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איך עושים חתך טופוגרפי ב-5 דקות

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איך עושים חתך טופוגרפי ב-5 דקות

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100 Architectural Drawings ideas in 2022 | architecture drawing, architecture drawings, architecture presentation

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Oct 19, 2022 - Explore Yael’s board “Architectural Drawings” on Pinterest. See more ideas about architecture drawing, architecture drawings, architecture presentation.

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Israel Lessons: Industrial Arcadia | EPFL

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Israel Lessons: Industrial Arcadia | EPFL

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https://press.uchicago.edu/ucp/books/book/distributed/I/bo28238736.html

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This book offers a critical look at the territory that today forms the state of Israel and the lasting historical role of agriculture, which sprang from the Neolithic revolution in the Middle East, had for a wide range of aspects of human social and ecological development. Topics considered include agriculture's role in territorial appropriation and domestication, in structuring the development of urbanization, in creating a national homeland narrative for the Jewish state, and in changing the climate. Israel Lessons explores in particular the three major types of Israeli agricultural development: vernacular Palestinian/Bedouin, socialist utopian Kibbutz/Moshav, and contemporary high-tech desert farming. Presenting findings through text matched to striking images, graphics, and maps, and featuring proposals for architectural intervetions, it demonstrates how facts and narratives related to agriculture and the climate crisis are intertwined with geopolitics and sectarian ideals of an earthly paradise.

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This book offers a critical look at the territory that today forms the state of Israel and the lasting historical role of agriculture, which sprang from the Neolithic revolution in the Middle East, had for a wide range of aspects of human social and ecological development.

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איל ויצמן | סף המדבר, קו העימות

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איל ויצמן | סף המדבר, קו העימות

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איל ויצמן סף המדבר, קו העימות: יישוב ופינוי כשינוי אקלים בנגב

© (Eyal Weizman (First published by Steidl in association with Cabinet Books, Brooklyn, 2015
© בבל, 2016
דאנאקוד: 978-965-512-264-0
שם מקורי: The Conflict Shoreline: Colonization as Climate Change in the Negev Desert
מס' עמודים: 116
מחיר קטלוגי: 72 ₪
עריכת טקסט: עמית רוטברד
תרגום מאנגלית: עמי אשר
סדר ועטיפה: סטודיו דרום , דוד בן הרא"ש
הספר רואה אור בשיתוף: עמותת זוכרות
עריכה מדעית: דבי פרבר
ארץ חלולה

בחצי המאה שחלפה מאז כבשה ישראל ב- 1967 את הגדה המערבית, את חצי האי סיני ורצועת עזה ואת רמת הגולן, כיסו דורות של אנשי צבא, מתיישבים, אדריכלים, מתכננים, פוליטיקאים ומשפטנים את מפות השטחים הכבושים בנקודות, בקווים ובשטחים. >>>

ארכיטקטורה של סְפָר

כיוון שגיאוגרפיות גמישות מגיבות לכוח מבוזר ולא לכוח ממוקד ואחדותי, אין להבין את הארכיטקטורה שלהן כהגשמה חומרית של רצון פוליטי מאוחד או כתוצר של אידאולוגיה לכידה. >>>

