Carregando centenas de mapas em branco impressos, Becky Cooper percorreu a ilha de Manhattan inteirinha Ao longo de sua jornada, ela conheceu policiais, moradores de rua, modelos e idosos habitantes de Manhattan, aos quais ela pediu que preenchessem os mapas com suas memórias mais íntimas sobre a cidade.  O livro resultante desse procedimento foi chamado Mapping Manhattan e inclui 75 desses relatos em forma de cartografias.

Fontes: Mapping Manhattam

Mapping Manhattan, as cartografias afetivas de Becky Cooper - Nimbu

Lebbeus Woods imaginou cidades subterrâneas, edifícios flutuantes e até mesmo um túmulo em pleno espaço para o físico Albert Einstein. O arquiteto, falecido em 2012, foi denominado pelo jornal Architecture Record, “the last of the great paper architects”.

Utopx é uma linda série de desenhos produzidos por Woods em 2006. Abaixo, algumas das imagens que compõem esta série e a íntegra do texto retirado do site do próprio arquiteto.

UTOPX – Lebbeus Woods

Figuration indicates a necessity,
leaving the transformative,
the imagined continuity
of discrete things,
assigned to purpose.

For motion to occur,
a distance must be reduced.
The local is ultimately controlled
by global disturbances
vanishing exponentially.

Horizontality influencesshifts
occurring in minor dimensions,
simulating the temporally complete.
But time’s direction is normal
to long set horizons.

Appearances do not lie,
or nothing istrue.
Beneath them, then, a layer,
unseen and out of reach,
mocksthe idea of order.

Ground is complex enough
with the input of new forces.
A hierarchy is activated where,
disconnected from time,
the forces contrive direction.

The description isfact
unresolved by abstract laws
of residual force without,
of ground’sresistance,
& time’sslow expiation.

An unrecognized presence,
oscillating borderline of influence
negotiating limits of chance,
remains,still expanding
in the mathematics.

Organizing elements are hidden,
too obviousto notice again.
Scattering rules each apply once.
The structures ofspacesinteract,
constant engines of chance.

Difference shifts. Free forces
become unexpected edges.
Still, difference defends each,
and the form cannot again
ever be the same.

Density is an exact quality,
measured by an illusion of presence,
or how forcefully perception lies.
The swarming ofthoughts
reduceslooping circuits of lines.

Density occurs with an illusion.
Thought accumulates asforce,
where none exists. Soft and unsure,
the concept merely conjures
a significant reality.

The common plane commands
where appearances confuse
angles ofseparate perception–
flattened and refined,
their residing geometry.

‘Ghost’ waves precede the actual,
defining ground and air equivalence,
constructing with the same elements
turbulence and cadenced flows:
the vicissitudes of stillness.

Sequence and interruption fillspace
entirely alone, enough to replace
or to replicate the effects oftime.
Only figures of determined shape,
move, then, with magnitude.

Structure defined as vagrant,
insinuating ideas perceived,
frees a return in stages
towards elective beginnings
founded in extremes.

The sum of allforcesspent
wearing down the singular,
obfuscating arithmetics
In favor ofrandom figuration,
Isfound where invention fails.

The geometry of darkness
issomething like a periphery,
out of plain expectation,
at the edge ofseeing,
the limit of all calculation.

Exactness of approximation,
precision of errantspeculation,
definitive measures of inference
and already discarded numeration–
all compound the simplest form.

Numbers are not always clear,
offering generalities or blanks,
as cascades ofsums overwhelm
common sense. Still we believe
Or half-believe, in precision.

Form’s conclusions confuse
beginning’slongevities–
the tendenciesto move,
asif unburdened by
necessities or chance.

Deep structure is only code
for layers ofsignificance
descending towards negation.
Order remains unchanged.
Meanings do not endure.

Motion is consumed in motion,
losing distinctness and limit
asidentity increases,
radically at the moving point
where force finds application.

Transience disturbs matter,
forcing disparate assemblies
from undiscovered sources.
Ambient smoothness
Is lost within.

Tectonic structure refers
force to any indigenous point,
where dimensions measure
itsintricate shuffling,
together and apart.

