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Yona Friedman > Genesis of a Vision

Jan 2 '13 7 Last Comment
daniele scarpa kosdaniele scarpa kos
Jan 2, 13 6:58 am

Yona Friedman > Genesis of a vision

In collaboration with : Emmanuele Lo Giudice (Street Museum)

ARCHIZOOM  - LAUSANNE

Yona Friedman > Genesis of a vision
Jeudi, 20 Septembre, 2012 - Mercredi, 24 Octobre, 2012
Exposition En collaboration avec Emmanuele Lo Giudice. Curateur: Nader Seraj

 

18x32
Jan 2, 13 3:24 pm

Some pictures of the exhibit for anyone interested.

Orhan AyyüceOrhan Ayyüce
Jan 2, 13 3:52 pm

thank you for this post and sharing the flickr file.

Kos Scarpa Kos
Jan 4, 13 7:00 am

>>>...<<<

starrchitect
Jan 4, 13 10:29 am

Its because of dumb shit like this and the buffoons that eat it by the spoonful that the profession is such a joke and we get paid very little money.

design
Jan 5, 13 3:35 am

Don't be such a simpleton bro.

18x32
Jan 11, 13 4:26 pm

@starrchitect:  The intellectual argument of Friedman's work is actually set out to demystify the architecture process and open it up to participation from the users/dwellers/inhabitants. His commitment to this process is still quite radical 50 years on.

However, I will admit to being disappointed at how little development of the idea was evident within Friedman's work. Flatwriter was proposed by Friedman already in 1970 for the Osaka World Expo and extended the uses of graph theory and combinatorics present in his thinking to an explicitly computational platform. With the computational technology available today (see, for example, The Why Factory's Vertical Village, which seems to take its framework directly from Flatwriter), it seems an enormous step backwards to continue working with such limiting technologies and reductive, modular forms. (In fact, even with a hundred—or so—projects on display, Flatwriter was, sadly, left out of this exhibit.)

will gallowaywill galloway
Jan 11, 13 8:08 pm

some of these kinds of projects were built even into the 90's in Japan.  Hiroshi Hara's umeda sky building in osaka that connects two towers with yona-esque sky slabs was the last gasp i think.  somehow it doesn't work to have huge roofs hanging overhead.  it's amazing in a way and compelling at times, yet fails to grant the freedom those guys were all hoping for. 

the edo-tokyo museum by kiyonori kikutake is amazing example too but also soul-killing to walk through

maybe it is that large spaces on the ground feel more about totalitarian intentions and inevitably exert control - even in a benign place like tokyo.  The effect is not welcoming, regardless. 

yona's drawings are brilliant though.  they feel very free.  that no one has been able to take it much further is perhaps because it is better that it not be realized, and we have decided to look elsewhere.  ?

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