tag:blogger.com,1999:blog-56925576293162283942024-03-14T05:41:56.105-07:00Adl's ContemplationsAdl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-5692557629316228394.post-7979503149730960822014-10-17T07:46:00.004-07:002014-10-17T07:46:30.365-07:00Massive Direct Democracy - another take on representative democracy<div dir="ltr" style="text-align: left;" trbidi="on">
<div>
<span style="font-family: Trebuchet MS, sans-serif;">A political science professor will tell you that <a href="http://en.wikipedia.org/wiki/Direct_democracy">direct democracy</a> was possible in <a href="http://www.stoa.org/projects/demos/article_democracy_overview?page=2&greekEncoding=">Ancient Athens</a> most likely because of their small number (2000 or so participants). Nowadays we live in multi-million citizen countries (also multi-billion), making direct democracy <a href="http://onlinelibrary.wiley.com/doi/10.1002/9781118474396.wbept0752/abstract;jsessionid=C90ACD372D0F6F90630A2FE4FE2DF34E.f02t01?systemMessage=Wiley+Online+Library+will+be+disrupted+on+the+18th+October+from+10%3A00+BST+%2805%3A00+EDT%29+for+essential+maintenance+for+approximately+two+hours+as+we+make+upgrades+to+improve+our+services+to+you&userIsAuthenticated=false&deniedAccessCustomisedMessage=">unfeasible</a>. It's hard to "listen" to that many people.</span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">However, our technologies allow for the following - we can easily have anyone vote through <a href="http://ssc.sagepub.com/content/21/4/491.short">connected electronic voting polls</a>. Furthermore, in this day and age it is rather simple to gather citizen's opinion through all sorts of interfaces - mobile phones and computers being at the forefront. Our ability to <a href="http://pan.oxfordjournals.org/content/early/2013/01/21/pan.mps028.short">analyze data</a> - and more importantly written text - and assign some sort of meaning to it is remarkable, and better yet bound to become more sophisticated. This can be used to an advantage in the following way:</span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">1-Set up interfaces (or terminals) where properly identified citizens can express their opinions for change, and concerns. Data entry can by type or voice. </span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">2-Analyze each entry for content. </span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">3-Cluster entries by content.</span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">4-Create framework where most prominent concerns are brought to the political representative, who will then proposed a policy to solve the issue.</span></div>
<div>
<span style="font-family: Trebuchet MS, sans-serif;">5-Have citizens vote on the proposal through interfaces.</span></div>
</div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-59991193394332828762014-03-10T03:14:00.000-07:002014-03-10T03:14:07.037-07:00Presence<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">His lover gave him a written thought...<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">She has found the one <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">With whom to share her last breath<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">But he, made wise by time and pain<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Saw that he’s been given that thought thrice<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The first dissolved when he chose to go there<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">And left<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The second, because he was not of the people there<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">And was left<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">And now the third is on its way to melting<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">In the flow of time<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">His destiny commanding<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">That he shall leave<o:p></o:p></span></div>
<br />
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Never to go back there</span><o:p></o:p></div>
</div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-25502727561776466402013-11-19T12:56:00.003-08:002013-11-19T13:17:57.222-08:00Digital painting study 1<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgny2EaBtFsydaFsFWeNXlDnpPyecqbTOeEYN4SU88HmBuxqa1tn-lTID2SspvwDVXBAerWnh8EjRNHIOwIgmm0ub2JMNUNQt5xFRjRuOerxTI2MdrUH6oMWtE12K0LlHJpHbcIkyVhG47l/s1600/Rita1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgny2EaBtFsydaFsFWeNXlDnpPyecqbTOeEYN4SU88HmBuxqa1tn-lTID2SspvwDVXBAerWnh8EjRNHIOwIgmm0ub2JMNUNQt5xFRjRuOerxTI2MdrUH6oMWtE12K0LlHJpHbcIkyVhG47l/s640/Rita1.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><br /></span></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;">When the hand misses the touch</span></div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-72431685289119556132013-07-30T04:10:00.002-07:002013-07-30T04:19:31.914-07:00On Epistemology<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;">While the dilemma of defining what</span> <span style="font-family: "Trebuchet MS", sans-serif;">constitutes true knowledge will be endlessly debated, I would like to present a simple thought on the acquisition of such knowledge. </span><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "Trebuchet MS", sans-serif;"><i>Acquiring knowledge is the conversion of empirical information into </i></span><span style="font-family: "Trebuchet MS", sans-serif;"><i>a perfect </i></span><span style="font-family: "Trebuchet MS", sans-serif;">a priori <i>form.</i></span><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "Trebuchet MS", sans-serif;"><i><br /></i></span></div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;">By <i>perfect a priori form </i></span><span style="font-family: "Trebuchet MS", sans-serif;">I intend to say that it can be re-formulated, and arrived to, without relying on any empirical information. </span><span style="font-family: "Trebuchet MS", sans-serif;">In this scenario we can explain any part of reality by relying on concepts describing the building blocks of reality, and considering the logical (unambiguous) consequences of these concepts at the scale of inquiry (i.e. hierarchical position of subject). </span></div>
</div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-27390201112330787582013-04-26T21:10:00.001-07:002013-04-26T21:10:37.912-07:00The meaning of Existence<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;">Thinkers have endlessly pondered about what it means to exist. One only needs a quick search on the Internet to find summaries of leading thoughts on the issue.</span></div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS", sans-serif;">I would like to present my take: </span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span>
