because i never really had the chance to consider other topics that interested me, here are words of things that i find int eresting:
virtual communication
graphic
video jockey-visual
mass
performance
music
rock festival trend
visual and audio? - amazing synergy
eg. live music artist - video
chemical brothers
http://blog.naver.com/globe1003?Redirect=Log&logNo=110020649952&vid=0
like
http://www.cityofsound.com/blog/2006/07/future_city_exp.html
dawood-
victory city
like
http://www.cityofsound.com/blog/2006/07/future_city_exp.html
dawood-
victory city
inspirational
http://images.google.com/imgres?imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJj8ScNYo-q61hiOVipf-922n9cFnD2tQYv3bSKrbXofFZdjRX2LxQ7VrSmK4NVntA9vfXoyYKEKqJTh_ygP0mK3hVOOFAZqs2Mks159MEUEcOmhCThpV73W9kfItIJuVCE45JLsMt3b2O/s320/floreasca-foa.bmp&imgrefurl=http://architectwizard.blogspot.com/2007/06/architecture-future-original-amazing.html&h=320&w=318&sz=20&hl=en&start=13&um=1&usg=__AiY0wD_2DKJQ7bwECf4cjZqj7KI=&tbnid=oGf32TQYZgIEpM:&tbnh=118&tbnw=117&prev=/images%3Fq%3Darchitecture%2Bfuture%26um%3D1%26hl%3Den%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7GGLR
Well Le Corbusier, probably the most influential figure in 20th century architecture, once declared 'I exist in life only on the condition that I see', and he also said that 'Everything is individual'. But listening to Rebecca Maxwell there, one is reminded of how much more architecture can offer the senses, the other senses. So who are we to blame for this obsession with appearance?
But today in particular, we have a wonderful outpouring of knowledge of architecture through the visual media, the print media in particular, and although this is a fantastic thing for architecture, it does have some side effects. And two of the most unfortunate side effects are to do with this concentration on the visual, without the other senses, the first being that you can't, when you open a magazine, smell the building, you can't sense the volume of the space, you can't feel the air moving through it, or the warmth of the sunlight. It's impossible to convey that through photographs only. And this leads architects to concentrate more on the visual, because they know that more and more their clients understand their buildings through media representations of them, rather than visiting them. This also leads to another unfortunate consequence, where more and more often, buildings are discussed through the criticis' understanding simply of their representation. The media is so competitive that the first magazine to publish a building often sells more. So if you can discuss the building before its completion, then you're first involved, so to speak.
Let's turn now to some of the senses that architecture could be doing more to stimulate. Hearing seems an obvious one to begin with, because architects do take acoustics into consideration, even though eating in some restaurants these days we might find that hard to believe.
lthough considered to be one of the "visual" arts, the built environment inevitably engages all of the human senses. Challenging our traditional "ocularcentric" understanding of architecture, this seminar will explore the overlapping relationship between sight, sound and touch. We will treat this subject from an socio-historical perspective, examining how prevailing cultural assumptions about the senses shape and in turn are shaped by the design of the built environment.
transformed the human sensorium
ow can architects harness new materials and technologies to craft new ways of synthesizing multi-sensory experiences in space?
The Eyes of the Skin: Architecture and the Senses
dual examination and indictment of the estrangement of the senses in modern architecture
ocularcentrism
Today, the commodification of architecture equates design with a series of duplicate two-dimensional images, evidencing Pallasmaa’s concept that “architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products.”
visual decimation of architecture, exploring the experience of space, as conveyed through other senses to the body. Sound is used as an unconscious indicator of spatial volume. Smell has a strong associative quality with place. Taste can relate to sensations of material texture and weight. Touch, the only non-passive sense, divulges an unconscious sense of doing, revealing why traditional architectural metrics were derived from actual dimensions of the body.
oth the body and psyche are projected into architectural space, exploring how contextual design can ground both. He also writes in praise of shadow—a concept he thinks is often neglected in modern western spaces but one that ultimately enriches the experience of place, as deciphered by all five senses. His discussion of the “narcissistic eye” not only relates to the urban landscape of self-absorbed stand-alone buildings, but indirectly indicates the rise of the “starchitect” as progenitor of the iconic image.
thermal delight
Well Le Corbusier, probably the most influential figure in 20th century architecture, once declared 'I exist in life only on the condition that I see', and he also said that 'Everything is individual'. But listening to Rebecca Maxwell there, one is reminded of how much more architecture can offer the senses, the other senses. So who are we to blame for this obsession with appearance?
