anita līcis-ribak's blog

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11
Dec 2011

Steven Holl Awarded AIA Gold Medal

Steven Holl has long been one of my favorite architects.  (The others are Tadao Ando, Carlo Scarpa, Peter Zumthor) Holl's architecture is rooted in humanistic ideals, and expresses a form of unique spacial poetry.  For years now, he has been germinating his idea(l)s in small watercolor sketches that he makes every morning as he wakes up.  I am so happy to know that his work has been recognized with this prestigious honor.  

I had applied to work for him, more than 10 years ago, just out of school.. It was just an 8-person studio back then.. Where would I be now, had I gotten that job?.......

When my father passed away unexpectedly at the age of 58 in late fall of 2000, I went home to Latvia to be with my family at his burial.  I had a layover in Helsinki, as usual, on my way to Rīga.  And the one place I gravitated to, on this very hard trip was the Kiasma Museum of Contemporary Art, designed by Holl.  In spite of its secular function and very modern presence, it possesses purity and an ephemeral lightness that transcends its function and enters the zone of the sacred.  After several quiet hours at the museum I felt strong enough to proceed, and to board the plane that then took me to my father.  

Metropolis magazine has a neat gallery of Holl's watercolors, accompanied by an article.

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Steven Holl. 

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Steven Holl. Kiasma Museum in Helsinki, Finland

Filed under  //   AIA   Helsinki   Kiasma Museum of Contemporary Art   architecture   steven holl  
19
Nov 2010

Recent Publishing

I am happy to announce that two of my photographs have just been published in two separate editions.  

The first one, Untitled No.1has been included in the collection of contemporary art yearbook 'Still Point Art Gallery: Selections From 2010 Exhibitions'.  The book includes work from about seventy artists from around the world, and can be purchased from Blurb

The other work is from a series of photographs I took of a Habitat for Humanity housing project on Stanley Street in Amherst, designed by architect Chuck Roberts of Kuhn Riddle Architects.  It was included in the book 'The Power of Pro-Bono: 40 Stories about Design for the Public Good by Architects and Their Clients' edited by John Cary and published by Public Architecture.  The book can be purchased at Amazon.com.

Filed under  //   Kuhn Riddle Architects   amherst   architecture   photography   pro-bono   publication  
02
Apr 2010

Conversations in achromatic tones - 4

There's not much I can say that this picture is not already saying.  I will just quote one of my favorite passages from Alain de Botton's 'Architecture of Happiness': 
'We owe it to the fields that our houses will not be the inferiors of the virgin land they have replaced.  We owe it to the worms and the trees that the buildings we cover them with will stand as promises of the highest and most intelligent kinds of happiness.' 

Crosses
Crosses.  Streetscapes Series 
Isla Mujeres, Mexico.  April 2008 

29
Mar 2010

An evocative photograph of an evocative mind...

On a dreadfully ugly day like today I was delighted to wake up to the world that celebrates a new (but long-in-the-making) architecture of light and human interaction.  The main prize in architecture, the Pritzker Prize was awarded yesterday to a Japanese duo of architects SANAA.   

If there ever was an architect able to capture and express lightness in architecture, SANAA must be it.  Their spaces are made of flowing multilayered interlaced geometries that dematerialize along the building's edges creating a perimeter that is soft and light .  Playfully woven into an often densely populated urban architectural fabric, their buildings come close to appear as oversized balloons about to take off.. Even when they are shaped like a stack of boxes!      

SANAA architect Kazuyo Sejima by Annie Leibovitz for Vogue (via Polis)

Filed under  //   Annie Leibovitz   Kazuyo Sejima   Pritzker Prize   SANAA   Vogue   architecture   photography  
27
Feb 2010

The Object Stares Back

I've come across a notion a few times that taking photographs is hiding behind one's camera. I wonder if that's how it is for others, but for me it doesn't work that way! When I am out taking photographs I feel very present in the moment, and very exposed (no pun intended :). I can pretty successfully blend with the surroundings (unless I am in Southern India!). But as soon as I get my camera ready I am announcing "Here's to looking at you!" And more often than not, there's the look back.

