der aufzug als überlagerung von intimsphären // die absurdität des schweigens

avantgardist

precisions

what is colour?
an intensity, a temperature, a clash, a harmony. 
how do you use it?
when it asks.
what is black?
an absence, a presence, a mood, a mantle.
what is red?
a blush, a flush, a fever, a command.
what is skin?
a protection.
what is fabric?
a medium.
what is texture?
a result of time.
what is construction?
a means to an end.
what is art?
a neet to reply.
what is craftmanship?
a fruit of time.
what is clothing?
the final layer.
what is fashion?
a series of propositions.
what is recycling?
another chance.
how does recycling fit into your work?
by nature.
how does a concept develop at hermes?
time, another question, another reply.
what would you like to develop besides clothing?
an understanding.
what words do you live by?
we.

- martin margiela

brave new world

there is a certain sadness in irony

nietzsche's poetry

"Don't walk behind me, i may not lead.
Don't walk in front of me; i may not follow.

Just walk beside me and be my friend."

great minds meeting

wings of desire

one of the few films that hit me like a bomb in my heart and won't get out of my head till i die.




When the child was a child
It walked with its arms swinging,
wanted the brook to be a river,
the river to be a torrent,
and this puddle to be the sea.
When the child was a child,
it didn't know that it was a child,
everything was soulful,
and all souls were one.
When the child was a child,
it had no opinion about anything,
had no habits,
it often sat cross-legged,
took off running,
had a cowlick in its hair,
and made no faces when photographed.

Peter Handke

Kari Jormakka

kari jormakka died in the age of 54. the most charismatic person I encountered throughout my studies at the technical university of vienna, he kept the discussion going. he dared to speak freely, was critical and humourous - who ever thought the discipline architecture could be taken with humour?

i just loved his lectures for its fresh and unexpactable "data flow", him walking around, moved by his own flow of thoughts, which came in a mix of english, german and his finnish accent. i keep thinking, that his scripts were not proofread in order to make us think more, make our own mind of what he tried to transmit. his thinking got the students out of the box and triggered the unreflected believers. 

Le son n'existe que si quelqu'un est là pour l'entendre

Does a man control his fate?

w

where would i go, if i could go,

who would i be, if i could be,

what would i say, if i had a voice,

who says this, saying it’s me?

Samuel Beckett

(photo: NYC 1954)

lets safe real life

:

heike simmer

neverimmer

ed ruscha

BE

neverimmer

Sichtbarmachen

                                                                        
                               Raum. Alles und Nichts. 
                                                frei und begrenzt.

 neverimmer

... the real one is in your head

the impact of an existentialist

isaku yanaihara didnt't get loose of my thoughts, japanese existentialist philosopher and in no other connection known as with alberto giacometti. 
there is no information about his philosophy or writings only their impact on giacometti; 


a true crisis in his work. 

Giacometti required models to sit or stand for hours for his busts, which, in contrast to his elongated standing figures, have complex and recognizable facial features. He often had trouble finding suitable people, outside his family. From 1956 to 1961 yanaihara posed for him on 230 days - he had enough patience to pose an converse with him about intellectual subjects for 10 hours at a time. 

Yanaihara was not only model and converser of existentialism for giacometti, 1956, with giacometti's consent, he became also his wife's lover. 

Through his association with yanaihara, the actual shape of the head and the true physical appearance of the subject became less important than the mental impression giacometti had. Giacometti's efforts focused on capturing the spirit of the man. He started to look at art in a more symbolic way. 

architecture and war are not incompatible.

sorry, for the bad quality, just an illegal mobile-shoot in a museum - here the text:

architecture and war are not incompatible.
architecture is war. war is architecture.
i am at war with my time, with history, with all authority that resides in fixed and frightended forms. 
i am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no sacred and primordial site. 
i declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears.
i am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. 
i cannot know your name. nor can you know mine.
tomorrow we begin together the construction of a city.

lebbeus woods.

IF 70% OF OUR PERCEPTION IS VISUAL,

WHY ARGUE ABOUT THE IMPORTANCE OF DESIGN?