Sunday, November 22, 2009
Benzocaine Is Good For
CAAD 2009
The maxxi, photo of Giorgia Meschini 2009
ad una prima e distratta analisi. Il prezzo iniziale dell’opera era di 57 milioni di euro (a fronte dei 157 milioni finali), nessun costo smisurato ma anzi uno dei + contenuti se raffrontato con analoghe strutture museali in giro per l’Europa. 
costato 100 milioni di euro
Porsche museum in Stuttgart Museum du Quay Branly in Paris pubblici o rivestito da lastre avvolgenti in piombo nelle forme degli auditori. L’uso del materiale, mascherato, senza carpirne e sperimentarne le potenzialità è un altro punto di discussione sul quale vale la pena di soffermarsi. Per la costruzione del Guggenheim di Bilbao la doppia pelle di chiusura esterna rappresentò una dicotomia non trascurabile: privare l’apparato strutturale della sua riconoscibilità tecnologica per mascherarlo all’interno di un pacchetto di chiusura a doppia curvatura e di un sistema spaziale in acciaio. La struttura non prendeva parte nella connotazione espressiva e formale del progetto (Frank Ghery scelse una strada ben diversa da quella auspicabile da Nervi o Michelucci). Le forme sinuose and wrapping of Bilbao and the contemporary world are shaped only by the casing to the NC and the CAM design environments introduced in the architectural design and a logical extension of the form as required by their non-mass production. EMP Experience Music Project in Seattle and use the + sign language than on its immediately recognizable. Today Maxxi is the result of significant research on the intrinsic Hadid's concrete, becoming a unique structure within which formal and non- can be distinguished by the fact that structural and functional distribution. Experience brought to a head in the Museum of Rome and the architect of Iraq has faced over the course of their research project from the very earliest jokes.
facendo uso di un sistema strutturale misto in acciaio (evitando la dominanza della tecnologia del calcestruzzo armato senz’altro + costosa nella gestione del cantiere e nel costo del materiale) riunendo l’archivio storico dell’azienda alle 300 vetture della collezione Porsche servendosi di un’immagine architectural dynamic and energetic. 
Porsche museum in Stuttgart Museum du Quay Branly in Paris pubblici o rivestito da lastre avvolgenti in piombo nelle forme degli auditori. L’uso del materiale, mascherato, senza carpirne e sperimentarne le potenzialità è un altro punto di discussione sul quale vale la pena di soffermarsi. Per la costruzione del Guggenheim di Bilbao la doppia pelle di chiusura esterna rappresentò una dicotomia non trascurabile: privare l’apparato strutturale della sua riconoscibilità tecnologica per mascherarlo all’interno di un pacchetto di chiusura a doppia curvatura e di un sistema spaziale in acciaio. La struttura non prendeva parte nella connotazione espressiva e formale del progetto (Frank Ghery scelse una strada ben diversa da quella auspicabile da Nervi o Michelucci). Le forme sinuose and wrapping of Bilbao and the contemporary world are shaped only by the casing to the NC and the CAM design environments introduced in the architectural design and a logical extension of the form as required by their non-mass production. EMP Experience Music Project in Seattle and use the + sign language than on its immediately recognizable. Today Maxxi is the result of significant research on the intrinsic Hadid's concrete, becoming a unique structure within which formal and non- can be distinguished by the fact that structural and functional distribution. Experience brought to a head in the Museum of Rome and the architect of Iraq has faced over the course of their research project from the very earliest jokes.
picture Maurizio Riccardi uindi seppure imperfetta e non priva di difficoltà l’esperienza strutturale del Maxxi in tutta la sua potenza espressiva ed artistica va guardata con profondità e particolare attenzione se raffrontata al panorama culturale e architettonico italiano, così come altrove si guarda con orgoglio a tentativi sperimentali nell’uso del legno o del mattone negli edifici alti,qualora le ricerche siano completamente slegate dall’utile e dalla speculazione, ma appartenenti al settore della ricerca tecnologica) Sebbene l’Italia sia il paese del cemento e dell’asfalto, e degli imbrogli di quartiere, il profilo che le ditte italiane garantiscono all’estero è di assoluta competenza, priva di sprechi o inadempienze nella costruzione… here in Rome is very different happened, unfortunately. The numerous letters of reference to the non-Hadid of the Director of Works (suggesting the resignation) to the management of the site, lack of public funding (arrived staged) and the subsequent detention imposed on the building site (only cost by as many as 22 million €, as the entire cost of restructuring of underground galleries of the Coliseum) L a question of sustainability is a Achilles heel of the museum but for obvious reasons. In 2000, the sensitivity with regard to environmental issues had recently exploded in the heart of its socio-economic implications (although the Scandinavian countries and Germany always include substantial attention to environmental issues) and in our country thanks to a regulatory plan to be absent and evasive no request had been made on environmental performance of the new museum center Via Guido Reni. To better understand the story enough to think of the ease with which the city life of Milan in July 2004 (despite the current withdrawal) have won without any strategy for energy saving, describing the moment of crisis facing our country, and reserve filing of the grossest experiences of the star system is now aware of a very low profile legal and cultural, political, aesthetic, and finally we have been facing. laws
The Milanese killed on Saturday
Get used to this kind of squandering of public finances that could be used in a completely different way, the waste and the rising costs are not attributable to project and even its designer and is therefore a flawed and unrealistic way to look the construction cost without seeing the actual causes and implications (a cost of construction of simple residential buildings, when compared with the situation in Europe, that he sees among the first places in the ranking!) The Milanese killed on Saturday
A museum is by nature an acute within the cultural network of cities. The extraordinary nature of a national museum that embodies the experience of the twentieth century. within the fabric of the Roman Empire and its impact in the media and cultural context within a basically static and timidly pushed innovation, a one time event as controversial. 
