Retaking the forgotten

In architecture, there are many projects that only “live” in paper, in the virtual world, blogs get stuck in time.

This is the case of Trough Architects eyes, a project that began several years ago with some good friends and that know seems like a time capsule, with projects and post written from the past.

I really think this blog was a good idea, it made me stay in touch with architecture and stuff from all over the world, always wanting to do more research, read new books, watch new movies, be impressed by new ideas, etc… Not that I haven´t done this the past years, but my life was too chaotic to write or even think of this blog.

Don´t get me wrong, getting a B.Arch is a great, but it´s also very time consuming, till the point where you cease to exist in an earthly plane and suddenly become some type of architectural zombie, and all you do is  your terminal project, work and eat. (Sleeping is out of the question.)

Once you finish college, you take a few seconds turn around and breathe as if the storm had passed …

How naive was I, being an architecture student is only calm before the storm. Working as an architect is more time consuming, with a much tighter schedules and less free time, a small price to pay for all of us who live in this world called Architecture. A world that in fact is very demanding but also very satisfying in return.

With that in mind I promise (not that anyone cares) to retake this forgotten blog and the urge to write the things I see and feel from this mysterious and amusing world, and try to update it a few time a month.

Meanwhile we’ll see what happens.

 

De Glassbox

paris59:

A propósito de nada, y gracias a la invitación de @a001arq, nos fuimos de concurso la semana pasada.

De principio a fin fue toda una experiencia. Fue algo así:

Días -1 y 0
Tuvimos una junta para conocer al equipo y vernos las caras por primera vez (que en realidad no fue primera vez por que a algunos ya los conocía) y, claro, como es mi malísima costumbre de “primeras impresiones”, llegué más o menos una hora tarde.
Quitando que había unos hombrecitos con cámaras que irrumpían gravemente mi espacio vital (cosa que no me esperaba), la junta fue un éxito y el equipo completo de A-001 me pareció una gran idea.
El equipo estaría compuesto por Eduardo (el arquitecto chief del equipo), Arturo (que es como un baby-Eduardo y que, por motivos que desconocemos, le dicen Chivo), Bernardo ( Bernie para los cuates y freak de la plástica en cualquier presentación ), María José ( estudió letras pero creemos que tiene super poderes y nos ayudaría vía skype desde god-knows-where), Ismael (arquitecto francés que experimentaría con origami) y yo ( bueno…you know me).

Unos días después (véase mi entrada anterior) tuvimos otra junta para la cual tuve que leer mucho y en poco tiempo por que, por supuesto, procastinar es lo que hago mejor. La junta fue un éxito y ya no había más que hacer que esperar el día que tuviéramos que ir al concurso aquel.

Día 1
Y asi llegó por fin el día en el que nos teníamos que presentar (algo así como a las 9am).
Todo ahí estaba bien, teníamos camerino (el cual por supuesto jamás pisamos), comida, gafetes y café ilimitado. Ya con el equipo completo subimos al escenario a instalar computadoras y conocer las “cajas de cristal” en las que trabajaríamos los siguientes días.
Como no sabíamos nada del proyecto todos nos dedicábamos a instagramear y tomar café, al fin, no había mas que hacer. El equipo y las computadoras estaban listos y no quedaba más que esperar.
Un par de horas y mucho, mucho café después pudimos por fin subir al escenario a que nos presentaran, dando una vuelta para que nos ubicaran como caballos en el hipódromo, y enterarnos de que iba el proyecto que teníamos que desarollar. Resulta que era algo como un módulo de seguridad móvil.
Nos metimos a nuestra caja, repartimos el trabajo y empezamos a trabajar mientras mucha gente con y sin cámaras nos observaba como si eso fuera un zoológico y una camarita pequeñita nos tomaba fotos algo así como cada 10 seg.

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Concrete Lego Blocks

Everyone who has spent any considerable time playing with Lego when they were young (or even as a grown up) knows that the creativity and the urge to continue buildingis severe. It all depends really on how many blocks you have at your disposal. If you have bucket loads, you can sure spend some time putting together an epic build, and we have seen countless examples of those here on Bit Rebels. The only real stopper in this whole thing is your imagination and the number of blocks. However, there is something missing in the world of Lego, and that is the realism. I’m referring to the true world look and feel of theblocks, and that’s something that should be addressed.

