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By Beatriceong

Le Corbusier, Villa Jeanneret-Perret (Maison Blanche), La Chaux-de-Fonds, 1912 sources: Girard-Perregaux at Watchonista Association Maison Blanche

© office - arvo part centre - laulasmaa, finland - 2014

Miner Road House, San Francisco by Faulkner Architects | Photography by Joe Fletcher

Gilles Alonso Explores Beauty in Symmetry

Symétrie du Spectacle by Gilles Alonso explores through photography the beauty of theaters symmetrical layout. The perfectly balanced plans of theaters are a result of the necessity for convergence looks, uniform sound propagation, and quick access to exits. By photographing these halls of center stage Alonso wants to show how architects have managed to create very different places working within the same set of constraints.

Images via

Sunday Dalí: The Phenomenon of Ecstasy, 1933. Collage.

From Ego Is A Rat On A Sinking Ship:

The woman sought by the Surrealist, then, was not conceived of as one who would avoid exploitation at all. It was just that Surrealism offered what it thought was an alternative exploitation to that of bourgeois society. One expression of this alternative can be seen in Salvador Dalí’s Phénomène de l’extase, a collage showing various enraptured female faces, many of which were taken from Charcot’s photographs. The image originally followed a text by Dalí on the apparently irrational component of art nouveau architecture, parts of which alluded to sculptural details of girls and angels in rhapsodic abandon on the buildings of Antoni Gaudí. “Continuous erotic ecstasy,” wrote the artist, leads to “contractions and attitudes without precedent in the history of statuary.” He continued in a subsection also entitled “Phénomène de l’extase” that “the repugnant can be transformed into the beautiful” through such ecstasy.1 The transformation of the perception of art, architecture, and most other forms of modern life was thus dependent upon the continuous excitation of ecstasy. The sexual abandon of the female hysterics in the collage was one way of accommodating such a desire.2

Salvador Dalí, “De la beauté terrifiante et comestible de l’architecture Modern’ style,” Minotaure 3-4 (12 December 1933), 69-76. ↩

Robert James Belton, The Beribboned Bomb: The Image of Woman in Male Surrealist Art, 249. ↩

alô!!!

a very z post

Fractals are amazing. They are in our very veins, and if we look hard enough, we will begin to see for ourselves that they exist all around us.

absolutely lovely.