Top: Interior of the International Space Station Above: Interior View of the Orbital Workshop
the environment . The one exception is the gondola module, with its symmetric arrangement of windows out into space, though even there the persistent Velcro patches and random bits of equipment break up the smoothness of the space .
Above & Following Spreads: Photographs of Personal Space exhibition at the Keller Gallery.
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Top: Tank farm demolition. Above: New park. Opposite: Salt ops.
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HOW TO PERFORM A PHOTOGRAPH BY MARTHA BUSKIRK
Visitors encountering the Space-Time exhibition at MIT’s Keller Gallery could be forgiven for thinking that they knew what they were looking at. An enlarged photograph of an apple pierced by a bullet presented viewers with one of a number of stop-motion scenarios made famous by Harold Edgerton, in the context of the institution where most of his experiments with stroboscopic photography took place. But this version of the iconic photo, dated to 2014 and attributed to Jorge Otero-Pailos, was not simply a reproduction of Edgerton’s 1964 original; rather, it was a completely new undertaking, painstakingly remade using the same process and equipment, and its display in conjunction with a smaller-scale print of Edgerton’s 1964 Bullet Piercing an Apple, video documentation of Otero-Pailos’s process, and a copy of Sigfried Giedion’s Space, Time and Architecture invited further inquiry. Otero-Pailos recounts a number of intersecting motivations in his desire to engage with Edgerton’s famous image. One is his long-standing involvement with architectural preservation, where time is always a central concern. Graduate work in MIT’s Department of Architecture meant that he was familiar with Edgerton’s work as well as alert to its appearance in the context of Giedion’s classic architectural study. In Space, Time and Architecture, Giedion reproduced Edgerton’s time-lapse image of a golf swing immediately following a photomontage of Rockefeller Center, using both to support his analysis of an architectural environment organized not in relation to a single ideal vantage point, but rather as a series of views, unfolding in both time and space, that the mind has assimilate in a manner analogous to the ability to comprehend a movement made up of the successive positions recorded by Edgerton.1 The type of black-and-white photograph illustrated by Giedion was characteristic of Edgerton’s stroboscopic images from the 1930s,
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Opposite: Edgerton's Springfield rifle on its stand, ready to fire. The apple and blue backdrop were placed inside a plastic cube to protect the surrounding historic equipment from flying apple sauce. (Photo by Deborah Douglas). 1. Sigfried Giedion, Space, Time and Architecture: The Growth of a New Tradition (Cambridge: Harvard University Press, 1941). In the first (1941) edition of the text, which was designed by Herbert Bayer, Edgerton’s photograph of a tennis swing appears on page 370, in conjunction with a discussion of images of speed in the context of Futurism, and the Rockefeller Center photomontage (created by Giedion himself) is reproduced on page 576, followed by Edgerton’s time-lapse photograph of a golf stroke on page 578.
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TOOLS FROM THE VENDING MACHINE
Rhino: The tool of choice for most young architects we know. While the “ortho” button is always tempting, we find ourselves sketching and wasting time doodling more than anything else. Suprisingly though, the wasted time almost always informs how we end up approaching something later, including the drawings in our book. It is an excellent way to productively waste time.
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