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; 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
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 ". 's funny how this definition
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
Here is the link with the architecture that informs, and is not recognized in the mechanical process.
evocation and narration, are now consolidated aspects of architecture ...
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 <<
montaggio e scelta delle immagini a cura Crile of author of the post:
Prestinenza Puglisi writes in "average" (go to link>>) : 
0 comments:
Post a Comment