Sometimes I do wish I had one of those spy cameras! One too many times I've come across a situation that pleads to be recorded but I don't dare lifting my 'hideout gadget'. One such situation comes to mind. One very early morning in December of 2007 I walked into a small cafe in Taos, New Mexico, and met point-blank with a dozen or so wild, life-wise eyes staring at me from the assembly of the locals, all the color of sand - all of them - from the rugged boots, to their long worn-out coats, to crazy hair, to wide-brimmed hats that'd seen all kinds of weather.. But their eyes were sky-blue, glowing from this untameable mass of sand, penetrating, and ..eternal.. My hand was burning to pull out my camera. But something made me to just pause for a split second, walk in and past these stern sand people, and to stay put. (Perhaps I didn't want to find myself playing a character in a Western, besides it was way too early for that, at 6:30am! But to tell you the truth, I felt like an intruder..) I have the picture of these unforgettable faces clear in my mind, and it's a picture I never took. 

I've traveled a safe route in photography for a long time, shooting safe objects that were either familiar or that won't stare back: I photographed my family and friends in my teens, architecture in my 20-ies, cities, landscapes and abstract geometries in my 30-ies. And it is only recently that my gaze (and my camera) is turning more towards people. Most of my photographs of people are spontaneous snapshots of strangers I encounter. I find faces fascinating. I like imagining life stories of these people. I inevitably feel a strong affiliation with, and sympathy for everyone I photograph. But there are times when I need to step back, to not be drawn in too far. I sometimes wonder what happened to Diane Arbus, had she crossed an invisible line from which there was no coming back?

I just returned from a 2 week trip to the southern part of Southern India (South South India) For the first time I was asking people to pose for me, perhaps encouraged by their warm nature and smiles. So you will see from the pictures that I took during this trip, some of which I will be posting in small installments here, and on my photography website, www.anitalicis.com, that people were a strong focus for me (and yes, many were looking back!). Although I did take a fair number of abstract compositions, landscapes and even wild animals (I will be posting some of those as well)

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An old man on the ocean before sunset. Marina beach. Chennai, India. 2010

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Sages convene. Kannyakumari, the southernmost point of the subcontinent. India. 2010

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Kavín stares back. Near Coimbatore. India. 2010

Sitting_man_madurai

Late night's smoke. Madurai. India. 2010 

Filed under  //   Coimbatore   Diane Arbus   Frank Gehry   Fraser Gallery   India   Kannyakumari   Santiago Calatrava   architecture   art   gallery   people   photography   travel  
29
Jan 2010

India Calling ! (Or Some of Us Are One)

Seeing India has been a long-time dream of mine. I think the first time I knew I *had* to go to India was when as a 17-year old architecture student in Riga I was listening to my Architectural History professor telling us, his students about the ancient temples of India proudly displaying stone-carved sculptures of couples copulating in all imaginable and (mostly) unimaginable ways. Now, what you need to know is that at the time my university was a Soviet Institution, and as such was there to affirm the official party line that sex was a capitalist invention and hence did not exist. My old professor's slide presentation was a revelation (and an act of brave rebellion on his part)!

Konark_erotic_carvings_2010-01

Konark: The Sun Temple.

A year later I was reading Krishnamurti, standing on my head, and trying (rather disastrously) an assortment of exotic recipes: my best friend and I were testing the limits of the spiritual awakening theories. Partial awakening arrived in the form of a completely inedible stone-hard loaf of bread that we concocted based on one of our obscure recipes obtained from even more obscure sources. Our self-esteem nearly crushed, we decided to return our focus to architectural studies instead.

Fast forward some years later, characterized by successful avoidance of the experiments of aforementioned kind. (Except for one embarrassing incident when doing a "downward dog" left me partially immobilized for two weeks, and I was forced to walk bent 90 degrees forward! Imagine all the patterns in my town's pavement and my living room floor I discovered over those weeks! My sympathy levels for the old and disable have since skyrocketed. I had always proudly avoided any yoga instruction, instead learning from what looked like hand-printed Russian books on Yoga.. There you have it, i thought!.. So, yoga aficionados, go easy on that downward dog, or you'll become one!)

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Downward Dog, from an old Hatha Yoga book in Russian, "Начала хатха йоги"

But back to my story..

Fast forward once more.. Soviet Union, that sex-less empire, falls. I settle in the territory of its once fiercest adversary, the "inventor of sex", the US, my home now. An ALIEN myself for more than a decade (that's what you are called here, until you obtain a Green Card that is NOT green, or become a citizen), I meet Indians, among other 'aliens' like myself, and discover to my amazement that in life they don't embody the public promiscuity of the famous couples on the India's temples.. Quite the contrary. They seem to be an impeccable embodiment of chastity and purity. One of them becomes a very dear friend of mine, literally over the course of one conversation - involving the Sanscrit, Tagore, Indira Gandi, and architecture - which leads me to believe in either of these two things: 1. Either I was once an Indian. 2. My friend was once a Latvian/Russian. 3. Or, we are all one. (or, *some* of use are one, anyway) Which ends up being more than two things, really.

