Archive for the 'Architecture' Category

Der Lauf der Dinge

Posted in Architecture, Conspiracy Theory, English, Music, Personal, economy, politics on July 24th, 2009 by LFO

…Es que aun no puedo corregirme la extrema verborrea en cosas como esta y la ausencia casi total de palabras en eventos sociales o en los que normalmente “debería” comunicarme. Y bueno, finalmente si llego a hacerlo pasa también otro fenómeno a corregir: el interminable preámbulo aclaratorio antes de ir al grano y mostrar la verdadera razón detrás de haber empezado con todo el show. (Situación en la que he caído nuevamente ahora mismo, pero no sin fundamento: la reacción en cadena de datos y las multiples conexiones son solo un desarrollo especular ante el modelo de chli y Weiss.)…  Profonte,All ways will always be old ways.

The Bravery - “Honest Mistake” from Vicki Hanson on Vimeo.

Wrong… for too long?

Posted in Architecture, English, Music, Personal on April 23rd, 2009 by LFO


 

I took the wrong road, That led to the wrong tendencies.
I was in the wrong place at the wrong time, For the wrong reason and the wrong rhyme.
On the wrong day of the wrong week, I used the wrong method with the wrong technique.

I reached the wrong ends by the wrong means.
It was the wrong plan, In the wrong hands. The wrong theory for the wrong man.
The wrong eyes on the wrong prize. The wrong questions with the wrong replies.

There’s something wrong with me chemically. The wrong mix in the wrong genes.
I was on the wrong page of the wrong book. With the wrong rendition of the wrong hook.

I was marching to the wrong drum, with the wrong scum.
Used the wrong sings, with the wrong intensity.
Made the wrong move, every wrong night.

With the wrong tune played till it sounded right!!!TTT


Gorduga I love but you are bringing me down

Posted in Architecture, English on February 10th, 2009 by LFO

Link to the project: Gorduga

Im Hustler baby!!!

Posted in Architecture, Conspiracy Theory, Español, politics on October 31st, 2008 by LFO

Los ángeles malos, como los hombres malos, son enteramente prácticos. Tienen dos motivaciones. La primera es el temor al castigo: al igual que los países totalitarios tienen sus campos de tortura, el Infierno contiene Infiernos más profundos, que son sus “correccionales”. Su segunda motivación es una especie de hambre. Me imagino que los diablos pueden, en un sentido espiritual, devorarse mutuamente; y devorarnos a nosotros, claro. Incluso en la vida humana hemos visto la pasión de dominar, casi de digerir al prójimo; de hacer de toda su vida intelectual y emotiva una mera prolongación de la propia: odiar los odios propios, sentir rencor por los propios agravios y satisfacer el propio egoísmo, además de a través de uno mismo, por medio del prójimo. Por supuesto que sus pequeñas pasiones deben ser suprimidas para hacer sitio a las propias, y si el prójimo se resiste a esta supresión, esta comportándose de forma muy egoísta.

Carta XXVIII

Fecha: Irrelevante

Remitente: el Diablo

Destinatario: su sobrino

 

Mi querido Orugario:

