Sunday, May 1, 2011
Work within things + For the silence of sleep
It is said that one of the most impressive things about the music of Johann Sebastian is its architecture”. Its construction seems clear and transparent. It is possible to pursue the details of the melodic, harmonic and rhythmical elements without losing the feeling for the composition as a whole – the whole which makes sense of the details. The music seems to be based upon a clear structure, and if we trace the individual threads of the musical fabric it is possible to apprehend the rules that govern the structure of the music.
Construction is the art of making a meaningful whole out of many parts. Buildings are witness to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the act of construction. At the point in time when concrete material are assembled and erected, the architecture we have been looking for becomes part of the real world.
I feel respect for the art of joining, the ability of craftsmen and engineers. I am impressed by the knowledge of how to make things, which lie at the bottom of human skill. I try to design building that are worthy of this knowledge and merit the challenge to this skill.
People often say, “A lot of work went into this” when they sense the care and skill that its maker has lavished on a carefully constructed object. The notion that our work is an integral part of what we accomplish takes us to the very limits of our musings about the value of a work of art, a work of architecture. Are the effort and skill we put into them really inherent parts of the things we make? Sometimes, when I am moved by a work of architecture in the same way as I am moved by music, literature or a painting, I am tempted to think so.
I love music. The slow movements of Mozart piano concertos, John Coltrane’s ballads, or the Sound of human voices in certain songs all move me.
The human ability to invent melodies, harmonies, and rhythms amazes me.
But the world of sound also embraces the opposite of melody, harmony, and rhythm. There is disharmony and the broken rhythm, fragments and cluster of sound, and there is also the purely functional sound that we call noise. Contemporary music works with these elements.
Contemporary architecture should be just as radical as contemporary music. But there are limits. Although a work of architecture based on disharmony and fragmentation, on broken rhythms, clustering and structural disruptions may be able to convey a message, as soon as we understand its statement our curiosity dies, and all that is left is the question of the building practical usefulness.
Architecture has its own realm. It has a special physical relationship with life. I do think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.
_Peter Zumthor
Construction is the art of making a meaningful whole out of many parts. Buildings are witness to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the act of construction. At the point in time when concrete material are assembled and erected, the architecture we have been looking for becomes part of the real world.
I feel respect for the art of joining, the ability of craftsmen and engineers. I am impressed by the knowledge of how to make things, which lie at the bottom of human skill. I try to design building that are worthy of this knowledge and merit the challenge to this skill.
People often say, “A lot of work went into this” when they sense the care and skill that its maker has lavished on a carefully constructed object. The notion that our work is an integral part of what we accomplish takes us to the very limits of our musings about the value of a work of art, a work of architecture. Are the effort and skill we put into them really inherent parts of the things we make? Sometimes, when I am moved by a work of architecture in the same way as I am moved by music, literature or a painting, I am tempted to think so.
I love music. The slow movements of Mozart piano concertos, John Coltrane’s ballads, or the Sound of human voices in certain songs all move me.
The human ability to invent melodies, harmonies, and rhythms amazes me.
But the world of sound also embraces the opposite of melody, harmony, and rhythm. There is disharmony and the broken rhythm, fragments and cluster of sound, and there is also the purely functional sound that we call noise. Contemporary music works with these elements.
Contemporary architecture should be just as radical as contemporary music. But there are limits. Although a work of architecture based on disharmony and fragmentation, on broken rhythms, clustering and structural disruptions may be able to convey a message, as soon as we understand its statement our curiosity dies, and all that is left is the question of the building practical usefulness.
Architecture has its own realm. It has a special physical relationship with life. I do think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.
_Peter Zumthor
Barlett summer show 2010 by ScanLAB
Bartlett Summer Show 2010 3D Scan from ScanLAB on Vimeo.
ScanLAB is an ongoing series of experimental projects investigating the use of 3D laser scanning in architecture. 3D scanning is an emerging architectural discourse and a potent tool for design and fabrication.We explore 3D scanning at all scales, from intricately detailed object to vast cityscapes. The technologies employed range from desktop self‐assemblages to state of the art LiDAR based surveying tools. Our investigations lead us to produce images, animations and artefacts.
Saturday, April 30, 2011
Thursday, April 28, 2011
Soviet Yugoslavia Monuments
Abandoned Soviet Russian monuments form the 60's and 70's.The meaning are lost in the past, yet these stand as beautiful objects on former battlefields.
Wednesday, April 27, 2011
Tuesday, April 26, 2011
The Three Faces of Eve
What the movie " The Three Faces of Eve" was based on. I woman will had MPD, with three distinct personalities, character, persons.
Monday, April 25, 2011
Spinoza
an affect that is called passion of the mind is a confused idea, by which the mind affirms of its body, or of some part of it, a greater of lesser force of existing than before...'-Spinoza
Sunday, April 24, 2011
'Promise of function[action]'
The ‘promise of function[action]’ within the works of architecture is what separates it from other art forms. It is not simply a ‘series of retinal images’ that we experience in meaningful architecture.
‘The object which surround my body reflect its possible action upon them’
-Henri Bergson.
’ In such memory, the past is embodied in action. Rather than being contained separately somewhere in the mind or brain, it is actively an ingredient in the very bodily movement that accomplish a particular action,’
-Edward Caset
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The great work of modernity have forever halted the utopian time of the optimism and hope ; even after decades of trying fate they radiate an air of spring and hope. Alvar Aalto’s Paimio Sanatorion is heartbreaking in its radiant belief in the humane future and the success of the societal mission of architecture. Le Corbs’ Villa Savoye makes us believe in the union of reason and beauty, ethics and aesthetics. Through periods of dramatic and tragic social and cultural changes, Konstantin Melnikov’s Melnikov House in Moscow has stood as a silent witness of the will and utopian spirit that once created it.
_Pallasmaa
Friday, April 22, 2011
Wednesday, April 20, 2011
Tuesday, April 19, 2011
Monday, April 18, 2011
Monday, April 11, 2011
Jorge Borges
Myth is at the beginning of literature, and also at its end.-JLB
How unclear are the edges of our daydreams?
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