Quantcast
Channel: THOUGHTS ON ARCHITECTURE AND URBANISM
Viewing all 133 articles
Browse latest View live

The ¨intelligent¨ sidewalks in Rio de Janeiro

$
0
0
Ipanema sidewalk. From greengopost.com
Rio de Janeiro sidewalk. From wikipedia.org
Sidewalk in Copacabana, Rio de Janeiro. 
From http://www.flickr.com/photos/artjonak/7510519826/

When I was a student in highschool, a friend of us went to Rio de Janeiro. He was a young man, and there was too much in Rio to enjoy. When he came back, the first description of the city he made me and my girl friends, was about the design of the sidewalks. Being our sidewalks in Buenos Aires so boring, with these mosaics we call ¨vainillas¨ he was absolutely impressed by the wavy pattern.
A few years after, I had my own opportunity to personally walk Rio´s sidewalks, by the sea, with the  buildings and the morros on the other side, that´s a great experience. 
Today I´ve read that:

¨The city began installing a series of QR code patterns onto its pavements on Friday 25 January in preparation for the 2016 Olympics, starting at Arpoador by Ipanema Beach. Keeping in line with the traditional black and white mosaic tiles that already line the streets in this area, the QR codes can be easily activated using a free app for smart phones called ‘QR Reader’.
In scanning the pavement QR code, the user will be diverted to a tourist information website which lists details about area where they are standing, including a Google Map so they can find their way about.
The first of this series of QR code mosaics is located in Arpoador and its associated website provides information such as: “The place was named Arpoador because in the past, whale harpooning was common in that region. The whales used to migrate from the south in search of warmer waters. At that time, it was necessary practice because whale oil was widely used in construction to produce mortar.”
Other tit-bits of information include the length of the beach (500m), details of night-time sport activities and where to stand to get the best views of the Ipanema and Leblon Beaches. Warnings of strong waves in the area are both a warning to weaker swimmers and an invitation to seasoned surfers.¨
FROM:

I´d never have imagined an interactive, intelligent design as this in my years of a student in architecture. Even more, there´s a Dutch firm that will ¨build¨ the first house ¨printed¨ with a huge 3D printer.
I´m astonished, maybe I´m getting old.


QR code mosaic in Rio de Janeiro. From http://www.worldarchitecturenews.com

Detroit through Dave Jordano's pictures

$
0
0

I've never been in Detroit, but at least have seen lots of photographs on line. The most captivating for me are those of abandoned houses.
I'm sharing these selections of pictures by photographer Dave Jordano, a former Detroit citizen. The following is an excerpt from wired.com


In the past 40 years, the number of people living in the city of Detroit has halved. This has led many to write it off — in many ways, wrongly — as a decrepit ghost town. Unbroken Down is a photo project that counters the images of abandoned buildings with personal, vibrant shots of everyday life in Detroit.
Photographer Dave Jordano – fresh out of college after being born and raised in the Motor City – was part of the exodus when he headed for Chicago to start a commercial photography studio in the late ’70s. Jordano’s father worked for General Motors and joked that motor oil ran in the family’s veins. Three years ago, Jordano returned to Detroit and began photographing the neighborhoods, people, vistas and communities of his hometown. His resulting body of work is an endearing and sprawling document of a city close to his heart.
“This is the most emotional work I’ve made,” he says. “I don’t get tired and I just keep wanting to go back. I find more and more material every time I go.”
Unbroken Down is also an attempt to set the photographic record straight. Jordano believes that Detroit is more than a tale of decline and images of the associated urban decay. Yet, a lot of celebrated photography projects made in Detroit recently have focused on ruination as if the apocalypse passed through and kept going.




