Wag magsinungaling hindi ito tama. :D
Naiinis talaga ako ngayong araw na to: hate ko mga sinungaling.
Sana hindi ako maging kagaya nila. HINDI ako magiging kagaya nila.
Sana malaman nila mali yon!!
Nakasanayan na kasi e. wooooo!
affected e no. hahaha
Ang aga naman mangharana ni God… Nagising ako ng 9am(dapat 11am pa..) kase nag alarm ang fone ko… hindi na ko nakatulog kaya naman nagbukas ako ng internet para makita kung ilang views na ang “PAG-IBIG” music Video.. :) 67thousand plus na!!!! Salamat po sa lahat ng nagview, sa lahat ng…
Reading Dubai’s structure developments. I find it quite fascinating. waaa. As in awesome, :) it’s Architectural characters are amazing. hope I can develop some too. hehe JK. Welcome me with open arms, SOON, Dubai.
Nakita kita sa isang magasin
Dilaw ang iyong suot at, buhok mo’y green
Sa isang tindahan
Sa may Baclaran
Napatingin, natulala sa iyong kagandahan
Naalala mo pa ba noong tayo pang dalawa
‘Di ko inakalang sisikat ka
Tinawanan pa kita
Tinawag mo ‘kong walang hiya
Medyo pangit ka pa noon
Ngunit ngayon… Hey
*CHORUS:
Iba na ang iyong ngiti
Iba na ang iyong tingin
Nagbago nang lahat sayo
Sana’y hindi nakita
Sana’y walang problema pagka’t kulang ang dala kong perang
Pambili… oooh… pambili sa mukha mong maganda*
Siguro ay may kotse ka na ngayon
Rumarampa sa entablado
Damit na gawa ni Sotto
Siguro’y malapit ka na ring sumali
Sa Supermodel of the Whole Wide Universe… kasi
Iba na ang iyong ngiti
Iba na ang iyong tingin
Nagbago nang lahat sayo
Sana’y hindi nakita
Sana’y walang problema pagka’t kulang ang dala kong pera
Nakita kita sa isang magasin
At sa sobrang gulat hindi ko napansin
Bastos pala ang pamagat
Dalidaliang binuklat
At ako’y namulat sa hubad na katotohanan… hey
Iba na ang iyong ngiti
Iba na ang iyong tingin
Nagbago nang lahat sayo
Sana’y hindi nakita
Sana’y walang problema pagka’t kulang ang dala kong pera… hey…
Iba na ang iyong ngiti
Iba na ang iyong tingin
Nagbago nang lahat sayo
Sana’y hindi nakita
Sana’y walang problema pagka’t kulang ang dala kong perang
Pambili… oooh… pambili sa mukha mong maganda
Nasan ka na kaya
Sana ay masaya
At sana sa susunod na isyu
Ay centerfold ka na
Ooooooooohhhhh…
Centre Pompidou (Pompidou Center)
19 rue Beaubourg, 75004 ParisFrance
Renzo Piano and Richard Rogers 1977
The incredible thing about Beaubourg, speaking as someone who lived through its construction, was that it was backed by France’s most conservative president, Georges Pompidou.
The strangest, the most incomprehensible thing about it, is that those who took on the work after Pompidou and made it spring from the earth - Robert Bordaz, for example, the centre’s first boss, whom I knew quite well and with whom I once paced the ruins of the quartier where this monument of audacity and modernity was to rise, miners’ helmets on our heads, in a freezing fog - were reasonable, sensible people, great servants of the state, men of classical culture, with no obvious tendency to frivolity, with no particular taste for either revolution or disorder; and nothing, therefore, predisposed them to this folly.
Did they know what they were doing? Were they aware, when they opened this building site, that they were also creating an enormous scandal, unleashing a colossal controversy, writing a page in the history of architecture that would count, in its field, as much as Marcel Duchamp’s first readymades or James Joyce’s Ulysses in art and literature? I’m not so sure. No, the more I think about it, the less I believe they had the measure of this monster to which they were giving birth, this golem, or of the short-circuit they would create in aesthetics and in people’s heads.
