Art visual np2

Following is an extract of a beautiful series of pictures of Shipwreck. I really like the timeless aspect of those ships waitng their slow destruction by outside elements. They looks like ruins in a desert, with no real scale ... just amazing!

Following is an extract of a beautiful series of pictures of Shipwreck. I really like the timeless aspect of those ships waitng their slow destruction by outside elements. They looks like ruins in a desert, with no real scale ... just amazing!

" Homme libre, toujours tu cheriras la mer ", wrote Charles Baudelaire in his Fleurs du Mal (L'Homme et la Mer), which basically mean that free men will always love the sea. For this coming month of july, we decided to create a new thematic about the sea. Once again we don't know exactly where we are going, but this theme appears to us as a large field of more or less architectural experimentation, which may be a bit low-mediatised. So let's dive and we'll see what we'll fish... picture: Jacques Rougerie 's submarine villages

" Homme libre, toujours tu cheriras la mer ", wrote Charles Baudelaire in his Fleurs du Mal (L'Homme et la Mer), which basically mean that free men will always love the sea. For this coming month of july, we decided to create a new thematic about the sea. Once again we don't know exactly where we are going, but this theme appears to us as a large field of more or less architectural experimentation, which may be a bit low-mediatised. So let's dive and we'll see what we'll fish... picture: Jacques Rougerie 's submarine villages

Here is an article on NDLR starting from Werner Herzog's short movie La Souffriere introducing the town Saint Pierre (Guadeloupe) empty from its inhabitants because of eruption risk (La Souffriere is the local vulcano). From then, NDLR presents Nicolas Moulin (Paris) and Masakata Nakano 's (Tokyo) work. We could add to this article two movies: Vanilla sky (Cameron Crowe) and Seuls two (Eric Judor & Ramzy Bedia)

Here is an article on NDLR starting from Werner Herzog's short movie La Souffriere introducing the town Saint Pierre (Guadeloupe) empty from its inhabitants because of eruption risk (La Souffriere is the local vulcano). From then, NDLR presents Nicolas Moulin (Paris) and Masakata Nakano 's (Tokyo) work. We could add to this article two movies: Vanilla sky (Cameron Crowe) and Seuls two (Eric Judor & Ramzy Bedia)

I have just found this video on Vimeo and I'm glad to share it with you, Surface is a short movie by graduate students of the Parson New School of design . The camera is filming under a translucent ground, following people activities in public or private spaces. We can notice the eye dropping work of ground textures and uses. It's great visualisation of our house and urban environement with the beauty of the undefined bodies that move around like unknown people in a city. Enjoy! SURFACE : A film from underneath from tu on Vimeo . Directed by: TU+// Varathit Uthaisri Sound: Plum// Napat Snidvongs DP: Jun Oshima Production: Tong// Thitawan Chaiwong Original Set design idea : Richi Owaki More info here in the same style here

I have just found this video on Vimeo and I'm glad to share it with you, Surface is a short movie by graduate students of the Parson New School of design . The camera is filming under a translucent ground, following people activities in public or private spaces. We can notice the eye dropping work of ground textures and uses. It's great visualisation of our house and urban environement with the beauty of the undefined bodies that move around like unknown people in a city. Enjoy! SURFACE : A film from underneath from tu on Vimeo . Directed by: TU+// Varathit Uthaisri Sound: Plum// Napat Snidvongs DP: Jun Oshima Production: Tong// Thitawan Chaiwong Original Set design idea : Richi Owaki More info here in the same style here

Online magazine Triple Canopy has released its third issue called Urbanisms: Model Cities . I particularly recommend the article The City that built itself by Joshua Bauchner about Caracas.

Online magazine Triple Canopy has released its third issue called Urbanisms: Model Cities . I particularly recommend the article The City that built itself by Joshua Bauchner about Caracas.

Streets are rivers, back-alley are affluents, you're walking within a 10cm high water to reach work, monsoon starts !

Streets are rivers, back-alley are affluents, you're walking within a 10cm high water to reach work, monsoon starts !

Here is a very interesting interview of Stephen Graham by Brian Finoki (talented webmaster of subtopia ) tackling the relationship of architecture and transcendental control in a warfare society as defined by Antonio Negri and Michael Hardt's Empire .

Here is a very interesting interview of Stephen Graham by Brian Finoki (talented webmaster of subtopia ) tackling the relationship of architecture and transcendental control in a warfare society as defined by Antonio Negri and Michael Hardt's Empire .

