20111201
20111125
20111110
20111026
Copyright Laws & Trademarks in Logo Design
Copyright Laws & Trademarks in Logo Design: "What Is Copyright?
AIGA, the professional association for design, defines copyright as:
“The exclusive right to control reproduction and commercial exploitation of your creative work. Copyright protects any kind of artwork, including illustrations, photographs and graphic design. Except under certain circumstances (see “work made for hire” section), you own the copyright in your work at the moment you create it in a “fixed form of expression.” A fixed form of expression is any tangible medium that can be perceived by humans, including traditional forms—such as paintings, sculptures, writings—and new forms that require a machine to perceive (e.g., GIF files, CDs, websites).
Source: AIGA Copyright Basics For Graphic Designers"
'via Blog this'
AIGA, the professional association for design, defines copyright as:
“The exclusive right to control reproduction and commercial exploitation of your creative work. Copyright protects any kind of artwork, including illustrations, photographs and graphic design. Except under certain circumstances (see “work made for hire” section), you own the copyright in your work at the moment you create it in a “fixed form of expression.” A fixed form of expression is any tangible medium that can be perceived by humans, including traditional forms—such as paintings, sculptures, writings—and new forms that require a machine to perceive (e.g., GIF files, CDs, websites).
Source: AIGA Copyright Basics For Graphic Designers"
'via Blog this'
Meaning of Baka Inaka « Baka Inaka Fukui t-shirts & hoodies – BakaInaka.com
Meaning of Baka Inaka
What does ‘Baka Inaka’ mean?
As with much of the Japanese language, the phrase can be interpreted in various ways, depending on what emphasis is put on the words, and who is saying them.
Therefore, meanings of the word ‘baka’ can range from ‘crazy’, ‘wacky’, or ‘silly’, to ‘foolish’ or ‘idiotic’.
In the same way, ‘inaka’ means countryside, but can also mean ‘the sticks’, ‘boonies’, or the ‘wops’, meaning a rural backwater in the middle of nowhere.
Therefore, meanings of the word ‘baka’ can range from ‘crazy’, ‘wacky’, or ‘silly’, to ‘foolish’ or ‘idiotic’.
In the same way, ‘inaka’ means countryside, but can also mean ‘the sticks’, ‘boonies’, or the ‘wops’, meaning a rural backwater in the middle of nowhere.
Put together, baka inaka loosely translates a ‘crazy countryside’. The phrase was chosen to describe Fukui, on account of the many amazing, amusing, and often unusual experiences that many foreigners have whilst living there.
Though many in the West think of Japan as an ultra-high-tech country, Fukui is a land where snakes roam the school corridors, where foreign men have been reported for holding hands with Japanese ladies, and where the snow falls so heavily – it can crush a house. This is the world of the baka inaka.
The design has become extremely popular with both ex-pats living in the Fukui, as well as the local Japanese population of Fukui itself.
The tongue-in-cheek design that plays on Fukui’s nuclear capabilities and uses the words inaka, and baka inaka, were the cause of some controversy when the t-shirt first appeared and still trigger debate – which is one of the reasons why the design remains so popular.
Though many in the West think of Japan as an ultra-high-tech country, Fukui is a land where snakes roam the school corridors, where foreign men have been reported for holding hands with Japanese ladies, and where the snow falls so heavily – it can crush a house. This is the world of the baka inaka.
The design has become extremely popular with both ex-pats living in the Fukui, as well as the local Japanese population of Fukui itself.
The tongue-in-cheek design that plays on Fukui’s nuclear capabilities and uses the words inaka, and baka inaka, were the cause of some controversy when the t-shirt first appeared and still trigger debate – which is one of the reasons why the design remains so popular.
20111025
67a2: architecture
67a2: architecture: "
Section Perspective Drawings as an Architectural Presentation Tool "
'via Blog this'
Section Perspective Drawings as an Architectural Presentation Tool "
'via Blog this'
TITLE OF THE ARTICLE:
TITLE OF THE ARTICLE:: "THE ARCHITECT AND THE LIGHT SWITCH: LOUIS KAHN AND GENERAL ELECTRIC"
'via Blog this'
'via Blog this'
20111013
Olson Kundig Architects
DELTA SHELTER
This 1,000 square-foot weekend cabin, basically a steel box on stilts, can be completely shuttered when the owner is away. Situated near a river in a floodplain, the 20’ x 20’ square footprint rises three stories and is topped by the living room/kitchen. Large, 10’ x 18’ steel shutters can be closed simultaneously using a hand crank.
