Today's archidose #682

Here are some photos of the "Amazing Flow" installation by Toyo Ito and Akihisa Hirata, as part of Lexus Design Amazing 2013 in Milan, photographed by SomniaArchitectura.













A video from Lexus on "Amazing Flow":


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Why don't you.....

Why don't you buy a lot of different lampshades for your boring chandelier in contrasting fabrics, like here at the Brooks Brother store in Bologna? Love this look!

What a Difference 3 Years Makes

Below are a couple photos I snapped three years apart of the Lower Manhattan skyline. The top one is from a showroom near Madison Square Park and the bottom one is from the roof above Resolution: 4 Architecture on West 28th Street near Sixth Avenue. The foregrounds may be different, but the buildings on the skyline have similar positions, making the changes that have happened in a pretty short amount of time easy to grasp. I've highlighted the major ones, which include the completion of 8 Spruce Street and two buildings rising at the World Trade Center site.

Captive America: An Interview with Alyse Emdur

[Image: Prison Visiting Room Backdrop, Woodbourne Correctional Facility, New York; photograph by Alyse Emdur].

Earlier this year, Venue published an interview with Los Angeles-based photographer Alyse Emdur discussing her project Prison Landscapes. I thought Emdur's work—a look at the unexpected landscape paintings used as photographic backdrops in prison waiting rooms throughout the United States—deserved a second look, so I am re-posting the interview here.

Venue, of course, is a joint project between BLDGBLOG and Nicola Twilley of Edible Geography, and it is supported by the Nevada Museum of Art's Center for Art + Environment.

The full interview, along with its original introduction, appears below.

[Image: Prison Landscapes, published January 2013 by Four Corners Books].

Some of the most unsettling examples of contemporary landscape painting in the United States are to be found in its prison visiting rooms, where they function as visual backdrops for family photographs.

[Image: James Bowlin, United States Penitentiary, Marion, Illinois; photograph courtesy Alyse Emdur. Note the fake trout].

Ranging in subject matter from picturesque waterfalls to urban streetscapes, and from ski resorts to medieval castles, these large-format paintings serve a dual purpose: for the authorities, they help to restrict photography of sensitive prison facilities; for the prisoners and their families, they are an escapist fiction, constructing an alternate reality for later display on fridge doors and mantlepieces.

With nearly 2.3 million Americans in prison today—an astonishing one out of every hundred adults in the United States, according to a 2008 Pew study (PDF)—this school of landscape art is critically overlooked but has a mass-market penetration comparable to the work of Thomas Kinkade. And, like Kinkade’s work, these backdrops—which are usually painted by talented, self-taught inmates—are simultaneously photo-realistic and highly idealized. Cumulatively, they represent a catalog of imagined utopias: scenes from an abstracted and perfect elsewhere, painted from behind bars.

[Image: Prison Visiting Room Backdrop, Shawangunk Correctional Facility, New York; photograph by Alyse Emdur. Unlike the family portraits, Emdur's own large-format photographs deliberately show the prison context that surrounds the backdrop landscape, for an unsettling contrast].

Several years ago, artist Alyse Emdur was looking through a family album when she came across a photo of herself as a little girl, posing in front of a tropical beach scene while visiting her elder brother in prison. She spent the next few years exploring this surprising body of vernacular landscape imagery, tracking down examples across the United States.

[Image: Emdur family photo in front of prison visiting room backdrop; photograph courtesy Alyse Emdur].

At first, she wrote to prison administrators to ask permission to photograph the backdrops herself—a request that was inevitably firmly denied. Instead, she joined prisoner pen-pal sites, asking inmates to send her pictures of themselves posed in front of their prison’s backdrops; through this method, Emdur eventually assembling several hundred photos and more than sixteen binders full of correspondence. Finally, in summer 2011, she gained permission to visit and photograph several prison visiting room backdrops herself.

[Image: Michael Parker and Geoff Manaugh looking at Alyse Emdur's correspondence and work in Emdur's studio space; photograph by Venue].