<div style="text-align: center;">
<em><span style="font-family: "Trebuchet MS", sans-serif;">To exist is to exert an effect</span><span style="font-family: "Trebuchet MS", sans-serif;">.</span><span style="font-family: "Trebuchet MS", sans-serif;"> </span></em><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
</div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-29949016215904959562013-04-26T19:03:00.002-07:002013-04-26T19:03:58.978-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
<iframe src="http://player.vimeo.com/video/56777113" width="410" height="308" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/56777113">Cloth Flower draft</a> from <a href="http://vimeo.com/user15636366">adelalbloushi</a> on <a href="http://vimeo.com">Vimeo</a>.</p>
<br /></div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-66200854812534616172012-08-23T04:32:00.000-07:002012-08-23T04:32:33.555-07:00Experimental 2<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F39911513"></param> <param name="allowscriptaccess" value="always"></param> <embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F39911513" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/adl-architetto/tremolo">Tremolo</a> by <a href="http://soundcloud.com/adl-architetto">adl.architetto</a></span> Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-78997465482621620852012-01-21T09:31:00.000-08:002012-01-21T09:53:48.292-08:00Pattern Study 4<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "Verdana", sans-serif;">Inspired partially by Middle Eastern geometric patterns.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://adlarchitetto.t15.org/images/pattern%20study%204.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://adlarchitetto.t15.org/images/pattern%20study%204.jpg" width="400" /></a></div>
<br /></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-27010586503928635912012-01-20T10:47:00.000-08:002012-01-20T10:47:09.280-08:00Experimental<div dir="ltr" style="text-align: left;" trbidi="on">
<object height="81" width="100%"> <param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F34000546">
</param>
<param name="allowscriptaccess" value="always">
</param>
<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F34000546" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/adl-architetto/mind-peace">Mind Peace</a> by <a href="http://soundcloud.com/adl-architetto">adl.architetto</a></span> </div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-56699780776908077052011-04-09T02:15:00.000-07:002011-04-09T03:12:57.291-07:00Note on Quantum Physics<p align="justify"><span style="font-family:trebuchet ms;">This is not a necessarily groundbreaking thought; I suspect many physicist perhaps toyed with the idea - i wouldn't know. Skipping ahead a few steps, one is usually presented with a quantum reality of probability, which is rather different from strict determinism. At a fundamental level, or better said, at the limit of our window of peeping into the workings of everyday life, things happen in an unexplainable manner, but each event has instead of clear route from cause to manifestation, a probability that it might indeed happen. The basic building blocks of matter both exist and not exist at the same time, sometime are present, and other not, however the ratio between the existence and non-existence part of the single block is fixed. We do not know why. </span></p><p align="justify"><span style="font-family:trebuchet ms;">It might be that the reality of things are this. If we imagine "nothingness" or the precondition of existence, we are usually left baffled that something happened at all - there are no reasons - in deterministic terms - for the universe to have happened. No matter which side of the theological argument you lean towards, there is one point where things cannot be explained by things before them. In Philosophy it was St. Aquinas who, centuries ago, posited this paradox: if you try to explain things in terms of other things you'll end up with an infinitely long explanation - in other words the condition of the first cause is its nonexistence, thus determinism falls apart. Quantum physics tells us that at some point deep down we can only talk about the existence of things in terms of probability - nothing exists for certain at all times.<br /></span></p><p align="justify"><span style="font-family:trebuchet ms;">Perhaps the further you go towards the precondition of existence, the probability gets lower and lower, but also more diverse. Let's suppose that "nothingness" is not a situation in which nothing is possible, but another where everything is possible. If that were to be the case, our universe is that narrow possibility of where events become coherent with one another. For this to work we can posit the following framework:</span><span style="font-family:trebuchet ms;"><br /></span></p><p align="justify"><span style="font-family:trebuchet ms;">At all times everything is possible. As we move more towards the reality of our own universe only those things that matter are taken into account in an increasing fashion - in other words, probability increases with every increase in the level of complexity. At some point the probability of occurrence of an event is high enough to allow for determinism. </span><span style="font-family:trebuchet ms;"><br /></span></p><p align="justify"><span style="font-family:trebuchet ms;">in other word, there is a mechanism of "filtering out" (and by that we mean "ignoring") events from the condition of "everything is possible" to a condition of "only one thing is possible": the current physical reality of the universe, or what some call Newtonian Physics.<br /></span></p><p align="justify"><span style="font-family:trebuchet ms;">Interestingly enough, the determinism of Newtonian physics, is thought to be able to assemble into superstructures of complex systems which increasingly challenge determinism. The Physicalist stance is that the Mind - the locus of free will - is nothing more than an extremely complex physical system that allows for non-deterministic events to occur, such as free will, understanding and even sensation. </span><span style="font-family:trebuchet ms;"><br /></span></p><p align="justify"><span style="font-family:trebuchet ms;">Behavioralists - a good chunk of the psychologists' community - note that there are reason to believe that humans often behave in a predictable, deterministic fashion. Or in other terms, that our free will is not all that "free" but rather constrained. Philosophers call this constraint our "animal" or "instinctive" side, over which we have limited control.