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Our best wishes for the New Year!

What Happened To Fkaku?

2010 .... memories ...

And you? what were your greatest moments of 2010?

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Because it is never too late to dream ... You

A film for those who have not stopped dreaming!

The protagonist Odette Toutlemonde

sees his dream come true

and that is what we wish all of you too!

A film truly for everyone ...
even if the criticism he has received have not
been so good ...

Below

is the "trailer" of the film

and if you see

we wait your comments and your
Critical!

One of the most enjoyable moments of the film

under the rhythm of the song by Josephine Baker!

Revlon Illuminator How

know something about Christmas? It seems to

This is an interesting article on everything Christmas.

How many reindeer Santa has? Rudolph is and why there a red nose? Why do we put balls in the tree? And where does this history log? Everything about the story of Christmas, a series of anecdotes to put the meal, between Turkey and log.

fir

The first Christmas tree as we know, but still without lights, appeared in Alsace in 1521. It was introduced in France by Princess Helen of Mecklenburg brought it to Paris in 1837, after her marriage to the Duke of Orleans. She decorated a fir tree in the Tuileries.
This tradition became widespread after the 1870 war in the country thanks to immigrants from Alsace-Lorraine widely popularized the tradition of the Christmas tree to the French. During this period the whole country adopts this tradition.

The Christmas Ball

The ball

Christmas decorating Christmas trees originated in Meisenthal Moselle. Traditionally, apples were hung on the tree, but in 1858 the winter was so severe that Apple failed. A glass craftsman Strasbourg had the idea of creating spheres representing an apple and other fruit, to give joy to the feast. The Christmas Ball was born!

The log

The custom of lighting a Christmas log in the hearth, goes back a long time and existed throughout Europe.
Originally, it was a log that was burning on December 24 until New Year's on in the living room, she brings warmth and light to the vigil. One should choose a very large log of wood or an old strain from preferably a fruit tree. In France the custom
said we must place in the hearth as many logs there are people living in the house.
logs must deal with the hands; no instrument that can approach the fire. If fire does a lot of sparks, it is said that the harvest the following summer will be good. The ashes of the log are carefully preserved against the storms, to heal certain diseases and to fertilize the land.

to perpetuate this ritual is that the Yule log has emerged as a delicious dessert that was invented by a baker in 1945.

Santa

The 'birth' of Santa Claus.

In 1863 "Harper's Illustrated Weekly, the newspaper New York, dreamed of a Santa Claus wearing a dress trimmed with white fur and wearing a wide leather belt. The cartoonist Thomas Nast was the author.
For nearly 30 years, Thomas Nast Santa Claus represented paunchy, jovial, white-bearded and with reindeer.

In 1885 the illustrator of this newspaper drew the path of Santa Claus, North Pole in the United States, his residence was officially established ...
A year later, the writer George P. WEBSTER specified that the manufacture of toys and home of Santa Claus "were hidden in the ice and snow from the North Pole" confirming this assertion drawings NAST.

It was not until 1931 ... and Coca Cola that Father Christmas adopts his red suit and white!

Coca Cola Haddon Sundblom asked to draw the old man drinking from Coca Cola to regain strength during distribution of toys. Advertise marked his time by encouraging children to drink Coca-Cola.

Reindeer Santa Claus

Santa has eight reindeer to pull his sleigh. They called Tornado, Dancer, Prancer, Prancing, Comet, Cupid, Lightning and Thunder. The youngest Rudolph, the famous red-nosed reindeer, was born last.

We owe the creation of the Red-Nosed Reindeer to the poet Robert L. May, 1939. Its appearance is justified by the fact that Santa has to face the weather so bad that he might be behind in their deliveries at night. With the nose of the reindeer light, it can navigate the turbulent winter and carry out its distribution of gifts.

Showcases decorated

The first animated showcase attracts Parisians stunned for Christmas 1909: Le Bon Marché, with the help of PLC manufacturers, is discover behind its windows the entire history of the discovery of the North Pole (met for the first time on 6 April this year), with walls of snow, bears that move, animated Eskimos, igloos ...

But basically after the Second World War, from 1947, while France was at peace where people have returned the smile, the animated displays electrically multiply, to the delight of all eyes.

Source: www.paris.fr

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CHRISTMAS MERRY CHRISTMAS

Watch the video below ...

... and tell us your opinion:

CHRISTMAS Should only be

parenthesis stationary guns?

