ANTI-COMPOSITION IS A COLLECTION OF NOTES AND STREAMS ON THE RADICAL DISCONNECTION AND NECESSARY DISTANCE NEW ARCHITECTURE MUST RETAIN FROM ANY CLOSE DISCIPLINARY BEHAVIOR. IT IS COMPRISED OF TEENAGE CYBER-PUNK EMO POETRY, SEEMINGLY RANDOM TEXTS ACTING AS PROXIES FOR RELEVANT TYPOLOGIES, AND A REPRISE OF BBM (THE BLACK BOOK OF MODERNISM) — A FAILED ATTEMPT AT CONDEMNING PRESENT-DAY EASE OF ACCESS AND FAKE AMPLITUDES. THIS IS LESS A CULTURAL REFORM THAN IT IS A PERSONAL DIARY. NO NOTES FOR NO READER. THERE IS NO DEEPER PLEASURE THAN PUBLISHING BAD WORK, LOSS-RIDDEN FILES, AND NO-CV WRITERS. ARMATURE GLOBALE IS AN ARCHITECTURE STUDIO, FOR REAL.
WE ARE SIMPLY INTERESTED IN DIVERGENCE AND SOLVING IT ALL.
C-Span
The neutral streaming of random leftovers, details and non-relevant design features.
Woke up_straight from the bed. No morning coffee, just mono-obsessing over Michaël Borremans. Figurative.Corp_a corporation stemming from a general anti-public drift, the appreciation of beautiful, dark, and twisted content, precisely executed, no questions asked. The morbid features of paintings are a plus no one is looking at, and Borremans works with an abundance of self-compelled restraints, a darker, somewhat universal engineering of pictorial matter that has audiences collapsing in awe and praise. Really, it is pure love, nothing else matters. Everything is otherworldly beautiful, and he is a killer at it.
The studio is now, after multiple career-suicide attempts, professional debacles, and phoenix-rising modes, sort of safe again. A ghost of any dream I had_new commission are now seen as potential danger_the professionalization of our formal battles has hit hard, and apparently the flat we occupy has been filled and fueled by international creatives, we cad\cad as a sub for small talk, all of them superbly educated, all of them inherently punk, all of them eager to touch base on poetry writing, that makes me happy.
NO Generation
Borremans first exhibition was set in a car garage, as my fav_way of understanding art is via tube videos: a 31 min. video by user Patrick Beale shows paintings perfectly displayed on the seal-joints of vertical concrete panels garage are made by and on executive (no other word can justify their precision) scraped_away areas, making the case for a pitch-perfect presentation, it was 1996 and it was striking. The gallery, I am lost finding the name, integrates only two operational systems, a general commodification of architectural degradation and the necessary itemization of post-workforce, a car and family usage habits of the covered parking area as an alternative for a domestic garden.
Willem de Kooning
Being instrumental in major systemic changes involving post-expressionism. Being public about it.
Figurative painting is now incorporated. That is what I’m constantly telling people around me. There seems to be a silent war among canons, as silenced as any other process invested in most of the inner workings of the formal. Everything must be good, nothing can go unnoticed, any format of hybridization or depth, tapping into knowledge folders, diverging from formats of general interest, must be clinically treated until reaching minimal kindness. “General grace” seems to be a mandatory aim, setting objectives and results; no one will be interested in anything else. It is painful — intellectually, mentally, and visually. Figurative painting is Post-Drone. The work of artists, at any given exhibition, must be looked at as a localized itemization of this endemic morphing. Each exhibition is a proof of conduct for a concurrent analysis of canons. Obsessing over precedents is an act of trust and self-annihilation that can publicly lead to perceived bad art, yet frees the work as a unit of trust: trust in the subject, trust in the viewer’s capacity to understand, and faith in undermining contemporary formats of authorship, grace, and standardized market environments. It never pays, like proper crime does. François Bonvin was a genre painter born in 1817, mainly a realist, technically trained at the École des Arts Décoratifs. He reached modest fame attending two salons in 1848 and 1850. Genre painting was a format of exchange and a platform for the economic viability of highly trained technical painters. Genre and Grand Genre and their crisis were part of a complex system of commissions and intentions that merged into seismic changes in the institutionalization of French painting. Hundreds of artists chose hundreds of subjects, their only differential represented by technique: a charming word violently separating success from portraiture. Figurative painting is HST (i.e. high-speed trading). Genre work outside of the fine arts, an industry word labeling lower-level products that achieve easy wide-spread status, addressed at audiences that do not mesh with a canonical spectrum of taste. It might be horror, exploitative or simply peculiar. It resonates with diverse obsessions. Genre work is one of the most intimate products any industry achieves without a proper understanding of subjectivity. It is second guessing. It is personal. Figurative formal features establish a nonlinear link between user-made content (whatever is achieved via personal imaging), watered-down journalistic presence (actualization), and truthful effort. An expanded vantage point diverging from news-worthy content, a sort of anamorphism of amateur tropes into an expendable lexicon, exquisitely executed. A new natural adaptation of editorial content, mostly one large commercial institution that acts as a receptor and provider for everything that seems just emotional and in proximity.
