contradiction

by manuel saga

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thedsgnblog:

La Tortillería    |    http://latortilleria.com
"Located in Ourense, Spain, this place is anything but typical, it is a refreshing alternative for local walkers used to the traditional bar or restaurant. The architect Ruben D. Gil and his wife Gretta R. Valdés decided to spice up the rainy Galician city with an unusual spot to enjoy international cuisine and drinks in an atmosphere of light wood ceilings, adobe walls, dim lighting and steel furniture. The agency worked on the design of its visual identity, stationery materials, packaging for branded products, to go packaging, coasters, menus and tote bags. A custom made bottle of water on each table will welcome its guests in October 2014."
Originally founded in an old tortilla factory building, La Tortillería is a creative company with a passion for images and words with the exceptional ability of turning them into an exquisite reflection of an idea. We create, brand, design, publish and advertise blending creativity and functionality to grant each project a unique personality. We are creative problem solvers who begin with the end in mind either from scratch or from an outlined plan and make things happen come hell or high water.
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laterceraurbs:

“Pero yo he dejado de pensar en un futuro mejor. Nuestro tiempo ha visto inflarse muchos hermosos sueños de futuro, llenarse las bocas con palabras tejidas para alimentar el sueño, llegar a las manos y a las armas para defender el sueño de las palabras, morir por las palabras que otros soflamaron. Todos creían que merecía la pena. Nuestro tiempo ha visto demasiados sueños, tantos que ha llegado a creer que no hay más que el sueño, que todo cuanto nos rodea es ilusión, fantasma, sueño de la semántica y la técnica, Semotecnia , ciudad imposible donde el extranjero no ve lo que sucede aunque camine por sus calles y túneles interminables. Aquellos sueños hablaban de un futuro que nunca llegó; estos otros hablan de un presente que parece llegar y ya es marchado.
Mi generación creció con el sueño del desastre nuclear, con la fantasía del día después, con mutantes y cyborgs luchando con las ratas para seguir viviendo (los cómics de Richard Corben), crecimos con la diversión de sobrevivir al desengaño y la catástrofe. No nos asusta el sueño de la catástrofe, como no nos asusta una película de terror, también puedes reír y disfrutar del sol o de placeres en medio del desastre. Nada importa, sólo es un sueño. Las generaciones del gran relato y sus herederos, que siguen aquí conviviendo con nosotros, se escandalizan de que nos gocemos en la distopía, nos dejan por locos imposibles (sólo es una pose, dicen los que nos quieren) o disputan con nosotros para llevarnos de nuevo al sueño de los Grandes Relatos, porque merece la pena, dicen. Estoy seguro de que sí, no me importa que sueñen, les quiero, pero vivimos ya en otro tiempo.”
Leer más.
"Postmetrópolis y la mundialización, al final del sueño", un post de Baltasar Fernández-Ramírez para blogURBS.
Image: Shanghai Rollercoaster by Jakob Montraslo in flickr
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plagiarismisnecessary:

(via vostok1)
Robert Smithson
Non-Site Map of Mono Lake (1967-1969)
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feltron:

Map of the 6-minute single take sequence through Hoston Projects from episode 4 of True Detective diagramed by Nigel Evan Dennis.
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brianmichaelbendis:

BATMAN: BLACK & WHITE #1 (June 1996)"TWO OF A KIND" By Bruce Timm
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superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
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drawingarchitecture:

 Nimrod Palma-Alejandro Wong, 'Commons Enclosure Project concept drawing; Form Finding'.
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bigblueboo:

cooperation [720p]