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.

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Tuesday, December 14, 2010

Richard Serra Pastiche

Richard Serra Pastiche and Evolution

Richard Serra is an American minimalist sculpture known for his large meandering cor-ten steel sculptures such as A Matter of Time in the Guggenheim Museum in Bilbao. Designed to be site specific, each sculpture is constructed to juxtapose human scale. This juxtaposition is compounded by the precarious balance of the immensely heavy pieces of rolled oxidized steel, creating a dialogue of tension and phenomenology, or the inherent sensory properties of building materials.

I propose that for the 30’ x 30’ garden plot on 601 Tully, a sculpture in the style of Richard Serra can be implemented. However, I believe several design elements would have to be considered in order to make it effectively functional and advantageous. First of all, the sculpture can stand as a metaphor for rust-belt cities in America by literally utilizing sheets of oxidized sheets of steel. Perhaps this material can be found locally, therefore adaptively re-using what would otherwise be discarded. Secondly, this sculpture is a detriment to clear sight-lines and may present an issue of safety; therefore I suggest that the steel be modified with a series of punctures to create porosity. I also believe that this modification presents an opportunity to create a rasterized dot design of a symbolic image. Lastly, in a second iteration, I believe the material of the sculpture can be modified for wood construction. This wood sculpture can be constructed in such a way that it can bend and fold to accommodate different spatial configurations. In addition the contoured nature of the wood construction will allow for visual gaps between the pieces, creating a porous structure. Additionally, this wood can be provided from scrap material from local construction sites.

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