Observed from a distance
uncrossed by any action,
centrifugal motion occurs,
spontaneous and ordinary,
according to no laws.

The house that is
a fragment of itself,
becomesthe world.
Shared by two orders,
it isinhabited only once.

A realm ofspaces between
demi-worlds of difference
never connectsthe parts,
nor constitutes a totality,
violent or extreme.

The great city oflight lacks
the resolution oflengths,
and wavesthat modulate,
insufficiently, a probability
of finalshape.

The dance ofrandomness
is a measure–referring
when no otherrule applies
to visible structure–
for kinetic antipathies.

Memory in the cities
without names or number
insists on present form,
even asthe rule of utility
cancelsits significance.

Euclid instructs Descartes,
leaning in the direction,
forecasting the likelihood,
circulating the rumor,
of an ideal.

“We have deep towers,
standing on earth’sinnerside,
wherein warsrage against
states of gravity’s decay,at the scale of one.”
New AtlantisII

Working against materiality,
the ubiquity of the solid,
the firmness of dimension,
restless actstranspose
the orders of certitude.

Within modulations,
regularly changing
perceptions of influence,
form-making energies
never expire.

Light obscures
more than reveals.
Emphasizing one,
possibilities narrow
to the apparent.

“We have vast domains
where nothing happens.
Their emptinessistrue,
within limits of
linear translation.”
New AtlantisII

Cyclesreturn first-order
phenomena and effects.
Omitted are rhythm’srole
in the mystery
of notreturning at all.

The unique isindistinct
within the flux ofidentities
undergoing transformation.
To be like all others.
To be at last alone.

“We have places of fixed identity,
sites of forgetfulness,
wherein the shapes compound
memory’sfatalsloth,
conjuring itssignificance.”
New AtlantisII

Neither cold nor hot,
forces reformulate the domain
of well-tempered speculation,
Insuring confrontation,
An always similar end

Rules of inception expand.
At a fulcrum ofinvention,
caution intervenes,
converting the game,
voiding the intention.

It is enough for analogy,
conceived in parallel
constructions of change,
the cities of thought,
to effectively inspire.

When the “pale light’suggests
a more vague multiplicity,
the machine of origination—
laboring in numerical limbo—
Invertsthe priorities.

“We have morphological events,
wherein the secrets of change
become visible and plain,
returning to usthe pure
Mystery of play.”
New AtlantisII

fonte: lebbeuswoods.net

UtopX (2006) – Lebbeus Woods - Nimbu

Este video, por 32BNY, apresenta uma homenagem ao Arquiteto Lebbeus Woods, falecido em 2012. Steven Holl e Sanford Kwinter lêem trechos do manifesto ARCHITECTURE and RESISTANCE, escrito por Woods em 2009.

Abaixo a íntegra do texto ARCHITECTURE and RESISTANCE, retirado do site de Lebbeus Woods:

Apropos of nothing in particular—unless it is the general spirit of acquiescence pervading the field of architecture today—I have been thinking about the idea of architecture and resistance. Although many people might judge that my work in architecture has been nothing if not a form of resistance, I have never considered it as such. To say that you are resisting something means that you have to spend a lot of time and energy saying what that something is, in order for your resistance to make sense. Too much energy flows in the wrong direction, and you usually end up strengthening the thing you want to resist.

It seems to me that if architects really want to resist, then neither the idea nor the rhetoric of resistance has a place in it. These architects must take the initiative, beginning from a point of origin that precedes anything to be resisted, one deep within an idea of architecture itself. They can never think of themselves as resisters, or join resistance movements, or preach resistance. Rather (and this is the hard part of resistance) they must create an independent idea of both architecture and the world. It is not something that can be improvised at the barricades. It takes time and a lot of trial and error. This is only just, because the things to be resisted have not come from nowhere. They have a history built over periods of time, a kind of seriousness and weight that makes them a threat to begin with. They can only be resisted by ideas and actions of equivalent substance and momentum.

The word resist is interestingly equivocal. It is not synonymous with words of ultimate negation like ‘dismiss’ or ‘ reject.’ Instead, it implies a measured struggle that is more tactical than strategic. Living changes us, in ways we cannot predict, for the better and the worse. One looks for principles, but we are better off if we control them, not the other way around. Principles can become tyrants, foreclosing on our ability to learn. When they do, they, too, must be resisted.