Cuando te dije que no llenases tus cartas de basura acerca de la guerra quería decir, por supuesto, que no quería oír tus rapsodias más bien infantiles sobre la muerte de los hombres y la destrucción de las ciudades. En la medida en que la guerra afecte realmente el estado espiritual del paciente, naturalmente quiero informes completos. Y en este aspecto pareces singularmente obtuso. Así, me cuentas con alegría que hay motivos para esperar intensos ataques aéreos sobre la ciudad donde vive el paciente. Este es un ejemplo atroz de algo acerca de lo que ya me he lamentado: la facilidad con que olvidas la finalidad principal de tu goce inmediato del sufrimiento humano. ¿No sabes que las bombas matan hombres? ¿O no te das cuenta de que la muerte del paciente, en este momento, es precisamente lo que queremos evitar? Ha escapado de los amigos mundanos con los que intentaste liarle; se ha “enamorado” de una mujer muy cristiana y de momento es inmune a tus ataques contra su castidad; y los diferentes métodos de corromper su vida espiritual que hemos probado hasta ahora no han tenido éxito. En este momento, cuando todo el impacto de la guerra se acerca y sus esperanzas mundanas ocupan un lugar proporcionalmente inferior en su mente, llena de su trabajo de defensa, llena de la chica, obligada a ocuparse de sus vecinos más que nunca lo había hecho y gustándole más de lo que esperaba, “fuera de si mismo”, como dicen los humanos, y aumentando cada día su dependencia consciente del Enemigo, es casi seguro que le perderemos si muere esta noche. Esto es tan evidente que me da vergüenza escribirlo. Me pregunto a veces si no se os mantendrá a los diablos jóvenes durante demasiado tiempo seguido en misiones de tentación, si no corréis algún peligro de resultar infectados por los sentimientos y valores de los humanos entre los que trabajáis. Ellos, por supuesto, tienden a considerar la muerte como el mal máximo, y la supervivencia como el bien supremo. Pero esto es porque les hemos educado para que pensaran así. No nos dejemos contagiar por nuestra propia propaganda. Ya sé que parece extraño que tu objetivo primordial por el momento sea precisamente aquello por lo que rezan la novia y la madre del paciente; es decir, su seguridad física. Pero así es: deberías estar cuidándole como la niña de tus ojos. Si muere ahora, lo pierdes. Si sobrevive a la guerra, siempre hay esperanza. El Enemigo le ha protegido de ti durante la primera gran oleada de tentaciones. Pero, sólo con que se le pueda mantener vivo, tendrás al tiempo mismo como aliado tuyo. Los largos, aburridos y monótonos años de prosperidad en la edad madura o de adversidad en la misma edad son un excelente tiempo de combate. Es tan difícil para estas criaturas el perseverar… La rutina de la adversidad, la gradual decadencia de los amores juveniles y de las esperanzas juveniles, la callada desesperación (apenas sentida como dolorosa) de superar alguna vez las tentaciones crónicas con que una y otra vez les hemos derrotado, la tristeza que creamos en sus vidas, y el resentimiento incoherente con que les enseñamos a reaccionar a ella, todo esto proporciona admirables oportunidades para desgastar un alma por agotamiento. Si, por el contrario, su edad madura resulta próspera, nuestra posición es aún más sólida. La prosperidad une a un hombre al Mundo. Siente que esta “encontrando su lugar en él”, cuando en realidad el mundo está encontrando su lugar en él. Su creciente prestigio, su cada vez más amplio círculo de conocidos, la creciente presión de un trabajo absorbente y agradable, construyen en su interior una sensación de estar realmente a gusto en la Tierra, que es precisamente lo que nos conviene. Notarás que los jóvenes suelen generalmente resistirse menos a morir que los maduros y los viejos.

Lo cierto es que el Enemigo, tras haber extrañamente destinado a estos meros animales a la vida en Su propio mundo eterno, les ha protegido bastante eficazmente del peligro de sentirse a gusto en cualquier otro sitio. Por eso debemos con frecuencia desear una larga vida a nuestros pacientes; en setenta años no sobra un día para la difícil tarea de desenmarañar sus almas del Cielo y edificar una firme atadura a la Tierra. Mientras son jóvenes, siempre les encontramos saliéndose por la tangente. Incluso si nos las arreglamos para mantenerles ignorantes de la religión explícita, los imprevisibles vientos de la fantasía, la música y la poesía, el mero rostro de una muchacha, el canto de un pájaro, o la visión de un horizonte siempre están volando por los aires toda nuestra estructura. No se dedicarán firmemente al progreso mundano, ni a las relaciones prudentes, ni a la política de seguridad ante todo. Su apetito del Cielo es tan empedernido que nuestro mejor método, en esta etapa, para atarles a la Tierra es hacerles creer que la Tierra puede ser convertida en el Cielo en alguna fecha futura por la política o la eugenesia ola “ciencia” o la sicología o cualquier cosa. La verdadera mundanidad es obra del tiempo, ayudado, naturalmente, por el orgullo, porque les enseñamos a describir la muerte que avanza arrastrándose como Buen Sentido o Madurez o Experiencia. La experiencia en el peculiar sentido que les enseñarnos a darle, es, por cierto, una palabra de gran utilidad. Un gran filósofo humano casi reveló nuestro secreto cuando dijo que, en lo referente a la Virtud, “la experiencia es la madre de la ilusión”; pero gracias a un cambio de moda, y gracias también, por supuesto, al Punto de Vista Histórico, hemos hecho prácticamente inofensivo su libro. Puede calcularse lo inapreciable que es el tiempo para nosotros por el hecho de que el Enemigo nos conceda tan poco. La mayor parte de la raza humana muere en la infancia; de los supervivientes, muchos mueren en la juventud. Es obvio que para El él nacimiento humano es importante sobre todo como forma de hacer posible la muerte humana, y la muerte sólo como pórtico a esa otra clase de vida. Se nos permite trabajar únicamente sobre una minoría selecta de la raza, porque lo que los humanos llaman una “vida normal” es la excepción. Al parecer, Él quiere que algunos -pero sólo muy pocos- de los animales humanos con que está poblando el Cielo hayan tenido la experiencia de resistirnos a lo largo de una vida terrenal de sesenta o setenta años. Bueno, esa es nuestra oportunidad. Cuanto menor sea, mejor hemos de aprovecharla. Hagas lo que hagas, mantén a tu paciente tan a salvo como te sea posible.