<br /></span></p><p align="justify"><span style="font-family:trebuchet ms;">If we care to extrapolate for the sake of it, we can imagine that if there existed a physical system of a higher complexity than that of a human brain (Mind) then that system would be even less deterministic - or in other words, have a higher degree of Free will.</span><span style="font-family:trebuchet ms;"><br /></span></p>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-96502880558006702011-04-09T00:45:00.000-07:002011-04-09T01:04:33.264-07:00A more Democratic Voting<p><span style="font-family:trebuchet ms;">All those who live or have at some point in their lives lived in a democratic society knows pretty much the spiel on voting: if you're old enough and are a citizen, you have the choice - when the time comes - to go to the booth and chose a candidate (or in some countries like Brazil it is legally required to vote). This is a very simplistic system, and not yet truly democratic. Why? because its rather restraining, and one is always presented with the scenario of "chose the lesser evil" as opposed to "chose your actual preference". </span></p><p><span style="font-family:trebuchet ms;">The Brits are trying to make some progress: the introduction of a ranking system for the contending MPs, where one instead of choosing one over the other, gives a list of preference in descending order. This they call Alternative Voting or AV. And of course there is considerable resistance to introducing this change. Please refer to your search engine for more information on this topic. </span><span style="font-family:trebuchet ms;"><br /></span></p><p><span style="font-family:trebuchet ms;">My criticism is that AV does not differ fundamentally from the earlier system. Sure it probably a better statistical tool to chose between alternatives, but in the end, the voters are still faced with the scenario of electing the lesser evil. And this is by all means a limitation. One can easily imagine how voting apathy is at the very least encouraged by such a limitation.<br /></span></p><p><span style="font-family:trebuchet ms;">Here's a proposed change in the voting system. The ability to say "NO!". Perhaps none of the candidates are good enough. In mathematical terms this would be a negative point. Even in the AV system, one should be able to rank some MP negatively, expressing how deep their disapproval for that certain potential representative is. </span><span style="font-family:trebuchet ms;"><br /></span></p>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-2705887415908826392011-04-07T02:50:00.000-07:002011-04-07T03:27:00.892-07:00Modus Operandi<p><span style="font-family:trebuchet ms;">For a while now I have maintained that a person has the ability to chose at any moment how to react with the circumstances of that moment. Personality, as a whole, is an intentional construct; a person can chose to behave one way or another throughout life, and an audience can evaluate that person either favorably or negatively. This is oversimplifying the matter, but worth noting is that personality is at least partially a cognitive process, and by being such, is affected by the process of cognition. </span><span style="font-family:trebuchet ms;"><br /></span></p><p><span style="font-family:trebuchet ms;">At any time, the way our thoughts appear in our heads are organized by the system which our memory recalls values. Memory, being a highly flexible (and somewhat unreliable) part of our cognitive process, can load various values at different times. For example, take person F who at times is very calm, and at others highly irritable. When F is very calm, F's decisions are perhaps regulated by the value of tolerance, which memory is upholding throughout F's cognition in response to external stimuli. When F is highly irritable, perhaps the values of tolerance are not brought fourth to a large degree by memory, and instead some other values such as selfishness and loathing are predominant in F's cognition in response to similar external stimuli. F is not a "different" person in either case, and it is generally accepted that F has some degree of choice over how tolerant the response should be. </span><span style="font-family:trebuchet ms;"><br /></span></p><p><span style="font-family:trebuchet ms;">In a hasty conclusion: Who am I right now? I am the values I have managed to remember.<br /></span></p>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-39349914060008401162011-03-22T13:17:00.000-07:002011-03-22T13:20:02.196-07:00Interstitial difference<div align="justify"><span style="font-family:trebuchet ms;">Architects are intimately aware of the notion of a field as a condition that precedes architecture. A parcel to be built upon is not generally considered to be more than a small piece the vast surface that wraps the planet, the skin of “nature”. Or what has once been natural. An easy way to describe the field is: “the unenclosed interstitial space in-between building areas” – whatever the scale. Even if this description were to be accurate it would not help us much with deepening our understanding of the subject matter. On the one hand the field cannot and shouldn’t be seen separate from the urbanity that has covered it. However, defining the field vis-a-vis architecture is rather more difficult because the latter is still loosely defined (architecture seems to want to transcend simple descriptions). On the other hand, the field as a mental construct has much deeper implications culturally, socially and economically.<br />The birth of the field probably coincided with the first shelter. Perhaps it is not that critical figuring out if Ledoux was right, after all, that the primitive shed was in fact planned the way he portrayed it; more important is recognizing that even a shed has a design intention, that it has an “Architect”, if you will. That first voluntary intervention into the virgin natural setting was then the creation of the field, whatever that intervention might have been, shed or some other thing. It turns out that the word “tabula rasa” is in fact a paradox; the earth being the spheroid that it is, requires only one such intervention to be turned not only into a field, a “scape”, but a finite one. After which all other interventions will be relative to the original - they all belong to the same genus of actions upon the natural setting. It is precisely within this relativism that any discussion of the field, which is a signifier of specific category of concepts, can even make sense.