It's about putting the system to give / have a similar structure and urban underground in several respects. Without a doubt, the energy that the community will support a building of such a large extent will be high but reluctantly we can not compare what is today the Maxxi compared to the endless blocks outskirts of Rome, mediocre and expensive. To them is due to bleeding of the productive resources of this paese, se non altro per il grande numero e per la speculazione economica che il malaffare conduce e non certo alla costruzione di un singolo museo quale il Maxxi. Il danno è duplice se guardiamo all’impoverimento e alla banalizzazione della periferia romana di queste borgate nate dal nulla,mentre non possiamo non valutare il Maxxi come un arricchimento sostanziale di questa città sotto un profilo culturale moderno e irreprensibile nel dare fiducia al contemporaneo. L’ impatto emozionale entrando all’interno del museo stupisce e crea disorientamenti e capogiri. Quasi si trattasse di una invariante in ogni architettura contemporanea, si guarda con sufficienza ad una spazialità internal explosive, dynamic, Piranesi, which flow its conceptual and symbolic reference. The entire complex is characterized as a fluid moving through and experiencing visual and views go forever unknown and multi verses inside. The architectures that respond to such dictates are not so many in Italy and even less because of an endless diaspora in "critical" that leads our country for years against any architectural design that does not respond to the worrying and sterile concept of national identity (and therefore difficult to locate anyone in our region if not of the houses of ill repute with the exception mentioned above). Rendering very little to fall in love, "that almost nothing" that attaches to the work of architect Moneo, and that seems to have realized Maxxi. Zaha Hadid gluemarket with Lorraine) and with a bit of trouble with 2 questions Salvatore D'Agostino on wilfing :
What is the architect did not know that you appreciate and why? I do not think that we will respond fully to both domande.Non love and do not express preferences for particular architects individually and this for obvious reasons but what + attracts us is the integrity and consistency in the architectural language. So pursuing this ideal model there have always been interested in planning special events in the life of famous architects who have managed to concentrate in a given period (unfortunately limited) an extraordinary work. Research of a language is of primary importance, as well as having important things to say. not misunderstand the term "language" because it has nothing to do with style or formalism or more but these are the basic rules by which the various letters and words combine to form a coherent discourse. Everyone has his own! For example we have always been fascinated by the way the architecture of an anagram of Enric Miralles (to paraphrase some of his writings).
What is the architect did not know that you appreciate and why? I do not think that we will respond fully to both domande.Non love and do not express preferences for particular architects individually and this for obvious reasons but what + attracts us is the integrity and consistency in the architectural language. So pursuing this ideal model there have always been interested in planning special events in the life of famous architects who have managed to concentrate in a given period (unfortunately limited) an extraordinary work. Research of a language is of primary importance, as well as having important things to say. not misunderstand the term "language" because it has nothing to do with style or formalism or more but these are the basic rules by which the various letters and words combine to form a coherent discourse. Everyone has his own! For example we have always been fascinated by the way the architecture of an anagram of Enric Miralles (to paraphrase some of his writings).
L' anagramma è un ricercato disordin
e. Le lettere vengono appositamente accostate in modo casuale per creare una parola melodiosa e ingegnosa per dire qualcos'altro. Questo modo di fare si potrebbe anche definire agli antipodi rispetto ad un purista della lingua che vede nella comprensione dei termini il cardine della comunicazione e dunque del linguaggio stesso. Altro modo di interagire è quello di creare un proprio universo “sintattico” una propria cosmologia dei segni come ad es. un Peter Eisenman ha fatto negli anni della sua formazione. Difficilmente dimentico l'aneddoto che Eisenman racconta rispetto ai suoi anni di insegnamento universitario: “io proponevo ai miei studenti to study Palladio, but no one cares. "
Q uel as a lesson to be learned today from the drawings of Palladio is precisely to find your own vocabulary, the process of training leading to an architect and innovate to break than others. All that I can not see in the architects 'emerging' and unknown to you in some other signals. I can not see a minimum of intellectual depth in design transactions that appear to trace the architectural history of 30 years before, came con ritardo nel nostro paese. Sono deluso nel vedere case che Koolhaas ha concepito 28 anni prima realizzate oggi come cavalli di troia del nostro paesaggio architettonico. Siamo stanchi di vedere che il minimalismo ridotto all'osso tale da diventare così spoglio da non poter disattendere ne entusiasmare nessuno, sia la regola imperante dell'interior design dei posti che frequentiamo quotidianamente.Quindi non posso che guardare con nostalgia al panorama architettonico ormai tramontato di quei personaggi che io e lorena continuiamo ancora con entusiasmo a vedere e rivedere ritrovando in loro il seme della modernità (intesa alla maniera di Zevi).
N
on si può dimenticare e non confrontare
con il presente, la statura architettonica di un giovane Daniel Libeskind che nel “Dossier Como” e nella “line of fire” ha creato tassello su tassello un proprio vocabolario a partire da elementi semplici come la linea, fino a raggiungere l'estrema complessità di un aggregazione anagrammatica di segni nei suoi Rebus (micromegas)e nel renderli materia viva e vibrante.Oggi il progettista Polacco è in deficit di ossigeno e mi vergognerei di aver completamente abbandonato i miei esordi e di rifuggire nel brand e nel sensazionale piuttosto che nell'intimo personale della ricerca architettonica dei primi anni dove riusciva con estrema facilità a spaziare dalla musica alla filosofia creando opere straordinarie.
