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Jimenez Lai’s ’Beachside Lonelyhearts’ presented at Jai & Jai Gallery

  • Monday, July 13, 2015 - 7:37:46 PM
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all images © Jesse Hammer & Jacob Comerci

Beachside Lonelyhearts: Pillow Talk with Sylvia Lavin and Jimenez Lai-Part I

Beachside Lonelyhearts: Pillow Talk with Sylvia Lavin and Jimenez Lai Part II

Beachside Lonelyhearts: Pillow Talk with Sylvia Lavin and Jimenez Lai Part III

Los Angeles, CA – Jai & Jai Gallery is pleased to present Beachside Lonelyhearts, an installation designed by Jimenez Lai. This is the architect/artist’s first solo exhibition with Jai & Jai Gallery. All surfaces of the gallery space is covered with white canvas. Like a cave painting, the entirety of the room is Jimenez Lai’s continuous canvas upon which his architectural notations are drawn on all interiors; walls, ceiling, and floor. Custom-stretched canvases are distributed in an informal manner, forming an archeopelgo of extruded shapes foregrounding a sea of hand drawings. The collection of stretched canvases are comprised of many shapes, including trapezoids, clouds, beach blankets, pillows, and so forth.

Beachside Lonelyhearts is a story about an incorrectly remembered sunny afternoon, whose thought fragments are glitched together along a beach plan. Beachside lonelyhearts is a story remembered incorrectly, with thought fragments scattered over the walls, floor and ceiling in a desperate attempt to piece back together the fondest and most idyllic sense of warmth. These incorrect memories are repeated, told, retold, corrected, and reconstructed, with degrees of familiarity and differences - but each time plausible and believable in their own right. Notes, sketches and thoughts are scribbled onto the wall. Images, snapshots and visuals are pasted as postcards.

This fragmented memory is in a safe place - a treasure box - where no amount of reassembly and reconstruction could disturb the fact that this afternoon existed, and none of the choices in this reality would result in any lasting consequences. This sunny afternoon is a west coast joy ride, or a terrifically beautiful nightmare. But there’s no one, nothing, as a convertible roams along with a collection of scattered thoughts flapping in the wind. 

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[BERLIN] Gourmet Street Food

  • Monday, July 13, 2015 - 6:26:27 PM
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image via [AC-CA]

[AC-CA] has announced its new competition on [BERLIN] Gourmet Street Food and you can find the information about competition below:

Gourmet Street food refers to highest quality and excellent flavored balanced meals, prepared well with good ingredients and somtimes quirky and a twist or new offering from the norm but with quick turnaround served on the street or outside the restaturants environment in special trucks or temporary and sometimes mobile food cabins.
aim of this competition
The aim of this International Competition is to design a Gourmet Street Food structure in the heart of the city of Berlin. The architecture of this new temporary structure or vessel should reflect contemporary design tendencies in its provision of an architectural solution to the current gourmet street food scene. The proposal must not only attend to the specific function but also take into consideration the urban context and impact. This competition hopes to achieve the following:

Encourage and reward design excellence at a small scale which integrates function, structure and details.
Research, respond to and highlight the unique aspects of designing a temporary self-support and possibly a mobile structure.
To generate the discussion of ideas regarding the relation between Architecture and the new Gourmet Street Food trend.
Encourage the employment of sustainable design in all aspects of the proposal.

Winning participants will receive prizes totaling US$ 5,000 with the distribution as follows:
1st prize: US$ 3,000
2nd prize: US$ 1,500
3rd prize: US$ 500
There will also be 7 honorable mentions.
Note: this is an open international competition hosted by [AC-CA] to generate progressive contemporary design ideas.There are no plans for the Structure to be built.

Competition Officially Announced - 07th July 2015
Start of Competition - 10th July 2015
Closing Date for Registration - 30th October 2015
Closing Date for Submissions - 06th November 2015
For more information please visit website

Le Corbusier’s Architecture and His Politics discussed by New York Times

  • Monday, July 13, 2015 - 6:16:36 PM
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Le Corbusier’s Cit&e’ Radieuse apartments in Marseille, France. Credit Agnes Dherbeys for The New York Times.

