El tema central de este Blog es LA FILOSOFÍA DE LA CABAÑA y/o EL REGRESO A LA NATURALEZA o sobre la construcción de un "paradiso perduto" y encontrar un lugar en él. La experiencia de la quietud silenciosa en la contemplación y la conexión entre el corazón y la tierra. La cabaña como objeto y método de pensamiento. Una cabaña para aprender a vivir de nuevo, y como ejemplo de que otras maneras de vivir son posibles sobre la tierra.

martes, 25 de septiembre de 2012

Dale Mulfinger, arquitecto de cabañas

Dale Mulfinger was born and raised on a dairy farm in Minnesota, and the rural landscape and vernacular architecture have informed his many designs. After graduating from the University of Minnesota, he worked nationally and internationally before becoming a Founding Partner in 1983 of what is now SALA Architects, Inc. He has taught architectural studios at the University of Minnesota and other schools since 1976. He is a fellow of the American Institute of Architecture and author of four books including The Architecture of Edwin Lundie and The Cabin. He, along with wife and chef Jan Mulfinger, have lived in the Linden Hills neighborhood of Minneapolis for 40 years, raising two daughters.


What Matters Most Dale Mulfinger lives in cabin world. Amidst the lakes and forests of Minnesota and Wisconsin, he intimately knows about cabin life through owning his personal cabin and also by designing cabins for others.
“People generally pick a location [for their cabin] based on something they want to do there. They may be trout fishermen, or they may be cross country skiers, or sailing people. They’ll have some type of activity that draws them toward a particular location. And once they’re drawn there, they’ll pick a very particular piece of land that has hills or trees associated with it…and, the specifics of that piece of land will really shape what the possibilities of the cabin can be.”
Mulfinger elaborates further, “We tend to go to remote cabin sites to enjoy an intimate friendship that we don’t often experience in our daily lives.” Living the cabin life is an opportunity to enjoy each other’s camaraderie in a pristine location. Cabins should be open-ended places that are easy to use and built for playful, relaxing comfort.
Dale reminds us that we’re not going to our local furniture store to furnish our cabin. “I tend to call the style of this type of furniture ‘early attic.’ It’s those things that possibly went up into your attic for awhile or grandma’s attic for awhile, and then they were pulled out to go into the cabin.”
Cabins also become a place where you can “…recycle those windows and doors, kitchens cabinets and other things that are no longer beneficial to you in your place in the city but certainly can be used at your cabin.” If you remodel your primary residence, then you can reuse products and materials at your cabin; it’s another way to practice green living.
“We all live a little bit differently. We all have different sets of furniture and things we bring to the cabin. We all have different needs in terms of how big a cabin should be and in terms of serving the people that we’re going to bring there with us. So, all of that leads to a very personal interpretation of what size, shape and 
form a cabin is going to be right for you.”
Cabins give us a chance to get away from our normal routines. We enjoy activities in the cabin that we don’t normally do in our primary residence. Mulfinger continues, “I think it’s fun to step forward and do things that are a little unique, things that are possibly done only when you’re at your cabin. Whether you’re cleaning fish or canning fruit or whatever you may be doing, it’s fun to do it at the cabin in a special way and make it something that others can participate in.”

No Single Best Way
From traditional to modern, cabins embrace a range of architectural styles. “There are huge possibilities as to what we can build a cabin with today. There are old systems that have been resurrected, such as loga and timber frame construction that are available to us. There are also normative systems, which is building out of studs and rafters. Or, you can build it out of SIP panels–structural insulated panels.” Your personal taste, the local architecture and the knowledge of the local contractors will largely determine the method and style of construction.
There’s also an opportunity to hybrid a design combining elements of both traditional and modern styles. There’s no single best way to build. “What we have in our cabin in definitely a hybrid. I think people would refer to it as a stick-built cabin but we expose a lot of the timbers in it so you get a bit of the timber look. They [the timbers] are doing real work. They’re not superflous. They’re not just decoration. They’re actually performing real structural tasks. Some of the vertical columns are tree trunks so they add a whimsy and fun atmosphere to the place.”
Mulfinger also points out that the work of building a cabin doesn’t need to be accomplished in one summer. Construction can be extended over several years. “I think it’s a pretty common pattern, particularly for people who do it themselves that they build enough to make it habitable to begin with and then they gradually add to it. Or, they might build the whole shell then gradually embellish the interior over time. There are many possibilities for how you can invest over time at your cabin.”
It seems that most hideaways capture their unique appeal by assigning a cabin a distinctive name. “Often times, you’ll give your cabin a name. Or, if it’s your name, a family name that you’re going to put on it, you might extend that name to mean something. So, it might be ‘Smith Haven’ or if your name might be Wood then it would be ‘Raven Wood.’ There might be some adaptation from your name to the name of this place that you think of going to for respite and retreat.”
Dale continues, “Naming not just your place is important but you might name rooms within your cabin. In our case, our cabin has two bedrooms, one is called ‘The Maple Syrup Room’ and the other one is called ‘The Eagle’s Nest.’ ”

