What is a Thesis?

Dear writer,

From the journal Thresholdsby Massachusetts Institute of Technology. Dept. of Architecture

Publication date 1992

Enjoy!

Reklamlar

Ah, but my Computations, People say,

The most illustrious figure in the history of Islamic mathematics is Abu’l-Fath Omar ibn Ibrahim Al-Nisaburi Khayyámi (ca.1048-ca.1130) known in the West as Omar Khayyam, the “Tentmaker”. Khayyam was born in Nishapur, in Persia. His principal work in mathematics is Algebra. 

He did research in physics and invented a water balance that was for a long time known by his name. He was also involved in a program of calendar reform initiated by the Seljuk sultan Melikshah. The Jalali calendar that he and his colleagues created is still used. He refers to this work in one of the quatrains of his Rubaiyat, the volume of poetry that made him far more famous in the West than his mathematics.

Ah, but my Computations, People say,
Reduced the Year to better reckoning? — Nay
‘Twas only striking from the Calendar
Unborn To-morrow, and dead Yesterday.

Khayyám measured the length of the year as 365.24219858156 days.*

*Khayyam measured the length of the year as 365.24219858156 days. Two comments on this result. Firstly it shows an incredible confidence to attempt to give the result to this degree of accuracy. We know now that the length of the year is changing in the sixth decimal place over a person’s lifetime. Secondly it is outstandingly accurate. For comparison the length of the year at the end of the 19th century was 365.242196 days, while today it is 365.242190 days.MacTutor biography by J J O’Connor and E F Robertson.

*The information from the book “Aladdin’s Lamp” How Greek Science Came to Europe Through Islamic World” by John Freely

 

4 mm thick cardboard

 

The itbed is made from 4 mm thick cardboard that is folded like an accordion.

That’s all!

Automata and Magic

Barnum, in his memoirs, wrote that “he was not only a prestidigitateur and legerdemain performer, but a mechanician of absolute genius.”

Robert-Houdin designed and made automata to create magic. After twenty years of studying magic, building his own automata, observing magicians, he had clear ideas about what he wanted for his own show. After he had created his own theater as a small performance hall, he started to practice as an actor. He believed that

“a good magician is an actor playing the part of a magician.”

Automaton Chess Player, later as the Mechanical Turk, or just the Turk Woog, A. 1953. Magicians and Illusionists, Lucent Books, California,p.29

His mechanical chess-playing game proved his skill in producing complex automata. Besides the chess-playing game, he also invented an electrical fire alarm, a burglar alarm system, a swinging kitchen door that wound up a dinner bell as servants passed in and out, and a clock-operated system to automatically feed his horses in their stables. (p.33)

More to read:

Woog, A. 1953. Magicians and Illusionists, Lucent Books, California,p.29

The Creature Garden

Kids love playing! Then why not learning by playing! If you are not a kid, you will need endless imagination, here is The Creature Garden by Natasha Durley

The Creature Garden is an open-ended construction kit that gives kids hundreds of parts to create and play with.

Follow the link: https://tinybop.com/apps/the-creature-garden

(Lifelong) Learning

Hello, time machine builders!

Who can build a time machine, an architect, an engineer or a teacher? Is there any manual to show you how to build it? Or you can learn it by yourself. Do you think that there is a distinction between education and learning? For me, the answer, of course, a big YES!  Learning cannot be reduced to education or training.

Here is the part of the manifesto by Coffield;

  • Learning is fun or always should be.
  • We can now safely forget about teaching. The focus of attention must be now on learning.
  • Learning is individual. It is often pursued in groups, but the experience is uniquely personal. Learning theory examines how learning takes place within individuals.
  • There’s no such thing as a non-learner. We’re all learning all the time.

Coffield, F (ed) 1997 A National Strategy for Lifelong Learning, University of Newcastle, Department of Education

Süper kahramanlı mimarlık

Rietveld Akademi’de öğrenim görmüş Gea Karpof beni gülümsetti. Lahey merkez kütüphaneden gene sesleniyorum.