Tu cariñoso tío, ESCRUTOPO


C.S. Lewis Cartas de Diablo a su Sobrino traduccion del Ingles LFOdiaga

Remember me, through flash photography and screams, remember me, special needs, special dreams.

Posted in Architecture, English on September 1st, 2008 by LFO

The form of the buildings no matter how strange they seem to be at first sight and how indecipherable appears to be their meaning, always receive a nickname that reveals the impossibility of being out-of-this-world in design matters, just think about the the fish” of Gehry; “The lightning (blitz)” of Libeskind; “El supositori” of Jean Nouvel…and so on. It doesn’t matter what the architect says about the project but what people reads about it and how this strange forms appear to them on their minds, more specific…on their memory.

personality_tests.jpg

Exploring the idea of complex geometries necessarily looks for this misunderstanding; this is just to blur the boundaries and think of the object, the shape, the content and the meaning as a unit that is in a constant flux inside, interchanging places or even avoiding them, always remembering that the human mind is guilty of naming and classifying things just to be sure and proud of the acquired knowledge, leading the conciseness of people to try to tag everything… and then becomes the eternal question of which came first: the EGGstructure or the sHapEN

ALL WAYS WILL ALWAYS BE OLD WAYS [the copy/paste culture]

Posted in Architecture, English, Music on August 31st, 2008 by LFO

The indefinable condition of the things that are happening now and the implacable need of the mass for the NEW may sometimes be defined as emergent-culture, but it is also simply the same phenomena which always companied the human existence: the change, change is not new. But, There is something peculiar and unique about these days, and it’s not about how wonderful things technology is developing —in all, and each epoch the newest technology developments were always astonishing— but about the speed this change is happening. Digital media has developed a speed that have already modified the behavior of human beings reaching a new level of understanding the reality in terms of information/communication and the implications of this easy-reachable knowledge.

allwayswillalwaysbe1.jpg

The copy-paste culture can be understood in terms of interchange. The possibility of interchange the order and mixing-up all the pieces of almost every intent of communication in a never-ending process. Furthermore, as a process it is never concluded or even started—in some ways—. For ex. In electronic music, the tracks that producers develop are supposed to be used in new compositions and also these newer tracks are expected to be used in future mixes. Going further, some Pro-Djs like Miss Kittin, use re-mixed versions, mixed by other djs using her original tracks on her presentations, letting fed and feeding back some kind of communication-experience that no longer belongs to one person, but to the global-community. Also this is the way the WEB2.0 works, a network that encourages collaboration and share of information/communication. So this culture of the copy/paste is working not on the basis of discovering the gunpowder every day, but in the constant effort of cutting pieces and then pasting-them-together in the most newer and familiar way as possible, because if there is not a recall over the memory then all the mix-up [pasting-phase] loses all sense. kk.org and SIMPLICITY are two blogs which embraces this kind of copy/pasting culture, looking forward to be as newer as possible—in the posts— but using the same codes and signs to be as simple and close—to readers— as possible…