Building a Legacy
Cabins are also multi-generational and multi-family. “The cabin I own currently, I share with another couple, not a relative just friends, and that has to do with the fact that our cabin is four hours from our home, and we’re not going to use it that much. Therefore, it’s always beneficial to share those dollars with someone else and make sure that others have the opportunity to use it.
“Many cabins have been handed down so that a son and a daughter of an original owner now share that cabin and the grandchildren. Sometimes that can be a problem out into the future as generations are no longer very close to one another. They have a little thinking to put forth regarding how to see the future of the legacy of their cabin.
“I think a lot of having a cabin has to do with making sure it’s a place that really reflects the things that are important to you. So, the cabin is a place where the art you hang on the wall often has a lot of meaning and it isn’t the kind of high art that you might think of hanging on the wall of your home in the city. Somehow, in your home in the city, you often use art to create a sense of stature about yourself that demonstrates your learned knowledge of the art world.
“When you get to the cabin, something that Aunt Helen–some macarame she created–or Uncle Bob’s big fish that he caught, are all fair game to have up on your cabin wall. So, I think the kind of art we have in a cabin is very different. Each of those pieces of art tends to tell a story that is important to us, a story we want told in our cabin.”

The CabinThe Cabin
Inspiration for the
Classic American Getaway

Dale Mulfinger and Susan E. Davis (Taunton)

There are thirty-seven cabins, huts, shacks, out-of-town homes here, divided into four sections: Rustic, Transformed, Traditional, and Modern. They appear all over the U. S. and Canada --- Wisconsin, Minnesota, Washington, New York, North Carolina, Missouri.

Some use logs, some use 2x4s, some use galvanized steel. Some are elegantly sited; others are just out there in the country somewhere. And the photographs as so luscious that you want to move in tomorrow. 
There are some of reconstructed old barns. Several look like log cabins (complete with rainwater barrel). In the Blue Ridge, Bernard Flippin used logs salvaged from a falling-down tobacco barn. In Montana, Louis Shelden got 113 acres (cost him $2, total)...and built a two-story cabin overlooking Alpine Gulch. 

One of the authors --- Dale Mulfinger --- got an inexpensive lot in Wisconsin, on a lake, put in a cabin with loft, ceiling-to-floor windows, what he calls a "minimalist" structure. 
Thomas Blurock's cabin looks out over Paradise Valley in Montana. He's an architect, but he said that in his shack, "nothing is the right size:" the windows and doors are too wide, tall, or high for an 850 square foot log cabin. It's gorgeous.

James Stageberg built one in Wisconsin that looks just like a purple teakettle [See Fig 2, above]. The architect Frank Gehry built one near Minneapolis that took "100 white pine logs ranging in size from 9 to 14 inches." The tiled-in stove is an eye-popper.
My favorites are the ones that are simple, rustic, nothing fancy --- like the one my dad and I visited three or four times a year [not featured here] in Nassau County, Florida, at Seymour's Point. 
Gus Lowenstein lived in Jacksonville, ran an old furniture store there, but his heart was out in the scrub-pine country. He built his shack out of scrap loblolly for the walls and floor, corrugated steel for the roof, oak studs, none-too-straight, to hold it up off the ground. (That gave the fleas, ticks, and hounds and skunks a place to hang out; it also kept the house from flooding when the nor'easters blew through). 
At night we used the front porch for sleeping in the cool; during the day, you could perch on the bamboo swing-chair and watch the Nassau River flow by. There was no electricity, but we had Coleman lamps and flashlights. For water, there was ice cold branch-water --- that's what Gus and my dad and their friends used for their tall glasses of whiskey. There were screens on all the doors and windows, else the no-see-ums would come in and eat you alive. 
It was on the front porch, one morning, when I had just woken up, back then on that sweet-moss morning, that I had my first vision --- the big one, about time, and the river, and the meaning of life. You remember. 
The Nassau River, at peak tides, could run 8 - 12 knots. The fishermen around there --- we called them "crackers" --- knew the tides, most often didn't fight them: you went out on the low tide, came in on the high. But that day Billy-Joe Turner, from down the river came past on his way to the marshes in his boat. He was using an old five-horsepower Johnson, one that must have been built in the thirties. It didn't have the ooomph that the outboards do now. And his longboat must have weighed a half-a-ton. 
Billy Joe was heading right into the flood tide. He was going out at exactly the speed the tide was coming in. The river wasn't very wide there, mud-flats on one side, Seymour's Point on the other. I could hear the motor going, putt-putt --- see Billy Joe in the back, sitting there huched over, in his muddy coveralls, with his old straw hat. 
I knew something was happening --- I could see it, the wake, the boat bobbing a bit. But Billy Joe wasn't moving. For the full twenty minutes I watched, he made scarcely any progress at all. Sometimes he would head closer to the shore, and forge ahead, and then he'd go further out in the stream, and fall back again. 
We watched, me, and the sun, and the cowbirds and the jays, and the hounds --- but even then, me not being more than twelve or thirteen --- I knew, as we all come to know, sometime in our lives, that his journey, whatever journey it is, was something special. We may think we are going somewhere, but the truth is that our journey may well be something else. Billy Joe, sitting there, bobbing in the wake, moving, moving...and all the while not moving at all --- making that endless journey, the one that all of us will make someday, if we haven't already.
--- L. W. Milam

