Tania Nevarez
Architect & Entrepreneur
Entries
InS | 1.1
MVRDV
This apartment complex remains me of America. All its apartments are so different, all so unique, but all of these pieces are part of one master plan. We as humans have the tendency of enforce order and symmetry to everything, trying to settle down our restless mind however sometimes order and rest is not what we need. The problem of a fast changing housing market was approached with a series of different housing types. The demand for a big variety of living spaces on the one hand led to different typologies but on the other hand, as a counterbalance to the increasing individuality.
Silodom Complex, MVRDV (Amsterdam, Netherlands) 1995-2003,
Client : Rabo Vastgoed, Utrecht NL and De Principaal B.V, Amsterdam, the Netherlands
Program : 19,500 m2 housing, 165 dwellings
Budget: EUR 16.8 million (EUR 861/ m2)
Program:157 houses (for rent or for sale), offices, work spaces, commercial spaces and public spaces arranged in a 20 meter deep and ten-story-high urban envelope.
InS | 1.2
Habitat 67
This project is a failure not only to its master but to its original purposes, affordable and sustainable design are certainly two characteristics that this complex doesn’t have. On the other hand, if heard of the phrase beauty is on the inside and had find the real meaning in this words, you will have no problem seen the true beauty hidden inside of this complex.
InS | 2.1
My Manifesto
Urban design focus on macro-architecture defining our cities and therefore our way of living, how we socialize and the way we used transportation as society. There is no mystery on how we have dictated our cities outline throughout the years since the industrial era, we have design our cities not for us but for our toys, a clear example of this is the car. Capitalism was the best allied for this type of urban architecture, with the need of expansion came the car and with the car came the hi-ways with annual taxes to keep the streets safe for driver, gas stations and oil industry also thrive, with the ability to cover more distance in the same amount of time came the suburbs and with the suburbs came millions of things more. Sure this era was amazing and it was definitely crucial for our learning curve as now we know that owning a car is not only monthly payments to the distributor it also means, Fuel, Tires, Maintenance and repairs, Taxes, license and registration fees, Insurance premiums, Depreciation, Interest/financing. Although trading is crucial for our society the car has come with other type of hidden taxes for every daily mile that we expend sitting on a car.
For every mile our health and our natural resources are being devastated in more than one way, leading to the conclusion that we haven’t being selfish enough.
Sure we are being selfish by not wanting to share a car with other people just like a toy, we are being selfish by not wanting to scarifies a little bit our privacy around our house, we are being selfish by not caring enough about the environment that undoubtedly is suffering because of our actions but is more than clear that we haven’t being selfish enough! Because is we were more selfish we will definitely realize that by sharing and taking care of our environment we as individuals will improve our lifestyle, appearance and definitely expand our time line throughout the years not only as individuals but also as a society.
I’m inviting you with this manifesto to be more selfish every day, to take our cities back! To design and built not thinking on what would be better for our toys but on what would be better for us!
InS | 3.2
shape and beats
InS | 3.1
The Longest Way
This video is about Christoph Rehage traveling from china to Germany. Stopping at places like: Beijing ⟶ Pingyao ⟶ Xi’an ⟶ Pingliang ⟶ Lanzhou ⟶ Jiayuguan ⟶ Dunhuang ⟶ Ürümqi ⟶ Almaty ⟶ Bishkek ⟶ Tashkent ⟶ Samarkand ⟶ Bukhara ⟶ Mary ⟶ Mashhad ⟶ Tehran ⟶ Yerevan ⟶ Istanbul ⟶ Munich ⟶ Bad Nenndorf, However I see it more as a journey through your true self.
"I’d like to call this one The Longest Way, even though I’m not attempting to set any sort of record. There are longer ways, and other people have walked them. Why did I choose the name then? Well, for one, the domain was available. But there’s another reason: some people take walks and others do other things. However, this goes for everyone – it is the longest way from a daydream to a dream."
AWARDS:
▶ 2009 Boulder Adventure Film Festival
▶ 2010 Berlin Webcuts
▶ 2010 Banff Mountain Film Festival
▶ 2011 Vancouver International Mountain Film Festival
▶ 2011 5th International Mountain Film Festival Domžale
▶ 2011 Squamish Mountain Festival
▶ 2011 Mezinárodný Festival Horských Filmov, Poprad
▶ 2011 Vertical Film Festival, Moscow
▶ 2009 TIME.COM #8 viral video
INSPIRATION:
▶ madandcrazychild (she takes a photo every day)
▶ NK5000 (Noah takes a photo of himself every day for 6 years)
▶ mattharding2718 (Where the Hell is Matt? 2008)
InS | 4.1
Metabolism
was a post-war Japanese architectural movement that fused ideas about architectural megastructures with those of organic biological growth. It had its first international exposure during CIAM's 1959 meeting and its ideas were tentatively tested by students from Kenzo Tange's MIT studio.
During the preparation for the 1960 Tōkyō World Design Conference a group of young architects and designers, including Kiyonori Kikutake, Kisho Kurokawa and Fumihiko Maki prepared the publication of the Metabolism manifesto. They were influenced by a wide variety of sources including Marxist theories and biological processes. Their manifesto was a series of four essays entitled: Ocean City, Space City, Towards Group Form, and Material and Man, and it also included designs for vast cities that floated on the oceans and plug-in capsule towers that could incorporate organic growth. Although the World Design Conference gave the Metabolists exposure on the international stage their ideas remained largely theoretical.
The flying house
InS | 4.2
The Flying house
Kikutake always referred his own biography, which crosses the history of Japan, to explain his personal elaboration of Metabolist’s principles. Son of a wealthy family of landlords, he was 17 when the war ended and his family was suddenly land-poor after post-war reforms. Faced to the remains of a country that was heavily hurt, the Metabolists started to develop a design attitude that addressed the need for buildings to adapt to the mutability of things. The sky-house applies this principle on the small scale, addressing the changeability inherent in a single family. The first addition to the main volume was the children room, a small space plugged under the floor, (a “move-net” as the architect likes to call it), which was removed when the children moved away. During more than 50 years several changes were made to the Sky-house, some improved the building following its own intrinsical logic, some irrimediably altered the house’s nature.
video
just my journey home in a regular day
InS | 5.1
women's struggle in the labor force.
Most professional women can recount horror stories about discrimination they have suffered during their careers. Mine include social trivia as well as grand trauma. But some less common forms of discrimination came my way when, in mid-career, I married a colleague and we joined our professional lives just as fame (though not fortune) hit him. I watched as he was manufactured into an architectural guru before my eyes and, to some extent, on the basis of our joint work and the work of our firm.
