"Quantum theory seemed to describe a world of complementary dualities, of both/and values, of uncertainty, of choices at all scales, of interactive relationships, emergent qualities and of sustainable vibrant ecologies ... a language that described best the complex artefact that is the city: the urbs AND the civitas, the stones AND the emotions...

The language needed to describe the chaos, uncertainty, complexity, heterogeneity and subjectivity of life in the city had been there all along. Scientists had been forced to create it as the only means of describing what their empirical experience at the heart of matter was showing them, but we had never been taught this language..." http://www.quantumcity.com ]]> http://blog.hdarman.com/archives/232.php http://blog.hdarman.com/archives/232.php architecture Sun, 10 May 2009 23:12:01 +0330 Gregor Samsa awakes one morning in his family's apartment to find himself inexplicably transformed overnight into a gigantic insect. Gregor does not immediately recoil from his insect form, but instead chooses to lament his job by saying, "How am I going to get to work?" and the general misery of the rainy weather outside. Indeed, the narrative establishes the poor conditions as the cause of his bed-ridden state. Gregor works as a traveling salesman, and, as it is usual for traveling salesmen to move constantly from place to place, he is accustomed to waking up in unfamiliar surroundings and various circumstances. The true reality of his metamorphosis is complete when he sees his many legs waving in the air. But from then on he resists any conscious recognition regarding his change or the fact that a change indeed happened—everything but the recognition of his separation from the others. The problem Gregor has at the beginning of the story is that his family and a messenger from his boss are knocking at the door, concerned for him, and he's unable to flip off his back onto the floor.....

Frederick J. Kiesler was an architect, sculptor, painter, designer, and art historian. He was tireless in his pursuit of a radical new concept of interior spaces: his dream was a polydimensional living space, an organic continuum in which color, form, and light, combined with magical and mythical themes, would create a new cosmos. His so-called Endless House, imagined and designed in the 1950s, though never realized, stayed with him all his life, and has fascinated and influenced other...]]> http://blog.hdarman.com/archives/230.php http://blog.hdarman.com/archives/230.php architecture Sun, 22 Feb 2009 22:51:13 +0330 A plethora of ideas for the new TU Delft building International open ideas competition Building for Bouwkunde The jury of the international ideas competition for a new TU Delft Architecture faculty building has announced a shortlist of eight nominations. “Together they cover a wide range of high-quality concepts and ideas for inclusion in the new building. They provide ammunition for an interesting discussion”, Chief Government Architect and jury chair Liesbeth van der Pol says. The prize winners and those worthy of special mention will be announced at the Netherlands Architecture Institute (NAi) in Rotterdam on 14 March.

The nominees’ ideas, along with the findings of the TU Delft think-tank which looked at the future of the faculty and TU Delft campus, lay inspiring foundations for creating concrete plans for the future.

High-quality

TU Delft received 466 entries for the international open ideas competition Building for Bouwkunde. The task was to come up with a concept for the educational building of the future and the faculty’s place in Mekelpark (TU Delft’s campus) and Delft. The international jury assessed the entries in mid-January. The open nature of the competition resulted in a plethora of ideas for the new building. The jury was impressed by the quality of the proposals. Most entries kept to the old Architecture faculty’s location, sometimes with a clear reference to the old building. Others branched out and proposed other sites on the campus where the faculty could become a cohesive factor for TU Delft. A number of entries uses existing buildings and by doing so refer, explicitly or otherwise, to empty but significant buildings and to the faculty’s current accommodation. The nominations reflect the wide range of ideas.

