Aubrey Miles Xerex Full Movie

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

Konad Products In Vancouver, Bc

MC PO

(Olfactory Landscape)

Back in Paris, and perhaps for the first time I recognized the smell. Now I try to remember the other cities and come back to me the subway, the kitchens of Beijing, florists New York, the Thames in London, Copenhagen and the spring found this article some time ago on Edible Geography about SISEL Tolaas.

His art explores the sense of smell-in work with odor molecules and that our nose detects the language we use to describe it. Tolaas begins to train his nose in the early 1990s, collecting bits and jugs - tissue samples, pieces of food, pencils stubs, banana peels - odor characteristics, and archives in a library of smells now composed of 6,723 sealed boxes. She uses these records to train, to narrow gradually as its sharpness and then begins to create landscapes, fragrant without disruption disgust.

Just like magic, she discovers a machine developed by scientists of the leading companies of fragrances and flavors called headspace technology that can capture any smell in the world and locked in a sealed jar with a paper towel. The material is then recovered olfactory decomposed into a list of different ingredients using spectronomy molecular mass or gas chromatography, and then to reconstruct the artificial smells. Laboratories use this technology in the jungle to capture rare extracts of lotus flower blue or perfumes of unknown varieties of orchids.

Uses of Tools are different: they create a "smell Swedish "For Ikea or Volvo, and is currently working on olfactory identities for Adidas, but also create the smell of battle fields for the German Museum of Military History in Dresden, the smell of money for banks (which she sometimes wears during the business meeting) and also its own smell, extracted, re-create and apply concentrated form: "When I set my smell of my own sweat and that I apply on my own body's reaction intellectual and emotional that I have of myself is just amazing, I rediscovered as a human being. In contrast, the community spends 1.7 billion U.S. annually in antiperspirant and deodorants to mask odors personal - the West is blind odors it has become taboo and socially repressed. "
In his essay, Towards a sensorial urbanism, architect and author Mirko Zardini extends the diagnostic removing odors Tools spaces and cities in which we live.
"Urban planning has long favored urban spatial qualities based exclusively on visual perception. Over all odors were regarded as disruptive, and architecture and urban planning were only sought to marginalize them, cover them and eliminate them. "

Tolaas's interest for the odor was then driven to explore the fragrant landscape of different cities, from Paris to Vienna via Kansas City, using stairs, structured interviews and the headspace technology .
She explains: "Like society is crossed by barriers symbolic about the smell, the urban environment is also delineated contours olfactory. The different areas of the city smelling products are widely zoning law. These laws are regulated by the type of construction and types of activities that take place in different spaces, and also regulate the distribution and movement of odors. "

Tolaas's work, however, goes beyond the simple mapping or reproduction of an olfactory geography and goes to an investigation of the odor as information - information that, if widely shared and understood could play a key role in communication and navigation.; It seeks the limits of language which is best described could go beyond good and evil and analogies.

For example, in the film Talking Nose, Tolaas invests Mexico City and its pollution to global notoriety. It begins in 2001 to study the city through the olfactory chemical signals in their environment, visiting over 200 different neighborhoods, systematically repeating his method to identify key odorant of each of them, always using the headspace technology . It is then these odors on a map linked to vials containing a concentrated the smell of each zone.

Meanwhile, filming Tolaas 2100 Mexico City residents now describe the smell of their neighborhood and its atmosphere. It is then seen talking noses, sniffing and mouths transcribing the invisible city just by words on odor "rusty, old and sweet" pleasant, aromatic, slightly "fragrant flowers and vanilla. Presented together, the smells, the map and videos and words we can perform a discovery of the city in a way cropped, and discover the olfactory landscape of Mexico.

Further work on odors exist and the city including the creation of maps for odorous we introduce interactions between neighborhoods and odors.
The first of them comes back to Jean Noel Hallée who in the 1790s, the vanguard of hygiene, develop a map-based odors in Paris.

Now many things are growing around New York, you can discover here through the work of Jason Logan for The New York Times and also these Scratch 'N Sniff NYCmap developed by The Rockefeller University's Vosshall Lab and New York Sub Culinary Map by Rick Meyerowitz here.