lunes, 24 de septiembre de 2012

La cabaña en el bosque de Louise Dickinson Rich

Louise Dickinson 1

Louise Dickinson Rich

Louise Dickinson Rich was an iconic Maine writer. Born in Massachusetts in 1903, Louise Dickinson met her future husband, Ralph Rich, on a canoeing trip to the Rangeley area in western Maine in 1933. Ralph, and engineer and Louise, a teacher, were both fed up with everyday life and ended up falling in love and living together in a cabin in the woods of Forest Lodge, on the Rapid River.
Both of the Riches were skilled writers, but Louise found the most success. She began writing articles for numerous magazines, which were very lucrative in those days. With her writing income, she was able to help provide the basic necessities for her and Ralph’s growing family. The stories eventually morphed into books. Rich was a prolific writer and eventually authored 24 books and dozens of short stories and articles published in magazines.
Louise Dickinson Rich is best known for her popular book “We Took to the Woods” and its sequel, “My Neck of the Woods”, which told stories of the Riches’ life away from it all in the Maine woods. She wrote several historical books including “State o’ Maine”, and outdoor fiction for young adults, including “Start of the Trail”, an adventure story of a young Maine guide. She also had a “First Book” series, where she wrote historical books for young children. Rich’s life and writing are summarized in a biography written by Alice Arlen in 2000, entitled “She Took to the Woods”.

The Winter House, where author Louise Dickinson Rich spent her winters, ovelooking Rapid River. Her books, which most of us in Western Maine read growing up, detail living in the Great North Woods.
In fact you still have to take a very bumpy, hour long, logging road route or go by boat then walk. I took a tour of the property earlier this month, as both houses are for sale and it is uncertain if future owners will preserve it in its current, museum-like state.
Winter House is small and snug and was created to withstand the fury of a Maine winter.
The Winter House, where author Louise Dickinson Rich spent her winters, ovelooking Rapid River. Her books, which most of us in Western Maine read growing up, detail living in the Great North Woods.
In fact you still have to take a very bumpy, hour long, logging road route or go by boat then walk. I took a tour of the property earlier this month, as both houses are for sale and it is uncertain if future owners will preserve it in its current, museum-like state.
Winter House is small and snug and was created to withstand the fury of a Maine winter.

We Took To The Woods....

The Historic Winter House - where the 1942 bestseller - We Took to the Woods" was written
The Winter House - where Maine author Louise Dickinson Rich wrote the bestseller "We Took to the Woods" in 1942 (Click on thumbnails photos below to enlarge).

Louise's typewriter


The 'Winter House"

"The cabin, hereafter to be referred to as the Winter House, was the original Forest Lodge, built for a fishing camp. It is a low building with a porch and an ell, set on a knoll with a view up the river to the Pond-in-the-River.” — "We Took to the Woods"

"It was a wonderful country, wild, dark, beautiful, remote and secret; rough, ruthless and demanding; and I loved it. Coming to it strange, I was immediately at home ... the place I slipped into as easily and naturally as a trout slips into a brook.dark, beautiful, remote and secret; rough, ruthless and demanding; and I loved it. Coming to it strange, I was immediately at home ... the place I slipped into as easily and naturally as a trout slips into a brook."

