Çocuklar şehirde neler duyarlar? Daha yüksek sesleri mi yoksa fısıltıları mı? Den Haag’daki City of Sounds projesi şehrin 8 bölgesinde yaşayan çocuklara duydukları sesleri kaydetmeleri istemiş. Ortaya çıkan iş haritada, sesler de üzerinde! Hem gözlere hem kulaklara davet var!
Play the city uses gaming to engage multiple stakeholders in resolving complex urban challenges, both in contexts of urban development and organizational realignment. [URL-1]
Discover this form of playful participation;
Toz İmparatorluğu fotoğraf serisi, Amélie Labourdette tarafından güney İtalya’da çekilmiş fotoğraflardan oluşuyor. Yaşanan krizlerin ve ekonomik olanaksızlıkların amacına ulaşamayan (!) mimari estetik ürettiğini söyleyen sanatçı, bu yerlerin fotoğraflarının olduğu seriyi “şimdinin arkeolojisi” olarak adlandırıyor. Bitirilmemiş mimari eserlerin çağımızın ruhunu yansıttığını da kare kare anlatıyor. [url-1, çeviri]
Değişen, dönüşen, bitmemiş ve belki de tamamlaması için izleyicinin hayal gücüne bırakılmış bu eserlerin yarattığı melez yerlerde yaşamak sizin için nasıl bir his?
Empire of dust, a été réalisée au sud de l’Italie, dans les régions de Sicile, de Calabre, de Basilicate et des Pouilles, où les crises et détournements financiers ont fait de l’inachèvement une esthétique architecturale. Dans cette série, Amélie Labourdette tente conjointement à travers une « archéologie du présent », de réfléchir notre époque contemporaine à l’aune de ses architectures inachevées, tout en convoquant l’imaginaire du spectateur afin que s’y déplie « une variante du monde ». [url-1]
Who is Yona Friedman?
An architect, and an utopist! To read more, please see url-1
In the interior of his apartment, Friedman applied his own designs, ideas, and jokes. He sees a relationship between this apartment and La Ville Spatiale.*[url-2]
The interior of his living room as exhibited by NAi in Rotterdam (Netherlands) in 1999. / Courtesy Tom Haartsen / url-3
The interior of his living room as exhibited by NAi in Rotterdam (Netherlands) in 1999 / Courtesy Tom Haartsen / url-4
How is your room? Do you think that visual stimulus affects your design? Send a photograph of your working place to firstname.lastname@example.org and let’s share your objects of inspiration!
1917-2017: one hundred years in which the Dutch tried to (re)design the world.
The De Stijl movement was launched in Leiden exactly one hundred years ago. The Netherlands is poised to mark the centenary in 2017 with a year-long programme of events under the title Mondrian to Dutch Design. 100 years of De Stijl. Piet Mondrian is among the best-known artists involved in this international art movement. As the home, both of the greatest Mondrian collection on Earth and of one of the world’s major De Stijl collections, the Gemeentemuseum will be at the forefront of festivities in 2017. Among other things, it plans to take the unprecedented and unique step of presenting its entire Mondrian collection – no fewer than 300 works – in a single, great retrospective. [URL-1]
If you want to explore the De Stijl at its 100th anniversary, here are the links to follow;
What would be the architecture of your utopia?
A pixel city, Melis Baloğlu Aşut
What materials would be used to construct your utopia? What would be the reasons for the use of these materials and techniques?
A pixel city, Melis Baloğlu Aşut
Would your utopia have high population density or low population density?
A dense city, denSity, Melis Baloğlu Aşu
Would your utopia be rural or urban? Or both?
A hybrid city, Melis Baloğlu Aşut
A changing city, Melis Baloğlu Aşut
Would your utopia be a global utopia?
If not, would it be a city or an eco-village?
Would individuals choose their own goals and values, or would their goals and values be those of your utopian ideology?
Let’s daydreaming! But first, think outside the box!
Touch and Finger-Pressure Sensitive Display 1976
A touch-sensitive display screen from 1976, which is ALSO directionally-pressure Sensitive. It tracks not only the touch location and pressure applied but also the direction of the pressure. It was built in 1976 at the MIT Architecture Machine Group, which evolved under Prof Nicholas Negroponte into the now-famous Media Lab at MIT.
A report was written by Mr Chris Herot describing this work in greater detail:
Veri görselleştirmek için ücretsiz pek çok yazılım geliştirilmekte ve bu araçların çoğu .excel dosyalarını -herkes için en tanıdığı bu olsa gerek- kullanarak işlem yapmakta. Arayüzleri oldukça kolay olan platformlarda bazıları;
Mülksüzleştirme Ağlarını hatırlayalım.
Benim aklıma pek çok kez takılmıştır. Tasarım eğitimi alıp da neden A4 kağıda derdimizi dökeriz diye. Kelimeler bazen 8 punto bazen 72 punto değil mi? Bu tezin görsel kimliği yok mu? Hani bunun renkleri?
Kaç sayfa eskiz mi, kaç m2 kağıt eskiz mi?
Kaç tane maket mi, kaç m3 maket hacmi mi?
Kaç tane görsel mi, kaç tane fotoğraf mı, kaç sayfa mı, kaç tane kelime mi? Herkes bir ölçüversin!
Çizerek anlat diye geçen bir eğitim-öğretim hayatının sonundan yazarak anlat bakalım evresine geçen herkes için bir güzelleme olsun Nick Sousanis‘in UNFLATTENING’i… Görsellerin ağırlığı artınca, tez hafiflerciler için…
Sahi, sizin tez kaç “ımmm” boyunuzu yerden kaç cm yükseltiyor? 72 punto yazsam ohoo!
Brave New World, written in 1951, is a piece of speculative fiction that is set in the future. In this hypothetical World State, people are genetically designed via scientific engineering and psychological conditioning to become passive and thus useful to the ruling class. This data visualization highlights in great detail the patterns in the use of literary devices and references as well as the dynamics and complexities of character relationships. It is also an exploration of words as a unit of time. It is intended to be experienced as an accompaniment to Huxley’s novel.
by Flora Chan
more to see; https://www.behance.net/gallery/13610095/Brave-New-World
We all – adults and children, writers and readers – have an obligation to daydream. We have an obligation to imagine. It is easy to pretend that nobody can change anything, that we are in a world in which society is huge and the individual is less than nothing: an atom in a wall, a grain of rice in a rice field. But the truth is, individuals change their world over and over, individuals make the future, and they do it by imagining that things can be different.
Look around you: I mean it. Pause, for a moment and look around the room that you are in. I’m going to point out something so obvious that it tends to be forgotten. It’s this: that everything you can see, including the walls, was, at some point, imagined. Someone decided it was easier to sit on a chair than on the ground and imagined the chair. Someone had to imagine a way that I could talk to you in London right now without us all getting rained on.This room and the things in it, and all the other things in this building, this city, exist because, over and over and over, people imagined things.
We have an obligation to make things beautiful. Not to leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation. We have an obligation to clean up after ourselves, and not leave our children with a world we’ve shortsightedly messed up, shortchanged, and crippled.
We have an obligation to tell our politicians what we want, to vote against politicians of whatever party who do not understand the value of reading in creating worthwhile citizens, who do not want to act to preserve and protect knowledge and encourage literacy. This is not a matter of party politics. This is a matter of common humanity.