<br />The most interesting things then tend to happen at the boundaries the category. One thing we need to understand is that the act of categorizing is fundamentally artificial and immaterial, thus the categories themselves do not equate what they encompass. The field, being a category itself, cannot be a stable construct, and since subjects and interpretations vary in time and space so does the understanding of the field. This gives it its highly dynamic quality that causes so much perplexity to those who have the pretention of studying it. Even more perplexing are the moral and a ethical “solutions” some try to insert into the discussion. While it makes full sense to insert anything one wants into the conceptual category of the field, more insertion leads to less coherence . This logic is not all that hard to follow. Words and concepts are only useful if they refer to something somewhat specific. If a word has let’s say a thousand synonyms then it wouldn't be pragmatic to use it in verbal or textual formulations, for the sake of clarity. Similarly, the field once it becomes too unstable a mental construct it loses its usefulness. However, one cannot always arrive at a concept so inert and void of ambiguity like Descarte's “I”. Furthermore, it is perhaps not even in the benefit of the discussion to try to clearly define the field to exclude all ambiguity. <br />More useful then is bringing to consciousness that there can be such a thing as an optimum boundary condition, one that allows for the insertion and exertion of concepts in such a way as to increase the understanding and usefulness of the field. These concepts, each with their own internal logic, need to be unfolded by the logic of the boundary until an acceptable and relevant relativism can be made manifest. It is precisely the reason why the most interesting things happen at boundary. Once you insert a new sub-component, its internal logic alters the way all other concepts unfold; you get a "new" field, and possibly a novel approach to design.<br />Historically the understanding of architectural work has regularly bounced between objective and subjective paradigms, between self-referentiality and contextuality, without much consciousness on the part of the practitioners. That Sejima's simple idea of "Architecture to meet or avoid meeting people" created such furors at the 12th Venice Biennale in contrast to previous object oriented themes is an attestation that the practice forgets or overlooks too easily. Only a few decades ago we have seen similar thoughts brought forth by urban planners and architects in favour of random interaction brought by density over the isolating sprawl. Of course, both readings of architecture are somewhat correct when considered both by themselves or simultaneously. Perhaps it is not all that important figuring out what is right, or, if we take the postmodernist stance, one could even say it is ethically dubious for all the bad consequences that arrogant attitude had during modernism. The contemporary reality of Architecture is that of parallaleity, where all sorts of ideas and attitudes are maintained and developed side by side; ultra-modern neighbours ultra-post-modern, ultra-sustainable, and so on. The cacophony famously illustrated by Koolhaas in his collage of contemporary iconic buildings is highly disturbing but also informative: when the field is not covered by monotonous and idiosyncratic ideas, there can be no coordination or mutual comprehension. In this manner, Architecture becomes a useless mental construct. When new students start their architectural education they are faced with a profession that has in common only the solution to a human need in a world conditioned and organized by gravity. In other words, architecture is reduced to subdividing, covering and interiorising the field. In essence, the only fundamentally unmovable idea of the field is the raison d’être of the primitive hut - and no wonder that Ledoux wanted to "own" it by his fantastical projection. Anything beyond this raison d’être is superfluous artificiality historically perceived as sacred and utterly essential to humanity. Since it is no longer the case, the doors for discussion are widely open, and the dynamism of architecture is in full vigour, with creativity outdoing itself, helped by multi and inter-disciplinary approaches. In all cases, the field is currently not, by any means, susceptible to even covering, even if the covering is thorough.</span><br /></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-68532265578124231872011-03-02T05:41:00.000-08:002011-03-07T13:36:47.944-08:00When sovereign governments execute their populations<div align="justify"><span style="font-family:trebuchet ms;">It is well known the extent of global discussion about the excessive persecution by the Libyan government of its protesting population, prompting some to rightly call it a crime against humanity. But the world has largely just stood by, patiently waiting for the event to finish unfolding and reach a conclusion, whatever that might be; we're well aware that it might mean further killing of protesters and innocent citizens by the thousands until there is no more voice. The question then us bystanders have to ask ourselves is whether to intervene or not. Of course, out of basic empathetic response we, the plebeians of any country, wish to reach out and help the oppressed - if we could, yet our governments seem more reluctant to do more than condemn or impose sanctions. Each nation has a very complex political situation both internally and externally that would reasonably offer many reasons to mind its own business, but I think that there is a fundamental reason that overwhelms both the political class from taking concrete and direct action to help the Libyans, and ourselves from putting significant pressure on it to do so.<br />Sovereignty, and its sister Nationalism, have historically been concepts that got more and more defined during and after the 18th century. It is generally believed that an ethnic group has the right for autonomy and sovereignty, however, the world filled with examples of the contrary, Catalonia and Kashmir being cases in point. The fundamental premise of democracy is the representation of the will of the governed. Without dwelling on issues of majority vs minority, we can immediately intuit the need for boundaries that establish the spatial extent not only of the property of the governed (the Country) but also the limit beyond which their will should no longer has any real validity (neighboring countries could in theory have dramatically different laws). What happens then when the population of one nation wants to lend a hand to the population of another nation that is being pressed by their government?