Was the paradigm-changing architect known as Le Corbusier a fascist-leaning ideologue whose plans for garden cities were inspired by totalitarian ideals, or a humanist who wanted to improve people’s living conditions - a political naïf who, like many architects, was eager to work with almost any regime that would let him build?

These questions, long debated by experts, are at the heart of fresh controversy in France set off by three new books that re-examine that master Modernist’s politics and an exhibition on Le Corbusier at the Pompidou Center here through Aug. 3, commemorating the 50th anniversary of his death. In light of the books, the exhibition has been criticized for glossing over, in particular, Le Corbusier’s well-documented involvement with far-right elements in France from the 1920s to the 1940s......Continue Reading

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NAS Architecture designed ’’Scape’’ pavilion that wraps the court of the hotel Saint Como

  • Monday, July 13, 2015 - 5:53:23 PM
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all images © Paul Kozlowski, courtesy NAS Architecture

NAS Architecture designed a special pavilion that presents new formal framework for the court of the hotel Saint Como.

For 10 years the Festival of Lively Architecture and an exceptional framework that the court of the hotel Saint Como, the Pavilion Home stance must be thoughtful and contextual. It seemed important to use the different elements that punctuate the court as a basis for the overall development of the form of the pavilion. Originating on the ground, the flag is deployed in a multitude of random steps can serve as reading space for visitors, rest or scene for the different events taking place during the Festival.

The pavilion is then include columns that surround to come form a large reception area for the public. In its form and generosity that interiority appealed, made a wall scenography this space becomes a place of information and meeting around the Festival.

For the 10 years of the Festival of Lively Architecture and an exceptional place like in the hotel's courtyard Saint Como, the position taken for the Main Pavilion must be thoughtful and contextual. It Seemed significant to use the different elements That punctuate the courtyard as a basis for the overall development of the pavilion's shape.

Begining from the ground, the pavilion unfolds in a multitude of random steps That can serve as reading spaces for visitors, rest or internships for the various events take That site During the Festival. The pavilion includes columns That surround it to form a wide reception area for the public. Because of icts shape and generosity, that 'interiority plot, consistant en a wall set design, this space Becomes a place of information and meetings around the Festival.

Project Facts

Status: In progress
Client: Lively Architecture Festival
Type: Pavilion
Location: Montpellier / FRANCE
Area: 22 m²
Budget: € 6,000
Year: 2015
Team: NAS Achitecture

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Call for papers OASE 96 | SOCIAL POETICS _ The Architecture of Use and Appropriation

  • Monday, July 13, 2015 - 2:31:39 PM
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Call for papers OASE 96 | SOCIAL POETICS _ The Architecture of Use and Appropriation

Theme editors: Els Vervloesem, Marleen Goethals, Hüsnü Yegenoglu, Michiel Dehaene
This issue of OASE is situated within a tradition that gives a central role to questions of use and appropriation in architectural reflection. The general attention to use and appropriation is part and parcel of a layered critique of architecture. The critique of a vulgar take on functionalism in favour of an open interpretation of the relationship between form and use (Rossi). The critique of commodification by placing the focus on use value rather than exchange value (Lefebvre). The critique of the hegemony of design (and the designer) in favour of design practices centred around use and usership (Jacobs, Gehl).

This issue of OASE will focus on the marked revival of forms of architecture that explicitly address questions of use and appropriation in the development of a sociocritical architecture. How can designers incorporate experience and use into their design process and architecture projects? Is this self-obvious or a point of contention? To what extent are designers ready to engage in processes of use and appropriation?

Between the belief in the autonomy of architecture on the one hand, and heteronomic, user-centred forms of design on the other, lies a broad spectrum of practices that radically question the traditional separation between design and use. In this issue, the opposition of design and use, of autonomy and heteronomy, is not addressed as a matter to be resolved, but rather as a productive force field for architectural production, as a dialectic to be spatially articulated and from which architecture and the city may derive meaning. In short, OASE #96 wishes to explore architectural projects that put great stock in the poetics of use and appropriation in the production of architectural meaning.