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Parking for Pedestrians

“Person Parking” designed by Springtime.

Paving paradise for a place to sit. That’s what’s going on here. A project e that saves a seat for your own booty in a play on the culture-cemented idea of a parking space.

“The design is part of a competition called “Duepercinque” which aims to allot street space to more than just cars. The design by Springtime opts for a cement block with “Person Parking” signs.”


Well, quite an interesting idea in the way of returning public space to the public. But I don’t see anyone sitting in a crowded street on this parking spot. I think it is more suitable for a low traffic street. I feel already the heat and the fuel of the car…

By @arturoolav

The Simpsons house replica

742 Evergreen Terrace is the fictional street address in Springfield of the Simpson family home in the animated television series.

It is named after The Evergreen State College, Matt Groening’s alma mater.

The house is a light pink two-story detached house with an attached garage, basement, and loft. 

The front door leads straight into the foyer where an arch to the left leads to the sitting room, and one to the right leads into the dining room. There is also a small cupboard and stairs to the second floor. The sitting room and the dining room have bay windows.At the back of the house is the living room and the kitchen. Also toward the house’s rear are stairs to the basement, which are replaced by a closet in some episodes. Although rarely seen, there is also a hallway leading to a rumpus room.

The second story of the house has the bedrooms,  There is also a bathroom, often shown in inconsistent places in different episodes.

On the landing, there is a hatch which leads to the attic. 

The back yard of the house is surrounded by a wooden picket fence and a low box hedge. It features a patio and Bart’s treehouse. Occasionally, there is a hammock tied to two trees near the fence that borders Ned Flanders’ backyard.

A replica of the house at 742 Evergreen Terrace, known as The Simpsons House, was constructed in 1997 by California-based Kaufman and Broad homebuilders at 712 Red Bark Lane in Henderson, Nevada. The house was designed to closely mimic the design of the animated house in The Simpsons television series.

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Urban Street Artist Paints Full-Scale Home Plans

Ever walk by and wonder what it would (or will) it be like to occupy a structure slated for construction on an empty lot, before it is built? Sure, architects and developers often post pretty pictures, but those are more art than reality


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Diagrams Everywhere

Following the line of my posts on diagrams 

I present to you:

julian Opie ,an artist with a very  similar style to the one in the  videos, and a very interesting art proposal.

                 

Julian Opie was raised in Oxford, England, where he attended the Dragon School and Magdalen College School. He then attended Chelsea College of Art and became a teacher.

He is a former trustee of the Tate Gallery.

In his portraiture, the human face is sometimes characterised by

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THE USE OF SENSES IN ARCHITECTURE

Nowadays the sense of sight is considered the most important above all the other senses, and that is because it is the most used, and no it is not a  mere coincidence, this is due to the constant saturation of images through the different medias, whether it is television, picture  or the large number of advertisements we see all over the streets. 

Herbert Bayer, El metropolitano Solitario, 1932

 In this use of sight over any other sense, Juhani Pallasma defines it as ocularcentrism , concept that is present in architecture since most of the people appreciate the world around them only with the sense of sight, which it  should not be so, since  architecture uses different materials with different textures that cause an infinity of sensations.

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Steve Jobs, the best salesman ever.



Maybe I have not yet studied the subject well, but I want to start with a quote from the great filmmaker Steven Spielberg: ”Steve Jobs was the greatest inventor since Thomas Edison. He put the world at our fingertips “

When I read that, I start to think: What was Spielberg referring to, and if 
Jobs really put the technology in my hands, or put te different kinds of media or even the  if he was the one that put an iPod in the hands of all it`s users , in many ways this phrase doesn’t make any sense.  

 I don`t   want to start attacking  Steve Jobs so soon, but I can`t  forget the one who really put a grate number of the technology we use on the every day basis ,talking about my generation and the past generation, was Bill Gates.