The medieval Hereford mapa mundi

$
0
0

Two details from the Hereford Mapa Mundi. Screen shots from my computer

The SXIV medieval Hereford,  is the largest intact mapa mundi that is not comprehensible as a modern map, because it is the representation of the Medieval view of the world, with its architecture, history, monsters, animals. It pictures the human knowledge in only one piece of art.
Though the unconventional orientation has been to east, when it is turned around, some geographies are recognizable, like Italy, the Northern of Africa, Greece.
The Victorians considered this map a monstrosity, because it has an ancient characteristic called ¨augmentation:¨  the horror vacui of the first cartographers made them fill the ¨map¨ with all kind of figures -from the real or mythological world-, even with non existing rivers, mountains.
Watch this video to learn more about the Hereford map:



As a bonus:
A Babylonian world map, known as the Imago Mundi, is commonly dated to the 6th century BCE. The map as reconstructed by Eckhard Unger shows Babylon on the Euphrates, surrounded by a circular landmass showing AssyriaUrartu and several cities, in turn surrounded by a "bitter river" (Oceanus), with seven islands arranged around it so as to form a seven-pointed star. The accompanying text mentions seven outer regions beyond the encircling ocean.

New York. By Andreas Feininger

$
0
0
Hudson river



Chelsea rooftops in the snow

Masses of tombs

Brooklyn bridge. 1940


Andreas Bernhard Lyonel Feininger (27 December 1906 - 18 February 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-white scenes of Manhattan and for studies of the structures of natural objects. Feininger was born in Paris, France, to Julia Berg and Lyonel Feininger, an American of German origin. A painter, his father was born in New York City, in 1871. His great-grandfather emigrated from Durlach, Baden, in Germany, to the United States in 1848. His younger brother was the painter, T. Lux Feininger (1910-2011), who had begun his professional career as a photographer.  Feininger grew up and was educated as an architect in Germany, where his father painted and taught, at Staatliches Bauhaus. In 1936, he gave up architecture and moved to Sweden, where he focused on photography. In advance of World War II, in 1939, Feininger immigrated to the U.S. where he established himself as a freelance photographer. In 1943 he joined the staff of Life magazine, an association that lasted until 1962. Feininger became famous for his photographs of New York. Other frequent subjects among his works were science and nature, as seen in bones, shells, plants, and minerals in the images of which he often stressed their structure. Rarely did he photograph people or make portraits, however, when he did, they became iconic. Feininger wrote comprehensive manuals about photography, of which the best known is The Complete Photographer. In the introduction to one of Feininger's books of photographs, Ralph Hattersley, the editor of the photography journal Infinity, described him as "one of the great architects who helped create photography as we know it today." In 1966, the American Society of Media Photographers (ASMP) awarded Feininger its highest distinction, the Robert Leavitt Award. In 1991, the International Center of Photography awarded Feininger the Infinity Lifetime Achievement Award. Today, Feininger's photographs are in the permanent collections of the Center for Creative Photography, the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery of Art, London's Victoria and Albert Museum, and the George Eastman House in Rochester, New York.

From ¨In wealthy Hong Kong, poorest live in metal cages¨

$
0
0
Hong Kong: Victoria Peak

This is an excerpt from the article written by Kelvin Chan. All pictures from AP:

HONG KONG—For many of the richest people in Hong Kong, one of Asia's wealthiest cities, home is a mansion with an expansive view from the heights of Victoria Peak. For some of the poorest, like Leung Cho-yin, home is a metal cage.
The 67-year-old former butcher pays 1,300 Hong Kong dollars ($167) a month for one of about a dozen wire mesh cages resembling rabbit hutches crammed into a dilapidated apartment in a gritty, working-class West Kowloon neighborhood.
The cages, stacked on top of each other, measure 1.5 square meters (16 square feet). To keep bedbugs away, Leung and his roommates put thin pads, bamboo mats, even old linoleum on their cages' wooden planks instead of mattresses.
"I've been bitten so much I'm used to it," said Leung, rolling up the sleeve of his oversized blue fleece jacket to reveal a red mark on his hand. "There's nothing you can do about it. I've got to live here. I've got to survive," he said as he let out a phlegmy cough.
Some 100,000 people in the former British colony live in what's known as inadequate housing, according to the Society for Community Organization, a social welfare group. The category also includes apartments subdivided into tiny cubicles or filled with coffin-sized wood and metal sleeping compartments as well as rooftop shacks. They're a grim counterpoint to the southern Chinese city's renowned material affluence.
Forced by skyrocketing housing prices to live in cramped, dirty and unsafe conditions, their plight also highlights one of the biggest headaches facing Hong Kong's unpopular Beijing-backed leader: growing public rage over the city's housing crisis.