Yves Marchand and Romain Meffre are photographers who released a serie about those american theaters built in the beginning of the XXth century which function evoluated depending on the society's needs and sometimes even became ruins. Here is their presentation text: In the early 20th century, following the development of the entertainment industry, hundreds of auditoriums were built everywhere in North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant theaters. From the 60's, TV, multiplexes and urban crisis made them becoming obsolete. During the following decades, when they were not modernized or transformed into adult cinemas, they closed one after the other and many of them were simply demolished. Those which remain forgotten, escaping from this fate, were converted to varied purposes. Now, many are reused as churches, retail, flea markets, bingo halls, discos,

Yves Marchand and Romain Meffre are photographers who released a serie about those american theaters built in the beginning of the XXth century which function evoluated depending on the society's needs and sometimes even became ruins. Here is their presentation text: In the early 20th century, following the development of the entertainment industry, hundreds of auditoriums were built everywhere in North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant theaters. From the 60's, TV, multiplexes and urban crisis made them becoming obsolete. During the following decades, when they were not modernized or transformed into adult cinemas, they closed one after the other and many of them were simply demolished. Those which remain forgotten, escaping from this fate, were converted to varied purposes. Now, many are reused as churches, retail, flea markets, bingo halls, discos,

Democracy at a global scale is becoming for the first time, a real possibility that we call the multitude’s project. Multitude’s project is not only expressing the desire of a world of equality and liberty, it does not only claim for a global democratic society open and inclusive: it actually demonstrate the means of releasing this desire.

Democracy at a global scale is becoming for the first time, a real possibility that we call the multitude’s project. Multitude’s project is not only expressing the desire of a world of equality and liberty, it does not only claim for a global democratic society open and inclusive: it actually demonstrate the means of releasing this desire.

Dharavi is said to be the largest slum in Asia with around one million people living in 175 hectares. This district was first populated by fishermen, potters from Gujarat and Muslim tanners which produces an own economy to the district. Self urbanism follows a hierarchy of streets going from 15 meters wide to less than 1 meter wide. You can obviously observe Dharavi's morphology on google earth which impress by its density.

Dharavi is said to be the largest slum in Asia with around one million people living in 175 hectares. This district was first populated by fishermen, potters from Gujarat and Muslim tanners which produces an own economy to the district. Self urbanism follows a hierarchy of streets going from 15 meters wide to less than 1 meter wide. You can obviously observe Dharavi's morphology on google earth which impress by its density.

Beauty of functionality...

Beauty of functionality...

For a while I'm being obsessed by this question, what is resistance in architecture. Architecture is both a representation and an expression of a power. Reading Eyal Weizman, you even understand that architecture can be (and may always be) a weapon from the governing power. How could this static entity be part of resistance. Can we even talk about a resisting architecture or is it an oxymoron ? Does an architecture loses its power of resisting as soon as it is getting built ? All those questions are occupying my mind currently... If anybody wants to react or to share some references, I think it could be interesting.

For a while I'm being obsessed by this question, what is resistance in architecture. Architecture is both a representation and an expression of a power. Reading Eyal Weizman, you even understand that architecture can be (and may always be) a weapon from the governing power. How could this static entity be part of resistance. Can we even talk about a resisting architecture or is it an oxymoron ? Does an architecture loses its power of resisting as soon as it is getting built ? All those questions are occupying my mind currently... If anybody wants to react or to share some references, I think it could be interesting.

Read this article on Time.com about how Twitter is used to keep alive Iran's current revolt beyond censorship and repression. It reminds me of Antonio Negri and Michael Hardt 's polycentric networks (or swarms) of resistance. picture: Tehran University's dormitory after militia's repression ( Time.com )

Read this article on Time.com about how Twitter is used to keep alive Iran's current revolt beyond censorship and repression. It reminds me of Antonio Negri and Michael Hardt 's polycentric networks (or swarms) of resistance. picture: Tehran University's dormitory after militia's repression ( Time.com )

found this morning in The Hindustan Times. When architecture is directly transformed into a capitalistic product, its uniqueness disappear in favor of generic structures we can find everywhere in the world...

found this morning in The Hindustan Times. When architecture is directly transformed into a capitalistic product, its uniqueness disappear in favor of generic structures we can find everywhere in the world...

I wanted to destroy everything beautiful I'd never have. Burn the Amazon rain forests. Pump chlorofluorocarbons straight up to gobble the ozone. Open the dump valves on supertankers and uncap offshore oil wells. I wanted to kill all the fish I couldn't afford to eat, and smother the French beaches I'd never see. I wanted the whole world to hit bottom. Pounding that kid, I really wanted o put a bullet between the eyes of every endangered panda that wouldn't screw to save it species and every whale or dolphin that gave up and ran itself aground. Don't think of this as extinction. Think of this as downsizing. For thousand of years, human beings had screwed up and trashed and capped on this planet, and now history expected me to clean up after everyone. I have to wash out and flatten my soup cans. And account for every drop of used motor oil. And I have to foot the bill for nuclear waste and buried gasoline tanks and landfilled toxic sludge dumped a generation before I