When Bob and I married, in 1967, I was an associate professor. I had taught at the universities of Pennsylvania and Berkeley, and had initiated the first program in the new school of architecture at UCLA. I had tenure. My publication record was respectable; my students, enthusiastic. My colleagues, mostly older than me, accorded me the same respect they showed each other, and I had walked the same corridors of power they had (or thought I had).
essay by Denise Scott Brown
click here to uncover the true with Zaha Hadid
InS | 5.2
For me, things are much the same at the top as they were. The discrimination continues at the rate of about one incident a day. Journalists who approach our firm seem to feel that they will not be worth their salt if they do not “deliver Venturi.” The battle for turf and the race for status among critics still require the beating-off of women. In the last twenty years, I can not recall one major article by a high-priest critic about a woman architect. Young women critics, as they enter the fray, become as macho as the men and for the same reasons—to survive and win in the competitive world of critics.
For a few years, writers on architecture were interested in sexism and the feminist movement and they wanted to discuss them with me. In a joint interview, they would ask Bob about work and question me about my “woman’s problem.” “Write about my work!” I would plead, but they seldom did.
Some young women in architecture question the need for the feminist movement, claiming to have experienced no discrimination. My concern is that, although school is not free of discrimination, it is probably the least discriminatory environment they will encounter in their careers. By the same token, the early years in practice bring little differentiation between men and women. It is as they advance that difficulties arise, when firms and clients shy away from entrusting
high-level responsibility to women. On seeing their male colleagues draw out in front of them, women who lack a feminist awareness are likely to feel that their failure to achieve is their own fault.
there is no better word that theirs for us to know ...
InS | 6.1
Semiotics in Architecture can only be understand once semiotic in general has being understood. Base on this logic if you try to explain how a plane flies, without understating how a bird flies would be a chaotic therefore the background of this idea in general must be fully comprehended for us to have a real point of view behind semiotics in architecture. Semiotics is as old and necessary as language. The basic idea behind semiotics is that there is a signifier and a signified, what is meant by this is signifier as a word and signified as the concept. However, when we say the word not necessary meaning the sound or the symbols that word contains but the sound image generated in your brain. Comparing two psychological entities almost with no division this phenomenon is call participation. The beauty of this is how two things conform by so many elements are combine only in to one almost without noticing and in matter of seconds. Even though the word made out of symbols whit their unmotivated nature of existence, will never resemble at all the object in matter, in the other hand the object in matter will reflect not only an outline but also flavor, texture, smell, function and even feelings to the user.
semiotics and ist meaning in architecture
Semiotics = science about signs, sign systems and sign processes
Now semiotics goes beyond the linguistic phenomena and becomes an existentialists dilemma, let say a receiver or person sees smoke you will take this as a sign, there is fire somewhere near, which at the end of the process would become a message of danger or precaution that is not necessary in direct correlation with the word “smoke”. however, if we go back to era of big battles if a soldier would see smoke and a fire on top of a mountain, would mean that they had won the battle and a message of peace could now spread through their mind. In architecture comes the idea that architecture could be seen as a visual language, almost as reading a city just by sight. Still the eye will only see what the withholder knows, making architecture subjective and fragile when presented to a blind eye. What this phrase states that humans don’t always know what they want and the only way they will get to know what they want is by creating it for them to see. Here is where the theoretical and ideological architecture come in to conflict, one gives what the consumer needs and wants and the other one is in charge of designing a new need and a new desire. Thoughts shapes reality or reality shapes thoughts? Architects are designers, problem solver, dreamers sometimes limited by greed and bound to a ground mind.
InS | 6.2
InS | 7.1
Trends Defining Design | 1
Rotating Skyscrapers
This image of an 80-story skyscraper, imagined by Dynamic Architecture's David Fisher back in 2008, is a far-fetched rendering fit for Dubai's future rich and famous. Why? Because it rotates. The enormous, towering building would have floors that move ever so slightly, completing a 360 degree rotation every 90 minutes. Forget about fighting for an east-facing apartment, the suites in Dynamic Architecture's creation would have all four cardinal directions covered. And it get's better. The building would be equipped with several giant wind turbines that generate electricity for tenants, and penthouse residents would be able to park their car at their apartments thanks to nifty lifts. While we're not sure this design will ever actually come to fruition (it was scheduled to be up and running in 2010), it's certainly a visual feast worth ogling.
InS | 8.1
Trends Defining Design | 3
For his series "Dauphin Island," artist Dionisio González designed dreamlike, futuristic forts made from iron and concrete, fusing the role of artist with that of architect, engineer and urban planner. The peculiar edifices -- the hybrid of a beach house, a bunker and a space ship -- were designed with the residents of Dauphin Island in mind. Located off the coast of Alabama in the Gulf of Mexico, the tiny landmass is known for experiencing perpetual and catastrophic hurricanes. When a storm hits the small island of around 1,200 people, it often washes away much of the coastline, leaving residents to rebuild their homes again and again.
González created hypothetical blueprints for his forts, illustrating how his bulbous, concrete structures would better suit the fraught island's populous. You can learn more about the project on his website. Keep in mind, these structures are not yet slated for reality, but they certainly paint an interesting picture of what futuristic island homes could look like.
InS | 9.1
Trends Defining Design | 4.2
Let's not do hygge urbanism. The temptation will be strong, and you must resist.
It truly has been a terrible year. Architecture – specifically, architecture publishing – was also making something of a fetish of things hygge before hygge was a thing, with its recent boom in cabins and log piles. I attribute this more to an interest in consumer survivalism, rather than Danish culture, but nevertheless "cabin porn" was very much the gateway.
Anyway, here's the warning. Already, thoughts will be turning to next year's endeavours, and fun ways to present them to the public. The eye will blearily cast around the living room for ideas. Thanks to architects from Jan Gehl to Bjarke Ingels, the Danish way of making cities is already rightly praised and emulated. But let's not do hygge urbanism. The temptation will be strong, and you must resist. No hygge placemaking. I beg of you. Just don't.
Will Wiles is the author of two novels with architectural themes: Care of Wooden Floors, in which a man is driven mad by a minimalist apartment, and The Way Inn, a horror story set in an anonymous chain hotel. He is contributing editor at Icon magazine and a freelance design journalist.
