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When people speak about the basic needs of humanity, they often list food, water, clothing, and shelter. Perhaps because of this, many within architectural theory have speculated on "the primitive hut," meaning the first instance of shelter, and thereby the first example of architecture.
When people speak about the basic needs of humanity, they often list food, water, clothing, and shelter. Perhaps because of this, many within architectural theory have speculated on "the primitive hut," meaning the first instance of shelter, and thereby the first example of architecture.
As human beings, we need more than just shelter: Many of us have instincts to belong to a place. This may be particularly true in America with our legacy of land ownership and its connection to power, but it goes deeper than that. My wife grew up in a family that was continually moving (she went to 6 different schools before graduating from high school). After graduating, she has lived in several states and abroad. For years she has had an intense longing to feel at "home". Since we have been married she rarely, if ever, expresses this need. It may be because she has given up in the face of our adventures, but I hope it is because she feels a sense of contentment and place within our marriage.
Looking at my own roots, I pause at the moment my graphic designer-cousin helped me develop my first architectural portfolio after my first internship. It has been since then that I have seen the world as a series of connections--either potential or actualized. I remain excited to acknowledge the possibilities of collaboration. Still, this worldview is a two sided coin. While it is thrilling to see potential connections everywhere, it is saddening to occasionally see those potentials go to waste, whether due to personal conflicts, unwilling attitudes, busyness, overextension, or other incompatibilities.
I am a curator because of my awareness of these connections. My ability to see the cohesive and shared ideals of those around me is most compelling and has the most potential when it regards creative individuals who are open and willing to try new things. When I see a trend I want to celebrate it and help it to develop. This is the easy part. The hardest part of the process is finding a place for these collaborations to happen. You can have the best idea and the most cohesive group, but if the atmosphere and circumstances aren't just right then nothing may ever come from that potential.
Realizing the impact that space and atmosphere have on a cohesive social group has inspired me as a designer. I am interested in dynamic spaces. A large part of our life is place. Modernism is obsessed with kinetics, motion, and the machinery that makes it possible, but avante garde art realizes it primarily through metaphor, choreography, and capturing motion through successive frames (i.e., film). There is a push to literally and explicitly realize kinetic expression. Much of this is born out of the digital revolution, but has deep roots in the past. I seek to enhance our spatial experience by incorporating and embracing the kinetic experiential possibilities of a space. In itself, this pursuit is a relatively young one. Thus, I put out a call for entries and gathered a substantial and impressive collection of work that is expressly interested in kinetic composition. That is what TIMEless is: a multidisciplinary collection of artist and creators who are creating in four dimensions.
Just as my exhibition creates a forum or catalog of artists working on the same idea, Art Haus SLC is interested in harboring conversations and collaborations in Salt Lake City specifically. In order to do so, Art Haus SLC needs a home, a space, an atmosphere. The only way that will be made possible is through your generous contribution through supporting its mission on Kickstarter.
Guest blog by:
Ralph Spencer Steenblik
Co-curator of TIMEless - An exhibition exploring the 4D possibilities of space which will open this fall in Salt Lake City as a part of the programing of Art Haus SLC.
Looking at my own roots, I pause at the moment my graphic designer-cousin helped me develop my first architectural portfolio after my first internship. It has been since then that I have seen the world as a series of connections--either potential or actualized. I remain excited to acknowledge the possibilities of collaboration. Still, this worldview is a two sided coin. While it is thrilling to see potential connections everywhere, it is saddening to occasionally see those potentials go to waste, whether due to personal conflicts, unwilling attitudes, busyness, overextension, or other incompatibilities.
I am a curator because of my awareness of these connections. My ability to see the cohesive and shared ideals of those around me is most compelling and has the most potential when it regards creative individuals who are open and willing to try new things. When I see a trend I want to celebrate it and help it to develop. This is the easy part. The hardest part of the process is finding a place for these collaborations to happen. You can have the best idea and the most cohesive group, but if the atmosphere and circumstances aren't just right then nothing may ever come from that potential.
Realizing the impact that space and atmosphere have on a cohesive social group has inspired me as a designer. I am interested in dynamic spaces. A large part of our life is place. Modernism is obsessed with kinetics, motion, and the machinery that makes it possible, but avante garde art realizes it primarily through metaphor, choreography, and capturing motion through successive frames (i.e., film). There is a push to literally and explicitly realize kinetic expression. Much of this is born out of the digital revolution, but has deep roots in the past. I seek to enhance our spatial experience by incorporating and embracing the kinetic experiential possibilities of a space. In itself, this pursuit is a relatively young one. Thus, I put out a call for entries and gathered a substantial and impressive collection of work that is expressly interested in kinetic composition. That is what TIMEless is: a multidisciplinary collection of artist and creators who are creating in four dimensions.
Just as my exhibition creates a forum or catalog of artists working on the same idea, Art Haus SLC is interested in harboring conversations and collaborations in Salt Lake City specifically. In order to do so, Art Haus SLC needs a home, a space, an atmosphere. The only way that will be made possible is through your generous contribution through supporting its mission on Kickstarter.
Guest blog by:
Ralph Spencer Steenblik
Co-curator of TIMEless - An exhibition exploring the 4D possibilities of space which will open this fall in Salt Lake City as a part of the programing of Art Haus SLC.
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