"Lebbeus Woods, Architect", February 16 - June 02, 2013, San Francisco Museum of Modern Art.
"Architect Lebbeus Woods (1940-2012) dedicated his career to probing architecture's potential to transform the individual and the collective. His visionary drawings depict places of free thought, sometimes in identifiable locations destroyed by war or natural disaster, but often in future cities. Woods, who sadly passed away last year as planning for this exhibition was under way, had an enormous influence on the field of architecture over the past three decades, and yet the built structures to his name are few. The extensive drawings and models on view present an original perspective on the built environment - one that holds high regard for humanity's ability to resist, respond, and create in adverse conditions. 'Maybe I can show what could happen if we lived by a different set of rules,' he once said. SFMOMA has collected Woods's work since the mid-1990s, amassing the broadest collection of his work anywhere; the exhibition will feature these holdings, as well as a selection of loans from institutional and private collections."
(San Francisco Museum of Modern Art)
"Martin Trusttum, from CPIT's Faculty of Creative Industries, likens his ArtBox project to a game of Tetris. 'It's just like Tetris but in slow motion. They are cubes and eventually they will come together to form a precinct.'
ArtBox will be located on the corner of Madras and St Asaph streets on the old Southlander Tavern-Jetset Lounge site opposite Anton Parsons' sculpture Passing Time.
It is a rare collection of mobile and flexible modules designed by Sydenham-based F3 and will offer about 18 spaces suitable for galleries and studios. It offers a practical, timely solution to the many low-cost premises used as galleries and studios destroyed by the February 2011 earthquake. "
(Vicki Anderson, 07 September 2012, Stuff.co.nz)
"Lors des bombardements allemand de la seconde guerre mondiale, Londres à été une des villes les plus détruite. On y trouvait fréquemment des espaces vide crée entre deux immeubles démolis et bourrés de gravats. Ces espaces vides, terrains vagues, en friche, "poubelles" en attente d'être reconstruit furent pendant une période des espaces de terrains de jeux consacré exclusivement aux enfants. L'idée était de donner un lieu spécifique pour que les enfants à la fois s'exprime librement, évite l'ennuie et l'inactivité qui peuvent conduire à la délinquance et participe à leurs façon à la période de reconstruction.
Ces terrains d'aventures, appelés Junk playground (terrains vague) ont été des espaces de libertés encadré ou les enfants construisirent à partir des gravats des "sculptures installation et autres inventions".
La fabrication par lui même (de l'enfant) de ses propres jeux par la maîtrise des outils (marteau, scie...) furent une expérience inédite et fondamentale dans l'approche citoyenne et pédagogique du rôle du jeu comme source d'épanouissement et d'éveil des consciences. La liberté quasi anarchique de ces terrains, laissant à l'enfant la responsabilité de ses actes, en étant acteur de sa propre aventures comme facteur de régénération pour une société pacifié, sans violence ou chacun peut s'exprimer et trouver sa place de citoyen. Cette expérience éphémère n'a pas survécu aux règles de sécurité, aux normes. Mais aussi aux formatages d'équipements modulaires produits en masse ou l'enfant n'est plus l'acteur (car exclu du processus de conception) mais simple utilisateur, spectateur, consommateur et non plus comme citoyen."
(Éric Malaterre, 03/01/2011, BTS Design d'Espace Toulon)
"Cities are a densely coded context for narratives of discovery and the recovery of experience. They have a capacity to act as condensers of information and to integrate assimilations of behaviours, people, styles, typologies, forms, ideas. Cities are comprehended through spatial practices. Movement in the city is a major practice which enables us to accumulate and organize urban experiences. It creates spatial narratives containing memories and views, specific places, objects, beginnings and ends, distances, shadows, buildings or parts of them, encounters, signs and panoramas. Urban space becomes intelligible through sequences of movement. Its complexity, mystery, splendour, rhythm, are revealed and interrelated through the route of the urban dweller. Similarly to urban space, architectural space is perceived in terms of sequences and spatial practises. According to Jean Nouvel 'To erect a building is to predict and seek effects of contrasts and linkage through which one passes...in the continuous sequence that a building is...the architect works with cuts and edits, framings and openings...screens, planes legible from obligatory points of passage'."
Vaso Trova (2008). 24th NCBDS: 'We Have Never Been Pre-Disciplinary', Georgia Institute of Technology. Sabir Khan, Chair.
"A house is a symbolic place combining paradoxical concepts that can easily be identified as 'binary codes.' Internal and external, private and public, female and male, sacred and profane, clean and dirty are binary codes used to explain roles and activities of people in spaces (Lawrence, 1990; Ünlü, 1999). The spatial configuration of house layouts may be different in different periods, regions, cultures, and societies. Societies establish order in their livelihood spaces and reflect their personalities in these spaces.
There is a mutual relationship between space and human relations. The differences in social systems reveal morphological diversity in house layouts. The family contains the socio-economical structure of society; although it is a small element, it is the cornerstone that forms the future of society. The family needs a specific space, a house, to achieve this function based on their characteristics and the desired level of privacy (Sungur and Çagdas, 2003).
Privacy is a dynamic topological property of space; therefore, it should be approached in an analogous manner. Spaces could be categorized not only depending on their degree of privacy, but also according to their capacity to regulate privacy. At the same time, complementary approach counters the strict categorization of spaces into either public or private. According to that point of view, architectural space and its various elements should act as regulators of privacy. Space and its elements should be able to increase or decrease privacy according to the customized needs of its occupants (Georgiou, 2006).
Robinson (2001) identified different zones of privacy within a single Midwestern house and pinpointed their importance for the individual. Robinson argues that through a series of spaces with different degrees of privacy, the autonomy of the resident within a small social group is provided. Furthermore, the individual is granted a large measure of control over time, space, activity, and social interaction."
(Faris Ali Mustafa, Ahmad Sanusi Hassan and Salahaddin Yasin Baper, August 2010)
Faris Ali Mustafa, Ahmad Sanusi Hassan and Salahaddin Yasin Baper (2011). 'Institutional Space, Domestic Space, and Power Relations: Revisiting territoriality with space syntax', Asian Social Science, Vol. 6, No. 8, ISSN 1911-2025 (Online), Canadian Center of Science and Education