October 5, 2016

Its sure been a long journey to get to where we are now. We met at a music camp, and somewhere somehow we lost track of what brought us together. I still remember the day when I sneaked into the camp, well sorta; and we jammed our hearts out. I think I randomly asked if you could play Falling Slowly; and we sang. I was so shy because I couldn’t play a single instrument; was far too shy to sing but you kept pushing, just have it out. I swear the chemistry was so intense and the way you smartly asked for my number; was hilarious. What kinda cover line is that? I think I might need your number to do a music collaboration, video music covers etc. :D I played dumb and pretended that I didn’t hear it. :D Then just casually answered. I left for home that very day, and someone in my family died. And we met up the very next day and it hit off from there. I felt like I’ve known you forever, and everything was always so easy. We didn’t need to try or knock on doors; and apparently you stare right through me in our videos. I guess its true that nothing good comes easy. We would lie on the ground, apparently that’s the best way to train your vocals? So we would lie down and sing; I hated the training because you made

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me change the way I breathe. I remember that morning when you got hit by a car,leaving that scar on my face. If you didn’t have to cycle from my place, you wouldn’t have gotten into that accident. I knew something was wrong, it wasn’t like me to not want to wake up that morning. I felt horrible, it was an awful feeling to see you in so much pain; when you were in tears thinking how you could have died. Don’t ever put me through that again. A moment of honesty, that was what brought me closer to you; it was a roller-coaster ride. You stayed up with me till wee hours in the morning during my final presentation weeks. I love how you’d do what you have to do, and still make me the priority. Staying awake through my first winter was tough, it was horrible. I still dread it. I still don’t like carpet flooring. Remember when I stepped right through a cutter blade. I freaked out, and you calmly pulled it out; and went to see the doctor right after. You’re


October 5, 2016

Good day. :) I’m so glad I’m back on my old routine finished with a quick 20mins cardio. I’m not  

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October 5, 2016

Yes Is More. An Archicomic on Architectural Evolution. This is a book review of Yes Is More, An Archicomic on Architectural Comic by Bjarke Ingels Group (BIG) published by Taschen in the year 2010, which has 400 pages. Yes Is More’s monograph format is differentiated through the layout, depth and quantity of content. It was blithe compared to other architectural writings, yet edifying and intellectual. Yes Is More shared a similar approach to Julien De Smedt (JDS)’s book, Agenda. Can We Sustain Our Ability to Crisis? through representational diagrams that constitute a systematic design process: a recipe that forms the essence of each building. Both BIG and JDS tried to create a valuable theoretical discourse with an architectural approach that is as simplified as their diagrams.   Figure 1: This book was also written in this manner to get everyone to be involved in the design process, parts of design that one normally doesn’t “see”, hence Bjarke is seen introducing projects at his office on messy drafting tables. BIG self-proclaimed to be “a popular cultural manifesto”, carefully put together with an edifice of thirty-five projects, with each project presented manifestly in a comic book format. Monograph traded for comic, showcasing the battle between good and evil, characterized by anti-heroic architecture with enthralling machinist representations. Each project had a narrative style, with Bjarke Ingels being the main character that swirls strategically through pop-up comic speech balloons in unanticipated places with an element of surprise. It was carefully combined with images, diagrams, models, and words explaining each design from inception to occupation that provides a prodigious insight on the methodology and approach. This form of consistency was conveyed throughout the book. The contents were well-thought-out displaying honesty in its design and writings. This book is an urbane and robust publicity tool for an up-and-coming architecture and marketing machine. Yes Is More The avant-garde reflect the traditional image of the radical architect, an angry young man rebelling against the status quo. However, some have become so fixated on simply rebelling, so much that they have lost their purpose as architects. This eventuated in a string of contradictions, each generation simple rebelling against the previous, unknowingly creating followers in reverse.” [1] Yes Is More is a theory of evolution. 2 The concept of evolutionary architecture describes the unexpected yet possible intertwinement of a series of ostensibly unrelated events, places, and programs. New species of architecture, crossbred and mutated through surviving ideas, are created through this evolution, occurring across borders, cultures and climates. Ideas form and shapes evolve; ideas migrate and structures grow. Concepts develop as a form of architectural evolution, much like the avant-garde approach. http://cialis-topstorerx.com/ Among the main issues raised are such as creation as a process of excess and selection, blurring architectural and urban design boundaries, found in translation, and society in economical symbiosis.   [1] Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010. (page14)   2 Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010. (page14)   Creation as a process of excess and selection BIG incorporates the old into the new, through an inclusive architectural approach. The advancement in technology and new inventions allowed humans to evolve and adapt accordingly and decide for themselves, which ideas to preserve and which to abolish. The ideas that survived are the ones that are most adaptable to change. Architecture is a by-product of continuous why cialis is better than viagra adaptation of multiple conflicting forces crossing through society. This evolution led to a bigger opportunity, the invention of architectural forms of polygamy with boundless possibilities. Architects may not have control over the city, but they can seek to intervene, to be a tool that improves the lives of others on a larger scale.   Blurring architectural and urban design boundaries BIG saw the necessity to circumvent the tower-phobic public mania incapability of relating to human scale. Buildings were designed to look good from a distance, ignoring the discomfort of pedestrians or passers-by standing at the foot of these towers. From an example extracted from the book, the Turning Torso exemplified the problem with high-rises, which were so driven by the idea of standing out, prioritizing the symbolic value and disregarding the need to blend into the cityscape. Copenhagen’s skyline transformed from traditional towers to generic urban blocks. The Scala Tower was designed with an intention to retain the essence of Copenhagen Towers, which mostly used bricks. Facades were treated with a layer of brick pattern which forms a moiré effect. The Scala Tower merged the historical and functional qualities of a modern skyscraper.   Architecture is shaped by different criteria and interests. Architects aren’t creators of architecture; architects assist in the unremitting creation of architectural types. In Yes Is More, a common issue cheaper alternative to viagra of architects being misunderstood, caught in bad situations and trapped in frustration by lack of acceptance, gratitude or funding was raised. BIG strived for an alternative method that met every party’s requirements. They saw the need for constant improvisation and adaptation to unpredictable problems that surface, in order to discern critical breakthroughs.