InS | 7.2
Trends Defining Design | 2
In November of 2013, the Strelka Institute announced the winner of a two-stage international competition to design Zaryadye Park, Moscow's first new public park in over 50 years. The winner was Diller Scofidio + Renfro (in collaboration with Hargreaves Associates and Citymakers), who proposed this particularly stunning design based on a theory of "Wild Urbanism," or the concept of a "hybrid landscape where the natural and the built cohabit to create a new public space."The park will feature four landscape typologies -- tundra, steppe, forest and wetland, integrating augmented micro-climates that will enable the park to function as a public space throughout Russia’s extreme winters. Essentially, the quasi-indoor environments will involve regulated temperatures, controlled wind and simulated daylight that encourage 24/7, year-round park pleasure. As Diller Scofidio +Renfro aptly put it, "Zaryadye Park will embody the past and the future simultaneously."
InS | 8.2
Trends Defining Design | 4
Leave "hygge" in 2016
Financial Times critic Edwin Heathcote has already done a sterling job of debunking hygge, the ubiquitous pseudo-Scandinavian lifestyle craze. Like many ubiquitous lifestyle crazes, it's a subtle blend of total common sense (fires are nice in winter) and complete balderdash.
Anyway, it's upon us now and resistance is futile – the tie-in books have already been given as presents, and they already sit amid the Christmas wreckage of many, many living rooms. And I'm sure they look harmless enough. So it's time for a word of warning.
The Guardian's Charlotte Higgins has already shown how hygge was confected within the publishing industry. I think the part played by architecture and design has been understated, though. For a start, the sector has done much to import interest in Scandinavian lifestyles by importing lots of Scandinavian people. No one in their right mind would think this was anything other than a tremendous boon, and I can only apologise to my Scandinavian friends and colleagues for the way Britain is presently making a travesty of their culture. That, and Brexit.
InS | 9.2
InS | 10.1
Trends Defining Design | 5.2
Architecture and design has a long history of generating its own fake news
Even the grubbier end of that kind of activity isn't inherently bad. Here I'm talking about the completely senseless floating lilypad cities or vertical farms that get pitched out as blog-fodder for no practical purpose than showing off a designer's rendering skills and get their name about. They probably belong on Deviantart rather than Dezeen, but no one's harmed.
Really what's needed is appropriate labelling: making it clear what is speculation for the purposes of debate, what's a real proposal that's seeking backers, what might actually have a chance of actually appearing, and what's just a bit of hey-look-at-me fun. That's where the ethics get murky. Remember that Chinese straddling bus concept that turned out to be little more than a scam? Or that kooky London Garden Bridge concept that also turned out to be little more than a scam. Whimsy can be costly, people!
But seriously, knock it off with the floating cities and the vertical farms.
Trends Defining Design | 5
Health warnings for the whimsy
Another Trump-related one, sadly. Trump's victory has also sparked a debate over so-called "fake news": the growing welter of misinformation, disinformation and scurrilous falsehood online. This risks crowding out more reliable sources of information and overwhelming civil society's already overtaxed critical faculties. Again, you might wonder what that has to do with architecture and design. But of course architecture and design has a long history of generating its own "fake news" in the form of the more fanciful speculative proposals and vapourware. There's nothing wrong with speculation, paper architecture and design fictions, of course – they're all useful endeavours and we'd be hugely poorer without them. It suits architecture and design to propose their own forms, as well as to simply deliver the proposals of others.
InS | 10.2
Trends Defining Design | 6
Fujimoto's teaching
"The inspiration started from the beautiful surroundings," Fujimoto says. "I was so impressed by the beautiful green surroundings, so I tried to create in this green environment something between nature and architecture, tried to create a transparent structure that melts into the background." To achieve this, Fujimoto created his pavilion from a white lattice of steel poles, with variations in density creating a structure that appears more or less transparent depending on where you stand.
"The grid itself is quite straight, rigid and quite artificial," he says. "But when you have such a huge amount, it becomes more like an organic cloud-like or forest-like structure.
The polycarbonate tiles are not just to provide shelter, Fujimoto says. "Sometimes, if the wind is coming, [the roof] starts to swing and [creates] a more soft atmosphere, and a beautiful contrast with the grid."
InS | 11.1
the NEW university .... landmark?
John Wardle Architects and Boston-based Office dA have won an international competition to design Melbourne university’s new school of architecture building.
The new building for the Faculty of Architecture, Building and Planning will include dedicated spaces for research into sustainable precinct design and performance, along with lecture theatres, a library, exhibition areas and specialist workshop spaces.
The winning design showed a strong understanding of educational, environmental, and social issues, dean of the Faculty of Architecture, Building and Planning, Professor Tom Kvan, said.
Short listed entrants were asked to address four key issues: built pedagogy, academic environment, design studio and the living building. In evaluating the presentations, the jury focussed on firms’ capacity to work with the university and their focus on design quality.
InS | 12.1
An eye on the horizon for Los Angeles
A glimpse at the future of LA shows a growing number of skyscrapers that will spread southwest from the Downtown cluster.
The rendering by New York creative agency Visualhouse shows towers set to rise in Los Angeles between now and 2030.
As viewed from Griffith Park, behind the iconic observatory, the image shows the string of skyscrapers planned along and around South Figueroa Street in the city's South Park neighbourhood.
They begin at the 1,100-feet-tall (335.3-metre) Wilshire Grand Center, which recently became the tallest building in the American west. It also claimed the title of tallest building in LA, overtaking the US Bank tower that was recently fitted with an external glass slide at its top.
At the other end of the row is the Circa pair of towers, underway opposite the Los Angeles Convention Center.
InS | 13.1
ZAHA in football?
Strips of timber covering the facades of some of the buildings in the technology hub match the materiality of the bridge and the undulating bowl of the stadium, visually tying the sporting and technological elements of the site together.
"The Green Technology Hub proposals apply the latest sustainable design technologies with ecologically sound materials and construction methods to create an integrated community for world-leading research and development," said Zaha Hadid Architects.
"The bridge design creates one single, fluid form by fusing together individual timber elements," added the studio. "This important, unifying gesture builds connections for the community, conveying Eco Park as a facility for all."
InS | 14.1
Green Wall
Thermosash constantly sources solutions to meet our clients' concepts. Green Wall technology is increasingly incorporated into projects all over the world. We quickly ascertained that it required some considerable thought and engineering to do it well.
We have sourced and partnered with a company that we believe provide some of the best purpose designed and manufactured products available - designed and engineered in Switzerland.
Green Walls can be applied to projects large and small. Used to decorate what would otherwise be bare expanses of brickwork, up to more complex structures with full irrigation and planting schemes to protect multiple building façades.
