L’article de Penelope Green.
Le diaporama du nytimes.com. #

John Wells raconte lui même sur son site The Field Lab tous les processus de construction et tient le journal de ses aventures dans son blog. #

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John Wells devant sa maison – Photo: Tony Cenicola/The New York Times

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Tony Cenicola – Photo: John Wells

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Réalisation: Jimmy Deschênes – Images: archives ONF – Musique: Pink Floyd

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Steve Dikto – NYC Escape Skyline – 4CP | Four Color Process

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On s’excite avec les nouveaux filtres! #2 – Vero.b

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CUT/COPY – ZONOSCOPE via zelia

. #]]> http://bruvu.boutotcom.com/2011/02/11/3-new-york-city/feed/ 0 http://bruvu.boutotcom.com/2010/08/30/la-biennale-di-venezia-2010/ http://bruvu.boutotcom.com/2010/08/30/la-biennale-di-venezia-2010/#comments Mon, 30 Aug 2010 15:06:12 +0000 bruno boutot http://bruvu.boutotcom.com/?p=588 Un splendide reportage de designboom sur la présentation de Barheïn, projet gagnant du Lion d’or de la Biennale d’architecture de Venise 2010. #

Au lieu d’un projet d’architecture contemporaine, Barhein expose une étude des cabanes de pêcheurs construites en bord de mer le long de son littoral. Quelques cabanes ont été entièrement démontées et reconstruites à Venise. Le projet comprends des interviews avec les habitants de ces régions, leur rapport avec la mer et leurs espoirs pour l’avenir. #

Donc, pas du beau béton ni du beau titanium (que l’on aime aussi) mais des gens. Il n’y a rien de plus Web et de plus contemporain que les gens et leurs modes de vie. Un choix très audacieux et très judicieux du jury. #

Nouvelle en français. #

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ministry of culture kingdom of bahrain
sh. mai bint mohammed al-khalifa – commissioner
noura al sayeh – architect, curator
dr. fuad al ansari – architect, curator
harry gugger – architect, lapa, exhibition design
leopold banchini – architect, lapa, exhibition design
stefano tropea – architect, local coordinator
mohammed rashid bu ali – film director
camille zakharia – photographer
valentin brustaux – graphic designer
philip enquist – architect, som, contributor
suha mattar – partner moirai communications, contributor
michael arora – marine consultant, contributor
tamadher al fahal – interior designer, research team
fay al khalifa – architect, research team
mona yateem – urban designer, research team
fatema al hammadi – architect, research team
deena ashraf – architect research team
mohammed al qari – architect, research team #]]> http://bruvu.boutotcom.com/2010/08/30/la-biennale-di-venezia-2010/feed/ 0 http://bruvu.boutotcom.com/2010/08/21/elixir-moment-factory-place-des-festivals/ http://bruvu.boutotcom.com/2010/08/21/elixir-moment-factory-place-des-festivals/#comments Sun, 22 Aug 2010 04:10:32 +0000 bruno boutot http://bruvu.boutotcom.com/?p=583 #]]> http://bruvu.boutotcom.com/2010/08/21/elixir-moment-factory-place-des-festivals/feed/ 0 http://bruvu.boutotcom.com/2010/04/18/favela-chic-introduction-illustration/ http://bruvu.boutotcom.com/2010/04/18/favela-chic-introduction-illustration/#comments Sun, 18 Apr 2010 19:43:06 +0000 bruno boutot http://bruvu.boutotcom.com/?p=509

On m’a demandé ce que je pensais du sujet d’une photo et j’ai répondu: “Favela Chic”.
Qu’est-ce que le Favela Chic? #

I was asked what I thought of the subject of a picture and I answered: “Favela Chic”.
What is Favela Chic? #

Bruce Sterling’s Scenarios for the Future: Favela Chic and Gothic Hi-Tech: #

At the end of the day, Sterling suggests keeping things that are beautiful, things that have emotional value for you, and things that are just plain useful. #

Au bout du compte, Sterling suggère de ne garder parmi nos possessions que celles qui sont belles, celles auxquelles on est profondément attaché, et celles qui sont simplement utiles. #