But today in particular, we have a wonderful outpouring of knowledge of architecture through the visual media, the print media in particular, and although this is a fantastic thing for architecture, it does have some side effects. And two of the most unfortunate side effects are to do with this concentration on the visual, without the other senses, the first being that you can't, when you open a magazine, smell the building, you can't sense the volume of the space, you can't feel the air moving through it, or the warmth of the sunlight. It's impossible to convey that through photographs only. And this leads architects to concentrate more on the visual, because they know that more and more their clients understand their buildings through media representations of them, rather than visiting them. This also leads to another unfortunate consequence, where more and more often, buildings are discussed through the criticis' understanding simply of their representation. The media is so competitive that the first magazine to publish a building often sells more. So if you can discuss the building before its completion, then you're first involved, so to speak.
Let's turn now to some of the senses that architecture could be doing more to stimulate. Hearing seems an obvious one to begin with, because architects do take acoustics into consideration, even though eating in some restaurants these days we might find that hard to believe.
- Peter-John Cantrill:
- Well you may find it hard to believe, but the restaurant owners quite often brief architects to make the sound of a restaurant quite lively, because the din is quite attractive to many diners, it's a happening place if there's a lot of sound. Also for others if there's a lot of sound you may not dwell in the restaurant after you've finished your meal and their turnover is increased. So you may not feel they're taking that into account, but most definitely they probably are.
- They do. In fact in the late baroque period in particular, and particularly in Germany and Austria, places like that, one judgment of a good architect was that you could walk into the church and just inside the entry, if you stamped your foot or clapped your hand, the whole room would resound like a beautiful bell. … The buildings were judged by their sound, not just their visual experience.
"Architect: To me, it is, I have experience on a number of occasions that certain qualities of stone, for instance, certain metals, detailing of wood, can be so subtle that you feel it in your mouth, and I'm myself, in my own work, conscious of that possibility. I don't think it is an essential quality of architecture, but I have made the observation that architecture can be subtle enough to even evoke a sensation of taste. Maybe 20 years ago in California was just about to enter a grey, rough stone building by the Green Brothers and when I opened the door, I saw the shining white marble threshhold, and that whiteness of marble juxtaposed with the rough stone almost made me automatically kneel and taste the surface with my tongue."http://www.ebility.com/articles/beyondappearances.php
lthough considered to be one of the "visual" arts, the built environment inevitably engages all of the human senses. Challenging our traditional "ocularcentric" understanding of architecture, this seminar will explore the overlapping relationship between sight, sound and touch. We will treat this subject from an socio-historical perspective, examining how prevailing cultural assumptions about the senses shape and in turn are shaped by the design of the built environment.
transformed the human sensorium
ow can architects harness new materials and technologies to craft new ways of synthesizing multi-sensory experiences in space?
The Eyes of the Skin: Architecture and the Senses
dual examination and indictment of the estrangement of the senses in modern architecture
ocularcentrism
Today, the commodification of architecture equates design with a series of duplicate two-dimensional images, evidencing Pallasmaa’s concept that “architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products.”
visual decimation of architecture, exploring the experience of space, as conveyed through other senses to the body. Sound is used as an unconscious indicator of spatial volume. Smell has a strong associative quality with place. Taste can relate to sensations of material texture and weight. Touch, the only non-passive sense, divulges an unconscious sense of doing, revealing why traditional architectural metrics were derived from actual dimensions of the body.
oth the body and psyche are projected into architectural space, exploring how contextual design can ground both. He also writes in praise of shadow—a concept he thinks is often neglected in modern western spaces but one that ultimately enriches the experience of place, as deciphered by all five senses. His discussion of the “narcissistic eye” not only relates to the urban landscape of self-absorbed stand-alone buildings, but indirectly indicates the rise of the “starchitect” as progenitor of the iconic image.
thermal delight
1 comment:
It is captivating to pore over this theory and parade of its appendix in gambling.
That I understand around it - it concerns statistics, is applied to the conclusiveness of the nonlinear equations.
Very much the justification to the pretty pickle decidedness (for till conditions anybody so plainly resolve nothing a smog) interests:
There is a teleshow - the athlete and the leader.
There are three doors. Behind one of them the gain, behind two others is not present.
The chief offers a creme de la creme to the player that justify chooses any of 3 doors (their probabilities are correspond to).
After the realm of possibilities is made, the numero uno who knows where lies a superlative, opens one of those doors that are not chosen by means of the performer and shows that there the gain is not present. Also suggests the competitor to determine once again already between 2 doors.
Topic - how to make it to the player? (In a beginning it is specified that it is necessary to substitute a desirable, the expectation of a pickings behind a door on which was specified before the actor who is doing not supervise = 66.7 %.
Profoundly much I mark time against councils or at least references where to look.
For more intersting look http://www.obu.edu/centers/images/index.html
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