InS | 11.2
university pt2
The jury, which consisted of noted architects Odile Decq (Paris) and Peter Elliott (Melbourne), vice chancellor Professor Glyn Davis and Professor Tom Kvan, was highly impressed by the presentations given by all six short listed practices. The jury noted the broad range of design responses and variety of innovative approaches to research and education.
The John Wardle Architects and Office dA submission was selected out of 133 submissions from 15 countries. Six entrants were then selected to proceed to competition stage, with each paid to develop a conceptual response to the key issues of the brief.
The competition was endorsed by the Australian Institute of Architects. Presentation boards summarising the response from each of these entrants will be on display in the Wunderlich Gallery at the Parkville campus throughout September.
InS | 12.2
Los Angeles
In between is the Gensler-designed Metropolis development, due to complete in 2018, and the two 40-plus-storey towers of Oceanwide Plaza slated to finish the same year.
The three residential skyscrapers of the Olympia scheme, unveiled by SOM and P-A-T-T-E-R-N-S in December 2016, is also shown.
"We're at a real turning point where the skyline of downtown Los Angeles is about to expand, and we feel it's important to document this," Visualhouse founder Robert Herrick told Curbed.
Downtown LA has seen a huge rise in demand over the past few years, spurred partly by the growing influence of the nearby Arts District – where BIG has proposed a huge mixed-use complex – and the renovation of many of the area's older buildings.
Elsewhere in the city, Frank Gehry's Sunset Strip development has received approval and MAD has proposed a project that looks like a hilltop village for Beverly Hills. All of the projects featured in the Visualhouse image are approved and should be complete by 2030, although many more buildings at various stages of planning could alter the skyline even more dramatically by then.
InS | 13.2
The Green in the field!!
Zaha Hadid Architects won an international competition for stadium, which will provide a home for National League football team Forest Green Rovers.
Designed to be the world's greenest football stadium, it will be constructed completely from wood and powered by sustainable energy sources.
The stadium and the 100-acre Eco Park development were commissioned by renewable energy company Ecotricity, with aims to be carbon neutral or negative by generating energy onsite.
"With Eco Park we hope to push the boundaries of sustainable development, create 4,000 jobs in the green economy, a world class football stadium and make more room for nature with a big biodiversity boost, as well as creating a new 'gateway to Stroud'," said Ecotricity founder Dale Vince.
InS | 14.2
Trends Defining Design | 6
Possible uses are retail, leisure, health, education and office developments, new build and refurbishment projects. This modern, precision engineered system provides great design flexibility. Working closely with designers, a solution can be developed to meet virtually any location and performance requirements, or budget constraints.
Equally suitable for internal or external use, the systems fix into timber, concrete, steel or brick structures and can be tailored to suit the characteristics of different plants.
Read through some of the many benefits that Green Walls can provide your project or go to the Jakob Brochure in our resource section - then call us to discuss your project's needs.
Benefits:
Green Wall systems combine great design scope with a number of ecological and performance benefits:
Improves aesthetics
A well designed and maintained Green Wall can significantly enhance a building’s appearance - whether it’s to add a new aesthetic dimension, disguise a car park, refresh a tired façade or add colour and texture to a complete wall or section.
InS | 15.1
Gyeongju Tower – Gyeongju, Korea
This outstanding modern building displays a shadow of space and time, and carries the form of the pagoda into the future.
The Gyeongju Tower is a landmark architectural achievement located in Gyeongju City, North Gyeongsang Province, South Korea. This remarkable 17-story [82 meter] building was built with a cut-out in the center resembling the legendary ninestory Hwanryongsa Temple's Wooden Pagoda that was the largest pagoda in South Korea. It was built during the Silla period in the 6th century. The Gyeongju Tower is part of the Gyeongju World Cultural Expo Park. It has an observation lounge, exhibition hall, and hosts various cultural events drawing nearly 1 million visitors annually.
InS | 15.2
tower and culture
Challenges: The principle architect, building owners and city officials wanted a show piece structure in the center of the Gyeongju Cultural Expo Park. They were interested in a reflective, metallic finish that would illuminate the structure and show off their ancestral heritage.
They were also insistent that the composite panel must have a durable finish, be corrosion resistant and have a consistent panel-to-panel match quality. Solution: Mr. J.H Lee, President of Garmco Myunghwa Ltd., presented the architect with samples of Lorin’s ClearMatt® finish. According to Mr. Lee, the building owners commented that “the clear anodized finish maintained the aluminum’s reflective properties like they were looking for and did not cover it up like silver paint. There are too many buildings in Korea that are painted—and you can tell”. Since the anodized aluminum
Entries
InS | 1.1
MVRDV
This apartment complex remains me of America. All its apartments are so different, all so unique, but all of these pieces are part of one master plan. We as humans have the tendency of enforce order and symmetry to everything, trying to settle down our restless mind however sometimes order and rest is not what we need. The problem of a fast changing housing market was approached with a series of different housing types. The demand for a big variety of living spaces on the one hand led to different typologies but on the other hand, as a counterbalance to the increasing individuality.
Silodom Complex, MVRDV (Amsterdam, Netherlands) 1995-2003,
Client : Rabo Vastgoed, Utrecht NL and De Principaal B.V, Amsterdam, the Netherlands
Program : 19,500 m2 housing, 165 dwellings
Budget: EUR 16.8 million (EUR 861/ m2)
Program:157 houses (for rent or for sale), offices, work spaces, commercial spaces and public spaces arranged in a 20 meter deep and ten-story-high urban envelope.
InS | 1.2
Habitat 67
This project is a failure not only to its master but to its original purposes, affordable and sustainable design are certainly two characteristics that this complex doesn’t have. On the other hand, if heard of the phrase beauty is on the inside and had find the real meaning in this words, you will have no problem seen the true beauty hidden inside of this complex.
InS | 2.1
My Manifesto
Urban design focus on macro-architecture defining our cities and therefore our way of living, how we socialize and the way we used transportation as society. There is no mystery on how we have dictated our cities outline throughout the years since the industrial era, we have design our cities not for us but for our toys, a clear example of this is the car. Capitalism was the best allied for this type of urban architecture, with the need of expansion came the car and with the car came the hi-ways with annual taxes to keep the streets safe for driver, gas stations and oil industry also thrive, with the ability to cover more distance in the same amount of time came the suburbs and with the suburbs came millions of things more. Sure this era was amazing and it was definitely crucial for our learning curve as now we know that owning a car is not only monthly payments to the distributor it also means, Fuel, Tires, Maintenance and repairs, Taxes, license and registration fees, Insurance premiums, Depreciation, Interest/financing. Although trading is crucial for our society the car has come with other type of hidden taxes for every daily mile that we expend sitting on a car.