Sopra: Chamber works di Daniel Libeskind (serie di 24 disegni)
M a gli interlocutori cambiano ed oggi a nessuno + interessa la profondità culturale-processuale e generativa dell'architettura. Nessuno capirebbe,a nessuno importerebbe. Non voglio addentrarmi in una discussione sulle brand architecture di oggi,e sulle dinamiche che portano l'architettura (essendo un potente media) ad esprimersi con meccanismi che sono tipici della vacuità contemporanea (in altro modo non so definirla) ma la perdita di carattere e di vigore progettuale è anche proporzionato alla perdita di una ricerca nel linguaggio proprio di molti di questi signori che avevano illuminato il firmamento dello star sistem in alcuni fecondi periodi della loro vità.Se l'architettura è da sempre un fedele specchio della nostra società,questo è quel che ci meritiamo. Ed in italia è ancora + infido e sciagurato il paesaggio mentale che si riflette in questo specchio dell'anima.
Tra i meno noti,invece, non posso non guardare alle ricerche condotte da
Aadrl e da un manipolo di ragazzi sparsi per il mondo,che si ingegnano e si confrontano con la generosità dei software per creare forme strabilianti ma apparentemente ancora prive di un discorso strutturato. Questo per via delle enormi difficoltà legate alla complessità of these experiences and planning for the partial absence of a real building process that is able to think in terms so avant-garde (but there is much to hope for / of course not in Italy). It is made to sprout seeds for a future waiting to be picked.
Above
AAdrl is a period of transition and therefore difficult to say where we are going with our personal in the shoulder but the important thing as always is to get involved .
Friday, November 20, 2009
G Wagner Bio Cartoonmaxine
Idit, island Torvaianica
I
t stands for island Torvaianica, is a project-theme being studied in the laboratory during
final summary and questions the lack of space at sea along the coast of Torvaianica giving a clear answer: to create new ones on a 'artificial island.
The geometries of the project as the ultimate aim of the close relationship with the sea, visible from any point inside the island.
The idea of \u200b\u200bthe multiverse view gives the design of the property and splitting dematerialize elements in close and long-limbed that protrude and change in the sea to get to meet the functional program of the island.
inside view of the longitudinal body that ends in a panoramic restaurant located in the tip end of Idit.
The pier of arrival changes rapidly in the wellness center, and changes in altitude and section to engage the overhanging upper body and again lowered the plane of the horizon to get in touch with the sea.
I
t stands for island Torvaianica, is a project-theme being studied in the laboratory during final summary and questions the lack of space at sea along the coast of Torvaianica giving a clear answer: to create new ones on a 'artificial island.
The geometries of the project as the ultimate aim of the close relationship with the sea, visible from any point inside the island.
The idea of \u200b\u200bthe multiverse view gives the design of the property and splitting dematerialize elements in close and long-limbed that protrude and change in the sea to get to meet the functional program of the island.
inside view of the longitudinal body that ends in a panoramic restaurant located in the tip end of Idit.
The pier of arrival changes rapidly in the wellness center, and changes in altitude and section to engage the overhanging upper body and again lowered the plane of the horizon to get in touch with the sea.
L '
island and its aim to create a strong mark on the coast of Torvaianica
able to revitalize the expectations of the place even during non-seasonal. The geometries of the project from the early sketches show a willingness to proceed in a dynamic way to represent a synthesis volume in motion, so by borrowing the living and unceasing motion of the sea (with which to compare) in pivotal composizione.Un unaware of the "dynamic progress "exploding in the upper floors of the project where the twisting and bending of the volumes left unreleased tracks in the internal space.
The skyline is thus a strong point of the project along with the system, open spaces still viable even by those who does not enjoy the activities of the health spa or who does not participate in media events and music shows in the Dome. Strolling and sunbathing, boat dock with space travel and also
below the water surface, characterize the system Idit.
above: rotation study / preliminary design sketch.
To see complete projects go to
Crile in progress 
The two projects inside the post for an artificial island on the waterfront of Torvaianica, have been developed within the course of Synthesis in urban composition of Prof. Maurizio Petrangeli by Cristian Lorraine Farinella and Greek / Crile
island and its aim to create a strong mark on the coast of Torvaianica
able to revitalize the expectations of the place even during non-seasonal. The geometries of the project from the early sketches show a willingness to proceed in a dynamic way to represent a synthesis volume in motion, so by borrowing the living and unceasing motion of the sea (with which to compare) in pivotal composizione.Un unaware of the "dynamic progress "exploding in the upper floors of the project where the twisting and bending of the volumes left unreleased tracks in the internal space.
The skyline is thus a strong point of the project along with the system, open spaces still viable even by those who does not enjoy the activities of the health spa or who does not participate in media events and music shows in the Dome. Strolling and sunbathing, boat dock with space travel and also
below the water surface, characterize the system Idit.
above: rotation study / preliminary design sketch.
To see complete projects go to
Crile in progress The two projects inside the post for an artificial island on the waterfront of Torvaianica, have been developed within the course of Synthesis in urban composition of Prof. Maurizio Petrangeli by Cristian Lorraine Farinella and Greek / Crile Sunday, October 25, 2009
Pregnancy Confirmation Letter
Musa anyone
The choice of a good color pattern appears to be no trivial to change the perception of the daily and long-standing internal space of your home space. Choice insidious that we have faced together with Cyrus and the inside of the house Riccardi.
a pinkish tone predominates in neutral hue with which we have painted walls and ceiling while a purple gloss comes in perfect balance with the red color of the cooking area.
