Tuesday, December 8, 2009

Windows Track Unauthorized Access

THE FUTURE OF CITIES - from Revista Ñ


magazine recently
Culture, Film, Literature and Arts of the newspaper Clarin, "Revista Ñ" has published an interesting article by an anthropologist and director of studies at the School of Social Sciences in Paris, Marc Augé (atuor the famous "Non-Places. Areas of anonymity")
"Urgent Appeal.
Perhaps the precedent of Le Corbusier incites caution: the master, with its ideal of self-sufficient housing, its rejection of historical city and its taste for the "tabula rasa" ravaged, and their texts, like other dreams, are now part of the "grand narratives" utopian whose death was celebrated by Lyotard. But is this perhaps a reason to listen only the sirens of liberalism whose great story also seems to be flagging? One can imagine that she refuses to be sentenced to "present" projects that are more than designers Second-hand, they have something to say and to dare to say, their takeover of the word, that the most famous not content with doing the exegesis of his works speak for "gestures", but to make proposals on housing in the city on how to deal with the urgency not to mention the long term, in short, that so many intellectual conversations on these topics are more language experiencia.Cuanto admire more, more we want to get rid of the culture of "project", that way of thinking "in light of the circumstances" imposed by the ideology of consumption to remain or return to be visionaries in the world. "
Cristina lyrics Sardoy.
-
---- By: Marc Augé
Architects, suggests the author of Non-places were fascinated with the possibility of making its mark privileged areas of the planet, perhaps neglecting social problems posed by urbanization in the world.