Call for Papers
OASE invites contributions of maximum 1500 words discussing critical architectural or urbanist design practices that mobilise use and appropriation as poetic material. These practices will be combined to produce both case-specific insights and shared ideas and arguments. In this way, we hope to move beyond the polemical theoretical discussions that have dominated this subject in the past. We ask authors to explicitly address the position adopted by themselves or other designers in the creation and articulation of possibilities of use. The papers must present a specific project or design practice that sheds light on the conceptual framework, the underlying motivations and the specific context in which this practice was developed.

The central question in this issue of OASE is how design can proactively engage with future users and possibilities of use. This involves much more than the legitimation of design choices and is not limited to discussions on user participation or user-centred design. We are, for example, interested in the various ways in which possibilities of use are conditioned by changes in the public or private character of a space, its accessibility, its visibility, etcetera. We are equally interested in projects that carve out conditions outside of the public-private dichotomy and create new collective worlds, new commons, counter spaces of the urban regularity. We would like to include practices that move beyond the classical role play of client, architect, user, and situate design in a broader ecology of actors and users. We are looking for practices that display a keen awareness of the possible positive or negative impact of architectural or urban intervention and incorporate that reflection in the design. Strategies that work for the protection of the city as use value against the effects of land speculation, for instance, belong in this category. We are looking projects that conceive of use as a learning process and explore together with users the changing meaning of architecture. There is room for places concerned with reuse, reappropriation and the recycling of building elements and materials. We are interested in projects that work with traces of use (cf. usure), that conceive of use as patina rather than wear and tear. In the relationship between architecture and furnishing, and between furniture and its use we may also find clues for an architecture of appropriation. We look for contributions discussing questions of multiple use and appropriation, of different temporalities of use, time windows and rhythms, temporary and permanent.

Deadline for full papers: 20 August 2015
Papers may be written in English or in Dutch.
You may contact the editors to discuss possible contributions.
The selection of papers will be made in function of the quality of the papers and the diversity of practices.

Zaha Hadid wins the Veuve Clicquot Business Woman Award 2013

  • Wednesday, April 24, 2013 - 11:45:20 PM
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23rd April 2013: Dame Zaha Hadid has been announced as the winner of the 41st Veuve Clicquot Business Woman Award.

Created in 1972 as a tribute to Madame Clicquot, the Veuve Clicquot Business Woman Award champions the success of business women worldwide who share the same qualities as Madame Clicquot: her enterprising spirit, her courage and the determination necessary to accomplish her aims. It is the first international award created specifically to recognise the contribution that women have made to business life and is now regarded as the "Oscar" for female entrepreneurs and business leaders.

Veuve Clicquot owes its extraordinary reputation to a remarkably modern woman: Madame Clicquot. Married in 1798 to François Clicquot, owner of a Champagne business, and widowed at 27, she took control of the business and was one of the first women to lead a company of men. Proud and strong-willed, she always demanded "only one quality, the finest."

Dame Zaha has grown to become one of the most influential architects in the world. With her firm, Zaha Hadid Architects, she has designed many of the most renowned buildings around the globe such as the MAXXI Museum in Rome and the Guangzhou Opera House in China. Her critically acclaimed works in the UK include the London Aquatics Centre for the 2012 Olympics and the Evelyn Grace Academy in Brixton, the Riverside Museum in Glasgow and the Maggie's Centre in Kirkcaldy. As well as shaping the language of architecture, she has also been a role model for female businesswomen in male dominated industries.

In 2004 she became the first female recipient of the Pritzker Architecture Prize, the most prestigious prize in architecture. She also won the Stirling Prize for two years running for her work in Rome and London. She was awarded a CBE in 2002, and DBE in the 2012 Birthday Honours for services to architecture.

Alongside this, Dame Zaha has made an extraordinary commitment to theoretical and academic work. Having taught at the Architectural Association until 1987, she has held numerous chairs and guest professorships at universities around the world. She is currently a professor at the University of Applied Arts in Vienna and Visiting Professor of Architectural Design at Yale University.

