wonderful wonderment

my new favourite blog- Neon Tights. A group of four friends pick a new theme every week and draw it. I wish I was that devoted and disciplined (maybe after grad?)

above is a theme from last month: childhood pets and how they died

sleepy sleep sleep

if you guys don't stop me, I'll overrun this blog with things like this

information is beautiful

2500 words left to go on my essay and all i can do is procrastinate some more.
get lost here

for adam

to get you pumped

Switzerland, we have a problem

An ideas competition and a continuation of our conversation about Switzerland's banning of minarets.
from bustler.

WELCOME ADAM

guest blogger until he says something stupid

for the walls

Matt Shlian

i believe in god only i spell it nature (f.l.w)

they make it seem so simple

MVRDV

P.S. He threw himself out a window, eventually.

Deleuze's main philosophical project in his early works (i.e., those prior to his collaborations with Guattari) can be baldly summarized as a systematic inversion of the traditional metaphysical relationship between identity and difference. Traditionally, difference is seen as derivative from identity: e.g., to say that "X is different from Y" assumes some X and Y with at least relatively stable identities. To the contrary, Deleuze claims that all identities are effects of difference. Identities are neither logically nor metaphysically prior to difference, Deleuze argues, "given that there exist differences of nature between things of the same genus."^[14] That is, not only are no two things ever the same, the categories we use to identify individuals in the first place derive from differences. Apparent identities such as "X" are composed of endless series of differences, where "X" = "the difference between x and x'", and "x" = "the difference between...", and so forth. Difference goes all the way down. To confront reality honestly, Deleuze claims, we must grasp beings exactly as they are, and concepts of identity (forms, categories, resemblances, unities of apperception, predicates, etc.) fail to attain difference in itself.

blah blah blah blah blah

Louise Hopkins

People in glass apartments- visual clutter?

and another from the same place.. about visual transparency in architecture. and seeing too much.

"Just curiously bored"

from a review of Cooper Union at the always wonderful but awfully distracting, The Design Observer Group

Heather & Ivan Morrison

Their site.
Worth a long, thoughtful visit.

tile x puzzle = tiluzzle

click on the picture!

ACME in Weilburg, Germany

I know what I know, I'll sing what I said,

We come and we go,
That's a thing that I keep
In the back of my head









just sayin back at you (but really just an excuse to post a photo of paul simon in a turkey suit)

Step 1: we can have lots of fun, Step 2: There's so much we can do

The Julliard School / Diller Scofidio + Renfro Architects

Oslo skate park/opera

Something simple, like a zig zag of vertical public space becomes more complex when it's not symmetrical--and that's what I like, that you have to see the building from a certain way to get a certain *parti* of the structure. And so, you can have a different and important building figure from a different point of access/experience/escape/etc.

Cooper Union

Thom deserves at least one serious look...

and the bottom level *is* transparent and deals with a lot of slope...

I like how we're talking about the internal volumes being reflected in the visible circulation, structure even... Stairs on the ceiling of a theatre, multiple stories of interaction with one space, constricted to certain types of access...yes, anyway--

keep it simple?

Two weeks ago...

Happiness was two dimensional:

Finally, a dialectic I can understand...

And I'll know my song well,

before I start singin'.

Just sayin'

ah-ha

I like a thing simple but it must be simple through complication. Everything must come into your scheme, otherwise you cannot achieve real simplicity
-Gertrude Stein

in honour of friday's crit

yeah, i google-imaged "confusion"

Relection, refraction, light, water, brilliance!

Glazed ceramic in Gaudí 's architecture
Gaudí 's architecture is characterised by colour. The master used to say that colour is the sign of life. It is for this reason that all of his architecture is intensely chromatic. Gaudí understood that colour is the effect of reflection of light on objects but that light has another property too: it is refractive. In other words, when rays of light hit a shiny surface, or water, the effect of refraction occurs causing brilliance or iridescence.

This led Gaudí to use glazed ceramic, which provided very bright colours as well as allowing him to incorporate iridescence. He then took his three-dimensional twisted surfaces and covered them with ceramic tiles.

Finding of course that it was impossible to lay tiles on a curved surface, Gaudí responded by coming up with one of his major inventions: "trencadís". He asked for the tiles to be broken and, with the pieces, created mosaic that was Byzantine in style yet had one peculiarity: it mixed fragments from different pieces, thereby achieving the surprising effect of a new, more lively and interesting composition completely unrelated to the original tiles.

Lost in geometrics

Victoria Haven

What we have in common is that we are different

Iran, 1187 AD