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CASTLECASTLE CASTELLL [02 Nov 2006|05:29am] 01 DRIKIN SODA POP ON YOUR NYCE LETHER COWCHES 01 02 TRAKIN DIRTT IN YOUR NYCE CARPIT HOWSES 02 03 SPILLIN JUWS ON YOUR NEW CASHMEER SWETRSES 03 04 GETIN CRUMS ON YUR ANTEEK COLLEKSHUNSES 04 05 PUNSHIN WHOLES IN UR DUM BLAYNKET FORTSES 05 I'M BRAYKANG AL THU RULESES 21 00|%

Kva heiter han? [30 Sep 2006|04:57pm] jeg er en utforsker, -i am an explorer. 14 00|%

viewers movements [26 Sep 2006|04:36pm] "photography is the product of complete alienation" - proust - 5 00|%

my business is circumference [06 Aug 2006|05:56pm] "I had no portrait, now, but am small, like the Wren, and my Hair is bold, like the Chestnut Bur--and my eyes, like the Sherry in the Glass, that the Guest leaves." 8 00|%

theories. [05 Apr 2006|10:51am] Architecture and entropy : : : Energy is neither created nor destroyed, it is simply transformed. The first principle of thermodynamics is well known. The second principle less so. Entropy is constantly growing. Which means that systems pass from highly ordered states to other, more disordered ones, from unstable states to states of greater statistical probability. To a limit: a flat, stationary state. An arrow of inexorable time. For physicists, disorder is the lack of complexity. Entropy measures laxity. According to this physical principle, states tend towards the disappearance of gradients. In art, conversely, each phase tends to seek new, more complex states of equilibrium. Architecture needs to tense space. Order in architecture is the balance of opposing tensions. Gravity and lightness. Rapidity and solidity. Scale and size. Stability and dynamism. Balance and unstable. The more profound it is, the more improbable it seems. When entropy is minimum. Architecture robs the environment of entropy because it is an open, non-linear system. When it moves away from the point of equilibrium, it abandons the linear regime. There are no logical prolongations. Discontinuities appear. Order is established by fluctuations. It leaps, and is drawn towards new and unforseen states. The fencing space : : : The fencer concentrates on a moving point. The fine intangible line continues floating in the air, as restless and ethereal as lightning. It immediately vanishes into thin air, lunges and disappears. The fencer follows a trace. In fencing, there is just a moving point, with no reference to the field of play. There is no plane. The game does not exist even if the carpet is there. It neither creates space nor organises it, unless the game is on, unless there is movement. The fencer is dialectic. A question, a possible answer. She cannot play on her own. She has no need of the field of play. The space is generated by movement. A point moving, darting, forms a line. The spatial relations are basically diagonal. The point reaches its maximum speed. The faster it goes, the more play there is. I propose that our architecture be like this. A space which is the instant trace of use. An agile though instantly materialised. A structure solidified in an instant, caught before it disappears. A space whose definition does not depend on the floor. It is a question of "filling a grey and dead surface with a bright, clear, quivering arabesque, never ceasing to move, which we will remember tomorrow." The stuff of architecture : : : Materials in architecture are processed matter. Concrete, sheet metal... rather thana abstract choices, they are concretions which are established in the course of process. They do not just have colors, textures and smells which decorate an abstract, unbounded space. Rather than wood, we use boards, laths, elements... We only use glass for certain given sizes and pieces. Materials have precise forms and manufacturing processes. They are prepared, manufactured or industrialised materials. The difference is profound, as it characterises two ideas. Firstly, the form and methods of production or working differentiate a single material substance into different architectural materials. Two products of the same material may be more different than two pieces of different stuff. And then materials have a right and a wrong side. They have positions and directions which also modify their conformation. To a large extent, we can intervene in these forms and processes to invent or to reuse. Secondly, these forms and sizes can shape a space, a way of buliding, a structure, a series of measurements or proportions as much as if not more than the style, universal measurements, construction systems or the discipline itself. The actual material inherently implies an architectural idea. 21 00|%

O DO FILL YOUR SACK WITH TIGER CUBS [31 May 2005|07:50pm] 01 The skin of winter Is covered with a fine white hair Which gets into the throat of God-- And He coughs it up over the world. 02 The animal I wanted Couldn't get into the world... I can hear it crying When I sit like this away from life. 03 There were twelve ragged children In the house. The sleigh tinkled snowily down the street And they all looked out the window at it. 04 Cloud drone boot rattle Grab Watch call fist throttle Lunge O plink your little rifle Killed him Ah 05 And the angel said, Gnritotavuleylanmwizse, Whuk b-soun mhi tilnpvobiiad; O ralh ofykizooceumhedll. Somg yothbe stakonlrn; lif; Cr... But we did not accept The star. Because we had no homes in the world, We could not accept this star. Because we were never going home at all. 06 Serpent...heart and face -------of the serpent-power in an endless heart and face above thy city Son of Love is dead I beat at doors. It seems that everyone is dead When will the water come in over so many dead? 07 We followed her to the wood But she dug a hole And put your father's body in it. 08 (I must go now to cash in the milk bottles So I can phone somebody For enough money for our supper.) 09 Attempt it in fear... Ears... Toes... Scream When It Touches you 10 But tell me what you are doing, With your damn little wizened-up legs Going at such a pace-- Do you think it matters what cliff you jump off? un monstre un {monstre un} monstre un monstre 9 00|%

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