Interiors by Olson Kundig Architects.
ROLLING HUTS
Responding to the owner’s need for space to house visiting friends and family, the Rolling Huts are several steps above camping, while remaining low-tech and low-impact in their design. The huts sit lightly on the site, a flood plain meadow in an alpine river valley. The owner purchased the site, formerly a RV campground, with the aim of allowing the landscape return to its natural state. The wheels lift the structures above the meadow, providing an unobstructed view into nature and the prospect of the surrounding mountains.
The huts are grouped as a herd: while each is sited towards a view of the mountains (and away from the other structures), their proximity unites them. They evoke Thoreau’s simple cabin in the woods; the structures take second place to nature. Rental information for the Huts is available at
www.rollinghuts.com
Interiors by Olson Kundig Architects.
ROLLING HUTS
Responding to the owner’s need for space to house visiting friends and family, the Rolling Huts are several steps above camping, while remaining low-tech and low-impact in their design. The huts sit lightly on the site, a flood plain meadow in an alpine river valley. The owner purchased the site, formerly a RV campground, with the aim of allowing the landscape return to its natural state. The wheels lift the structures above the meadow, providing an unobstructed view into nature and the prospect of the surrounding mountains.The huts are grouped as a herd: while each is sited towards a view of the mountains (and away from the other structures), their proximity unites them. They evoke Thoreau’s simple cabin in the woods; the structures take second place to nature. Rental information for the Huts is available at
www.rollinghuts.com
20111012
Storage Barn | Gray Organschi Architecture
Storage Barn | Gray Organschi Architecture:
This workshop and storage facility for a landscaping contractor lies within a watershed conservancy area. Conservation regulations limit allowable building coverage and our client sought to reduce the sprawl of soil stockpiles and material pallets strewn around the surface of the site. The building serves as a dimensionally economical and energy efficient storage rack for heavy materials, in which tightly packed and palletized stone and wood are stored in a flexible external shelving system that allows access to any pallet in any position on the rack without disturbing others around it. As an integral part of the structural steel frame, we developed a series of cantilevered shelf standards (akin to the lumber racking systems found in commercial lumber yards) and based the building’s organization on the dimension and weight of a pallet of stone and on the wheelbase, turning radius, and reach of the articulated loader which moves and manages the material and which is parked inside the building when not in use.
The exterior expression of the barn, a rough and changing mosaic of wood and stone, contrasts with the barn’s bright, smooth internal surfaces. Behind the steel pallet racks, a double-layered sheath of extruded polycarbonate panels, whose translucency admits daylight to the building interior wherever pallet racks are left unfilled, forms the enclosure of the building. This natural illumination provided by the wall assembly is part of a comprehensive strategy for the building’s energy conservation. The building is entirely heated and cooled geo-thermally and its ground-source heat pumps and electric worklights are powered by a rooftop array of translucent photovoltaic panels that also serve as skylights to further supplement natural interior illumination. By extending the translucent roof canopy, we created a covered but evenly day-lit work space and weather-protected storage area for stockpiles of loose sand and loam, while providing expanded area for additional photovoltaic panels. The building currently produces more electrical energy than it consumes, acting as a small private generating plant that allows its owner to sell the surplus electricity back to the regional utility company.
'via Blog this'
This workshop and storage facility for a landscaping contractor lies within a watershed conservancy area. Conservation regulations limit allowable building coverage and our client sought to reduce the sprawl of soil stockpiles and material pallets strewn around the surface of the site. The building serves as a dimensionally economical and energy efficient storage rack for heavy materials, in which tightly packed and palletized stone and wood are stored in a flexible external shelving system that allows access to any pallet in any position on the rack without disturbing others around it. As an integral part of the structural steel frame, we developed a series of cantilevered shelf standards (akin to the lumber racking systems found in commercial lumber yards) and based the building’s organization on the dimension and weight of a pallet of stone and on the wheelbase, turning radius, and reach of the articulated loader which moves and manages the material and which is parked inside the building when not in use.
