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"The city feels clean this time of night. Just empty streets and me, walking home, to clear my head."
The Empty Pavilion is a meditation on Detroit's evacuated urban context and an experiment in the ability of architecture to make visible a latent public in the city. The project aspires to create an architecture that is physically and semantically empty, while solicitous of public interaction and imaginative projection. The creators of the Empty Pavilion have no specific use or meaning in mind – hoping instead that the project will invite unplanned occupancies and creative associations. This project was funded by a Taubman College of Architecture and Urban Planning Research Though Making grant.
Work by: Assistant Professor McLain Clutter, Oberdick Fellow Kyle Reynolds, and graduate students Ariel Poliner, Mike Sanderson and Nate Van Wylen
Photo by Sasha Topolnytska
The empty ore train I was originally looking for comes around Bear Trap Curve on a beautiful September afternoon.
That´s how empty the land is here on Fuerte Ventura. The whole island is just one big desert. I have no idea why my parents picked this place out of all possible places.
My mom dried clothes outside on the line during all seasons. She loved the smell of outside dried clothes and avoiding using the dryer. I remember bring in frozen jeans and sitting them near the fireplace to thaw and dry. Part of our family gathered today for our first Easter since mom died. We had a bushel of crabs... home made macaroni and cheese and brownies (taste great after crabs and beer!) As I walked the dogs around the yard I was drawn to the empty clothesline and my mom.
The Empty Pavilion is a meditation on Detroit's evacuated urban context and an experiment in the ability of architecture to make visible a latent public in the city. The project aspires to create an architecture that is physically and semantically empty, while solicitous of public interaction and imaginative projection. The creators of the Empty Pavilion have no specific use or meaning in mind – hoping instead that the project will invite unplanned occupancies and creative associations. This project was funded by a Taubman College of Architecture and Urban Planning Research Though Making grant.
Work by: Assistant Professor McLain Clutter, Oberdick Fellow Kyle Reynolds, and graduate students Ariel Poliner, Mike Sanderson and Nate Van Wylen
Photo by Sasha Topolnytska
The exterior of the Earl-Bishop’s Rotunda was virtually finished when he died in 1803, but the interior was still an empty shell, and the curving corridors and wings only a few feet above ground. It was left to the Earl-Bishop’s son, the future 1st Marquess of Bristol, to make what use he could of his father’s extraordinary plan. Having no need for massive galleries, in 1821 he instructed his architect, John Field, to redesign the East Wing as family living-quarters.
Field fitted out the ground floor of the Rotunda as state rooms in an austere Regency style. The West Wing was added purely for symmetry and so was left empty. The Trust is pleased to announce the go-ahead of a package for a project to develop the West Wing to provide new facilities for visitor reception, information, education, shop, restaurant, functions, conferences and events.
As the family lived mostly in the East Wing, the rooms that visitors see in the Rotunda spent much of the year under dust sheets, coming into their own mainly for parties and other special occasions. But as a result, their superb furnishings and decoration have survived in excellent condition and little changed since the heyday of the house in the Edwardian era.
The house, with much of its collections of family portraits, Huguenot silver, Regency furniture and china, and part of the ancient deer-park, passed to the National Trust in 1956.
The East Wing has been transformed into a four star hotel by the hotel company Luxury Family Hotels who lease the East Wing. Until 1997 the East Wing was home to the late 7th Marquis of Bristol who had leased the property from the National Trust.
The hotel has 35 luxury rooms - 11 in the Dower House a separate property situated on the north-west of the estate (opened in autumn 2002) - the hotel complex has three restaurants, a 50ft indoor pool, horse riding facilities and a tennis court.
Ickworth’s 18th-century parkland and gardens include some of the most stunning countryside to be found in East Anglia.
The Park
The extensive 1,800 acres of wooded parkland, created in part by 'Capability' Brown, is a living landscape rich in plant, animal, and bird life. Some parts cultivated and grazed yet much can be explored and enjoyed. Some waymarked field margins may also be walked. Access has been made possible through funding by the Forestry Commission’s Countryside Access scheme.
The Gardens
The gardens surrounding the house were created in the first half of the 19th century by the First Marquess of Bristol. Those in the formal Italian style to the south of the house feature the Gold and Silver Gardens, a Victorian Stumpery and the Temple Rose Garden. A raised terrace walk separates the south garden from the park.
Beyond the church are the remnants of an 18th-century garden created by the First Earl. His summerhouse (circa.1703) and ornamental canal still survive. The kitchen garden, protected by high brick walls, is now a vineyard producing Ickworth wines (available in the National Trust shop).
The Empty Skies monument, to the 746 New Jersey residents who were killed in the September 11, 2001 attacks. New Jersey was the home of 1/4 of the people killed - only New York had more. Each monument is 208 feet and 10 inches long - the same length as a side of the trade towers. They are about 30 feet high, and as you walk between the two of them, you see the trade center site directly ahead.
Taken at Liberty State Park, Jersey City, New Jersey, across the Hudson River. Hazy, foggy, drizzly conditions tonight, with low cloud cover. Ten year anniversary. It doesn't feel like 10 years.
Normally bustling with art lovers, the pandemic has left NYC's Metropolitan Museum of Art eerily empty
Ink, biro and collaged papers on paper;
A5 (21 x 15 cm).
For this project I was considering four words "Time, Identity, Place, Body" and the project was titled "Word, Image, Sequence". This already gave me a huge range of ideas and I needed to begin filtering them out. One idea that really stood out to me was memory and traces; the things people leave behind and take with them. You can see from this piece and the others that go with it, that I was fascinated by absence, presence and this idea of objects and how they tell a story of their own. There is a significant lack of human presence and an emptiness, and this recurring image of the chair I am using reflects all these ideas successfully.
Here I experimented with my background - I loved this bleak, dark void that the chair seemed to be floating on, but layered some bits of tissue paper and masking tape to create a kind of plane or a platform for it to sit within - almost like a jagged aura. It had an interesting effect, but somehow I felt that a flatter background had a stronger effect and felt more empty - which is exactly what I was after.
An empty bottle after poker night.
I cheated a bit on the Project365 thing with this one. I say it's from the 24th but it was actually taken shortly after 1am... Whatever, it still counts.
I found this while we were cleaning out the storage shed. As soon as I saw it, I knew I wanted to photograph it. My husband is convinced I've lost my mind. He's probably right!
By the way, this is the first image I post from my new Canon 7D - a gift from my husband about a week ago. When I asked him why he bought me the camera he said, "Because you work hard. You sacrifice a lot. And you don't ask for much." Wow. I was speechless.