Choosing a design stamped in negative color, achieved by using adhesive tape and a very short time, proved to be an element unusual chromatic harmony of the environment.
not often get to do all of the customers who have full confidence in the choice of progettisti.Casa Riccardi was an excellent work experience and an excellent achievement made with care and in no time.
The choice of a good color pattern appears to be no trivial to change the perception of the daily and long-standing internal space of your home space. Choice insidious that we have faced together with Cyrus and the inside of the house Riccardi.
a pinkish tone predominates in neutral hue with which we have painted walls and ceiling while a purple gloss comes in perfect balance with the red color of the cooking area.
Choosing a design stamped in negative color, achieved by using adhesive tape and a very short time, proved to be an element unusual chromatic harmony of the environment.
not often get to do all of the customers who have full confidence in the choice of progettisti.Casa Riccardi was an excellent work experience and an excellent achievement made with care and in no time.
Thursday, September 17, 2009
How To Make Komboskini Bracelets
The first snow
The First snow "fall" of 2009 to fall Misurina on Monday September 14th .... 
The First snow "fall" of 2009 to fall Misurina on Monday September 14th .... Tuesday, September 1, 2009
What Glue To Use On Bath Doors
Beyond the sense of place
Il contenuto del post è una breve e sintetica trattazione (un promemoria) della ricerca svolta per l'esame di
Storia dell'architettura contemporanea
della prof. Alessandra Muntoni
.
I l sottile filo che lega l’uso della linea come strumento progettuale,intenzionalmente simbolico,nella storia dell’architettura contemporanea conferma la definizione quasi fisica che Vasilij Vasil'evič Kandinskij ne dà ai tempi in cui l’artista d’avanguardia insegnava alla scuola del Bauhaus volendo abolire la mera considerazione that the line is a simple combination of points. "In terms of graphics" objective "there are engravings which consist only of points, where points should give the illusion of the line. It 'clear that, at the base, in this case, there is an unwarranted use of the point, which weakened and oppressed by the adjective in the sound, is sentenced to a pseudo life miserable. "From" point, line, surface, "p. . 53-54 .**
Il contenuto del post è una breve e sintetica trattazione (un promemoria) della ricerca svolta per l'esame di
Storia dell'architettura contemporanea della prof. Alessandra Muntoni
.
I l sottile filo che lega l’uso della linea come strumento progettuale,intenzionalmente simbolico,nella storia dell’architettura contemporanea conferma la definizione quasi fisica che Vasilij Vasil'evič Kandinskij ne dà ai tempi in cui l’artista d’avanguardia insegnava alla scuola del Bauhaus volendo abolire la mera considerazione that the line is a simple combination of points. "In terms of graphics" objective "there are engravings which consist only of points, where points should give the illusion of the line. It 'clear that, at the base, in this case, there is an unwarranted use of the point, which weakened and oppressed by the adjective in the sound, is sentenced to a pseudo life miserable. "From" point, line, surface, "p. . 53-54 .**
above: drawings Lebbeus Woods
L
line now presented
defined as "invisible entity" produced by external forces of motion is not adopted and embraced by the architecture only in its weak graphics, but use as enzyme dynamic spokesman for meaning by which to identify the cultural backgrounds of its origin. The phenomenon of Art Nouveau is an inspiring example of living a spirit of dialectical and two-way towards understanding how the line force field alive and reagent to each stimulus from the outside. The concept è mutuato dalla natura, presa a prestito come soggetto ispiratore e organigramma formale del “nuovo linguaggio”.
La linea diviene strumento omnicomprensivo del quale innamorarsi e dentro al quale perdersi e volteggiare vorticosamente.L’art nouveau fa della linea un tool progettuale per distinguere lo spazio pensato da quello solo immaginato ed intuibile attraverso la metafora costante della natura e della linea forza.
Sopra: Parodia di Van de Velde disegnata da Van der Bloede
L’ architetto e designer belga Van de Velde the attention raises for the first
empathetic relationship between the line and its designer, tying in the concept of force. The "
line-force"
In the house of Dr. Tassel (above) Victor Horta decides to give expression to the railing drawing the intricate plot and the ramifications of the leaves from which emerges a slender cast-iron barrel explodes Ribbon in the capital and phytomorphic terminal that supports the structural soffit of the stairs.
L
line now presented defined as "invisible entity" produced by external forces of motion is not adopted and embraced by the architecture only in its weak graphics, but use as enzyme dynamic spokesman for meaning by which to identify the cultural backgrounds of its origin. The phenomenon of Art Nouveau is an inspiring example of living a spirit of dialectical and two-way towards understanding how the line force field alive and reagent to each stimulus from the outside. The concept è mutuato dalla natura, presa a prestito come soggetto ispiratore e organigramma formale del “nuovo linguaggio”.