For every mile our health and our natural resources are being devastated in more than one way, leading to the conclusion that we haven’t being selfish enough.
Sure we are being selfish by not wanting to share a car with other people just like a toy, we are being selfish by not wanting to scarifies a little bit our privacy around our house, we are being selfish by not caring enough about the environment that undoubtedly is suffering because of our actions but is more than clear that we haven’t being selfish enough! Because is we were more selfish we will definitely realize that by sharing and taking care of our environment we as individuals will improve our lifestyle, appearance and definitely expand our time line throughout the years not only as individuals but also as a society.
I’m inviting you with this manifesto to be more selfish every day, to take our cities back! To design and built not thinking on what would be better for our toys but on what would be better for us!
InS | 3.2
shape and beats
InS | 3.1
The Longest Way
This video is about Christoph Rehage traveling from china to Germany. Stopping at places like: Beijing ⟶ Pingyao ⟶ Xi’an ⟶ Pingliang ⟶ Lanzhou ⟶ Jiayuguan ⟶ Dunhuang ⟶ Ürümqi ⟶ Almaty ⟶ Bishkek ⟶ Tashkent ⟶ Samarkand ⟶ Bukhara ⟶ Mary ⟶ Mashhad ⟶ Tehran ⟶ Yerevan ⟶ Istanbul ⟶ Munich ⟶ Bad Nenndorf, However I see it more as a journey through your true self.
"I’d like to call this one The Longest Way, even though I’m not attempting to set any sort of record. There are longer ways, and other people have walked them. Why did I choose the name then? Well, for one, the domain was available. But there’s another reason: some people take walks and others do other things. However, this goes for everyone – it is the longest way from a daydream to a dream."
AWARDS:
▶ 2009 Boulder Adventure Film Festival
▶ 2010 Berlin Webcuts
▶ 2010 Banff Mountain Film Festival
▶ 2011 Vancouver International Mountain Film Festival
▶ 2011 5th International Mountain Film Festival Domžale
▶ 2011 Squamish Mountain Festival
▶ 2011 Mezinárodný Festival Horských Filmov, Poprad
▶ 2011 Vertical Film Festival, Moscow
▶ 2009 TIME.COM #8 viral video
INSPIRATION:
▶ madandcrazychild (she takes a photo every day)
▶ NK5000 (Noah takes a photo of himself every day for 6 years)
▶ mattharding2718 (Where the Hell is Matt? 2008)
InS | 4.1
Metabolism
was a post-war Japanese architectural movement that fused ideas about architectural megastructures with those of organic biological growth. It had its first international exposure during CIAM's 1959 meeting and its ideas were tentatively tested by students from Kenzo Tange's MIT studio.
During the preparation for the 1960 Tōkyō World Design Conference a group of young architects and designers, including Kiyonori Kikutake, Kisho Kurokawa and Fumihiko Maki prepared the publication of the Metabolism manifesto. They were influenced by a wide variety of sources including Marxist theories and biological processes. Their manifesto was a series of four essays entitled: Ocean City, Space City, Towards Group Form, and Material and Man, and it also included designs for vast cities that floated on the oceans and plug-in capsule towers that could incorporate organic growth. Although the World Design Conference gave the Metabolists exposure on the international stage their ideas remained largely theoretical.
The flying house
InS | 4.2
The Flying house
Kikutake always referred his own biography, which crosses the history of Japan, to explain his personal elaboration of Metabolist’s principles. Son of a wealthy family of landlords, he was 17 when the war ended and his family was suddenly land-poor after post-war reforms. Faced to the remains of a country that was heavily hurt, the Metabolists started to develop a design attitude that addressed the need for buildings to adapt to the mutability of things. The sky-house applies this principle on the small scale, addressing the changeability inherent in a single family. The first addition to the main volume was the children room, a small space plugged under the floor, (a “move-net” as the architect likes to call it), which was removed when the children moved away. During more than 50 years several changes were made to the Sky-house, some improved the building following its own intrinsical logic, some irrimediably altered the house’s nature.
video
just my journey home in a regular day
InS | 5.1
women's struggle in the labor force.
Most professional women can recount horror stories about discrimination they have suffered during their careers. Mine include social trivia as well as grand trauma. But some less common forms of discrimination came my way when, in mid-career, I married a colleague and we joined our professional lives just as fame (though not fortune) hit him. I watched as he was manufactured into an architectural guru before my eyes and, to some extent, on the basis of our joint work and the work of our firm.
When Bob and I married, in 1967, I was an associate professor. I had taught at the universities of Pennsylvania and Berkeley, and had initiated the first program in the new school of architecture at UCLA. I had tenure. My publication record was respectable; my students, enthusiastic. My colleagues, mostly older than me, accorded me the same respect they showed each other, and I had walked the same corridors of power they had (or thought I had).
essay by Denise Scott Brown
click here to uncover the true with Zaha Hadid
InS | 5.2
For me, things are much the same at the top as they were. The discrimination continues at the rate of about one incident a day. Journalists who approach our firm seem to feel that they will not be worth their salt if they do not “deliver Venturi.” The battle for turf and the race for status among critics still require the beating-off of women. In the last twenty years, I can not recall one major article by a high-priest critic about a woman architect. Young women critics, as they enter the fray, become as macho as the men and for the same reasons—to survive and win in the competitive world of critics.
For a few years, writers on architecture were interested in sexism and the feminist movement and they wanted to discuss them with me. In a joint interview, they would ask Bob about work and question me about my “woman’s problem.” “Write about my work!” I would plead, but they seldom did.
Some young women in architecture question the need for the feminist movement, claiming to have experienced no discrimination. My concern is that, although school is not free of discrimination, it is probably the least discriminatory environment they will encounter in their careers. By the same token, the early years in practice bring little differentiation between men and women. It is as they advance that difficulties arise, when firms and clients shy away from entrusting
high-level responsibility to women. On seeing their male colleagues draw out in front of them, women who lack a feminist awareness are likely to feel that their failure to achieve is their own fault.
there is no better word that theirs for us to know ...