Leung Chun-ying took office as Hong Kong's chief executive in July pledging to provide more affordable housing in a bid to cool the anger. Home prices rose 23 percent in the first 10 months of 2012 and have doubled since bottoming out in 2008 during the global financial crisis, the International Monetary Fund said in a report last month. Rents have followed a similar trajectory.
The soaring costs are putting decent homes out of reach of a large portion of the population while stoking resentment of the government, which controls all land for development, and a coterie of wealthy property developers. Housing costs have been fuelled by easy credit thanks to ultralow interest rates that policymakers can't raise because the currency is pegged to the dollar. Money flooding in from mainland Chinese and foreign investors looking for higher returns has exacerbated the rise.


Read more:In wealthy Hong Kong, poorest live in metal cages 






The beauty of ethereal structures

$
0
0
Let us remember some definitions of "ethereal:"

Of or relating to the regions beyond the earth
celestial, heavenly c : unworldly, spiritual
lacking material substance : immaterial, intangible
 marked by unusual delicacy or refinement
suggesting the heavens or heaven 
Characterized by lightness and insubstantiality; 
intangible, airy
Of the celestial spheres; heavenly. 
Not of this world; spiritual. 
Chemistry: Of or relating to ether. 
light, intangible
Existing in the air; resembling air; looking blue like the sky; aerial: as, “ethereal mountains,”  Pertaining to the hypothetical upper, purer air, or to the higher regions beyond the earth or beyond the atmosphere; 
celestial; otherworldly; as, ethereal space; ethereal regions. 
tenuous; spiritlike 
characterized by extreme delicacy, as form, manner, thought, etc.

It seems to me that after some years of a continuous fashion of organicism in architecture, not the one emulating Wright´s forms, but the literal shapes of the animals and plants, there´s a movement in architecture that´s more spiritual, sustained by the lightness of materials and as a revival of the Asian beauties. The metaphor of ¨ethereal¨ in all its references, is always present.
I´ve compiled these examples from the last weeks, and there´s more to come. Enjoy.


Cantonese Opera. Bamboo structure designed by architect William Li. Photograph: Philippe Lopez/AFP/Getty Images

Cantonese opera is one of the major categories in Chinese opera, originating in southern China's Cantonese culture. It is popular in Guangdong, Guangxi, Hong Kong, Macau, Singapore and Malaysia. Like all versions of Chinese opera, it is a traditional Chinese art form, involving music, singing, martial arts, acrobatics, and acting.


London architecture collective Softkill Design has joined the race to build the world's first 3D printed house, announcing plans for a plastic dwelling that could be built off-site in three weeks and assembled in a single day.
The single-storey Protohouse 2.0 will be eight metres wide and four metres long and will be printed in sections in a factory. The parts will be small enough to be transported in vans and then snapped together on site.


Japanese architect Sou Fujimoto has been named as the designer of this year's Serpentine Gallery Pavilion, which will be a cloud-like structure made from a lattice of steel poles.
The semi-transparent pavilion will occupy 350 square-metres of lawn outside the London gallery. Two entrances will lead inside the structure, where staggered terraces will provide seating for a central cafe.
Sou Fujimoto describes his design as "an architectural landscape" where "the vivid greenery of the surrounding plant life [is] woven together with a constructed geometry".

Stockholm 2013: talks at last week's Stockholm Furniture Fair were held beneath an installation of 11,000 patterned paper sheets by Swedish architect Gert Wingårdh and Finnish artist Kustaa Saksi.
Wingårdh and Saksi staggered the pieces of paper up from the corners of the rectangular area to create a dome accessed by an arch on each side.
Steilneset memorial. By Peter Zumthor

Architect Peter Zumthor designed this memorial on an island in Norway to commemorate suspected witches who were burned at the stake there in the seventeenth century. Via dezeen magazine. 


This disappearing Church - one of the 14 winners of the "Building of the Year Awards" for 2012. See them all at  http://archdai.ly/boty-12

Selection of beautiful gardens

$
0
0
In Japan the nighttime viewing of cherry blossoms in spring, like these at Kyoto’s Hirano Shrine, is a special event. “The cherries’ only fault: the crowds that gather when they bloom,” wrote Saigyo, a 12th-century poet. National  Geographic


Jade spires of bamboo flank a path curving up to Kodai-ji Temple in Kyoto. The murmur of wind filtering through a bamboo grove is one of a hundred sounds the Japanese want preserved. National Geographic


An Islamic garden, it is said, is a palace without a roof. Enthralled with the art of Islam, heiress Doris Duke created Shangri La, her estate in Honolulu. The central courtyard, with its antique Persian tiles, separates public and private space.

