Brewery Art Walk, Los Angeles, CA
April 28, 2013
When I was first received the email from Andy Wilcox regarding upcoming events, I was more than willing to push beyond my hesitant subconscious and open myself to the possibility to experiencing new and interesting experiences. I have been to previous art exhibits and gallery events, so I had somewhat of an idea as to what it might be. I have done little to none research as to this particular event, however in my mind, I thought the Brewery Art Walk would be a regular art show of various artists and pieces of art consisting of canvases. I thought the show would be displayed in a conservative and plain looking organization down long corridors However, what I had thought I would experiencing would be to the contrary of what was to come.
First arriving, I noticed that the location was not a common exhibit space, but rather an actual brewery plant. The architecture was industrial and well aged to present an artistic sense of space. I did not know where to start considering there was no strict directional path presented. Starting from the front of the complex, I entered a long, cold hallway leading to an echoing of voices and a staircase leading to a location that would hopefully not include the endangerment of my life. Walking alone through the cold concrete halls with nothing but the hope of soon finding a welcoming art gallery, I came across a row doors each with a printed paper posted with a exhibit title. Walking into the first room, I saw that these galleries were nothing more than artists’ lofts where they opened their doors and invited the public to observe and hopefully purchase their pieces. I saw that the art presented were not merely painted canvases of obscure images, but also molds, installations, photographs, and sculptures. I did notice however that various artists had pieces of art that somehow referenced landscapes or could be implemented into landscape designs as sources of reference.
It was at this point that I began to realize that by expanding my experiences and going to various exhibits and events that I could draw what I observe and replicate my interpretations into my own designs.
Paris, France. 1984-1987
The park was designed by French architect, Bernard Tschumi, on the site of a large area of Parisian slaughterhouses and the national wholesale meat market as a part of an urban redevelopment project. Tschumi was chosen through a design competition of over 470 designers. Bernard Tschumi did not approach the project in the traditional sense of a park where landscape and nature are the primary ideas of the designs such as Central Park in New York. Tschumi designed with the sense that the Parc de la Villette would be a place of of culture where natural landscapes and inorganic structures are conjoined into a position of consistent change of its disposition. The President of France had called for a revitalization of the area and to design with the idea of the 21st century. Bernard Tschumi’s design was closest to the idea of the 21st Century, which did not dwell on history as its example, but rather looked into the contemporary issues as well as the future. The park includes museums, concert halls, stages for live performances, theaters, playgrounds for children, and decorative structures. For Tschumi, Parc de la Villette was not meant to be a picturesque park reminiscent of the past; it was more of an open area that was meant to be explored and discovered by those that visited the site. Tschumi, wanted the park to be a space for activity and interaction that would stimulate a sense of freedom. Bernard Tschumi’s overall idea was to encourage exploration, movement, and interaction.
Blog Post #4
As you drive through the security gate, your eyes begin to wander along the driveway and you begin to notice the beautiful landscape. The path winds around small trees and as you continue towards the parking structure, you become more immersed the landscaped that was well designed to create an simplistic flow of the plants. But as you look more closely at particular areas, you can notice that the layout and control of the shrubs and flowering trees is the contrary of simplicity. After parking the car and entering the elevator, I was filled with the anticipation. As the elevator doors open to the entry pavilion, my eyes could not help but open wide to attempt to capture the scenery as much as I could. One one side, you can see a couple of hills frame a crystal clear view of the ocean. To the other side, you see the rolling hills surround the Getty Villa. The pavilion overlooks the entrance of the museum and you can see the layout of the driveway and variety of trees and blossoming shrubs winding throughout it. As I would want down the entryway towards the museum entrance, I begin to analyze the flow of small shrubs and trees that guide the path and fill the open space to create a natural feeling. After walking through the path to the museum and flowing through the herbs garden, I found myself in a place unlike I have ever been. The outer peristyle had an ideal balance between the architectural design and the landscape design. The landscape complimented the space and the structures in a way that it almost seemed effortless. Of course there must have been a massive amount of effort since all the shrubs and trees were pruned and sheered to create a refined look. As I walked to the center of the peristyle, I looked across the flowing fountain and I can see through the columns to the ocean. It aligned with the view to suggest an idea that the entire garden was designed and placed in a particular way to frame the ocean view of the museum. Blog Post #3
The opportunity to explore and analyze a public area with a more educated insight on landscape design would be well spent at the Getty Villa in Malibu. I knew that the intention of the visit was to complete the assignment, however, I did not know that I would spend majority of the time wandering through the gardens and sharing my excitement with my friend rather than observing the museum collections. Although we had made a turn too soon and ended up go on a tangent adventure through the neighborhood cliffs, we arrived at the beautiful entrance of the Getty Villa fifteen minutes early. I have always wanted to go to the Getty Villa but never did, so this opportunity was at a fortunate timing. From the moment I pulled forward from the entrance gate, I was in a constant awe. It was like a child in a candy store, my eyes were wide and I had a smile from cheek to cheek. The landscape flowed as if it was recreated from one of my dreams. As the parking structure’s elevator doors opened onto the entry pavilion, I could see view of the villa overlooking the bright blue ocean and rolling hills of the landscape wrapped around it. The walkways twined through the landscape until wound up at the outer peristyle. The surrounding columns were lined up in a way that created an illusion of an ongoing pattern. As for the garden and fountain pool itself, they were designed better than I could ever imagine. In that moment, I knew with every fiber in my being that I wanted to make others feel how I felt by designing their own pieces of nirvana. The way the shrubs and trees were shaped to create a paradise was inspiring. The landscape was controlled perfectly to make it look like it was effortless and natural.
This image shows the ongoing set of parallel lines that is repetitive in an illusive pattern. The columns have a standard curved texture that is unable to be seen. The continuous pattern shows the illusion of an ongoing walkway. The separation between columns opens the figure to the outside garden.