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The Omega Seed

On this journey through history, the journey contemporary man Seeks to re-experience in his pilgrimages, man manipulates the physical world and produces all sorts of wares, small and large, private and public, lasting and ephemeral, humble and flamboyant, functional and symbolic. Those physical things make up the nest where hls children learn what is normal or not, what peer-grooming or not, what is customary or not, what is useful or not, What is respectable or not. The adult or the child-adult molds himself by molding the physical environment, and his matrix closely fits the physical matrix he inherited and the one he himself is altering by his being and doing.

(excerpts from: Architecture as Information)The Omega Seed: An Eschatological Hypothesis, Paolo Soleri 1981
Added to Library

Active Forms

Avoiding some modern habits that shape the projects of Price and Alexander, another kind of artistic endeavor, not reliant on either the digital prosthetic or the predictable cybernetic system, can address this new global infrastructure space. This is not a new but an extra art and mode of making in which the action is the form. Action is not necessarily movement but is rather embodied in relationship, relative position and potential in organizations. Action is immanent in the disposition of an organization. There is no prescription for architecture, only a technique for performing it. Active forms design a disposition—a set of capacities for shaping space over time. Active forms are forms for handling forms.

Keller Easterling An Internet of Things

A change in our awareness of parts and whole

Architecture, as I have come to know it, is the art of building, and if it communicates any message of significance, it does so through construction. Construction not just in the sense of building, not just as a practical necessity, but in the way that we see it, the way we understand it as a manifestation of science, as an object to which we intuitively respond, as a part in a history that we know. I believe that architecture communicates many things, but it does not do so, or does not do so well, by mere association.

Insofar as it communicates an idea about place, it does so through an understanding of scale. Insofar as architecture communicates spirituality, it does so through weight. Insofar as it communicates an idea about society, it does so through joints. Insofar as it suggests something from beyond, something different from, even something contradictory from it’s own reality, it does so using it’s own construction as a point of departure.

from The Architectural Detail, Edward R. Ford
2011 Princeton Architectural Press
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The Pursuit of Architectural Happiness

Alain de Botton makes a contention that most modern architecture is an abject denial of reality.

An Architecture of Reassurance

 

 

“In the mountains of California, above the Mojave lies a plateau overlooking the desert, sloping to the East, facing the morning sun, into the West where San Gorgonio’s snow-capped peak reflects the glow of the setting sun. Here, The Institute of Mentalphysics is planning and building its city. Moved by a sense of the tranquil nobility and eternal beauty of the desert, I have planned, not a city of asphalt, paving and steel, or of tight mechanical grid and congested living barracks [but] a city of the Desert, spacious, free-sweeping; its broad floor carpeted by myriads of desert blossoms; its residents dwelling at peace, and sharing with the soil, sky, and trees, their joy of living, its centuries old Joshua trees standing like sentinels above its homes.”

—Lloyd Wright, Architect

A Pattern Language

In short, no pattern is an isolated entity. Each pattern can exist in the world, only to the extent that is supported by other patterns: the larger pattern in which it is embedded, the patterns of the same size that surround it, and the smaller patterns which are embedded in it it.
This is a fundamental view of the world. It says that when you build a thing you cannot merely build a thing in isolation, but must also repair the world around it, and within it, so that the larger world at that one place becomes more coherent, and more whole; and that the thing which you make takes its place in the web of nature, as you make it.

via A Pattern Language

Marjetica Potrč

Marjetica Potrč is an artist and architect based in Ljubljana, Slovenia. Her interdisciplinary practice includes on-site projects, research, architectural case studies, and series of drawings. Her work documents and interprets contemporary architectural practices (in particular, with regard to energy infrastructure and water use) and the ways people live together.

via katie

Plywood House

PLYWOOD  HOUSE
RESIDENCE: BRIAR CLIFF MANOR, NY  1981
Principal-in-Charge: Ricardo Scofidio

The Plywood House is built on the foundation of a house that burned to the ground the year prior. The construction budget is based on the limited fire insurance settlement. Standard wood frame construction is sheathed with off-the-shelf 4’-0” x 8’-0” plywood panels, stained gray and pre-cut to receive stock windows. The facade is the product of interference between a serial strategy of exterior cladding and specific demands of the interior program.

diller scofidio + renfro.