At the end of last year it becomes evident that my dream trip is possible. The realization sends me into an intoxicating state of frenzy, excitement and agony for a few days, before I finally decide to do it. It's much harder to make such a decision now that I have a 16-months old son. I'm twice the age I was when I had my first son, and back then I didn't think much about leaving for extended concert tours through Europe with my choir, or venturing out to produce dirt and skeletons at the archaeological digging sites at the ancient Roman ruins in the South of France. At 20, everything seemed simple, possible and permitted. Add to that 20 years of Life's schooling, with intense courses on Responsible Parenting 101, Existence of the Limits of Possibilities 202, and The Vague and the Concrete Consequences of Following One's Desires 303, and what you have here is a new type of mother. But the thing is, I still live with that unquenchable sense of adventure!... 

Just before I set out to buy my airplane ticket, a vague thought crosses my mind to check if I need an entry visa to India. Turns out I do! So I spend the last day of the year 2009 frantically rushing out my application along with a $125 check that covers the visa processing, a third party fee and FedEX both ways. I part with my passport. An alarming move, especi ally considering the fact that it's going out by mail in a pretty much anonymous direction, and that I also buy the plane ticket that same day. The visa arrives after surprising two weeks! It's shocking, considering what an epic undertaking it had been, in the previous years, to obtain a US visa! (I could have for instance circled the Earth a couple of times on foot while waiting for my US work visa to get processed. Except that of course I couldn't: the way it works, you've got to remain in the country while your visa is being minted!) Sigh of relief. Now, it's time for immunizations! I call the travel nurses in the area, they are all overloaded with work: everyone seems to be heading towards the Japanese Encephalitis-infested areas this winter! Eventually, I manage to get a tight appointment at my primary health care provider. They seem bent on providing me preemptively with what they promise: health. I get armed with a bunch of prescriptions, three immunization shots, and two pounds of literature on how to avoid Japanese Encephalitis. Except that I do not plan on staying at a pig farm for four months, a prerequisite condition warranting such a precaution.

I am flying out of Newark next Wednesday, February 3rd, and heading down to Chennai, via Mumbai. The flight, the longest non-stop flight I've ever been on, is 15.5 hours long. I am meeting my friend (remember Tagore?) in Chennai where she is living again, and where she has offered, in the most gracious display of goodness, to pick me up from the airport at 3am. (THANK YOU MY DEAR FRIEND!) We haven't seen each other for some years now. But you know those friends who never change on you, whose lives always remain in sync with yours no matter how much time passes, and how many continents lie between you two? Well, that's the kind of friend she is.

I am bringing along my photo camera, along with two batteries, tens of gigabytes of flashcard space, a charger, and some other photo paraphernalia, along with those filled out prescriptions and wearable cotton (hard to think of it, with an inch of fresh snow outside my window). That summarizes it really. I know I am headed to the most technology savvy place on earth, but apart from spending some days in Chennai the rest of my 2-week itinerary is still quite vague. So I may end up in a place and a situation where the only photographs I can take are in my imagination. ..At least it won't be on a pig farm... I do promise to bring you photos of those carvings though, if I make it that far! But I doubt it. It is only on the maps in my guidebooks that India appears small and easily navigateable, as it is only in Krishnamurti's books that life seems to make complete sense...

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Filed under  //   Chennai   India   Konark   Rīga   Yoga   architecture   friendship   photography   sculpture   travel   visa  
24
Jan 2010

Architecture meets Art and Science

1. DESIGN FOR THE MASSES  Tomorrow is the last day of the Bauhaus exhibit at MOMA.  This is the first major show on the famous art and design school at MOMA since 1938. 

(The slideshow on this website has some beautiful visuals, don't miss it)  This show follows the inspiring 'Bauhaus Modern', the exhibition at Smith College Museum of Art in Northampton, MA held in the fall of 2008 and guest curated by Dr.Karen Koehler, Five College professor of art and architectural history.  

