DATA. Ecosistema urbano . blog. Tschumi. Bernard Tschumi/Zenith De Rouen: Source Books in Architecture 3. Urban Catalyst | Projects. URBAN CATALYST. THE POWER OF TEMPORARY USE The book published in January 2013 compiles more than 10 years of research and practice in the field of temporary use as a catalyst of urban development. Specific Indeterminacy 20.000qm X 5 Years Concept for the Use of the Remaining Basement of the Palace of the Republic According to current plans the basement will be filled in with 200.000 tons of sand in order to stabilize the basement and prevent upward movement once the building has been demolished.
Technically only one tenths of this mass is actually required. X IDEAS In 2005, UC launched an international call for ideas for new concepts for Berlin’s castle area (exhibition and symposium, July 2005). SPACE PIONEERS The research and exhibition project commissioned by the Berlin Senate in 2005 examined temporary use practice in Berlin. LANDSCAPE CHANGE The 2003 research study investigates new user typologies in the post-agricultural landscape of Storkower Land (Brandenburg region, near Berlin).
Melibibula - ВХУТЕМАС. Мысль материальна. Государственный музей архитектуры им. А.В. Щусева. Аптекарский приказ И.И. Леонидов «Институт библиотековедения имени В.И. Ленина в Москве на Ленинских горах» ВХУТЕМАС (Высшие художественно-технические мастерские) — московское учебное заведение, созданное в 1920 году в Москве путём объединения первых и вторых Государственных свободных художественных мастерских (образованных ранее на основе Строгановского художественно-промышленного училища и Московского училища живописи, ваяния и зодчества). В конце 1920 года на архитектурном факультете ВХУТЕМАСа, наряду с мастерскими, где студенты знакомились с ордерной архитектурой (И.
Н. Николай Ладовский, творческий лидер рационализма, призывал изучать классическое наследие и ни в коей мере не ограничиваться только утилитарной функцией проектируемого здания. В марте 1920 в Москве был организован Инхук (Институт художественной культуры, 1920—24), научно-исследовательская организация в области искусства. В Инхуке сложились художественные взгляды Н.А. September 2010. When David Brewster invented the kaleidoscope in 1816 he created geometric imagery with light.
The geometric art that followed played on the idea of the symmetrical. However, more recently some artists prefer to disorientate the viewer with their abstraction. Whatever happened to geometric abstraction? Previously seen as the reassuring space of ordered, rational certainty, or reason and progress on the march, the world of abstract art seems to have plunged permanently into a chaos of uncertainty.
If the geometric order that it represented had taken over from perspective as a symbolic form, the space that it rationally defined appears to have been shaken once more. The urban order of Mondrian's ideal city has been replaced by disintegrating urban reality, or the shaped chaos of John Tremblay's Drop CityUrban Unplanning (2000). (2003) and But if the opposition of figure/ground no longer structures the painting, that function has shifted instead to the relationship of painting/wall. 10.09. Con motivo de su 20 Aniversario, la Kaiser Aluminium Chemical Corporation en 1966, la compañía comisionó un juego para predecir “posibles futuros” para los próximos 20 años (es decir para 1986).
Ya Fuller diseñó una especie de juego de simulación computerizado “How do we make the World Work” y junto a John McHale han desarrollado trabajos parecidos. El juego “Future” permite desarrollar futuros probables para 1986 a partir de rangos de predicciones hechas por dos expertos asociados a redes de pensamiento y la industria aeroespacial norteamericana. El juego es por lo tanto un modelo de simulación para predecir, o mejor dicho generar una serie de posibles mundos. Dejo las reglas para que el que quiera pueda introducirse en la dinámica del juego. Si alguien sabe cómo conseguirlo… que lo diga!!!!
Alan Boutwell. Alan Boutwell became acquainted with the ideas of the megastructuralists during his studies and was particularly impressed by the thoughts and designs of Archigram. In 1965, his first designs of modular building systems were released, in which he experimented with new technologies and materials. The project of a gigantic linear city that he created together with Michael Mitchell caused a sensation. It spanned on hundred meter high pillars straight across the American continent. Its interior combined all classical functions of urban life and was connected by a complex traffic system that was differentiated by speed, transportation and distances. Alan Boutwell/ Mike Mitchell, Continuous city for 1.000.000 human beings.
In: Domus 470, Milan, 1969 Alan Boutwell and Michael Mitchell described their project with the self-confidence and urgency that is characteristic of that time: This is our city. Alan Boutwell/ Mike Mitchell, Continuous city for 1.000.000 human beings, section. “An Evolutionary Architecture” available online « Michal Piasecki. John Frazer’s “An Evolutionary Architecture” from 1995 is an obligatory read for anyone interested in the amalgam of evolutionary computation and design.
In other words anyone interested in the potential of “breeding designs” using evolutionary algorithms (genetic algorithms belong to this category). I was very happy to see it available online for free from the AA website. Like this: Like Loading... MEGAESTRUCTURAS. Michael Webb. Michael Webb was born 1937 in Henley-on-Thames (home of the Rowing Regatta), England. He studied architecture in London, taking seventeen years to graduate from a curriculum which is supposed to take but five. However, a project he designed in the fourth year of his studies found its way, via a curious set of circumstances, into the exhibition at MoMA New York in 1962 entitled “Visionary Architecture.” His thesis design: The ‘Sin Palace’ which repeatedly failed at his school of architecture, was later widely published. He then, circa 1963, joined the Archigram Group, a collection of six young architects rebelling against what they saw as an English architectural scene on life support. Through the pages of a magazine the group produced highly colored images of ‘a new architecture that would stand alongside the spacecapsules, the inflatable structures and the lifestyles of a new generation.’
For eleven years, an exhibition of the group’s work toured the world.