Dmitry Chechulin
Moskva Pool, Moscow, Russia, 1958-1995
built on the foundation of the abandoned Palace of Soviets
(now Cathedral of Christ the Saviour)
Adalberto Libera
Villa Malaparte, Capri, Italy 1937
Photo: Francois Halard
(via lepostitjaune)
A vida pode mudar a arquitetura.
No dia em que o mundo for mais justo, ela será mais simples.
Oscar Niemeyer (1907-2012)
Palácio do Congresso Nacional. Brasília, 1960
Photo: Marcel Gautherot/IMS
Joao Vilanova Artigas
Faculdade de Arquitectura e Urbanismo da Universidade de Sao Paulo, 1969
(via thisisaconstruct)
"The empty space is a direct expression of freedom"
Youssef Tohme
on Beirut’s Saint Joseph University
Hiroshi Sugimoto
Richard Serra’s Joe, 2004
Joe is installed in the courtyard. Like a work of architecture, this sculpture has to be experienced by walking around and through it. The only torqued spiral that is permanently installed outdoors, Joe is different according to the time of the day, the season, and the viewer’s position. It is in the visitor’s memory that the sculpture “takes shape” in the most complete way. Sugimoto’s photographs of Joe and the sculpture itself are quintessentially parallel creations. Using a photographic technique involving areas of extremely soft light and blurred darkness, he sculpted views that seem like aspects of visual memory: the arts of photography and sculpture overlap and memories of the two-and the three-dimensional mix.
Matthias Waschek, Director of The Pulitzer Foundation for the Arts
Eduardo Chillida
Montaña de Tindaya, Fuerteventura, 1993
Lo profundo es el aire
Point Supreme
The Architects Brain, 2011
‘In pre-modern epochs, renewal of practice was always initiated by looking backwards, as a return to the fundamentals.The cult of the new/young first came with modernity. Are young offices still obsessed with the ideas of idols, former employers and teachers? Or are young practices in architecture today considered to be especially innovative? Are they generating new knowledge or just recycling winning formulas? If truly innovative new practices still exist, from what fields of knowledge do they get their input?’
Conditions Issue #9, New Knowledge – New Practices?
Demetrio Scopelliti
On the Origin of Forms
by Means of Natural Selection, or the Preservation of Favoured Forms in the Struggle for Life
In considering the Origin of Forms, it is quite conceivable that a designer, reflecting on the mutual affinities of architectures, on their analogical relations, their typological distribution, genealogical succession, and other such facts, might come to the conclusion that each form had not been independently created, but had descended, like varieties, from other forms. Nevertheless, such a conclusion, even if well founded, would be unsatisfactory, until it could be shown how the innumerable forms constructing this world have been modified, so as to acquire that perfection of structure and coadaptation which most justly excites our admiration.
I am fully convinced that forms are not immutable; but that those belonging to what are called the same genera are lineal descendants of some other and generally extinct forms, in the same manner as the acknowledged varieties of any one form are the descendants of that form. Furthermore, I am convinced that Natural Selection has been the main but not exclusive means of modification.
Loosely drawn and adapted from Charles Darwin’s On the Origin of Species, 1859
First published in Studio magazine #02 ”Original”