בספר סף המדבר, קו העימות בוחן איל ויצמן את עקירת הבדואים מהנגב הצפוני מנקודת מבט ייחודית. בניגוד לגבולות אחרים שמקיפים את ישראל/פלסטין ומשסעים אותה, סף המדבר אינו מסומן בחומות וגדרות, אלא מתקדם ונסוג בתגובה לשינויי אקלים, ולמדיניות עיבוד קרקעות, עיור וייעור, נישול ויישוב הנובעת מהם.
בעוד שמקובל לראות בשינויי האקלים תוצר לוואי של הפיתוח המודרני, ויצמן טוען שאידיאולוגיית "הפרחת השממה" היתה מאז ומתמיד מטרה מוצהרת, שחרצה את גורל הבדואים שחיו לאורך סף המדבר עשרות ואף מאות שנים.
ויצמן ממפה את סף המדבר מהתקופה העות'מאנית ועד ימינו, ומראה כיצד כובשי הנגב השונים התאמצו להדוף לאחור את קצהו הצפוני כדי להרחיב את שטחי העיבוד ולהכפיף למרותם את תושבי המדבר. לשם כך הם ניהלו מתקפה מתואמת נגד סף המדבר ויושביו. אך בעוד הבדואים נסוגים מפני כוחה העדיף של המדינה, המדבר משיב בשנים האחרונות מלחמה שערה.
הספר מהווה מזיגה מרתקת של סיפור בלשי, תיאור היסטורי וניתוח מדעי. בעזרת תצלומי אוויר, מסמכים, מפות ועדויות משפטיות הוא משרטט קו שלאורכו ניטש עימות מתמיד בין כובש לנכבש, בין כוח הזרוע לאיתני הטבע.

הספר נבחר על ידי אתר Marginal Revolution לספר העיון הטוב ביותר בשנת 2015.

הקדמה

בשעות הבוקר המוקדמות ב-12 ביוני 2014, זמן קצר לאחר שהשיגו צו הריסה מבית המשפט המחוזי של באר-שבע, נכנסו כמה מאות שוטרים בליווי משאיות ובולדוזרים אל תוך בית הקברות המגודר של משפחת אל-טורי בכפר אל-עראקיב השוכן לא רחוק מהעיר והחלו להרוס את הבתים והמבנים >>>

נחיה על האדמה הזו בכבוד או שניקבר בה בכבוד

אתר "העוקץ" מביא קטעים מן הספר החדש ״סף המדבר, קו העימות״, בו בוחן איל ויצמן את עקירת הבדואים מהנגב הצפוני מנקודת מבט ייחודית ומראה כי אידיאולוגיית ״הפרחת השממה״ היתה מאז ומתמיד מטרה מוצהרת, שחרצה את גורל הבדואים שחיו לאורך סף המדבר. >>>

כך מנהלת המדינה סכסוך עם הבדואים על המרחב

"'סף המדבר, קו העימות' עוסק במאבק על רקע התנאים הפיזיים שיוצר המדבר, שמנוצלים לטובת עמעום הקשר של הבדואים לאזור ודחיקתם."
צפריר רינת על ספרו של איל ויצמן "סף המדבר, קו העימות", הארץ>>>

נישול הבדווים הוא לא רק עניין של טריטוריה

"ספרו היפהפה והעצוב של איל ויצמן, 'סף המדבר, קו העימות', מתמקד במאבקם רב השנים של הבדווים מאל עראקיב לשוב לאדמותיהם, ובהקשרו."
יצחק לאור על ספרו של איל ויצמן "סף המדבר קו העימות", הארץ>>>

פינוי בינוי

"איל ויצמן הוא חלום הבלהות של נפתלי בנט. אדריכל ישראלי שחי בלונדון, תומך בתנועת החרם, נשוי לגרמנייה, עוזר לתכנן יישובים פלסטיניים, מבקר את צה"ל ומפרסם מאמרים בגנות הכיבוש. גם הספר החדש שלו, על האלימות שמפעילה המדינה כלפי הבדואים בנגב, לא יהיה מועמד כנראה לפרס היצירה הציונית."
שי זמיר משוחח עם איל ויצמן על ספרו "סף המדבר, קו העימות", ידיעות אחרונות>>>

לא רק נישול: גירוש הבדואים תורם למדבור הנגב

"צילומי אוויר ומסמכים מהתקופה העות'מאנית חושפים מציאות אחרת בנגב: טרסות, סכרים, תעלות מים וחקלאות של התושבים הבדואים. להתחממות וליובש גורמים דווקא יערות קק"ל שניטעו במקום הכפרים ההרוסים."
תום פסח על ספרו של איל ויצמן "סף העימות, קו המדבר", שיחה מקומית>>>