With permission of Doris Duke Foundation for Islamic Art. National Geographic



When a freak freeze killed the orchid collection on his Mexican estate, English eccentric Edward James created Las Pozas, a garden with surreal follies like the concrete Bamboo Palace—durable and immune to the vagaries of weather. National Geographic

The garden of beautiful speculations. By Charles Jencks and Maggie Keswixk, Scotland. From 
http://all-that-is-interesting.com/worlds-most-beautiful-gardens

The garden of beautiful speculations. By Charles Jencks and Maggie Keswixk, Scotland. From 
http://all-that-is-interesting.com/worlds-most-beautiful-gardens


From http://thetiredtory.blogspot.com/2013/02/beautiful-gardens-designs-ideas.html

From Beautiful gardens in Japan 20

Google images

Enchanted garden. From http://gurillagardening.blogspot.com/2010/04/beautiful-gardens.html

Some urban photographs by Robert Frank

$
0
0

These pictures by photographer Robert Frank are the ones I liked most, from America and England. They were downloaded from Google images.






Robert Frank (born November 9, 1924, Zürich), is an important figure in American photography and film. His most notable work, the 1958 book titled The Americans, was influential, and earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Frank later expanded into film and video and experimented with manipulating photographs and photomontage. His work has been represented by Pace/MacGill Gallery in New York since 1984. 

QUOTES

 "When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice." Robert Frank, Life (26 November 1951), p. 21 

 "Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy - the tone range isn't right and things like that - but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention." (Elliott Erwitt) in James Danziger and Barnaby Conrad, 'Interviews with Master Photographers', 1977, Paddington Press, p 87

Excerpt from:

The importance of the Berlin Wall remnants

$
0
0
Sean Gallup/Getty Images
Police officers stood guard Sunday at the East Side Gallery, part of which was being removed to make way for new apartments.

I was at my parents´ home that day in November 1989 when Pink Floyd was performing The Wall, against the Berlin Wall, and everybody was expecting it to be torn down. And I remember my emotion when this happened.
But I´d never fully understood how it looked after the event and what had been left of it, until Phil Smith sent me a copy of a film made by the walking artist Kinga Araya. The film is called ‘Ten Steps’, it lasts 70 minutes, and it documents Kinga’s 2008 walk along the route of the Berlin Wall.
Apart from her walking experience, she explains how the remnants are intertwined with buildings, or left in domestic gardens, or just a piece of the foundations in parks, etc. 
Today, the wall that was one of the horrors of the WW, the inspiration for so many artists,  the tomb of so many, has become a monument of memories. An the Germans defend it.
Please keep on reading this interesting article:



In November 1989, the Berlin Wall opened, and soon after was being torn to pieces by jubilant crowds from both sides. Almost a quarter of a century later, Berliners again took to the streets over the wall — only this time to protect what is left of it.

Late last week, when construction workers began dismantling a roughly 70-foot section of the wall’s longest remaining expanse — a nearly mile-long monument to peace that is covered in paintings and is known as the East Side Gallery — protesters turned up in droves. The first hastily organized demonstration on Friday drew several hundred, but over the weekend thousands of people massed to protect the huge concrete slabs from being relocated to an adjacent park.
They were particularly incensed that the project was to make way for an access road for new luxury apartments — helpful for a city whose budget could use bolstering from development, not so helpful for ordinary Germans.
“History should never be a luxury,” read one placard, capturing the protesters’ dismay over gentrification.
City officials and the developer, Maik Uwe Hinkel of Living Bauhaus, responded by noting that the space would also serve the construction of a nearby pedestrian bridge over the river, to replace one destroyed in World War II, according to the daily newspaper Berliner Zeitung.
Many residents view the remaining row of tall concrete slabs as an important testimonial to life in Communist East Germany, when the 28-mile barrier encircling West Berlin severely hampered their contact with the other side, and they are intent on keeping the East Side Gallery intact.
“It’s about letting future generations know what life was like for parts of this city, and at the same time reminding them of the joy that was felt upon reunification,” said Robert Muschinski, 50, an activist who helped organize the demonstrations.
A popular tourist attraction, the stretch of wall snakes along Berlin’s Spree River and is emblazoned with art from 1990 that was restored in 2008 — colorful graffiti and famous murals like the “Fraternal Kiss,” which shows the Soviet leader Leonid I. Brezhnev and his East German counterpart, Erich Honecker, locking lips.
The work crews removed only one four-foot-wide slab before the protesters blocked them. On Monday, Mr. Hinkel called off any further removals until a major meeting with the relevant players in the project set for March 18.
“I am dedicated to the preservation of this piece of the wall,” the German news agency dpa quoted Berlin’s mayor, Klaus Wowereit, as saying.