"I like to think of the lakes coming down from the north of us like a gigantic staircase to the sea. Kennebago to Rangeley to Cupsuptic, down they drop, level to level, through short, snarling rivers; Mooselukmeguntic to the Richardsons to Pond-in-the-River, and through Rapid River to Umbagog, whence they empty into the Androscoggin and begin the long south-easterly curve back to the ocean. I like to say their names, and I wish I could make you see them — long, lovely, lonely stretches of water, shut in by dark hills." 

"One thing I know, one certainty cherish. [The woods] are still there, unchanged. The black tips of the spruces still stand motionless against an evening sky as they did when I was there to see, and the river roars with the same deep voice that filled the forest when I was there to hear. They are there. They will still be there if ever I need their strength and solace. "

(Louise Dickinson Rich)


La cabaña de las artistas Judith Ackland y Mary Stella Edwards

Mary Stella Edwards and Judith Ackland

Mary Stella Edwards 
Judith Ackland 

'I broached the idea of making Bideford our sketching centre this spring for the paintable and selling qualities of Devon; the factor of being able to work in the studio in between and return to places when we wanted; the lack of struggle against weather;, and of time and money running away while waiting for bad weather to end; the contrast it will be to the Lakes and so on. J. agrees with me that there should be no coast scenes of the usual type, save some at Boscastle and Tintagel if we get there, which gives the interesting effect of looking from headland inland across cliffs to distant hills. The horizon should be hills, not water...but the spring light on the high land is what we're really after. I have a number of subjects in mind, not done before.'

(From the diaries of Mary Stella Edwards, 22 January 1935) 

Buck's Mills - house of Mary Stella Edwards and Judith Ackland, artists, on the right

Judith Ackland and Mary Stella Edwards

Judith Ackland (1889-1971) and Mary Stella Edwards (1893-1989) met as students at The Regent Street Polytechnic where they both studied art. They used the tiny Cabin at Bucks Mills as their studio from the 1920s until Judith's death, a period of nearly 50 years.

They lived and worked here in the summers, painting watercolours of the beach, the coastal landscapes and the village. They also produced dioramas: collaborative work where Judith made all the models, and Mary Stella painted their backdrops.

When they closed the door of their Cabin for the final time, it remained ready for them to return - and it stands preserved almost as they left it over 40 years ago.

Some doors open on a thickly-peopled air
Of moving shadows, those whose lives, long gone,
Were spent there....
Some on a waiting silence - of expectancy
For those to come; some to the musty smell
Of mere desuetude; and some in constancy
To the long loving years of sweet content
In which the light of sun and moon have blent
In lasting light that bids all dark farewell -
Of such will this room tell.

Mary Stella Edwards, 1962. 

Mary Stella Edwards by Judith Ackland
'Judith Ackland at Work in the Cabin', Mary Stella Edwards, 1953 


The Ackland and Edwards Collection

The Ackland and Edwards Collection consists of watercolours, drawings, and dioramas of local topographical or historical interest, produced by Judith Ackland and Mary Stella Edwards between 1913 – 1965 and was presented to the Burton Art Gallery and Museum by Mary Stella Edwards.
Judith Ackland was born in Bideford and attended the town’s art school for several years before going to London, where she met fellow student Mary Stella Edwards at the Regent Street Polytechnic. This began a partnership only halted by Ackland’s death in 1971.
Although much of Acklands and Edwards work was produced in the surrounding coast and countryside of Bideford, they also travelled and worked widely. The result being that their works are included in several major collections across the country including; the Victoria and Albert Museum, Museum of London, Abbot Hall Art Gallery, Kendall and the National Museum of Wales.
In 1945 Ackland devised a new form of model making, and registered it under the name of ‘Jackanda’. Using cotton wool as the base material for her models she produced figures and scenes which have the clarity of carvings and which possess such vitality that in photographs they are often mistaken for real people.
Bideford remained one of the artist’s homes, and they often spent time at Bucks Mill in The Cabin, which they used as a studio and base. Now owned by the National Trust, the Cabin remains a faithful monument to their collaboration and a testament to the landscape, which inspired the production of such a renowned body of work.
In writing this for the gallery website, the Burton Art Gallery and Museum acknowledges the essay by Peter Richey, first produced as part of an exhibition catalogue commemorating the first presentation of the Acklands and Edwards Collection at the gallery. A new publication produced by the Acklands and Edwards Trust to coincide with the purchase of The Cabin by The National Trust will be available from the gallery by the end of 2009.

The little things - Bucks Mills Cabin

A big thank you to Sammy and Glenn of pachadesign for inviting me to be part of their exciting exhibition which opens next weekend at Bucks Mills Cabin in the charming village of Bucks Mills on the North Devon Coast!