big names are almost as well known architects in the world as the big names players. The architecture is currently enjoying a very particular status. Does it arise threatening to cut a few meters Nouvel tower to be built in Manhattan? The press is lifted. A great wine from Bordeaux wants to increase the prestige of their production? Trust the builder of the cathedral of Evry the task of designing their new winery. A new museum opened in Bilbao or Chicago? Crowds rush to find out, less attracted by what is inside that building more visible in sí.Los architects are celebrated worldwide and medium-sized cities are trying to get any of them, at least one implant works on its territory to allow access planetary dignity and tourism. It may be asked about the reasons and consequences of this enthusiasm.
Down town
First, we noted that great architecture is always confirmed and expressed power relations in society. Today, the grand architecture of the towns down U.S. and European business districts symbolizes the power companies, the most direct way imaginable, projecting into the sky day, its towers draped in reverb of curtain walls or into the night sky, the luminous transparency of their offices whenever iluminadas.Las large companies that are installed in newer towers do in the first place for his image, and fascinating magic word that sums up the eyes of many all you can hear the world in which we live. They do well to provide good working conditions for their employees. But turn those conditions often have to do with the image. Undivided spaces (the open spaces) are less spaces of freedom from which views reaching to the horizon through huge windows, that space where everyone is a prisoner of people's eyes, while at the same time the business environment is severely hierarchical. Evidenced by the fact that those responsible have offices major compartmentalized.
museum-piece
As for museums, conceived as works of art, tend to relegate to the background objects, collections and exhibitions are there instead. Do tourists really care about what they see inside the museum in Bilbao? Today, the new museum is not only the interior objects designed to show art or history, but is the "centerpiece" of the exposición.Detrás the debate between anthropologists and art enthusiasts to order the Musée du Quai Branly was another debate, implied, regarding the role of architecture. The way that respects the architect of the museum objects can be, above all, a way of interpreting them. Immerse African objects in a dim light, for example, points less to enhance their aesthetic dimension to suggest to them something as vague as inefable.Se has spoken to as a "project culture" about the architects who must deal with projects funded by the state, local or private developers. When you view the projects of the competing teams, one quickly notes that, beyond the technical arguments that respond accurately to the specifications, develop concepts with ease necessarily a bit excessive on the significance of the building seeking construir.Es fatal: imagine that the novelists or essayists were asked to make themselves critics of his book to get permission to write: what treasures of eloquence deployed! The architects are in this situation and therefore not surprising that the metaphor dangerously besiege their projects. Disputes over the adaptation to the totally artificial at a time when all local context and aims to be global architect firm where symbolizes the change of scale. Local or global context is definitely not an excuse to metaphor, a metaphor without further reference to the architecture itself. Fuck the context! Rem said Koolhas.De fact, at the precise moment when the world becomes an immense city, the quasi-divine power of the architect is a sign of the times. Responds to "order", no doubt, but that obedience is both its strength and its misfortune. By expanding in response whose purpose is to market their rhetoric is often akin to a kidnapping of the ideology of the employers, but that is why it expresses the story in motion, it is even its most spectacular and sometimes more sumptuous. Wondering where the story goes up is obviously another matter.
social gap
The issue of housing and habitat alone sums up the troubles and problems of the time. We've seen in Europe and especially France, the category of the SDF (homeless), which exceeds that of the unemployed, the "no work", it is precisely between the "homeless" people who have work but have insufficient income to housing. As for those who have a home and a job, must adapt to a form of urban growth that often condemns them to spend hours commuting in a city that seems to have abandoned the sense of urbanismo.Apenas occurs somewhere catastrophe natural cells are implemented to provide shelter crisis interim victims. Most illegal aliens in Europe, and many of the foreign rule, live in appalling conditions, in France there have been accidents in hotels or buildings that did not meet the minimum safety conditions. Just there is a conflict on the planet, television shows houses in ruins, mass exodus and refugee camps. Well see, in short, in all major cities in the world the division between the richest of the rich and the poorest of the poor can be read in terms of geography and architecture. The shanty towns that we thought eliminated in 1960 are resurfacing. The metaphor of the forest appears today without actually move nadie.Por other hand, everywhere manifests a rage for building, especially in emerging countries: in China they keep the land out of giant buildings, but architecture has trouble sustaining frenetic pace of urbanization and demography. I think of the wonderful and frightening images of excellent film La stella che non c'è by Gianni Amelio. It is also concerned about the compatibility of architectural extravagance and formally expressed the desire at this time, including architectural projects, to save energy. Buildings called "smart" and are fully air conditioned energía.Podemos eaters, thus have the strange feeling that the architecture is the human profession most concerned by the world's problems, but they outgrow it, which always runs after them without ever being able to dominate, that the "great architects" are more fascinated by the opportunities they have presented their mark on the privileged places in the world (who could blame them that ambition?) to deal with technical and social problems posed by urbanization in the world.
Urgent call
Perhaps the precedent of Le Corbusier incite prudence the master, with his ideal of self-sufficient dwelling, his rejection of the historical city and his love of "tabula rasa" ravaged, and their texts, like other dreams, are now part of the "grand narratives" utopian whose disappearance was celebrated by Lyotard. But is this perhaps a reason to listen to the sirens of liberalism only big story which also seems to be flagging? One can imagine that she refuses to be sentenced to "present" projects that are more than second-hand designer; they have something to say and to dare to say, their takeover of the word, that the most famous not content with doing the exegesis of his works and express for "gestures", but to make proposals on housing in the city on how to deal with the urgency not to mention the long term, in short, that so many intellectual conversations on these topics are more language experiencia.Cuanto most admire, the more we want to get rid of the culture of "project", that way of thinking "in light of the circumstances" imposed by the ideology of consumption to remain or return to be visionaries in the world.
Sardoy Cristina lyrics.

Friday, November 27, 2009

Kate's Playground Uncensored

Rio de la Plata Buenos Aires 2050 2050


Franco Martinez-Fernandez, Lobosco
Future Perspectives - Buenos Aires 2050 Final Tp CAMP 2009

Can You Watch P90x Free



Friday, November 20, 2009

Always Red Eye Some People

... And you still need a life, simulates the city ...



