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امکان ناپذیری فیزیکی مرگ؟

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The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst (1991)

 

روزها

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اين روزهاي مهمل بيفايده احساس ميکنم توهمي دردناک  به من ميگويد:همه چيز مهم است همه چيز و بعد ميرود, آنوقت با خودم ميگويم يادش بخير سيگارهاي بي خيالي من.

 

يادش بخير من,خدا بيامرز قلب بزرگي داشت.

 

يادم بخير.

 

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معمار اين هفته.آرش مظفري

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برندگان دومين مسابقه ش م ا

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1)آقاي کمال يوسف پور

2) متين ميرگذار

با تشکر فراوان از کسانی که اين بار هم در مسابقه شرکت کردند.

 

 

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هذيان

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من و بودريار نشسته بوديم تو قهوه خونه و باز داشتيم ديزي ميزديم اون هميشه براي ناهار از پاريس تا ميدون فردوسي مياد چون معتقده که ديزي هاي ميدون فردوسي پاريس حقيقت ندارن و اصلا امکان ديزي خوردن در اونجا وجود نداره خوب ديگه اگه اون يه زره غقل داشت معمار ميشد نه فيلسوف.

 

کارگر قهوه خونه برگشت گفت:آقا جريان صدام رو فهميدي؟من داشتم ماجرا رو نيگا ميکردم بودريارم داشت در موردبازي راه آهن حرف ميزد يکي ام گم شده بود و زده بود زير گريه منم زده بودم زير همه چيز و يکي داشت ماجرا رو نيگاه ميکرد.

يکي همش توي گوشم ميگفت روزگار غريبيست نازنين و من هي چند تا دعا رو که بلد بودم ميخوندم و فوت ميکردم توي چايي تا سردتر و سرد تر شه و اصلا ديکه حقيقت نداشته باشه چون يه چايي سرد ميتونه حقيقت نداشته باشه .ميتونه؟

 

"من حوالي ديوانگي قدم ميزنم"ماجرا اين بود ماجرايي که حقيقت ندارد..... .

 

حرفهای حسابی _Marcel Duchamp

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The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.

 (Marcel Duchamp)

شباهت

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 شباهت دو اثر

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"بطری در فضا میشکفد" اثر امبرتو بوچيونی 1913

 

 

"موزه گوگنهايم" بيل بائو اثر فرانک گهری 1992

 

اين را دوست بسیار عزيزی به يادم آورد از او متشکرم.

 

 

مسابقه

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who created this pretty architecture?

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answer  answer

answer  answer

answer  answer

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futurist architects or architect futurists (part1_Antonio Sant'Elia)

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 Antonio Sant'Elia (April 30, 1888 - October 10, 1916) was an Italian architect. He was born in Como, Lombardy. A builder by training, he opened a design office in Milan in 1912 and became involved with the Futurist movement. Between 1912 and 1914, influenced by industrial cities of the United States and the Viennese architects Otto Wagner and Adolf Loos, he began a series of design drawings for a futurist Città Nuova ("New City") that was conceived as symbolic of a new age.

Many of these drawings were displayed at the first and only exhibition of the Nuove Tendenze group (of which he was a member) exhibition in May/June 1914 at the "Famiglia Artistica" gallery. Today, many of these drawings are on permanent display at Villa Olmo, near Como.

The manifesto Futurist Architecture was published in August 1914, supposedly by Sant'Elia, though this is subject to debate. In it the author stated that "the decorative value of Futurist architecture depends solely on the use and original arrangement of raw or bare or violently colored materials". As described in this manifesto, his designs featured bold groupings and large-scale disposition of planes and masses creating a heroic industrial expressionism. His vision was for a highly indu_strialised and mechanized city of the future, which he saw not as a mass of individual buildings but a vast, multi-level, interconnected and integrated urban conurbation designed around the "life" of the city. His extremely influential designs featured vast monolithic skyscraper buildings with terraces, bridges and aerial walkways that embodied the sheer excitement of modern architecture and technology.

A socialist as well as an irredentist, Sant'Elia joined the Italian army as Italy entered World War I in 1915. He was killed at Monfalcone. Most of his designs were never built, but his futurist vision has influenced many architects and designers.

 

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2006-2007 Student Design Competition Preservation as 
Re-designing Saarinen's Cranbrook Academy of Art

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INTRODUCTION
In 1942, Eliel Saarinen, the renowned Finnish-American Modern Architect, designed the Library and Museum of the Cranbrook Academy of Art to be the centerpiece of the campus, which is now a National Historic Landmark. Considered to be one of the most technologically advanced and aesthetically daring Modernist building complexes at the time of its completion, its expanding collections and growing numbers of visitors now require a major transformation of the original. This competition, the first to address the emerging field of preservation design, invites architecture students to imagine this transformation. The challenge is not to adapt the buildings to fit current trends in library and museum design. Rather more ambitiously, it is to discover how the preservation of these extraordinary buildings can provoke a profound rethinking of our current conventions about design. The aim is to envision a new type of library and museum that would be unimaginable without the existing structures.

SCHEDULE
December 5 2006: Registration begins (there is no fee for registration)
February 8, 2007: Deadline for receipt of registrations by ACSA.
May 30, 2007: Deadline for receipt of entries in Washington, DC.
June 2007: Prize winners chosen by the design jury.
Summer 2007: Publication of competition summary catalog.

https://www.acsa-arch.org/competitions/historicalpreservation.aspx

گفتگو

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من و او

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من:الو سلام منَ من هستم

او:بله بفرمایید.

من:من میخوام کارای شما رو برای عده ای از اهالی معرفی کنم به نظرم کاراتون قشنگه.

او:آآ   آخه من که معرفی کردن ندارم کارامم همه زشته

من:نه این چه حرفیه

او:نه جدی میگم ولی باشه بیا با هم حرف میزنیم