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Publisher's web-blurb:
'Beyond Architecture' is the first publication of its kind to document the creative exploration of architecture and urban propositions in the contemporary arts. The projects collected in this book demonstrate how not only architects and designers, but also artists are taking architecture as a starting point for experimentation. They range from performance, installation art and crafted sculptures to architectural models, alternative ideas for living spaces and furniture, as well as illustration, painting, collage and photography. Through stunning photography, visuals and complementary texts, these visionary concepts reveal the hidden creative potential for architecture and urban environments in inventive ways.'
Futurecop! is a heavy dj/production duo formed in Manchester a couple of years ago. Consisting of 1 brown man and 1 white man, the are the salt and pepp...gurumasala of tasty music. Though don't be misled by culinary analogy, as that's really beside the point.
Founding member Manzur Iqbal started with no knowledge about music production and wanted to create a sound inspired by 80s teen flicks, especially the movies of John Hughes and Sci-fi cartoons like Transformers or Thundercats, not caring about being different or trying to be commercial, even though the music might as well be called pop music. Peter Carrol from London teamed up with him and together they are now recreating the atmosphere and vibe of the soundtracks to the best 80s movies that never existed. Crystal Castles and Van She Tech have already shown Futurecop! some love.
Importantly, the duo have also reignited music's long affair with imagability [as above]: the supporting artwork is impressive and uplifting, and certainly evocative of their sound. Check out their Myspace or do an image search.
However, despite their promise, it seems that they're being let down by poor promotional enterprise and a sparsity of foreign fixtures and foresight. Gigs in Sheffield are gonna get noone nowhere. Although they have got some festival dates this summer, notably at The Big Chill. Their techy sounds would go down a treat in France, as a lot of the stuff competes strongly with that of comparable kitsune or EdBanger Records' outputs.
Photocopying/scanning a wayward boob or wiener is a great office shout. Therefore I was very pleased when my collegue Wolfgang (not amadeus + that is his real name) valiantly made these recently. I'm putting them forward for a book cover. Trapped in prose.
[Above: Daft Punk’s Pyramid set: crowd shot merged with pyramid interior detail, revealing analog synths, light boards, Ableton, moogs and laser consoles; Video stills from De Crecy's live 'Beats and Cubes' performance]
Everyone will be familiar with Daft Punk 's Pyramid (above), which set a precedent for performance architecture. Reevaluating the genre and straying from surface-mounted installations, Etienne de Crecy 's 'Cube' uses 3d camera mapping and 3 high-powered projectors that project onto a 2oft., 3x3x3 frame, covered in a fine net, creating ethereal, beat-matched light volumes in the dark. The lightweight construction is a refreshing innovation and is moreover cheaper and more transportable. De Crecy plays perched smugly in the midddle cube.
Cube Video