<br />In essence, once we get over the superficially of racism and the arbitrariness of cultural differences, we start identifying with each-other at level of the species; we are all humans and largely alike. Take this idea to an extreme and soon we realize that <i>ethnicity</i>, as a concept, starts losing grounds, and consequentially so does <i>boundary</i>. Existing power relationships are nullified and replaced by something more universal. It is not in the interest of those in power to share their authority, or those better off to share their property, due to a perceived downgrading of position in the socio-economic hierarchy, so group identity needs be invoked and reinforced top-down to keep the status quo, and boundaries between jurisdiction need be drawn and kept at all costs.<br />Governments condemn each-other for oppressing their people, but direct intervention would nullify the basic premises and validity of the power structure between the governing and the governed, and consequentially sovereignty. International affairs are full of "mind your own business". If it wasn't then there would be something that might be termed "international democracy" that basically merges all the existing power hierarchies into one global state - imagine a behemoth European Union. What king or leader would want that? Therefore difference needs to be artificially and actively sustained in order to provide validity to the boundaries of jurisdictions. In many cases from this is from the top down. "Minding our own internal affairs" means "we are not them" but also "they are not us" and thus the power structure's hierarchy remains in place.</span></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-74737082029743542582011-02-06T05:18:00.001-08:002011-02-06T05:42:12.626-08:00Pattern study 3<p><span style="font-family:trebuchet ms;">The plan view of a ceramic tile system.</span></p><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2JT_XuecNsJH_sk2uzHafwtEqMldsnLtplaBU2ILBvCPPE0SnWSqkFXSpPxJc0JQa3xacEHrqhPT7JZsWPjlRMt5ErhDS6R_tEWFf1SPxA3dd934qUSM033dI6dVG4tijj9R-6ya2ixz1/s1600/facade+elements+3d+leafs+%252B+fruits.jpg"><img style="display:block; margin; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 591px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2JT_XuecNsJH_sk2uzHafwtEqMldsnLtplaBU2ILBvCPPE0SnWSqkFXSpPxJc0JQa3xacEHrqhPT7JZsWPjlRMt5ErhDS6R_tEWFf1SPxA3dd934qUSM033dI6dVG4tijj9R-6ya2ixz1/s1600/facade+elements+3d+leafs+%252B+fruits.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5570565809174522770" /></a></p>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-65141995705006658652011-02-06T03:33:00.000-08:002011-02-06T03:59:38.414-08:00Subverting postmodernism<div align="justify"><span style="font-family:trebuchet ms;"><span style="font-size:100%;">In Kuwait the typology of a mosque is distilled into a mental image from a set of preservationist and ideological ideas. Heritage, as a concept, has always played a tangible role in Middle Eastern region, which since the golden ages of the Islamic and perhaps Ottoman Empire has experienced an intellectual "retardation", hence looking back to the past for inspiration and identity. However, the notion of Heritage is quite an oddity in a number of ways, the most important of which is that the core ideas that instructed the superficial aspect of things (material and especially pertinent to our discussion, architectural) have not been fully preserved, either in a wide enough intellectual circle or culture, leading to a sort of fascism, where how things look determines how much they abide to this impoverished version of the notion. Those ideas then are not allowed to resurface, evolve and consequentially instruct novel forms or architectural approaches, which might be very interesting. Instead, all the technical expertise of the time needs to bow to the creation of a simplistic function dressed in substance-less aesthetic. The typology of the mosque cannot flourish to keep up with the current architectural trends and theories, and even worst, does not retain the same intellectual quality and rigor on which it was previously defined.<br />Secondly, the Kuwaiti society is still ,relatively speaking, a "young" society in search of an identity. Sticking to Heritage provides and answer, partially. Aside from the mix of group-specific ideological paradoxes, the modernization of the state of Kuwait saw an unprepared society rapidly immersed into an imported modernity which didn't really resonate with the cultural predisposition at the time to create a richer context. On the contrary, space and form has lost most of its finer and subtler meanings. Half a century later architectural typologies are perceived strictly form a functional perspective; an office is nothing more than an office, a house is nothing more than a house, and a cultural institution is nothing more than a decorated box. It is perhaps not surprising that a conservative society sees "class" as sticking to Heritage, however since the notion is only applied stylistically - where the aesthetics are no longer accompanied by their core values - it produces the comical situation where the referent can be chosen from any time and any place; this is how European classicism has found its way to decorate the houses of some well to do people, alongside Moorish, Ottoman and contemporary international styles. T<br />Obviously, this version of post-modernism is a step further than what even Venturi proposed. The obvious question, for an architect forced to work in such a contexts, is how can it be subverted. It is part of the designer's obligation to respond to the client's requirements with respect and understanding, even when they are paradoxical or contrary to his or her beliefs. On the other hand it is many times difficult to selectively turn a blind eye to he client's requirements; for example I would agree to make a mosque of these many square meters but I cannot be stylistically predetermined. Right away we can see that subversion is no easy task. Its possible only if one can correctly identify the doors left open by the client's requirements and lack of understanding of the matter.