heavy arabeque

At the top is a wet, lumbering arabesque at its material origin - a kind of antithesis of the target. Below is the planetary view of origin...much lighter, despite its 'inner tube' looks. This extraction from a torus is by Yusef Dennis.

I 'm working at a newly rebuilt art school - KHIO in Oslo, which combines theatre, opera, dance, fine arts, visual arts (craft media) and design in a cluster of older warehouses, now fully integrated and modernized. Total of 500 students. We are working on some initiatives with AHO (School of Architecture, Oslo) and a more personal project with Todd Saunders Architecture in Bergen.

My colleague, now in his final year, has worked hard to develop a remarkable ceramics facility with numerous opportunities in fabrication equipment, along with 9 Blaauw kilns - some of the largest ever designed for a teaching facility. Quite of bit of digital fabrication is being brought on line. DForm is a lab with numerous rapid prototypers, scanners, laser cutters, CNC mills and a water jet cutter. 

Writing in the early twentieth century, Wilhelm Worringer reasoned that ornament is 'unobscured expression' absorbed into another entity, architecture.

Writing in the early twentieth century, Wilhelm Worringer reasoned that ornament is 'unobscured expression' absorbed into another entity - architecture. Can it be that ornament is the delivery of a sublimated content, different than the structure itself but nonetheless ‘synthesized’?