דליה אמוץ דיר צמית 4

אדמון ז'אבס הקשבת המִדבר היא הזכרון

"להחזיר כל ענין בשאלה חמישים אלף פעם, לכן יש ליהודי חשיבות מכרעת בעולם שהטכניקה הכריעה, עולם שניתן לעשות ממנו כל דבר", שיחה עם ברכה ליכטנברג >>>
גירסה להדפסה

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מכונת קריאה - סף המדבר, קו העימות

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איל ויצמן סף המדבר, קו העימות: יישוב ופינוי כשינוי אקלים בנגב © (Eyal Weizman (First published by Steidl in association with Cabinet Books, Brooklyn, 2015 © בבל, 2016 דאנאקוד: 978-965-512-264-0 שם מקורי: The Conflict Shoreline: Colonization as Climate Change in the Negev Desert מס' עמודים: 116 מחיר קטלוגי: 72 ₪

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Questioning the Future: Rem Koolhaas/AMO at the Guggenheim Museum

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Questioning the Future: Rem Koolhaas/AMO at the Guggenheim Museum

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Questioning the Future: Rem Koolhaas/AMO at the Guggenheim Museum

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Pierre Belanger | Going Live: From States to Systems

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Pierre Belanger | Going Live: From States to Systems

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https://issuu.com/o-p-e-n-s-y-s-t-e-m-s/docs/2015_pa35_intro

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Read GOING LIVE. FROM STATES TO SYSTEMS by o p e n s y s t e m s on Issuu and browse thousands of other publications on our platform. Sta...

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If you're expecting an unbroken dawdle through lavender fields, however, don't strap up your boots just yet - the trail is described by its makers as 'the first metropolitan and artistic hiking trail'. What does this mean in reality ?

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Bernd & Hilla Becher | Virtual Opening at the Met 

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Bernd & Hilla Becher | Virtual Opening at the Met 

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Bernd & Hilla Becher Virtual Opening | Met Exhibitions

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Gerhard Richter "Atlas" | Dresden Museum (Deutsch)

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Gerhard Richter "Atlas" | Dresden Museum (Deutsch)

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https://www.youtube.com/watch?v=goGFJbCpIiI

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The order of Memory: Gerhard Richter's 'Atlas' - QAGOMA Blog

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The order of Memory: Gerhard Richter's 'Atlas' - QAGOMA Blog

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Gerhard Richter is one of the world's leading and most influential living artists. Throughout his long career, he has responded to some of modern history's pivotal events, among them World War Two, the horror of the Holocaust and the postwar division of Germany.

Watch our time-lapse as we install a new version of Richter's monumental ongoing archival project ATLAS, selected by the artist and on loan from the Stadtische Galerie im Lenbachhaus in Munich. This compendium comprises of some 400 panels personally selected from thousands of clippings, photographs and source images.

The extraordinary breadth of Richter's visual and emotional reach - from intimate, personal images of family, to large, digitally generated abstract works, together with experimental variations of technique and approach, mark him as an artist who has revitalised and reinvigorated the role of painting in the late twentieth and early twenty-first centuries. Richter's is an artist who has both rejected and embraced tradition, while confirming painting's mystery and durability as an art form.

ATLAS

My motivation was more a matter of wanting to create order - to keep track of things. All those boxes full of photographs and sketches weigh you down, because they have something unfinished, incomplete, about them. Gerhard Richter

Creative bodies of work are often derived from fragments. Glimpses of a particular light, an overheard conversation, a rhythm of ambient sound, or a simple postcard can give rise to entire suites, symphonies, novels or other ongoing works of enduring significance. Similarly, notes, sketches, jottings - even the most inconsequential ephemera can catalyse ideas and directions for an artist's work.