InS | 6.1
Semiotics in Architecture can only be understand once semiotic in general has being understood. Base on this logic if you try to explain how a plane flies, without understating how a bird flies would be a chaotic therefore the background of this idea in general must be fully comprehended for us to have a real point of view behind semiotics in architecture. Semiotics is as old and necessary as language. The basic idea behind semiotics is that there is a signifier and a signified, what is meant by this is signifier as a word and signified as the concept. However, when we say the word not necessary meaning the sound or the symbols that word contains but the sound image generated in your brain. Comparing two psychological entities almost with no division this phenomenon is call participation. The beauty of this is how two things conform by so many elements are combine only in to one almost without noticing and in matter of seconds. Even though the word made out of symbols whit their unmotivated nature of existence, will never resemble at all the object in matter, in the other hand the object in matter will reflect not only an outline but also flavor, texture, smell, function and even feelings to the user.
semiotics and ist meaning in architecture
Semiotics = science about signs, sign systems and sign processes
Now semiotics goes beyond the linguistic phenomena and becomes an existentialists dilemma, let say a receiver or person sees smoke you will take this as a sign, there is fire somewhere near, which at the end of the process would become a message of danger or precaution that is not necessary in direct correlation with the word “smoke”. however, if we go back to era of big battles if a soldier would see smoke and a fire on top of a mountain, would mean that they had won the battle and a message of peace could now spread through their mind. In architecture comes the idea that architecture could be seen as a visual language, almost as reading a city just by sight. Still the eye will only see what the withholder knows, making architecture subjective and fragile when presented to a blind eye. What this phrase states that humans don’t always know what they want and the only way they will get to know what they want is by creating it for them to see. Here is where the theoretical and ideological architecture come in to conflict, one gives what the consumer needs and wants and the other one is in charge of designing a new need and a new desire. Thoughts shapes reality or reality shapes thoughts? Architects are designers, problem solver, dreamers sometimes limited by greed and bound to a ground mind.
InS | 6.2
InS | 7.1
Trends Defining Design | 1
Rotating Skyscrapers
This image of an 80-story skyscraper, imagined by Dynamic Architecture's David Fisher back in 2008, is a far-fetched rendering fit for Dubai's future rich and famous. Why? Because it rotates. The enormous, towering building would have floors that move ever so slightly, completing a 360 degree rotation every 90 minutes. Forget about fighting for an east-facing apartment, the suites in Dynamic Architecture's creation would have all four cardinal directions covered. And it get's better. The building would be equipped with several giant wind turbines that generate electricity for tenants, and penthouse residents would be able to park their car at their apartments thanks to nifty lifts. While we're not sure this design will ever actually come to fruition (it was scheduled to be up and running in 2010), it's certainly a visual feast worth ogling.
InS | 8.1
Trends Defining Design | 3
For his series "Dauphin Island," artist Dionisio González designed dreamlike, futuristic forts made from iron and concrete, fusing the role of artist with that of architect, engineer and urban planner. The peculiar edifices -- the hybrid of a beach house, a bunker and a space ship -- were designed with the residents of Dauphin Island in mind. Located off the coast of Alabama in the Gulf of Mexico, the tiny landmass is known for experiencing perpetual and catastrophic hurricanes. When a storm hits the small island of around 1,200 people, it often washes away much of the coastline, leaving residents to rebuild their homes again and again.
González created hypothetical blueprints for his forts, illustrating how his bulbous, concrete structures would better suit the fraught island's populous. You can learn more about the project on his website. Keep in mind, these structures are not yet slated for reality, but they certainly paint an interesting picture of what futuristic island homes could look like.
InS | 9.1
Trends Defining Design | 4.2
Let's not do hygge urbanism. The temptation will be strong, and you must resist.
It truly has been a terrible year. Architecture – specifically, architecture publishing – was also making something of a fetish of things hygge before hygge was a thing, with its recent boom in cabins and log piles. I attribute this more to an interest in consumer survivalism, rather than Danish culture, but nevertheless "cabin porn" was very much the gateway.
Anyway, here's the warning. Already, thoughts will be turning to next year's endeavours, and fun ways to present them to the public. The eye will blearily cast around the living room for ideas. Thanks to architects from Jan Gehl to Bjarke Ingels, the Danish way of making cities is already rightly praised and emulated. But let's not do hygge urbanism. The temptation will be strong, and you must resist. No hygge placemaking. I beg of you. Just don't.
Will Wiles is the author of two novels with architectural themes: Care of Wooden Floors, in which a man is driven mad by a minimalist apartment, and The Way Inn, a horror story set in an anonymous chain hotel. He is contributing editor at Icon magazine and a freelance design journalist.
InS | 7.2
Trends Defining Design | 2
In November of 2013, the Strelka Institute announced the winner of a two-stage international competition to design Zaryadye Park, Moscow's first new public park in over 50 years. The winner was Diller Scofidio + Renfro (in collaboration with Hargreaves Associates and Citymakers), who proposed this particularly stunning design based on a theory of "Wild Urbanism," or the concept of a "hybrid landscape where the natural and the built cohabit to create a new public space."The park will feature four landscape typologies -- tundra, steppe, forest and wetland, integrating augmented micro-climates that will enable the park to function as a public space throughout Russia’s extreme winters. Essentially, the quasi-indoor environments will involve regulated temperatures, controlled wind and simulated daylight that encourage 24/7, year-round park pleasure. As Diller Scofidio +Renfro aptly put it, "Zaryadye Park will embody the past and the future simultaneously."
InS | 8.2
Trends Defining Design | 4
Leave "hygge" in 2016
Financial Times critic Edwin Heathcote has already done a sterling job of debunking hygge, the ubiquitous pseudo-Scandinavian lifestyle craze. Like many ubiquitous lifestyle crazes, it's a subtle blend of total common sense (fires are nice in winter) and complete balderdash.
Anyway, it's upon us now and resistance is futile – the tie-in books have already been given as presents, and they already sit amid the Christmas wreckage of many, many living rooms. And I'm sure they look harmless enough. So it's time for a word of warning.
The Guardian's Charlotte Higgins has already shown how hygge was confected within the publishing industry. I think the part played by architecture and design has been understated, though. For a start, the sector has done much to import interest in Scandinavian lifestyles by importing lots of Scandinavian people. No one in their right mind would think this was anything other than a tremendous boon, and I can only apologise to my Scandinavian friends and colleagues for the way Britain is presently making a travesty of their culture. That, and Brexit.