The exterior expression of the barn, a rough and changing mosaic of wood and stone, contrasts with the barn’s bright, smooth internal surfaces. Behind the steel pallet racks, a double-layered sheath of extruded polycarbonate panels, whose translucency admits daylight to the building interior wherever pallet racks are left unfilled, forms the enclosure of the building. This natural illumination provided by the wall assembly is part of a comprehensive strategy for the building’s energy conservation. The building is entirely heated and cooled geo-thermally and its ground-source heat pumps and electric worklights are powered by a rooftop array of translucent photovoltaic panels that also serve as skylights to further supplement natural interior illumination. By extending the translucent roof canopy, we created a covered but evenly day-lit work space and weather-protected storage area for stockpiles of loose sand and loam, while providing expanded area for additional photovoltaic panels. The building currently produces more electrical energy than it consumes, acting as a small private generating plant that allows its owner to sell the surplus electricity back to the regional utility company.
'via Blog this'
20111007
dellekamp arquitectos - Void Temple
dellekamp arquitectos » Blog Archive » Void Temple: "The circle is a universal symbol of unity, a meaning that transcends cultures, borders, and languages. It appears time and time again within the religious rituals and depictions, from the halo of holy figures to the shape of the Holy Spirit during communion. It also represents a cycle, a never-ending journey symbolizing the faith of pilgrims. The circle offers a place for introspection, a space for pilgrims to look back upon their journey, before carrying on to their final destination."
CULTURE AND CONFERENCE CENTRE, GERMANYLundgaard & Tranberg
" ....... The project draws inspiration from the site’s rolling terrain, close to both the village Künzelslau-Gaisbach and the Würth Company headquarters and factory.
The building manifests itself as a sculptural figure in an abstract, scale-less expression, referring to the precise and refined, yet complex form language of advanced industrial design.
To its surroundings, it presents a perfect circular form, while the interior is a more freely formed open space – the sculpture garden.
All of the centre’s programmatic functions are placed in solitary or grouped cylindrical volumes, creating three functional nodes along the circular promenade.
The extensive sculpture collection is integrated in the architecture, so that landscape, architecture, and art are united in a meaningful relationship. ...."
Site: Lundgaard & Tranberg Arkitekter - Denmark
LEGO.com Architecture Home
LEGO.com Architecture Home:
LEGO® Architecture celebrates the past, present and future of architecture through the medium of the LEGO® Brick. We aim to explore the fascinating worlds of Architecture, Engineering and Construction. Our ambition is to inspire minds of all ages as they learn about the world’s most iconic buildings and structures.
'via Blog this'
LEGO® Architecture celebrates the past, present and future of architecture through the medium of the LEGO® Brick. We aim to explore the fascinating worlds of Architecture, Engineering and Construction. Our ambition is to inspire minds of all ages as they learn about the world’s most iconic buildings and structures.
'via Blog this'
20110921
FIELD Data Visualisations
Graphical Land Art of an incredible scale.
"FIELD is a studio for digital art and graphic design in London.
Inspired by the patterns of nature and the dynamics of life,
we create exceptional digital artworks for a range of media.
Computational design, interactive technology, and generative
strategies provide the means to let our visuals come to life."
FIELD Data Visualisations:
Inspired by the patterns of nature and the dynamics of life,
we create exceptional digital artworks for a range of media.
Computational design, interactive technology, and generative
strategies provide the means to let our visuals come to life."
FIELD Data Visualisations:
20110920
Concours – 2:pm architectures
Concours – 2:pm architectures:
Picture Gallery
11 Housing Units
Innovation in architecture has just turned the corner with 2:pm Architectures from France making everyone sit up and take notice. They have broken new ground in this field by planning a project, a housing complex built on a slope at Turquant, France. This complex comprises of 11 units. In the thick implantation, a living environment is articulated through this project, along with two adding up 11 units. The feature that makes these housing units stand apart is the fact that the units do not contain any wood at all. People at 2:pm Architecture believe that to create and build up something that will keep up, the resources used should be taken into consideration.