L’ architetto e designer belga Van de Velde the attention raises for the first
empathetic relationship between the line and its designer, tying in the concept of force. The "
line-force"
fact "
transmits the force and energy of what has drawn
" allowed within a historical movement of resistance from the industrial age, which may be termed the ' Art Nouveau, to move from one line concept understood as defining the limits of the geometric object instead of coming to a line that manages to convey the characteristics of the bourgeoisie of the early nineteenth century. Bourgeoisie and nature are ideologically merged and weighted at one o'clock ' other in una parallelismo atto a dimostrare la fruizione del potere anziché il suo conseguimento. Borghesia vitale,borghesia libera,borghesia creativa,borghesia opulenta. Borghesia che non ha alcuna necessità di essere morale. E poi ancora borghesia fiera che rifiuta l’eclettismo,inteso come saccheggio storico. Borghesia elevata a concetto di natura viva e orgogliosa . Ma non è cosi rapido e netto il collegamento tra natura e linea. La natura di cui si fa portavoce la linea è quella già “estetizzata” da Blake e Morris. Una linea carica di significato ma anche di contraddizione allo stesso tempo. Svela il conflitto più grave dell’art nouveau e cioè il rapporto con i materiali e la storia On the one hand, the rejection of progress, understood as a dehumanization of the other series and manufacturability in the procedure receives the machine. Use the iron, but in a non-reproducible. transmits the force and energy of what has drawn In the house of Dr. Tassel (above) Victor Horta decides to give expression to the railing drawing the intricate plot and the ramifications of the leaves from which emerges a slender cast-iron barrel explodes Ribbon in the capital and phytomorphic terminal that supports the structural soffit of the stairs.
S
oltanto the term "abstraction" (as a simplification of the elements and
multiplication of meanings) of Mackintosh welcomed by Hoffman, the line acquires the power of design method, defined as decomposition of the volume. The continuum internal, emanating from the unique dining room with double height Stocket Palace (which has the frieze by Gustav Klimt image) exactly matches all'unicum outside line that defines the boundary. For the first time the line breaks down the volume on the surface because it is specially remarked by a curb Copper embossed decoration. The experience is not dissimilar to that of the Sanatorium of the same architect, where the line wants to emphasize a kind of freehand marking the attack on the sky.
above Stoclet Palace Josep Hoffman
It 's the straight line, therefore, free from imitation and curves that is better able to split the marble walls and create a continuous coil that highlights the theme of the square, with dear Hoffman, and hence of the surface. It 's the first step towards starting the movement that comes from Cubism to De Stijl. The reductions and invariant in the desire to reduce architecture to a single fund will bring the De Stijl inevitably the topic of "composition" or "breakdown" in the primary elements and "abstract" (to return to Mackintosh). Inevitably, therefore, the close relationship between Palace and Stocket
House
Rietveld Schröder. 
ltra A key issue in contemporary architecture is that of narrative. The appearance narrative and the relationship with history has always crossed cultures and designers at the service of different nationalities. Emblematic the case of Daniel Libeskind and his irrational and wholly original approach to the study of architecture in line. Libeskind draw the largest and most significant research on the subject, challenged the basic concept of Euclidean space and perspective of history as well as conventional rational sequence data. The architect is going through a relationship with the particular history and chooses to be between zero and infinity. " His writings, drawings and collages defy any classification for its originality and conceptual depth. Above: Chamber works by Daniel Libeskind (set of 24 drawings) see drawings
Since the Chamber works (a series of 24 drawings of 1983) Libeskind proposes abstract processes and studies that have much in common with the known teachings by Kandinsky at the school of Bauhauas, focusing in particular on line and leaving about a timeline, and bode well to the space above the urban context or the same globe, placing well above a small reference system and escape through collage in art and design as a representation syntactic alternative realities. "Micromegas" and the conceptual work of the young Libeskind are daughters of a cultural climate load Libeskind intellectual depth with which it comes into contact within the Cooper Union Direct Hejduck. This approach assumes the paradigm of the irrational. Libeskind claims that the best works come from the irrational, but what prevails in the world, dominating and often kills, is always in the name of ragione.A difference in the work of the same year as Delirious New York, the paper-work architectures or that operated by disassembling and rebuilding the city in a continuous process of review language of architecture, against the work of Daniel Libeskind does not have a physical object of study but are the basis of experiments to produce a new line is no longer descriptive sintassi.La but prefigurative (foreshadows possible scenarios in a space time and space with infinite lives, as if it were a representation of infinite Escher)
To decode and encode the space, the architect uses the rebus, freed from fixed rules and limitations in interpreting and using the same times + "matrix" composition. This intensive theoretical work and study together with the machinery of memory exhibited at the Venice Biennale of Aldo Rossi's background to the competition for the Holocaust museum in Berlin where the syntax has now been in the line and the conceptual world of Libeskind will meet a real theme architecture. Above: Holocaust Museum in Berlin (architect Daniel Libeskind)