Walking the wall with Kinga Araya.

If you want to read about Kinga Araya´s experience walking the Berlin wall and buy the film, please click on this link:
http://www.mythogeography.com/kinga-arayarsquos-ten-steps-walking-in-circles.html

East German border guards look through a gap in the Berlin Wall two days after it was breached, 11 November 1989. Photograph: GERARD MALIE/AFP/Getty Images

Read the article by John Henley 

The Berlin Wall: where are the remains?


The beauty of Hubert Robert´s ruins paintings

$
0
0

I feel a fascination about ruins since I was a child. My first career wish was to become an archaeologist, but my parents wouldn´t allow me to travel to the faculty in La Plata, there was no freeway in those days and maybe I would have to move from my  parents´ house, not a habit in the Argentine society of the early ´80´s. 
I´m sharing today these beautiful paintings by French artist Hubert Robert (1733-1808) and also invite you to read my article about the aesthetics of ruins:



¨Blending fantasy and factual accuracy, Hubert Robert's views of classical and contemporary architecture were immensely popular during his lifetime. Robert was best known for his paintings of ruins. His immense, crumbling monuments of an often-imaginary past earned him the nickname, "Robert des Ruines" (Robert of the Ruins).


Robert's career developed in Europe's most refined art circles of the 1700s. He received a thorough classical education in Paris and in 1754, arrived in Rome in the entourage of a French ambassador. He spent the next eleven years in Italy and there, developed his fascination with ruins. Because of the relatively recent excavations at Pompeii and Herculaneum, the archaeological climate in Rome was especially rich. Robert also developed close ties to Italian artists, including Giovanni Battista Piranesi and Giovanni Paolo Panini, and each influenced his artistic vision. He also developed a strong friendship with his drawing partner, Jean-Honoré Fragonard.

When Robert returned to Paris in 1765, his work was an immediate critical and public success. Promptly admitted to the Académie Royale, he exhibited regularly at the Paris Salon beginning in 1767. In addition to showing ruins, architecture, and landscapes of Italian derivation, Robert also depicted his native France. His views of Paris are among his most topographically accurate. With his success, Robert branched off into garden design and furnishings, and also created decorative ensembles of paintings for royalty and the wealthy. In 1778, he was awarded prestigious lodgings in the Louvre, where he lived until 1802. He was briefly imprisoned during the French Revolution but continued to paint and draw.¨


REFERENCE:
All pictures were downloaded from Google Images. Please contact me if there´s any reference that I should add.












