September 11th, 2014

Glass House

Fujiko Nakaya, Veil, 2014 – Fog Installation at The Glass House (Philip Johnson, 1949)





Compound Eye ‎– Journey From Anywhere (Editions Mego)









July 8th, 2014

António Mesquita 1

António Mesquita 2

António Mesquita





Lussuria ‎– Immemorial (Hospital Productions)








May 4th, 2013

César Portela – The Cemetery at Finisterre



Yannick Dauby ‎– Hares & Bells (Invisible Birds)

Arthur De Eriomém ‎– Drowned By Voices, Somewhat Rather Slowly (Invisible Birds)




March 30th, 2013

Le Corbusier and Iannis Xenakis – Expo ’58 Philips Pavilion


Iannis Xenakis (1922-2001)


Iannis Xenakis – GRM Works 1957-1962  (Recollection GRM)

“GRM Works 1957-1962 collects material recorded during the Greek composer and architect’s stint with Pierre Schaeffer’s highly influential Groupe de Recherches Musicales, a mid 20th century lodestone for electro-acousic composers and avant-garde musical operators..

The four works on the disc were recorded between 1958 and 1962. 1958′s ‘Concret PH’ was written to be played inside the spectacular Philips Pavilion at the Brussels World Fair, which Xenakis helped design (and subsequently took inspiration from in his major work Metastaseis). 1957-9′s ‘Diamorphoses’ tinkers around with “continutous variations of average or “statistical” heights”, and 1960′s ‘Orient-Occident’ was commissioned for an Enrico Fulchignoni film for UNESCO. 1962′s King Arthur-inspired ‘Bohor’ (dedicated to Schaeffer) is the latest of the pieces, with a 1968 recording making the cut.”  via







February 14th, 2013

Death by Architecture



Air (Pete Namlook) ‎– Air, 1993


Air (Pete Namlook) – Lost in Passion / Air, 1993


Dreamfish (Pete Namlook & Morris Gould) – Hymn / Dreamfish, 1993





October 17th, 2012

Film Stills – ARCHITECTURE: The stairs and elevators of Alphaville

Director: Jean-Luc Godard




Mushy – No More / Faded Heart


Mushy – My Life So Far (Dub Version)



July 14th, 2012

Steilneset Witch Trial Memorial, Vardø, Norway

Architect: Peter Zumthor

Photographer: Hélène Binet

Kolumba Diocesan Museum,Cologne, Germany

Architect: Peter Zumthor

Photographer: Hélène Binet


Hélène Binet, “Composing Space”



May 18th, 2012

Jean Maneval ( 1923-1986) : the ‘six-shell’ bubble

the architect, urban designer and theorist, jean maneval developed in 1964 a dwelling unit
made entirely of synthetic materials.
produced industrially and commercialized in series in 1968, it was part of the program to
equip an experimental vacation center in the pyrenean mountains.
each living unit (6 shells) was easily transported by truck. the prefabricated shells were made
of reinforced polyester insulated with polyurethane foam in three colour-versions: white, green
and brown.the bubble blended ‘perfectly’ into the landscape. production ended in 1970 and only
about 30 were ever made. via



Ben Klock @ Animal Farm

Sandwell District Live @ Animal Farm 06 01 12



April 24th, 2012


Observation tower camouflaged as church belfry

Command post in the Bay of Biscay

The rear solid mass of a firing control post

The photographs were taken by Paul Virilio between 1958 and 1965 from the book  Bunker Archaeology “


” The discovery of the of the sea is a precious experience that bears thought. Seeing the oceanic horizon is indeed anything but a secondary experience; it is in fact an event in consciousness of underestimated consequences.

I have forgotten none of the sequences of this finding in the course of a summer when recovering peace and access to the beach were one and the same event. With the barriers removed, you were henceforth free to explore the liquid continent; the occupants had returned to their native hinterland, leaving behind, along with the work site, their tools and arms. The waterfront villas were empty, everything within the casemates’ firing range had been blown up, the beaches were mined, and the artificers were busy here and there rendering access to the sea.

The clearest feeling was still one of absence; the immense beach of La Baule was deserted, there were less than a dozen of us on the loop of blond sand, not a vehicle was to be seen on the streets; this had been a frontier that an army had just abandoned, and the meaning of this oceanic immensity was intertwined with this aspect of the deserted battlefield.

But let us get back to the sequences of my vision. The rail car I was on, and in which I had been imagining the sea, was moving slowly through the Brière plains. The weather was superb and the sky over the low ground was starting, minute by minute, to shine. This well-known brilliance of the atmosphere approaching the great reflector was totally new; the transparency I was so sensitive to was greater as the ocean got closer, up to that precise moment when a line as even as a brushstroke crossed the horizon : an almost glaucous gray-green line, but one that was extending out to the limits of the horizon. It’s color was disappointing, compared to the sky’s luminescence, but the expanse of the oceanic horizon was truly surprising: could such a vast space be void of the slightest clutter? Here was the real surprise: in length, breadth, and depth the oceanic landscape had been wiped clean. Even the sky was as divided up by clouds, but the sea seemed empty in contrast. From such a distance there was no way of determining anything like foam movement. My loss of bearings was proof that I had entered a new element; the sea had become a desert, and the August heat made that all the more evident – this was a white-hot space in which sun and ocean had become a magnifying glass scorching away every relief and contrast. Trees, pines, etched-out dark spots; the square in front of the station was at once white and void – that particular emptiness you feel in recently abandoned places. It was high noon, and the luminous verticality and liquid horizontality composed a surprising climate. Advancing in the midst of houses with gaping windows, I was anxious to set foot on my first beach. As I approached Ocean Boulevard, the water level began to rise between the pines and the villas; the ocean was getting larger, taking up more and more space in my angle of vision. Finally, while crossing the avenue parallel to the shore, the earth line seemed to have plunged into the undertow, leaving everything smooth, no waves and little noise. Yet another element was here before me: the hydrosphere.