Title cpoy/pasted from Castro-Cordano, Daniel. The “dark(-white) cube” project, April 2007

Dynamics & flux of the edios (εἶδος)

Posted in Architecture, English on August 31st, 2008 by LFO

Many traditional boundaries are blurred through the information-technologies. Several notions like: space and time; the global and the local; the here and now; and national and international identities,… are constantly redefined through the complex, layered surface that emerges from the structure provided by telecommunications. The media technologies are producing this at such fast rate that we’re almost unable to catch up with it. Media is obsessed with speed, to the point that barely ten years ago we were talking of Kilobytes, and now we’re dealing with Terabytes. This speed, and blurred boundaries are developing also a contextualized consciousness about the form—form in the digital age.

Plato wrote about how un-real are the forms that our eyes can see —the world of the changing physical objects—, because they are just a shadow of the idea(eidos)which he described as the light of the truth… the world of unchanging ideas —. In the other hand Jean Baudrillard introduced the logic of the symbolic exchange; the simulation of the whole reality as a characteristic of the contemporary society—or maybe [the copy/paste culture], always emergent culture— this two ideas of the form have in common the comprehension that the human mind is always misunderstanding something about the relation between the container, the content, and obviously the symbol(ic) meaning of the objects. … also in architecture.
 

Exploring the idea of complex geometries in the digital age necessarily looks after this misunderstanding; this is just to blur the boundaries and think of the object, the shape, the content and the meaning as a unit that is in a constant flux inside, but always realizing that the architecture is for people, human beings which have needs; walk in order the move from one place to another; are affected by gravity and have two eyes palced infront of the face—the human is not a fly. Nevertheless, The first approach to a building must be the visual way; the skin of the buildings —sometimes misunderstood as a simply facade, the “exterior geometry of the building”.— This can not be considered only as a fluid container of space and communicator of meanings. The skin as its name tells so, embraces the homeostatic function [of biological bodies] of controlling the vital interchanging links that carries dynamic energy systems throughout the building and with its environment, modifying the traditional conception of envelope into a-complex-and-living-organism. Even the idea of skin is as old as the conscience of its importance in bodies; it’s just recently that the easy access to advanced construction technology and powerful digital design methodologies allows the integration of complex geometries in building envelopes (skins). A clear example of these notions can be seen in Toyo Ito’s Sendai Mediatheque (2001). He thought of it as an extremely fluid space, in which the different levels of program may co-exist. For instance, the ground floor can be accessed from all sides, and its façade (skin), containing a double sheet of glass with computer-controlled openings to work exactly as a skin does to respond to the environment. Also, The first floor, composed of a children’s library, periodicals, Internet stations and administrative offices, is divided by a simple membrane, a fluid translucent curtain (also an inside skin). Lightness and fluidity is a constant in the building, which Ito thought of it as a space without barriers that leaves plenty of room for the ephemeral, maybe a place for the virtual inhabitants of invisible cities.

[GO TO:Maite Bravo blog] [GO TO:Javier Raya blog] [GO TO:Luis Odiaga blog]

Rejecting Materiality [compounding Virtuality with Artificiality: VACH proposal]