Vous vous souvenez de l’histoire de ce merveilleux poster que j’avais racontée ici? Je disais que je l’avais confié “à une amie artiste qui l’avait adoré sur le champ”. #

Do you remember the story of this wonderful pasteup that I had told here? I wrote that I had given it for safe keeping to “an artist friend who loved it at first sight”. #

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Art & Puzzle – 2008

Aujourd’hui, j’ai reçu cette photo: #

Today, I received this picture: #

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Dans de beaux draps – Favela Chic – 2010

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Des rails sous l’asphalte sur Mont-Royal, au coin de Saint-Denis! #

L’archéologie du XXe siècle est juste là, sous la surface. #

En grattant un peu, on trouve des tramways, des machines à vapeur, des usines à la place des lofts et des ouvriers dans les condos bourgeois. #

Les mains sont caleuses et les vies sont plus courtes. #

De la nostalgie dans les odeurs, les chansons, les enfances. #

En noir et blanc, bien sûr. #

Seul le steampunk est en couleurs. #

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Rails keep surfacing on Mont-Royal, near Saint-Denis street. #

The archeology of the XXth century is barely buried. #

Scratching a little we’ll find tramways, steam engines, manufactures instead of lofts and workers inside yuppies’ condos. #

Hands are calloused and lives are shorter. #

There is nostalgia in smells, songs, childhoods. #

In black and white, of course. #

Only steampunk has colors. #]]> http://bruvu.boutotcom.com/2010/04/08/rails-rails/feed/ 0 http://bruvu.boutotcom.com/2009/09/13/place-des-festivals/ http://bruvu.boutotcom.com/2009/09/13/place-des-festivals/#comments Sun, 13 Sep 2009 11:35:13 +0000 bruno boutot http://bruvu.boutotcom.com/?p=261 En français ci-dessous. Then English again. Et encore du français. Etc. :-) #

On my way to the show, I decided to walk through the new Place des Festivals in Montreal. I was not disappointed: this is a magnificent public space. There were already lovers, kids playing in the fountains and idlers on benches admiring the water show. A success! (Click on the image and then on “All sizes” to see it larger.) #

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En allant à l’expo j’ai voulu passer par la nouvelle Place des Festivals de Montréal. Je n’ai pas été déçu: c’est un splendide espace public. Il y avait déjà des amoureux, des enfants jouant dans les jets d’eau et des flaneurs sur les bancs regardant le spectacle aquatique. Une réussite! (Cliquez sur l’image puis sur “All sizes” pour la voir en grand.) #

On a warm late afternoon, it was perfect: the fountains were refreshing the air and the water show was very inventive, playful and spectacular. I think it’s the first time I have seen, or rather heard, rhythms played using a fountain. We would like to know the names of these artists who compose sculptures that are lively, liquid and resounding. #

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En fin d’après midi d’une belle journée, les fontaines rafraichissaient l’air ambiant et le jeu des jets d’eau était très original, ludique et spectaculaire. C’est je crois la première fois que je vois, ou plutôt que j’entend, jouer des rythmes avec des jets d’eau. On aimerait connaître le nom de ces artistes qui composent des sculptures vivantes, liquides et sonores. #

Later that evening, coming back from the show, I could not resist to walk again through the Place in the opposite direction; this time charmed by the play
of red and white colored lights in the water jets. #

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Plus tard dans la soirée en revenant de l’expo, je n’ai pas résisté à l’idée de retraverser la place dans l’autre sens, et cette fois j’ai été charmé par les jeux de couleurs rouge et blanc dans les jets d’eau. #

Il y a encore beaucoup de questions à se poser pour le futur: qu’est-ce qui va se passer en hiver? Que faire avec les maisons banales du côté sud? Comment le Musée d’art contemporain va-t-il mettre en valeur cette façade “arrière” qui se trouve soudain en vedette? Et on aimerait en savoir beaucoup plus sur le spectacle aquatique: qui décide ce qui est “joué” quand? Il y a de long moments où rien ne se passe et il n’y a aucune information disponible nulle part, même pas sur Internet. #

The future still holds many questions, like what will happen in winter? What to do with the uninteresting houses on the South side? How will the Museum of Contemporary Art use its “backside” which suddently becomes prominent in a new landscape? We also want to know a lot more about the water show: who decides what is “played” and when? Sometimes the fountains sleep for long periods and there is no information available anywhere, even online. #