Gea Karhof’un işi, fotoğraf  Melis Baloglu

Bu sefer oyun yok ama Karhof’un işleri tam yürüyen merdiven kenarından göz kırpıyor. Ilya Utkin ile Alexander Broadsky’nin gravürlerini gördüğümden beri denemek ve öğrenmek için hevesleniyorum. Karşıma her yerde gravürler çıkıyor ya da algıda seçicilik. -havalı kelime kullandım-

Süper kahramanlar hangi binaları severdi sahi? Spiderman’in gökdelen sevmesini anlıyorum, ben şahsen tercih etmiyorum çünkü süper güçlerim ile hala ve sadece okuyup yazabiliyorum. Öyle zıplayamıyorum yani… Herkesin süper gücü kendine!

Biraz daha Gea Karpof’u araştırayım, devamı sonra…

İyi seyirler!

http://www.geakarhof.nl/

A Banana and A Folding Chair

a banana and a folding chair

like distant relatives


Original post from https://hyperallergic.com/266126/an-eccentric-visual-history-of-our-most-basic-shapes/

TEAM 10 // TEAM TEN // TEAM X online

As to people who are interested in Team 10, Team 10 might ask a few serious questions: ‘Why do you wish to know?’ ‘What will you do with your knowledge?’ ‘Will it help you regenerate the language of Modern Architecture so that it would again be worth inheriting?’

Alison Smithson in: Team 10 Meetings, 1991

The name of Team 10 originates from 1954 when a committee of four younger CIAM members is given the task to prepare the tenth CIAM congress, which is ultimately held at Dubrovnik in 1956. The official name of the committee was CIAM X Committee, also addressed to as CIAX. The original four members were Jaap Bakema, Georges Candilis, Rolf Gutmann and Peter Smithson.
The first mention of Team 10 is shortly before a meeting with Le Corbusier and the CIAM X Advisory Group, 14 September 1954, in Paris. In a letter by Candilis and a document of CIAM Alger, the CIAM X Committee is referred to as ‘Equipe X’, and ‘Team X’. Although never officially decided or announced, from then onward Team 10 is adopted as the name of the group of active younger members.
There is no official spelling of the group’s name: Team 10 and Team X are used throughout; Team Ten is mostly used by French historians writing about the group.
We have chosen to use Team 10 following the most important publications on and by the group as edited by Alison Smithson.

the logo for this website originated from the sketch ‘Play Brubeck’ by Peter Smithson. It was published in Team 10 Primer with the following caption:
“Ideogram of net of human relations. P.D.S.
A constellation with different values of different parts in an immensely complicated web crossing and recrossing. Brubeck! a pattern can emerge.”

Original post from http://www.team10online.org/ 

Soil Series

SOIL SERIES: A Social Drawing is a collaborative work of art and an ongoing conversation between artists Francesca Fiore and Hillary Wagner, poet Matthew Kosinski, and the rural Appalachian community of Bethel, OH. Establishing social drawing as a methodology for socially engaged artistic practice, SOIL SERIES is a dynamic set of relationships between artists, community members, agricultural producers, local organizations, academics, and policy-makers. These relational networks aim to address community crises through the generative juncture of community resources and artistic practice.

http://www.projectanywhere.net/soil-series-a-social-drawing/

 

The Grid

The Grid is a preliminary study exploring sound and cities to forge a triangulated performative and intermittently participatory digital space linking London, Sydney, Chongqing, and New York through experimental composition and telematic improvisation using live and recorded saxophones, coding, field recordings, found sounds, electronics, processed guitars, and piano. The project’s construction of “city-ness” (Sassen, 2005) through the building of structured assemblages of experimental sound and music involving the artists Morrad+McArthur, collaborators and participants underpins the ongoing testing of telematic ecologies of improvisation and collaborative composition as a means to generate newness and new sonic spaces. The cities in “The Grid” are chosen for their specific experiential, personal, and professional links to the participating practitioners. The project addresses the lack of comprehensive understanding about the potential of telematic digital spaces as performative and generative.