“The winning project is one of striking simplicity,” declared the president of the jury that, in 1972, chose Renzo Piano and Richard Rogers’s plan for the Pompidou centre. Yes, he actually said “simplicity”. You would think you were dreaming, but you’re not. And he contrasted this “simplicity” to the “complexity” of the 680 “other studies” that were suggested to him. That’s the way it is. That’s the way the world works.
Since when have a great work’s contemporaries realised just what they were living alongside?
Charles Baudelaire, on the other hand, would have loved Beaubourg, this monster of artifice and industry. Guillaume Apollinaire, champion of the Eiffel tower, which in its day created a similar scandal, would have loved this other challenge to the century and the rules of propriety. As would Louis Aragon, the author of Le Paysan de Paris, who I believe would have adored the passages, the bridges, the bizarre and baroque maze of this futurist construction, slapped down in the heart of the city that he spent his life perambulating.
Come to think of it - I said Aragon would have adored. But that was wrong, because Aragon did see the finished Beaubourg. He loved the finished Beaubourg. He really loved it, I believe. Strengthening that conviction, in my memory, is a beautiful scene filmed, near the end of the writer’s life, by Jean Ristat and Raoul Sangla, in which one sees Aragon wandering the esplanade opposite the centre.
And César - yes, César, one of our greatest sculptors, the heir to Aristide Maillol and Rodin - I can still hear him, one day when we were visiting an exhibition of Kazimir Malevich’s at the Pompidou centre, telling me that he would have given anything to “compress” Beaubourg, but no, it was too late, Beaubourg was so beautiful, Beaubourg was so perfect, Beaubourg was, contrary to what its enemies said, such a marvel that it was already like something compressed.
For we must remember how this work was initially received. We must remember the cry of hate, rage and, no doubt, terror that greeted its inauguration. We must remember those bad writers (René Fallet) speaking of an “invasion of jackals” and extend a hand to those good newspapers (Le Monde) that railed against an “anthology of ugliness”.
We must imagine Jean Baudrillard calling for the centre to be not “torched” but “dismantled”, “kidnapped”, “made to disappear” the very day after it appeared; we must imagine Baudrillard finding the tone that he would display, much later, at the time of his famous article on the destruction of the twin towers, and calling for the “implosion” of this machine for killing culture.
The thing is, Beaubourg is not a museum but a church. It’s probably even the first cultural cathedral as André Malraux had dreamed of. A place to meditate rather than consume culture. A place of prayer, in the way that the philosopher Hegel said that reading the paper in the morning is a kind of realistic prayer. Not a museum, no. Beaubourg, when it comes down to it, is not a monument; or, in any case, not a monument like so many others and in the way the term is generally used. It’s the moment that the old, classical Paris, the Paris of Walter Benjamin and Baudelaire, reached the monumental modernity that they foretold but never lived to see; it’s the end of Baron Haussmann’s France and the beginning of the France that, for the worse - or in this case the better - was preparing to reinvent its cities.
The thing is, Beaubourg is the symbol of the 21st century just as the Eiffel tower was the symbol of the 20th.
I love, in Beaubourg, what others do not. I love the way its facades resist traditional monumentalism. I love its immense spaces, without partitions, or pillars, or real divisions. I love its girders, its tubes, its eternal scaffolding, its naked metalwork, its chaos of pipes and frames. I love its machine-like, thing-like nature. I love the fact that it looks like an oil refinery. I love, in fact, that it shows what all the monuments of the world have always striven to hide: electric cables, air and heating circuits, machine rooms, fire-fighting equipment, giant and labyrinthine escalators, infra- and superstructures, excreta in stone and metal, all sorts of materials.