Share with us

your wishes and thoughts

New Year !

You can start

the sentence below:

"A day may come when .. ".

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... and you ...

you like

or

CHRISTMAS you hate?

Can you find

three things the hero does not like?

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(Faces Beat)

"We spent a whole night talking to Old Bull Lee, for now, saying only that he was a teacher and we can say that he was perfectly entitled to teach because he spent all his time to learn, and things were what he learned that and he felt he was defined as the "facts of life", he was learning not only in the empire of necessity but because it was his taste. He was dragged by her long thin body throughout the U.S. and in his time, in much of Europe and North Africa, just to see what was happening, he had married a White Russian countess in Yugoslavia to make escape Nazis in the Thirties, there are pictures of him when we see the middle of the international gang of cocaine in the 30s, the hair types of extravagant, leaning on each other; on other photos, he is wearing a panama, contemplating the streets of Algiers, and he never saw the white Russian countess. It was derat Chicago bartender in New York, Newark bailiff. In Paris he sat on the coffee table, looking at the sullen face of French who passed. In Athens, he watched his ouzo what people call them ugly pus in the world. In Istanbul, he worked his way through the crowd of addicts and dealers of carpets, in search facts. In English hotels he read Spengler and the Marquis de Sade. In Chicago, he proposed to rob a Turkish bath, was reluctant to just two minutes too long as he drank a glass, has won only two dollars and was forced to take off. All these things he had accomplished for the sole interest of the experiment. Now finally, he studied drugs. They saw him now in New Orleans slip into the streets with shady types frequenting bars and shady. "

Kerouac's books, major author of the Beat Generation are full of descriptions of real people that he met on the road during its road trip. Recently discovering the photos of Allen Ginsberg, faces finally stick in these figures that cross these adventures.

From Top to Bottom

. Jack Kerouac, NY, 1957

. On the road, p.201. Jack Kerouac, NY, 1957

. Neil Cassidy (Dean Moriarty in On the Road) & his girlfriend at That Time, Detroit, 1955

. William Burroughs & Kerouac, Mortal Combat, NY 1953

. Allen Ginsberg typing history in Kitchen, 1001 Montgomery Street, SF, 1956

. Neil Cassidy & Ken Kessey is amphetamine, Bus Trips Festival, 1964

. Morningside Heights, Hal Chase, Jack Kerouac Allen Ginsberg, William Burroughs, NY, 1944

Sims 3 The Third Relic

Paris in December ...

This is a small token of our wonderful trip to Paris.

Our group was able to enjoy the beauty of the city covered with a blanket of snow and decorated with lights and Christmas markets.
Go! Tell us what you think!

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AJ

(Auto Junkyard)

"I think now the other accidents we are describing, the senseless deaths of wounded, maimed and traumatized.

I think psychopaths accidents, accidents implausible, made in self-loathing and resentment, evil multiple collisions developed in stolen cars on the highway at night, between office workers tired.

I think senseless accident neurasthenic housewives returning from the institute prophylactic and jumping on cars parked in suburban streets.

I think accidents schizophrenic excited clashing head vans Laundry Coming just a street stall in one way, to those of manic depressive ground at unnecessary u-turns on ramps to highways, to those of paranoid unlucky hitting a brick wall after a reported deadlock to those of decapitated sadistic nannies in their cars returned on complex interchanges, those of managers of supermarket lesbians burned alive in the battered carcass of their mini-cars under the watchful eye of firefighters stoic middle-aged, those Autism crushed when rear-end collisions (less bruised their eyes in death) to those mentally retarded prisoners of their coach and flowing in a channel along a road in the heart of an industrial area.

text. James Graham Ballard, Crash!

Peaks. Walker Evans, The Auto Junkyard

If you wish to read more about the car, you can take a look here

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WU

(White U)

A house for sister Nobuko and her small daughters Sachiko and Fumiko

There are houses that play host to many stories during their lifetime. These houses host generations of residents, and their uses and habits consequently change over time. Other houses, however, have a history that is dominated by and adapted to a single family and its fate.

Occasionally, a house endures for less than the lifetime of its first owners, wether due to natural disasters, war or some other cause, and such houses usually conceal stories that need to be told.