This project could be described as two lines that meet at several points and that could continue to do so countless times. The story of two peoples, Jewish and German, is outlined and trivialized in just two lines: one o'clock zigzagging, straight and impetuous the other, clashing in the contact points that tell "the unspeakable", the drama of ' Holocaust and the line becomes sterminio.La narrative, to tell the drama and fragments of history without a consequential time-definite, but pulled through with all the emotional charge that knows how to move the building through its cracks (real wounds to the skin of zinc Gray and suffering of the sides) and his unstable path and dotted with silent places and inaccessible (metaphor and the extermination of that which can not be told but only lies in its dramatic expression +) L line carrier is another issue being studied by Lebbeus Woods. Lebbeus Woods is compared often to the city in contrast to D. Libeskind, but his work like Piranesi, are free from any kind of restriction of the freedom to proclaim the architectural imagination in a visionary concept. The line of the sketch and use are essential to imagine scenarios of architectural invention and imagination. His "war of cities" urban studies in which images are to rebuild the city devastated by war or catastrophic events such as earthquakes (the reference to history and coming back to the case of Haiti is just one of the last post of Lebbeus these days). Two are the most emblematic cases: Berlin free zones and Terrain 190 The first, after the fall of the wall and the upcoming redevelopment in parts of the devastated city of Berlin, is faced thinking about the system voids and urban ruins of war in mending section buildings and urban spaces through the graft in the rubble of threadlike structures that cross mark with different colors and the various stories related to the disaster. Terrain 190 is instead a study where the sketches are fragmented and the dynamism of the composition investigate and reflect on the scene of devastation that an earthquake can generate. Returning to Berlin (which seems to be a keystone in the history of our civilization this past century) is to be compared to the state of Israel today where another wall was built in part, to divide the two peoples once again. No more East and West Germany but Palestinians against Israelis. LW feels D. Libeskind belong to the problem as he found himself at the time to tell the drama of the people jew and his own parents (miraculously escaped the Holocaust). The wall game uses the line and the line vortex and Woods broke prematurely to avoid the tragedy of yet another war. Proposes to play with the parts already built the wall (like a ping pong table, the rest of the metaphor of the board game is already served in the climate of détente between China and the U.S. in the past, through sport and the Olympics) with assistance from balancing both sides of the wall and perhaps the fate of that war tension. engineers architects and artists working on both sides (both Palestinians che Israeliani) ma per giocare assieme( metafora della pace) e non contro. Se una delle due parti vincesse sbilancerebbe con il suo peso il muro e ne decreterebbe il collasso strutturale ossia la fine del gioco. Woods al contrario di molti architetti crede che l’architettura abbia il dovere morale di migliorare l’umanità.I suoi lavori e le sue incredibili riflessioni sul mondo contemporaneo sembrano incoraggiare questo atteggiamento sconosciuto agli architetti dello star system odierno. La sua “linea” ed il suo mondo di tratti e spezzate polarizzate quasi si trattasse di vettori orientai nelle molteplici direzioni hanno in se la forza della carica visionaria e della speranza di un miglioramento sociale. Se Daniel Libeskind descrive frammenti di storia and uses the architecture to tell, Woods uses the architecture with a role of ethics by basing his work on a constant political debate, substantial and real, then, for the times we live visionary.
Crile
*
"The thin white line "is a text in afterhours" Ballads for Little Hyenas "
ltra A key issue in contemporary architecture is that of narrative. The appearance narrative and the relationship with history has always crossed cultures and designers at the service of different nationalities. Emblematic the case of Daniel Libeskind and his irrational and wholly original approach to the study of architecture in line. Libeskind draw the largest and most significant research on the subject, challenged the basic concept of Euclidean space and perspective of history as well as conventional rational sequence data. The architect is going through a relationship with the particular history and chooses to be between zero and infinity. " His writings, drawings and collages defy any classification for its originality and conceptual depth. Above: Chamber works by Daniel Libeskind (set of 24 drawings) see drawings
Since the Chamber works (a series of 24 drawings of 1983) Libeskind proposes abstract processes and studies that have much in common with the known teachings by Kandinsky at the school of Bauhauas, focusing in particular on line and leaving about a timeline, and bode well to the space above the urban context or the same globe, placing well above a small reference system and escape through collage in art and design as a representation syntactic alternative realities. "Micromegas" and the conceptual work of the young Libeskind are daughters of a cultural climate load Libeskind intellectual depth with which it comes into contact within the Cooper Union Direct Hejduck. This approach assumes the paradigm of the irrational. Libeskind claims that the best works come from the irrational, but what prevails in the world, dominating and often kills, is always in the name of ragione.A difference in the work of the same year as Delirious New York, the paper-work architectures or that operated by disassembling and rebuilding the city in a continuous process of review language of architecture, against the work of Daniel Libeskind does not have a physical object of study but are the basis of experiments to produce a new line is no longer descriptive sintassi.La but prefigurative (foreshadows possible scenarios in a space time and space with infinite lives, as if it were a representation of infinite Escher)
To decode and encode the space, the architect uses the rebus, freed from fixed rules and limitations in interpreting and using the same times + "matrix" composition. This intensive theoretical work and study together with the machinery of memory exhibited at the Venice Biennale of Aldo Rossi's background to the competition for the Holocaust museum in Berlin where the syntax has now been in the line and the conceptual world of Libeskind will meet a real theme architecture. Above: Holocaust Museum in Berlin (architect Daniel Libeskind)
