Jørgen Leth

Jørgen Leth was born on June 14, 1937 in Århus, Denmark. He is a director and writer, known for  “The Five Obstruction”  (2003), “The Perfect Human”(1967) and “Life in Denmark”  (1972).

Den danske digter og filmskaber Jørgen Leth i sit jakkesæt fra Armani.        O        the-five-obstructions-2003

Leth studied literature and anthropology in Århus and Copenhagen and was a cultural critic (jazz, theatre, film) for leading Danish newspapers from 1959 to 1968. His first book was published in 1962. He has written 10 volumes of poetry and eight non-fiction books. He made his first film in 1963 and has since made 40 more, many distributed worldwide.

He has been a creative consultat  for the Danish Film Institute (1971–73, 1975–77) as well as chairman of the Institute’s board (1977–82). He has also been a professor at the Danish National Film School in Copenhagen, at the State Studiocenter in Oslo and has lectured at UCLA, Berkeley, Harvard and other American universities.

Jørgen Leth Wikipedia

66 Scenes from America (1982)warhol_burger_8001

“As a visual narrative 66 scener from America is reminiscent of a pile of postcards from a journey, which indeed is what the film is. It consists of a series of lengthy shots of a tableau nature, each appearing to be a more or less random cross section of American reality, but which in total invoke a highly emblematic picture of the USA.”

66 Scenes from America IMDB

Maya Lin: Systematic Landscapes

Henry Art Gallery
Seattle, Washington, USA
On view: April 22, 2006 – September 03, 2006

View along boardwalk over restored wetlands to viewing platform overlooking Baker Bay at Cape Disappointment.(Photo courtesy Maya Lin Studio and Gagosian Gallery)


Pin River is a linear view of a river system, composed of tens of thousands of straight pins pushed into the wall to create a flow of silver that is a shadow image of (Photo: arcspace)


Water Line is a line drawing in space of a particular underwater location on the Mid Atlantic Ridge. The site rises a few miles from the sea floor and is visible on the surface as Bouvet Island, one of the most remote islands in the world. Working with scientists at Woods Hole Oceanographic Institute, Lin and members of her studio, developed a topographic rendering of the seascape. The rendering was translated into architectural scale and fabricated from quarter-inch diameter aluminum tubes.((Photo: arcspace))



180 days in the East , Charles-Edouard Jeanneret


“A hundred years ago, books and travel were the only means of getting to know other countries, and the time that you had to devote to these was much greater than we have to devote to the same aim today. The book, even a travel guide such as “Baedeker”, was an authoritative and inexhaustible source of information, while the journey itself was at a slow pace which brought you into actual contact with the human and material civilisation of each country. History, that is the rational narration of the experience of the past as apprehended by the present , was a comparatively recent and fascinating discovery on which a large part of education was based. For every young architect and artist the confirmation of the book throught travel was the most important vision at the end of the studies. This irresistible attraction  of history was also felt by Charles-Edouard Jeanneret when he finished his study of decorative arts at La Chaux-de-Fonds in the mountains of Switzerland and a passion for architecture had broken out within him.”

Panayotis Tpurnikiotis , domes magazine , September 2011


Instambul: View of the Seraglio from Bosphorus 1911 


Pompei , Carnet 4, p.99

acropole       900x720_2049_2202       DESSIN OF ACROPOLIS LE CORBUSIER_thumb

“To see the Acropolis is a dream one treasures without even dreaming to realize it.  I don’t really know why this hill harbors the essence of artistic thought.  I can appreciate the perfection of these temples and realize that nowhere else are they so extraordinary;  and a long time ago I accepted the fact that this place should be like a repository of a sacred standard, the basis for all measurement in art.  Why this architecture and no other?  I can well accept that according to logic, everything here is resolved in accordance with an unsurpassable formula, but why is it that the taste—or rather the heart that guides people and dictates their beliefs despite their tendency to ignore it at times—why is it still drawn to the Acropolis, to the foot of the temples? ….Why must I, like so many others, name the Parthenon the undeniable Master, as it looms up from its stone base, and yield, even with anger, to its supremacy?”

