LTRanch Summer Session 2014
2009 AnnA pArfirenKo Yi- Lui chuAn wAng Yuting
w/ Ken wiLder
2011 Ami chAngdA dAYeA georginA hYunsuK Lewis sofiA spYros sYLviA
KAnKi wu pArK wALKer pArK bArton AnAstAsiou AnAstAsiou Yebing YuAn
w/ rob nice
2012 chris humphreY enzo guidA Kenun hYe Lee John wo min KAng mAmo JueLin he mArcus boYLe mAx thomson m o JA nedA KAhooKer pAtricK Yi-wei chen pAresh pArmAr recY shAo sAm Lo ming shum
w/ emmA hunter stAsYs sKLiAustis
2013 AbduLbAri JAcqueLine JiALing mengJie mireLLA sAng KYong wAn-Yun xin YA YAng
Kutbi hu Li Liu dourAmpei Jeong tsAi wAn gAo bAi
w/ JAnice shALes Jiri hAnzLiK stAsYs sKLiAustis
2014 Bingyu Bo Fang Lijiao Lin nan Shandri Sue XuoFung yun na yvonne
hu Lu yuan wen wu yao van rooyen ahmed Zhou Liu onah
w/ Ken wiLder jiri hanZLiK jeFFrey adjei StaSyS SKLiauStiS
This is our 5th year of the LT Ranch Summer Sessions. And what a session it was too. Projects roamed further into the hinterland of the Ranch site than ever before, extending previous projects, accumalating and dispersing new interventions, locating spaces to inhabit, testing light, shadow and smoke, animating telephone poles, felled trees, and making more trees- with ready-made nests, nests for insects and ordering the unorderable, in infinite ways. More objects were found in the barn 2 b, aside from materials in the bunker, re-assemblaged and archived.
The weather was good to excellent, the mosquitoes somewhat behaved, though not for all. Meals were looked forward to more than ever before, testing recipes and number of courses. Delicious always and followed by song and melodies in the evening. We projected works in progress in the temporary outdoor cinema for the f i r s t t i m e t h i s y e a r, s e e i n g p r o j e c t s e v o l v e i n t h e e v e n i n g s c o n v e r g i n g f r o m dispersed sites around the Ranch, screening newly produced short films.
memory trace Lin Wu
this footpath which abstracts the lines and age circles in the tree provides a space for passerby to have an opportunity to observe the natural traces. Also, the pieces initially of cut wood have somehow a poetic connection to one another. the intensive and gradual lines and knots of the tree are similar to wrinkles on human face, which present the age and experience silently.
walking to the sauna Nan Yao
the fabric canvases that run along a little Lithuania hill is inluenced by American land artists christo and Jeanneclaude. the material i am using is white second-hand curtains from local shop. brocades, heavy, windblown and misted over.
in depth observation Lijiao Wen
i forensically explored the hidden beauty in a humble door, supported by photographs and drawings. my work has become a study into the beautiful marks which exist in this ruined object. how we see them, how we treat to them, what we can learn from them. the aim of this study is to discover these invisible changes and think about how to preserve these historical and memorial traces with the building in a new visual effect and let them to accommodate the modern city. how might this forensic observation inform now strategies into this existing condition?
HOUSE IN THE WETLAND Hu Bingyu
I came across a hidden path while walking in the woods. Was quite grown over yet I could see where feet once used to go. since no others seemed to walk this way much fauna could be found. My senses now are dancing as I walk upon wild herbs. The lowers now I see are bold and insects buzz about them. Now butterlies lit all around they tickle as they pass me. A toad I spy just off to the side sitting there in deep thought. Unfazed is he by my intrusion as I carefully pass him by. peotry written by M. eileen O’dea
Jeffrey Adjei & Jiri Hanzlik
stonehenge
Jeffrey asked me to write a short text on stonehenge (the one at the ranch, lT). I think we christened it in 2006, around the time we dis-mantled the front entrance to the house, whose foundations were the irst stones Stasys nimbly moved with his tractor to this present place. We were cooking outside from the start of the Ranch, but the ireplace was closer to the house, then slowly migrating towards the apple tree, probably because of this new stone arrangement.
In 2009, the students, Ken and I worked on this site, stretching furnture into the landcsape crafting the ‘drunken’ table which we have used ever since: eating, discussing, doodling. In 2012, students from Canterbury school of Architecture made new covered benches. By this year, the 2009 version had truly decayed and was sadly removed, and the 2012 furniture seemed to wilt under the enthusiasm of this year’s ire activities.
Jeffrey & Jiri took on the task to re-adapt this furniture, reminded by Ken that the view and sunset was best looking away from the house, re-making and restrengthening only the south bench. It lay in this dis-membered state until the last evening of our Barn 2 B project in late August.
repairing stonehenge
barn 2b phase 2
before...
after....
