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Dora, on the subject of 'In Between "

Project "Dirty Geometry" study Dora ( www.labdora.com ) in the race for the competition of ideas in Paris for alternative spaces for contemporary art collections.

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Paris: a flower to the tram stop

years after he returned to Paris on the tram. The stations are marked by the works of internationally renowned contemporary artists (Christian Boltanski, Angela Bulloch, Didier Fiuza Faustino, Dan Graham, Peter Kolger, Bertrand Lavier, Claude Leveque). Among these Le Téléphone Sophie Calle, made in collaboration with F.O 'Gehry, a phone booth shaped like a giant flower on the bridge of the Garigliano.

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GhostLab The Phantom of the country in search

Although Well begun is half done GhostLab even if only one is a real man who does not surrender in front of a jack although the journey was fraught with danger (made out there GhostKa We are having a GhostAtos who crossed unimaginable limits)
although the group was a faction that they only look at the motocilette go ...
... and another thought that just to eat the famous cherries Celleno
at the end of our heroes have made it: we found a ghost town!

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The Atlas of Cyberspace


The Atlas of Cyberspace by Martin Dodge.

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Stalker: The laboratory of urban art


Visit the laboratory of urban art Stalker.

" There is nothing more subversive today, more alternative way of thinking and acting that walking. In a world dominated by technology, walking is the most common gesture, and therefore more human in a ' period in which no more speed but the rush seems to have become more and more virtue, walking is an act of resistance, a gap, and now that is subject to an appropriation and appearance, walking invitation to be light and to rediscover our inner life, now dominant in the thought that half the reason is that all calculation and measurement to achieve the intended purpose, this split breaks down the walk: along the middle and end, and travel goal. How did they know the ancient Greeks who walks alone is free, and for that is exposed to risks: the risks of freedom . Adriano Labbucci (President of the Provincial Council of Rome)

The conference on the Walk, sponsored by the Presidency of the Provincial Council of Rome and organized by Stalker-On is a public event in three days: 18.19, May 20. There are three events to tell this action with the involvement of different characters in their own way addressed the issue of walking. Giuseppe Cederna, Sabino Chialà, Erri De Luca, Duccio Demetrio Antonio Gnoli, Francesco Careri, Celeste Nicoletti, Lorenzo Romito are compared by presenting their philosophies and involving the public direct experience of the journey.

Walking across social boundaries of the metropolis, to explore new forms of urbanity, to see and understand the other side of town. Walking as aesthetic practice, to make art. Walking to meet new urban tribe. Walking to lose.
Walk, students of the Faculty of Architecture, University Roma Tre. They do it for a while ', at least since some of their teachers, members of the Stalker - Osservatorio Nomade ("Stalker", the title of a film by Andrei Tarkovski), have created a course dedicated to the Civic Arts travel "through the territories today," or the inner edges of our cities, the spaces cut in the interstices of the metropolis, urban fractures in which they live thousands of people under a bridge, next to a highway on the banks of a river, in the barracks, in tents, in caravans a gypsy camp. They do also like to explain to their fellow citizens in times of evictions and "security pact," we can live together and understand one another.

Text taken from: http://www.controluce.it and http://www.aprileonline.info

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Possibleties Between Illness and Success


visited the exhibition "Apocalyptic and Integrated" (Maxxi, Rome 30 March to 1 July 2007) when I came across this work: http : / / www.thepossibleties.com / home.html
Carlo Zanni is the author of The Possible Ties Between Illness and Success, "a small masterpiece of cinematic genius, which takes full advantage of the Internet as a tool for artistic creation. A "IPOD-sculpture" in which, during two minutes, it attends to the history of an illness caused by success. That is more the result of the network observes the "short-line" the more treacherous spots occur on the face of the protagonist. "
(text taken from www.nonsolocinema.com )

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E 'was born! On The Spot


Incredible, my my web site is now online. Call All the visitor is still under construction, but I promise great things.
E 'also linkable from the column on the right.

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Here's my commentary on the chapter of the book Introduction to the revolution in computer architecture A. essay entitled Landscape.

analyze the definition of landscape.

Nell 'Italian Encyclopedia Treccani reads: "View, view, part of the territory (country or mountainous) that a panoramic view from a certain point and that arouses in those who provides special impressions, or is distinguished by special features: a p. dreary, melancholy, charming, picturesque, p. winter, desert, from the window see a p. enchanting, stopping to admire the scenery. [...] "

On De Mauro: " appearance of a place in a territory where it is a panoramic view: p. picturesque, charming , sad. "

So according to the official definition seems that the landscape is a two-dimensional object. There is no way to perceive it in another way.

