David Lamelas addresses aspiration for self-criticality and emancipation from the art world's dependency on cult or star status, and a full-scale assimilation of the technologies of both media and spectacle culture.
We’re always interested in discovering new websites related to architecture, cities and the architectural profession. This time we found a Tumblr account solely focused on posting architectural drawings, no matter the technique, date or auothor. It’s a complete and growing catalogue of Arch Drawings, so let’s take a look:
Left: Still from Logorama | Right: Poster for Tony de Marco's São Paulo No Logo exhibition
As duly noted by Design Observer, there lies an ambiguity in the freshly-Academy-awarded short film Logorama. At once seducing us into a nostalgic admiration for the craft of graphic design while warning us of the cataclysmic dangers of corporate domination, the animation could be said to have its real-world equivalent in what was once the billboard-infested city of São Paulo before passing its history-making anti-billboard law three years ago. In an age where buildings have become billboards themselves and consumerism has reached its peak, it’s worth taking a look at the case of São Paulo and asking: Publi-City or No Publi-City?
“HOY es el momento en el que más que nunca la arquitectura ya no es Arquitectura, como formulara hace muchos años Hannes Meyer. La Arquitectura sigue siendo arquitectura, pero su ámbito se ha ampliado y ciertamente complejizado. Lo que ha cambiado radicalmente y sin discusión alguna es la figura del arquitecto.” -Pilar Pinchart
Full-length version of Logorama (subtitulada en español).
Last night at the Oscars, the nominated short film The Door (filmed in radioactive Chernobyl) which we recently featured lost out to The New Tenants, in which a new apartment reveals its terrifying history to two men on what might be the worst moving day ever. Meanwhile, the French collective H5’s Logorama, which we heard a lot about in the past few months, won best animated short film. The film depicts an urban landscape built from logos and a world taken over by real trademarks. Ironically, it won them the iconic golden statue that could have well been one of the many characters in the film.
From Chernobyl’s Zone of Exclusion to the artificial quarantine islands of the New York archipelago, and from camps set up to house HIV+ Haitian refugees at Guantánamo Bay to the modified Airstream trailer within which returning Apollo astronauts once waved at President Nixon, the landscapes of quarantine are as varied as they are unexpected. About all of these is the exhibition that will open tomorrow in New York at Storefront for Art and Architecture, curated by BLDGBLOG’s Geoff Manaugh and Edible Geography’s Nicola Twilley.
An animation dedicated to the people of Haiti. via @casinclair
Antarctica in a bag, by architect François Delfosse. via BOOOOOOOM
There’s a perversely poetic irony in viewing the icecaps through the inside of a plastic bag.
Photo: Ana Cañizares
A tent doesn’t sound like the coziest option for living, but the fact is, in the immediate aftermath of a disaster, it has proven to be the best solution. Tents are cheap, easily transported, quickly mounted and what’s most important, offer immediate safety and security to potentially hundreds of thousands of displaced and helpless victims. That tents function as a form of instant-to-transitional shelter doesn’t mean, however, that they should amount to the most basic, flapping tarps like the ones the UN has rolled out for decades. If there is a challenge for emergency design, it to make the most effective solutions the most dignified, too.
