browse through, explore every link and get lost
how I built this podcasts for
innovators, entrepreneurs and idealists
Fearlessly dream and build new worlds
GrilloVasiu left some traces.
It's the engine towards what we think the future could be, it sets the ground for speculation
"Portable living room" 1967
It's the moment when a vocabulary with a common ground is shaped. We start to create our tools for a clearer vision of the fantasy. A reduction of unnecessary elements for a sharable vision, will define a specific reality for our project.
The infinite column
It's the moment where a fantasy starts to have a shape to be defined into something more concrete. in order to desire something it needs to have a shape, a face, it needs to start to exist.
Ancient Egyptian aerial plan of the Temple of Amun
It's the moment of negotiation, not only with your colleagues and clients but as well with your own principles, desires and ambitions.
They are constraints that we have to be able to transform into qualities and advantages instead of compromises.
A constant hunger for something new is necessary
Unknown Swiss Artist
The persistence of the Obvious
Declaration of independency of a finite universe, where sometimes things are not what they seem. Old and new fragments working together to find a possible way of living.
The traces of Marco Barbieri.
An Atlas of War and Tourism in the Caucasus
"Homo Urbanus is a cinematic odyssey offering a vibrant tribute to what we have been most cruelly deprived of: namely, public space.
Taking the form of a free-wheeling journey around the world (10 films, 10 cities), the project invites us to observe in detail the multiple forms and complex interactions that exist every day between people and their urban environments.
Somewhere between visual anthropology and observational cinema, these films put urban man under the microscope and encourage us to take a closer look at individual and collective behaviour, interpersonal dynamics, social tensions, and the economic and political forces that play out every day on the grand stage of the city streets.
These films explore our condition as a human animal and the way in which the city—this artificial environment that we build around us every day like an extension of our contemporary bodies—shapes and conditions us. Yaken on the fly, these visual notes look at urban man not only within his group but also in the depths of his solitude, redesigning the outlines of the city according to a kind of emotional geography. More than mapping out an area, the idea is to allow a city to speak through the ways in which it is used, in order to show the shifting nature of its human landscape and to understand what local singularities remain in the context of the wholesale globalisation of our urban lifestyles. By assembling these different films, this installation looks at cities as unique responses to the global challenge of living together.
Residents of Hong Kong have 2.7 square metres per person of public space, slightly larger than a coffin or a toilet cubicle.
New York, also known for its high land price, has over 10 square metres.
some traces by Matt Quinn director of Squint/Opera...
allowing to deliver a content
to build a narrative
setting up a strategic frame
How to put many pieces of information together, communicating a lot of complexities to a broad audience?
Did you know Toyota was actually a looming company at the beginning?
Read this interesting PAPER
about how communication transform the perception of architecture, with the case study of the Seattle Library, by OMA.
"We pull the architect's ideas apart to reassemble them together for the purpose of communication.
We look at it from the audience point of view, which often means REDUCING the amount of information you try to convey down to the most critical elements."
KNOW YOUR AUDIENCE
Just check them out if you don't know them...
The importance of communication to
Build the Narrative first and design the tech around it.
You need to allow people to enter a piece of information from many different levels.
This doesn't mean dumbing everything down, but it means considering HOW audience engage with information and build your communication strategy around it.
the traces of Tamsin Green
Time & Contact
Widening & Cataloguing
Developing the process
Structuring the narrative
the importance of a sketchbook
check the Sketchbook Project, the largest collection of artist sketchbooks
Embedding the idea of a project into its process
We have come increasingly to forget that our minds are shaped by the bodily experience of being in the world; its spaces, textures, habits. The work explores the ordinary act of walking; to make sense of the world and myself. Reading the paper landscape of the map, and seeing it come to life through the combined activities of thinking and discovering while walking. Working with close up photos, coupled with the act of collecting, and subsequent photographing of these specimens in my studio, I create a mapping of where my eye and hand wander, a dialogue between the physical body and the path.
© Tamsin Green
A two-dimensional depiction of a
In the '800 maps were much more "representative" , closer to paintings, as they were drawn from direct observation of nature.
In the 1950s, maps started to be drawn from aerial photos instead, becoming an extracted graphic representation in a 2D line drawing.
from Princeton Architectural Press
BTW Check the amazing work of ScanLAB
This is a question of representation. Twice a day, twelve hours apart, a new image of Earth is scanned and saved by the Soumi National Polar Partnership satellite and its sensors. The 1:30 p.m. daytime image, assembled from data gathered over a number of days, shows a cloudless Blue Marble. The 1:30 a.m. nighttime image, similarly composited, forms a Black Marble, a cloudless view of lights across the planet. The sensors can observe light in extraordinary detail, all the way to the level of a traffic lamp or a fishing boat. According to NASA, “the sum of these measurements gives us a global view of the human footprint on the Earth.”
Three-dimensional elements into a
the traces of Lucy Mclauchlan
Space and Body Motion
is art that is not meant to last
a canvas is a permanent record
"Street art is not an art movement, it’s a cultural phenomenon.
When perceived in such a wide context, is it better to just remove walls, sell them and keep them in museums, or should we allow for street art to remain what it essentially is -
an ephemeral mirror
of currents of the moment? "