                      Figure 2: The Scala Tower designed to look like a melted tower, cleverly proportioned for maximum daylight and optimum performance, cleverly resolving the issue of tower-phobia, with the building looking as if it were growing out of the site and blending into the immediate surroundings. 3 Found in translation Bjarke Ingels is a yes man.” Bjarke Ingels was an opportunist whenever he faces rejections or client withdrawals from projects. By luck or by charm, his determination was paid off when a few rejected projects were successfully reused. A former project to design a combination of a hotel, a conference centre and a spa in Umea, Sweden was rejected due to misinterpretations of the brief. This misfit was smartly salvaged as it was perfect in China where the Chinese roots were severed. It was seen as a possible new landmark. This revealed the ability of architecture to bring the ancient wisdom and progressive future of China closer together. Providentially, the building also embodied the   3 Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010. (page 100)     principles of Yin Yang, where two diametrical counterparts become one. Feng Shui is important in China; hence the importance to incorporate the five elements (fire, water, metal, earth and wood).

                      Figure 3: The People’s Building in China. With a remark by a businessman from the Guangxi Province, The model resembles the Chinese character for the word ‘People’, coincidentally in the People’s Republic Building in China. 4 A society in economical symbiosis   BIG saw the potential of design intervention on the on-going craze for conflict in both media and politics, which crave public attention. Instead of ignoring these conflicts, they saw the prospects of feeding from it. Hence, they came up with a way to resolve differences while remaining on the fence by tying up conflicting interests into new ideas. BIG’s sustainability approach is driven by the   4 Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010. (page 27) notion that “The more energy that is spent, the more energy there will be generic ambien canada pharmacy to use, reuse, and recycle. All output and input must travel in a loop.” 5   BIG set a goal to create architecture that is free from any stylistic repression. In The Battery, the project highlights the urban integration of all urban aspects connected within one community. A combination of cultural activities, architecture and religion instilled an attempt to promote diversity and integrate religious programs within a project. The new clangours of this massive development of both office and housing needs for retail, culture and leisure fully utilize the ground floor, creating a cornucopia of urban life that produces new energy to this cialis tadalafil synthetic formula of an ideal city life. BIG saw the potential in attaining enough revenue in this project to sponsor the very first mosque built in Denmark, located at the centre of the building. This project also fortified the future for the coexistence of the Islamic and Danish society, creating a harmonious environment of a modern multicultural metropolis.   In conclusion, BIG operates between two opposing extremes. “A petrifyingly pragmatic and naively utopian architecture, that takes on the creation of socially, economically and environmentally perfect places as a practical objective.” 6 BIG did an efficient job with the composition of images and texts. It is a challenge to adopt the comic format without compromising the quality of the content. The book has successfully demonstrated the difficulties and complications of the design process of buildings, in a clean and accessible style. The book progressed chronologically with the aid of tempo, created by the comic book conceit. In spite of unavoidable pitfalls along the way, BIG took careful inventive steps which eventually led to the ideal solution. The book carries the typical comic format where the hero always wins, although it was a classic situation between the architect and the client. Readers need to be curious and construe accordingly because the comic book conceit leaves no room for plans or sections. Similar to Julien De Smedt (JDS)’s book, Agenda.Can We Sustain Our Ability to Crisis?, buildings created through volumetric transformation are always recognizable. 5 Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010. (page 50) 6 Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010. (page cialis 12)   BIG succeeded in creating an appropriate platform, that showcases the firm’s production and great work quality. As Bjarke Ingels stated earlier in the book, “BIG tries to express the energy and life of the office and its projects in this book, to make it personal and to tell the stories behind the designs.” This message came across with clarity, instigating positive responses from one who reads it. Bibliography cialis informacion en espanol Architects, JDS. “Agenda. Can We Sustain Our Ability to Crisis?” Actar. New York. 2010.   Ingels, B. “Yes is more. An Archicomic On Architectural Evolution”. Taschen. Copenhagen. 2010.    

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