About 601 Tully
Check out our new website! 601Tully.syr.edu
601 Tully is a center for engaged practice in Syracuse, NY developed by artist and professor Marion Wilson with a rotating collaborative team of 54 students and neighbors and Anda French of French 2Design. It's a site for meaningful exchange between artists, community members, and scholars in the co-production of culture.
601 Tully includes a contemporary art space, a public events space, a bookstore, a teaching garden, and Recess Cafe West.
In 2009, Wilson purchased the condemned two-story home and local drug hub, and throughout five semesters, Wilson's design/build class re-zoned, designed, renovated and now sustains the physical and programmatic aspects of 601 Tully. The collaborative team has consisted of artists, architects, environmentalists, Fowler High School students, Green Train Workforce, neighbors, and the occasional passerby.
601 Tully is made possible by the generous support of the Syracuse University School of Education, The Kauffman Foundation, The Near West Side Initiative, Imagining America, Home HeadQuarters Inc., Say Yes to Education, and National Grid.
Find us on Facebook!
Monday, December 28, 2009
For the last four months I have been collaborating with artists and architects from Syracuse University on a design-build project located at 601 Tully Street in the New West Side of Syracuse, NY. The building faces a condemned (but still used) elementary school and a rather large park/playground.
How is it different than your individual practice?
I don't think I've ever collaborated on anything relevant.
Well, I guess that I've never before collaborated on something of this magnitude or importance.
Of course there's been some music that nobody's ever heard (or ever will hear) and then all the various assignments and things for school but never been a part of something so tangible.
And certainly never been part of such a big, talented group like this one.
What, if any, are the effects of the collaborative effort on your individual art practice?
-I get things done
-Inspired by those around me
-Learning how to work with people
-As a student of Environmental Policy and Urban Environmental Science (lacking both architecture and artspeak), it was at first difficult for me to know what my place was in the class and where my skill set fit in.
-Setbacks annoyed me. Interruptions in the flow of ideas and dialogue during class time were something I had to learn to deal with.
-Was surprised to learn that I immediately relinquish my input to an idea if I feel as if someone else's vision/justification is stronger or, somehow, better.
I've found that collaboration works for me mostly due to being socially responsible. If others are counting on me, I will always pull through. I can't say the same for my individual art practice as I have literally dozens of half-finished projects laying around my apartment and cluttering my hard drive. I think that if I apply social or group responsibility to the projects I've begun solo, it would really benefit me and help me actualize the half and mal-formed piles cramping my creative life. I've learned that I need some "good" guilt.
Monday, December 21, 2009
The nature of my collaboration is that everyone involved needs to have equal input on the task being completed. When I collaborate I like to consult the group members before making a decision on a project.
It isn’t very different than my individual practice because architecture is based on collaboration. Whether it is between other architects or different disciplines, architecture thrives on collaborating and reaching to other professions in order to thrive. It involves other disciplines in order to be a successful product at the end. Since it takes so much work to design a building, collaboration is very important and necessary.
The effects of collaborative effort on my individual practice are multiple. When working in an architecture firm, you are always in a team with multiple individuals that have different expertise in different aspects of the project. Communicating with them and discussing the work is very important in the success of the project.
Sunday, December 20, 2009
how is it different than your individual practice?
what, if any are the effects of the collaborative effort on your individual art practice?
Our 601 tully collaboration and class has been a great addition to a stressful semester. Being able to come to class and work through problems that will some how some time have an effect outside of school is refreshing, even when it takes hours and hours to arrive at a simple decision that later gets reversed, rediscussed and redecided leaving us at our original conclusion. Sometimes you think it'd be better or faster to work individually but other times you realize the progress we make as a group is worth making slowly. I've enjoyed getting the chance to learn from non-architecture students and architecture students I wouldn't have known if I didn't take this class.
The nature of 601 tully collaboration is design-oriented, neighborhood situated, communication heavy, experimental and experientially rewarding.
Individual architecture student work doesn't let you see outside perspectives or the ways people react to how you communicate the way that 601 tully collaboration has.
Introduction to new perspectives and the realities of interacting with a new physical environment and community enrich the academic experience. Real and collaborative projects make it harder to work individually on projects that won't leave the classroom except in portfolios.