Gerhard Richter's long and sustained career as a painter began at a time when photographic
reproductions in the daily press, illustrated journals and periodicals had become widely available and distributed, to the point of being referred to as a mass medium. As Benjamin Buchloh, who has written extensively on Richter's work, has noted:

Having escaped from a country where advertising of any kind had been prohibited, where fashion photography (let alone soft- or hardcore pornography) was outlawed, and where images soliciting the desire for tourism would have been banned from the photographic public sphere of the Communist state, Richter could now, for the first time, endlessly pursue these images in abundance. ²

Throughout the 1950s and 60s in Western Europe, North America and the United Kingdom, photography had become a commercial touchstone of the capitalist enterprise. While television was in its infancy, the illustrated press and magazines, such as Life, Stern and Der Spiegel, were the face of modernity and economic progress, a face Richter would have glimpsed only occasionally in the censorial atmosphere of what was then East Germany. The characteristic alliances of image and text, news and advertising, commodity and celebrity, in the press and in magazines, were the agents for the particular ideological, commercial and political structure of life in the West - what art historian John J Curley has described as 'an explicit instrument of political power'. ³

Richter's ongoing, encyclopaedic and partially taxonomical project known as ATLAS now numbers more than 800 panels. It began as a collection, or perhaps more an accumulation of press cuttings, illustrations from magazines and books, and family photographs. From 1969, Richter systematically collated his collection of fragments onto standardised sheets of card, but this material was already playing a central role in his work from the early 1960s. The first panels have the character of a 'scrapbook', overlayed with the rigid grid of order that became the standard format for the entire opus. 'Family album' snapshots - the foundation images of ATLAS - are pasted alongside cuttings from newspapers and magazines. By the late 1960s and early 1970s, Richter's own photographs appear more regularly, reflecting the increasing accessibility and availability of cameras and photography for personal means. Particular panels are less concerned with photography than they are with 'appearances' - flames, painted surfaces, swirling paint or colour samples. There are sheets of correlations and correspondences, such as those between clouds, sea and sky. Extensive serial sequences of landscapes appear frequently alongside aerial views of cities, mountains, flowers and forests. While drawings, sketches and collages appear throughout, photography is the central focus and spine of ATLAS.

Most of us are familiar with images as part of a continuum, whether they are family photos in an album (or perhaps a digital archive now) or the continuous and largely superfluous flow of media images we encounter on a daily basis. When isolated from that continuum, however, or placed into a specific order and arrangement as Richter has done, these images become strangely present again; their place in the flow is arrested. It is perhaps this characteristic that is most salient in ATLAS.

The imposition of order on the archival work is consistent with Richter's decision in 1962-63, at the age of 30, to begin sequentially numbering his paintings and hence, the development of a catalogue raisonné that now contains over 2000 works. Some of the earliest works in the Gallery's exhibition are derived directly from illustrations, cuttings and photographs from a few of the first panels produced between 1962 and 1964. A grid of pencil lines can be seen on several images, which have been clipped or torn from magazines and newspapers, indicating Richter's then methodology of manually enlarging the image onto canvas. He later used an 'episcope', a kind of opaque projector, to bypass this process.

The overlay of order, chronology and sequence suggests a narrative intent, but that is not the intention behind it. The fusion of personal memory and biography, ATLAS is a broad incidental history of public events, specific thoughts, ideas and propositions that coexist, return and are reprised. It would be mayhem but for the stabilising convention of the grid. Helmut Friedel, former director of the Stadtische Galerie im Lenbachhaus, has compared ATLAS to a text in the sense that, 'a sentence consists of words, words of syllables and syllables of letters'. ⁴

ATLAS is simultaneously linear and cyclic, ordered and labyrinthine, open to infinite interpretation and analysis - a kind of mnemonic alliteration. We find images collected or taken in the 1970s returned to in the 1980s. ATLAS's Various Motifs (445), 1978, for example, includes a photograph of Richter's daughter, Betty, turning away from the camera. The photograph was the basis for one of Richter's best-known painted works, which he completed ten years later. ⁵ Similarly, harrowing scenes from concentration camps are revisited in 1997-98, almost preposterously, as potential images for inclusion in a commissioned work for the atrium at the entrance of Berlin's Reichstag (parliament) building. The picture of Richter's wife, Sabine, with their son, Moritz, could be any tender image of a mother and child; while the dark, blurred images of Nazi death camps find echoes in more recent images of genocide, forced diaspora and refugee settlements. Unmoored, the images are fugitive and mutable.