This project could be described as two lines that meet at several points and that could continue to do so countless times. The story of two peoples, Jewish and German, is outlined and trivialized in just two lines: one o'clock zigzagging, straight and impetuous the other, clashing in the contact points that tell "the unspeakable", the drama of ' Holocaust and the line becomes sterminio.La narrative, to tell the drama and fragments of history without a consequential time-definite, but pulled through with all the emotional charge that knows how to move the building through its cracks (real wounds to the skin of zinc Gray and suffering of the sides) and his unstable path and dotted with silent places and inaccessible (metaphor and the extermination of that which can not be told but only lies in its dramatic expression +) L line carrier is another issue being studied by Lebbeus Woods. Lebbeus Woods is compared often to the city in contrast to D. Libeskind, but his work like Piranesi, are free from any kind of restriction of the freedom to proclaim the architectural imagination in a visionary concept. The line of the sketch and use are essential to imagine scenarios of architectural invention and imagination. His "war of cities" urban studies in which images are to rebuild the city devastated by war or catastrophic events such as earthquakes (the reference to history and coming back to the case of Haiti is just one of the last post of Lebbeus these days). Two are the most emblematic cases: Berlin free zones and Terrain 190 The first, after the fall of the wall and the upcoming redevelopment in parts of the devastated city of Berlin, is faced thinking about the system voids and urban ruins of war in mending section buildings and urban spaces through the graft in the rubble of threadlike structures that cross mark with different colors and the various stories related to the disaster. Terrain 190 is instead a study where the sketches are fragmented and the dynamism of the composition investigate and reflect on the scene of devastation that an earthquake can generate. Returning to Berlin (which seems to be a keystone in the history of our civilization this past century) is to be compared to the state of Israel today where another wall was built in part, to divide the two peoples once again. No more East and West Germany but Palestinians against Israelis. LW feels D. Libeskind belong to the problem as he found himself at the time to tell the drama of the people jew and his own parents (miraculously escaped the Holocaust). The wall game uses the line and the line vortex and Woods broke prematurely to avoid the tragedy of yet another war. Proposes to play with the parts already built the wall (like a ping pong table, the rest of the metaphor of the board game is already served in the climate of détente between China and the U.S. in the past, through sport and the Olympics) with assistance from balancing both sides of the wall and perhaps the fate of that war tension. engineers architects and artists working on both sides (both Palestinians che Israeliani) ma per giocare assieme( metafora della pace) e non contro. Se una delle due parti vincesse sbilancerebbe con il suo peso il muro e ne decreterebbe il collasso strutturale ossia la fine del gioco. Woods al contrario di molti architetti crede che l’architettura abbia il dovere morale di migliorare l’umanità.I suoi lavori e le sue incredibili riflessioni sul mondo contemporaneo sembrano incoraggiare questo atteggiamento sconosciuto agli architetti dello star system odierno. La sua “linea” ed il suo mondo di tratti e spezzate polarizzate quasi si trattasse di vettori orientai nelle molteplici direzioni hanno in se la forza della carica visionaria e della speranza di un miglioramento sociale. Se Daniel Libeskind descrive frammenti di storia and uses the architecture to tell, Woods uses the architecture with a role of ethics by basing his work on a constant political debate, substantial and real, then, for the times we live visionary.
Crile
*
"The thin white line "is a text in afterhours" Ballads for Little Hyenas " boards zoomable images of the other assembly is maintained by Crile. For a better understanding and insights:
Architecture in the electronic age,
Alessandra Muntoni Architecture in the electronic age,
, publisher Mancosu
Outlines of the history of contemporary architecture, Alessandra Muntoni, publisher Laterza
The building Stoclet Josef Hoffmann, Alessandra Muntoni, Bonsignori
Understanding Media, Marshall McLuhan, Net Point, Line, Surface, Wassily Kandinsky, Adelphi
Without Walls: An Interview with Lebbeus Woods
Outlines of the history of contemporary architecture, Alessandra Muntoni, publisher Laterza
The building Stoclet Josef Hoffmann, Alessandra Muntoni, Bonsignori Understanding Media, Marshall McLuhan, Net Point, Line, Surface, Wassily Kandinsky, Adelphi
Without Walls: An Interview with Lebbeus Woods Saturday, August 29, 2009
Swot Analysis For Salon
The T / Island Torvaianica
Insights and reflections on the course CAAD 09 \u0026lt;\u0026lt;
kimono Why? At the word "kimono, or" susohiki "(would be the ceremonial kimono) are associated with four key terms related to architecture and constructively in the information revolution as the role of the geisha in the revolution era Tokugama. There are four terms that make it easy, concatenation, the substantial difference between the geisha and the mere prostitute (Tayuu) and between the functional architecture and the architecture of narrative. Two seemingly very different, but linked concepts of: functionalities and protection symbol
seduction and
nomadism
to the point that I will try to describe the "third wave" through the metaphor of the kimono.
Main
see lesson prof. Wise \u0026lt;\u0026lt;
Insights and reflections on the course CAAD 09 \u0026lt;\u0026lt;
kimono Why? At the word "kimono, or" susohiki "(would be the ceremonial kimono) are associated with four key terms related to architecture and constructively in the information revolution as the role of the geisha in the revolution era Tokugama. There are four terms that make it easy, concatenation, the substantial difference between the geisha and the mere prostitute (Tayuu) and between the functional architecture and the architecture of narrative. Two seemingly very different, but linked concepts of: functionalities and protection symbol
seduction and
nomadism
to the point that I will try to describe the "third wave" through the metaphor of the kimono.
Main see lesson prof. Wise \u0026lt;\u0026lt;
A >> The kimono for a geisha, as well as architecture, might be considered obsolete in the role of mere protection. A garment like another, efficient, functional, indispensable, "mechanical" .. except that a geisha kimono does not choose a convenient and comfortable, but a ceremonial kimono. Longer than normal, padded at the end to make it fall down, then lift it with a gesture called hashori uncomfortable. Why?
above: Zen garden at the headquarters of UNESCO
above: Zen garden at the headquarters of UNESCO 
Keeping this kind of parallelism with the architecture, one could say that there is Japan was also a stage in the world be a "mechanistic" in which the role of the geisha, played in this time range from "men of pleasure," was mere "entertainment." The revolution accomplished by the appearance of women (which soon took possession of this role) is in the symbol. Geisha then it is not only entertainment but becomes bleak IKI, art of seduction, the teahouse gradually moving away from entertainment and business people.
's kimono so that the leaves of the characteristic features (like Sidney had left the House in the historic leap made by Utzon), but becomes an instrument of art and at the same time for recognition. Evolves into narrative. The ritual of dressing up in kimono is then enriched with a code, a customization and symbols.