In 1976, Toyo Ito was a young architect in Tokyo. He had grown up professionally among the most famous and sophisticated Japanese architects ( Kiyonori Kikutake, Togo Murano, Arata Isozaki, etc) and had created a few promising works. By that time he had already opened a small professional studio in his own name, and in that year his sister gave him a task: to build a little house on a small piece of land next to their parents' old home.

For the young architect, the assignment would have probably presented another opportunity to test his abilities in the difficult task of designing a family home had it not arisen from a personal tragedy : his sister Nobuko and her two small daughters (Sachiko and Fumiko) had just lost their husband and father to cancer.

In the wake of this event, Nobuko and her daughters were anxious to leave their luxury apartment in a Tokyo tower block with its views over the city. They were looking for somewhere they could find refuge; they needed a place where they could be together and feel safe - a protected and introverted place in which to regain their strength.

The White U's history began in this way, with its client's desire to "be as close to the land as possible" and to have an "L-shaped" plan that would allow her and her daughters to always be able to look at each other, perhaps through a garden. The house was also born from the way in which a young architect tried to meet these demands: he accepted them entirely, without discussion or mediation. While a sense of discretion often prevails in these cases, and the architect makes an attempt to tone down the client's requests (especially when linked to intimate and private emotions), in this case any notion of "distance", which is often what gives the architect a sense of authority, was entirely absent.

The White U thus had its origins in a space forged out of urgent, symbolic need, a condition to which the architectural response was not the logical composition of functional spaces (the kitchen, the bedroom, the sitting room) but rather the invention of a singular spatial concept: a cold, introverted yet rooted place - a niche-like home capable of protecting the solitude of a family enveloped in the mourning process.

Almost twenty years later, after having become an internationally renowned architect, Toyo Ito decided to tell the White U's very particular story, talking about the first sketches he produced on the drawing table, the tension that existed between the house's interior, which was conceived as an underground, labyrinth-like "tube", and the central, geometric empty space of the exterior, and the gradual creation of the small, cave-like area that enclosed a central patio, which became a kind of suspended space around which the family could gather instead of a garden. Ito has talked about the building process, during which, "every day toward midday", he would observe the builders at work, and about the ways in which he designed the movement of light and shade in the two white corridors and the fading of the sun in the communal space. He has recounted how this isolated, centripetal and introspective structure grew under the watchful eyes of the two siblings, who saw a small, elegant house take form, a horseshoe shape in exposed concrete with a roof that gently sloped down towards an internal patio and clear interiors cut by shafts of geometric light streaming in through skylights.

But Toyo Ito's story, unlike those usually told in architectural accounts, does not stop here. Ito also tells us how in the year after it was finished, the White U came under heavy criticism, and how some critics saw it as a Corbusian departure from the sophistication of traditional Japanese minimalism. He also recounts how this small, celebrated architectural creation was destroyed (definitively) well before its time, just twenty years after its construction. The mother and daughters who had desired and shaped it would also be the ones who decided on its end: one by one, they had left the house, which had "become like a tomb". The first to leave was the eldest daughter Sachiko. Later her mother left, and then the youngest daughter Fumoki moved out.

This was not, however, simply the gradual abandonment of a house. It was the liberating destruction of a space whose occupancy by someone else they could not contemplate: it was the disintegration of a place that symbolized for them the idea of an intimate and radical loss. The end of a particular period in the life of this family implied the abandonment of the architectural form that, for them, represented the transcription of that period in spatial terms.

Ito's story ends with a lucid examination of the fragility of this small and famous work . As he watched it being destroyed, he felt the forces of the metropolis penetrate the small area, where only fragmented of bricks and mortar remained. Ito understood that it had been, above all, an excess of architecture which had led to the death of this place. "Every house", he says, "is born from a dualism between the demand for a deeper form of life, a virtual demand that is often unconscious, and the possibility of staying open to the everyday dynamics of the family and its social rules". Architects need to be able to respond to both these needs, to give space to the symbolic dimension, to that sense on an "other house", as well as to allow the space to adapt itself to the vicissitudes and chances events of our lives. Architects should not try to determine these events or close off the possibility of change. "But the White U", Ito concludes, "ignored this dualism. It only tried to respond to the first questions or needs". These house was overly rigorous, and its originality, too fragile.

you find this article by Stefano Boeri in Issue 0 of San Rocco, which was released in France this Wednesday, December 15. There is the opportunity for a launch party at the public library of the Palais de Tokyo. For more information you can visit the facebook event here .