Click & Discover http://www.projectanywhere.net/the-grid/

merhaba sevgili not tutamayan

Biz hangi yaştan beri öğretmenlerimiz anlatırken not tutmaya çalışıyoruz tam anımsayamadım. Anımsayan var ise bir yorum yazsa keşke. Benim sorunum defterlerimi ve kalemlerimi çok sevmemdi. Eğri büğrü bir şeyler yazınca sinir oluyordum. Ama dinlerken not tutmak de böyle bir şey biraz diye düşünürdüm.

Defterlerim, Melis Baloglu

Neyse, güzel defterlere kıyamıyorum. Onlara iyi muamele etmek için özenle masaya seriyorum. Kalemler ordumu diziyorum derken kafamda büyük bir boşluk oluyor. E tabi böyle iş mi olur. Gel zaman git zaman cebime sıkışan defterler, evde duran defterler, her çantaya bir defter gibi bir hazine büyüdü. Kırışanlar, buruşanlar oldu, en güzelleri de onlar oldu. Kitaplar da nasibini aldı bu telaşlı düşünme halinde. Onların da satırlarının altını çizip, kenarlarına çiziktiriyorum, yazıyorum – ondan kimilerini ödünç veremem, anlayın beni 🙂 – sayfaların aralarında yapraklar kuruyor, post-itler uçuşuyor.

Ben böyle yaşarken, deftersiz her gördüğüm kişiye görünce şaştım tabi. Hadi diyelim ajanda yok, telefona not alıyoruz. Alışverişe çıkılacak, telefona not ekliyoruz. Peki bazen karalamak gerekmiyor mu yahu? Hani küçükken ilkokul sıralarını karalıyordunuz, ne oldu size? Kendi fikirlerimizi karalamaktan vazgeçmesek keşke. Belki çok büyüdük, alışkanlık edinmedik gözden kaçtı diyelim bütün bunlar. Geri dönmek için şans hep var. Belki buralardan başlarsınız. Hızlı not tutmaya çalışırken karalamayı deneyin!

http://sunnibrown.com/

http://sunnibrown.com/doodlerevolution/

http://www.danroam.com/show-tell/  

 

Avery Review Essay Prize 2018

Deadline: January 31, 2018

The Avery Review is excited to announce and invite submissions for our first-ever Essay Prize for emerging writers. The call is open to current students and recent graduates, whether in schools of architecture or elsewhere (eligibility details below). In keeping with the mission of the journal, we hope to receive submissions that use the genres of the review and the critical essay to explore the urgent ideas and problems that animate the field of architecture. We’re looking for essays that test and expand the author’s intellectual commitments—theoretical, architectural, and political—through the work of others.

For more information;

http://www.averyreview.com/issues/25/i-avery-review-i-essay-prize-2018

Louis I. Kahn // Conversations with Students

Is a school a to place or a from a place?

: It is a question ı  haven’t quite decided yet

But it is an awful thing to ask for yourself

When you plan a school

Do you say that you will have seen seminar rooms

Or is it something that somehow has the quality

Of being places in which you are inspired?

To somehow talk there,

And to receive a kind of feeling of talk;?

Could there be those spaces which have a fireplace?

There could be a gallery, instead of a corridor.

The gallery is really the classroom of the students,

Where the boy who didn’t quite get what the teacher said

Could talk to another boy,

A boy who seems to have a different kind of ear,

And they both could understand.

Louis I. Kahn // Conversations with Students // p.24-25

A film about Architect John Habraken

The «Habraken-story» starts 1961: Dutch architect and theorist publishes a book entitled «The Supports and the People: The End of Mass Housing», in which he fundamentally questions the role of the architect. Instead of regarding the architect as design-authority, he proposes to distinguish between two levels of authority respectively responsibility: the «support» designed by the architect and the «infill» determined by the individual occupant. After the publication of his book Habraken gave up practicing as an architect: «the theory should not be confused with the examples».*


<p><a href=”https://vimeo.com/61410893″>DE DRAGER / A film about Architect John Habraken (English subtitles)</a> from <a href=”https://vimeo.com/schwarzpictures”>schwarzpictures.com</a&gt; on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

*https://vimeo.com/61410893

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