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Parrish Art Museum in Water Mill, Long Island - Herzog & de Meuron

The museum board’s decision was clear, the new Parrish Museum was not to take the form of an extension of the existing building of 1897, but was to be designed as a new complex on a new and undeveloped site. This seemed to make the task all the more interesting for us, because it meant we could operate freely without having to take any existing structures into account. On the other hand, it is often the case that having to respect an existing structure actually sets the starting point for an architectural design. In this regard, the freedom of building from scratch is often a real challenge, rather than a constraint, for architects. Horror vacui – what is to be done with so much freedom? Now, although the undeveloped site on the outskirts of Southampton does offer just that kind of freedom, the more intensely we studied the history and collection of the Parrish Museum, the more strongly we tended towards the idea of a small-scale pavilion complex. Other architectural typologies soon began to look less promising. 

Photographs by Matthu Placek via Archdaily

The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film. Walk on foot, learn languages and a craft or trade that has nothing to do with cinema. Filmmaking — like great literature — must have experience of life at its foundation. Read Conrad or Hemingway and you can tell how much real life is in those books. A lot of what you see in my films isn’t invention; it’s very much life itself, my own life. If you have an image in your head, hold on to it because — as remote as it might seem — at some point you might be able to use it in a film. I have always sought to transform my own experiences and fantasies into cinema.
—  Werner Herzog

anonymous said:

What's the best way to you to learn German ? I studied it for an exam but I almost forgot everything and I'd like to study it again. Could you suggest some web sistes? Thank you so much! :))

I would recommend to indulge into german movies with subtitles for the hearing impaired, have a look at Wim Wenders, Werner Herzog, Fassbinder or Fatih Akin. You can listen and read at the same time and it’s fun. A reliable and free of charge website is Goethe Institut, just register and have a try.

Well they are very frightening for me because their stupidity is so flat. You look into the eyes of a chicken and you lose yourself in a completely flat, frightening stupidity. They are like a great metaphor for me… I kind of love chicken, but they frighten me more than any other animal.
—  Werner Herzog, on chickens
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Tenerife Espacio de las Artes in Santa Cruz de Tenerife, Spain - Herzog & de Meuron

From the very beginning of the design process we operated with courtyards, also because we wanted to connect the new TEA typologically with its existing neighbor building, the Antiguo Hospital Civil which has recently been transformed into the Museo de la Naturaleza y el Hombre. However, it took a while before we understood that all different activities and functions of the TEA should be assembled under one continuous roof structure rather than break down into individual wings. This is also one of the reasons why the elongated courtyards do not appear like embraced exterior spaces but rather like interior spaces that are being left open. The spatial interplay between inside and outside integrates rather than separates the very diverse urban landscapes which are so fascinating in Santa Cruz. The new cultural centre is therefore not only a place of encounter for people but also a place of intersection for the landscape of the contemporary city, the old city with its skyline along the Barranco and the archaic topography of the Barranco itself.

Photographs by Iwan Baan via Archdaily

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Chushingura (1997)

Directed by Werner Herzog, Sets and Costume design by Eiko Ishioka

Above: Kimonos designed by Eiko for the prostitute characters. As the costume and set designer, Eiko brought her minimalist aesthetic to the lush opera. Her visual tableau was inspired by Japanese ukiyo-e art, the most illustrative cultural source for the Edo era; at the same time abstract touches rendered her design utterly modern. Visually and essentially the opera Chushingura brought a new dimension to this three-hundred-year-old story. - Eiko on Stage

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Gaming With My Mom

A few days ago we asked you guys for vids of you playing video games with your moms. Then we put them all together in this hilarious supercut. You guys are stars! Especially your moms!

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