VIBE BOOK -
Musings: transformation doesnâ€™t happen from things we do for ourselves - it happens when things happen to us that break open our current situation and understanding to allow change. this is not a humanitarian effort this is not saving lives this is not making the world a better place for everyone this is local this is a new selfishness this is inticing an interaction that can produce a transformation with land, with people, with food and understanding ciggerettes and wine will not kill you only you will kill you - outside of a terrible unforeseen accident - death is not death in a way... death from life is the inability to live life without meaning to oneself or a struggle or fun - its alot more complicated than doing the right thing or feeling like the decisions you made were right - we have become prudish and sterile and hide from our natures.... Questions: How to provoke a creative sense of play and safety that enables transformation and openess? How does architectecture play a protaginistic role in that? From the public to private and indoor and outdoor - how can the change of environments begin to provoke a time and place for that tranformational moment or near moment?
“Why would I tie myself to one woman if I were interested in others?” says Jerôme, even as he plans on marrying a diplomat’s daughter by summer’s end. Before then, Jerôme spends his July at a lakeside boardinghouse nursing crushes on the sixteen-year-old Laura and, more tantalizingly, Laura’s long-legged, blonde stepsister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly instigates Jerôme’s moral crisis and creates both one of French cinema’s most enduring moments and what has become the iconic image of Rohmer’s Moral Tales.
Two years after his worldwide hit Closely Watched Trains, Jiří Menzel directed this amusing idyll about three middleaged men whose mellow summer is interrupted by the arrival of a circus performer and his beautiful assistant. A meditation on aging and sex, shot in warm, sun-dappled color, Capricious Summer is one of the New Wave’s loveliest reveries.
Claire’s Knee - Eric Rohmer Capricious Summer -Rozmarné léto
In architecture, a folly is a building constructed primarily for decoration, but either suggesting by its appearance some other purpose, or merely so extravagant that it transcends the normal range of garden ornaments or other class of building to which it belongs. In the original use of the word, these buildings had no other use, but from the 19th to 20th centuries the term was also applied to highly decorative buildings which had secondary practical functions such as housing, sheltering or business use. 18th century English gardens and French landscape gardening often featured Roman temples, which symbolized classical virtues or ideals. Other 18th-century garden follies represented Chinese temples, Egyptian pyramids, ruined abbeys, or Tatar tents, to represent different continents or historical eras. Sometimes they represented rustic villages, mills and cottages, to symbolize rural virtues. Many follies, particularly during famine, such as the Irish potato famine, were built as a form of poor relief, to provide employment for peasants and unemployed artisans.
In psychogeography, a dérive is an unplanned journey through a landscape, usually urban, on which the subtle aesthetic contours of the surrounding architecture and geography subconsciously direct the travellers, with the ultimate goal of encountering an entirely new and authentic experience. Situationist theorist Guy Debord defines the dérive as “a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances.” He also notes that “the term also designates a specific uninterrupted period of dériving.
The sudden change of ambiance in a street within the space of a few meters; the evident division of a city into zones of distinct psychic atmospheres; the path of least resistance that is automatically followed in aimless strolls (and which has no relation to the physical contour of the terrain); the appealing or repelling character of certain places — these phenomena all seem to be neglected. In any case they are never envisaged as depending on causes that can be uncovered by careful analysis and turned to account. —Guy Debord, Introduction to a Critique of Urban Geography