Tuesday, August 02. 2016
By fabric | ch
As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 07.2016), via all its tags!
HERE ARE ALL THE CURRENT TAGS TO NAVIGATE ON | RBLG BLOG:
(to be seen just below if you're navigating on the blog's page or here for rss readers)
Posted by Patrick Keller in fabric | ch at 16:58
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Friday, January 15. 2016
Note: it is not too late to wish everybody a happy '16, so, here I do! ... even so the year started in such a sad way with the disappearance of this shiny artist called David Bowie.
Maybe is it then already the right time to bring back our good old '16 resolutions, so to conjure these bad vibes? For my part, some of them were about reading... like always (or adding books on my already too big pile I can guess) and while I was wandering here and there on the Net late last December, I stumble upon this interesting initiative of curated lists of books related to design and art. Curators of books include readers such as Peter Eisenman, Tonny Dunne, Sou Fujimoto, Massimo Vignelli, John Maeda and many others (177 designers to date, 34 commentators, 73 guests, etc.).
Well... interesting line up I must say! Have a good '16 reading ...
" Designers & Books is an advocate for books as an important source of inspiration for creativity, innovation, and invention. The main way we do this is by publishing lists of books that esteemed members of the international design community identify as important, meaningful, and formative—books that have shaped their values, their worldview, and their ideas about design. This provides the direction for our focus on books about architecture, fashion, graphic design, interactive design, interior design, landscape architecture, product and industrial design, and urban design. "
Wednesday, December 30. 2015
Note: could a perfect ending for this year be this post about (yet another) new exhibition (in Boston)? It is about the fantastic, the radical and the utopian Black Mountain College in North Carolina that became an important school for a large part of the post-war avant-garde in the United States/East coast.
It was an "adventure in progressive education" which points again how schools, when they remain "wild" enough, can become important structures to crystalize creative energies and momentum (and that is therefore also logically listed in Beatriz Colomina's research project about historical "Radical Pedagogies" in architecture).
Via MIT Press
"Leap Before You Look: Black Mountain College 1933-1957," an exhibition currently showing at the Institute of Contemporary Art in Boston, focuses on how Black Mountain College (BMC) became a seminal meeting place for many of the artists, musicians, poets, and thinkers who would become the principal practitioners in their fields of the postwar period. "Leap Before You Look," the first exhibition in the US to examine BMC as a hotbed for the American avant garde, opened on October 10, 2015 and will show through January 24, 2016. Senior Production Coordinator Christine Savage recently checked it out and shares the following insights:
The story of Black Mountain College (BMC) serves as an excellent reminder of how brilliant, prolific, and innovative people can be. The school was an idyll, an embodiment of a progressive, collaborative, utopian future. The college was also an absolute anomaly, and serves possibly as an even better reminder of how rarely we come together to achieve such promise.
If only it hadn’t gone broke and closed after only 24 years.
“Leap Before You Look: Black Mountain College 1933-1957” is a remarkable exhibit that does a wonderful job of illustrating BMC’s proud stature among the great artistic moments in the last century. The collection features music and dance performances, as well as over 200 pieces of artwork created at the college. A history of the school and the art created there can be found in the MIT Press book, Black Mountain College: Experiment in Art edited by Vincent Katz, which documents the brief—but influential—existence of the school, and offers a fascinating glimpse of campus life.
BMC was a tiny school with a disproportionate influence on art and culture in the 20th century. (A partial—yet still absurdly impressive—list of artists who taught and studied there includes Willem and Elaine de Kooning, Robert Rauschenberg, Josef and Anni Albers, Jacob Lawrence, Ruth Asawa, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Vera B. Williams, Franz Kline, Buckminster Fuller, Francine du Plessix Gray, Charles Olson, Robert Creeley, Dorothea Rockburne, and Walter Gropius.)
Founded in 1933 at a former summer camp with 22 students in the Blue Ridge Mountains of North Carolina, BMC was an adventure in progressive education. Less an art school than a perpetually broke experimental liberal arts college, the program’s philosophy centered around the belief that artistic experience was instrumental to all aspects of learning and grew students into better—and more curious—democratic citizens. Fortunately for art lovers the world around, BMC’s college life and curriculum revolved around the artistic process at a critical moment when American Progressivism combined with European Modernism.