El Manzano. De Juan José Saer

$
0
0

Huerta del manzano. Dibujo en tinta, bajado de Google images. Sin referencia de autor.
En el barrio nuevo, en medio de desplantes arquitectónicos y de complejos urbanísticos, de bloques de cemento rectangulares y perpendiculares a la tierra, en una encrucijada de calles anchas y atravesadas de señales pintadas de blanco, en un terreno que el azar de las especulaciones conservó, hay una vieja casa campesina, de la época en que el barrio, nuevo, prolongación artificial de la ciudad, era todavía campo. La casa está en una especie de hondonada que dominan las calles prolijas, y algo salvaje persiste todavía en las veredas sin embaldosar, protegidas por plátanos periódicos, que Pichón Garay recorre dos o tres veces por semana, en camino hacia los terrenos de la Universidad. Hay algo en esa casa, en las campánulas de un azul violáceo, que cubren sus cercos, en los terraplenes que la rodean, en un contraste violento y tranquilo con el decorado urbano, que le recuerda a Pichón Garay no únicamente otros lugares sino incluso otros tiempos, como si esa casa visible en el espacio fuese también, a su manera, una interferencia temporal.
En el patio de la casa hay un huerto, y junto al tejido que separa el huerto de la casa, antiguo, un manzano. A cada primavera, el manzano produce un llamado blanco que cada otoño, de evanescente que era, se vuelve duro, denso y rojizo: entre las hojas verdes pululan, con resplandores secos, las manzanas. Rodeados de un horizonte blanco de monoblocs rectos, idénticos y regulares, en el manzano perduran restos rurales que atestiguan presencias menos geométricas y organizadas, en las que renace el viejo rigor entre campo y ciudad.
Esa mañana, como otra muchas, mientras P. G., en un otoño todavía indeciso, pasaba por ahí, recibió, del manzano, un llamado más dulce y sin embargo más perentorio, que lo incitó a pararse y a mirar. Aunque crecía en el fondo del terraplén desde el que Pichón lo miraba, y a unos quince metros de distancia, el árbol no perdía grandeza, pero tampoco parecía desmesurado; firme y abordable, condecía a las medidas humanas. Pichón Garay lo contempló largo rato, y a diferencia de experiencias más prestigiosas, no fue, en determinado momento, árbol, en la intensidad de la contemplación, ni las presencias materiales -tenemos pasto, autos, edificios, sujeto y árbol- declinaron sus apariencias, para reintegrarse otra vez, redistribuidas, en el todo, sino que, muy por el contrario, obtuvieron, durante unos momentos, límites precisos, cuerpos densos, identidad, en el aire soleado, alrededor del manzano, que ordenaba, plácido, el espacio alrededor. En ese estado, próximo a la felicidad, P. G. creyó comprender o sentir, mejor, si la palabra, todavía, es admisible, que el árbol estaba como sostenido por una fuerza, y que comprendía, también, el horizonte de casas y el cielo, la verdura del huerto, el aire y el día, y a sí mismo también, todos separados y presentes, en relación, densos en la transparencia, mandando en la mañana más que el sol turbio de otoño que estaba adentro también, continuas, radiaciones. (1980)
Fuente:

Ant city (in China). By Brad Westphal

$
0
0

Like an ant in the forest I wandered through the city. It was a giant organism, or a machine too large to take in at a glance. I was one in eighteen million. The city was foreign; it held romance and mysteries of the unknown. I wandered through dark alleys and past dimly lit parlors. There were shopping malls and parks, riverboats and expressways. Through windows there were visions of friends laughing at dinner or gathered around a game of cards. There were sounds of toasting at the dinner table and the clacking shuffle of mahjong tiles. Garish buildings by day were crowned with neon in the dark and new buildings sprouted overnight. There was coal burning, peppers frying and cars honking. The language was so foreign it could have come from outer space. It all mixed together in confusing, chaotic harmony. The city could be exhilarating and exciting but it could also crush you with lonely thoughts.
I had come for adventure and to dislodge myself from myself. I dug a hole straight through to the other side of the earth hoping to find my other side. In time, the strange became familiar. I forgot how to live anywhere else. It had become my city. I loved the city. I found love in the city. These are photographs of my city.

Three amazing pictures of the Eiffel Tower

$
0
0

I´ve been reading an interesting post of unconventional photos of the Eiffel Tower. Here´s the link:
From this post, I´ve selected the first one by Prabhu B, on Flickr; the second, by Amorph, on Flickr (from one of the comments); the third by Luc Viatour on Flickr.
See the one from top-bottom shows lots of cigarettes on the right, it seems that people throws things from the top of the tower, specially the smoken cigarettes. Who knows what else could be found.