Posted in Architecture, English on August 31st, 2008 by LFO

The definition of what senses are, due to the differing understandings of what a sense is, can not be well defined. Nevertheless, can be said that a sense is a faculty to by which out-side stimuli are perceived. This is the nervous system codifying all the information perceived by the so-called senses in electrical-chemical impulses and sends this electrical-chemical information to the brain, which decodifies this information through a process called transduction. In this moment our consciousness —and the whole body — just believes in what the brain is decoding, if there is mixed or missing information (Mental disorder, drugs, etc) our consciousness just understands it as correct and keeps going on. Only in extreme situations the brain decides to shutdown the system and then becomes a faint. Taking advantage of this consciousness-confidence on brain’s decodings is possible to hack the perception bringing up on-will real illusions. For instance, Let’s take the so-called sense of the sight for this proposal. In order to have information about the depth and of course the location of objects in the surrounding space, sight is a compound of two images which are overlapped by the brain, which in turn gives to our perception just a constructed image with depth information. So what is there and what is not, is more about what the brain decodes as reality than the reality in it-self. Now, let’s take three interesting matters into this idea of hacking the perception to develop the proposal which in fact is a compound of ideas. First let’s take the example of the immaterial museum developed by AMID, please go to the link or check the Verb Natures Boogazine of ACTAR, second the Materialization of Virtual reality and at last but not a least the Physical materialization of artificial environments. …:::Virtual Materialization:::… Virtual Reality is getting more real than ever. It’s not a thing of the future, or only available at a few laboratories. In the digital architecture world, virtual reality is pushing the boundaries of what is space and how we perceive it. Through simulation and immersion, we can feel a sense of actually being within a virtually constructed space. Videogames are a good example in which we can actually feel for a moment that we are in a specific space, be it a sports stadium or through the streets of the archifamous San Andreas (Grand Theft Auto). In a way, we feel immersed. One of the most powerful advantages of this is the possibility of not having to construct physically a building, for as long as it is available in a virtual environment, and as long as people can interact with it, the experience is achieved, at least partially. Architecture is moving towards this kind of practice made possible by digital technologies. Nowadays we can explore space and our relation to it without any physical or economic constraints, as long as we have the means to do it. Virtual reality is changing the ways with which we approach the design and building processes. For example, Arup Acoustics, a company that offers acoustic consulting services since 1980, has deviced the SoundLab. It’s a small room where one can experience the acoustic characteristics of any space, built or unbuilt. With the SoundLab we can have a 3D auralitazion of a space, the equivalent of a 3D visual rendering. The impact of this is seen clearly in the way in which clients and designers now can incorporate these acoustical considerations in the early stages of the process. It reinforces the need for particular shape or material, providing the designer more freedom to experiment with complex geometries and materials. It takes the virtual reality to the next level, it’s the making real of the virtual. …:::Artificial Materialization (also media interaction):::… Virtual environments redefine the traditional conception of space references, working with a self referential and elusive presence defined by media interaction. The interface of complex systems in digital architecture can be explained at three levels: ambiance, story and metaphor. Ambiance is achieved in an artificial black volume, a non existing space, an artificial organism with a controlled climatic stage. It provides the user with sophisticated communication tools to have a fluid experience and includes the design of navigation systems to facilitate orientation, visual, tactile and auditory sensors, gps, radio antennas, microphones, etc. The story is usually based on models of perceptions, cognition and behavior of human experience. This structured experience provides the user with the capacity to shape their experiences and spaces in a multi modal interactive environment (touch, movement, sound, light, etc). Metaphor is the structure of the experiential journey. The metaphoric and conceptual foundation for the creation of virtual environments is usually based on the relationship man-physical object environment. The methodology of design interface using virtual symbolic images usually represents recognizable functional, representative and symbolic environments. The virtual systems of creating artificial ambiances require a deep understanding of the invisible architectural experiences available to be constructed in the realm of fantasy. The creation of unpredictable impermanent architecture using digital technology reformulates the complex systems of perception to be explored in human experience. ..:::Proposal:::… Imagine that when the user goes into the building —which can no longer be called building, let’s call it the Virtual-Artificial-Computer Hybrid. VACH from now on— The user gets a pair of glasses and a patch connected to the VACH,—the immaterial building project only proposes the patch connection— so the VACH and the user are connected interchanging information of location, temperature, heartbeats, what is the user watching, the height of the user, who is near the user, mini-GPS, etc. ,—much more further will be the implant of a micro-chip directly to the brain and connect this brain with the city not just with a single VACH— Now, coordinated by the VACH the user receives on one eye the actual artificial environment while the other eye receives the virtual reality; this will become in a compound image of a real-virtual, artificial-hypernatural, reality. So the VACH will be allowed to give extra information of the reality, and also the artificial environment will be allowed to be incomplete—in a way— because the VACH will found the way to complete the perception-reality of the user using a combination of the real and the un-real. The boundaries between the real and the virtual will be so blured that the (re)materialization of the architecture will be a reject of the materializacion to acomplish a compound between the Virtuality with the Reality. Finally the VACH will ask the user…”(to) show you the world in my eyes” [GO TO:Maite Bravo blog][GO TO:Javier Raya blog][GO TO:Luis Odiaga blog]