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Il faudra revenir sur la place et imaginer ce que l’on va pouvoir créer sur Internet à son sujet, mais pour l’instant, il faut chaleureusement remercier les décideurs et féliciter les architectes Daoust Lestage pour cet oeuvre d’art. (Désolé de vous envoyer dans ce tas de Flash, mais tant qu’ils réussissent leurs places publiques…). Ce n’est pas tous les jours que notre ville peut se réjouir de recevoir un espace d’une telle qualité d’architecture urbaine, majestueuse et conviviale. La dernière fois, c’était lors de la Grande Bibliothèque. Tout n’est pas perdu. #

We will have to come back to the Place and to imagine what can be created on the Web about it, but for now, we must warmly thank the decision makers and congratulate the architects, Daoust Lestage, for this work of art. (Sorry to link to the pile of Flash, but as long as they make great public spaces…). It’s not everyday that our city can rejoice in receiving a space of such urban, majestic and friendly architectural quality; the last time was for the Grande Bibliothèque. All is not lost. #

See you at the Place des Festivals, the new rendez-vous for Montrealers. #

On va se voir à Place des Festivals, le nouveau rendez-vous des Montréalais. #

#]]> http://bruvu.boutotcom.com/2009/09/13/place-des-festivals/feed/ 0 http://bruvu.boutotcom.com/2008/11/16/how-to-read-images/ http://bruvu.boutotcom.com/2008/11/16/how-to-read-images/#comments Sun, 16 Nov 2008 04:56:50 +0000 bruno boutot http://bruvu.com/?p=72 #

Jason Kottke calls it “the most information-rich paragraph I’ve ever read online…it’s like an entire film class in 12 lines”. It’s from a column named How to read a movie written by the great movie critic Roger Ebert: #

In simplistic terms: Right is more positive, left more negative. Movement to the right seems more favorable; to the left, less so. The future seems to live on the right, the past on the left. The top is dominant over the bottom. The foreground is stronger than the background. Symmetrical compositions seem at rest. Diagonals in a composition seem to “move” in the direction of the sharpest angle they form, even though of course they may not move at all. Therefore, a composition could lead us into a background that becomes dominant over a foreground. Tilt shots of course put everything on a diagonal, implying the world is out of balance. I have the impression that more tilts are down to the right than to the left, perhaps suggesting the characters are sliding perilously into their futures. Left tilts to me suggest helplessness, sadness, resignation. Few tilts feel positive. Movement is dominant over things that are still. A POV above a character’s eyeline reduces him; below the eyeline, enhances him. Extreme high angle shots make characters into pawns; low angles make them into gods. Brighter areas tend to be dominant over darker areas, but far from always: Within the context, you can seek the “dominant contrast,” which is the area we are drawn toward. Sometimes it will be darker, further back, lower, and so on. It can be as effective to go against intrinsic weightings as to follow them. #

Point par point: #

Right is more positive, left more negative. #

Movement to the right seems more favorable; to the left, less so. #

The future seems to live on the right, the past on the left. #

The top is dominant over the bottom. #

The foreground is stronger than the background. #

Symmetrical compositions seem at rest. #

Diagonals in a composition seem to “move” in the direction of the sharpest angle they form, even though of course they may not move at all. #

Therefore, a composition could lead us into a background that becomes dominant over a foreground. #

Tilt shots of course put everything on a diagonal, implying the world is out of balance. I have the impression that more tilts are down to the right than to the left, perhaps suggesting the characters are sliding perilously into their futures. Left tilts to me suggest helplessness, sadness, resignation. Few tilts feel positive. #

Movement is dominant over things that are still. #

A POV above a character’s eyeline reduces him; below the eyeline, enhances him. #

Extreme high angle shots make characters into pawns; low angles make them into gods. #

Brighter areas tend to be dominant over darker areas, but far from always: Within the context, you can seek the “dominant contrast,” which is the area we are drawn toward. Sometimes it will be darker, further back, lower, and so on. It can be as effective to go against intrinsic weightings as to follow them. #

I collect stars, but I keep them in the sky because I just don’t have the space at home. #