Charles-Edouard Jeanneret (Le Corbusier).  Journey to the East (Cambridge, MA:  The MIT Press, 2007), pp. 216-217.

Using plants to purify canal water

Researchers outline a natural way to clean Italy’s polluted Pontine Marshes

Peter Dizikes, MIT News Office
April 7, 2010


Just south of Rome lie the Pontine Marshes, a vexed part of the Italian countryside. In ancient times, Roman emperors tried unsuccessfully to drain the marshes, something only achieved in the 1930s through a system of massive pumps and canals that removed enough water to turn the area into productive farmland. Yet today those canals have become heavily polluted, endangering the area’s agriculture and the health of its residents.

The conventional way of tackling the problem would be to build a series of large water-treatment plants in the area, which covers about 300 square miles. But Alan Berger, an associate professor of urban design and landscape architecture at MIT, has another idea. Because some plants absorb pollutants as water flows by them, carefully designed wetlands can clean up the countryside while preserving its natural feel and providing public park space.

read more




David Hockney_Photographic Collages

Hockney, David (1937- ). British painter, draughtsman, printmaker, photographer, and designer. After a brilliant prize-winning career as a student at the Royal College of Art, Hockney had achieved international success by the time he was in his mid-20s, and has since consolidated his position as by far the best-known British artist of his generation. His phenomenal success has been based not only on the flair, wit, and versatility of his work, but also on his colorful personality, which has made him a recognizable figure even to people not particularly interested in art: a film about him entitled A Bigger Splash (1974) enjoyed considerable popularity in the commercial cinema.

In the 1980s he has experimented much with photography, producing, for example, photographic collages and — since 1986 — prints created on photocopiers.







Marc Wilson & Patrick Sykes: The Last Stand

Timing is everything in Marc Wilson’s photographs. “You maybe get ten minutes,” he says, “before the sun has come up above the horizon but you have some light, a very soft grey and blue.” The landscapes he shoots are similarly precarious. Wilson’s series The Last Stand documents the remains of coastal fortifications that lined Northern Europe during the Second World War — bunkers swallowed by the sea, pillboxes barely clinging to land, buildings ripped from their foundations and wrecked on the rocks — from Allied positions on England’s east coast and the far tip of the Northern Isles, to the once German-occupied archipelago of the Channel Islands and the remains of the Atlantikwall, the colossal Nazi defense network which stretched from Norway to Spain.


The series draws attention to places that were once vital to world affairs and have since been left to ruin, their histories obscured or forcibly erased. One photograph, taken in Wissant, France, depicts a bunker that was later declared a safety hazard and demolished by the local government. Wilson is adamant that the sites should be left untouched. He understands the desire to break with the past, he says, “but if you start removing all the physical reminders, then we’ll have no history left. I don’t think they should be preserved as such, but they need to be protected from a secondary human interaction. That natural process of time is important.”

That protective impulse is evident in his compositions. In addition to the early-morning light, which flattens out any dramatic shadows, Wilson’s preference for using a large format camera helps to naturalize the elements in the frame. More importantly, the fortifications are always framed in their surroundings: they are never abstracted as pure architecture, and there are no interior views. After selecting a subject, he says, “I’d try and get as far back from it as I could, so I could see it as much within its environment as possible, then walk back towards it until I’d found the right composition where the object sat in the landscape.” At Arromanches les bains, Normandy — heart of the D-Day landings — he stood further back, “to show more respect.”

wilson-last-stand-19            wilson-last-stand-12           wilson-last-stand-14