Buenos Aires 2050 "... and you still need a life simulates the city ... "
(Rem Koolhaas, Space Junk)

Making video: Karina Pafundi, Gisela Giordano

Work done for
FADU-UBA Faculty of Architecture and Urban Design, University of Buenos Aires
Critical Analysis of Modern Architecture and Postmodern
Chair Jorge Mele
2009

Team: Pafundi, Torrismondi, Weitzman

Friday, November 6, 2009

Woman In Long Leg Girdles

2 minutes 15 - recording the world's urban life


the collaborative blog 2min15 proposes a mammoth task, collection and recording of urban life .. . worldwide. As its website, they propose, as a flâneur, tour and record videos of 1 to 2min 15 on urban situations in various cities, trying to demonstrate the power of the metropolitan experience mediated (generic, yes) but also with nuances and subtleties that discipline designing tools have failed to perceive and manipulate the whole.

Wednesday, November 4, 2009

Simi Garewal In Mera Naam Jokar

Ground Up - Play City Intuition & System


The Dutch study
Döll Lab, the online book "Ground-Up / City Play as a design Tool " collects a series of critical texts on the role of playfulness in the construction and ownership public space, taking up micro-strategies of intervention on Interstitial urban fabric and vacant lots.
Based on field studies and collaborative participation in workshops for children and adults, the laboratory submits draft children's play areas as design tools for the integration and linkage with the city.

Monday, October 12, 2009

Total Knee Replacement Surgery S.e. Wi.




At the top of the apex is, often, only one man. The joy of contemplation is equal to its excessive inner sadness. Those who are near it, do not understand, and with indignation, accusing him mad or impostor
Vassily Kandinsky, On Concerning the Spiritual in Art.


------ 1. Introduction.

The aim of this paper is to show how all design processes, particularly those relating to architecture, are regulated under a single guiding principle, itself made up of devices, which will call: ideological processes design. In other words, it demonstrates how, through different mechanisms of deliberate concealment or unconscious, all the tools and systems that make up the design process are subordinates under major conceptualizations, which are linked in its entirety with no programmatic and ideological positions, materials, construction, scientific, or systematic computable.
In part A, we analyze an artistic and architectural, and ideological processes of design that there are verified by differentiating functional and programmatic issues. In Part B we will examine different aspects of these processes, contrasting with some systemic theories.

PART (A)

look at a specific time period, the debate taking place in it, as exemplary. Thus, we find different positions, relying on different theories and views, sought disparate design processes hiding their true intentions in some cases, but always subordinate to the ideological processes of design. The case is discuss different perspectives on the arts prior to the Bauhaus and during its existence, in times of the Weimar Republic and then to her.

2. The epic transforming

worth noting first that the time to study is no doubt, particularly in history in general, and in design history. Following the line of romance, and the fury of avant-garde, all the speeches and creations are laden with a profound prophetic fervor. He felt the need to amend the very foundations of social and artistic speech, and was convinced that these changes would be destabilizing and durable.

At the top of the apex is, often, only one man. The joy of contemplation is equal to its excessive inner sadness. Those who are near it, do not understand, and with indignation, accusing him mad or impostor [1]

Simultaneously, it was believed that art and design, would be those tools by which large and critical social changes would be carried out:

Art and people should form a unit. The must cease to be art enjoyment of a few, to become happy and living of the masses. The union of the arts under the wings of a great architecture, it is our goal [2]

Finally, it is essential to clarify that the climate before the world wars, during, strengthened the expectation of change, vitality and grandeur of these social changes:

art is the alarm cry of those who live in themselves the fate of mankind ... are men who do not look away to protect yourself from emotions but rather open their eyes wide open to attack all you need attacked [3]

At that time the debate on the position that art and design should take, was in effect. Find conflicting statements in their entirety, but in all cases, we see the seeds of change, not just a transformation of the code and style, but changes in the processes and meanings of design.

World War disturbs the rules and behaviors, it is necessary to grasp its prophetic fury without nostalgia, rejecting all scholastic conservative instinct [4]

3. Political mysticism

The trend to higher force and momentum in taking forward this change was expressionism. There, all the conservative and classical in style, form, meaning, significance, and in terms of tools, processes, systems and programs are put into crisis, challenged and rejected.

expressionism (...) is the spiritual father of
extreme concepts of our time, the Bolsheviks and abstract art.
[5]

This position also will cross paths with a mystical vision of reality and purpose of art itself (inherited from romanticism). The work of these authors, especially in regard to the graphics, will be charged with a strong mystical, magical aspects confluence with a messianic tone that gives the art. We perceive, as an aesthetic stance is accompanied by a vision that goes beyond the work itself. Strong political content, the clusters in which militated most of these artists not only sought to link art to the people, but believed that art would be the tool for social revolution.