 RESISTANCE CHECKLIST:

Resist whatever seems inevitable.

Resist people who seem invincible.

Resist the embrace of those who have lost.

Resist the flattery of those who have won.

Resist any idea that contains the word algorithm.

Resist the idea that architecture is a building.

Resist the idea that architecture can save the world.

Resist the hope that you’ll get that big job.

Resist getting big jobs.

Resist the suggestion that you can only read Derrida in French.

Resist taking the path of least resistance.

Resist the influence of the appealing.

Resist the desire to make a design based on a piece of music.

Resist the growing conviction that They are right.

Resist the nagging feeling that They will win.

Resist the idea that you need a client to make architecture.

Resist the temptation to talk fast.

Resist anyone who asks you to design only the visible part.

Resist the idea that drawing by hand is passé.

Resist any assertion that the work of Frederick Kiesler is passé.

Resist buying an automobile of any kind.

Resist the impulse to open an office.

Resist believing that there is an answer to every question.

Resist believing that the result is the most important thing.

Resist the demand that you prove your ideas by building them.

Resist people who are satisfied.

Resist the idea that architects are master builders.

Resist accepting honors from those you do not respect.

Resist the panicky feeling that you are alone.

Resist hoping that next year will be better.

Resist the assertion that architecture is a service profession.

Resist the foregone conclusion that They have already won.

Resist the impulse to go back to square one.

Resist believing that there can be architecture without architects.

Resist accepting your fate.

Resist people who tell you to resist.

Resist the suggestion that you can do what you really want later.

Resist any idea that contains the word interface.

Resist the idea that architecture is an investment.

Resist the feeling that you should explain.

Resist the claim that history is concerned with the past.

Resist the innuendo that you must be cautious.

Resist the illusion that it is complete.

Resist the opinion that it was an accident.

Resist the judgement that it is only valid if you can do it again.

Resist believing that architecture is about designing things.

Resist the implications of security.

Resist writing what They wish you would write.

Resist assuming that the locus of power is elsewhere.

Resist believing that anyone knows what will actually happen.

Resist the accusation that you have missed the point.

Resist all claims on your autonomy.

Resist the indifference of adversaries.

Resist the ready acceptance of friends.

Resist the thought that life is simple, after all.

Resist the belated feeling that you should seek forgiveness.

Resist the desire to move to a different city.

Resist the notion that you should never compromise.

Resist any thought that contains the word should.

Resist the lessons of architecture that has already succeeded.

Resist the idea that architecture expresses something.

Resist the temptation to do it just one more time.

Resist the belief that architecture influences behavior.

Resist any idea that equates architecture and ownership.

Resist the tendency to repeat yourself.

Resist that feeling of utter exhaustion.

“Resist the idea that architecture is a building” – Lebbeus Woods - Nimbu

Smile though your heart is aching, smile even though it’s breaking”, wrote John Turner and Geoffrey Parsons in 1954 as lyrics for Charlie Chaplin’s song ‘Smile’. Even through all our sorrows and hardships, smiling is something we ought to do continuously, they claimed, and how right they were. Nowadays the world is not all fun and games and of course a smile can be further away than one might wish to admit, so for the moments where a smile is not at hand, there is Smile-Bot, who wants to fill your world with joy and laughter.

Concebida pelo We Are Matik, a instalação interativa Smile-Bot foi projetada “para incutir um sentimento de felicidade nas pessoas ao seu redor”. O “robô” sorridente tem quatro aberturas por onde você pode colocar sua cabeça e dar uma espiada no mundo em miniatura no interior da simpática criatura.

A instalação interativa foi desenvolvida com Arduino e Processing. Um aplicativo personalizado foi criado para realizar a interface com as 4 câmeras presentes no interior da estrutura e que monitoram os rostos das pessoas que interagem com o robô. A tecnologia de reconhecimento facial permite ao programa identificar o sorriso dos participantes e realizar a troca de cores nas faces do robô.