This tiny house, 'The Cabin' was the summer home of artists Judith Ackland and Mary Stella Edwards from the 1920's to the 1970's, and it's still an evocative time capsule of their lives together. Left exactly as it was in the 1970's, today it is owned and preserved by the National Trust (read their blog post about the exhibition here)

"The project with pachadesign, Sam Pickard and Ramp is a great way to bring the cabin to life in 2011. Involving local artists who are also inspired by the same coastline as Judith and Mary, 'A Modern Take' exhibition is the perfect opportunity to open the doors of the cabin to the general public and get people talking about contemporary craft and design, in a setting which is lost in a different era." - Hannah Jefferson from The National Trust.

Each designer taking part will select a few of the objects from the cabin and replace them with pieces of their own work, pachadesign (furniture), Ramp (Ceramics) and Sam Pickard (textiles). Here's a few images from the interior and exterior of the cabin, (prior to any objects being replaced!)...

Investigating the spirit of place

Intervention at the National Trust property Bucks Mills Cabin.
Bucks Mills Cabin © pachadesign 2011
July 21, 2011

Bucks Mills Cabin © pachadesign 2011
© pachadesign 2011
© pachadesign 2011
The Cabin was owned by artists Judith Ackland (1889-1971) and Mary Stella Edwards (1893-1989). They stayed and worked there during the summer months between the 1920s and Judith’s death in 1971.

© pachadesign 2011
© pachadesign 2011

An artists' retreat

(...) The Cabin, where the artists Mary Stella Edwards and Judith Ackland spent their summers painting. Some of their work can be seen at the Burton Art gallery in Bideford. The cottage now belongs to the National Trust and it is still used an an artist’s retreat, being gloriously situated on the cliff with beach and sea views, and with Clovelly in the distance. (...)

This film was made in response to time spent as the first artist-in-residence at Bucks Mills Cabin, Devon.
The Cabin had been owned by painters Judith Ackland and Mary Stella Edwards from the 1920s until Judith's death in 1971, and the building and its contents remain preserved almost as the women left them. This residency, the first to take place at The Cabin, was a partnership project between the National Trust and Appledore Arts, and was funded by the North Devon Areas of Outstanding Natural Beauty.

Film installation made for Bucks Mills Cabin, Devon. 
Perched above the sea at the edge of the tiny fishing hamlet of Bucks Mills, The Cabin was the studio and summer residence of painters Judith Ackland and Mary Stella Edwards from the 1920s until Judith's death in 1971. The interior and its contents have remained preserved, almost as the women left them, for 40 years. It is now owned by the National Trust and, in partnership with Appledore Arts, they hosted this first artist's residency at The Cabin in May 2010.


sábado, 22 de septiembre de 2012

Otro otoño

by Matthew Brown. A Journey Into Leaves...The art of a handheld camera. It's like tai chi, but with the focus on the steadiness of the camera.
Music by Mum.

martes, 18 de septiembre de 2012

W. Ben Hunt, el artesano de la cabaña

W. Ben Hunt

W. Ben Hunt
From Wikipedia, the free encyclopedia

Walter Bernard “Ben” Hunt (March 13, 1888 – March 30, 1970) “was an American artist, outdoor educator and author” whose books and articles covered topics such as “Native American arts and performance, woodworking, whittling, scoutcraft, pioneering, jewelry making, metalworking, and calligraphy.”

Hunt was born in Greenfield, Wisconsin and grew up in a log cabin. He attended Milwaukee’s South Division High School, but did not graduate, dropping out to become “a lithographic engraver(now graphics designer) at the Bruce Publishing Company.” Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In 1924, Hunt, along with his father-in-law and brother,Edwin C. Hunt, built a log cabin behind his home. The cabin, “a 16x28-foot structure” made of tamarack logs, was the subject of Hunt’s first article, “How We Built Our Log Cabin.” During the late 1930s, Hunt began to study the work of Native American artists. As part of his research, Hunt met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles for Boy's Life. He became a regular member of its staff, ultimately writing "over 1,000 articles, an average of three to four per issue." Hunt's work for Boy's Life, led him to serve on the staff of the National Boy Scout Jamboree in 1950, 1953, 1957, and 1960.