Nominations

The nominations are, in order of registration:

1-Green-Housed Culture Marc Bringer (1972, architect)

Ilham Laraqui Paris, France

2-A world without objects Gijs Raggers (1973, architect) Rotterdam,

The Netherlands

3-Learning and creating Olli Raila (1983, student)

Heikki Muntola

Heikki Riitahuhta

Mikko Jakonen

4-Eetu Arponen Oulo, Finland Post Ignem Tom Haelvoet (1984, architect)

Eveline Hanssens Wondelgem, Belgium

5-BK City, not a metaphor Henk Engel (1949, architect)

Erik van den Berg

Marius van der Meulen Delft,

The Netherlands

Ego Eco-System Marc Koehler

6-(1977, architect)

Martijn de Geus

Miriam Tocino

Stepan Havlik

Carlos Franco

Hans Smolenaers Amsterdam,

The Netherlands

Vertical Forum Elsbeth

7-Ronner (1984, student)

Mick van Gemert Rotterdam,

The Netherlands

8-Amalgam Laura Alvarez (1977, architect) Amsterdam,

The Netherlands

Three criteria

The entries were assessed according to three criteria: visionary power, architectural quality, economic and ecological feasibility. The wealth of ideas, originality and innovative concepts was overwhelming. In architectural terms, many of the plans were extraordinarily well thought through. Among the remarkable concepts with respect to architecture education of the future there were proposals for flexible educational buildings, designed to adapt to changes in education over the course of the years. In addition to sustainability, the social and educational functions of the building were recurring themes in many of the entries. Sustainability, for instance, was reflected in special attention to the climate, energy management and the cohesion between indoor and outdoor areas, but also in feasible proposals for reusing existing buildings.

The entries exhibited in the former Technology Museum to be assessed by the jury.

International

About one third of the entries came from students, two thirds from architects. There was a noticeably high number of entries from Italy, where the competition was launched by Ronald Plasterk (the Dutch Minister of Education, Culture and Science) at the Architecture Biennale in Venice last September. The United Kingdom, the United States, France, Spain and Germany were also well represented. The challenge was taken up by participants from a total of 50 countries.

Jury

The jury comprised:

Liesbeth van der Pol chair, Chief Government Architect Rahul Mehrotra architect, Professor Department of Architecture MIT, USA Yung Ho Chang architect, Professor and Head Department of Architecture MIT, USA Herman Hertzberger architect, Professor Emeritus at TU Delft Kees Kaan architect, Professor at TU Delft Ole Bouman director of Netherlands Architecture Institute, Rotterdam Leanne Reijnen architecture student at TU Delft Herma de Wijn secretary, architect

Exhibition On 14 March 2009, the same day as the announcement of prize winners and those worthy of special mention, a debate will also be held and an exhibition Building for Bouwkunde showcasing the entries opened in the NAi. The exhibition can be visited from 15 March until 7 June 2009. On 13 May 2009, a book will be published on the competition and the think-tank, and a symposium will be held at the faculty’s temporary location on Julianalaan in Delft.

Information More information on the competition, the prize-giving and the exhibition can be found on www.nai.nl. ]]> http://blog.hdarman.com/archives/229.php http://blog.hdarman.com/archives/229.php competitions Mon, 02 Feb 2009 23:21:46 +0330 Imagination and fiction make up more than three quarters of our real life.