ATLAS has been exhibited numerous times, beginning in 1972, each time a different iteration and no two the same. Munich's Lenbachhaus acquired the work in 1996 - the original sheets are now too fragile for travel or loan. Richter has created ATLAS overview using the plates of a four-volume book published by the Lenbachhaus. Comprising some 400 panels personally selected by the artist, ATLAS overview is a compressed summary of this vast archive. As with Richter's practice of creating editioned versions of his works, this is considered an artwork in its own right.

Like the project itself, a view of ATLAS can only ever be partial. Its totality is too vast to be experienced singularly. Only in publication does it approach the status of a single entity, albeit a page at a time. Like a life, ATLAS is disjointed, interrupted and incomplete - standing apart from Richter's painting oeuvre, this intricate web of association, return and recall is a significant project of memorialisation at a time when the meaning of images has changed so profoundly.

Subscribe to YouTube to watch behind-the-scenes video / Read more ABOUT Gerhard Richter

'Gerhard Richter: The Life of Images ' at GOMA from 14 October 2017 until 4 February 2018 featured over 90 works from six decades of Richter's career. Drawn from major museum and private collections, as well as Richter's own personal archive, the exhibition provided a unique opportunity to view the diverse range of his exploration of painting.

Endnotes
¹ 'Interview with Stefan Koldehoff, 1999', in Dietmar Elger and Hans Ulrich Obrist (eds), Gerhard Richter: Text. Writings, Interviews and Letters 1961-2007, Thames and Hudson, London, 2009, p.350.
² Benjamin HD Buchloh, 'Atlas: The anomic archive', October, vol.88, Spring, 1999, p.140.
³ John J Curley, A Conspiracy of Images: Andy Warhol, Gerhard Richter and the Art of the Cold War, Yale University, New Haven and London, 2013, p.136.
⁴ Helmut Friedel, Sumi Hayashi, Gerhard Richter: ATLAS [exhibition catalogue], Kawamura Memorial Museum of Art, Sakura, Japan, 2001, p.26.
⁵ Later still is the edition work in the Gallery's exhibition - Betty, 1991 Editions (CR 75).
David Burnett is Curator, International Art, QAGOMA Feature image detail: Gerhard Richter Atlas overview 1962-ongoing

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The order of Memory: Gerhard Richter's 'Atlas' - QAGOMA Blog

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Gerhard Richter is one of the world's leading and most influential living artists. Throughout his long career, he has responded to some of modern history's pivotal events, among them World War Two, the horror of the Holocaust and the postwar division of Germany.

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Gerhard Richter's "Atlas": The Anomic Archive | Benjamin H. D. Buchloh

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Gerhard Richter's "Atlas": The Anomic Archive | Benjamin H. D. Buchloh

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Countryside: The Future (Guggenheim 2020)

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Countryside: The Future (Guggenheim 2020)

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A central thesis of 'Countryside: The Future' is that our current form of urban life has necessitated the organization, abstraction, and automation of the countryside at an unprecedented scale. Data storage, fulfillment centers, genetic engineering, artificial intelligence, robotic automation, economic innovation, worker migration, and the private purchase of land for ecological preservation are in many cases more actively explored and experimented with in the countryside than the city.