Fontes: We Are Matik, Pop Up City

Smile-Bot por We Are The Matik - Nimbu

My infinite home tool, de Hanemaai são dois incríveis objetos portáteis para armazenamento, que têm a dupla função de uma mala e exposição. Eles transportam o que você precisa e mostram o que você escolheu para levar com você.  Este projeto teve início a partir de uma experiência pessoal da artista que teve que viver com os objetos de uma mala durante uma grande viagem. Nas palavras de Hanemaai: “tive que fazer escolhas sobre o que levar e o que deixar para trás. Essas escolhas difíceis também tornaram possível se livrar das coisas desnecessárias. Os itens importantes que você decide trazer são os objetos que definem a sua própria identidade.”

As malas são cuidadosamente feitas em madeira (faia), couro e metal. A estrutura vazada com prateleiras permite a colocação dos objetos, mantidos no lugar por tiras elásticas.

mais em: Hanemaai

My infinite home tool por Hanemaai - Nimbu

Imaginários urbanos do artista chinês Yang Yongliang. As colagens fotográficas apresentadas são das séries de 2012 “The Moonlight” e “A Bowl of Taipei”. Esses e outros trabalhos estarão expostos de 14 de março à 27 de abril de 2013 na Galerie Paris-Beijing. Acesse o site da galeria ou o portifolio do artista para ver para conhecer melhor esses e outros trabalhos.

via Colossal

The Moonlight & A Bowl of Taipei – Yang Yongliang - Nimbu

A casa projetada pelo escritório Byggfenomen para uma família de 6 pessoas na região de Estocolmo é composta por inúmeras unidades pré-fabricadas em madeira que são colocadas sobre trilhos permitindo a separação dos elementos e a reconfiguração parcial ou total da construção. O conjunto segue as necessidades dos habitantes que podem por exemplo, mover partes da residência até o mar. O projeto tem grande inspiração na obra do arquiteto inglês Cedric Price, famoso pelo projeto do Fun Palace, que embora não tenha sido construído gerou grande influência nos arquitetos Richard Rogers e Renzo Piano no projeto para o Cento George Pompidou, em Paris.

via: blogdeldiseno.com

Uma casa que se transforma por BYGGFENOMEN - Nimbu

Para o primeiro post de 2013, a linda animação com desenhos da artista alemã Christina Gransow.

Os Desenhos em giz de cera de Christina Gransow são retratos da arquitetura urbana – ela desenha arranha-céus, instalações ao ar livre,  paisagens e também mobiliário urbano, tais como barreiras de estacionamento, lixeiras e vasos com flores.

via: for-example art
site da artista: christinagransow.de

Os cenários urbanos de Christina Gransow - Nimbu

O coletivo PKMN ( de pac-man) transformou o skyline de Madri em um grande jogo participativo. A proposta chamada [Mad] Skyline games é uma representação do skyline formado pelas construções mais icônicas da capital espanhola. O jogo propõe a criação de um mobiliário urbano lúdico, que instalado no centro da cidade proporcionaria apropriações e ressignificações da paisagem da cidade.

Fontes: blog del diseño , PKMN

Fotos: Javier de Paz García

O Skyline de Madri transformado em jogo - Nimbu

The (New) Book of Questions é um projeto em andamento de um livro participativo iniciado por The Nomad (alter ego de Evangelina Guerra Luján) que propõe o questionamento sobre o território.


Sobre o projeto:

In 1974 Pablo Neruda published his best-seller “The Book of Questions” : poems in the shape of questions, observing whatever surrounded him , with the wonder of a child. Is in this spirit that the project ” The ( New) Book of Questions” is founded: to observe and question the “territories in process” we live in, rather than to “answer” them. These questions will lead authors and lectors into the realm of further observation and, if lucky, further questioning. The aim of this “book” is to become a device or tool for thinking, observing and understanding the landscape, city, and space. The (New) Book of questions will document , in the format of questions, different perceptions of the territory during a year (Nov. 8th. 2012 until Nov 8th 2013). *

Visite tnboq.tumblr.com para acompanhar o projeto em desenvolvimento.

* http://nomadicity.tumblr.com/post/34543891539/what-if-it-was-the-body-that-gives-meaning-to

The (New) Book of Questions – The Nomad - Nimbu