<br />Take the following example. I am supposed to design a mosque with more or less standard functional requirements, and in a post-modern "Moorish" style, with arches and all the clutter, for no other reason than the clients preference. In this case it is very likely that his taste is only a matter of surface application, which means that the concepts adopted by the Moors is not something he's juggling with in his head. With some historical knowledge it is possible to resurface some core intellectual ideas, update them, re-shape them, and reintroduce them in a novel way that could perhaps lead to innovation.<br />Even from a functional perspective, it is unlikely that the client would have a deep understanding that would take into account the qualities of each element in the set of functions, and their relationships within themselves and with each-other. For example the qualities of space are shaped and modified by its position, function and connection to all the other spaces, and by introducing an element, even if only a filler, could induce enough change to induce novelty</span></span></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-45684779366793435902011-02-01T23:25:00.000-08:002011-02-01T23:28:16.309-08:00Hegel's Circle<div align="justify"><span style="font-family:trebuchet ms;">You self-reflecting pile of lifeless matter,<br />What you are, you do not know,<br />Who you are, you cannot decide,<br />Where you were, you don't remember...<br />or where you'll be, you cannot see,<br />Why you are, you just can't fathom...<br />even if you heard the words.<br />You speak of life and love and freedom,<br />Do you realize you are death throughout,<br />Frozen inconsequential action,<br />Despite unrelenting will,<br />Since where you willed it wasn't yours...<br />Not then, not now, nor ever,<br />As for the words you think you've heard...<br />your dead ear received only silence,<br />Like ashes unfold unto ashes deaf, in a circle,<br />Falsely imagining brief moments are substantial,<br />To life and the history of life,<br />Enough to differentiate truth from false...<br />with logic as if it's more than a sensation,<br />As if lifeless matter can feel or imagine.<br />You self-reflecting pile of lifeless matter,<br />You are neither, but a loop of delusion.<br /></span></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-86017413945563450682010-07-04T11:45:00.001-07:002011-02-06T12:59:34.735-08:00Pattern Study 2<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSF77Zf3JzP8M14j-Ou2Gkx9Zp278H3OTlXVcLCFwm4bDFHQ4YnXr1K_xSqsf1Rm1ivSgQC1EbARyb5LN-bJ0yEoCo2Y0omv5q1tCWqKgy__7KE-l5lO2Aj7QMHQ-xQBH4ues-0QAQ10G5/s1600/lines+pattern+copy.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 800px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSF77Zf3JzP8M14j-Ou2Gkx9Zp278H3OTlXVcLCFwm4bDFHQ4YnXr1K_xSqsf1Rm1ivSgQC1EbARyb5LN-bJ0yEoCo2Y0omv5q1tCWqKgy__7KE-l5lO2Aj7QMHQ-xQBH4ues-0QAQ10G5/s1600/lines+pattern+copy.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5490124262596068610" /></a>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-80770173277687004512010-07-04T10:56:00.002-07:002011-02-06T13:00:42.450-08:00Pattern Study (old)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOYFiBu3lqknvV0pF73PzKfIAS6oZaGPsa311GOcmlRfLvHJpyMFRii5xezpiMCSK09iZ2A582HZYJQ0U1v8lhvWDUgE4yDY84d-KI7mYHolvdR6Zw2XjZLbGKaMaVxwf03z21FkGtu_N2/s1600/helal+pattern1_2-blog.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400x; height: 800px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOYFiBu3lqknvV0pF73PzKfIAS6oZaGPsa311GOcmlRfLvHJpyMFRii5xezpiMCSK09iZ2A582HZYJQ0U1v8lhvWDUgE4yDY84d-KI7mYHolvdR6Zw2XjZLbGKaMaVxwf03z21FkGtu_N2/s1600/helal+pattern1_2-blog.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5490113499662569298" /></a>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-40397748963557671342010-06-22T06:33:00.001-07:002010-06-22T11:55:57.625-07:00Silence<span xmlns=""><p><span style="font-family:Trebuchet MS;">For those to whom silence speaks,<br /></span></p><p><span style="font-family:Trebuchet MS;">Of intricate illusions,<br /></span></p><p><span style="font-family:Trebuchet MS;">Delusional emotions,<br /></span></p><p><span style="font-family:Trebuchet MS;">Compulsive reactions,<br /></span></p><p><span style="font-family:Trebuchet MS;">Be still, but never quiet;<br /></span></p><p><span style="font-family:Trebuchet MS;">Articulating heals the speaker.<br /></span></p></span>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-46721940422789536052010-06-21T14:58:00.001-07:002010-06-21T15:44:41.004-07:00The suspicious role of the Architect<div align="justify"><span xmlns=""><p><span style="font-family:trebuchet ms;">The simplest (and most simplistic) description of an architect's role is that of a designer of the built environment. On the other end of the sophistication spectrum, we find that articulating with exact precision his or her role is elusive, since the definition of "Architecture" as a word or concept in relation to an object that allows subjective experience of itself and/or the consequences of its existence, is still rather vague. However, our simple definition, for the moment being, is sufficient. We can then see an architect as an organizer of a client's ideas and intention, or the innovator bringing forth new ideas and intentions, which in both cases needs to produce a geometric arrangement in space. The manifestation of that arrangement is inherently dependent on all the arbitrary steps made to accommodate for those initials ideas and intentions within the constraints of their external and internal circumstances. As such the starting point is crucial. Whose ideas and intentions were organized have tremendous socio-political implications.</span><span style="font-family:trebuchet ms;"> </span><span style="font-family:trebuchet ms;"></span><span style="font-family:trebuchet ms;"><br /></span></p><p><span style="font-family:trebuchet ms;">An architect cannot lie outside social circumstances and as such none of his or her actions can avoid having an ethical significance. All design decisions, no matter how insignificant, must carry a moral weight in relation to their consequences – one might say that an unnecessary screw is wasteful therefore morally dubious regardless of its extremely low value (relative to the whole cost of the built project). For this very reason the action of sorting out of ideas and intentions prior to the design process can be scrutinized morally by itself, and somewhat </span><span style="font-family:trebuchet ms;">independently of the </span><span style="text-decoration:underline"><span style="font-family:trebuchet ms;">specific</span></span><span style="font-family:trebuchet ms;"> consequences of those ideas and intentions, or their inherent moral value. This sorting decides to what extent an architect's will is "imposed" on the client, or