Friday, December 18, 2009
Wednesday, December 16, 2009
Tuesday, December 15, 2009
Monday, December 14, 2009
Wednesday, December 9, 2009
and another room within a room:
Arist Susan Collis:
Precious materials inlaid/disguised/inconspicuously used in her objects/installations...look at the materials listed in the titling of the works:
a detail of one of her pieces:
her gallery with more examples of her work:
Wednesday, December 2, 2009
Tuesday, December 1, 2009
Monday, November 30, 2009
Casement windows - Sherman: make two big cuts in exterior walls? more likely to use for interior partition walls/dividers
Wood flooring - Sherman: about 600 square feet in big room we toured, probably 1000 sf in entire building or about one floor's worth (of 601 tully), create different patches of floor with different materials on first floor
Orange plastic freezer door flaps (can't find a name for these anywhere) - Sherman: use as a door before a door, could be used outside somehow
Gray tile - Sherman: at least 40 sf worth, use in the kitchen or bathroom? maybe too expected, make the tiles into a blackboard/whiteboard, use a floor or wall surface, install with the ridged back facing out instead of smooth tile but can that work
Reflective sign material - Andrew's dad: use outside as trim, use in bathroom, use to line the gallery boxes
Wood shelves/trays - Restore at case supply: about three dozen on first look, use as shelving on interior wall either upright as shallow shelves/display or horizontally for depth, combine to make moving gallery wall/bookshelf, alternate shelf and surface
Electrical wire - Case supply: a possibility for south wall or fence?
Glass blocks - use in a different way or too corporate?
Glasses - Restore at case supply: use as light fixtures by cutting bottoms off or put LEDs inside, make into a wall by placing right side up and upside down side by side, insert into a wall as small circular windows to look through or like a glass block wall except with circles, make into low hanging lights, place into a frame and hang from ceiling
Granite - Restore at case supply: alternate with wood slats for flooring
Ducts and/or pipes - Case supply: cut to different heights and use outside as planters, too industrial?
Possible themes: every room as an individual collage (example - amsterdam nord), all materials used as a multiple of some dimension, everything at kid's scale, and translucent vs solid
Saturday, November 28, 2009
Thursday, November 26, 2009
Jo Q. Nelson
check out his "past work" too. I think there are some interesting things to look at.
Wednesday, November 25, 2009
Sunday, November 22, 2009
Wednesday, November 18, 2009
Monday, November 16, 2009
- Henry Moore, pg. 63
"...entry [into a work] is facilitated when the public percieves the work as performing some useful task, whether it is simply that of shade and seating, or something even remotely associated with the sense of leisure. To be guided through space in a way that rewards the passer-by is of prime value to the public."
- Janet Kardon, from the catalogue essay for the 1980 exhibition "Urban Encounters: Art Architecture Audience", pg. 66
"...site specificity has been both a means to move beyond sculpture and simultaneously a "medium" through which to serve its 'internal necessity'"
- Miwon Kwon, pg. 78
"...Tilted Arc's removal was a discrediting of a perticular model of public art - or a particular model of site specificity as I would insist - one without obvious utilitarian payoffs, one that critically questions rather than promotes the fantasies of public space as a unified totality without conflicts or difference... the sculpture's removal from Federal Plaza, when viewed as a triumphal rejection of "high art" by "the people" also signified an implicit validation of the community oriented approach to public art... The controversy [itself cast] as an exemplary instance of "the conventions of artistic expression... com[ing] into conflict with public opinion."
- Miwon Kwon, pp. 79-82
"...while there may be disagreements among different groups over the specifics, the dominant priniciple or operative basis of community-based site specificity is the presumption of a unity of identity between the artist and the community and between the community and the art work. Indeed, the commonality of this belief is the source of [disagreements in communities]...emphasis on the social stems from the belief that the meaning or value of the art work does not reside in the object itself but is accrued over time through the interaction between the artist and the community. This interaction is considered to be integral to the art work and equal to the significance (it may even be thought of as constituting the art work)..."becoming one," no matter how temporary is presumed to be a prerequisit for an artist to be able to speak with, for, and as a legitimate representative or member of the community. "
- Miwon Kwon, pp. 93-94
"...a central objective of community-based site specificity is the creation of a work in which members of a community - as simultaneously view/spectator, audience, public, and referential subject - will see and recognize themselves in the work, not so much in the sense of being ctitically implicated but of being affirmatively pictured or validated... rather than art works that are seperated or detached from the space of the audience, which reinforce social alienation and disaffection, once should sponsor works that reassure the viewing subject with something familiar and known... Therefore, the task of "reassur[ing] the viewer with an easily shared idea or subject is best accomplished when the idea or subject of the art work is determined by the community or better yet if is the community itself in some way."