When calling to mind the reasons that made the bunkers so appealing to me almost twenty years ago, I see it clearly now as a case of intuition and also as a convergence between the reality of the structure  and the fact of its implantation alongside the ocean: a convergence between my awareness of spatial phenomena – the strong pull of the shores – and their being the locus of the works of the “Atlantic Wall” (Atlantikwall) facing the open sea, facing out into the void.”

Bunker Archaeology by Paul Virilio, Princeton Architectural Press



Clubroot – S​/​T (III – MMXII)




April 19th, 2012

Endless House | Frederick Kiesler


“The Endless House is called the “endless” because all ends and meet continously.
It is endless like the human body. There is no beginning and end to it. The “Endless” is rather sensuous. More like the female body in contrast to sharp-angled male architecture.
All ends meet in the “Endless” as they meet in life. Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime. They touch one another with the kiss of time. They shake hands, stay, say goodbye, return through the same or other doors, come and go through multi-links, secretive or obvious, or through the whims of memory.
One box next to another.
One box below another.
One box above another.
Until they grow into tumors of skycrapers.
The coming of the Endless House is inevitable in a world coming to and end. It is the last refuge for man as man.”  – Friedrich Kiesler: Inside the endless house



Claro Intelecto – Still Here

ps: i have nothing to say and i am saying ♥ it, just listen!



April 18th, 2012

Ant Farm, Dream Cloud on the Beach, at Freeport, Texas, 1969

Ant Farm, Pillow, 1970

Ant Farm, Pillow, 1970

“Ant Farm was established within the counter-cultural milieu of 1968 San Francisco by two architects, Chip Lord and Doug Michels, later joined by Curtis Schreier. Their work dealt with the intersection of architecture, design and media art, critiquing the North American culture of mass media and consumerism. Ant Farm produced works in a number of formats, including agitprop events, manifestos, videos, performances and installations…” more info



Silent Harbour – Echocord Rec (CD012) – Previews

Sigha Mix – Xfm 07/04/12



March 28th, 2011

Inside / Outside Tree

Inside / Outside Tree, by Sou Fujimoto Architects

Inside/Outside Tree – Sou Fujimoto Architects, Tokyo, Japan
from Victoria and Albert Museum on Vimeo.

March 19th, 2011

Sunset Chapel by Bunker Arquitectura, via Dezeen

Moritz Von Oswald Trio – Horizontal Structures

January 13th, 2011

Woodland Cabine by Belgian architects Robbrecht en Daem

December 18th, 2010


Nhow Berlin,  Architect: Sergej Tchoban, Designer: Karim Rashid

“Europe’s first music hotel is here – in the heart of Berlin. Located directly on the banks of the river Spree, and at the epicentre of the music, fashion and creative scene, a new lifestyle hotel will be opening in November 2010 that has yet to meet its match in Europe: the nhow Berlin…”

Analogue Mixing Suite

“The centrepiece of the creative floor is the analogue mixing suite. Here, the latest sound engineering developments are combined with coveted vintage equipment…”

We could go straight to nhow after weird dancing  in BERGHAIN…….

November 3rd, 2010

The Secular Retreat by Peter Zumthor

” In South Devon, between the resorts of Salcombe and Hallsands lies a landscape of rolling hills, wooded river valleys, patchwork fields and small stone villages. It is here that Living Architecture has asked one of the greatest architects in the world, Peter Zumthor, to create The Secular Retreat.

On top of a hill, with endless views onto the rolling south Devon landscape, Zumthor has designed a veritable haven from the pressures of modern life, a space dedicated to calm, reflection and perspective – and in which one will be liable to feel some of the same sense of serenity and well-being as in an ancient monastery or abbey.

The design makes use of an original rammed concrete that gives the building a mass and scale characteristic of a timeless example of ecclesiastical architecture. Nestled in one of the most beautiful parts of the English countryside, Peter Zumthor has designed a work of art to touch the soul. ” via Living Architecture

October 26th, 2010

‘brittlebush’ by simón de agüero

October 24th, 2010

Novy Dvur Monastery by John Pawson

October 19th, 2010

Concrete Canvas Shelters by Concrete Canvas

September 24th, 2010

no limits in the streets by Stéphane Malka

August 26th, 2010

Casa Areia by Aires Mateus Architects

found at dezeen

August 23rd, 2010

White Monuments with Red Flag Curtains, project, Perspective by Leon Krier

August 3rd, 2010

Minimalist House by Shinichi Ogawa & Associates

found at archdaily

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