'via Blog this'
11 Housing Units
Innovation in architecture has just turned the corner with 2:pm Architectures from France making everyone sit up and take notice. They have broken new ground in this field by planning a project, a housing complex built on a slope at Turquant, France. This complex comprises of 11 units. In the thick implantation, a living environment is articulated through this project, along with two adding up 11 units. The feature that makes these housing units stand apart is the fact that the units do not contain any wood at all. People at 2:pm Architecture believe that to create and build up something that will keep up, the resources used should be taken into consideration.
Situated in a flat position on top of the rock, residents will be able to view the vast, delightful scenery from the Loire’s lap. The roof is solitary. It has, however, modulations that are in juxtaposition to the boundary of the back of the abyss of Crete. There are two buildings that are to the west. These are constructed straight up. These two are positively going to remind you of the countryside. The roof with single incline is incised in a square, even if slightly so.
They have paid attention to the use of steel. Using steel is advantageous for various reasons. Frequent use of wood to construct buildings is unfavorable to the environment. Using steel is a more eco friendly option. Steel is recyclable and can be reused for an indefinite period. Steel, even after recycling, does not lose any of its properties that are originally found in it. The framing is done by putting together the steel while building. It is easy to disband the steel resources that are used in the housing, and is also easy to recycle them as required. Using steel is a sophisticated, cost effective and environmental friendly step as far as constructing buildings are concerned.
These housing units interpret the neighboring surroundings in a very different, unique and modern way. The Turkish native architecture is, however, preserved in these buildings. The construction flaunts roofs with solitary incline, the sophisticated veneer on the lanes, and access to stairs that are external are specific to Turkish architecture.
Via: Archdaily
They have paid attention to the use of steel. Using steel is advantageous for various reasons. Frequent use of wood to construct buildings is unfavorable to the environment. Using steel is a more eco friendly option. Steel is recyclable and can be reused for an indefinite period. Steel, even after recycling, does not lose any of its properties that are originally found in it. The framing is done by putting together the steel while building. It is easy to disband the steel resources that are used in the housing, and is also easy to recycle them as required. Using steel is a sophisticated, cost effective and environmental friendly step as far as constructing buildings are concerned.
These housing units interpret the neighboring surroundings in a very different, unique and modern way. The Turkish native architecture is, however, preserved in these buildings. The construction flaunts roofs with solitary incline, the sophisticated veneer on the lanes, and access to stairs that are external are specific to Turkish architecture.
Via: Archdaily
'via Blog this'
Maison Leguay / Moussafir Architectes Associés
Architects: Moussafir Architectes Associés - Jacques Moussafir, Gilles Poirée
Location: Bois-Colombes, France
Project area: 232 sqm
Project year: 2005 – 2011
Photographs: Courtesy of Jacques Moussafir, Gilles Poirée
20110918
20110911
20110831
YENDO’S NATURE « LEBBEUS WOODS
YENDO’S NATURE
by LEBBEUS WOODS
There are several levels on which we lcan approach this small series of drawings by Masahiko Yendo. Made at the same time as his celebrated projects published in Ironic Diversion, these virtuoso pencil drawings are lyrical visions of a harmonious meeting of human and natural worlds. In them the natural landscapes seem as constructed as the buildings seem to have grown and evolved through geo-tectonic processes. While they remain distinctly different from one another, the buildings and landscapes interact creatively, somehow dependent on each other. The drawings’ lyricism—their exaltation of form and texture and meaning—differentiates them from actual situations where industrial architecture pollutes virgin landscapes. Something in the drawings convinces us that they belong together, even though our experience insists that they do not. Here we touch on Yendo’s sense of the ‘ironic’ or, perhaps the paradoxical nature of reality, which emerges from contradictions that can only be resolved through art and the heightened sensibilities it inspires.
Of the many pathways these drawings open for exploration is that of drawing. I have no interest or intention of reopening old discussions of the pros and cons of hand versus computer drawings—they simply go nowhere. I’m willing to grant, for the sake of exploration, that one day a computer will be able to draw exactly like Masahiko Yendo. I repeat, exactly, with all the infinitely varied tonality and all the nuance of texture, shading, and illusion of light and darkness. For that to happen, of course, the pixels of the computer drawing would have to be infinitely small, creating the actual spatial continuity of the hand drawing. Assuming that this technological feat could be achieved, what difference would there be between the hand and the computer drawing?
Absolutely none—if we consider only the drawing itself, as a product, as an object, which—in our present society—is our habitual way of perceiving not only drawings, but also the buildings they describe.