         

Leading us to a not too distant past, we see that the Windows graphical interface and mouse usage, were first shown by Mac, and those were originally developed by Xerox PARC which was never very popular because of the hunger of Steve Jobs mass production and selling an idea to people at a very high price. … 

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This afternoon, I made a post in the architecture section about  the Technical museum entrance foyer and shop by Querkraft architects.

The first thing that came to my mind ,  a modernized abstraction of Frank Lloyd Wright’s Johnson Wax building. Pretty cool.

Come on ,this is not a new design as they say:

Basic principle of the new design:

 The creation of clear master plan and visitor circulation with an accompanying welcoming emotional atmosphere, which improves the building physics. At the middle of their design solution are multifunctional pieces of furniture made of glass-fibre reinforced plastic and fabric. These ‘trees’ provide seating, shade and acoustic absorption and at night they serve as an illuminate bodies which fill the room with white or blue glowing light. The objects, which resemble trees and can be perceived as a innuendo to the relationship between technology and nature, formally envelope the steel columns and allow a view through the glass ceiling and on to the historical façade.

The  Jhonson Wax

The construction(built 1944–1951) of the Johnson Wax building created controversies for the architect. In the Great Workroom, the dendriform columns are 9 inches (23 cm) in diameter at the bottom and 18 feet (550 cm) in diameter at the top, on a wide, round platform that Wright termed, the “lily pad.” This difference in diameter between the bottom and top of the column did not accord with building codes at the time. Building inspectors required that a test column be built and loaded with twelve tons of material. The test column, once it was built, was tough enough that it was able to be loaded fivefold with sixty tons of materials before the “calyx,” the part of the column that meets the lily pad, cracked (crashing the 60 tons of materials to the ground, and bursting a water main 30 feet underground). After this demonstration, Wright was given his building permit.

 Additionally, it was very difficult to properly seal the glass tubing of the clerestories and roof, thus causing leaks. This problem was not solved until rubber gaskets were placed between the tubes, and corrugated plastic was used in the roof to seal it, while mimicking the glass tubes. And finally, Wright’s chair design for Johnson Wax originally had only three legs, supposedly to encourage better posture (because one would have to keep both feet on the ground at all times to sit in it). However, the chair design proved too unstable, tipping very easily. Herbert Johnson, needing a new chair design, purportedly asked Wright to sit in one of the three-legged chairs and, after Wright fell from the chair, the architect designed new chairs for Johnson Wax with four legs; these chairs, and the other office furniture designed by Wright, are still in use.

Despite these problems, Johnson was pleased with the building design, and later commissioned the Research Tower, and a house from Wright known as Wingspread. The Research Tower is no longer in use because of the change in fire safety codes, although the company is committed to preserving the tower as a symbol of its history.

So is this a new design?

In the end we really have to admmit they put an extra bonus on those things. In Lloyd Wright’s building the structure could not interact with people, this is so much fun and cool.

And  though this doesn’t look like its a structural column. it`s very well executed, liquid/free form, better located in an open space for it to be appreciated.

 So basically, it’s not a crime to copy an idea, but it’s odd not to mention where you got the “inspiration”, isn’t it?

By @arturoolav

The Abstraction Game / Myra Mimlitsch-Gray

The problem with abstraction is that a subjective voyage into the unknown is precisely this: subjective. And, since the exceptional quality of my experience as the creator is something distinct from the experience of the spectator, the abstraction game becomes a hide-and-seek of subjectivities, a challenge which at any moment can be called a bluff, a mere ego trip. Thus, whenever the artist moves into abstraction, whenever we receive less(of the visible image of the visible), we find ourselves in a position of risk - the risk of losing track, of losing sight of anything that rings a bell.
It is a risk we have learned to enjoy. It is a risk justified by the way our historically-bound senses receive the world, and well-defended by an astonishing number of passionate theories.
Still, I look with envy at the art lovers who find abstraction as natural as air.
Most of the time, I find it easier to discover new worlds in a stone than in an abstract sculpture.
Yet there are artists who manage to create paths that lead from the world of re-cognition, of everyday objects and images and tastes, of the mimetic pleasures of re-production, to the very limits of abstract forms.
One such artist is Myra Mimlitsch-Gray.