Venue visited Emdur’s studio in downtown Los Angeles in the summer of 2012, as she was collecting all this material for a book, Prison Landscapes, published in January 2013 by Four Corners Books. After a studio tour conducted by her partner, artist Michael Parker, we followed up with Emdur by phone: the edited transcript of our conversation follows.

• • •
[Image: Alyse Emdur's large-format photographs of prison visiting room backdrops on her studio walls; photograph by Venue].

Nicola Twilley: From the hundreds of photographs that prisoners sent you, as well as the ten or so backdrops that you were able to photograph yourself, it seems as though there is almost a set list of subject matter: glittering cityscapes, scenes of natural landscapes, like beaches and sunsets, and then historical or fantasy architecture, such as medieval castles. Did you notice any patterns or geographic specificity to these variations in subject matter?

Alyse Emdur: You do see some regional realism—so, prisons in Washington State will have evergreen trees in their backdrops, prisons in Florida will have white sand beaches, and prisons in Louisiana will have New Orleans French Quarter-style features. There’s also the question of where the prisoners are from: one thing that I’ve observed is that in upstate New York, for example, many of the prisoners are actually from New York City, so many of the backdrops in upstate New York prisons show New York City skylines.

Fantastical scenes are actually much less common—from what I gather from my correspondence, realism is like gold in prison. That’s the form of artistic expression that’s most appreciated and most respected, so that’s often the goal for the backdrop painter.

[Image: Brandon Jones, United States Penitentiary, Marion, Illinois; photograph courtesy Alyse Emdur].

Twilley: Do you have a sense of how you get to be a backdrop painter—do inmates chose amongst themselves or do the prison authorities just make a selection? And, on a similar note, how much artistic freedom does the backdrop painter actually have, in terms of needing approval of his or her subject matter from fellow inmates or the authorities?

Emdur: That’s one of the questions that I’ve asked of all the backdrop painters who I’ve been in touch with over the years. The answer is always that if you are a “good artist” in prison, then you’re very well-respected within the prison—people in the prison all know you. You’ll be making greeting cards for people or you’ll be doing hand calligraphy for love letters for friends in prison—you’ll be known for your skills. The prison administration is already aware of the respected artists, because they shine within the culture, and so they are usually the ones that are chosen. And when you’re chosen, it’s a huge honor.

[Image: Genesis Asiatic, Powhatan Correctional Center, Statefarm, Virginia; photograph courtesy Alyse Emdur].

Something to keep in mind, though, is that backdrops do get painted over. In some prisons, the backdrop can change a few times a year.

One of the artists I’ve kept in touch with is Darrell Van Mastrigt—I interviewed him for the book, and he painted a backdrop for me that was in my thesis show. In the prison that he’s in, the portrait studios are organized by the NAACP. He said that the NAACP had seen his paintings in the past, and when they selected him, they gave him creative control over what sort of landscape he chose to paint.

Obviously, there are some rules. The main restriction is that you can’t use certain colors that are affiliated with gangs. So, for instance, Darrell painted a mural with two cars and they had to be green and purple—they couldn’t be red or blue. But, from what Darrell has told me and from what I understand from other painters, they don’t get much input from other prisoners. At the same time, they’re very conscious of wanting to please people and maintain their status within the prison, of course, and they get a lot of pleasure out of doing something positive for families in the visiting room.

One of sixteen binders full of letters and prisoner portraits mailed to Emdur; photograph by Venue].

Another interesting thing a painter told me was that she was very conscious of not wanting to do a specific, recognizable cityscape, because she knew that not everyone in the prison was from the city. So she deliberately tried to paint a more abstract landscape that she thought anyone could relate to. And a lot of imagery they work from is from books in the prison library, rather than just their memories.

Twilley: In some of the photographs you were sent, the prisoners are in front of off-the-shelf printed backdrops—some offering multiple pull-down choices—rather than hand-painted ones. Are these standardized commercial backdrops gradually replacing the inmate-produced landscapes?

Emdur: The backdrop-painting tradition is definitely still vibrant and strong, but my sense is that these store-bought backdrops are becoming more and more common.