Simone Weil]]> http://blog.hdarman.com/archives/228.php http://blog.hdarman.com/archives/228.php architecture Mon, 15 Dec 2008 18:14:56 +0330 روندهاي امروز چگونه به شغلهاي آينده شکل ميبخشند
نوشتاري که در پيش رو داريد، بخش دوم از ويژ ه نام هي شغ لهاي آينده است که درنشريه ي فيوچريست نوامبر و دسامبر ۲۰۰۵ به چاپ رسيده است.
جان ا ی. چلنجر، نويسند ه ي مقاله، مديرعامل شرکت کاريابی جهانی "چلنجر، گری، و کريسمس" است و از سال ۱۹۹۹ تا ۲۰۰۲ عضو کميته ی منابع انسانی بانک مرکزی دولت فدرال بوده است. او در اين مقاله ده شغل را از ميان بهترين مشاغلي که در اثر روندهاي جهاني شدن، سا ل خوردگي جمعيت، و روندهاي فناوري و جامعه، ايجاد مي شوند معرفي مي کند، مشاغلي هم چون مدير روابط بوم شناختي، مشاور بازنشستگي ، و هماهنگ کننده ي تامين از بيرون مرزها.
محيط هاي کاري پيوسته در حال تغييرند. در طول پنجاه سال گذشته، ما شاهد دگرگونيهاي بنيادي در محيط کار، روش کار، و زمان آن بوده ايم. اين تغييرات، بيش از همه در عناوين شغلي قابل مشاهده است.
در دهه ي گذشته ، يا کمي پس و پيش ، عصر اقتصادي جديد يعني "دا تکام " را تجربه کرديم که عناوين شغلي فراواني را به همراه آورد. اين عناوين ، شيوه ي نويني از مديريت را بازمي تابانند که کسب وکارهاي مخاطره آميز در پي ايجاد آن بودند ، عنوا نهاي منحصربه فردي مانند تخيلگر (کسي که ايده هايي براي طراحي محصولات جديد، به گروه طراحي مي دهد)، پيک ايده (کسي که ايده هاي مختلف مهندسان، طراحان، و مشتريان را مي شنود و آن ها را با ديگران در ميان مي گذارد )، و سرپرست تصوير اوليه (سرپرست کساني که با مستقيماً با مشتري در تماس اند و نحوه ي برخوردشان با مشتري تاثير زيادي روي برداشت او از شرکت دارد ). اين عناوين معمولاً جزء مقاله ها و آگهي هاي اصلي "فست کمپاني" بودند، نشريه اي که به رويدادهاي اقتصاد نو مي پردازد. بعضي ديگر از عناوين شغلي باب روز که در سال هاي اخير پديدار شده اند عبارتند از مدير اطلاعات ، مهندس هسته ي اصلي (در طراحي نرم افزارهاي سيستم عامل)، و متخصص امنيت شبکه. همچنا نکه روندهاي گوناگون دورنماي محيط کار را تغيير ميدهند، عنوا نهاي شغلي نيز طي ۲۰ سال آينده تکامل مي يابند. روندهاي فناوري، اجتماعي، جمعيت شناسي، و اقتصادي مهم ترين روندهايي هستند که عنوان هاي شغلي آينده را مي سازند.
www.iranasef.org

χωρίς εσένα τη ζωή μου τελευτώ

μα μην πω τη μισές για αυτό και θα σ’ αφήσω

με ανοιχτώ το στόμα μ’ όσα θα σου πω

εκατό τις εκατό

έβαλα άξια πω σου λεω

και για σένα πια δεν κλαιω

εκατό τις εκατό

νιώθω σίγουρη για μένα

πως μπορώ χωρίς εσένα

δεν υπάρχει να το ξέρεις που δεν ένα τις κήλης

την ευαίσθητη καρδιά μου πάλει να εκμεταλλευτείς

δεν υπάρχει να το ξέρεις που δεν ένα τις κήλης

την ευαίσθητη καρδιά μου πάλει να εκμεταλλευτείς

μια ζωή σ’ εσένα σκύβω το κεφάλι

κι όσα μου κανείς όλα τα συγχωρώ

μα τελικά πυρρά μια αποθέσει μεγάλη

να μην αφήσω να ξανά συμβεί αυτό

εκατό τις εκατό

έβαλα άξια πω σου λεω

και για σένα πια δεν κλαιω

εκατό τις εκατό

νιώθω σίγουρη για μένα

πως μπορώ χωρίς εσένα

δεν υπάρχει να το ξέρεις που δεν ένα τις κήλης

την ευαίσθητη καρδιά μου πάλει να εκμεταλλευτείς

δεν υπάρχει να το ξέρεις που δεν ένα τις κήλης

την ευαίσθητη καρδιά μου πάλει να εκμεταλλευτείς

δεν υπάρχει να το ξέρεις που δεν ένα τις κήλης

την ευαίσθητη καρδιά μου πάλει να εκμεταλλευτείς

δεν υπάρχει να το ξέρεις που δεν ένα τις κήλης

την ευαίσθητη καρδιά μου πάλει να εκμεταλλευτείς

εκατό τις εκατό έβαλα άξια πω σου λεω

και για σένα πια δεν κλαιω

εκατό τις εκατό]]> http://blog.hdarman.com/archives/226.php http://blog.hdarman.com/archives/226.php art Fri, 10 Oct 2008 22:34:08 +0330 Muere lentamente quien se

transforma en esclavo del hábito,

repitiendo todos los días los

mismos trayectos,

quien no cambia de marca,

no arriesga vestir un color nuevo

y no le habla a quien no conoce.