"Geisha reasons prefer a bit 'unusual, different from the usual peonies and plum blossoms that abound on the kimono of the" other. "The difference, however, especially in the way wear: the geisha
pull back the collar of his kimono, revealing the entire neck,
considered a focal point of Japanese eroticism, and the lowest wear the obi with a bow at the waist and slightly tilted with respect to such a woman married, while the white collar of his Nagajuban
protrude from under the kimono a little more and maybe in an asymmetrical way. Small details, but very clear to those who know the code of the kimono "
But the art of seduction in itself has another feature, in my view, closely linked to architecture: being nomads.
Prestinenza Puglisi writes in "average" (go to link>>) :
"art you just have to compromise with life, in which the event is becoming truer and higher" is thus a lack of an aesthetic postulates of Western culture: the conception of the aesthetic object as structured time Opposition-permanent monument as Horace would say, with respect to ownership of the future ".
Here is the link with the architecture that informs, and is not recognized in the mechanical process. 's kimono so that the leaves of the characteristic features (like Sidney had left the House in the historic leap made by Utzon), but becomes an instrument of art and at the same time for recognition. Evolves into narrative. The ritual of dressing up in kimono is then enriched with a code, a customization and symbols.
"Geisha reasons prefer a bit 'unusual, different from the usual peonies and plum blossoms that abound on the kimono of the" other. "The difference, however, especially in the way wear: the geisha
pull back the collar of his kimono, revealing the entire neck,
considered a focal point of Japanese eroticism, and the lowest wear the obi with a bow at the waist and slightly tilted with respect to such a woman married, while the white collar of his Nagajuban
protrude from under the kimono a little more and maybe in an asymmetrical way. Small details, but very clear to those who know the code of the kimono "
But the art of seduction in itself has another feature, in my view, closely linked to architecture: being nomads.
Prestinenza Puglisi writes in "average" (go to link>>) : "art you just have to compromise with life, in which the event is becoming truer and higher" is thus a lack of an aesthetic postulates of Western culture: the conception of the aesthetic object as structured time Opposition-permanent monument as Horace would say, with respect to ownership of the future ".
's funny how this definition
INTERRELATION . is so dumb that the Geisha, is transformed, not binds but changes depending on the person with whom you relate, you know to be sad, knows how to be happy, knows how to be tenacious, be known to be fragile .. knows everything and does not crystallize. born to applicabilissima architecture is the role of the geisha.
The art of seduction, storytelling, metaphors for the proceeding, it is rooted in time and people's lives but
The art of seduction, storytelling, metaphors for the proceeding, it is rooted in time and people's lives but
evocation and narration, are now consolidated aspects of architecture ...
B >> The years of Sidney House three events that I try to sum up, move in a otherwise the four words listed at the beginning, which mark the transition from different players with the machine "Narrative". were the years of capitalism, the Enlightenment myth of the machine for living lecorbuseiana and made of "space crystallized Heideggeriano.In this historical context, leaving a second chapter by Utzon, crave space so-called" utopia "for example AMAZING ARCHIGRAMM group. The challenges of the group will remain suspended in a limbo until 40 years later, until receipt of their message by Koolhaas, Nouvel or the same Ito, yet mark a moment of conscience and break planning hitherto conceived. ; 1 "WALKIN G CITY" 1964
Mark in a decisive step brusco tra la "FUNZIONALITA' E IL NOMADISMO" (di cui accennavo sopra). Gli archigram immaginano una megastruttura mobile,indipendente dal suolo e dotata di bracci telescopici per collegarsi con le altre "walking cities" oppure con le vecchie "old cities". La città non è dunque da loro progettata secondo processi di zoning,di calcolo urbano,di sovrapposizione di layer rigidi..rimane macchina,ma macchina mobile. Macchine in grado di accogliere l'habitat umano ipertecnologico.
>> Click here for more
2 "New Babylon" 1973 "
- static organization of space is incompatible with the continuous changes in behavior that can be produced in a society without work. The fun activities will inevitably lead to a more dynamic space. [...] Since
- not need to travel fast, it can intensify and complicate the use of space, which for him is mostly a playground, adventure and exploration. " (Constant, "Dynamic Space" 1973) Utzon and Constant evidently share Anti-utilitarianism, capitalism, to rigid systems of power. That's why Constant repeats this theme fresh and new for the architecture that goes by the name of "LUDISMO revolutionary" New Babylon
- associate the term with that symbol of nomadism. Architecture and landscape are the same thing, without borders, without property, without anything of cristallizzato.L 'architecture acquires the dignity of man becoming, LIFE.
- New Babylon Constant, 1973
- Professor. Anthony Wise (in the information architecture, in Furio Barzon, paper, Zurich) writes:
- "In short the architecture may react, but it can also inter-react and that adapt to changing desires of the people traveled through scenarios as if they were a hypertext"
- Is this the shift constant in 'to have anticipated what will be one of the cornerstones of the revolution in computer architecture.
- New Babylon Constant, 1973
- 3 SIDNEY HOUSE-Utzon. A close since the jump to the mechanistic information from the passage FEATURES 'AT SYMBOL BY SYMBOL TO SEDUCTION DELLE FORME totalmente svincolate da logiche di funzionamento. Il contenitore parla il linguaggio della metafora ed è finalmente libera da logiche di linearità nella lettura. I gusci sono metafora ed interpretazione.
- Sidney house,terminata nel 1973, dettaglio delle vele. Shime-nawa. All’entrata del tempio Izuma-Taisha Approfondimenti e riflessioni sul corso CAAD 09 Modernità crisi e information tecnology <<
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