- Miwon Kwon, pp. 95-96
"The investment of labor would seem to secure the participants' sense of identification with "the work" not through an iconic or mimetic identification but through the recognition of its own labor in the creation of, or becoming of, 'the work.'"
-Miwon Kwon, pp. 96-97
"A culturally fortified subject, rendered whole and unalienated through an encounter or involvement with an art work, is imagined to be a politcally empowered social subject with opportunity (afforded by the art project) and capacity (understood as innate) for artistic self-representation (= political self determination)."
- Miwon Kwon, pg. 97
Friday, November 13, 2009
We have spent a good part of the day getting cost estimates for this cafe funknwaffles scenario and we are unable to get a firm enough commitment from them and it is well above 100k more than what I have already raised and have in place.
You have worked really hard and are an inspiration and a wonderful model for this kind of work and it is an honor to be working together. My top priority is that we get this building built within the scope of what we have and what we have designed so well together already.
So edit back one week and this is where we stand now and as we move forward:
*30 people assembling downstairs
*downstairs is classroom space and large counters for "exchanges" and rotating businesses
possibly a transformable space that can be divided into tow - or create a private classroom space and more public space
*two bathrooms - 1 up one down
*room within a room upstairs
*3 offices upstairs
*efficiency kitchen (sink and frig)
Southwall as is.
I really feel we were moving too far from our mission and our community partners with this cafe on the table.
Our focus is on education, our community partners of Stephen Parks, Say Yes, Folwer HS and Gear UP and jobs and involvement of neighborhood students. Now and long term.
Whichever original group you were in please continue to flesh out the details - and begin to think about materials and collaborative processes.
Back to work and carry on.
Email me if you have questions.
Thursday, November 12, 2009
this image really played on different shapes of the building and forground and background. I thought it was interesting to look at.
Sunday, November 8, 2009
Friday, November 6, 2009
(Contact information for responders forthcoming.)
- Social Studies
a) NYS Standard - Economics - farming, cost of raising crops (vegetables, fruits, flowers etc) and profit - how much can they sell. - developing a farm stand.
b) Science - ecology /environmental science/biology.
- It’s possible, with proper planning, I could have [601 Tully] be part of a social studies class. I could bring my classes to help with the design and maintenance of the garden, [with] weeding and tilling.
- I love the idea of having the students involved in gardening. It's healthy on so many levels. I've often thought that we have a unique gardening opportunity in our internal patios (in addition to the 601 site) but have never been able to pursue it. I would hope they could be utilized, perhaps renovation could address options.
- I am not a classroom teacher but I see lots of applications. The science curricula at most grade levels includes plants. You could tie in with math; graphing the growth [cycles of plants], plotting out where to place the plants, measuring out distances... Students could [also] write about the experience, [as] steps in a process.
- Years ago Cicero Elementary started a garden and the whole school was involved...someone may want to contact them to find some ideas that worked well.
- I think that's a terrific idea that would have many benefits for the community, especially the students. If the staff knows about this ahead of time, it allows for including it in the curriculum all year long. For example, science and math can be taught using the garden as a "tool" (couldn't resist the pun-sorry!) I'm sure there is a lot of info online about other community gardens to help in the planning. As an ESL teacher, I welcome any educational endeavors that are hands-on, and it is more meaningful for all students, too.
Probably the main concern would be vandalism of the garden, but I think other similar projects would have suggestions for this. I also think there are a number of groups to pull volunteers from, such as garden clubs, retired seniors, etc, whose members would really enjoy helping children make a connection with nature. In fact, the National Wildlife Federation (I'm a member) offers guidance on bringing children closer to the natural world.
- When I read this I automatically thought about the fruit stand that was at the State Fair this year. High school students volunteered their time to sell fruit at the fair and also at the Syracuse Farmer's market. The market now accepts food stamps. I have 2 ideas.
1. When the garden is plentiful, possibly selling the fruit/veggies to the community and/or
2. Having students and/or the community volunteer their time to till the garden for 2 hours a week and in return they can take a small bag of veggies home with them.
Thursday, November 5, 2009
Wednesday, November 4, 2009
Tuesday, November 3, 2009
Friday, October 30, 2009
Sunday, October 25, 2009
I was thinking about the warehouse on Amsterdam NOORD that Yun Pei and I saw this summer - whereby there were individually designed studios within the big warehouse - that each held distinct design vocabularies. Rather than having the room within the room upstairs match and blend in - why not design it such that it is entirely different from the outer shell. See attached fotos of Amsterdam NOORD; Art City.