InS | 9.2
Trends Defining Design | 5
InS | 10.1
Trends Defining Design | 5.2
Architecture and design has a long history of generating its own fake news
Even the grubbier end of that kind of activity isn't inherently bad. Here I'm talking about the completely senseless floating lilypad cities or vertical farms that get pitched out as blog-fodder for no practical purpose than showing off a designer's rendering skills and get their name about. They probably belong on Deviantart rather than Dezeen, but no one's harmed.
Really what's needed is appropriate labelling: making it clear what is speculation for the purposes of debate, what's a real proposal that's seeking backers, what might actually have a chance of actually appearing, and what's just a bit of hey-look-at-me fun. That's where the ethics get murky. Remember that Chinese straddling bus concept that turned out to be little more than a scam? Or that kooky London Garden Bridge concept that also turned out to be little more than a scam. Whimsy can be costly, people!
But seriously, knock it off with the floating cities and the vertical farms.
Health warnings for the whimsy
Another Trump-related one, sadly. Trump's victory has also sparked a debate over so-called "fake news": the growing welter of misinformation, disinformation and scurrilous falsehood online. This risks crowding out more reliable sources of information and overwhelming civil society's already overtaxed critical faculties. Again, you might wonder what that has to do with architecture and design. But of course architecture and design has a long history of generating its own "fake news" in the form of the more fanciful speculative proposals and vapourware. There's nothing wrong with speculation, paper architecture and design fictions, of course – they're all useful endeavours and we'd be hugely poorer without them. It suits architecture and design to propose their own forms, as well as to simply deliver the proposals of others.
InS | 10.2
Trends Defining Design | 6
Fujimoto's teaching
"The inspiration started from the beautiful surroundings," Fujimoto says. "I was so impressed by the beautiful green surroundings, so I tried to create in this green environment something between nature and architecture, tried to create a transparent structure that melts into the background." To achieve this, Fujimoto created his pavilion from a white lattice of steel poles, with variations in density creating a structure that appears more or less transparent depending on where you stand.
"The grid itself is quite straight, rigid and quite artificial," he says. "But when you have such a huge amount, it becomes more like an organic cloud-like or forest-like structure.
The polycarbonate tiles are not just to provide shelter, Fujimoto says. "Sometimes, if the wind is coming, [the roof] starts to swing and [creates] a more soft atmosphere, and a beautiful contrast with the grid."
InS | 16.1
Modernism made you mad? One remedy might be smashing your Lego model of Villa Savoye into tiny pieces. If you don't have such a model handy, there's now a virtual solution to defacing Corbu with an online game called Le Petit Architecte.
https://www.youtube.com/watch?v=6nG2tOD7Ts0
Creating an “absolute architectural masterpiece” is no mean feat, but that is what players of Le Petit Architecte are tasked with achieving. In the game, you play as an intern attempting to "improve" Le Corbusier's design for the Villa Savoye, situated just East of Paris in real life. The game comes at just over 50 years after Charles-Édouard Jeanneret-Gris' (Le Corbusier's) death which has meant that copyright in
InS | 16.2
no more Corbu
Theo Triantafyllidis, a student at UCLA was one of the first to take full advantage of this. Naturally, he came to the conclusion that the first thing anyone would want to do to the Villa Savoye, if given the opportunity, would be to chuck a seemingly endless amount of objects at the house.
Each object, of course, has its own sound effect which bears no relevance to its purpose size or shape or life form. An equally odd (and also perfectly befitting) soundtrack accompanies the game.
InS | 17.1
OMA has been selected to design the Bogotá Centro Administrativo Nacional (CAN) new civic center, situated at the heart of the city’s main axis, Calle 26. Steered by partner-in-charge Shohei Shigematsu,
the 680-acre mixed-use design occupies a footprint as large as Washington, D.C.’s National Mall and will operate as the city’s government headquarters with intermixed residential, educational, retail, and cultural developments, all which encourage continuous activity within separate districts. The design intends to integrate civic and public life while connecting to local destinations.
CAN will form a new public axis in Bogotá, unifying green, infrastructural, and programmatic networks. The site is divided into three districts, including an institutional/governmental area that connects to the current cultural and park spaces, an office zone linked to the current financial district, and an educational campus that links to the University City of Bogotá. The multi-use program will be tied together by a green path that extends into Bogotá’s decidedly popular pedestrian and cycling CicloVia system.
InS | 18.1
Alpine Factory
Barkow Leibinger‘s original scheme for HAWE-Werk Kaufbeuren, developed for a competition several years ago, was “a completely crazy origami thing,” recalled partner Frank Barkow. But upon winning the commission and learning that the factory‘s owners wished to build it in a single phase, “we had to be careful not to kill them with the budget,” he said. “We really dumbed it down.”
The architects did, however, hold on to their original pinwheel plan, with production wings rotating around a communal courtyard. Inspired by Le Corbusier‘s “green factory”—a humanizing alternative to the “black factories” of the nineteenth century, which prioritized the flow of goods over the experience of the workers—Barkow Leibinger’s design opens the HAWE plant to the Bavarian countryside with a geometric facade of corrugated metal and glass.
InS | 19.1
InS | 17.2
Los Angelesbogota on tune
Shigematsu described the development as one that attains “clear urban density while accommodating programmatic diversity.” The winning design will move Bogotá’s historic downtown center, master-planned between 1947 and 1951 by Le Corbusier. CAN will be the second largest constructed institutional master plan in Latin America, with Oscar Neimeyer’s 1960s Brasilia being the largest.
The project will be carried out in partnership with local architect Gomez + Castro, mobility consultant Carlos Moncada, financial consultant Oscar Borerro, and sustainability consultant Esteban Martinez.
InS | 18.2
factories being green?
In addition to drawing upon Le Corbusier’s “green factory” concept, Barkow Leibinger also looked at industrial designs out of northern Italy in the 1960s and 70s, which in turn led them to experiment with a prefabricated concrete frame. “Usually we do steel,” explained Barkow, “but in this case the client liked the precast concrete. It’s a dirty industry—there’s a lot of milling going on.” The factory’s exposed mechanical systems are integrated directly into the structure, passing through perforations in the horizontal beams. “It’s not a very finicky factory,” said Barkow. “We just put it where they needed it.”
Steel-framed shed roofs sit atop the concrete. Skylights look to the north, while the roof’s south slopes are designed to accommodate photovoltaic panels. “The north-facing shed is a classical industrial solution,” noted Barkow. “It brings in a lot of light, and saves a lot on artificial lighting.” The arrangement of solids and voids on the facade emphasizes the resulting sawtooth profile. The architects carved the envelope into a repeating pattern of triangles and trapezoids, clad in glass and corrugated sheet metal, respectively. Most of the building’s glazed surface is translucent white channel glass, with vision glass in the sliver of space closest to the ground.
