JULIEN DE SMEDT KONFERANSI | 22 Ekim 2009, Perşembe YEM

Tarih : 22 Ekim 2009, Perşembe

Yer : Yapı-Endüstri Merkezi, Fulya/İstanbul2009

Hollanda Maaskant “Genç Mimar Ödülü”Sahibi Julien De Smedt Hakkında

3 Aralık 1975 Brüksel doğumlu Julien De Smedt Fransız sanat düşkünü Jacques Leobold ve Belçikalı sanatçı Jacques Léobold ve Belçikalı sanatçı Claude De Smedt’in çocuğudur. Brüksel’de St Luc, La Cambre, Sint Lukas, Paris’te Belleville ve Los Angeles’te Sci-Arc’ta öğrenim gördükten sonra, 2000 yılında Londra Barlett Mimarlık Okulu’ndan mezun oldu. 1997- 1998 ve 2000- 2001 yılları arasında OMA, Rotterdam’da çalıştı. 2001’de PLOT ofisinin kurucularından biri oldu. Çalışmaları Kopenhag, Toronto, Paris, New York ve Sao Paulo gibi pek çok yerde sergilenmiş olan Julien De Smedt Kopenhag’da ve Brüksel’de yaşamaktadır. JDS’nin “PIXL TO XL” adlı ilk monografisi Aralık 2007’de Damdi Yayıncılık tarafından yayınlanmıştır.

SATOPTICON (2005) at Istanbul Museum of Modern Art Video Program

Nowadays, a Video exhibition called ''When Angels Fall'' in Istanbul Museum of Modern Art. A remarkable video by Jaroslaw Kozakiewicz includes an architectural point of view. Unit-E was there and took some notes from the exhibition for you. Some details as below,

11 September 2009 - 10 January 2010

Curator: Paolo Colombo

The title of this program comes from the short film by Roman Polanski When Angels Fall (1959)

more details, http://www.istanbulmodern.org/en/f_index.html

SATOPTICON

Satopticon is the project of a circumterrestrial-orbit prison of the future; it was presented for the first time at the Panopticon. The Architecture and Theatre of the Prison exhibition at the Zachęta National Gallery in Warsaw.

‘In the second half of the 21st century, a huge leap was made in genetics, nanotechnology and robotics. It finally became possible to fulfil man’s dream of returning to paradise. Poverty was eliminated, all known diseases cured, people were physically rejuvenated, and robotic technology made them virtually immortal. But there still existed the problem of the neo-Luddites and other apostates refusing to adapt to living in the new earthly paradise. To address the problem in a humanitarian way, the Satopticon was designed – a global prison to be located on Earth’s orbit. In its form, the prison alluded to the first human colony that had been supposed to be set up in space. The project, known as the Stanford Torus, dated back to the 1970s. The Satopticon’s construction was a reference to the structure of the carbon nanopipe, a material that, thanks to its immense resistance to ripping and unusual electric properties, had revolutionised 21st-century electronic and become a symbol of the new era. The closed pipe forms a torus, and its surface is covered by hexagonal structures in which the cells have been located. The construction, which resembles a net, is also an intelligent robot controlling the facility’s operation – reducing or increasing the number of cells and the length of the torus itself, depending on the needs. This means that the operation of the facility – Earth’s artificial satellite – does not require the physical presence of human personnel. Functions such as inmate supervision, database operation, medical care, supplies, visits, waste utilisation, and technical upkeep are coordinated from Earth. Each cell has been equipped with two windows, one letting in sunlight, the other offering a view of the distant Earth. Each inmate is able to view the blue planet for several hours a day. The view of Earth and the lack of gravity would aid the inmates’ moral renewal. Technology kept developing, and the changes brought about by that development were occurring ever more rapidly. Machines more intelligent and efficient than people had been built, and they relieved humans at their tasks in all areas of life, until they gained full control of their conscience. Robots took control of the natural world, including the replication and evolution processes across the planet. Eventually, the last reactionaries were adapted to the new living conditions in the earthly paradise. Universal order prevailed. There was no need for building the prison anymore.’
Jarosław Kozakiewicz