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Color Study: Squares with Concentric Rings,1913
Wassily Kandinski
Image source: creativecommons.org 

2. ARCHITECTURE WITHOUT WALLS.  If you happen to be in Vienna this winter, don't miss the 'Transitory Objects' at Thyssen-Bornemisza Art Contemporary museum

Here's a related article in Seed Magazine
I was particularly drawn to Neri Oxman's organic self-supporting architectural skins.  This young and extremely talented designer from Israel works with rapid prototyping technology, and in her research combines biomimicking with the design and construction of built environment.  This may as well be the language of our not-so-distant future architecture.   
Pompidou Center in Paris currently features Alisa Andrasek, one of 'Transitory Objects's' participant's project 'Biothing'

Speaking of Pompidou, the Center as always has an array of amazing shows.  Among them, a vast display of women artists at 'elles@certrepompidou', a first show of its kind, where a museum showcases the feminine side of its permanent collection. Around 200 women artists are represented from 20th century to the present day.  

And a couple of other shows at the museum I want to mention, one of them still up and running. 

3. EYEBALL RE-CUT  Exposition on Surrealism in film and photography - 'La Subversion des images-Surréalisme, photographie, film' - this exposition just closed, but the evocative video collage intro is well worth watching

4. THE PAINTER OF BLACK AND LIGHT Currently showing at Centre Pompidou: Soulages: Black on black (and not-so-black) 
Reminds me of Louise Nevelson's 'Queen of the Black Black' period.  Although, while Nevelson went through a number of creative phases, her inspiration and expression growing from color to white, from black to gold, Soulage has always been the 'king of the black black'. 
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Louise Nevelson, Cityscape, 1979 
Image source: creativecommons.org 

Soulage

Pierre Soulages, Peinture 324 x 362 cm, 1985 Polyptyque C 
Collection Centre Pompidou, Musée national d’art moderne
Image source: creativecommons.org 

19
Jan 2010

Here's to Architecture!

Beginning my 4-links-a-day series, here's to architecture: 

1. If architecture is frozen music (according to Goethe), then this video captures music defrosted.  Little by little, intimate architectural details of Louis Kahn's Phillips Exeter Academy Library are revealed in a way you will never see again: stunning in it's realism the building featured in this short film by Alex Roman exists only in the digital format.  No concrete.  No wood.  No metal or glass.  Just zeros and ones, with a splash of poetry and music.  
To see the real building head over to New Hampshire.


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Image source: commons.wikimedia.org

2. We are surrounded by the walls of the interior spaces, then the exterior walls. But first, there are our clothes, our second skin, our first wall, separating us from the world around us.  
The clothes we wear *is* our first architecture.  Wearable architecture!  (This reminds me of Bernard Rudowsky, author of 'Architecture Without Architects', whose favorite question was "How do you expect to have a great architecture when you wear such terrible clothes?")  
...Ok, I'm not a shoe-tishist, but this episode from L Studio is delicious to watch... And, besides wondering how is it that some of us can stand up, let alone walk in those heals you may indeed begin to wonder: Why Buildings Stand Up?

3. Another one from L Studio, on an ingenious and very talented Japanese architect of paper, fabric and tin, Shigeru Ban

I first became familiar with his work in mid-nineties, when I saw his Curtain Wall House in Tokyo published in Abitare magazine. (You can build with fabric?!  Why not??!!  What is a tent, after all?!) It was love-and inspiration-from the first sight.  

4. Twisted: architectural photography of Cedric Lefebvre



13
Dec 2009

Shedding Light in Amherst

Shedding_light-1

there is poetry in the light streaming out of an old tobacco barn 
standing in the middle of a frozen winter field
first snow drawing slight lines in the air 
captured by the rays of light 
released through the open ventilation slats 
and right into the cold dark night
suddenly made warm 
inviting you to cruise into the darkest part of the year 
with this newly found warmth and a sense of belonging to a larger world around you

The project on these photographs, Shedding Light, was created by a friend, an artist and designer Erika Zekos to commemorate the 250th anniversary of the town of Amherst in Western Massachusetts.  Positioned in one of the vast farm fields in town, it highlights the simple but astonishing beauty of the architecture of the barn.  But what captivates me even more is the new way it relates to the ground it sits on, and and the way it reaches out towards the snow-full sky, rays of light radiating out like beacons, or like outstretched wings... ready to take off...  
The project will keep on glowing until Dec.31, 2009. 
Visit the project's blog at: http://sheddinglightamherst.blogspot.com/ 

 

 

Filed under  //   amherst   architecture   art   massachusetts   photography   tobacco barns   vernacular