inhabitants. Since spatial organization filters actions and opportunities (it enables some and disallows others), when an architect does not act as merely an organizer of the clients ideas an intentions, but rather as an innovator, then not only a large part of the weight of the consequences build project has on the lives of its inhabitants fall on his or her shoulders, but also that of authoritatively imposing on them a subtle kind of control, which due to the lack of awareness on the client's part (in most cases) starts bordering fraud. </span><span style="font-family:trebuchet ms;"></span><span style="font-family:trebuchet ms;"><br /></span></p><p><span style="font-family:trebuchet ms;">To reinforce the above, a myth must be shattered, namely that innovation necessarily leads to a betterment of the human condition. Furthermore an architect's interest in innovation may or may not involve the human condition. Most times it's innovation for its own sake (or actually for the pleasure derived from it), and sometimes as a means towards fame and material reward. Either way, it is an egotistical pursuit. In other words, the architect's attitude towards creative design is as far as possible from seeking the "truth" concerning the real value of the built object in relation to the human inhabitant. The relationship of between architecture and inhabitant goes (way) beyond the usual formal, structural or aesthetic concerns, yet the real extent of its nature is neither known nor (usually) sought. And the good intended seekers never discovered it. To be fair, it is a poorly formulated question; none of the terms in the architecture-to-human problematic are well defined. What is "Architecture", and more essentially what is "Human"? Our current understanding of the world and subsequently the human constitution is incomplete, and therefore any question about the real meaning and value of a human action (such as constructing) or product (such as a built object) is ill-formulated thus un-answerable. However, suppose blind innovation eventually results in an object (or category of objects) corresponding to that fundamental architecture-human relationship; how would we, in that case, be made aware of it? Obviously we cannot analyze the object(s) using concrete conceptual tools since we don't have them. Perhaps the manifested effects on the socio-political realm would be so obvious that we'd sooner or later learn what we have discovered?</span><span style="font-family:Trebuchet MS;"><br /></span></p></span></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-31736573457476873232010-06-18T06:56:00.000-07:002011-02-01T23:47:54.907-08:00Mind Peace<div align="justify"><span style="font-family:trebuchet ms;">Different sounds, different moods; an idealized lounge tune, supposed to easily slip into the background, evading your attention, yet accessible at will.</span></div><br /><br /><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" width="400" height="52"><embed type="application/x-shockwave-flash" src="http://www.techknowl.com/wp-content/uploads/2010/03/audio_player_standard_gray.swf" wmode="transparent" flashvars="audio_duration=DURATION&external_url=http://www.filefreak.com/files/765728_x6rjx/Mind%20Peace.mp3]Mind Peace.mp3" com="" ozd="" files="" width="400" height="52"></embed></object>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-48931658027978661112009-05-11T22:15:00.001-07:002010-07-02T14:22:24.785-07:00Thesis: Architecture for the Human Condition<div style="font-family: trebuchet ms;" align="justify"><p>Introduction.</p><span xmlns=""><p>An Architecture contingent on both the corporal and psychological paradigm of human reality, considered at an individual and plural level. Philosophers such as Arendt hold that the human condition is created and altered by everything that surrounds that human, thus architecture (and the urban setting in this case) as a predominant element the environment of experience acquires a moral status. Psychology has shown in many instances how there is a general pattern in our reaction to visual stimulus, be it color or geometry. Some theoreticians such as Alain de Botton link both happiness and misery to the quality of our environment: the kind of walls, chairs, buildings and streets we're surrounded by. Questions such as the ethical value of beauty, the perfect balance between mood and program, or even a psychological program, surface and gain tremendous weight. <span style="font-size:100%;"><br /></span></p><p>It might turn out that we are conditioned by, and we don't condition, architectural space. However, in Architecture from the Inside Out Karen and Lepori make a compelling argument that space (regardless of its stylistic lineage) is thus impregnated with symbolism projected by the distinct combination between cultural baggage and a certain modus operandi of perception; a blank wall can potentially carry as powerful a symbolic essence as Rodin's La Porte de l'Enfer. Social interaction, which involves a varying number of people, who might or might not form a pattern, spatially, or mentally (when a perceiver understands what is going on), can modify architectural space to such a fundamental level (both subjectively and physically) that the idea of a one-way relationship of conditioner and conditioned is put in doubt. <span style="font-size:100%;"><br /></span></p><p>What exactly does it mean for a human to exist within the confines of an architectural space? <span style="font-size:100%;"><br /></span></p><p>In trying to answer this question there is a hope of discovering a design methodology contingent on a re-establishment of relationships between a numbers of architectural concepts.It doesn't take much of a look into the birth, evolution and refusal of ideas, ideologies and systems of thought, on architecture and otherwise, to acquire the sense that with progress there is a road towards a new paradigm. Architecture has been viewed as the art and science of building, however, the science of building was generally related to methods of construction. This thesis treats the question of science (a particular branch of knowledge about the structure of the human condition) as the predecessor to design. According to theoreticians such as Alexander this approach would have to generate design and allow for a variety of end results. <span style="font-size:100%;"><br /></span></p><p><span style="font-size:100%;"><br /></span><span style="font-size:100%;"> </span></p><p><span style="font-size:100%;"> </span></p></span></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-11732148778216911882009-01-08T22:41:00.001-08:002015-09-03T02:46:11.803-07:00Din Neant spre Neant<div dir="ltr" style="text-align: left;" trbidi="on">