Take the second image for example:

The effect of melting does not seem to challenge the object as such. It asks for fruit as loudly as any classic salver does. Nonetheless, it moves us towards a world where the concrete is, well, not so concrete after all.

A candelabrum, which is hardly a candelabrum any more. It has melted like a candle, apparently contradicting its main function: to withstand melting. Welcome back to the magnificent world of semiotic undoing, and sensual games with the intellect.
Too entropic for you? Why don’t you try something more positive, then? Sugar and cream, anyone?

The sugar bowl is the negative of its own shape, as is the creamer… or is it that none of them actually has the shape? What are they, after all, these shapes that are to be useful, that are to serve, as if their being objects were not good enough? What is left of the representation, of the concrete, once we put it to challenge in its very heart?

Let’s move back to the first picture now. The title of the work is Trunk Sections, and it is made in cast iron. A tree made of iron. Or is it a mold of a tree? (What a strange idea: a mold of a tree!) Or just a part of their trunk? And why do they seem so… wooden? What, then is the matter with them? They are like ghosts, representing something we presume might have been here, but made of another stuff, another material, another essence, defying the way we see the objectness of the object.
We can, of course, go back to seeing them as just a few pieces of iron cast and assembled to create an abstract sculpture, like so many others.
The question is: with this delicious introduction, why would we refuse the voyage?

By @arturoolav

Los Angeles (August 18, 2011) — The Ennis House Foundation today announced the sale of the Frank Lloyd Wright-designed Ennis House to business executive Ron Burkle for just under $4.5 million. “We are excited that Mr. Burkle has purchased the Ennis House and is committed to complete the rehabilitation of this irreplaceable icon,” says Marla Felber, Chair of the Foundation. “Mr. Burkle has a track record of preserving important historic homes, and we know he’ll be an excellent steward of the Ennis House.”

Since 1993, Burkle has owned the historic Greenacres estate, which was built in the late 1920s for silent film legend Harold Lloyd. He will continue the rehabilitation of the Ennis House begun in 2005 by the Ennis House Foundation. As part of the transaction, Mr. Burkle will provide some form of public access to the house a minimum of 12 days per year, according to the terms of a conservation easement held by the Los Angeles Conservancy. The easement stipulates this access for future owners of the home as well.

Built in 1924 for retailer Charles Ennis and his wife Mabel, the Ennis House was designed by Frank Lloyd Wright and built by his son, architect Lloyd Wright. The house is the last and largest of the elder Wright’s four Los Angeles-area “textile block” houses which feature patterned and perforated concrete blocks that give a unique textural appearance to both their exteriors and interiors. The house and chauffeur’s quarters span roughly 6,200 square feet and were constructed of more than 27,000 concrete blocks; all made by hand using decomposed granite extracted from the site.

Despite its significance, the Ennis House suffered greatly over the years from deferred maintenance, deterioration of the concrete blocks, the 1994 Northridge earthquake, and record rainfall in 2005. That same year, the Los Angeles Conservancy, the National Trust for Historic Preservation, and the Frank Lloyd Wright Building Conservancy stepped in and reorganized the nonprofit that owned the house, renaming it the Ennis House Foundation. The foundation spearheaded an effort that stabilized the house, repaired or replaced nearly 3,000 of the house’s concrete blocks, and restored a number of interior features.

However, the house needs additional rehabilitation work beyond the means of the foundation. Due to the lack of sufficient philanthropy to support more preservation work, after careful deliberation the Foundation placed the house on the market in 2009. 

The Ennis House is designated as Los Angeles Historic-Cultural Monument #149 and is listed in the National Register of Historic Places. The Los Angeles Conservancy holds a detailed conservation easement on the house that will protect it in perpetuity. “We look forward to working with Mr. Burkle to ensure the long-term preservation of this beloved Los Angeles landmark,” said Linda Dishman, the Conservancy’s executive director.

By @arturoolav

Up-architecturall análisis. 