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solutions for the homeless

To work even on the problem of homeless , look of this new JT TF1 on December 3.

Abstract: While exposed to cold, many homeless people are reluctant to take refuge in centers equipped. In the old station of Bercy in Paris, forty homeless people found refuge in a more humane and responsive to their needs.

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SS

(Seinesaintdenis Style)

Department iconic French suburbs, the Seine-Saint-Denis, labeled the media label 9-3, has embodied the early 1960's photograph of a young angry, stigmatized as the seed of "rogue" or recently as "scum." An image that director Jean-Pierre Thorn decided to twist the neck restoring its value to a half-century of musical culture-cons, and vote often repressed a territory with a loss of identity, but never lot of energy ... From the legendary concert of the Nation in 1963 to slam today through punk and of course the great wave hip-hop, the documentary traces the various stages of musical resistance intimately linked to social reality and popular which it is derived. An epic told by some of those who have wealth and creativity: Daniel Boudon, boilermaker and drummer in a rock band in the early 1960s, Marc Perrone, promoter of folk ten years later and precursor slam , Loran Bérurier Black, icon of the punk generation, DJ Dee Nasty, architect of the French culture of hip-hop, rapper Casey, a partner with Rocker radical Free Zone (ex-Black Desire) and the slammer D 'de Kabal. Extensive excerpts from concerts (NTM Bérus ...) and archives and punchy tell the story of a suburbs undermined by uncontrolled urban policy, industrial change from time to time, disillusionment and political indifference, even aggression, government: a fertile ground where culture and thought are constantly reinventing itself.

The story here is , and in a more incisive kind Clips Romain Gavras here and there

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LA

(Lost Astronaut)
Dear Gina, I am

year astronaut by profession. I know you usually help artists but as I continue to be lost after my one and only trip to the moon 39 years ago, I feel that you are the person that can help me. My endeavors have never been celebrated. The mission I commanded was top secret and therefore not subject to the usual fanfare afforded to the Apollo boys. In fact, I was the first on the moon. I made it there, walked in that luscious white dust, planted a flag, and have photos to prove it! I was not so lucky with my return flight. I had the same problem that Gemini 8 had a year later, only more intense. The thruster malfunction caused my ship to spin out of control in a never ceasing orbit of Mother Earth. Never was I allowed a suitable ocean plunge until I was propelled out of space on August 13, 2009 in a meteor shower that threw a hundred stars with me. I now walk the streets of Manhattan, alone, unable to shed my space suit because no one will touch me. I am a healthy, drop-dead gorgeous, brilliant female; accomplished, with a savings account and a wealth of experience. I don't really want a husband, but I need relief. You see, something about this ill-fitted suit and all those years of spinning has left me in a suspended state of excitement. Houston, Houston do you read?

Moonstruck

Suite a la création d'un personnage fictif - un ancien cosmonaute jamais recovered from its sole mission to the moon - Alicia Framis wandering the streets of New York for 15 days, carrying out instructions ordered by 15 artists and writers.

Optimist Sailing Dinghy Diagrams

Paris mobilizes for the homeless

Paris does not expect the launch of the Grand Plan cold by the prefecture of Paris to mobilize and to shelter the Great precarious. In response to falling temperatures, first gym opened in the 7th district: The gymnasium of the Invalides, 1 rue Paul and Jean Lerolle.

"The fight against exclusion is a state responsibility but we have committed ourselves beyond our capabilities. I saw the beginning of winter with some concern. "

It is through this call Olga Trostiansky opened the presentation of the winter plan for the City of Paris, Monday, November 21. And the Deputy Mayor of Paris in charge of solidarity, family and the fight against exclusion continued: "Putting away is not enough. We must help people get off the streets." Stigma the changing faces of poverty in Paris, the elected highlighted the alarming increase in the number of women in the street (today, 17% of applications Accommodation from women, representing an increase of 3 points in 10 years).

Source: www.paris.fr

What can we do to fight against the exclusion?

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The Moulin Rouge

Discover the legendary Moulin Rouge by clicking on the picture.

It tells you to listen to a song from the soundtrack of the movie?