! And we, who are at the mercy of society that devours everything, we are not parasites, allies of a society that knows no does not want any architecture, and therefore does not need architects! (...) Any strong desire for future pregnancy is architecture. (...) Then there is just art, and this art will radiate from every corner. This alone gives a measure of things, carefully distinguishes the sacred from the profane, the greatest of the petty, and provides everyday things a little bit of its glow [6]

4. Craft

Before the 1st. World War, questioning the stiff academic historicism, avant-garde would converge later in expressionism, rowed by a return to craft, and by the way of life and significance of late Gothic. In the spirit of romanticism still in force in the arts, the rejection of the society to which they belonged, generated a spirit of intuitive return to the craft:

architects, sculptors, painters, go back to the craft! [7]

Here we find the first great conflict of our time. And this contradiction is not about style, material or architectural conceptualization, but it is based on the ideological processes of design. Indeed, the debate is in the position in which the author has raised his work with that think about design tools, and from there get a style, a program to materiality.

Expressionism is like socialism, the same cry against materialism, against antiespíritu against the machine against centralization, for the soul, by God, for what is human in man [8 ]

However, the counterpart to this address will significantly change the processes of design, but not because of them. But by an ideological position, the product of his time. The fight, as the above quote, was against the machine and against progress, who attributed the evils society. The backward nature of these claims, makes those who think of a real social alternative, from art to abandon these positions. That is, an ideological shift in thinking, it meant a change in the design process, which generated the other constraints in their work. Discursive tools that produce these changes, which formerly called ideological processes of design.
Only four years after the appeal of W. Gropius to return to the craft, whom he would exclaim:

Art and technology: a new unit! [9]

Another example of this occurs in terms of planning and construction concepts. Return to Gothic, meant a return to small-town settings and self-sufficient. The trend toward rural, locked in itself, as a refuge for the city than anything disturbing, was also one of the reverse ideological

This attempt to turn back the clock of history, is the reactionary side of expressionism . His face was yoked to a progressive pessimism about the future of civilization, which the expressionists shared with the modern movement [10]

Authors such as Bruno Taut, are immersed in this contradiction. While in his Alpine Architecture, raises small rural community villages, the architecture of these populations, is designed in glass and steel, and mirrored skyscrapers. That would be the seed of the new thinking of expressionism, as a more progressive: Glass Architecture. Through it achieved using art as a tool for social transformation. And from there, the birth of the concepts of standardization, as discussed below.

is important to point out again as the stylistic changes are the result of changes in the processes of design, and as the latter are modified according to its terms ideological.

5. Standardization

The search for an artistic identity of its own, was one of the bastions of expressionism. This feature will generate the most ideological confrontation with the precursors of rationalism. While the modern movement, searched (and search) to replace an outdated for a modern language, and a system of dogmas, on the other, the expressionism is opposed to any kind of dogmas and guidelines. While rationalism sought to generate systematic and standardized parameters architectural expressionism opposed to the methodical repetition of parts or solutions. This dispute (which rises in the center of the edge) was expressed at the Congress held in Cologne by the Deutscher Werbund in 1914. There H. And H. Muthesius Van de Velde embody each of the positions. In their presentations, the first of which says:

architecture and with it the entire scope of the Werbund, seeks to standardize and only through it can recover the former general meaning accounted for in times of harmonious culture . (...) Only the standardization, which should be conceived as a result of a healthy merger may enable the development of a safe taste of general validity. [11]