Hunt's handmade log cabin

The main cabin (16 x 28 foot) was built during the summer of 1924. Ben Hunt, his brother, and father-in-law built it on Hunt's property on Janesville Road. They used only hand tools, beginning with sawing the logs to size right up to nailing down the last shingle. The main cabin was built of tamarack logs. Over the years additions were built from utility poles. The cabin became a gathering place for Ben's friends to socialize and pursue their hobbies. Young people were welcomed to learn from Ben and share his interests.
In 1986, the Ben Hunt cabin was moved one-third of a mile from its original site. It is now located southwest of the Hales Corners library on the grounds of the W. Ben Hunt Center (5885 S. 116th Street, Hales Corners) and is owned by the Village of Hales Corners. The Hales Corners Historical Society is responsible for the preservation and upkeep of the cabin, and members of the Society serve as cabin guides. The cabin contains interesting artifacts and memorabilia related to Ben Hunt and native people. In January 2005, the cabin was designated a local historic landmark through the efforts of the Hales Corners Historic Preservation Commission.
Dugout Canoe is on Display
On display in the cabin is a dugout canoe made by W. Ben Hunt. Hunt made the canoe in 1945 from a basswood tree found near "Mud"(Upper Kelly) Lake. The canoe was made from a 14-foot length of the tree trunk which weighed one ton. Digging out the interior of the log was accomplished using an axe, adz, and Indian crooked knife. When it was finished, the canoe weighed only 175 pounds.
In June 1998 the canoe was donated to the Hales Corners Historical Society by Wayne Boldt. The canoe had previously been in the possession of Boldt's late father, Alton Boldt, who was a close friend of Ben Hunt. Stop by the cabin and see this interesting artifact!

How to Build and Furnish a Log Cabin The Easy, Natural Way Using Only Hand Tools and the Woods Around You


lunes, 17 de septiembre de 2012

El planeta libre

El Planeta Libre from Horatiux on Vimeo.

En un pequeño y lejano planeta, su población con apariencia igual a la humana anda por el año 6000, y esa sociedad está tan avanzada que, entre otras cosas, han prescindido hace mucho tiempo del dinero y de la dependencia de casi todos los objetos materiales. La vida promedio de esos seres evolucionados dura alrededor de 250 años, se comunican telepáticamente y sus actividades se desarrollan en un completo y armónico contacto con la naturaleza.

En la reunión anual del planeta, donde intercambian libremente sus producciones y deciden en forma comunitaria sus viajes, surge siempre la misma pregunta: "¿Alguien quiere ir a la Tierra?". Nadie se atreve a hacer un viaje a este peligroso y primitivo mundo, hasta que Mila, la hija del último hombre que visitó La Tierra, se ofrece como voluntaria. Al llegar aterriza en París en medio del caos urbano de la gran ciudad, y se producen todo tipo de situaciones graciosas pero que a la vez hacen reflexionar profundamente. 

Por medio del buen humor como su principal recurso, esta película nos ofrece un excelente ejercicio para entender de qué manera y sin darnos cuenta, solemos encuadrar la totalidad de nuestras vidas en modelos mentales y paradigmas que rigen la realidad circundante, dictándonos en forma inconsciente los parámetros de "lo que debe ser", y las pautas culturales acerca de la forma en que pensamos y actuamos.

Para ver la ficha técnica completa y un resumen más detallado de esta película, visitar:

sábado, 15 de septiembre de 2012

Olor a tierra (la que queda)

KIGO from Lluis Masachs on Vimeo.
This work, made throughout 2007 tells us the passage of the seasons and the fragility of the nature. All images are shoot in Catalonia (Spain), and my intention is to show people the Earth natural things, using my native territory for explain it.

jueves, 13 de septiembre de 2012

A vuelo de pájaro

Eagle owl at 1000 frames per Second towards a camera


The Smokehouse

The Smokehouse from Smith Journal on Vimeo.
Smith joined forces with Victorian grower, gatherer, hunter and cook Rohan Anderson to build a pioneer-style cold smokehouse on his property just outside Ballarat. This short film by Melbourne-based production studio Commoner captures the vision of the smokehouse build and the story of Anderson’s motivation. A step-by-step account of the process is featured in Smith Journal volume four, on sale September 10, 2012. More info about the project is also available here: http://bit.ly/NV2g9e

Presented by Smith Journal (http://www.smithjournal.com.au)
A film by Commoner (http://commonerfilms.com.au)
Featuring Rohan Anderson (http://wholelarderlove.com)