Photographs at the start of the exhibit show the communal, egalitarian style of living and working at the school. The faculty owned and operated the college, and governed it together with students. In the early 1930s, sweat equity was more useful than tuition—they grew their own food, cooked their own meals, and built their own classrooms.
The founders of BMC kicked off their utopian educational experiment by hiring Bauhaus artists Josef and Anni Albers, who brought with them a healthy dose of enthusiasm for communal idealism and experimentation. These values remain evident in the profoundly interdisciplinary art created at the college during its brief existence, spanning painting, sculpture, ceramics, textiles, poetry, dance, music, and theater.
The exhibit begins with the colorful geometric paintings and prints of Josef, and the striking, modernist weavings and jewelry of Anni. In nearby rooms, photographs and models showing Buckminster Fuller’s experimental architecture—and the oftentimes unsuccessful attempts at constructing it—sit in conversation with the geometric and organic drawings and sculptures of Ruth Asawa, as well as the vibrant, expressionistic paintings of Elaine and Willem de Kooning and Franz Kline.
Later in the exhibit, the artistic creations of Merce Cunningham, John Cage, and Robert Rauschenberg showcase the collaborative, bodily nature of the work at BMC. Displays and performances using their choreography, music, and set decorations—schedules of which are available on the ICA website—allow museum visitors to share in an experience that, well, grew from shared experience.
As one might expect from the school’s summer camp beginnings, it was a perfect storm of intense closeness, idealism, freedom, and collaboration. Throughout the ICA’s galleries, the works of art from BMC seem to speak to each other, and to be in their presence is to get a glimpse of how their creators exemplified the school’s motto of “learning through doing.”
It’s an education in the importance of experimentation and exposure to difference, and a chance for (oft-maligned) utopian idealism—however short-lived—to get a little vindication.
Wednesday, November 12. 2014
Note: an interesting new publication and project by Space Caviar (Joseph Grima --former Storefront for Art & Architecture, Domus, Adhocracy exhibition, etc.--, Tamar Shafir, Andrea Bagnato, Giulia Finazzi, Martina Muzi, Simone C. Niquille, Giulia Grattarola) about the changing nature of "home" under the pressure of "multiple forces" (if domesticity does, indeed, still exists as the authors state it). Interestingly, some data files and charts used in the books are made oublicly available via a Github. Reminds me somehow of recorder data about a public project we made available on the site of the project (Heterochrony), back in 2012.
Via Space Caviar
The way we live is rapidly changing under pressure from multiple forces—financial, environmental, technological, geopolitical. What we used to call home may not even exist anymore, having transmuted into a financial commodity measured in square meters, or sqm. Yet, domesticity ceased long ago to be central in the architectural agenda; this project aims to launch a new discussion on the present and the future of the home.
SQM: The Quantified Home, produced for the 2014 Biennale Interieur, charts the scale of this change using data, fiction, and a critical selection of homes and their interiors—from Osama bin Laden’s compound to apartment living in the age of Airbnb.
With original texts by: Rahel Aima, Aristide Antonas, Gabrielle Brainard and Jacob Reidel, Keller Easterling, Ignacio González Galán, Joseph Grima, Hilde Heynen, Dan Hill, Sam Jacob, Alexandra Lange, Justin McGuirk, Joanne McNeil, Alessandro Mendini, Jonathan Olivares, Marina Otero Verzier, Beatriz Preciado, Anna Puigjaner, Catharine Rossi, Andreas Ruby, Malkit Shoshan, and Bruce Sterling.
The book is published by Lars Müller, and will be available for sale worldwide from November 2014. The dust jacket is screen-printed on wallpaper in 22 different patterns, randomly mixed.
