Posts Tagged ‘Modern Architecture’

Mannaheim Progressive Pro-Choice Clinic

December 7, 2016
Women's Medical Centre with earliest motor vehicle by Karl Benz, © 2021 by Torsten Slama and the International Pro-Brick Society

Woman’s Medical Centre with 1886 Benz Patent Motorcar (Oils on canvas on wood, 50,3 x 62,8cm)

Photographic reproduction of a painting which is positioned  somewhere on the borderline demarcating the difference between the entirely satisfactory with added interest, and one of the lesser efforts in the field of true painting. Due to experiments with the preparation and priming of the canvas, the behavior of the paint was unexpected. Thus the ebetweenxecution lacks fluency. The technically inferior quality of the photographic reproduction adds to the impression of a very strange atmosphere permeating the picture, ambiguously oscillating between  moodiness and Objectivism. The symbolism; moon, spiral, car, and brick, is rather balanced, but with the addition of some sea shells, it is clearly shifted into the realm of female reproduction. (Of course, this is based on highly untrustworthy  assessments of gender-classification of objects. Ed.)

The building does, or at least did, actually exist, somewhere on the British Islands. The photocopy of a photograph of the building from a book on Brutalist architecture garnered at the Düsseldorf Central Library some 25 years ago exists, yet, due to negligence, lacks any inscription for further contextual elucidation of the source. So neither information on the architect nor the actual location of this interestingly proportioned edifice can be provided, much to this author’s disgust.

This painting is based on that drawing. Drawing is finer, possibly more accomplished. Yet the painting adds something. Mostly it adds the je-ne-sais-quoi. Painting and explanatory note © 2021 by Torsten Slama and the International Pro-Brick Society IPB

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Planetary School for Youth-Oriented Teachings of Right and Wrong

November 26, 2016
 Drawing of a school for problematic youths, staffed with progressive teachers, this drawing © Torsten Sama and the Progressive Society, 2021

Hardt-Waltherr Hämer, Juvenile Delinquent Youth Project,
Ingolstadt, 1962-66 (A3, 2016)

This voluminous structure of concrete and gold tinted glass is located in a progressive settlement called “Ingolstadt” on a far-away double planet in the system of the theoretical Öpik-Oort-Cloud. The building is fashioned as a life-size replica of the actual edifice, the municipal theater in the city of Ingolstadt, Germany, Earth. The building itself is rather imposing, especially in the realm of the horizontal, but this aspect of massiveness has been nicely set off with an arrangement of haphazardly placed street signs of unclear meaning, and a carefully unfinished look of the surrounding street scenery. Also a meticulously arranged add-on to the composition are the two vintage motor-bikes of German make parked in front of it. They belong to the school’s most progressive teachers, one fatherly male religion teacher, and one instructor  for violence-free negotiation techniques of uncommitted gender. The helmet placed to the side of the motor bike in front serves as a signal of trust. This is a theft-free zone. Looming over the horizon, the second planet of the double system, which is also earth-like, with vast and mostly untapped supplies of oxygen and water, left unsettled, serving as a recreational area for the partner planet. In the sky, floating over the school, a general semantics surveillance unit which  scans the whole perimeter of that school for occurrences of plain right and plain wrong according to objectivist criteria. The  gold-tinted glass panes of the building reflect the surroundings in unclear abstract configurations while still giving a hint of transparency. This atmospheric rendering © 2021 by Torsten Slama and the Progressive Society

Haus am Horn – A System House for the Modern Couple

April 7, 2016
Muche, Gropius, Meyer, Haus am Horn, 1923, Bauhaus, Drawing from 2016, this drawing ©2017 by Torsten Slama

Gerorg Muche, Haus am Horn, 1923
(A3; 42×29,7cm)

This house, a monument to the phallic guilt complex of modern patriarchal architecture, lives in a place of rich historical meaning for a certain variety of people. The hypothetical new owners, formers employees of the local financial institute which co-financed the costly renovation and restoration of this model building for the system family, exerting their ownership rights and overriding certain restrictive laws concerning historical hallmark structures, tried to add to the concept by painting the building a strange variety of pink, and placing a gaily painted totem pole of western American red cedar in the style of the indigenous peoples of the Pacific Northwest coast of North America on the premises. A nice wooden smell wafts through the area which is repellent to the common clothes moth, tineola bisselliella.

Looking at photographs of the original edifice, one is befallen by a baffling mixture of internal reactions. The masculinity of the design coexists with a maternal womb-like character achieved. The legend of the immortal uterus turned into stone. A 1923 drawing by Farkas Molnár, entitled “Georg and El Muche and the Haus am Horn” reveals a certain hetero-erotic dream aspect of the original concept. Before the erection (sic!) of the building, the land served as a vegetable garden for the local school for architects. Look at this 2016 drawing. Discern the different symbolic items distributed over the picture. A pole, a hose, a ball, a wall, a building. Generic vegetation. A Mark 1 inoculator floating in the sky above the chimney.Atmospheric rendering © 2021 by Torsten Slama and the International Wedding Ring