Petit Genre
The pictorial representation of domestic instability, kept together by interiors. A necessary abolishment of detailing, structural enjoyment and any formal expressive requirement.
One Dark\Lastra
Maillart developed the slab as a single autonomous element, genetically priming modernism. One Dark Eye is one side project of American Harsh Noise artist Macronympha.
D.Burton
R.Turner
Kew Garden
A series of names for a generic distrust with design process and the personnel involved. Injected gothic beauty and glass partitions. Sky is the limit.
M.H. Baillie Scott
Being assertive without Subjectivity. Being part of a loose gang with no standing.
Ernst Barlach
Mass and Vortex, graphically constructed representations of death.
JJP OUD
Adaptation over Sameness. No gains.
WOLS_pack
Gestural Happiness. A group of practitioners tied together by optimization.
Our work operates via a systematization of emergent crushing modes of formal programming, patterns, and behavior forgotten in continental European architecture. A corporate and static continuum that is aimed at nothing other than offer and stasis and optimization of venue stabilization, that is, disciplinary commentary. I am generally obsessed by plain art, mostly infused by modernism, the performance of mass rather than its development.
Another video I mono-over it is Richard Prince First House, he looks cool, and he has no intention of being bullied by any space. He needs separation and new meanings, he wants visual material as stuff, empty rooms as differential. He is the US at its best. The work is intensely in-sync with the year it was shot 1996 and the realization that architectural features are an easy-way out for something overly figurative and suburban tectonics a proxy for diminished composition, it is an alias for everyone. There is no place, only approach. Personal property and services. Sonic youth and no means. Built in carpet feature as Live-in attendants for cooler surfaces.
Templeton College was a constituent college designed and built by Ahrends Burton & Koralek, a young firm, doomed like many by an infamous competition held for the National Gallery extension. The college secured their services until 1996 with a constant modification and restructuring of its outline and service. British Architecture is mostly concrete education and carpet cam. A set of modular wall systems, functionally alternating air, light, and matte partitions over a seemingly independent and arrangeable structure, with absurd-looking prismatic inserts completely wasting its serial facade array.
Hengeyokai_Q
Large portions of building quarters, generally owned by a large corporation or an institution with large numbers of board-members that constantly shape-shift into structural re-configurations, decor updates, extensions that nulls footprint.
It is a sub-building. There is no dominant factor in its performance. It contains no novelty. It’s contingent and totally partial to a wave. It is nonexistent. The most an architectural studio can do is factor in their ability to solve a problem and be reliable, accompanying clients on a vertiginous tour of numb highways. A problem is solved through servicing, be it the material a studio is generally making by default, or by hours, or the byproduct this process creates. Servicing has nothing to do with formal Haribos, the enumeration of peak carbs and eye-pleasing ingredients. Models are irrelevant. They are show factors. Servicing involves not caring about anything but sorting out things.
Festen X
Major domestic dramas unravelling and narratively developing over multi-program buildings, to add the x, the general construct of the structure must include creative services, condos, financial intelligence floors, a cafe and a dinner conceived with the help of small to domestic catering services.