Download the table of contents
Wednesday, October 08. 2014
Note: a few of our recent works and exhibitions are included in this promising young publication related to architectural thinking, Desierto, edited by Paper - Architectural Histamine in Madrid. At the editorial team invitation, I had the occasion to write a paper about Deterritorialized Living and one of its physical installation last year in Pau (France), during Pau Acces(s). We also took the occasion of the publication to give a glimpse of a related research project called Algorithmic Atomized Functioning.
By fabric | ch
From the editorial team:
"The temperature of the invisible and the desacralization of the air.
28° Celsius is the temperature at which protection becomes superfluous. It is also the temperature at which swimming pools are acclimatised. Within the limits of the this hygrothermal comfort zone, we do not require the intervention of our body's thermoregulatory mechanisms nor that of any external artificial thermal controls in order to feel pleasantly comfortable while carrying out a sedentary activity without clothing. 28° Celsius is thus the temperature at which clothing can disappear, just as architecture could."
Authors are Gabriel Ruiz-Larrea, Sean Lally, Philippe Rahm, Nerea Calvillo, myself, Helen Mallinson, Antonio Cobo, José Vella Castillo and Pauly Garcia-Masedo.
Editorial by gabriel Ruiz-Larrea (editor in chief). Editorial team composed of Natalia David, Nuria Úrculo, María Buey, Daniel Lacasta Fitzsimmons.
Inhabiting Deterritorialization, by Patrick Keller, with images of Deterritorialized Living website, Deterritorialized Daylight installation (Pau, France) and Algorithmic Atomized Functioning.
Desierto #3 and past issues can be ordered online on Paper bookstore.
Friday, June 27. 2014
Note: Bracket just announced the line up for the 4th edition of the "bookazine". This time, BRACKET [takes action]!
After reviewing over 170 exciting entries, the jury has selected the projects and articles posted on the Bracket website for [Takes Action]. To view the selected entries, click here. All of the entries made for a great discussion and difficult decision for the jury. Many thanks to everyone who participated in the Bracket [Takes Action] Call for Entries and our jury: Pier Vittorio Aureli, Vishaan Chakrabarti, Adam Greenfield, Belinda Tato, and Yoshiharu Tskuamoto. Lastly, a special thanks to Archinect for handling the web interface and creating our new website (which also went live today). We will be in touch with the selected contributors shortly regarding the next phase of the submission.
— Neeraj Bhatia & Mason White, Bracket [Takes Action] Editors
Wednesday, May 07. 2014
Wednesday, October 30. 2013
Par Réda Benkirane
Dans un livre pionnier, «Théorie du drone», le philosophe français Grégoire Chamayou analyse le rôle grandissant du drone dans la guerre moderne, et sur ce qu’il changera en termes de géopolitique et de surveillance globale.
Grégoire Chamayou, Editions La Fabrique, 363 pages.
Le drone est un «objet violent non identifié» qui est en train de miner le concept de guerre tel qu’on le connaît depuis Sun Tzu jusqu’à Clausewitz. Dans une œuvre de pionnier, le philosophe français Grégoire Chamayou décode cet objet qui soulève quantité de questions relatives à la stratégie, à la violence armée, à l’éthique de la guerre et de la paix, à la souveraineté et au droit. Le drone et ses clones robotiques ouvrent au sein des conflits violents une vaste terra incognita totalement impensée par le droit international et les lois immémoriales de la guerre.
Dans un ouvrage magistral, le philosophe entreprend la toute première réflexion sur cette nouvelle forme de violence, née de la généralisation d’un gadget militaire, le drone, ce véhicule terrestre, naval ou aéronautique sans homme à son bord (unmanned).
Les drones Predator et Reaper ont la particularité de voler à plus de 6000 mètres d’altitude et d’être télécommandés par des individus souvent civils (faut-il les considérer comme des combattants?) depuis une salle de contrôle informatique du Nevada. D’un clic de souris, un téléopérateur appuie sur une gâchette et déclenche un missile distant de milliers de kilomètres qui immédiatement s’abat sur un village du Pakistan, du Yémen ou de Somalie. Le drone est «l’œil de Dieu», il entend et intercepte toutes sortes de données qu’il fusionne (data fusion) et archive à la volée: en une année, il a généré l’équivalent de 24 années d’enregistrements vidéo.
