Elephantitis Of The Nuts

COMPOSITION_NON-ACCOUNT COMPOSITION


JACQUES LUCAN, Composition non-composition
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Jacques Lucan, invited to lecture at the Pavillon de l'Arsenal in Paris, teaches all'EPF Lausanne. In his latest book, "Composition, non-composition, Architecture et Theories, XIX-XX Siècles" Lucan across the convergence to the law which relate to some of the contemporary architectural design. And in particular speaks of objectivity and symbol. Already
in the '90s talk of a new objectivity, objectification or better architecture, which gives way to the functionalism of the 20s and 30s to a so-called literal contextualism, the notion that extremes of site-specific. The building that is installed in the parcel reproducing, as for pure extrusion, the course perimeter, looking at this, and not in the urban con-text, its legitimacy. Elevand archetype for this approach to the Flat Iron Building, which, although born of a school setting Beaux-Arts, already contained in nuce the whole spirit of modern architecture, Koolhaas designed the extension of the Dutch Parliament in the form of a strange guitar, which reproduces the assigned lot.

AND 'search for meaning as a monolithic object, like sculpture without symbol. No more
venturiana the duck, but a homogenous construction.

If modernism and all that this was a consequence, persisted in the bottom of a paradox, namely the search for a balance between parts of a unit route to initial assumptions, the search for uniformity does not proceed according to the concept of composition, but the voltage of the form. The entire surface has the same dignity in the work, and only the internal voltage can move it. (Composition Unistar , W. Strzeminski, 1934)

Now, out of both of these reasons there is, in my opinion, the new showroom, Vitra in Weil-am-Rhein, Herzog and De Meuron. Result of two movements almost primitive architecture, the extrusion of a naked and pure highly symbolic sign and initial child, a house, and the seemingly random and playful composition of serial elements that follow. A project hyperbolic and ironic, which simulates its deformation as if the model itself.

A project still limit, but of finding or opening a new architecture?

Stone Shiny Onde Encontrar

ARANCIO_L'AFFISSIONE

The still image is extracted from the new ING Direct campaign signed Leo Burnett. The interest of this posting is to scale its character metapubblicitario. It is a question of a communication system that uses a form of "communicative resonance" characteristic of advertising language in this case is internal, that is confined by time and space of the visual sequence of the spot, be it external, referring to forms of advertising parallel to the television message. A system, in short, in which coexist simultaneously on the same floor and all forms of advertising by establishing cross relationships on many levels, but especially coming out of posters postpone quandro confined to external forms of communication and heterogeneous the same message. Live like a hypertext animated website, toll free, logo, posters and word of mouth, primitive and found a vehicle for information. And it is the physical presence of resonance allow people outside of these mediums, such as connecting link between staged and real.
It is no coincidence that a speech refounding medium information comes from an online bank, which has neither the physical spaces where conventional time they establish a relationship with their users. The space and time such a product is completely dictated by the customer, who himself becomes half prince of communications.

Peace Bathroom Ensembles

PROLUSIONE_SUPPORTO_NOTE TOTAL TO INSTALLATION THAT DOES NOT EXIST

support (less com. Support) sm 1. Organ, device or component whose purpose is to support other, rigidly fixed in that time and place Stens. Base, support, support part . In the automatic processing of information, any physical medium on which data is recorded to be compiled (machine-cards, band punched tapes or magnetic disks, etc.). - Area to accommodate a painting the painters of the Middle Ages used a wood - piece of cardboard on which are mounted photographs , etchings and the like - glass, celluloid or paper on which it lies the photographic emulsion. 2. Fig. Ausilio or technological aid to certain activities (eg. Teaching): s. audiovisual. (From fr. support , der. supporter of "bear, bear", which is from the Latin. support "bear")

by The Dictionary of Italian, G. Devoto and GC Oli

Le Monnier, Special Edition UTET, Florence 1992

This reflection on the notion of support actually comes from an observation distracted and perhaps a second time forced the image that appears to 'start of the post. Certainly from my "black hole", the Jewish Museum in Berlin Libeskind.

Having exchanged these stylized models of human faces for film reels, probably dating from the '30s or '40s and stacked in an exhibition that is the object exposed support of the visit (or so my slide show of the lesson I had been led to believe), I felt a sense of ambiguity and multiple widespread.

What I imagined as an object through a physical-chemical reaction became a primary storage medium (in this definition is interesting to note the use of vague terms data and information) was in fact a support collective memory and in turn support the physical insulation of humanity in a visit. Well perhaps in the end and walked on a device useless. Or, more positively, cross? A device whose purpose is to support?

There is a sense of weight, cargo, but at the same time be altered in this medium. It also marginal, if you want to give the definition of the Devoto Oli '92 - ( 2. Fig. Ausilio or technological aid to certain activities (eg. Teaching): s. audio-visual) ... short a tool.
But given that my hypothesis was fictitious and without foundation, there remains the question. It remains ambiguous. In a narrower sense, the electronic media today is light-weight combination of its reason to exist. Think in terms of magnitude and heaviness of the file recorded on ever-smaller devices where there is a new convention of matter and space. You could say that the relationship between matter and space tends to become historically inversely proportional, and lead to a more "swimming" of technology.