Construction as Dismemberment

"construction as dismemberment" was a term used by Hal Foster to read Hans Bellmer's progression of flexible sculptures that he documented in a series of photographs from the mid 1930's called La Poupee. 
These images he describes as from the dark underside of a twentieth-century world whose sociopolitical acts of construction have torn people and the social world apart and rebuilt it in monstrous ways.

BIG architects: loop city film

Very clever!  after 3 minutes it will blow your mind...and love the chemical brothers!

sigfrido martín begué (1959-2010)

Architect and Painter

My New Hero

The following is a letter from French Architect, Francois Roche and his reasoning for the cancelation of an exhibition and Lecture he was scheduled to give at Sci-Arc on the work of his practice R&Sie(n). His reasoning and position towards architecture, I believe, is a new wave of critical thinkers concerned with the sophisticated sociopolitical aspects of the built environment and our commitment or ability to stimulate change. He is speaking at an upcoming conference in Melbourne (Natural Artifice) that will be extremely interesting and I have the pleasure of attending. I hope he doesn't cancel!

I have no other way than to cancel the Sci-Arc exhibition in the Gallery (scheduled in May 25) and the lecture (scheduled the April 6-2011)
The gap of point of view, and the lack of interest for politics and attitude, reducing the architecture process to a unique design agenda cannot fit with our scenario of production and scenario of speeches.
Our works and attitudes are toxic, animal, dangerous, regressive, politic and computational.
Architecture is mainly an affair of resistance and self-defense, against hypocrisies and “in”voluntary servitude, to quote La Boetie. It cannot be reduced to a design goal, exclusively dedicated and trapped by tooling. I disagree on the way the knowledge is framed by and for predictable professional, without any potential to corrupt and desalienate through educational procedures the “coming out” of neoplagiarism and neocopism, which remind me the Beaux Art symptom and syndrome. I ‘m French and know perfectly the stickiness of this sliperring addiction.
I just want to precise that this voluntary abandon, cannot be understood as a “tantrum or capriccio” against the Sci-arc students pool, but it is at the level of Sci-Arc staff arrogances and ignorances, which seems to shrink architecture purpose to a simple affair of design agenda.
My best
F Roche /
PS Speaking and writing are done, here, in my Frenchglish dialect / I let you the opportunity to translate it in the Shakespeare  “mayonnaise”.

Naja & deOstos

I recently purchased Pamphlet Architecture 29, Ambiguous Spaces by Naja & deOstos and their position on architecture is a refreshing change from the kind of market-satisfying function that defines so much contemporary architectural design and thinking today. The orientation of their projects helped me clarify my direction for my final year work. Brett Steele describes their work as "designed to speculate-on the unexpected strangeness, the otherworldliness of how human beings have already transformed their world through infrastructural modernization. It is important architectural work that takes as its site the most prosaic and ordinary features of our planet; large-scale infrastructures...attention is focused on the unexpectedly alien (non-) places created by large scale infrastructure", including post-industrial terrains. Through peculiar building programs and unusual sites they criticize the contemporary built environment and see architecture in wholly unexpected ways.  These projects operate as a forum for discussion on the global modernisation that transforms our society. Steele also describes the current architectural culture as "undoubtedly growing more and more global, generic and market driven. We live in a time when contemporary architectural culture has nearly surrended itself to the pervasive circumstances of global economies and the imperatives of their accelerating markets, technologies, and development."  

"These projects not only fulfill a program or propose solutions but also materialize conflicting stories, framing events into a plot-magical, ironic, tragic, or informative." (Naja & deOstos)

Rock Hughes Residence

East Elevation

South Elevation

View Kitchen

Steel for the Carport is going to arrive next Monday so there will be some big changes to show next week and the general shape of the building will be close to complete.

demolition of Newcastle’s BHP Steelworks

It is at work everywhere, functioning smoothly at times, at other times in fits and starts. It breathes, it heats, it eats. It shits and fucks... it dies.
Amazing destruction at the former BHP, no special effects.

Possible Site Location?

Interesting backdrop and relationship to Newcastle...

Alcoholic Architecture

This brings a new idea to my proposed Warfies Saloon. A walk-in cocktail has opened in London where just entering the bar could get you drunk.

Gin and tonic vapours are pumped into the air at Alcoholic Architecture where visitors pay £5 each to spend an hour inside the breathable cocktail.

The interior is decorated to look like a giant cocktail glass with huge limes, massive straws and a soundtrack of liquid being poured over ice cubes.

Visitors are advised to wear protective suits to prevent the smell getting into their clothes and even without a drink they will leave feeling tipsy.

It is not known if heavy breathers will be treated as binge-drinkers and kicked out.

Alcoholic Architecture is the brainchild of Sam Bompas and Harry Parr who have already brought us scratch and sniff cinema and jelly banquets.

Harry Parr said: "I'm interested in states of matter. Here we've vaporised a cocktail. In the future I would like to make a liquid banqueting table."



It was the process of pictorial reproduction that freed the hand of its most artistic function. This break in tradition reversed the function of art as ritual and instead promotes contemplative immersion. This change in reproduction is seen as a decisive point in the theology of art where further critical enquiry is required to decipher hidden meanings and motifs. Below is an example of one of the first methods of film, it represents the acceleration in mechanical modes of reproduction and also a change or evolution in traditional art practices.

creative evolution - silvertown ship breaking yard

The Silvertown Ship Breaking Yard by Jonathan Schofield is the creative evolution of place, society and architecture explored through some amazing plans, section, renderings, sketches and models. Through a process of deconstruction the project exposes the hidden potential and future life of the Royal Docks, Silvertown, East London. Ships are broken up and inhabitants of the city are encouraged to reconstruct the pieces into new forms of creative architectural language. A deeper understanding of this project can be appreciated through the writings of Henri Bergson and his philosophical theories on our evolutionary qualities found through creativity.

Creative Evolution - Silvertown Ship Breaking Yard / Reconstructed Hybrid Community from Jonathan Schofield on Vimeo.

A journey to the past

When Newcastle was first settled, Carrington, as we know it  today, didn't exist. It was a low lying tidal island that was known to the local Aboriginals as "wuna - r tee" and was known to be abundant with fish, mud crabs and oysters. Originally named Chapmans Island during the convict era, then later Bullock Island, it rose from the mud from 1859 when extensive dredging commenced in Newcastle Harbour to help alleviate flooding (probably following the 1857 floods) with the spoil spread over the tidal flats gradually raising the island above the tidal influence. Then during the 1860's Bullock Island became a ballast dumping ground for the visiting coal ships and as the demand for coal continued to grow, more expedient methods were sought on the loading of the colliers with Mr. E O Moriarty, the Chief Engineer of the NSW Steam Navigation Board, expanding Bullock Island to accommodate the growing coal trade. In 1874 Mr Moriarty commissioned the British based  Armstrong Hydraulic Machinery Factory to design  a hydraulic crane delivery system for the Bullock Island site. James Barnet was commissioned to design  the Power Station to accommodate the new fangled  equipment and so in 1878 Newcastle led Australia when the £20,000 ($16 million) Carrington Hydraulic Power Station began operations with the first load of coal dispatched using this new system on the 18th March 1878. It wasn't until 1916 -17 that electricity replaced the steam pumps and in 1964 the last of the internal machinery were removed from building for scrap. Recently the building has been purchased by the NSW State Government which intends to restore this excellent example of 19th century industrial architecture to its former glory after nearly 50 years of disgraceful neglect. (information courtesy of )
30 ton Crane, Dyke Point

Bullock Island high tide

Steam Powered Crane circa 1900