Directed and edited by Mark Welker
Cameras by Aaron Cuthbert, George Husband, Mark & Monique Welker
Music by Nathan Hollywood

miércoles, 12 de septiembre de 2012

Arquitecturas de cabañas

discontinuidad cronológica – sauna tonttu

Sauna Tonttu, Soini – Finland (2009). Arquitectura, Lassila Hirvilammi Architects. Fotografías, Mikko Auerniitty, Anssi Lassila.
El proyecto resuelve la rehabilitación de una cabaña del siglo XIX, construida para ser utilizada como sauna, pero que posteriormente fue habilitada como granero y que con la intervención recupera el uso original.
La adecuación de la cabaña parte de la preservación de la envolvente de madera con la que se establece una continuidad material y una discontinuidad cronológica. Una continuidad material porque los elementos que se han incorporado, para adecuarla al uso, se han construido con la misma madera de abeto y una discontinuidad cronológica  porque las diferencias de color y textura subrayan la a sincronía temporal entre lo nuevo y lo viejo.
Sauna Tonttu – Lassila Hirvilammi Architects (descripción, fotografías y plano)
Sauna Tonttu – Designlines (artículo de texto con fotografías)

la cabaña del fuego – outdoor fireplace

Outdoor fireplace, Trondheim – Norway (2009). Arquitectura, Haugen/Zohar Arkitekter. Fotografías, Grethe Fredriksen & Jason Havneraas.
Situada en un área de juegos infantiles la cabaña en un lugar de encuentro al aire libre donde los niños pueden reunirse en torno al juego y contar historias.
La estructura se inspira en las cabañas tradiciones y esta compuesta por un total de 80 círculos superpuestos construidos con bloques de madera de pino, procedente de los tablones desechados en una obra cercana, montados con las juntas abiertas para favorecer la ventilación y la iluminación natural así como contribuir a la iluminación nocturna del parque.
Outdoor fireplace – Haugen/Zohar Arkitekter (descripción, fotografías, planos e ilustraciones)
Outdoor fireplace – wallpaper (artículo de texto con fotografías)

tamizando la luz- “shed” in Ugra national park

“Shed” in Ugra national park,  “ArchStoyanie 06″ Festival of landscape objects, Nikola-Lenivez village – Russia (2006). Arquitectura, Meganom (Проект Меганом). Fotografías, Julia Bychkova en arch.stoyanie.ru.
Esta cabaña de madera, es una de las “instalaciones” construidas en la primera edición del “ArchStoyanie“, un festival de arte y arquitectura, que tiene como objetivo incorporar al parque nacional de “Ugra”, diferentes instalaciones de carácter artístico-cultural para potenciar la oferta lúdico-turística del parque.
La cabaña esta construida con tablones de madera sin tratar. Las tablas se han perforado con taladros de diferentes diámetros, hasta conseguir un superficie porosa a la luz.
Durante el día la luz natural salpica el interior de la cabaña, mientras que por la noche, un foco instalado en el interior, proyecta una constelación de puntos luminoso, perturbando la opaca materialidad de la madera.
+ “Shed” in Ugra national park- ArchStoyanie (descripción y reportaje de fotografías)

un refugio en el bosque – forest villa, camping cabin

Forest villa, camping cabin (Camping Bled) Velika Zaka – Republic of Slovenia (2010). Arquitectura, soba architects. Fotografías, http://sobadoo.com

Ofrecer un refugio sencillo y singular, donde pasar unos días en contacto directo con el entorno natural, tanto en verano como en invierno.
Difundir los principios del movimiento naturista promovidos por “Arnolda Riklija” a finales del siglo XIX, como una forma de disfrutar de una experiencia saludable y lúdica, en contacto con la naturaleza.
Con estos objetivos, las cabañas de 10.00m2 de superficie útil, ofrecen al visitante un espacio mínimo, intimo y acogedor, donde pasar la noche y permanecer a resguardo de las inclemencias climáticas, en un espacio que rememora las formas tradiciones de las construcciones rusticas tradicionales de la zona, concretamente la de la “kožarice” un tipo de refugio temporal del bosque (ver imagen).
Más información:
+ Forest villa, camping cabin – soba architects (varias anotaciones en el blog del estudio, con fotografías, descripción, etc)
+ Forest villa, camping cabin – Jelovica (artículo de texto con fotografías)
+ Forest villa, camping cabin – Trajekt (artículo de texto con fotografías)

lunes, 10 de septiembre de 2012

La cabaña y la experiencia del pensar en Heidegger

Martin Heidegger

Traducción de José María Valverde, en: Cuadernos Hispanoamericanos (Madrid), Vol. XX, Nº 56, (Agosto de 1954) pp. 178-180

Camino y balanza,
vereda y leyenda

se encuentran en una andadura.

Marcha y sobrelleva
ausencia y pregunta
siguiéndote por un sendero.