For one thing, the hand-painted backdrops are not always as realistic as a photograph, and, often, the prisoners and their families are looking to create the illusion that they really are somewhere else. So, the more realistic, the better. When I went to photograph a backdrop in one New York State prison, I found an amazing hand-painted mural of a New York City skyscraper with a cartoon-like Statue of Liberty in front—she almost looked alive. But it had been completely covered up by a pull-down, store-bought, photographic backdrop of the New York City skyline. I tried to photograph the backdrop in Fort Dix Federal Prison in New Jersey and they told me that they had just painted over the hand-painted backdrop and replaced it with a commercial photography backdrop.

[Image: Small prints of Emdur's backdrop photographs on her studio wall, alongside a few examples of her extensive collection of self-help books; photograph by Venue. Note the hand-painted cityscape featuring the Statue of Liberty on the left].

Of course, another thing is that it’s easier to buy a backdrop than it is to engage with a prisoner, you know? And attitudes vary from prison to prison. In some prisons, you’ll find murals throughout the facility, not just in the visiting rooms. I went on a tour of a privately-operated women’s prison in Florida, for instance, that lasted four hours because there were paintings everywhere—in all the hallways, dorm rooms, and offices. The PR person who assisted me on that tour explained that having prisoners paint murals is really a way to keep them busy and out of trouble, so they saw it as a really positive activity.

Of course, I see these paintings as a way for people in prison to temporarily escape the architecture and culture of confinement, and that’s what makes them so important for me.

[Image: Antoine Ealy, Federal Correctional Complex, Coleman, Florida; photograph courtesy Alyse Emdur].

Twilley: There’s an uncomfortable overlap between the escapism of the landscapes and then the other purpose of the backdrops, which is to not allow photographs of the prison interior to get out.

Emdur: Yes—I found that really concerning. The prison administration either thinks that photographs of the interior of the prison could help inmates escape or, at the very least, the administrators are trying to control the imagery of the prison that reaches the outside world.

During my research, I’ve been trying to figure out how long these kinds of backdrops have been used. From prison administrators to PR people to wardens and prisoners, everyone told me they don’t even remember—these kinds of painted backdrops have been used in visiting rooms for as long as they can remember. I’ve spoken to a sixty-five-year-old warden who just said, “You know, they’ve been here longer than I have.”

[Image: Robert RuffBey, United States Penitentiary, Atlanta, Georgia; photograph courtesy Alyse Emdur].

I do know that at some point in the last twenty years, companies came along that would charge inmates to substitute in a different backdrop. If you’re a prisoner and you have a photograph of yourself or yourself and your kids in front of the painted backdrop in the visiting room, then you could send your photograph to one of these companies and they would take out the painting and then put in a Photoshop background. That’s not very common at all, but it’s pretty bizarre—one fake landscape being replaced by another.

Going along with that is the replacement of Polaroid with digital photography. All these portraits were Polaroid up until the last five to ten years, I would say. Some prisons still use Polaroids, but from what I gather, it’s basically all digital now.

[Image: One of sixteen binders full of letters and prisoner portraits mailed to Emdur; photograph by Venue].

One thing to remember is that all the prisons have slightly different rules and they all organize their prison portrait programs differently. In most state and federal prisons in America, the only place where a prisoner can be photographed is in front of these backdrops, and the only time they can be photographed in front of the backdrops is when they have a visitor—but, then, there are all these exceptions.

At some prisons, for instance, you can get your picture taken at special events, like graduations or holiday parties. Then, some prisons have murals elsewhere in the prison, not in the visiting room, that you can sign up once a month or something to have your picture taken in front of.

[Image: Kimberly Buntyn, Valley State Prison for Women, Chowchilla, California; photograph courtesy Alyse Emdur].

This question of the kinds of images of prisons that are allowed out is quite interesting. In fact, I’m working with a photographer who’s been in prison for almost 30 years in Michigan, on what I think will be my next book. In the 1970s and 80s, he ran the photo lab in Jackson Prison, and he was in charge of developing and printing all the inmates’ photographs. At that time, the rules of photography were very different in prison—there just weren’t as many rules, basically. This guy has hundreds of photographs from all over Jackson State Prison.

