April 29th, 2012

I have always maintained that making time and space for solitude is important, and I could not agree more with Sherry Turkle’s explanation why…

“You end up isolated if you don’t cultivate solitude - the ability to be separate, to gather yourself. Solitude is where you find yourself so that you can reach out to other people and form real attachments.  When we don’t have the capacity for solitude, we turn to other people in order to feel less anxious, or in order to feel alive. When this happens we are not able to appreciate who they are. It is as though we are using them as spare parts, to support our fragile sense of self. We slip in to thinking that always being connected is going to make us feel less alone. But we are at risk because actually it’s the opposite that is true.  If we are not able to be alone, we are going to be lonely.”  

April 27th, 2012

German painter, Gerhard Richter has an amazing breadth of work - most prominently known for his large scale abstract oil paintings. A few weeks ago I was able to see one of the final screenings of Gerhard Richter Paintings at the Film Forum in New York City. The 80 year old has such particularity about his process and outcome, while always maintaining that there is no plan. He has a very physical and emotional way of producing his work that is completly mesmerizing. Here is a taste…

April 24th, 2012

a week’s worth of to-do lists… i know i’m crazy, thank you. #finalreviews

http://instagr.am/p/JzrWyPprq5/

April 18th, 2012

architecture school makes us so cool that…

… our pin-up pit transforms into a badminton court at night.

April 13th, 2012

This drawing addresses two types of ‘Absolute’ Figures in Piranesi’s Campo Marzio, plate 5:

Finite Figures – figures that are not part of a larger compound figure, or participating in the sequence, unfolding, or axial relationships which are the crux of Piranesi’s urban plan-making strategy. 

Edgeless Figures – figures without a significant edge condition, or in a particular dialogue with other figures, infill objects, or a larger organizational frameworks.  

Drawing by Daisy Ames

April 11th, 2012

‘Absolute Architecture’ defined…

The part is absolute; it stands in solitude, yet it takes a position with regard to the whole from which it has been separated. The architecture of the archipelago must be an absolute architecture, an architecture that is defined by and makes clear the presence of limits which define the city. An absolute architecture is one that recognizes whether these limits are a product (and a camouflage) of economic exploitation (such as the enclaves determined by uneven economic redistribution) or whether they are the pattern of an ideological will to separation within the common space of the city…

Instead of being an icon of diversity per se, and absolute architecture must refuse any impetus to novelty and accept the possibility of being an instrument of separation, and thus of political action. 

- The Possibility of an Absolute Architecture by Pier Vittorio Aureli p.45-46

April 11th, 2012
[Flash 9 is required to listen to audio.]
Bright Lights
Gary Clark Jr.

holy f. crazy about dan auerbach of the black keys… and absolutely loving ‘bright lights’ he produced with gary clark jr.  - southern rock vibe and great beat! via fredwilson

April 4th, 2012

louis kahn reflecting paul rudolph this morning at yale art gallery and yale school of architecture… 6:41am

March 30th, 2012
I want to produce heroic students, not “leading the charge” types, but students who *are* just, moral, and truthful. Not opportunistic.
Peter Eisenman
March 27th, 2012

Fiona Apple “Across the Universe”

Live at the Bowery Ballroom - last night - 3/26/2012

I think every single person in the room was hanging on every single note she sung when this song began last night. (via perpetua)

(Source: youtube.com)

Reblogged from Fluxtumblr
March 27th, 2012
[Flash 9 is required to listen to audio.]

Really liking this song a friend sent :)

Royal Blue by Cold War Kids

March 22nd, 2012

Architecture school makes me so cool that… I nearly died.

Entering architecture graduate school without experience (ie computer software, physical model-making skills and/or design experience) really made first year a very hard challenge. It was still a vicious battle even for those in the same program who already had four years of architecture as an undergraduate! But, in a matter of months, the computer programs were learned, model-making skills acquired, and design experience gained. But I can do better…

If there is anything I’ve learned while making my portfolio, it’s that representation is extremely important. The ideas behind my work are strong, but representing these ideas in a simple, creative and graphically stimulating way makes all the difference. In addition, various modes of material and construction exploration during the academic year can be time consuming and seem to distract from what is actually “due.” So, during the academic year these opportunities for discovery were not fully explored. But I want to explore more…

Therefore, this summer, I decided, rather than to join the internship rat-race I will be tapping into the craft of handmade objects, furniture design/build and zoning in on the architectural and graphic representation of my work. Dedicating this time to improve upon articulating my ideas, showing my skills, and heightening my ambitions is already creating a road map of adventure for this summer.  If all this building, fabricating, and devotion to representation opens a door to a new undefined path, then I welcome it with open arms!

March 20th, 2012

i found a classic… via betonbabe:

ANTHONY AMES

LE CORBUSIER’S MODULOR SHOOTING BASKETS BENEATH AN ARRAY OF 1 TO √2 RECTANGLES, IN: STANLEY ABERCROMBIE, ARCHITECTURE AS ART, 1980s

…merci, friederike goebbels

Reblogged from BETONBABE
March 18th, 2012

Part of a hand drawing which began with Brook Taylor’s 2-point and 3-point method of constructed perspectives… by Daisy Ames  

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@daisyames

master of architecture candidate at yale. athlete. builder. painter. habitually punctilious. occasionally insouciant.