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A central thesis of 'Countryside: The Future' is that our current form of urban life has necessitated the organization, abstraction, and automation of the countryside at an unprecedented scale. Data storage, fulfillment centers, genetic engineering, artificial intelligence, robotic automation, economic innovation, worker migration, and the private purchase of land for ecological preservation are in many cases more actively explored and experimented with in the countryside than the city.

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Countryside Lecture Slides | Rem Koolhaas OMA

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Countryside Lecture Slides | Rem Koolhaas OMA

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Half of mankind lives in the city, but the other half doesn't. Rem Koolhaas presents his manifesto on the countryside, revealing how little attention has been paid to the countryside in the past decades and how this unknown territory is rapidly transforming.

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Half of mankind lives in the city, but the other half doesn't. Rem Koolhaas presents his manifesto on the countryside, revealing how little attention has been paid to the countryside in the past decades and how this unknown territory is rapidly transforming.

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Thomas Paturet, Damien Guerra, Francesco Montresor, Elvira Pietrobon, Olivier Rochat,

Tina Straubhaar, Derya Sancar, Hiroki Tanigaki, Gwendoline Ternet, Yiqun Zhang

Groupe de suivi : Harry Gugger - Aurélie Blanchard - Barbara Costa - Lukas Lenherr

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Iceland has fewer than 350,000 inhabitants, with half in Reykjavik, but the beautiful yet sparsely inhabited island in the North Atlantic is rich in natural resources. In particular, its huge hydrothermal and geothermal potential allows for the production...

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Designing Disorder: Experiments and Disruptions in the City

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Designing Disorder: Experiments and Disruptions in the City

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by Pablo Sendra and Richard Sennett

A manifesto for the Open City: vibrant, disordered, adaptable

In 1970, Richard Sennett published the groundbreaking The Uses of Disorder, arguing that the ideal of a planned and ordered city was flawed. Fifty years later, Sennett returns to these still fertile ideas and, alongside campaigner and architect Pablo Sendra, sets out an agenda for the design and ethics of the Open City.

The public spaces of our cities are under siege from planners, privatisation and increased surveillance. Our streets are becoming ever more lifeless and ordered. What is to be done? Can disorder be designed? In this provocative essay Sendra and Sennett propose a reorganisation of how we think and plan the social life of our cities. "Infrastructures of disorder" combine architecture, politics, urban planning and activism in order to develop places that nurture rather than stifle, bring together rather than divide up, remain open to change rather than closed off.

Reviews

"In this very readable essay, Sennett pushes on the ideas he developed in his 'Uses of Disorder'. The upshot seems to be the 'open city'; the antithesis of places like New York's Hudson Yards; a pre-determined, real-estate driven 'community' that can only degrade over time. Given contingent times, a necessary critical view of the modern urban realm."
- RIBA Journal

"The promotion of this sense of impotence, and the resulting inertia, are encouraged by a patronising capitalist "nanny state" on behalf of corporations for whom profits, not people, matter. The only antidote to that inertia is surely to start planning the "disorder" promulgated by Sendra and Sennett.'"
- Morning Star

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Designing Disorder: Experiments and Disruptions in the City

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by Pablo Sendra and Richard Sennett In 1970, Richard Sennett published the groundbreaking The Uses of Disorder, arguing that the ideal of a planned and ordered city was flawed. Fifty years later, Sennett returns to these still fertile ideas and, alongside campaigner and architect Pablo Sendra, sets out an agenda for the design and ethics of the Open City.

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The Practice of Everyday Life | De Certeau

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The Practice of Everyday Life | De Certeau

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https://monoskop.org/images/2/2a/De_Certeau_Michel_The_Practice_of_Everyday_Life.pdf

# data[].attributes.headline
Learning from Las Vegas | Venturi + Brown + Izenour

# data[].attributes.subject
Learning from Las Vegas | Venturi + Brown + Izenour

# data[].attributes.body
http://lda.fec.unicamp.br/omeka/files/original/bd6df1fc45ba465e4add77a4342366cb.pdf

# data[].attributes.body
The city image and its elements lynch