It’s just fascinating to see the differences between these very staged and framed visiting room portraits and the reality of the prison as seen through this guy’s eyes—through an insider’s eyes. I think his situation was extremely rare when it happened, but today it’s totally unheard of. The majority of photographs that come out of prisons today are these visiting room portraits. I suppose some prisoners are smuggling cell phones with cameras into prison, but those images aren’t easy to find!

[Images: Sixteen binders' worth of letters and prisoner portraits have been mailed to Emdur over the course of her project; photographs by Venue. Several of Emdur's pen-pals adopted the so-called "prison pose"—a low crouch—while others incorporated props or flexed their muscles].

Geoff Manaugh: Both Nicky and I were amazed by the amount of correspondence you’ve gathered in the process of researching these backdrops—binder after binder organized and shelved in your studio—but I can’t imagine that it’s been easy to edit it all down into a book, or to get releases from all the prisoners, for example. How has that process worked?

Emdur: It’s been really tough. With 2.3 million Americans in prison today, just think how many of these portrait studio photographs there are circulating in family albums and frames all across the country. A big part of me wants to document more and more and more. But, for a book, I figured it was really important to step back a little bit and not go crazy, and instead try to focus and pull out the different genres of backdrops and the different poses and the stories.

In terms of the process of getting releases, that was a huge effort. As you know, I collected the images through contacting prisoners on pen-pal websites. I sent out something like 300 letters and about 150 inmates responded really quickly with photographs of themselves in front of these backdrops.

A lot of prisoners are looking for engagement with the outside world, so it was very easy to collect the images. The challenging thing was getting releases for publication. Tracking down people who’d been released was one thing. For minors, we wanted to get our release approvals from both the incarcerated parents and also from the non-incarcerated parents, and that really was challenging.

[Image: A binder of letters and prisoner portraits mailed to Emdur; photograph by Venue].

But, really, the most difficult thing for me about this project is just how emotionally challenging it is—how draining it is—to correspond with hundreds of people who have a very different reality than I have and live a very different life than I do and who don’t have the privileges that I would normally take for granted.

The relationship between the incarcerated and the free is a very complex relationship, and that’s something that I’m interested in showing in the book, and that I hope comes out in the correspondence.

• • •
For more Venue interviews, focusing on human interactions with the built, natural, and virtual environments, check out the Venue website in full.

Meanwhile, Michael Parker—the artist who showed us around the studio space he shares with Alyse Emdur—has some projects of his own worth checking out, in particular, his work Lineman, which documents, in film, photographs, and interviews, "an electrical lineman class at Los Angeles Trade-Technical College" where adult students learn "how to become power-pole technicians."

Today's archidose #681

Here are some photos of the Landscape Laboratory (2012) in Guimarães, Portugal, by Cannatà & Fernandes Arquitectos, photographed by José Carlos Melo Dias.









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Four Futures for MSG and Penn Station

This morning I attended the Municipal Art Society's Design Challenge for Penn Station presentation at the TimesCenter, in which four architects proposed future scenarios for Madison Square Garden and Penn Station. With their Alliance for a New Penn Station, MAS and RPA are pushing for a major overhaul of the sports and transportation facilities, and this design exercise is one way to drum up interest in the site's potential.

I won't go into any detail on why MSG and Penn Station should change, or why it's getting so much attention now, but I'd recommend Michael Kimmelman's articles on the subject from the Times, one from last February and one from just last week.



Below are some photos I took (pardon the rough quality and odd angle) followed by brief descriptions from the architects, courtesy MAS. They are in the same order as this morning's presentations.

H3 Hardy Collaboration Architecture:

In pursuit of making rail the “mode of choice”, H3 Hardy Collaboration Architecture asserts that several inextricably linked interventions must be made to improve the City’s essential systems and better express its culture: Public Space, Entertainment, and the Environment; Transportation; Education; and Economic Development. A relocation of Madison Square Garden to a 16-acre site on the west side waterfront provides an enhanced venue with a singular new identity and expanded tourist, hospitality, and entertainment opportunities. The New Penn Station, including an eight-track high-speed rail expansion to the south, accommodates increased capacity and integrates community and traveler amenities, including a new three-acre public park, retail complex, and two-acre roof garden. Redevelopment of the Farley Post Office creates a centrally located Center for Education. And, perhaps most importantly, 24 million square feet of private development around Penn Station and up Seventh Avenue serves as an economic engine for improvements and a revived world-class commercial district.