I see you lying Looking for a home i am willing to build one for you shorten the distance between you and me
We are both animals We are equal to live in the world you are fortunate Because you are free to live in the nature I locked my body in the city but I am not a prisoner My soul is still free I hope you can obtain the happiness
-------to Mr Dirty
shAKe A leG
+ shake a leg + deck chair + Xufang Zhou
My work is to reinvent the use of waste materials, make it have a new functionality. The irst work is “shake a leg”, It is constituted by an old-fashioned lawnmower, a holder of baby carriage and a seat of children’s bicycle . I hope when people use it, they can enjoy to play with it like children and experience unusual and unexpected body movements. The second one is a comfortable deck chair. It is made by two wheels of bike and a former deck chair’s metal structure. I used the way of knit to connect all materials. By this work, I hope people can think how to reuse the waste.
DeCK ChAIr
SHADOW SpAcE Bo Liu
Louis Kahn has been known to say that to design space is to design light and each space must be deined by its structure and the character of its natural light. light determines our perception of architecture. light is never static, always on the move, constantly and elusively shifting throughout the hour, day and year. These changing qualities of natural light deine visual appearance and atmosphere over time. space is not only to be segmented by a wall or furniture, but also can be broken up by natural ways light radiates. “Reading� the shadows, their depth and length inform us of the time of day and the climatic conditionstheir direction helps to orientate us in space. light and shadow is another spatial system which can be used to reconstruct the space and change the environment atmosphere.
this project is about shadow which changes with natural light and using the found wood to inish all the structures and surfaces. during different times of a day, varying spaces are established by two walls expressing different environment. Lying on the chair, the shadow will wash over the body, the screens, provide a place for silence.
shadow timelapse
the BREAKING DAWN
Suzanne Ahmed
re-assemblage bunker
My practice translated in this environ with materials treated a` la `arte povera’; the found objects meant the making of teepees from old sacks; sweetened with honey for insects, and the clearing and re-assemblage of the bunker; metals, bricks, the made with care; in connection with “site” and “its energy” and “the natural inhabitants and their mystery”. This everyday place and its “moments” become the experience of being; in the here and now, wherever it is; as close as we get to it, and it ‘touches us’; that is “encantador(a)”.
Insects and shelters
the WALL OF pARTS Yun Na Liu
this project extends my research practice and practice of 'the wall' in the London bridge station. catalogueing and collage are my main research directions. in this forest i found a wall of a wooden house and i liked this wall very much. i collected discarded spare parts in the vicinity of this site like screws, hooks and latches and i used them as the subject matter for my project. i conducted systematic catalogueing research by drawing each found object and fixed, draped, hung and pegged these parts collaging relationshops between these spare parts.
CATAlOGUe
I discover that the shapes and colours of these discarded spare parts in the vicinity of this site are full of material information and future use. I can imagine their functions and usage according to their shapes and colours. The catalogue composed by arranging various parts helped me to clearly clarify and experiment various possibilities and characteristics of each part as an ongoing process over the course of the week.
coLLAge
through the research activity of collage, i attempt to show that by combining these many small articles with different shape and material, it can present a kind of beauty that is rich in rhythm and harmonic associative perception and the fantastical space atmosphere of contrast with reality. i can transform simple articles available in life into my own collage work. my intention of using readymade to become artwork is to let people to feel that there is a kind of aesthetic question that people are compelled to think about. i hope this will get people to reflect the question on why it been done? what it been done? in addition, i have also considered through making reference to activity of people in this space to design some attached functional set up like when people walk pass this wall they can sit down and rest so that this wall can become a useful and friendly engaging installation and stop and this is a complex over burden series of images.
during a walking tour of the ranch, it was revealed that several years ago nine willow trees had fallen, to create an almost surreal horizontal forest. As the roots of these trees grow outwards, a wall of earth was able to lift out of the ground with the roots, allowing these trees to partially stay alive. despite the natural beauty of this scene, it would be impossible to experience its
The FALLEN FOREST Yvonne onAh
atmosphere physically without getting inside. the aim of this project was to create a maze-like journey within this forest to allow inhabitants to experience the space from the inside by only subtly removing enough to pass through and retain the majority of the structure that was formed when the trees irst fell.
the hovering bed shandri van rooyen
Using the natural setting the piece sits in, is the inspiration. The focus was to capture the landscape and particularly the small pond the bed sits on. Following a natural line of boulders that leads to the main tree canopy, the daybed folds down from the slope over the water’s edge. This gives the user the illusion of loating just above the water surface, while the purple thread continues the horizon of meadow lowers that populate the area. This is the beauty of the ‘hovering bed’.
Thank you to the support, resilience and tireless humour of jiri hanzlik & jeffrey adjei (ucA csA canterbury), the watchful overseeing of stasys skliaustis, that we always had a supply of water, extra tools, materials and an extra hand. to ken wilder, course leader mA isd, uAL chelsea college of art & design (who participated in the very first summer session in 2009), oliver froome-lewis, course leader, bA Arch, ucA canterbury school of architecture, for his most wonderful digital projector loan enabling our evening film and pecha kucha moments. kristina kotov Ken's ilm of project work with a wind assisted rig can be seen here: http://youtu.be/shtJdhjxL3e
dir. Lt ranch space
http://ltranchspace.blogspot.co.uk/ https://www.facebook.com/theRanchLithuaniaLT Š Lt Ranch and 2014 pariticpants.