I remember Danilo Kis, one of the greatest European writers of the 20th century, explaining that he had had enough of the literary hypocrisy that turned the process of producing a work into something that must be concealed from the reader, put away like something shameful. Great, he said, is the work that has the courage to reveal how it came into being. Great is that which flaunts and celebrates what others are ashamed of.
Well, that’s Beaubourg - a work in steel, glass and stone that you can read like a book.
· Bernard-Henri Lévy is a French writer and philosopher.
Is it true today that when people pray,Cloudless skies will break; Kings and Queens will shake. Yes it’s true and I believe it, I’m living for you
Is it true today, that when people pray, We’ll see dead men rise and the blind set free.Yes, it’s true and I believe it. I’m living for you!
I’m gonna be a History Maker in this land
I’m gonna be a speaker of truth to all mankind
I’m gonna stand, I’m gonna run
Into your arms, into your arms again
Well, it’s true today that when people stand, With the fire of God and the truth in hand We’ll see miracles, we’ll see angels sing We’ll see broken hearts making history
Yes it’s true and I believe it! I’m living for you
Learning is one thing and acquiring knowledge is another. Learning is a continuous process, not a process of addition, not a process which you gather and then from there act. Most of us gather knowledge as memory, as idea, store it up as experience, and from there act. That is, we act from knowledge, technological knowledge, knowledge as experience, knowledge as tradition, knowledge that one has derived through one’s particular idiosyncratic tendencies; with that background, with that accumulation as knowledge, as experience, as tradition, we act. In that process there is no learning. Learning is never accumulative; it is a constant movement. I do not know if you have ever gone into this question at all: what is learning and what is the acquisition of knowledge? Learning is never accumulative. You cannot store up learning and then from that storehouse act. You learn as you are going along. Therefore, there is never a moment of retrogression or deterioration or decline.
(via adventuresinlearning)
A man of eighty has outlived probably three new schools of painting, two of architecture and poetry and a hundred in dress.
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Lord Byron
After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.
Harry Seidler
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
Harry Seidler
All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.
Gilbert K. Chesterton
All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.
Philip Johnson
All real education is the architecture of the soul.
William Bennett
All the revision in the world will not save a bad first draft: for the architecture of the thing comes, or fails to come, in the first conception, and revision only affects the detail and ornament, alas!
T. E. Lawrence
An important work of architecture will create polemics.
Richard Meier
And when an architect has designed a house with large windows, which is a necessity today in order to pull the daylight into these very deep houses, then curtains come to play a big role in architecture.
Arne Jacobsen
Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.
Rem Koolhaas
Architectural Hardware
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www.CHFA-Hardware.comAny work of architecture that has with it some discussion, some polemic, I think is good. It shows that people are interested, people are involved.
Richard Meier
Architecture aims at Eternity.
Christopher Wren
Architecture arouses sentiments in man. The architect’s task therefore, is to make those sentiments more precise.
Adolf Loos
Architecture begins where engineering ends.
Walter Gropius
Architecture can’t fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn’t real.
Frank Stella
Architecture doesn’t come from theory. You don’t think your way through a building.
Arthur Erickson
Architecture has recorded the great ideas of the human race. Not only every religious symbol, but every human thought has its page in that vast book.
Victor Hugo
Architecture in general is frozen music.
Friedrich von Schelling
Architecture is a art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being.
Luis Barragan
2 Tim 2:22— Run from temptations that capture young people. Always do the right thing. Be faithful, loving, and easy to get along with. Worship with people whose hearts are pure.
✓“Always do what is right.”
✓Warriors beats temptation by avoiding it.
✓Your desires, needs and lust can convince you something’s right when it’s really all wrong.
WHEN SATAN TEMPTS YOU, don’t just PRAY, AVOID IT, STAY AWAY!
Keiji Ashizawa - House S, Tokyo 2011. Via umm hello.
amazing huh.
ツ