SOM:

SOM proposes to grow the footprint of Penn Station by two additional blocks to accommodate high speed rail lines for the Northeast Corridor, expanded commuter rail service for all of the tri-state area, and direct rail connections to JFK, LGA, and EWR. This last connection would allow one to go straight from the curb of 7th Avenue , through security at Penn, onto a train, and directly to one’s gate. The station itself is open and intuitive. A central, transparent Ticketing Hall is placed at the center of the site, with dedicated vehicular drop-off and radial, pedestrian connections to the city surrounding it. Below this are two concourses running North-South, seamlessly enabling passengers to move from ground level to below grade. Retail lines these circulation spaces, integrating the station into the surrounding streetscape. Finally, at the lowest levels are the expanded platforms, where visitors arriving from an overnight flight from Hong Kong rub elbows with a commuter on her way to Morristown . With all of these networks intersecting at Penn Station, its central hall would become the iconic gateway for nearly every visitor around the world. Around the Station, Midtown West will continue to grow. Private development adjacent to a major transportation node is perfectly sensible – even desirable. That includes MSG, whose natural location would be adjacent to, but not on top of, a transit hub.

Diller Scofidio + Renfro:

Diller Scofidio + Renfro with Josh Sirefman offers Penn Station 3.0, which will be a city within a city, a porous and light-filled civic structure filled with diverse new programs that reflect the hybridity of contemporary urban life. Not just a gateway to New York , the station will be a destination in itself with fast, transit-oriented programs layered with slower destinations in a gradient of decelerating speeds from tracks to roof. The building will host transient and resident populations including commuters, office workers, fabricators, shoppers, foodies, culture seekers and urban explorers. In this plan, MSG will be located to the west end of the Farley building on Ninth Avenue , with access to Eighth Avenue.

SHoP Architects:

SHoP Architects’ plan imagines an expanded main hall of Penn Station as a bright, airy and easily navigable space that defines a center of a new destination district, Gotham Gateway. In addition to striking public architecture, the project proposes significant security and rail capacity improvements that address major needs at the existing station. The team proposes new development, as well as new parks and amenities, around the station to help defray the required public investment, including an extension of the High Line that connects the new station to a glorious and financeable new Madison Square Garden.

Kimmelman and representatives from the four architects in conversation after the presentations:


This is a topic that will be getting plenty of press today and in the coming weeks, leading up to the June 19 City Council meeting that will decide how long MSG's permit for operating above Penn Station will be renewed for; MAS is recommending 10 years. Stay tuned for more on the above designs and on the unfolding story of Penn Station's future.

Update 05.30: Businessweek publishes a statement from Madison Square Garden Co.'s spokesperson Kimberly Kerns:

“It’s curious to see that there are so many ideas on how to tear down a privately owned building that is a thriving New York icon, supports thousands of jobs, and is currently completing a $1 billion transformation. These pie-in-the-sky drawings completely ignore the fact that no viable plans or funding to rebuild Penn Station and relocate MSG actually exist. Not that long ago, MSG spent millions of dollars and three years exploring a move to the Farley building as part of the new vision for Moynihan Station. That plan collapsed for a number of reasons that did not involve MSG, but did involve many of the same people now pressuring MSG to move, including the Municipal Art Society, which created enormous obstacles to achieving the relocation. The restoration of Moynihan Station has been a 20-year discussion that has led to very little progress or funding. The fact that this exercise does not include anyone who actually has detailed knowledge of this issue or understands the realities of this complex project exposes this exercise for exactly what it is.”

Ghost War

[Image: A "ghost" tank; image via PBS].

In his recent book How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, author Dave Tompkins tells the story of how a military voice-scrambling technology (the vocoder) became absorbed by civilian pop culture in the form of artificial, robotized vocal effects.

