http://www.thepaintingfool.com/

http://www.thepaintingfool.com/

Original Image	Style	Description
		A delicate layered painting of the Capitolio building in Cuba. This will be quick to complete. Simulation: black and white pencils on coloured chalks.
		A colourful depiction of Times Square in New York. This will take me only a few minutes to complete. Simulation: bright, slapdash mixed acrylics.
		A wacky re-interpretation of Vermeer's classic. This can take me up to 10 minutes to complete. Simulation: bright, poorly mixed acrylics.
		A quick sketch of the Swiss Re building in London (otherwise known as the Gherkin). For a better version, please see my City Series gallery. This sketch might take me around 10 minutes to complete. Simulation: graphite pencil with shading.
		A portrait of my old friend Glen. This might take me as long as an hour to complete. Simulation: coloured pencils with hatching.
		A portrait of John Cass, from Imperial College. This is just a very quick sketch of John, and should only take me a few minutes to complete. Simulation: coloured pencils, outlines only.
		A pleasing painting of Madrid rooftops, which appeared in the Metro newspaper. This painting can take up to an hour for me to finish. Simulation: acrylic paints.
		A quick portrait of Paul O'Grady. Not brilliant, but not a bad likeness. This should take me about five minutes to finish. Simulation: charcoal and chalk.
		Another portrait of Paul O'Grady, to show the differences in the various styles I use. This one takes about 10 minutes to complete. Simulation: coloured pencils with hatching.
		A quick sketch of the Pearl Tower in Shanghai, which should be done in minutes. There's a bigger and better version in my City Series gallery. Simulation: pencil outline sketch.

Coloquio con Gustavo Bueno Futbol y Filosofia

http://www.cihefe.es/cuadernosdefutbol/2010/09/i-foro-felix-martialay/

On "Good enough" attitude and technology

My comment would be that this lecture by Tom Wiscombe is unmissable and an anxiety relief valve for those seeking to be innovative. Please please comment on it I would like to comment on your comments.

http://www.aaschool.ac.uk//VIDEO/lecture.php?ID=1172

Thanks AA for this video.

Cites in architecture magazines. On commenting architecture.

I have had a quite depressing finding tonight: architects and architecture scholars do not comment on others work in scientific journals. Just log on any database and search for architecture journals and check how many times architecture articles have been cited. Of a list of 3.700 articles that appear once you put in the field "publication" the word "architecture" (and quite a few magazines of archiecture appear) only 17 articles have been cited by anyone. The article with more cites had 15 cites from other articles-books.
In comparison, any article of the journal Nature has around 35.000 cites.
The impact of the magazines of architecture relies on how many times their articles are being cited. What is going on? Diagnosis: architecture articles are  not even relevant for architects. Nobody comments on others work.

Prince with Miles Davis - It's Gonna Be A Beautiful Night

Architecture and Beauty: Conversations with Architects About a Troubled Relationship. A manifesto

Yael Reisnter's book pushes further the idea that the art of architecture is capable of provoking : delight, joyfulness, complexity, love, pain, social commitment, responsibility, originality, thrust for innovation, exuberance, elegance, power, discretion, softness, laughter, fun, passion, dignity, musicality, weight, lightness, conflict, seduction, fear and wonder. Many of us love this idea, we dream every day with having an opportunity to provoke. Not only as a form of self expression, but as a way of experimenting with ideas to achieve features and values and technologies, hidden agendas and new disciplinary grounds that have an impact on the people.

I constantly envy musicians and what they are able to do with their language. I have been able to watch Prince in a rehearsal and later in a concert; his actions are those of a shaman. In the rehearsal his music bursts through the different instruments, his body moves in an uncontrollable manner (although he is rehearsing steps that he will be able to reproduce in the scenario), he seems to enter an altered state of consciousness, the rest of the musicians become an organic part of this dynamic event, there is experimentation, there are technical failures on one hand but brilliant, spontaneous phrases on the other, there is power in the type of music, there is risk. Then during the concert Prince and the musicians slowly acquire their status. The congregation is absolutely transformed. It could happen that someone listening to this music would keep cold, unattached; but I think that could only be a consequence of a form of resistance. The shaman Prince had a major reception in the audience. The music and dance become mediators of a religious ceremony in which the public follows an emotional pattern of ecstasy.

Architecture can have an impact in those experiencing the buildings. There are several mechanisms explained in the different interviews. In my opinion Yael latently searches for something new that might be able to go much further. This aspect of the book I find very interesting as it is not common to find expressed latent desires of change towards something not very clearly exposed, but loosely articulated, mostly emanating from the critique of Modernism and suggested in the form of "having a good eye", developing a personal expression and so on. That is the basis of my comment, speculating about what that might be. Wouldn't it be wonderful that architecture could evolve to become a synchronic tool of expression similar to danced music? Architecture is able to move and provoke, but would it be possible to do it with more power, with better results? Can we achieve more intensity?


http://www.youtube.com/watch?v=pi4gH_YS9a0