Cette Théorie du drone a le mérite d’informer sur la mutation majeure des conflits violents entamée sous les présidences Bush et adoptée par l’administration d’Obama. Le drone et la suite des engins tueurs qui se profilent à l’horizon – les Etats-Unis disposent de 6000 drones et travaillent à des avions de chasse sans pilote pour 2030 – transforment une tactique adjacente en stratégie globale, et font de l’anti-terrorisme et de la politique sécuritaire leur doctrine de combat du siècle. Initiés par les Israéliens, premiers adeptes de l’euphémique devise «personne ne meurt sauf l’ennemi», puis repris par les «neocons» américains, les drones font le miel de l’équipe d’Obama, pour qui «tuer vaut mieux que capturer», liquider par avance les suspects terroristes étant préférable à leur enfermement à Guantanamo.
L’auteur poursuit sa démonstration sur l’imprécision et la contre-productivité du drone; du fait de l’altitude à laquelle il opère, son rayon létal est de 20 mètres, tandis que celui d’une grenade est de 3 mètres. Seule la munition classique peut être véritablement considérée comme une «arme chirurgicale» du point de vue de sa précision létale. Etant donné les milliers de morts civils qu’ils ont occasionnés, les drones ont aussi le désavantage de rallier toujours plus les populations locales aux groupuscules terroristes.
L’auteur montre comment la diminution croissante des morts des militaires et l’extension continue du «dommage collatéral» – ce mot qui cache depuis la fin de la Guerre froide la liquidation informelle de civils non combattants – procèdent de l’assomption suivante: dès qu’un actant de «l’axe du mal» est identifié, son réseau social fait de facto partie du c(h)amp du mal que l’on pourra vitrifier depuis une interface informatique. Certains avancent même l’idéal déréalisant que la robotique létale constituerait l’«arme humanitaire» par excellence et l’auteur fait observer combien l’euphémisation des enjeux militaires est légitimée par la rhétorique du care. Chamayou voit dans la novlangue sur le militaire humanitaire les débuts d’une politique «humilitaire».
La géopolitique est en train de laisser place à une aéropolitique. La guerre n’est plus un affrontement ni un duel entre parties combattantes sur un territoire délimité, mais une «chasse à l’homme», où un prédateur poursuit partout et tout le temps une proie humaine. Les notions de temporalité, de territorialité, de frontière, d’éthique guerrière et de droit humanitaire sont rendues obsolètes par ces armes low cost et high-tech.
L’auteur prédit un avenir fait de robots-insectes miniaturisés – les nanotechnologies aidant – concourant à la mise en place d’un système panoptique complet qui risque d’enserrer les Etats et les citoyens.
Cet ouvrage, d’ores et déjà incontournable, en appelle à une prise de conscience politique face à la déshumanisation en cours derrière ce nouvel art de surveiller, d’intercepter et d’anéantir.
Following my recent post about drones (as scanning devices), there are obviously different types of drones and like any other technology, it looks like that this one too has two sides... We are now probably in need of some renewed "Contrat Social" that would take into account additional "parameters" (between humans and machines/technologies + between humans and our planet --Contrat naturel--).
Friday, September 06. 2013
At long last, after a delay from the printer, Landscape Futures: Instruments, Devices and Architectural Inventions is finally out and shipping internationally.
Of course, everything just listed supplements and expands on the heart of the book, which documents the eponymous exhibition hosted at the Nevada Museum of Art, featuring specially commissioned work by Smout Allen, David Gissen, and The Living, and pre-existing work by Liam Young, Chris Woebken & Kenichi Okada, and Lateral Office.
In any case, I've written about Landscape Futures here before, and an exhaustive preview of it can be seen in this earlier post.
Thursday, July 04. 2013
Eyes on the Sky is a process-based investigation into generative design and the weather linking 64 public-access web cameras across Europe, recording the colour of the sky and producing a book that collects a week of paintings where cameras paint the weather.
More about it HERE.
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fabric | rblg
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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