I wanted to destroy everything beautiful I'd never have. Burn the Amazon rain forests. Pump chlorofluorocarbons straight up to gobble the ozone. Open the dump valves on supertankers and uncap offshore oil wells. I wanted to kill all the fish I couldn't afford to eat, and smother the French beaches I'd never see. I wanted the whole world to hit bottom. Pounding that kid, I really wanted o put a bullet between the eyes of every endangered panda that wouldn't screw to save it species and every whale or dolphin that gave up and ran itself aground. Don't think of this as extinction. Think of this as downsizing. For thousand of years, human beings had screwed up and trashed and capped on this planet, and now history expected me to clean up after everyone. I have to wash out and flatten my soup cans. And account for every drop of used motor oil. And I have to foot the bill for nuclear waste and buried gasoline tanks and landfilled toxic sludge dumped a generation before I

When we, architects, speak of Discipline and Punish by Michel Foucault, we usually focus on Bentham's panopticon because it is definitely the most architectonic concept of this book. However we could also think about those pages, mostly about Jean Baptiste de la Salle's system of christian education which contemplate time and space in the same way that Charles Eames did with his powers of ten (see previous post ); those time and space are not only controlable in the scale we experience but the real control can be reachable by exploring this infinite dimension of the "smallness". Nowadays, this disciplinary society could seem not to exist anymore, in favor of Virilio's society of control. Nevertheless, principles remain and their application become even more subtle as long as materiality is often not visible anymore.

When we, architects, speak of Discipline and Punish by Michel Foucault, we usually focus on Bentham's panopticon because it is definitely the most architectonic concept of this book. However we could also think about those pages, mostly about Jean Baptiste de la Salle's system of christian education which contemplate time and space in the same way that Charles Eames did with his powers of ten (see previous post ); those time and space are not only controlable in the scale we experience but the real control can be reachable by exploring this infinite dimension of the "smallness". Nowadays, this disciplinary society could seem not to exist anymore, in favor of Virilio's society of control. Nevertheless, principles remain and their application become even more subtle as long as materiality is often not visible anymore.

Answer from David Basulto, webmaster of Archdaily to the previous article called Broadcasting Architecture >Dear Leopold, > >This is not the first time that people addresses the "editorial >line"t. First, I think that traditional publications and editorial >linnes are no longer valid when it comes to cover a broader aspect of the >lprofession. I even step aside from people too focused on that, who end >upr looking so inside of their head looking to fit everything under one >rurle, resulting in a disconnection from what is really happening. > >Regular publications often left outside a tremendous amount of work that >ies being produced around the world. We feel that it should be put on the >itable to shows the community what is being done. I rather feature a work >ithat some might say that is "a plain box, more of the same" >buialt in Iran (a totally different context that in Europe or the US) and >bget criticized for feat

Answer from David Basulto, webmaster of Archdaily to the previous article called Broadcasting Architecture >Dear Leopold, > >This is not the first time that people addresses the "editorial >line"t. First, I think that traditional publications and editorial >linnes are no longer valid when it comes to cover a broader aspect of the >lprofession. I even step aside from people too focused on that, who end >upr looking so inside of their head looking to fit everything under one >rurle, resulting in a disconnection from what is really happening. > >Regular publications often left outside a tremendous amount of work that >ies being produced around the world. We feel that it should be put on the >itable to shows the community what is being done. I rather feature a work >ithat some might say that is "a plain box, more of the same" >buialt in Iran (a totally different context that in Europe or the US) and >bget criticized for feat

Broadcasting Architecture Worldwide is Archdaily 's motto. This website you might all know just communicated about its award of the most popular architecture exclusive site which brings me to tackle some question about what happens in architecture communication nowadays... First I want to say that I am an Archdaily reader and I'd like more to question the statute of this way of communication (and its includes some other websites like Dezeen ) than to criticize its specific webmaster(s) which deserve all due respect. However I am curious about one ambiguity here. Is this website and its cousins some democratic platform where everybody can take the microphone in order to be heard for few seconds or is it a journalistic collection which follows a coherent editorial line ? I claim that for now it is neither of them and this ambiguity is for me a problem because those websites are working with bouncers who take care of always let the consensus express itself and never the anomaly. P

Broadcasting Architecture Worldwide is Archdaily 's motto. This website you might all know just communicated about its award of the most popular architecture exclusive site which brings me to tackle some question about what happens in architecture communication nowadays... First I want to say that I am an Archdaily reader and I'd like more to question the statute of this way of communication (and its includes some other websites like Dezeen ) than to criticize its specific webmaster(s) which deserve all due respect. However I am curious about one ambiguity here. Is this website and its cousins some democratic platform where everybody can take the microphone in order to be heard for few seconds or is it a journalistic collection which follows a coherent editorial line ? I claim that for now it is neither of them and this ambiguity is for me a problem because those websites are working with bouncers who take care of always let the consensus express itself and never the anomaly. P