Muere lentamente quien evita una pasión,

quien prefiere el negro sobre blanco

y los puntos sobre las "íes"

a un remolino de emociones,

justamente las que rescatan

el brillo de los ojos,

sonrisas de los bostezos,

corazones a los tropiezos y sentimientos.

Muere lentamente quien no voltea la mesa

cuando está infeliz en el trabajo,

quien no arriesga lo cierto por lo incierto

para ir detrás de un sueño,

quien no se permite por lo

menos una vez en la vida,

huir de los consejos sensatos.

Muere lentamente quien no viaja,

quien no lee,

quien no oye música,

quien no encuentra gracia en sí mismo.

Muere lentamente quien

destruye su amor propio,

quien no se deja ayudar.

Muere lentamente,

quien pasa los días

quejándose de su mala suerte

o de la lluvia incesante.

Muere lentamente,

quien abandona un proyecto

antes de iniciarlo,

no preguntando de un asunto que desconoce

o no respondiendo cuando le indagan sobre algo que sabe.

Evitemos la muerte en suaves cuotas,

recordando siempre que estar vivo

exige un esfuerzo mucho mayor

que el simple hecho de respirar.

Solamente la ardiente paciencia

hará que conquistemos una espléndida felicidad.

به آرامی آغاز به مردن می‌كنی، زمانی كه خودباوری را در خودت بكشی، وقتی نگذاری دیگران به تو كمك كنند.

به آرامی آغاز به مردن می‌كنی، اگر برده‏ی عادات خود شوی، اگر همیشه از یك راه تكراری بروی، اگر روزمرّگی را تغییر ندهی، اگر رنگ‏های متفاوت به تن نكنی، یا اگر با افراد ناشناس صحبت نكنی.

تو به آرامی آغاز به مردن می‏كنی، اگر از شور و حرارت، از احساسات سركش، و از چیزهایی كه چشمانت را به درخشش وامیدارند و ضربان قلبت را تندتر میكنند دوری كنی...

تو به آرامی آغاز به مردن میكنی، اگر هنگامی كه با شغلت‌ یا عشقت شاد نیستی آن را عوض نكنی، اگر برای مطمئن در نامطمئن خطر نكنی، اگر ورای رؤیاها نروی، اگر به خودت اجازه ندهی كه حداقل یك بار در تمام زندگی‏ات ورای مصلحت‌ اندیشی بروی...

امروز زندگی را آغاز كن! امروز مخاطره كن! امروز كاری كن! نگذار كه به آرامی بمیری! شادی را فراموش نکن!

شعرى از پابلو نرودا (Pablo Neruda) - ترجمه احمد شاملو

Anonimous-LED architects specialise in the blending of the natural and the man-made in design and their office in Queretaro Qro, Mexico embody this practice.

Three boxes – one of glass, one of wood and one of steel – float over the hill reaching out into the nature-reserve landscape beyond. The boxes are joined by a concrete element that by means of roof, wall and floor embraces architecture and irradiates nature. A palm-tree garden connects the wooden box and the steel box, and a bamboo garden connects the wooden box and the glass box. The concrete element lies upon 16 columns in order to generate parking space, maintain the slope of the ground intact and outline the view.

The access is created by means of a ramp that arises over a water body. The boxes develop the program in a lineal direction, to organise the lawyer's office, advertising’s office and the architect’s office. The experience emphasises the entrance to an interior but at the same time extends the views outwards to the green of the landscape.

The i-module façade, developed by German companies Schüco and Trox, and used in the Capricorn House completed in spring 2006, is only one example of how modern glass facades can be used to successfully meet the increased requirements placed on energy efficiency and user convenience in buildings.

Numerous other trend-setting facade concepts as well as realized projects will be shown from 21 to 25 October 2008 at glasstec, the world's largest trade fair for the glass sector, and examined in the accompanying Architects’ Congress.