Cuando la temprana luz mañanera crece callada sobre los montes... 

El oscurecimiento del mundo jamás alcanza a la luz del ser.
Llegamos muy tarde para los dioses y muy pronto para el ser.
Cuyo poema comenzado es el hombre.
Sólo esto: avanzar en una estrella.
Pensar es limitarse a un pensamiento, que, como una estrella, queda una vez en el cielo del mundo.

Cuando la veleta ante la ventana de la cabaña canta con la tempestad que se alza... 

Si el temple del pensar brota de la exigencia del ser, crece el lenguaje del destino.
Apenas tenemos una cosa ante los ojos, y en el corazón la escucho vuelta hacia la palabra, se cumple felizmente el pensar.
Pocos hay expertos en diferenciar objeto aprendido y cosa pensada. Si en el pensar hubiera antagonistas y no simples enemigos, mejor le iría al pensar.

Cuando entre cielos de lluvia, desgarrados, un repentino rayo de sol se desliza sobre las sombras de los prados... 

Nunca llegamos a pensamientos. Llegan ellos a nosotros.
Tal es la hora propicia al diálogo.

Se alegra en la meditación común. Que no enfrenta encontrados sentires, ni tolera acuerdos renunciatorios.

El pensar sigue alzándose duro entre el viento de las cosas.
Quizá de tal comunidad algunos saldrán camaradas en el taller del pensar.

Para que uno de ellos, sin sospecharlo, se torne maestro.

Cuando en primavera florecen aislados narciso, ocultos en el prado. y la eglantina brilla bajo el arce... 

El esplendor de lo sencillo.
Sólo la forma conserva fisonomía.
Pero la forma descansa en poema.

¿A quién puede traspasar el entusiasmo como un soplo, si quiere evitar la tristeza?

El dolor regala su fuerza salvadora donde no sospechamos.

Cuando el viento, saltando brusco, gruñe entre la armazón de la cabaña, ya el día se pone ceñudo... 

Tres peligros rondan al pensar.
El peligro bueno, es decir, salvador, es la vecindad del poeta cantor.
El peligro perverso, es decir, más agudo, es el propio pensar.

El peligro malo, es decir, confusionario, es el filosofar.

Cuando en día de verano la mariposa descansa en la flor y, con las alas juntas, se columpia en la brisa del prado... 

Toda situación. de ánimo es eco del ánimo del ser, que nuestro pensar reúne en el juego del mundo.
En el pensar, cada cosa se torna solitaria y lenta.

En la paciencia, crece la magnanimidad.

Quien piensa en grande, en grande debe errar.

Cuando el arroyo montesino en la calma nocturna narra de sus caídas por los canchales... 

Lo más antiguo de lo antiguo llega desde atrás a nuestro pensar, y, sin embargo, se nos adelanta.
Por eso el pensar se detiene en la aparición de lo que fué, y es recuerdo.

Antiguo significa: pararse a tiempo donde el pensamiento solitario de un
 camino de pensar se enreda en sus recodos.

Arriesgamos el salto de la filosofía al pensar cuando hemos llegado a estar en casa en el origen del pensar.

Cuando en las noches de invierno tempestades de nieve sacuden la cabaña, y una mañana el paisaje ha enmudecido en lo blanco... 

El decirse del pensar reposaría. sólo en su esencia si se hiciera impotente para decir lo que debe quedar callado.
Tal impotencia pondría al pensamiento ante la cosa.

Nunca., en ninguna lengua, lo pronunciado es lo dicho.

Que a cada vez y de repente haya un pensamiento, ¿qué asombro querría sondearlo?

Cuando baja un repicar de campanas por las laderas del valle, donde suben despacio los rebaños... 

El carácter poético del pensamiento aún está velado.
Cuando se muestra, largo tiempo semeja la utopía de un entendimiento semipoético.

Pero el poetizar pensante es de veras la topología del ser:
Le dice el sitio de su esencia.

Cuando la luz del ocaso. cayendo en el bosque de no sé dónde, dora los troncos... 

Cantar y pensar son los troncos cercanos del poetizar. Crecen del ser y se alzan hasta tocar su verdad.
Su unión hace pensar lo que de los árboles del bosque dijera Hölderlin
“Mutuamente desconocidos permanecen,
alzándose erguidos, los vecinos troncos.”

Los bosques acampan.
Los arroyos caen.
Los canchales duran.
La lluvia fluye.
Las mieses esperan.
Las fuentes manan.
Los vientos moran.
La bendición medita.

  Martin Heidegger 

Vista de la cabaña de Heidegger en Todtnauberg