At the end of each wing, a broad horizontal window features a larger central section of channel glass framed by floor-to-ceiling panels of transparent glass to either side.
Female-ness, Corb, and Contraband
Andreas Angelidakis and Juliana Huxtable kick off the first in a series of partnerships between AN and Façadomy, a contemporary journal that reflects on issues of identity through the lenses of art and architecture.
The portmanteau of Façadomy’s title is mimetic—it’s contents and practitioners are brought together from seemingly unrelated fields. Each issue is based on the work of a non-arts based professional, and the responses by a diverse panel of cultural producers. The result is a polytonal visual essay on a relevant contemporary topic.
Gender Talents, Façadomy’s inaugural issue, presents gender at the intersection of art and architecture.
Gender Talents begins with the work of Grimstad, Norway–based sexologist and Transgender icon Esben Esther. P. Benestad who has observed seven unique genders in their work as a doctor and therapist in Scandinavia. The issue is composed of reflections on these categories by Andreas Angelidakis, Kimberly R. Drew (@museummammy) and Juliana Huxtable.
InS | 20.1
InS | 19.2
Trends Defining Design | 6
Female (as defined by Façadomy)
Femininity can be accentuated with ornaments, but it is not essential to femaleness. A Female is an individual who describes herself as Female and can be considered one of the gender majorities. Femaleness derives most of its conventions from the characteristics attached to individuals that are chromosomally XX: production of ova, milk-producing mammary glands (after childbirth), a higher ratio of fat to body weight than Males, fairer voice, motherhood and caregiving. When an XX individual with the conventional characteristics of Female also perceives herself as Female, this is understood as Cis-Female. Females may have another chromosomal constellation or may not possess any of the traditional characteristics at all.
La Tourette by Le Corbusier.
She looks like a nest.
Once you start to go inside, she is gorgeous, a hallucinogenic beauty of proportion, warmth, and detail.
She is the most caregiving of buildings, with spaces that are sensual, protective, welcoming and, at times, inspire awe. And if La Tourette is a female, the dark blue and red chapel is her womb. You can glimpse at the sky, sense distant sunlight from within, and you never want to leave. La Tourette is the mother you always wanted: flamboyant, caring, generous and superior. She may not be ornamental, or visually glamorous in her facade, but she is thoughtful and smart.
—Andreas Angelidakis
Female
THE OTHER SEX. NOT I, BUT SOMETHING OTHER. SCALING THE FOLDS OF LABIA THAT STAND AGAINST THE UNKNOWN. I CLOSE MY EYES AND SEE FLASHES OF OTHER SILHOUETTES, FORMS GENDERED THROUGH RELIEF AND IN THE REMAINS OF NEGATIVE SPACE. I STRUGGLE TO MAKE OUT THE FORMS OF WHAT SEEM LIKE HIPS, BREASTS, BUT THESE POINTS FAIL TO SIGNIFY FULLY, AND HAVE BEEN SHUT OFF; CONTRABAND. SHE IS PERHAPS INSOFAR AS HER WOMB BEARS CERTAIN POTENTIALS FOR RE-PRODUCTIVE LABOR; IF BARREN—SAINT OR NON-ENTITY. A HOMOCHROMOSOMAL RELATIONSHIP THAT (THEY’D LIKE YOU TO BELIEVE) FORGOES THE FIRST WHY OF SUBJECT FORMATION. THE TECHNOSCIENTIFIC CODES CREATED BY THE WRITERS OF CERTAIN MYTHOLOGY REFLECT THEIR BIASES. THEY LOOK AT THE 3-D STRUCTURES FROM ABOVE, ANTHROPOMORPHIZE THEIR CURIOUS “APPEARANCE” WITH AN ALPHABET WHOSE HEGEMONY RESTS ON FORCED SEXUAL ENCOUNTERS. “SHE” DESIGNATES ALL THAT IS NOT “HE,” A SEMIOTIC ZONE OF ABJECTION RENDERED EVERYTIME HE SAYS “BITCH.” TO SAY NOT MALE DOESN’T SUFFICE, THE TENSION BETWEEN THE TWO PARTIES; SPECTACLE DISTRACTION FROM THE KNIFE; CLITERECTOMY. A SPACE OF SHELTER AND COMMUNION FOR ALL WHO “SHE” ASSUMES AND ALL WHO ASSUME “SHE”
—Juliana Huxtable
InS | 22.3
defeat!
“The choice is often arbitrary. The viewpoint will function like a point of interpretation, that is, like a potential starting point to approach the painting and the space. The painted form makes sense when the spectator is in this spot. When the spectator leaves the viewpoint, the work encounters the space generating an infinite number of views of the shape. Therefore I do not see the accomplished work through this first point; this is encompassed in all the views that the spectator may have of it.”
InS | 21.2
tower and culturLe Corbusier’s Cité Radieuse adorned with illusory art courtesy of Felice Varini
Defacing the work of Le Corbusier has become something of a trend of late. However, Paris-based Swiss artist Felice Varini has taken a more elegant approach to the fad. Using optical illusions, Varini’s art installation, À Ciel Ouvert (Open Air) is located on top of Le Corbusier’s La Cité Radieuse, built in 1952, an iconic modernist structure.
“This is the first time that I have exhibited on, in, and with architecture designed by Le Corbusier,” said Varini in a press release. “This place is a landmark, a huge influence. It is a true microcosm, designed as a small city with its range of complex volumes, a small city with a view over the large city of Marseille. It is extremely exciting!”
Famed for his illusory artwork, Varini has applied his hallmark approach to numerous buildings-turned-canvases over the years. His work ranges from cellars to gothic churches, town squares, and a variety of urban environments. The art, by nature, relies on perspective and orientation. His style features a fragmented geometric aesthetic: circles, triangles and linear forms interact while others fall apart upon the concrete surface of the house. “My concern is what happens outside the vantage point of view,” said Varini in 2008.
Speaking of his work on La Cité Radieuse, he added: “I generally scour the venue taking in its architecture, materials, history and function. Based on its varying spatial data, I define a viewpoint around which my initiative takes shape. For me a viewpoint is a point in the space that I choose carefully: it is usually situated at my eye level and preferably located in a key passageway, for example where one room leads to another, a landing, etc. I don’t make a rule of it, as spaces don’t all systematically have an obvious path.”
HW. 4 .5. 17
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