0. http://heteroglossia.tumblr.

com/ Citas de fil�sofos y escritores

http://socks-studio.com/ P�gina de art�culos sobre arte y arquitectura

Maquetas (cine) http://www.gabu-wang.at/mockups.html

1. Para la foro de la fata morgana meter el fragmento de herzog sobre herzog o

poema de breton

- �Qu� es en realidad un �fata morgana�?

- �Fata morgana� significa espejismo. La primera escena del film consiste en ocho
tomas de
ocho aviones diferentes aterrizando uno tras otro. Tuve la sensaci�n de que el
p�blico que para
el sexto o s�ptimo aterrizaje continuase viendo, se quedar�a hasta el final. Esta
escena inicial
clasifica al p�blico, es una especie de prueba. Mientras el d�a se hace m�s
caluroso y el aire
se vuelve cada vez m�s seco, las im�genes se hacen m�s borrosas, m�s impalpables.
Algo visionario
se inserta (algo como un sue�o febril) que se queda con nosotros durante toda la
pel�cula.
�ste fue el motif de Fata Morgana: capturar cosas que no son reales, ni siquiera
realmente all�.

1.1 Great architecture gains its suprafunctional language when it works directly
from its purposes,
effectively announcing them mimetically as the work's content. H. B. Scharoun's
Philharmonic Hall
in Berlin is beautiful because, in order to create the ideal spatial conditions for
orchestral music,
it assimilates itself to these conditions rather than borrowing from them. By
expressing its purpose
through the building, it transcends mere purposiveness though, incidentally, this
transition is never
guaranteed to purposive forms. Theodor W. Adorno, Aesthetic Theory, 1961-69.

http://istifhane.files.wordpress.com/2012/04/aesthetictheory.pdf

1.2 Shigeru Ban, Centre Pompidou-Metz, 2006-2010.

Japanese architect Shigeru Ban wins Pritzker Prize 2014.

http://www.shigerubanarchitects.com/
http://www.centrepompidou-metz.fr/en/unique-architecture
http://www.pritzkerprize.com/

2. The Flammarion woodcut, by an unknown artist, first appeared in Camille

Flammarion's
L'Atmosph�re: M�t�orologie Populaire (1888).

http://en.wikipedia.org/wiki/Camille_Flammarion

2.1 Building the Uncanny: Gregor Schneider�s �Haus U R� and �21 Beach Cells�
http://socks-studio.com/2014/02/28/building-the-uncanny-gregor-schneiders-haus-u-r-
and-21-beach-cells/

2.2 http://socks-studio.com/2012/07/18/urban-fictions-by-richard-rowland/
4. http://margaretmorton.com/artist/books.html

7. Philip Johnson and John Burgee, The Crystal Cathedral, ....

http://www.publicculture.org/articles/view/24/3/the-crystal-cathedral-architecture-
for-mediated-congregation
http://www.smallatlarge.com/2013/07/green-machine-concept-1/

Philip Johnson and John Burgee, The Crystal Cathedral structure under construction,
Los Angeles, 1980.
http://www.archdaily.com/445618/ad-classics-the-crystal-cathedral-philip-johnson/

8. Fotos de Mall: �they don�t know it, but they are doing it�

9. Laberintos. Against Architecture. The writing of Georges Bataille by Denis

Hollier

Later in the book, within a chapter entitled The Labyrinth and the Pyramid, Hollier
basing his vision
of architecture on Bataille's writings establishes that:

�The labyrinth, therefore, is not an object, not a referent. It does not have a
transcendence that would
permit one to explore it. Wanting to explore the labyrinth only confirms this
further: there is no getting
around it. But neither the category of subjectivity nor the category of objectivity
can exist in this
space, which, having made them unsound, nevertheless has no replacement to offer.
Distance like proximity,
separation like adhesion remain undecidable there. In this sense one is never
either inside or outside the
labyrinth � a space (perhaps that is already too much to say) that would be
constituted by none other than
this very anxiety, which is however, incurably undecidable: am I inside or outside?