Great pictures of staircases

$
0
0
Photo by Moises Levy

Photo by Martin Turner

Photo by Niki Feiken

Photo by Niki Feiken

Photo by Scallop Holden

This one, balconies. Photo by Niki Feiken

Photo by Maximiliam Zimmermann

REFERENCE: the pictures above are shared from
http://www.thedphoto.com


Olafur-Eliasson infinite staircase. From wwwtrendhunter.com

Olafur-Eliasson infinite staircase. From wwwtrendhunter.com

Staircase in San Francisco. By flickr user Toshio

Bank tower staircase. By Robert D. Strovers

Light house staircase. By Roy Burbank

Photo by Marcel Fischer


¨Twin Towers¨ in Puerto Rico


Interesting, mysterious landscapes

$
0
0
By Moises Levy

Langøya Island, Norway. Aerial Photograph by Robert B. Haas

Industrial by-products form a swirling palette at a waste-treatment facility on this island south of Oslo.—Photograph and caption from the National Geographic book Through the Eyes of the Vikings

By Moises Levy


By Moises Levy

Blue Planet Aquarium, a building that blends in the landscape, Denmark. By archs.3XN. Photo by Adam Mörk

Fictional Reality / Daily Dream by Samad Ghorbanzadeh. From http://smashingpicture.com/nightmarish-bw-landscapes-in-fictional-reality-daily-dream-by-samad-ghorbanzadeh/


Dead trees in the mist. Posted by Flickr user donaldwcross

Woods of Cochiwan. Please zoom to see the author´s name

Sliding stones in Death Valley, CA. Google images


An old poster on Angkor Vat, Cambodia

$
0
0

I´m sharing this poster from Wikipedia, it was designed by Georges Groslier, Paris, 1911.
What took my attention was the depiction of ¨exotic¨ people, instead of the ruins themselves. And I remembered, more or less, at the same time, Los Angeles city was promoted by realtors, during the boom of construction. And they said ¨come and see the exotic Indians and Mexicans.¨ So, people that looked different from Europeans was referred to as a means to get investors and tourists.
Now, this picture from National Geographic.com, that shows the beauty of the ruins in Cambodia:



Ta Prohm Temple, Angkor Wat Photograph by Gray Martin Giant strangler fig tree roots embrace the crumbling Ta Prohm temple at Angkor. Although the forest has overrun this sacred site, it has largely escaped the looting that decimated many of its fellow Cambodian temples.

2013 Faith & Form/IFRAA Awards Program

$
0
0

Photo: Stefg1971/flickr

The 2013 Faith & Form / IFRAA International Awards Program for Religious Art and Architecture is now accepting project submissions, including those for student work. The awards program recognizes the best in religious art and architecture, unbuilt work, and student work. All submissions must be made online on the Faith & Form website, at this address:


Online project submission reduces the costs to submitters, as no binders or shipping charges are necessary. Awards submissions must be made by June 30, 2013. Judging will take place in July, and winners will be contacted shortly after the jury's deliberations. 

To participate in the awards program, please visit www.faithandformawards.com <http://www.faithandformawards.com> , and register for the program. You will be given a user name to login and begin the project submission process. Submission fees can be paid with a credit card or Paypal. All project materials for submission should be in jpeg or PDF format and ready for uploading before you start the process. Additional information is found on the website. 


If you have questions, please contact the Faith & Form editor, Michael J. Crosbie, at: mcrosbie@faithandform.com

Christian symbolism in churches. A reflection on Bradbury´s ¨The Fire Balloons¨

$
0
0
Blue Balloon church. A digital manipulation on Josef Svoboda´s set design. By Myriam Mahiques

Since I bought my simple e-reader, the first book I´ve downloaded from my computer is The Illustrated Man, by Ray Bradbury. I am so happy to go back to the great stories of the tattooed man, specially because when I read it for the first time, I was fifteen years old, and of course now I see I´ve lost many subtle subjects of interest.
Among them, let us remember the story The Fire Balloons. It doesn´t shock us like others, because this is just a tale of Christian evangelization in Mars. Probably I found it boring in my youth.
Today, I am reflecting about father Joseph Peregrine´s goal to find the fire balloons, -supposedly sinner Martians- to convert them. The main question is if they are man or beast.
Once he proves to the other reverends that the round luminous globes of light, have a soul ('Somehow, they saved us. That proves they have souls.'), he decides to build a church in the hills to attract them with a brand new image of Christ:


