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taco cart conceptual sketches

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Architect, poet, visual artist, iconoclast … I once asked Michael Keller if he was ever fortunate enough to leave a legacy, what would he want it to look like. “Opportunist with a heart of gold?” he answered slyly. The works you are looking at today were produced in fits and starts over the last couple of years beginning around the time Keller started occasionally signing his emails “Analog Mikey”. He is one of those rare individuals who can refer to himself in the third person and rather than sound doltish and pretentious, come off as, at worst… boyish. With little formal artistic training other than an architecture degree and what comes at anyone growing up in the cultural mash-up that is Southern Louisiana, Michael’s works reflect an almost boundless energy. These canvases flirt with chaos, never seeming to actually get there. No fan of understatement, his flood of exit signs invite us – harshly, urgently to get moving: NOW. Where are we to go? Which way does this exit lead us? Freedom? Slavery? Or simply . . . elsewhere? Informed by influences as diverse as Rauschenberg and graffiti artists you’re never likely to hear of (Mi-chael knows a lot of people you and I don’t – and never will) the works on display offer the viewer an opportunity to inhabit spaces which may unsettle them. Spaces which Michael Keller grew up in – and never really left. The old architectural plans which form the canvas of many of the works were unearthed in the archives of the old-line Goree Architecture firm which Michael has recently “drug kicking and screaming into the twenty first century”. When not designing auto dealerships and high end residences Michael scouts the back roads and disasters of America with one of his Polaroids or Canons – equally at home with brushes both digital and analog. Themes of religion, sex and the South infuse these thin collages of doom and redemption. Keller will tell you a story about one of these spray paint infused curiosities one evening – and then deny having had any particular thing in mind next time you ask about it. They are at once ephemeral and deeply personal. They call to mind a signature phrase of Analog Mikey on those rare occasions when he’s at a loss for words - “Continue the burnings – death to the unbelievers…”-Mark W. Leeme

architect

41

Michael Keller Architect

2011 BIM Consultant and implementer for 50 year old Texas Architectural Firm, Bringing both the REVIT and Archicad Platforms to bear in this specialized firm. Also working on a re-branding concept from letterhead and logo to look and feel of architectural documents.

Keller Architecture - 2006- present Established partnership with a multi-faceted approach to architecture; With commercial, residential and industrial client base.

Jacobs Keller Architecture - March 2004 - 2006 Established partnership.

Michael Keller Architect –March 2003- March 2004 Established Sole Proprietorship.

Goree Architects – 2000-March 2003 As a project manager responsibilities include leading a team through construction docu-ments of automobile dealerships and then overseeing the project through construction administration phase till project comple-tion.

Steinberg Collaborative – 1998-2000 Responsibilities included production of construction documents in the multi -family field.

Holcomb Musemeche Associates – 1997- 1998 Responsibilities included production of construction docume nts in the multi-family field.

Irvine Associates Architects – 1996-1997 Responsibilities included space planning and construction documents for corporate interiors.

Guidry Beazley Osteen – 1995-1996 Resident Animator and Renderer.

Education: 5 year Bachelor of Architecture from the University of Louisiana.Licensure Currently registered in the state of Texas: Architect License #18068 NCARB certified #59,133

architect

SD1Drawing: LayoutProject: 09013

SHEET ___ OF ___

West 25thWest 25th

Houston, Texas 77006

3633

Conceptual

Date: 8/31/09File: 09013_holdenprj01.pln

studio.prime:2009:09013_holdenprj01.pln

mystery

repetition

interaction

progression

this project is about the iconic imagery of architecture. the collective memories

and experience of what a space represents intuitively. this project is to invoke

and nurture what we collectively call house.

from the garage to the attic, these row houses are to tell the story of

inhabitation. what does it mean to live in a dwelling? the aim is to

encapsulate the prototypical house with modern materials. Not just merely to

make historical references to the architectural past,

but more to the point to engage the imagination of the person experiencing the

space. Housing is the most primal of all the built environment. How does

architecture tell this story? How does architecture transcend the trend of the

day and the shallowness of architectural historicism to strike at the heart of

what human comfort really is?

these houses are not trying to deconstruct anything, we are not putting the

toilet in the living room or the bedroom in the garage. However we are asking,

what makes a bedroom restful? what architecturally gives a sense of security?

Would you want to live in the attic? Would you want to cook in the garage.

would you keep your chest of drawers on the front lawn? this project is about

going beyond the reactionary. Dealing with our primal sense of space and

connection to that space.

is the house a cocoon for living? or a glass box for showing? is it architectural

boogie woogie or a hypnotic philip glass symphony? these are the questions

we are posing with these row houses.