The glass facade of the Capricorn House in the Düsseldorf Medienhafen ranks as one of the most modern in Germany. ]]> http://blog.hdarman.com/archives/222.php http://blog.hdarman.com/archives/222.php architecture Fri, 05 Sep 2008 18:57:09 +0330

SPIEGEL INTERVIEW WITH CHINESE ARTIST AI WEIWEI

SPIEGEL speaks with Beijing-based artist and Olympics critic Ai Weiwei, 50, about the attempts by the Chinese leadership to exploit the Olympics for their own purposes.

Chinese artist Ai Weiwei at his home in Beijing

SPIEGEL: You were partly responsible for designing the Olympic Stadium, the so-called "Bird's Nest." Why are you now criticizing the Olympic Games? Ai Weiwei: The government wants to use these games to celebrate itself and its policy of opening up China. But there isn't anything to celebrate. The political system is incapable of handling economic and social change. Now the system that caused these problems in the first place is struggling to remain in power. And who pays the price? Every individual in this society.

SPIEGEL: When the games were awarded to Beijing, many people hoped that China would also open up politically. Were you one of them? Ai: China wants to be part of the world and to share its values. This is an important step for a society that has isolated itself for so long. That's why we were optimistic. By now, it has become clear to me that this hope of liberalization cannot be fulfilled.

SPIEGEL: Why not?

Ai: The system won't allow it. The party officials are using this opportunity to repair streets, build houses and clean up neighborhoods. Corruption is flourishing in the process. But people no longer have any confidence in this system and are no longer enthusiastic about it. No autocracy can lead people to believe that they are living in harmony and happiness. The games are a propaganda show, a giant masked ball. The outcome will be endless nonsense and boredom.

SPIEGEL: Were there consequences to your critical statements on the Internet?

Ai: The Internet is the best thing that could have happened to China. The Internet police ordered the provider sina.com to delete certain articles I had written. When I threatened to cancel my blogs, the articles remained online. But now many of my friends are warning me, telling me that I'm stupid and that they'll come to get me one day.

SPIEGEL: Will they?

Ai: I have no idea, and I don't care. I don't look into the future. I want to say what I have to say, and say it now.

SPIEGEL: Other critics of the Olympics have been arrested. Why haven't you?

Ai: I ask myself the same question. Maybe because I'm alone. I don't belong to any political group and am pretty much outside the system. The leadership has other problems. Besides, I am an artist. Artists are already seen as slightly crazy. Some say that I've been spared because of my father.

SPIEGEL: Your father was a famous poet.

Ai: But he too was banned for many years and was not permitted to write. Society has developed, and the situation isn't nearly as bad as it was in the past. A few years ago, I would certainly have ended up in prison. http://www.spiegel.de]]> http://blog.hdarman.com/archives/221.php http://blog.hdarman.com/archives/221.php architecture Fri, 29 Aug 2008 23:59:11 +0330

One of the most important figures in the Chinese world of contemporary art is the artist and

architect Ai Weiwei (b. 1957). The solo exhibition by Ai Weiwei in the Groninger Museum marks his debut in the Netherlands.

Ai Weiwei once belonged to the Stars group, an artists' movement that was imbued with Western artistic outlooks and was socially critical in character. In the early 1980s he moved to New York, returning to Beijing in 1994, where he emerged as an important driving force in the Chinese art world, among other things for establishing the China Art Archives and Warehouse in 1997. In 2000, on the occasion of the Shanghai Biennale, he organized the controversial group exhibition Fuck Off, together with curator Feng Boyi. Ai Weiwei's work has already featured prominently on the international stage, including the most recent Documenta in Kassel. He was also recently involved in the design of the Olympic Stadium in Beijing by Herzog & de Meuron.
This publication takes a closer look at one of the materials that Ai Weiwei has explored over the years: ceramics. His recent ceramic work will be presented in the exhibition at the Groninger Museum's Coop Himmelb(l)au pavilion.

