My other car is a Ferrari I don't really
own a Ferrari but if I could I would. Or rather: You would be looking at it
now, and that car wouldn't need any bumper stickers. Yes, it's a positive
take on life, somehow. A merry way to deal with potentialities. To imagine
the things that could be, while including all that is. By sticking that thing
on the car I do own, I'm giving it a slap on it's little back side. This is
it. I love you too.
He couldn't have made it, I know. he was too outspoken, his rash temper eventually disqualified him for running for highest office. Howard Dean for America. But he was the one who said what he saw. Opened his mouth. Bring
The most recent addition to the world
of bumper stickers is the yellow ribbon. It is not a actually a sticker a
permanent addition to your vehicle. It is a magnetic piece of material thin
enough to adapt to the curvature of your car. The yellow ribbon it depicts
demonstrates your support of the troops.
There is no writing on it, it's just a yellow band. Like the little pieces of red ribbon held together with a safety pin on one's lapel, worn to show support for victims of AIDS. Scaled proportionally to be seen on the road. The message seems so clear. And yet, the fact that it can at any time, be moved or removed without a trace, undermines just that. In my other life, it seems to say, I fight for liberty and freedom. But don't let that mess up my car.
T. wants to build not draw. T. wants to leave a trace in this world get things done. Mess with politicians developers. Users, too, if need be. T. doesn't talk about design, or architecture, though talking is what T. does best. T. talks about efficiency. By taking the client seriously, T. says, by taking economics seriously, the firm will arrive at a better product than by designing according to an aesthetic principle. Planning first, T. likes to say, aesthetics later. Inevitable, that is what T. believes a project should be. Show the economic logic, and you'll win over any client. T. does not believe there can be architecture without a client. There is no architecture for architecture's sake. At home, in his back yard, T. has installed a French garden. The lawn requires continuous attention.
with the other M's work, nor does he
want the other M. to take credit for M.'s accomplishments. M. tries to concentrate
on the work at hand. But he knows it's all only worth the number of links
that point to it. M. used to be amused by people who signed up their goldfish
on Friendster. Truth created by popularity. M. feels ill. Will the Real Slim
Shady please stand up?
So what has changed? A. had always said that the European city where he was selling vegetables was supposed to be only an intermediate step between A.'s home country and where A. was actually headed. When it became clear that A. would most likely never make it there, the idea still kept him going. Plan B had always
insists: The real building, the built
form. isn't this the starting point? The meeting is adjourned.
It has become somewhat of an obsession. M. checks whether "M." shows up at the top of the list of results in the online search. It has been and yes, M. has been happy about it. It means that M. can be identified with M.'s work. at a glance. And it means that many people have been linking to M.'s name. Recently. however, someone who happens to have the same name appears almost as frequently as he does.Unfortunately, this other person not only shares M.'s name but works in the same field. M. is concerned. M. does not want to be confused
projects for LOOKING GLASS
REAL ESTATES LTD. /// osa + jens preusse contribution for the exhibition series
''Wonderland - platform for architecture'' extended by an essay of Susanne
Schindler. During 2004-2006 the exhibition will
travel through Slovakia, the Czech Republica Germany, the Netherlands France,
Italy, Croatia, Slovenia, Austria.
encounter. S. watches the film intently,
looking for that one reason the one problem which must have been there from
the start unresolved leading inevitably, to the end. When the film ends at
the beginning with the two lovers swimming into the sunset S. still has not
found the one reason for the relationship to have failed. One scene in particular
replays in S.'s mind: As she leaves the hotel room where they have gone at
his request, after the divorce is finalized, she insists: "C'est simplement
fini". It is the same line that she had said when they first met, referring
then to her previous relationship. S. understands that the film is not at
all about what could have been. It is simply about what is.
When he hears that the parliament building
of Bangladesh is to be featured for only a few minutes in the film "My
Architect'' the man almost breaks into tears then channels his astonishment
into some of the most convincing words ever spoken in support of architecture.
This building has brought democracy. This building has enabled a new civic
order to grow. This building is the most important contribution your father
has made. The son, having searched for traces of his father throughout the
making of this film, finally understands. His father hadn't built before the
age of fifty.