It isn’t active. It’s criminally familiar and child-like scary. No arts and crafts; it’s family dinner trauma, much like Festen (The Celebration, 1998) the over-the-top Dogme 95 reel chronicling the deployment of a family’s inner secrets within a useless villa and the surrounding landscape with a DVCAM. Servicing is petit genre; it involves obeying a supposed mastery and supposed canons of behavior. Servicing as performed by modern-day practices propels architecture in a palette selection of compositional partners, all ready for use, dining experiences and built presence. Servicing is selective non-authorship, something that makes executive absolution the driving creative force. Only extremes. Matter is that which is aligned in dosser-format with the most readable words. We’ve been sustaining some form of design purgatory lately, infused by professional errors and a strictly mandatory penitence of servicing that almost led to the closing of the studio. This has resulted in the production of some of the worst work we could do over a period of six months, a generic phase everybody is accustomed to. As is custom in the studio, nothing will completely kill us, and after intense periods of self-harm we’ve decided that nothing could be performed as usual; a new format of delivery had to be created. Anti-servicing, which means the most default delivery of data and the most extreme form of building complexity, leaving the client in a perpetual crisis, deciding whether or not risk their capital on advanced geometry and WTF solutions.
ADR Deathcomms
Working on large files while listening to looped short sound section therefore reaching a zone similar to -or just plainly behaviorally copying – coders. No major novelty, no real creativity involved.
No beauty, no norm, no genre. Full-bleed nonlinearity and no confidence in disciplinary mimicking. Our level of anger has reached the point of delivering SD cards with the lowest possible quality of model depictions, loads of them, degrading our productions to match a selective audience, no audience at all yet the most precise. In architecture everything is generally always solved; there is no real fuss around it. The main issue is to provoke something that can install a process of evolution, a trigger that must bypass all generic statements about the profession. It’s matching profiles with typologies and the necessary resolution that what services all isn’t something that produces anything; it’s a default and it does impact any vertex of our built environment. Prototypes are developed with broadened amplification of scandal-like features, bipartisan to historical kinks and economical exploitation.
Cognitive EXR
Fully exiting cognitarian duties out of burn out or sheer boredom. Generally applying yourself to athletic efforts and activities donned w. good estetical grounds.
Everything we do is generally doomed to stand within low-to-mid-budget horror moviemaking, that is, studios still matter. Design is carried out with realistic attempts at avoiding any detailing, as no support structure will fully perform when custom built. It’s as documentarian and raw as allowed by PG-13 guidelines. Compositional features are bound to fade away. I am interested in BAD WORKS as an antidote to a more-or-less articulated social organization with a central purpose, continuous indoctrination, a graded system of discipline and punishment, acknowledged machineries for legitimation and controlled communications. That is the way Cynthia A. White and H. C. White described the institutional system that governed French art after the suppression of the Royal Academy in 1972. A book that has an insanely nice cover and that was given to me by Niels after a random visit. The book was Canvas and Careers.
BBM
Charles Teyssou
Pierre Alexandre-Mateos
NBX3S
The black book of modernism
While modernism in architecture, art, and technology is often associated with progress and evolution, innovation, and optimism, there are indeed darker aspects to this movement, or so it might be said sterile environments, social displacement, rapid urbanization and accompanied uprooting of communities, social standards, perceived peace. Authority and independence via lack of ornament (sick) and intimidation as an intellectual agenda, the kindest format of suit & tie, energy intensive ADV on solutions and sexual anonymity as fostered faith.
Fallout individualism is a perceived milieu of its historicization, predatory communalism an occupation strategy for gargoyles, a significant other rather than shared advancement. Fractured efficiency protocols for critical purposes. Heedless optimism led us to BBM or the Black Book of Modernism a fairytale on its never-ending continuation, a combative process that only gets paused and camouflaged rather than stopped: aerodynamic supermax prison, American architecture is the incorporation of gargoyles on buildings, Albert Khan as a Proustian international spy, Ezra Pound as an Xray-remake of Guantanamo found footage in a new digitally re-mastered Micheal Winterbottom sequel. Code46 as a generic conglomerate of it all, merging Art&Crafts with High-Stake Televised Poker Tournament, a vile atmospheric lounge music for a crumbling contemporaneity, a marvel of efficiency and capital-sanctioned violence(lol), Ernst Ludwig Kirchner, an Husqwarna 350, riding finals at the Super-Enduro world championship at the Madison Square Garden, Henry Moore on steroids and low-carb diet.
BBM was started by Charles&Pierre as a continuation of mutual twisted interest, I love them as they are the so complex and so pure, we printed random a4s and that was it. A couple of months ago I got I would say esthetically stalked by an internet page, met him occasionally and asked him to continue the project.