<span xmlns=""></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Din neant spre neant curg gânduri, simțuri bogate,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Trăiri neașteptate, valuri de emoții, tresăriri aparte,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Chipul tău, bogat in vorbe, cuvinte clare, dar mărunte,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Idei simple, străpunzătoare, dar nespuse,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Ochi, nu voci, grăiesc, în șoaptă dulce,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Taine vechi răsună modern, dar noaptea-i rece,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Din neant spre neant stele curg, iar inima se duce,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Să-și întorcă firul vieții, întretimp, în sânge,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Bătălii în suflet, remușcări născând regrete crunte,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Și vocea ta, ca o lună ascunsă de nori,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Privirea ta, ca stele învinse de zori,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Iubirea ta, ca soarele arzător pe obrazul unui orb,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Te înțeleg, dar din neant vin cugete zbierând amețitor,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Curgând spre neant, presând apăsător,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Din neant spre neant, amenințător,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Din flăcări dorințe, arazătoare, ducând spre foc,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Dar eu, ascultând de înțelepciunea liniștii, în tăcere te ador,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Ca un suflet tânjind spre corp, cu sete, privindu-te copleșitor,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Prin filmul timid ce ne desparte lumile, transparent, dăunător,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Distant de gândul tău mă aflu, dar intim te cunosc,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Distante sunt tărâmurile noastre, dar prin noi se ating, fraudulos,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Prin noi se sting, tradiții ce mii de ani au vărsat in vene idealuri, păcătos,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Dorința de a varsa din vene viață, privind sec, nemilos,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Suflete și minți, inimi vii, iubiri precum a noastră sfârșite dureros,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Din neant spre neant, curgând, loialitate, zis lucru frumos.</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Ne-am despărțit, un timp, câteva luni,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Te aveam in gând, in inima mea de călător nebun,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Roua dimineții refracta in ochii mei chipul tău, un suflet bun,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">In brațe te simțeam, te doream, șoapta ta o ascultam,</span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Erai un vis, un paradis promis, și cu dor așteptam,</span></span></span><br />
<br />
<span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Inumăram apusuri....</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span><br />
<span xmlns=""></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Dar soarele nostru s-a stins,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Te-am căutat, adânc, dar lacrima ta umedă, secată de orice compromis,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">A curs pe obrazul tău, atunci când buzele-ți grăiau răspunsul liniștit...</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">In tăcerea nopții zbieram spre neant, fără glas, sau cuvânt grăit,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Priveam frunzele gălbui, umede, rascolite de vant, cu pas de lunatic mut,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Privire oarbă încețosată de umezeala unei a lacrimi ce vroia sa nu mai curgă,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Să inghețe în timp, ca cicatricea albă a unei răni crunte,</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span></span><br />
<span xmlns=""><span style="font-size: 100%;"><span style="font-family: trebuchet ms;">Raceala nopții străbătea străzi străine, întunecate, ducându-mă spre neantul corpului fără sulfet.</span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"><br /></span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"> </span></span><span style="font-size: 100%;"><span style="font-family: trebuchet ms;"> </span></span></span><br />
</div>
Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.comtag:blogger.com,1999:blog-5692557629316228394.post-84875765377394963602008-12-19T09:04:00.001-08:002008-12-22T20:05:41.733-08:00Less is more?<div align="justify"><span xmlns=""><p>One of the most cited phrase in the Architectural world is Mies van der Rohe's "Less is more". Inconspicuously simple, inherently oxymoronic, the simple phrase seems to hold the key to a deep truth that whoever uses it to for a punch-line, a reply to an annoying question, or part of a larger argument. As we write it, less is more, or less=more, it is contradiction, an oxymoron, a perplexing verbal structure, and that is part of charm. <span style="font-family:trebuchet ms;"><br /></span></p><p>It could be an stripped version of "Less of something is more of something else", which instantly pulls it out of its charming mystery, yet opens up a debate over what is "something" and what is "something else". If we put the phrase in its historical context, we might be compelled to say "Less specificity is more ambiguity", and since architectural perception, and sensation, is based on the subjective, on the verge of being a phenomenological conquest, ambiguity is directly proportional with the number of readings of an architectural space, thus more ambiguity is undoubtedly good. By breaking from the baggage of historical architectural symbolism, which was used to paint somewhat specific, if vague, tableaus, Mies and by extension Modernism opted to create architecture that was deprived of the richness of symbols, yet managed at some points to create canvases on which the perceiver could infuse meaning with his imagination. Thus the less specific an architectural object is the more it becomes similar to a canvas, thus the more ambiguous.<br /></p></span></div>Adl Architettohttp://www.blogger.com/profile/06023618666337460427noreply@blogger.com