http://www.youtube.com/watch?feature=player_embedded&v=ijIfdswvh5U

Sculpture

Rob McGinnis

Neal Stephenson

Here is a wonderful post on the way visiondivision (in my opinion the most exciting new swedish architecture firm) create their concepts.

Here is an excerpt:

Concepts

Visiondivision has done some reflections about concepts, a working method that we're quite familiar with. We thought we might share some of these thoughts with you.

Introduction

What distinguish our projects and the way we work with architecture from many of our other colleagues in this business are our strong concepts. That’s our opinion but also what colleagues been telling us and what media says about us. Since the start of our collaboration called visiondivision, our work process has always been to first come up with a strong concept and then start drawing. We found that way of working a fun and efficient way to invent new types of architecture but also a great advantage when it comes to pitching an idea and also getting a project built. In this text we will try to explain what we mean by working in a conceptual way and the advantages with this type of work process.

The word”concept” stems from the Latin word”conceptum” which means ”something conceived”. According to John Locke, the father of Liberalism, a general idea/concept is created by abstracting, drawing away, or removing the uncommon characteristic or characteristics from several particular ideas. The remaining common characteristic is that which is similar to all of the different individuals. For example, the abstract general idea or concept that is signified by the word”dog” is the collection of those characteristics which are common to Golden Retrievers, Pit Bulls, Collies, and Chihuahuas.


That means as architects working together you need to find that common characteristics and the uncommon to fit with the program and request for that specific problem you are about to solve. That forces you to discuss wrongs and rights of the request and to form your concept around that and then to simplify it so everyone involved in the process understands what this project want to achieve.
A way to start is with a common headline/motto for the project pointing out the direction on what everyone involved should strive for. That headline includes millions of options but also reduces several. And that is the important thing that it reduces and gives options, then you have a clear concept. To exemplify this we will show some vague and clear headlines/concepts/mottos.


The rest HERE

 

Andrew Maynard talks to students about ideas, the future of the profession and more at flux last year.
In my opinion Maynard is one of the most inspiring architects in Australia, his ideas astound me.

Anna Ådén

Nothing happens until you quit contriving

with your mind. Quit your talking.

Consider the story of Sadri Jahan of Bukhara, 

who was very generous with beggars.

He wrapped pieces of gold in bits of paper

and gave them away as the sun and the moon 

gamble their light trying to let go quickly

of the radiance given them.

Every morning Jahan chose a different set of people.

One day it might be the sick. Another, the widows, 

or those law students, the ordinary country people,

or those in debt. Everybody had a turn

to receive Jahan's gold.

He only had one rule:

                                    You mustn't ask out loud.

When he walked out, the mendicants stood

like silent walls on either side of his path.

If anyone made a begging sound to get his attention,

the punishment was no alms, ever again.

His motto was,

               BLESSED ARE THE SILENT

One day a wandering beggar blurted out suddenly,

"Please sir, I'm hungry."

                                       Sadri Jahan turned,

"Have you no shame, old man?"

                                                    Quickly came the reply,

"Ah, but you're more shameless than I, Jahan."

                                                                           "How?"

"You enjoy this world, and in your greed for giving

you try to bring the other world here

to enjoy that one too."

Sadri Jahan laughed and gave him money,

but except for that on instance, he never gave 

to those who spoke when he went by.

                                                             Another day,

it was the poor law students. One of them 

began a little Involuntary whining noise

as Jahan approached. Jahan heard and noted

the impatience, and the punishment began.

The next day the law student put splints on his legs

and wrapped them in rags and stood among the crippled

with his head down. But Jahan recognised him.

The next day he put on a woman's robe and tried to mix
with the widows, totally veiled, but Jahan somehow
knew which outstretched hand not to put alms in.

In desparation the student went to a shroud-maker.
"Wrap me in black felt and set me out on the road.
When Jahan comes by, say nothing.
Just sit beside me, and anything he gives,
I'll split it with you."
                                   So there they were,
the student lying wrapped in his shroud,
and the other beside him.

Jahan paused and dropped some gold pieces
on the shroud. The dead man's hand shot out to grab it,
so the shroud maker wouldn't run off with the take.

He unwrapped himself and raised his head.
                                                                       "See Jahan,
I found a way back into your generosity."
                                                                     "Yes,
but you had to die to do it."
                                             Here is the mystery
of Die before you die. Favours come
only after you develop the skill of dying,
and even that capacity is a mystical favour.

Be silent and wait,
and when the clear, green forehead stone
is given, wear it.


(Mathnawi, VI, 3798-3842)

Rumi
[Coleman Barks]

Thank you Coleman Barks.

Ivan Makovecz

Thank you AR
and thanks for the heads up Subtilitas!

Atelier Bardil : Valerio Olgiati

via

Interview with Valerio Olgiati who touches on our fascination with things we do not fully grasp.

Therme Vals : Peter Zumthor

The wonderful Kodachrome series by Jörn Schiemann.

 A wonderful interview with Yohji Yamamoto by The Talks



Mr. Yamamoto, film director Wim Wenders said that when he bought his first piece of your clothing, he was fascinated because it felt new and old at the same time, and he felt protected by it. Would you say that describes your clothes quite well?

My starting point was wanting to protect a human’s body. This is the beginning, actually hiding women’s bodies. This is about sexuality, about protecting it. From the very beginning of my career I was not very sure that I would become a so-called “fashion designer”. The term “fashion designer” sounded very light.
What do you associate with that term?
When I think about the image of a fashion designer I think about trends. I have to think about what’s new, what’s next, what kind of feeling customers want. It’s too busy for me. So, from the beginning, I wanted to protect the clothes themselves from fashion, and at the same time protect the woman’s body from something – maybe from men’s eyes or a cold wind. I wanted people to keep on wearing my clothes for at least 10 years or more, so I requested the fabric maker to make a very strong, tough finish.
You say you wanted to protect the female body and your clothes often have a playful androgyny in them. Should men and women be able to dress more like each other?
When I started making clothes for my line Y’s in 1977, all I wanted was for women to wear men’s clothes. I jumped on the idea of designing coats for women. It meant something to me – the idea of a coat guarding and hiding a woman’s body. For me, a woman who is absorbed in her work, who does not care about gaining one’s favor, strong yet subtle at the same time, is essentially more seductive. The more she hides and abandons her femininity, the more it emerges from the very heart of her existence. A pair of brilliantly cut cotton trousers can be more beautiful than a gorgeous silk gown.

Rest of interview HERE

Photo by Chris Schroeer-Heiermann,

Terre : architecture, music, literature, history, science-fiction, film, art, mythology, symbolism and design.