To understand this movie  under an architectural eye, we have to understand a philosophical  term called “territorialize and deterritorialized”.
Now, if we see the film under these terms, we can understand the importance of the house as it territorializes in a world where everything is left behind. where large buildings and  large cities grow and leave no room for the old. This is the context in which Carl Fredricksenit’s  home is in.
Years later, Carl  still lives in the house,surrounded by urban development, but he refuses to sell. He ends up injuring a construction worker over his damaged mailbox. As a result, he is evicted from the house by court order and ordered to move to a retirement home. However, Carl comes up with a scheme to keep his promise to Ellie( Earlier in the  film she confides to Carl her desire to move her “clubhouse”—an abandoned house in the neighborhood—to a cliff overlooking Paradise Falls, making him promise to help her.)so he turns his house into a makeshift airship, using thousands of helium balloons to lift it off its foundations.

This is where Carl, deterritorializes his house, pulling it out of its original context turning the house into a body without organs, and later a desiring machine.
Once the house is in flight,Carl’s goal, in most of the film, is to reterritorialize his house in ParadiseFalls, but the desiring machine keeps changing along with the move, sometimes is the house, sometimes Ellie, sometimes Russell, and sometimes even Dug, The Golden Retriever who can talk.
At the end of the film Carl gets the Paradise falls and reterritorialize the house in a place where the old is new, and where anything can happen, that is when Carl  understands, that all of his desiring machines are gone, and that all  of his Expectations in life have changed, so he no longer needs the house, so after a tough battle with the villain of the movie, he gains a dirigible and fly it back to the city.
This is very interesting too,Since the dirigible is deterritorialized at all times, and in contrast to the beginning ofthe movie the dirigible was a symbol of progress in th 19th century.
Finally When Russell’s father misses his son’s Senior Explorer ceremony, Carl proudly presents Russell with his final badge: the grape soda cap that Ellie gave to Carl when they first met. The two then enjoy some ice cream together, sitting on the curb outside the shop as Russell and his father used to do, with the dirigible parked nearby. Meanwhile, Carl’s house is shown to have landed on the cliff beside Paradise Falls, as promised to Ellie.
 
By @arturoolav

Up-architecturall análisis. 


To understand this movie  under an architectural eye, we have to understand a philosophical  term called territorialize and deterritorialized”.

Now, if we see the film under these terms, we can understand the importance of the house as it territorializes in a world where everything is left behind. where large buildings and  large cities grow and leave no room for the old. This is the context in which Carl Fredricksenit’s  home is in.

Years later, Carl  still lives in the house,surrounded by urban development, but he refuses to sell. He ends up injuring a construction worker over his damaged mailbox. As a result, he is evicted from the house by court order and ordered to move to a retirement home. However, Carl comes up with a scheme to keep his promise to Ellie( Earlier in the  film she confides to Carl her desire to move her “clubhouse”—an abandoned house in the neighborhood—to a cliff overlooking Paradise Falls, making him promise to help her.)so he turns his house into a makeshift airship, using thousands of helium balloons to lift it off its foundations.


This is where Carl, deterritorializes his house, pulling it out of its original context turning the house into a body without organsand later a desiring machine.

Once the house is in flight,Carl’s goal, in most of the film, is to reterritorialize his house in ParadiseFalls, but the desiring machine keeps changing along with the move, sometimes is the house, sometimes Ellie, sometimes Russell, and sometimes even Dug, The Golden Retriever who can talk.

At the end of the film Carl gets the Paradise falls and reterritorialize the house in a place where the old is new, and where anything can happen, that is when Carl  understands, that all of his desiring machines are gone, and that all  of his Expectations in life have changed, so he no longer needs the house, so after a tough battle with the villain of the movie, he gains a dirigible and fly it back to the city.

This is very interesting too,Since the dirigible is deterritorialized at all times, and in contrast to the beginning ofthe movie the dirigible was a symbol of progress in th 19th century.

Finally When Russell’s father misses his son’s Senior Explorer ceremony, Carl proudly presents Russell with his final badge: the grape soda cap that Ellie gave to Carl when they first met. The two then enjoy some ice cream together, sitting on the curb outside the shop as Russell and his father used to do, with the dirigible parked nearby. Meanwhile, Carl’s house is shown to have landed on the cliff beside Paradise Falls, as promised to Ellie.

