This RMIT Interview between Martyn Hook and Anthony Hoete was first published on blablablarchitecture:
MH: What book?
Ah!: Dictionary/cookbook/atlas/novel/encyclopaedia/magazine/web blog in print?
MH: Why a book?
Ah!: Thesis/physical object/snapshot.
MH: Who wrote this book about?
Ah!: WHAT_architecture: MagdAh!
MH: When will the book be published?
Ah!: It’s not one book: but a sequence of books that result in one final tome: !? By way of example here is a pre-book: a pamphlet which is a quick flick through a project primed in it’s Arabasic version.
MH: Looks like a glossy brochure.
Ah!: Yep, let’s rip it up and start again… must do better!
Ah! … for example, if we build on these book examples we at least develop the plot:
Bling meets grime…
Auditorias, whether theatrical, sporting or acoustic, are typically ‘black box spaces’ removed from the city due to the technical requirements of light and sound. There are however a few examples of the stadia / auditoria with an urban connection. In the football we have Giorgio Gregotti’s San Siro, home of AC and Inter Milan which offers third tier views of the Duomo. Furthermore, Estadio de Braga by Eduardo Souto de Moura… introduces both the city and landscape as part of the sports viewing spectacle. And of course there is OMA’s Casa De Musica which offers a view of Porto as a backdrop to events on the stage.
The RHS image shows eight blocks of grey tints, with a pure white stripe running across the middle. The numbers on each block show the pixel value that block contains. (That is, the block labeled 251 has red, green, and blue pixel values of 251, 251, 251.) On a perfectly calibrated monitor, you’d be able to distinguish (if only just barely) the difference between the white central row and the block labeled 254. More typically, a “good” monitor would let you see the boundary between the center row and the 250 or 251 block. How many blocks can you see?
Le Corbusier’s Villa Savoye and and ARM’s institute of Aboriginal and Torres Strait Islander Studies.
In Mark Wigley’s “White Walls, Designer Dresses: The Fashioning of Modern Architecture”, a daring revisionist history of modern architecture, Wigley opens up a new understanding of the historical avant-garde. He explores the most obvious, but least discussed, feature of modern architecture: white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by nineteenth-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing—the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design.
Onsite motion detection camera for website monitoring.