Interview with Lorenz Gude 29th April 2002 on Ted Berrigan and America:
James: Can you tell me about how you met Ted Berrigan?
Lorenz: When I arrived at Columbia University in 1960 I met a fella named Tom Veitch who was a year older than me. Tom was very interested in literature and he and his brothers loved comic books. They were very talented and they drew all these comic books, Tom wrote the stories. I got a bit involved in that, well, I didn’t do anything, but I knew what was going on. Hell, I didn’t really know what I wanted to do; I was probably more interested in history than literature, but I began to meet some of Tom’s friends and develop some of my own. On my floor was a young fella from Oklahoma named Ron Padgett, who was sort of a classic westerner, really tall, skinny and wore cowboy boots, with pressed jeans pulled down over the top of them. He was very fastidious. Soon we became friends, and some of his friends started coming up from Oklahoma. One time his mother came up, and she came with a pistol in her suitcase. She was a petite little brunette, very spirited middle-aged lady and a lot of fun to be around, but she packed a pistol, which in New York will get you twenty years, though back in Oklahoma it just goes in your purse with your make-up. The father was a bail bondsman and Ron never went home after nine o’clock because after then if anyone came into the house you shot em’ first and asked questions later…
2006: Superstudio: an Australia wide student 48 hour competition. Winning design by James Quinton, Julius Welke, and Paul Empson.
Cottesloe Beach Carpark
Finalists must demonstrate an architectural vision for the long term preservation of both the social and environmental fabric of the urban beach. Above all, however, entrants are encouraged to pursue their imaginations, and not only design but imagine proposals which heighten the experience of this threshold between built environment and sea.
Concept: The Involuntary Prisoners of Paradise: Back in the seventies, Rem Koolhaas borrowed an idea (of a linear city running directly through London) from a group of radical Italian Florentine architects called Superstudio. Here in 2006, we borrow from Koolhass’s Exodus or The Voluntary Prisoners of Architecture in our own ‘Superstudio’.
View Pdf here: super Best viewed by View-PageDisplay-Two-up.
Like flouting and fluttering planes
Gone with midnight a cool breeze
Remembrance quickly jumps
The superlative strength of millennia.
Twilight is complete
The streetlights have ignited
Stark looks in the corners of eyes
The silver chill drowning.
It’s a day & you are you
Eating lunch, tautologically inclined;
Shirt pockets full of debris
Where many lived, disappeared
There were periods when oranges
Had the power to overawe the sun,
The chunky rhythms of nostalgia…
No more waiting in this novella!
All the swings, slides & monkey bars
Catch an unselfconscious smile
(like a march-fly in the sticky
Subterfuge of a Venus flytrap
Producing the fructified arrangements
Highly suitable for toe jam) bumping along
Like hitchhikers in the back of a Ute.
Running hands across Spiky blades
the dream woman stands before me
arms in the air, lifting her jumper
slightly from jeans ― soft, pale skin;
Stupendous body, enormity of touch
Speaking to stay silent for the future
Two men made of water watch a man drown
In the cruellest ocean’s hacked foundation.
Why wrestle the channel corset?
There’s no destination.
We wander the fleshy rind of a gigantic pear,
Fascinated by nature’s fantastic, targetless volition.
She turns slowly.
No longer apprehensive
That earth’s shell slices open
Welcoming the leaf
We comprehend chord sounds
Waist high in sunflowers
The ground does pirouettes
The Ferris wheel lets another off
The Ferris wheel lets another on.
Collisions at the train station
Lead to Eros
At an unknown address
Two wattlebirds attack a raven.
No human is observing.