While still exploring the sound's WWII origins, Tompkins describes "ghost armies" conjured from nothing using sensory technologies as part of a "sonic deception strategy" practiced on the battlefield. "During World War II," he writes, "artifice—the illusion of conflict—was a weapon in itself. There were wooden bombs, fake factories, inflatable tanks, synthetic fogs, electronically generated ghost armies, psychoacoustic ventriloquists, and magicians hired to make the coastline disappear."

Technologists from places like Bell Labs unleashed hi-fi wizardry against the adversary, including misleading sound effects built into torpedoes and "artificial screaming bombs" that, to put this in somewhat Friedrich Kittler-like terms, turned warfare into a kind of lethal, all-encompassing, international discotheque of blinding lights and disembodied shock waves, a carnivalesque over-investment in technology's fatal side-effects, distracting people long enough that they could be destroyed.

[Image: Signal Corps officers look at militarized turntables in Paris; via the Audio Engineering Society, and featured in Tompkins's book].

So it was interesting to see last week that PBS has produced a documentary called Ghost Army:

In the summer of 1944, a handpicked group of G.I.s landed in France with truckloads of inflatable tanks, a massive collection of sound effects records, and more than a few tricks up their sleeves. They staged a traveling road show of deception on the battlefields of Europe, aimed at Hitler’s legions. From Normandy to the Rhine, the 1100 men of the 23rd Headquarters Special Troops—the Ghost Army—conjured up phony convoys, phantom divisions, and make-believe headquarters to fool the enemy about the strength and location of American units. Every move they made was top secret and their story was hushed up for decades after the war’s end.

Amongst their crew were "sonics experts" who "made an early use of multi-leveled mixing to replicate the sounds of a massive military unit on the move."


You can watch the full episode in the embedded video, above.

(Related: Starfish City, Space in the Adaptive Plastic, and many more old posts from the BLDGBLOG archives).

A hidden Venetian garden

My Australian penpal, Neil, has been traveling again, this time to Italy. He sent me photos of this hidden garden in Venice that I just had to share with you!

The Palazzo Soranzo Cappello dates to the late 16th century and now houses the architecture authority for Venice, Belluno, Padua, and Treviso.

The house is beautiful but it's the garden that steals the show.

This classical folly anchors the end of a lush, green garden.

A closeup reveals a brick structure with worn stucco covering to appear as stone.

I love the Italian mindset as to preservation (the Palazzo was recently restored);  Let it look old, it doesn't need to look brand new like in Paris.

Maybe it's the architect in me but I need some sort of architectural anchor to give a garden interest.

Aren't these blooms spectacular?

You would never guess this was in the heart of Venice!

Perfect spot for a picnic.

The gardens are open to the public during office hours.

 Be sure to check it out on your next Venetian getaway!

Broken Silo

If you've ever visited the contact page for architectural photographer Timothy Hursley, you've probably wondered about that warped structure that is represented in four photos at different angles.


[Screenshot of timothyhursley.com]

Some insight comes in the form of "The Beauty of a Broken Silo," a seven-minute film from Oxford American that is definitely worth watching:


(Thanks to Keith Z. for the heads up via Facebook.)

Update 05.31: Timothy Hursley pointed out to me that there are even hats with the "twisted silo" on it!

This and That

I've been busy getting back into the swing of things from my vacation but thought I'd share with you some of my weekend before getting back into normal postings (more Paris and other house tours!). I stopped by my favorite shop in DC, ArtisanLamp (antique lighting fixtures and lamps), where I picked up a number of fixtures for a project. They're soon to be expecting a new shipment of antique fixtures from France as well as the semi-annual sale so be sure to stop by!

The weather couldn't have been better and I spent Sunday visiting local real estate open houses, discovering some hidden neighborhoods that were real gems!

 I loved these antique fixtures flanking the frontdoor of an old stone bungalow.

I pass this house in Georgetown everyday and just love the climbing roses growing over their front railings. This time of year DC is a gardener's paradise with roses exploding throughout the city.

I can't decide if I like it better by day or night! What were you up to this holiday weekend?