Wilson’s images invite the viewer to revisit the scene and plot the traces between the built and unbuilt elements, quietly posing the question of what took place there. The line between natural and unnatural — already camouflaged by architects who designed the defenses to blend in with the landscape — has been progressively blurred over time, and Wilson’s photographs are studies of buildings that have taken on features of their surroundings: a forest bunker in Lossiemouth, Scotland, is overrun by dappled moss; a pillbox in nearby Findhorn is invaded by algae; the bricks of an outpost at St Michael’s Mount in Cornwall, England, are weathered by a sea that does not discriminate between the fortification and the rock on which it stands. Perhaps most troubling is the possibility that it was all for nothing. Borders will be drawn, defended and abandoned for as long as human conflict exists, but the passage of time, as revealed in nature’s slow, disinterested advance, renders the effort to defend them insignificant.

We talk about the ethics of aestheticizing decay. Is there not a risk in making something beautiful out of something terrible? “If someone photographs something that’s decaying for purely visual reasons then I don’t see the point of it,” Wilson says, “because you’re ignoring the history of the place, and if anything is ruined or abandoned then there’s always going to be a history to it.” His aim, rather, is to produce “constant, never-changing visual triggers” — stills only in the photographic sense — which evoke a larger history.

wilson-last-stand-16          wilson-last-stand-6           wilson-last-stand-10

When Paul Virilio walked sections of the Atlantikwall for his book Bunker Archaeology(1994), he noted a fundamental shift in military design. Until World War II, he wrote, “Fortifications had always been oriented toward a specific, staked-out objective: the defense of a passageway, a pass, steps, valleys, or ports.” Along the Atlantikwall, however, “You could walk day after day along the seaside and never once lose sight of these concrete altars built to face the void of the oceanic horizon. The immensity of this project is what defies common sense; total war was revealed here in mythic dimension.” Wilson’s photographs play on the pathos of this mythic dimension. Fixed, monolithic, but without solid foundation, many of his concrete altars face at least half a frame of empty expanse — sea or sky. They have been left behind by the war they waged — yet their melancholy watch continues.

wilson-last-stand-2           wilson-last-stand-3           wilson-last-stand-4

The shifting landscape can impede that lookout only temporarily. Should the bunkers become submerged in water or subsumed by sand, Wilson says, “They’ll always be there; we just won’t have access to them. And in twenty, thirty years, they may reappear, as the water levels go down, as the sand dunes shift. So you could have these bits of memory and history constantly peeking out again and then disappearing — a beautiful idea.”

— Patrick Sykes



In Landscapes Photography

Today, photographer Petros Koublis, presents this magnificent work called “In Landscapes” where nature takes on a dimension of peace with a beauty frozen in time. Almost all of these pictures were taken just 50 kms from Athens to highlight the timeless face of Greek political decline beauty. Photographs of breathtaking beauty to discover below.


In-Landscapes-Photography-3            In-Landscapes-Photography-4           In-Landscapes-Photography-5 In-Landscapes-Photography-6            In-Landscapes-Photography-7           In-Landscapes-Photography-8 In-Landscapes-Photography-9            In-Landscapes-Photography-13           In-Landscapes-Photography-11


Patricia Johanson

(Born September 8, 1940, New York City)


Patricia Johanson is known for her large-scale art projects that create aesthetic and practical habitats for humans and wildlife. She designs her functional art projects, created with and in the natural Landscape, to solve infrastructure and environmental problems, but also to reconnect city-dwellers with nature and with the history of a place. Johanson’s work has also been classified as Land Art, Site-specific Art and Garden Art.( http://en.wikipedia.org/wiki/Patricia_Johanson)

pj-sego-lily       johanson12       johanson11

 “Johanson’s designs for sewers, parks, and other functional projects not only speak to deep human needs for beauty, culture, and historical memory. She also answers to the needs of birds, insects, fish, animals, and microorganisms. Her art reclaims degraded ecologies and creates conditions that permit endangered species to thrive in the middle of urban centers…. Using the structures of nature as a way of thinking, she reconciles delicacy with strength, generosity with power, and creativity with consequence.”