video,http://www.kozakiewicz.art.pl/wpis_video_en.php?id=24

Geometry of Inside (2005) Jaroslaw Kozakiewicz

In collaboration with Akademie Schloss Solitude in Stuttgart

Geometry of the Inside is the project of a metropolitan cinema. The building could be located nearby the Zacheta Gallery, the National Theatre, and the Metropolitan office building, fitting the architectural and cultural context of the Pilsudski Square. The shape of the building has been derived from an over 8 hour-long recording of the involuntary movements of a sleeping young woman. Her bodily movements were recorded by a computer and transformed into interweaving lines – the image of the attractor. In physics, the attractor is a ‘set of physical properties towards which a system tends to evolve regardless of the starting conditions of the system.’ The term, originally used in the theory of dynamic systems, has also proved useful in sociology and ecology. In Kozakiewicz’s project, the attractor describes the movements of the sleeping figure, plotted with lines drawn from the woman’s bodily orifices. The grid so obtained has been transformed into an irregular, sculptural figure that, properly enlarged, becomes an architectural form. Geometry of the Inside explores the, seemingly untranslatable to the language of architecture, phenomena of movement and change. The building’s walls will be semi-transparent to make it possible to project images directly on them, both inside and outside, erasing the division between the private (inside) and public (outside). The continuity of the private (dream) and public (reality) spheres is already present at the project’s preparatory stage. By employing outer-wall screens, the object engages accidental passers-by who at any moment can become viewers of a projection. The use of walls as screens also means that the building’s shape has not been determined once and for all; the projected images will co-determine the building’s appearance and make it unique. Geometry of the Inside isn’t a static figure but a changeable form shaped by visual information.
Lidia Klein

http://www.kozakiewicz.art.pl/wpis_video_en.php?id=22

http://www.kozakiewicz.art.pl/wpis_video_en.php?id=2

KENT&MİMARLIK GÜNLERİ | ARCHITECTURE&URBANIZM DAYS 2-3 NOV

3 KASIM 19:30 RICHARD ROGERS KONFERANSI | 3 NOVEMBER 19:30 RICHARD ROGERS LECTURE at Bahcesehir Unv. Conference Hall / Besiktas

Guerilla Lighting | Istanbul

Tarih: 10 Ekim 2009, Cumartesi.

Saat: 20:00 – 24:00

Yer: Şişhane Meydanı, Teutonia Binası, Galata

Tasarımcılar:

Faruk Uyan, Aydınlatma Tasarımcısı, Planlux

Faruk İTÜ Mimarlık’ta Aydınlatma üzerine (yüksek lisans) tezini yazıyor. Aynı zamanda 2 senedir profesyonel olarak aydınlatma tasarımı üzerine çalışıyor.

Chantelle Stewart,Aydınlatma Tasarımcısı, İngiltere, Studio Dekka

Avrupa’daki bir çok (Dublin, Belfast vb.) Guerilla Lighting etkinliği arkasında onun imzası var. BDP firmasında çalışırken tanıştığı Guerilla Lighting konseptini sürdürüyor. Son olarak Polonya ve Portekiz etkinliklerine imza attı.

Proje Tarihçesi:

Guerilla Lighting etkinliği, BDP Lighting (İngiltere merkezli önemli bir aydınlatma tasarım ofisi) çalışanları tarafından Design Week, Light Festival gibi çeşitli sanat ve tasarım etkinlikleri kapsamında gerçekleştirildi. BDP lighting çalışanları arasında çıkmış bir fikir, yine onlar tarafından ilk defa uygulanıyor. Daha sonrasında farklı şehirlerde bu etkinliği organize etmeye başlıyorlar.

BDP Lighting’den Martin Lupton, aynı zamanda PLDA Dernek Başkanı, ile kontağa geçen PLD Türkiye Editörü Emre Güneş, projeyi Türkiye’de gerçekleştirmek için bir girişim başlattı. Proje Türkiye’de ilk olarak 10 Ekim 2009’da Galata Perform tarafından düzenlenen Görünürlük Projesi 2009 kapsamında gerçekleşecek.

İstanbul Büyükşehir Belediyesi ve PLDA Derneği tarafından da desteklenen Görünürlük projesi, etkinlik sponsorları Cemdağ, İkizler Aydınlatma, LSP Aydınlatma ve Philips firmaları iken iletişim sponsorları ise Yapı Dergisi ve Mimarizm.com.