1. ‌فایل مدلسازی شده طرح به همراه پرینت رنگی نمای طرح از چهار جهت اصلی بهمراه معرفی اجمالی خود، سوابق هنری و توضیحات طرح و نحوه اجرا به صورت تایپ شده .
2. ارائه کار باید در 2 شیت به ابعاد 70*50 سانتیمتربوده و به صورت لمینت شده به دبیرخانه مسابقه ارسال گردد.
3. هر فرد یا گروه فقط می توانند با ارائه یک طرح در مسابقه شرکت نمایند.
4. روی شیت های ارسالی نباید هیچ مشخصاتی اعم از نام ویا علامتی که معرف طراح باشد در ج گردد. معرفی طراح و مشخصات طرح به پیوست ارسال گردد.
5. مهلت ارسال آثار به دبیرخانه تا تاریخ 21 شهریورماه 1387 شمسی (دوازدهم سپتامبر 2007 میلادی /یازدهم رمضان 1429 قمری) است .
6. به طرح برگزیده جوائزی شامل تندیس مسابقه و مبلغ 4000 یورو پرداخت خواهد شد . به صاحبان طرح های دوم و سوم نیز تندیس مسابقه و به ترتیب مبلغ 2000یورو و 1000 یورو تقدیم خواهد شد . به صاحبان طرح های چهارم و پنجم نیز تندیس مسابقه و به ترتیب 5 و 3 سكه بهار آزادی (یا معادل ارزی آن برای شركت كنندگان خارجی) تقدیم خواهد شد . به تمامی شركت كنندگان لوح تقدیر و گواهی شركت در مسابقه اهداء می گردد .
7. متقاضیان شركت در مسابقه می توانند جهت كسب اطلاعات بیشتر به سایت بنیاد حفظ آثار و نشر ارزش های دفاع مقدس به آدرس Bonyadedefa.ir مراجعه نمایند .

اسامی داوران مسابقه یادمان شهدای حمله به هواپیمای مسافری اعلام شد
به گزارش سایت ساجد، از سوی دبیرخانه مسابقه بین المللی طراحی یادمان شهدای حمله به هواپیمای مسافربری ایران، اسامی داوران مسابقه به شرح زیر اعلام گردید:
- محمدرضا جودت
- علی اکبر صارمی
- عیسی حجت
- سیدرضا هاشمی
- طاهر شیخ الحکمایی
- شهاب الدین ارفعی

خیابان شهید بهشتی - خیابان شهید سر افراز - کوچه شهید حق پرست - پلاک 33 - بنیاد حفظ آثار و نشر ارزشهای دفاع مقدس - طبقه 2 – معاونت مهندسی
http://www.sajed.ir/pe/content/view/7362/49
شماره تلفن دبیرخانه مسابقه 88535495 و 88535498

The SCI-Arc Gallery is pleased to present Voussoir Cloud, a site-specific installation by San Francisco based architecture and design practice IwamotoScott in collaboration with Buro Happold. Voussoir Cloud’s design explores the coupling of potentially conflicting constructional logics – the pure compression of a vault with an ultra-light sheet material. Opening August 8, this installation will be fabricated by IwamotoScott in association with SCI-Arc students.

Voussoirs, the wedge shaped masonry blocks that make up an arch, are redefined in Voussoir Cloud using a system of three-dimensional modules formed by folding paper thin wood laminate along curved seams. The curvature produces a form that relies on the internal surface tension to hold its shape and allows for a structural porosity within the constraints of sheet material. The resulting dimpled, concave modules pack together; naturally creating vaulted forms with a light porous surface. The form-finding exploration of the whole is thus dependent on the geometric performance of the individual units and their relation to the gallery walls.

Voussoir Cloud intentionally confuses the structural and material strategies. By beginning with a material operation, the design process is focused on calibrating the relationship of digital model to physical result. Working closely with IwamotoScott, SCI-Arc students will assist in the design, construction and installation of the work. http://bustler.net/]]> http://blog.hdarman.com/archives/218.php http://blog.hdarman.com/archives/218.php architecture Fri, 08 Aug 2008 18:22:42 +0330