This appeal by the mechanization and standardization, will be a counterpoint, by van de Velde:

long as there are artists in the Werbund and while they continue to exert an influence over its destiny, will protest against any suggestion aimed at establishing a canon and standardization. The artist is by its very essence, an ardent individualist, a free creative and spontaneous, never submitted to a discipline that imposes a type, a canon. Instinctively suspicious of everything you can sterilize your inspiration and all who preach a standard. (...) Starts the era of imitation and establishing the use of forms and ornaments for the production of which no one uses the creative impulse, then starts the period of sterility. [12]

Probably, this dispute within the community itself, was an indication of the future of expressionism. The same, open rise to two possible paths. One is the convergence of the vanguards of this movement, where it empties into rationalism. The other way is the free development of style, with all its features, such as a parallel course to the modern.
Perhaps the main difference that one might find between the two, is the systematization of forms, a concept that carries on rationalism as a bulwark, and that in the first instance seem to undermine the alleged independence creative expressionism. But then again, rationalism known, even by using pre-made parts, generate plenty of formal solutions.

When the machine invokes the rationalist, it looks as sleek, modern, accurate and good tone. [13]

The major difference between the position of Van de Velde and H. Muthesius, shows the same environment as the intellectual, cultural and artistic heritage and to similar constraints, design processes start from different places, attributable to ideological and discursive positioning, and not due to functional requirements or programmatic.
is not the purpose of this paper a detailed analysis of German Expressionism, just take it as such in their design processes. It could be analyzed similar counterpoints and contradictions, to analyze the use of the axis of symmetry in the sketches and unbuilt projects of Mendelsohn and Gropius; projects Crystal B. Taut, W. Luckhardt, P. Bherens and P. Gosch, the resistance to the realization of projects of H. Finsterlin, etc.

PART (B)

In the first part of this paper, we used the German expressionism as an example of how all the tools and systems that make up the design process are subordinates under major conceptualizations, which are linked in its entirety with no programmatic and ideological positions, materials, construction, scientific or systematic.
In this second part, we analyze some of the elements that make up the ideological processes of design and compared to systemic theories and globalizing.

6. Tools.

key part in creating, is the use of tools. Design processes are then conditioned and relativized to the action of the methods of the machinery:

The original `` `o` particular beauty of a product depends the intrinsic characteristics of the machine that makes it. [14]

course, it is a choice. The exacerbation of these mechanisms, the design of these processes are subordinated to the ideological discourse, exemplified in the case of Gropius, in his advocacy of modern equipment and their use of discourse and social objectives mentioned above. (...)

overcome only in the production process of the spiritual powers in the wake of the bourgeois conception, your order form, this production will be politically appropriate, and also those barriers competitive producer of both forces should jointly crack [15] .

7. Language

It then, that the stylistic language (to call it somehow) is not an accident or by chance. Is a direct consequence of the ideological processes of design. That is, it is not derived from a mechanistic process, or something conceptualized in terms of its operational powers or systematic. The language of a work depends on a guiding principle deferred ideological and discursive logic. Here


found Moses in the side of the mountain, a rock cavern roof (...) is prepared to undertake the work that God entrusted, under troubling circumstances (...) Then how did you write? In the school of Thebes had learned both decorative hieroglyphs of Egypt, as well as the Euphrates cuneiform (...) Moses wished fervently writing that even children could learn in a few days, and therefore he could invent and create, through the nearness of God, in a few days. That should be designed and invented writing, they do not exist. (...) Warned that they could describe the world, both that which was in space and what was not what was done and I thought, in a word, everything. [16]

language, we argue, derives from a need has arisen from the ideological processes of design, and therefore not a utilitarian or stylistic, and therefore is not capable of being systematized and reduced to a repetitive and standardized process.

8. The danger

The pitfall of the systems trying to find a definitive logical-creative processes through the systematic study of design problems, lies in the self-restraint which are enclosed. We have argued that these processes are conditioned by guiding ideological principles, while the methods described below, this element is left out. It seeks to systematize a process that is based, precisely, in its inability to reduce repetitive gestures.