Father Peregrine drew the round circle in the center of the blackboard.
'This is Christ, the son of the Father.'
He pretended not to hear the other Fathers' sharp intake of breath.
'This is Christ in all his Glory,' he continued.
'It looks like a geometry problem,' observed Father Stone.
'A fortunate comparison, for we deal with symbols here. Christ is no less Christ, you must admit, in being represented by a circle or a square. For centuries the cross has symbolized his love and agony. So this circle will be the Martian Christ. This is how we shall bring Him to Mars.'
The Fathers stirred fretfully and looked at each other.
'You, Brother Mathias, will create, in glass, a replica of this circle, a globe, filled with bright fire. It will stand upon the altar.'
'A cheap magic trick,' muttered Father Stone Father Peregrine went on patiently: 'On the contrary. We are giving them God in an understandable image. If Christ had come to us on Earth as an octopus, would we have accepted him readily?' He spread his hands. 'Was it then a cheap magic trick of the Lord's to bring us Christ through Jesus, in man's shape? After we bless the church we build here and sanctify its altar and this symbol, do you think Christ would refuse to inhabit the shape before us? You know in your hearts He would not refuse.'

Spherical fractal by Myriam Mahiques. To illustrate the idea of Bradbury´s blue light balloons.

There is here this discussion about the symbolism inside a church, a beautiful example of semiotics, the metaphor of the shape. Then, father Peregrine reflects about the location of a church:


'Is it because they are so odd to the eye?' wondered Father Peregrine. 'But what is a shape? Only a cup for the blazing soul that God provides us all. If tomorrow I found that sea lions suddenly possessed free will, intellect, knew when not to sin, knew what life was and tempered justice with mercy and life
with love, then I would build an undersea cathedral. And if the sparrows should, miraculously, with God's will, gain everlasting souls tomorrow, I would freight a church with helium and take after them, for all souls, in any shape, if they have free will and are aware of their sins, will burn in hell unless given their rightful communions.¨

If the priests accept the image of Christ as a balloon, isn´t it a blasphemy? It seems not in father Peregrine´s eyes:


'But that glass globe you wish placed on the altar,' protested Father Stone.
'Consider the Chinese,' replied Father Peregrine imperturbably. 'What sort of Christ do Christian Chinese worship? An oriental Christ, naturally. You've all seen oriental Nativity scenes. How is Christ dressed? In Eastern robes. Where does He walk? In Chinese settings of bamboo and misty mountain and crooked tree.
His eyelids taper, his cheekbones rise. Each country, each race adds something to Our Lord. I am reminded of the Virgin of Guadalupe, to whom all Mexico pays its love. Her skin? Have you noticed the paintings of her? A dark skin, like that of her worshipers. Is this blasphemy? Not at all.¨

Finally, the ¨idea¨ of a church is built, but they need to incorporate elements of their own memories:


¨The church was not a church but an area cleared of rocks, a plateau on one of the low mountains, its soil smoothed and brushed, and an altar established whereon Brother Mathias placed the fiery globe he had constructed.
At the end of six days of work the 'church' was ready.
'What shall we do with this?' Father Stone tapped an iron bell they had brought
along. 'What does a bell mean to them?'
'I imagine I brought it for our own comfort,' admitted Father Peregrine. 'We need a few familiarities. This church seems so little like a church.¨

I won´t be a spoiler telling my readers the end. I´m just wondering if a church, as a building is needed, or if symbols spread in nature would be enough to satisfy our souls.
To illustrate the post, I´ve digitally manipulated an old picture of one of the great theatre sets by Josef Svoboda. The image triggered me the idea of the church designed as a direct symbol of Christ, in this case, as a blue light balloon.


Creative Commons License
Christian symbolism in churches. A reflection on Bradbury´s ¨The Fire Balloons¨ by Myriam B. Mahiques is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

The Temple of Hercules in Amman, Jordan

$
0
0

I´m sharing today this amazing photograph of the Temple of Hercules in Amman, Jordan, by Robert Clark and posted at National Geographic.com
At first glance, I was astonished to see the fingers and thought if they were digitally manipulated to create a surrealist picture, given the scale of the hand, compared to the temple´s ruins. But:

¨Imposing architecture and art followed Roman armies to the farthest flung corners of the empire. The curled fingers were part of a statue that may have stood over 40 feet tall at the Temple of Hercules, in Amman, Jordan, around A.D. 160. Romans knew the city as Philadelphia.¨

Her is the original link that also contains Clark´s web site:

Viewing all 133 articles
Browse latest View live




Latest Images