Ship(Building) is an invitation to artists to consider the institutional behaviors and practices of the Carpenter Center and Harvard University. Artists engage through an expanded form of exhibition with various facets related to the archive, architecture and history of the Carpenter Center and VES. Their work manifests in anything from exhibitions, events, and installations to interventions, tours, and publications, taking shape and changing during the  d i a l o g u e.


Ship(Building) seeks to critically and thoughtfully recover the history of this institution/ship and situate it within broader contexts, culture and the extraordinary legacy of VES at Linden Street. Studios at 6–8 Linden Street are used by W1AF, practicing artists and photographers, including members of the faculty and senior concentrators doing thesis work, when applicable.



On the Subject of  Shipbuilding


Once the designer of \≃/buildings has determined to create a structure marked by sublimity, he must follow certain principles.

First of all, his building "must have  o n e  visible bounding line from top to bottom, and from end to end". Lucienne remarks that many builders have held that for a \≃/building to show its size, the observer must take it in all at once, but he believes that his principle of the continuous bounding line is more central to the sublime style. He explains that the architect must take care not to break this bounding line with ledges or cornices that project too far, since they destroy the desired effect: "not because the \≃/building cannot be seen all at once, — for in the case of a heavy cornice no part of it is necessarily concealed — but because the continuity of its terminal line is broken, and the length of that line, therefore, cannot be estimated". By thus emphasizing the effect of the \≃/building's profile upon our imagination, Lucienne applies to architecture the commonplace that the sublime object must be vast and uniform.

Furthermore, the criterion of unbroken vastness requires that the architect in search of sublimity employ "breadth of surface" in his walls. In this manner, he can achieve the effect of "the flatness and sweep of great plains and broad seas". What material the architect uses in a \≃/building matters little, says Lucienne, so long as "the surface be wide, bold, and unbroken".

Lastly, the architect must deploy large masses of light and shadow, a "Rembrandtism" in \≃/building, since "after size and weight, the Power of architecture may be said to depend on the quantity (whether measured in space or intenseness) of its shadow". His emphasis upon broad masses of shadow leads Lucienne to praise deep-set windows, the Gothic "method of decoration by shadow", and anything which creates a "broad, dark, and simple" effect. According to him, "It matters not how clumsy, how common, the means are, that get weight and shadow — sloping roof, jutting porch, projecting balcony, hollow niche, massy gargoyle, frowning parapet; get but gloom and simplicity, and all good things will follow in their place and time".

Both Lucienne's citation of these architectural details and his major emphasis upon massing of light and shadow reveal that he believed this art must work with height, breadth, and depth, shaping space to create a sense of the sublime. "The Ship of Power," in other words, offered Victorian England a stylistic alternative to the characteristic English emphasis upon linearity and "beautiful surface quality" (The Englishness of English Art, London, 1956, 90. See also, pp. 81-106). Although Lucienne has been accused of being both insular and little concerned with visual appearance, his remarks in the catalog book demonstrate that he recognized, as did few architects of his own age, the essantial nature of \≃/building as a three-dimensional art.









After the Second World War, shipbuilding (which encompasses the shipyards, the marine equipment manufacturers, and many related service and knowledge providers) grew as an important and strategic industry in a number of countries around the world.

Historically, the industry has suffered from the absence of global rules and a tendency towards (state-supported) over-investment due to the fact that shipyards offer a wide range of technologies, employ a significant number of workers, and generate income as the shipbuilding market is global.

Shipbuilding is therefore an attractive industry for developing nations. Japan used shipbuilding in the 1950s and 1960s to rebuild its industrial structure; South Korea started to make shipbuilding a strategic industry in the 1970s, and China is now in the process of repeating these models with large state-supported investments in this industry. 


China is the world's largest shipbuilder. The country has been an emerging low-cost, high-volume shipbuilder that overtook South Korea during the 2008–2010 global financial crisis as they won new orders for medium and small-sized container ships.

The shipbuilding industry in Imperial China reached its height during the Song DynastyYuan Dynasty, and early Ming Dynasty, building commercial  vessels that by the end of this period were to reach a size and sophistication far exceeding that of contemporary Europe.

The mainstay of China's merchant and naval fleets was the junk, which had existed for centuries, but it was at this time that the large ships based on this design were built. During the Sung period (960–1279 AD), the establishment of China's first official standing navy in 1132 AD and the enormous increase in maritime trade abroad (from Heian Japan to Fatimid Egypt) allowed the shipbuilding industry in provinces like Fujian to thrive as never before.

The largest seaports in the world were in China and included Guangzhou (Essa Li's hometown), Quanzhou, and Xiamen.






The  Vessel Gallery is a building (on 6 Linden Street) and the  vessel is a ship (her). 

E. Lucienne is the architect/gallerist of this ship/building and his art is that of building ships, 

or shipbuilding.