8.1. The General Systems Theory .

This theory devised by L. von Bertalanffy, raises the possibility of becoming a meta-theory, by which to describe and study various disciplines, according to similar categories. Because of this theory, models and general rules are applicable to any discipline regardless of their internal logic, reasons, origins, goals and meanings. Naturally, the author believes that this could become a situation full of fallacies analogies, so that implements the concept of isomorphism (the replacement of complex systems simpler ones). Of course, that in its own systemic logic, any artistic work, and every human being is plausible to be studied methodically, and therefore subject to will ( environmentalism theory [17] ). Art, tools and language, logical consequences will be using this system, leaving no room for the spirit, thought, free will.

8.2 The Theory of Patterns (Patterns).

by Christopher Alexander's theory of patterns, says:

Each pattern describes a problem that occurs again and again in our environment, to describe then the kernel of the solution to that problem, so such a solution could be used more than a million times without doing or even twice in the same way. [18]

Thus, while recognizing the existence of infinitely many solutions, the system shuts down as to the impossibility of endless problems. N. Chomsky in his theory of generative grammar [19] , implies the possibility of studying language of a comprehensive and definitive. It is believed then that language is the result of a design problem, functional or stylistic. While we hold that the language is the tool that expresses a guiding ideology and discourse. These two elements, are ignored in the theory of patterns.

8.3 The Legal Truth

The legal truth, "says Henri Altlan-analyzed all cases, and generates a` true `by consensus. This stance should be renewed constantly in danger of becoming a paradigm that violates its own essence. Scientific truth constantly changing, incorporating new data would avoid this danger.

However, the temptation or the need-to rest in the contemplation of the naked truth is so great that every half-bloom generation sees great scientific cosmologies reveal, finally, the truth about the Ultimate Reality of things (...) where you should believe in order to finally rid of illusions and errors of the false belief of the past. [20]

The danger, then, is the absurd belief that science and systems can achieve an ultimate truth, the thought of the creator is an anecdotal and that the interpretation of the viewer a consequence of its context. This is the real danger.

This does not mean that, by most educated men, comprising among them scientists, it is still the ultimate state of physical and biological theories is the truth that it is impossible not to believe because it has `` `` scientifically proven. [21]

Teodoro Tenenbaum. October 2009


[1] Vassily Kandinsky, On the Spiritual in Art. Libertador editions.
1910 [2] Arbeisrat fur Kunst, inspired by a great architecture. 1919
[3] Arnold Schönberg, 1914. quoted in Rudolph Penht. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[4] Bruno Zevi, Erich Mendelsohn Editorial Gustavo Gili 1982
[5] A. Jolla. The spirit of the time. 1918. quoted in Rudolph Penht. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[6] Bruno Taut, the new thinking in architecture, for the fur Kunst Arbeisrat
1919 [7] Walter Gropius. Quoted in Adolf Behne 1923 The modern functional building. Ed Rowan
[8] Herbert Kuhn. Quoted in Adolf Behne 1923 The modern functional building. Ed Rowan
[9] W. Gropius. Cited by U. Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[10] Penht Rudolph. Expressionist architecture. Gustavo Gili Barcelona Ed. 1975
[11] H. Muthesius Werkbund Congress. Cited by U.
1914 Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[12] H. Van de Velde's Werkbund Congress. Cited by U.
1914 Conrads Programs. and manifestos. the architecture of S XX Ed Lumen
[13] Adolf Behne 1923 The modern functional building. Ed Rowan
[14] Walter Gropius, The New Architecture and the Bauhaus. Barcelona, \u200b\u200bLumen, 1966.
[15] Benjamin, Walter. The author as producer. 1934. Ed Taurus, Madrid 1975
[16] Thomas Mann, The Ten Commandments 1945. AA.VV. ed., Buenos Aires.
[17] See S. Ramirez, General Systems Theory of Ludwig von Bertalanffy. Ed UNAM, Mexico.
[18] Christopher Alexander, Essay on the synthesis of form. Infinite Ed.
[19] Noam Chomsky , essential work. Critical Ed.
[20] Henri Atlan, rightly or wrongly. Barcelona. Tusquets Ed. 1991
[21] Henri Atlan, rightly or wrongly. Barcelona. Tusquets Ed. 1991