I repeat: absolutely none. IF, however, we think of drawings—even the most seductively product-like ones shown here—as evidence of a process of thinking and making, the difference is vast. Indeed, there is no way to close the gap between them. In the hand-drawn image, every mark is a decision made by the architect, an act of analysis followed by an act of synthesis, as the marks are built up, one by one. In the computer-drawn image, every mark is likewise a decision, but one made by the software, the computer program—it happens in the machine, the computer, and does not involve the architect directly. In short, in the latter case, the architect remains only a witness to the results of a process the computer controls, learning only in terms of results. In the former case, the architect learns not only the method of making, but also the intimate connections between making and results, a knowledge that is essential to the conscious development of both.
LW
There are several levels on which we lcan approach this small series of drawings by Masahiko Yendo. Made at the same time as his celebrated projects published in Ironic Diversion, these virtuoso pencil drawings are lyrical visions of a harmonious meeting of human and natural worlds. In them the natural landscapes seem as constructed as the buildings seem to have grown and evolved through geo-tectonic processes. While they remain distinctly different from one another, the buildings and landscapes interact creatively, somehow dependent on each other. The drawings’ lyricism—their exaltation of form and texture and meaning—differentiates them from actual situations where industrial architecture pollutes virgin landscapes. Something in the drawings convinces us that they belong together, even though our experience insists that they do not. Here we touch on Yendo’s sense of the ‘ironic’ or, perhaps the paradoxical nature of reality, which emerges from contradictions that can only be resolved through art and the heightened sensibilities it inspires.
Of the many pathways these drawings open for exploration is that of drawing. I have no interest or intention of reopening old discussions of the pros and cons of hand versus computer drawings—they simply go nowhere. I’m willing to grant, for the sake of exploration, that one day a computer will be able to draw exactly like Masahiko Yendo. I repeat, exactly, with all the infinitely varied tonality and all the nuance of texture, shading, and illusion of light and darkness. For that to happen, of course, the pixels of the computer drawing would have to be infinitely small, creating the actual spatial continuity of the hand drawing. Assuming that this technological feat could be achieved, what difference would there be between the hand and the computer drawing?
Absolutely none—if we consider only the drawing itself, as a product, as an object, which—in our present society—is our habitual way of perceiving not only drawings, but also the buildings they describe.
I repeat: absolutely none. IF, however, we think of drawings—even the most seductively product-like ones shown here—as evidence of a process of thinking and making, the difference is vast. Indeed, there is no way to close the gap between them. In the hand-drawn image, every mark is a decision made by the architect, an act of analysis followed by an act of synthesis, as the marks are built up, one by one. In the computer-drawn image, every mark is likewise a decision, but one made by the software, the computer program—it happens in the machine, the computer, and does not involve the architect directly. In short, in the latter case, the architect remains only a witness to the results of a process the computer controls, learning only in terms of results. In the former case, the architect learns not only the method of making, but also the intimate connections between making and results, a knowledge that is essential to the conscious development of both.
LW
20110829 Remake - Michael Bech Collage Sketch
 |
Mapping Highrise
20110828
20110827
vernacular security : James D. Griffioen
vernacular security : James D. Griffioen:
In Detroit, the battle against diabolical intruders does not end until there is no more metal or anything else of value inside a structure. Somewhere between traditional measures of security and total abandonment, property owners use whatever resources and materials they have at their disposal to secure a building. This has resulted in a unique typology of buildings protected by an unintentionally beautiful array of defenses.
'via Blog this'
20110825
Pinc House - The Lifestyle Developer
The Black Barn Prefab House, from the Pinc House Prefab , Black Barn is a modern adaptation of the Viking longhouse with exposed ceiling beams and strategically placed windows.. This beautiful yet simple structure comes in black calcimine with a tarred wooden roof and visible beams.
20110821
boiteaoutils: # Building Landscapes by Lebbeus Woods
boiteaoutils: # Building Landscapes by Lebbeus Woods: Lebbeus Woods released a new article on his blog entitled "Building Landscapes" featuring works of Thom Mayne, Peter Eisenman, Robert Smithson and some of his beautiful drawings for the Korean DMZ.
Subscribe to:
Posts (Atom)
