the gravitas characteristic of concrete. As is often the case in the work of the late-centenarian, acrobatic engineering is synthesized with sensuous spatial articulation, striking a balance distinguishable as a sensitive tensility.
The showpiece of the building is a semi-subterranean white concrete dome cocooning the meeting chamber for the party’s Central Committee. Separation between wall planes and ceiling planes becomes indiscernible as white aluminium panels are suspended from the hemispherical ceiling through which a muted light percolates softly.
In a world where Antonioni's Zabriskie Point meets Duncan Jones' Moon under the terrestrial shadows of Sofia Coppola's livelier Virgins, one shall feel invaded with thrill from the very end of the night.
Organically metallic particles of sound, high pantones psyche melodies, visionary images in motion as a landscape - the usual enthusiasm of a Parisian crowd in front of a cherished music group instigated to this band of four outsiders a generous shot of endorphins - highly discernible on the amazed expressions of Scott Hansen, Tycho's leader.
Performance explodes the walls of this hues close to enlarge the scopes of a shallow yet invigorating moment of grace.
In a two-way relationship between artists and their public, one can particularly appreciate the quasi-perfect acoustic of a live performance allowed by choice of the Parisian venue La Gaîté Lyrique as an enveloping treasure box. Not only the music and images in motion intensify the full show - but a very neat and likeable feeling that members of the group are interacting in a total fusion of scores.
Around Scott Hansen, Zac Brown (bass guitar & guitar), Joe Davencens (synthesizers & keyboards) and astonishing drummer Rory O'Connor - respectfully playing the roles of the providential shoulder - gifted, established and reliable - the humble happy genius - who always backs up and comes
instantly with the right solution - and the young master who revolutionizes it all with a fair dose of energy.When fall is coming and chills in the air remind one that summer's gone, it feels like a right decision to be walking on the Tychoon.
« Les formes moulées dans l’obscur surgissaient à la lumière vierge.
Un rayon morne lui tordait les gestes,
ainsi que furtifs,
dans une incertaine clarté,
ses multiples paraîtres se révélaient étincelants »
White Dichotomy with piece from Krishna Godhead's Haute Couture Spring/Summer 2015 Collection
Model Andrea Colombiana
Special thanks to Katharine Grace x Khrisna Godhead
Guanxi (n.) a network of social connections based on mutual trust and the balancing of debts by returning favours so that the relationship’s benefits are shared by all.
The balance between architecture and clothing. When individuality becomes an entirety.
Brought to each other by the perfect moment, the fleeting rightness of time and place that creates the opportune atmosphere for action, words and movement.