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isamu noguchi was an outstanding japanese-american sculptor in the 20th century. impressed by the work of constantin brâncuşi, for about three years he worked in the studio of the great romanian master in paris. brâncuşi’s cryptic way of reflecting life and reality has inspired noguchi for a long time. much later, in the early ’50s, noguchi started creating light sculptures: akari (in jap. bright, easy, basic). they are not lamps: painstakingly made from a filigree metal structure and a traditional japanese paper membrane, they are actually small architectural objects. through the magic of this fine paper, noguchi converts the «cold»

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The story is mainly silence, a continuous speech, heard on the outskirts of any meaning; the story de‑builds the house, it rebuilds it and changes it from home into a cup filled with sky, into a secret cup, whilst moving its core from the human thought and gesture stuck crossroads in a hazard and a sidereal distortion, intuited spiritually; the story is happening in the space and time melt by the longing for a circle of light, dim for now, but promising as an eternity and incomprehension, emotionally accessible.

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A WINTER NIGHT’S DREAM

Mihai Pienescu A WINTER NIGHT’S DREAM

I was in the army. From the garrison toilet’s window, I could see the string of communist blocks of flats across the street. Whenever I could, I would hide there with an instant coffee and a cigarette, and watched the windows of the blocks’ apartments. How much life was there, behind those windows, how much life I imagined in those unseen spaces! When, over a month, I came as a psychologist in an army laboratory tasked to develop batteries of screening tests for various weapons, I imagined a «sample» of an A4 sheet of paper, on which I drew a

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For a long time, architects who have assumed a social mission believed in the power of space to shape an individual. To stimulate him, to limit its movements, to direct, and finally, to generate a certain behavior. In the purest positivist spirit (characteristic to that age), they believed in the truth of architecture, an objectivity that can transcend the perception of the individual‑user and which, once applied, can shape the individual in a determined and calculated manner.

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Mikhail Bakhtin theorized for literature a concept of immense heuristic value: the so-called chronotope, that is a determined space-time, a «world» in all its historical singularity’s complexity. Let it be clear, however: chronotope is not there by itself, it is not naturally given. Chronotope is a told imagined space-time, that is an imaginary world composed exclusively of writing, and primarily through narrative. Identifying a chronotope means to assign ontological value and status to an imaginary world, to trust them «blindly»

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Perhaps this was the reason for the present issue of the review to include storytellers, dreamers and inventors in a theoretical debate, as formulas to approach and understand the possible worlds of yesterday, and as techniques of imagination, anticipation, and intuition of the probable worlds of tomorrow, as well. Therefore, feel free to interpret or imagine architecture (and town planning) as a narration and / or a story, with one of the great storytellers, dreamers or inventors from yesterday, today and perhaps

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