But this thing disturbs me deeply.

architecture and design in general must rely on a definition of "unofficially" that transcends and includes the first without deny it just as contemporary architecture has passed, incorporated, but never renounced the masters of modernity.

The landscape painting and photography is one thing, but that relating to the design of the area-that is the natural landscape or cityscape - is something else! It is born, lives, wetsuit, dies, is reborn, and especially interacting with the user. It is a set of three-dimensional objects of which only the image is two dimensional. Because, as any sign of the landscape designer, it makes no sense without the point of view, that without the observer.

oversimplifying the issue, if we were tourists in Rome and we were to walk down the Via dei Fori Imperiali or buying a card that represents them, we would not be in both cases the users of the landscape? Certainly yes, but in the second case we just look at a picture in the second we interact with the site.

So if for painting and photography, we adopt the definition of p. 45 seconds that "the only thing we can not help but to think the landscape is its image" because it "is a figure" for the design of the area should we adopt another, in which the only thing we can not help but to think the landscape is its observer , or rather, its user , which makes it even more the idea of \u200b\u200bsomething interacting.

If the key to contemporary design is its interactivity, the possibility of infinite connections "network" and the coexistence of multiple layers that are intertwined, how can the landscape is excluded and should be interpreted as a mere representation devoid of life?

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via symbols

Here's my comment 'The Way of the symbols'

Today necessarily go along via symbols, at least in terms of communication, as new languages \u200b\u200bare highly symbolic. The steps in this way is shorter and the language barriers they fall away.

is natural to wonder what the bond between the new levels of communication architecture, which certainly can not ignore the changes.

Functionalism perhaps has never been in crisis because it has never been totally denied. It has not been overcome in the sense that the building should be designed not perform functions, but for the fact that the feature has been completely incorporated, absorbed, taken for granted in the same word 'architecture' is already included that of 'function'. Just as obviously, that of 'form'.

But there is a quid more that characterizes the architecture of the computer era, called by the new communication.

The architectural work has to communicate.

But what?

Here lies the crux of the matter.

Every job, the result of conscientious analysis, is dictated by the place, from her relationship with the city, from wanting to be a symbol, it must tell us who he is, what it represents, which actually belongs to. There will be no more movements, or avant-garde schools of thought to dictate the rules. But it will be 's environment in the broad sense: the architecture is bound to the place, its inhabitants, to the thousands of factors that converge in a city and, above all, expresses them in a visible manner. I want to play that

'new monumentality' that has transformed the Guggenheim Bilbao in a cathedral in this way.

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Bilbao

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crisis as an opportunity

In Chinese, the word "crisis" corresponds to the term "wei chi, composed of two characters: the first, wei, means threat, the second, who , (hear, hear) means opportunities.

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We are what we eat?

left: Piazza del Popolo, 21/03/2007 Installation of Ha Schult

right: Piazza delle Muse, installation 18/03/2007 spontaneous

human height natural shapes made by using waste materials and waste

. Trash People are German artist HA Schult installed in Piazza del Popolo in Rome. An army of men of tin which will remain in place until the end of month. It is a thousand statues, amounting to 35 tons of municipal and industrial waste compacted and recycled: cans, computer keyboards, boxes, old circuit, that want to be a representation of society today, a spectacular provocation that this shows that we we consume. Since 1996 Trash People are traveling around the world, from Paris to Moscow from Beijing to Brussels. Text taken from
24min of March 21, 2007.

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Architecture and crisis

At first it seemed a speech with the usual, to the abstract as a lesson in technical physics, and for me, maybe I am a bit ' too materialistic, it was hard to hear. But it took the final point made - one on the videophone to be clear - to overthrow the whole and re-read the question in another perspective. It is something so trivial as to be brilliant. We have the solution before your eyes and none - or almost - if they have noticed?

Let's outline.

A - the crisis raises an aesthetic of rupture and change (Baudrillard)

B - modernity transformed the crisis in value (Bruno Zevi)

C - modern architectures are those that express the result of a crisis that is that come out of the confrontation with the problem of a particular time

D - after analysis the most representative cases in the history of architecture of the crisis, there remains only one thing to ask before you act: WHAT ' CRISIS TODAY ?? It seems that the advent of Information Technology and us, a new generation of thinkers and Demiurge, the task of transforming it from "trauma" to "virtuosity".

therefore analyze our time, our ways of living and thinking, traveling, seeing, look in the future because we have to solve the real problems, not the ones printed in books or seen on television.

Here are 3 questions would like to bring to the attention Course:

1. meaning "mental landscape"?
2. the result of the whole discourse on modernity / crisis / architecture is that the architectural research should go in the direction of the break?
3. because you can not start concrete experiences such as that of Professor Mockbee in Alabama here at La Sapienza?

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Opening

born my blog today.
Welcome to the web.