 

By @arturoolav


Yesterday I saw a movie called Nuovo cinema Paradiso, it  is a 1988 Italian romantic drama film written and directed by Giuseppe Tornatore. The film is a masterpiece and the music by Ennio Morricone is really wonderful, this film is one more for the long list of classics that one should see.
And although all the analysis of this film talk about dualities, morality, religion, and the characters, the architectural analysis is very interesting as well.
  The first thing that jumps out is how the villagers live the cinema, it  becomes part of their lives to such an extent, that when they don’t have it, they really think there is no other way of entertainment,  the theater is part of their culture and they really live the cinema so passionately that they deal with basic activities within the cinema. 
For the new generations of architects, it is very interesting to see this.  Giuseppe Tornatore made it easy for us to understand the cinema and its history, otherwise it would be a bit more difficult.

On the other hand, I think what most caught my attention is how these people live the plaza. and how over time the use of this space changes radically. At the beginning of the film the plaza works as it should,a space for people, in which they can interact,live together and meet, while at the end of the movie, a few years later, the plaza no longer functions as it should. The car is the only owner of the plaza, and for the people the space is dramatically reduced.
 This is a problem that not only happens in the movie, but in a lot of cities around the world. The car has taken over our lives to such an extent that it has also taken our public spaces.  As architects we should be really concerned about this situation and start generating more conscious urban proposals for our own needs and maybe return to the basic stuff. Meanwhile we’ll see what happens.

By @arturoolav

Yesterday I saw a movie called Nuovo cinema Paradiso, it  is a 1988 Italian romantic drama film written and directed by Giuseppe Tornatore. The film is a masterpiece and the music by Ennio Morricone is really wonderful, this film is one more for the long list of classics that one should see.

And although all the analysis of this film talk about dualities, morality, religion, and the characters, the architectural analysis is very interesting as well.

  The first thing that jumps out is how the villagers live the cinema, it  becomes part of their lives to such an extent, that when they don’t have it, they really think there is no other way of entertainment,  the theater is part of their culture and they really live the cinema so passionately that they deal with basic activities within the cinema. 

For the new generations of architects, it is very interesting to see this.  Giuseppe Tornatore made it easy for us to understand the cinema and its history, otherwise it would be a bit more difficult.

On the other hand, I think what most caught my attention is how these people live the plaza. and how over time the use of this space changes radically. At the beginning of the film the plaza works as it should,a space for people, in which they can interact,live together and meet, while at the end of the movie, a few years later, the plaza no longer functions as it should. The car is the only owner of the plaza, and for the people the space is dramatically reduced.



This is a problem that not only happens in the movie, but in a lot of cities around the world. The car has taken over our lives to such an extent that it has also taken our public spaces.  As architects we should be really concerned about this situation and start generating more conscious urban proposals for our own needs and maybe return to the basic stuff. Meanwhile we’ll see what happens.

By @arturoolav


With the release of Google+ Social networks have become fashionable again.
We all use different social networks like: Facebook, twitter, tumbler, myspace, to name a few. and for me as an architect its really interesting to see how people interact on them. 
Social networks are like virtual cities, both act in similar ways, in fact there is a Philosophical concept named Emergence.

Emergence is the way complex systems and patterns arise out of a multiplicity of relatively simple interactions. 
Cities, and social networks behave like and emergent system, so studying  social networks its really important for a complete understanding of how people live in this days.
So that’s why I’m so interested in Google+, I think this is going to change the way we interact with people, and to study this new phenomenon will be very interesting.
We’ll see what happens.

By @arturoolav

With the release of Google+ Social networks have become fashionable again.

We all use different social networks like: Facebook, twitter, tumbler, myspace, to name a few. and for me as an architect its really interesting to see how people interact on them. 

Social networks are like virtual cities, both act in similar ways, in fact there is a Philosophical concept named Emergence.

Emergence is the way complex systems and patterns arise out of a multiplicity of relatively simple interactions. 

Cities, and social networks behave like and emergent system, so studying  social networks its really important for a complete understanding of how people live in this days.

So that’s why I’m so interested in Google+, I think this is going to change the way we interact with people, and to study this new phenomenon will be very interesting.

We’ll see what happens.

By @arturoolav