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BB BD

(Back to Basics)

In October 2008, after a rainy autumn afternoon at the Venice Biennale, as was pronounced the death also suffered unexpected suffered an entire generation of architects-stars, the 2000s. This oral statement, claimed by a number of students visiting Brussels at the biennial extravaganza of architecture left me speechless twice: in admiration of the clarity of such a decision despite their young age and horror at a situation that I had not anticipated, that of being part of a sudden, those who had experienced these so-called star system years of flourishing. This expeditious burial was followed a few feet away, an exhumation equally improbable: that of the exposure Interrota Roma, originally mounted in 1978 under the tutelage of Colin Rowe. Before his rehabilitation Venetian, the exhibition was shown in New York, Mexico City, London, Toronto, Zurich, Bilbao, São Paulo, Paris and Barcelona, where he and 30.

The history of architecture articulates a series of cultural moments. In this article I will try to fathom the present and to identify the mechanisms at work in this additional variation of the score as much as its architectural interpretation. It is time to question a generational double shock: first, that constituted by the emerging architectural production now, of our generation, and secondly, that derived from the fascination of young graduates for models until recently buried. With regard to these three cultural commentator, teacher and practicing architect I try to draw some lines of thinking.

Returning to Venice. Why, after all, this exhibition Roma Interrotta she had an enormous impact on students, instead of what could be expected to know the constellation of objects labeled wisely aligned in the Cords Arsenal? Is it due to the nagging feeling that, at the end of the trail with the "contemporary architects", referred to commonly shared feeling of a late afternoon at Ikea, when disgusted, we can not see one of these couches, tables, chairs or cabinets? Beyond mere provocation, it is clear that the objects arranged in rows of the famous Swedish store and those exposed to the biennial share something in common: their status as objects and treated under proposed. Through a gradual process of reification, the architects have produced objects decade ended, accompanied by much media coverage in their finished images. Following the idea of the English phrase "What you see is what you get "architecture projects as well as their communication vehicles have been gradually outsourced, thought to be part of the trading network relied on a promotion immediate understanding, unlike Principles based on the development of internal logic and the search for conceptual questions. I am therefore tempted to speculate about the next magic performed by exposure Interrotta Roma, regardless of a deal with some nostalgia Plans drawn in ink on tracing paper and presentation frames evoke the cozy atmosphere galleries another time, projects have each a whole and especially, a character refers to two things: the degree zero of the matter architectural presence and manifestation of the space beyond the sign, speculative fiction , a poetic universe conceptually developed, including abstraction, however, leave up to interpretation and imagination.

A decade after the advent of Paperless Studios in architecture schools worldwide, we see now reappear projects Architecture on Paper, in the tradition of poetic experimentation and learning Jonh Hejduk at Cooper Union. The architecture is present, defined by the interposition of parameters outsourced, is seeking a second wind that would justify such efforts. Aldo Rossi and his idea of critical architectural practice are updated through projects on cities. Signs of a return to discipline is evident. Drawers of history, one that contains the inheritance is opened again and the work of modernity back on the job. In response to a decade of architectural invention at all costs characterized by the production of major objects or summarized in a programmatic approach occur related research spatiality as architectural basis, both from a phenomenological point of view (the contours of the space, its materialization ..) at the level of features that allow to reveal, make it readable and understandable . Anti-anti-object and image, the space issue is again at center stage. And, coincidence or probably not, architects are not the only ones to revise the fundamental perception of modernity and heritage - I think the work of artist Dominique Gonzalez-Foerster and Tom Sachs, for example.

replica currently taking place in the architectural field, which is reconsider the issues of space to reassess the performative capacity of inheritance and propose a pause in the race for the iconography is salutary in part because it is reflexive and partly because it marks the sign of a willingness to operate on the real. The same one that recognizes the complexity of forms - in contrast to complications fabricated - and suggests to intervene in a simple and obvious - in a foot-cons simplistic. Strangely, within the idea of an impossible figure, the present moment exists only because it requires an absolute timelessness even though it may be temporary, otherwise the risk lapsing into nostalgia, the rigor closed and reactionary posture. A transition that purpose. It is probably in the post Back to Basics we can identify the relevance and the actual scope of the present time, through its ability to continue to produce critical thinking in motion.

Text / Cédric Libert
Pics / Paul Mouchet, BigBoxness

excerpts of the latest issue of Side B - Back To Basics

Electric Toothbrush Receding Gums

(Bardi Drawings)

We already talk of Lina Bo Bardi, the woman who takes some pleasure in building buildings the most brutal of Brazil (see here and there ). But it also carries very inspired sketches and collages that boards are brought together in this book and available on the thumbnails below.

Thanks to Antoine