Sunday, 21 November 2010

urban void

"If there is too much to see, that is, if an image is too
full, or there are too many images, the effect is you
do not see anything any more. Too much too
quickly turns into ‘nothing.’ If an image is empty,
or almost empty and sparse, it can reveal so much
that it completely fills you, and the emptiness
becomes ‘everything’."
"I had never realized so clearly before that there have to be places in cities that are not occupied, but that have to open up suddenly, like clearings in a wood. I like the word we have in German for clearing: "Lichtung", suggesting a place with bright clear light, as does the English "clearing". If you don`t have islands of light and disorder like this the city becomes overloaded, it becomes a closed system."
Wim Wenders

Saturday, 13 November 2010

Reiser & Umemoto, Watergarden
Jesus Rafael Soto, Penetrable, 1982

Xenakis, Politopo de Cluny, 1972-74

paul virilio and the oblique


"...Paul Virilio, whose function oblique diagram contains a powerful political message: that embedded within the flat floors and vertical walls of traditional architecture are the unchallenged power structures and hierarchies of the status quo. For architecture to be truly revolutionary, these ‘structural’ elements must be rethought. The diagram suggests that the form of architecture and the built environment can encourage or discourage different types of movement, different levels of dependence or independence, and ultimately different political acts." link

"The Oblique Function was first developed in the 60's by Architecture Principe (Claude Parent & Paul Virilio) and since then is still the main element of Parent's architecture (see previous article). The idea was to tilt the ground in order to revolutionize the old paradigm of the vertical wall. In fact, being inclined, the wall becomes experiencable and so are the cities imagined by the two French architects. The oblique is fundamentally interested in how a body physically experience a space. The slope implies an effort to climb up and a speed to climb down; this way the body cannot abstract itself from the space and feel the degrees of inclination." link

score #1

Toshi Ichiyanagi, the field, 1966