Dame Zaha's commitment to philanthropy was also recognised by the panel. Through Zaha Hadid Architects, she has supported a number of charities through auctions and pro bono work, including Maggie's Centre, the NSPCC and Women for Women.

Dame Zaha Hadid, on receiving her award, said: "It's hard to believe, but it's still difficult for women to break the business barrier. Through perseverance and hard work, I've been able to do so, but it's been a long struggle. When I started my career in architecture it was very much a male dominated industry, but in recent years I've seen a growing number of talented female architects join the profession and succeed. This Veuve Clicquot Business Woman Award shines a light on our achievements; and I hope it encourages more women to continue with the profession."

Christina Jesaitis, Senior Brand Manager, Veuve Clicquot said "Dame Zaha has made her mark across the globe with iconic works that will inspire people for decades. Not only has she had a huge impact on the world of architecture as a whole, but she has demonstrated great zeal as businesswomen, growing Zaha Hadid Architects successfully, adapting to change and demonstrating fantastic CSR credentials. She displays the same passion and determination that Madame Clicquot possessed over 200 years ago.

We are so grateful that Dame Zaha has accepted this award, and as such, marking a stake in the ground for future generations of entrepreneurs."

Guest speaker for the evening, Dame Marjorie Scardino, previous Veuve Clicquot Business Woman Award winner in 1996 noted, "I am delighted to attend an event that shines a light on the exceptional contribution women make to business life. The work that Dame Zaha has done in developing a successful global business in a previously male dominated environment makes her a worthy recipient of this year's Veuve Clicquot Business Woman Award."

Awards like these help show how much things have changed in the last 50 years, and help confirm how inspiring and influential women are as leaders. I hope that all this, means that one day we will get to the stage where we don't have to make a distinction between men and women in the workplace."

The Veuve Clicquot Business Woman Award Nomination Criteria are those ideals epitomized by Madame Clicquot:

1. Entrepreneurship: Founder/leader of a business*, driving force behind success through pioneering approach, business acumen, dynamism, innovation, audacity, tenacity

2. Financial Success: Sustained profitable business growth and healthy balance sheet with a minimum turnover of £3M

3. Corporate Social Responsibility: Genuine commitment to responsible and sustainable business practices such as environmental policies, employee benefits, workforce diversity, and community schemes/relationships

4. Role Model: Mentoring, succession planning, pushing boundaries, ability to motivate others, relationship building with colleagues/employees, especially for other women


Dongdaemun Design Plaza (DDP)

  • Thursday, April 09, 2015 - 12:30:04 PM
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video : Dongdaemun Design Plaza (DDP)

Paris celebrates its birthday in ’’Lumière!’’ with the new exhibition&showcase

  • Monday, April 06, 2015 - 11:26:06 AM
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A show celebrating the 120th anniversary of a notable film screening, at the Grand Palais.CreditPascal Amoyal/Institut Lumière

27 March 2015 to 14 June 2015
Opening:Sunday and Monday from 10:00 a.m to 8:00 p.m, from Wednesday to Saturday from 10:00 a.m to 10:00 p.m
Closed on Tuesdays.
Closed 1st May

On the occasion of the 120th anniversary of the invention of the cinematograph, the Institut Lumière has organised an unprecedented exhibition dedicated to the flagship inventions of the Lyon-based pioneers of cinema, Louis and Auguste Lumière. Their story ties in closely with Paris, where they organised their first paid public screening in the Grand Caf&e’'s Salon Indien hall on 28 December, 1895. The Lumière brothers went on to screen their first large-format 75mm films at the Universal Exhibition of 1900, not far from the Grand Palais...

Their rich, creative and ground-breaking work was inspired by their fascination for still or moving pictures.

image © Collection Institut Lumière

The exhibition includes several documentaries,early films,early cinema technology,kinetoscopes, zoetropes which witness the developing of the film industry at the verge of 20th Century.“Lumière! Inventing Cinema” is a historical showcase and the exhibition can be visited until 14 June 2015 at Institut Lumière that was newly restored building also serves a film history and restoration center.

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