scholarly journals Delirious New Zealand

2021 ◽  
Author(s):  
◽  
Devon Booth
Keyword(s):  
New York ◽  
New Zealand ◽  
Simple Form ◽  
Berlin Wall ◽  
Material Interface ◽  
Architectural Elements ◽  
Boundary Wall ◽  
The People ◽  
Architectural Principles ◽  
Political Economic

<p>Delirious New Zealand proposes an alternative parliament, one that uses walls and boundaries to navigate authority and architecture.  Walls are complex, they can range from a simple form of protection against elemental conditions, through to the reinforcement of borders between two countries with emphasis and polarising effect. Whilst variable, each instance is committed to division, and both are boundaries facilitated by architecture in the form of walls. Through design led research, three phases of investigation are developed across successive scales. Presented as 'Installing Boundaries', 'Housing Politics' and 'Political Infrastructure', each design outcome forms a larger body of work referred to as the design. Shape, Threshold, and Montage are the architectural principles that determine a given walls significance investigated at each scale. These three speculative propositions are not final outcomes for what an alternative parliament should be. Instead, Delirious New Zealand explores architectural boundaries as the material interface between those who govern and those governed.  Koolhaas’s observations of the Berlin Wall – pre-demise – and his publication ‘Delirious New York’ highlight the significance of the authority of an architect, and habitational authority in the realisation and reality of architecture. The significance of a given boundary wall must then consider two things. One, the architectural elements that make up the wall itself. Two, the context within which a wall operates - be that social, political, economic etc. This thesis not only examines the design outcomes as being ‘about architecture’ in the form of the design, but also uses this as a platform to discuss ‘concepts of architecture’ more broadly. Accordingly, the concept of authority and architecture is discussed throughout the production and presentation of the three scales of investigation. A final critique in the form of a design discussion concludes this thesis, at which point the final act of installing boundaries is undertaken.  ‘Delirious New Zealand’ considers parliament as a programmatic and contextual provocation for the design of architectural boundaries. In doing so, the segregated inhabitants are defined as the politicians and the people. Although political in programme, this thesis is not politically motivated nor intent on acting politically.</p>

scholarly journals Delirious New Zealand

2021 ◽  
Author(s):  
◽  
Devon Booth
Keyword(s):  
New York ◽  
New Zealand ◽  
Simple Form ◽  
Berlin Wall ◽  
Material Interface ◽  
Architectural Elements ◽  
Boundary Wall ◽  
The People ◽  
Architectural Principles ◽  
Political Economic

<p>Delirious New Zealand proposes an alternative parliament, one that uses walls and boundaries to navigate authority and architecture.  Walls are complex, they can range from a simple form of protection against elemental conditions, through to the reinforcement of borders between two countries with emphasis and polarising effect. Whilst variable, each instance is committed to division, and both are boundaries facilitated by architecture in the form of walls. Through design led research, three phases of investigation are developed across successive scales. Presented as 'Installing Boundaries', 'Housing Politics' and 'Political Infrastructure', each design outcome forms a larger body of work referred to as the design. Shape, Threshold, and Montage are the architectural principles that determine a given walls significance investigated at each scale. These three speculative propositions are not final outcomes for what an alternative parliament should be. Instead, Delirious New Zealand explores architectural boundaries as the material interface between those who govern and those governed.  Koolhaas’s observations of the Berlin Wall – pre-demise – and his publication ‘Delirious New York’ highlight the significance of the authority of an architect, and habitational authority in the realisation and reality of architecture. The significance of a given boundary wall must then consider two things. One, the architectural elements that make up the wall itself. Two, the context within which a wall operates - be that social, political, economic etc. This thesis not only examines the design outcomes as being ‘about architecture’ in the form of the design, but also uses this as a platform to discuss ‘concepts of architecture’ more broadly. Accordingly, the concept of authority and architecture is discussed throughout the production and presentation of the three scales of investigation. A final critique in the form of a design discussion concludes this thesis, at which point the final act of installing boundaries is undertaken.  ‘Delirious New Zealand’ considers parliament as a programmatic and contextual provocation for the design of architectural boundaries. In doing so, the segregated inhabitants are defined as the politicians and the people. Although political in programme, this thesis is not politically motivated nor intent on acting politically.</p>

Universal Values and Muslim Democracy

2020 ◽  
Vol 9 (1) ◽  
pp. 1-7
Author(s):  
Anwar Ibrahim
Keyword(s):  
New York ◽  
Muslim World ◽  
World Today ◽  
The People ◽  
The World ◽  
Universal Values ◽  
Human Desire ◽  
Dignified Life

This study deals with Universal Values and Muslim Democracy. This essay draws upon speeches that he gave at the New York Democ- racy Forum in December 2005 and the Assembly of the World Movement for Democracy in Istanbul in April 2006. The emergence of Muslim democracies is something significant and worthy of our attention. Yet with the clear exceptions of Indonesia and Turkey, the Muslim world today is a place where autocracies and dictatorships of various shades and degrees continue their parasitic hold on the people, gnawing away at their newfound freedoms. It concludes that the human desire to be free and to lead a dignified life is universal. So is the abhorrence of despotism and oppression. These are passions that motivate not only Muslims but people from all civilizations.

A Glimpse of Light in the Mid of Darkness Perspectives of Hope in the poetry of E. A. Robinson

2019 ◽  
Vol 1 (34) ◽  
pp. 593-612
Author(s):  
Salih Abdullah Abdulrahman
Keyword(s):  
The People ◽  
Inner Light ◽  
Political Economic ◽  
Urgent Necessity

       This paper examines the concept of the light as a symbol of hope and a guide in the poetry of  E. A. Robinson who is considered to be America’s first modern poet. Robinson lived in an age that witnessed the decadence and the disintegration of America and the whole world at all levels: social, political, economic, and spiritual. Unimpeachably, his role as a poet demanded for him to reflect upon the problems arising and to inseminate in the people of his time a glimmer of hope which would help them continue living. Such an optimistic vision manifests itself in his concept of light which is symptomatic of hope. The individuals he portrays in his poetry are led by this guiding light whose absence testifies to the fact that darkness dominates the situation.  For example, Credo, Richard Cory, and other characters seem to have lost sight of the inner light, a light that is parallel to faith. They move between moments of despair and hope, pessimism and optimism, darkness and light. Eventually, the paper concludes that Robinson presented in his poetry a kind of optimistic philosophy that was an urgent necessity in his age in order to encounter the pressures of life with bravery, fortitude, and determination.

Lincoln Kirstein’s Social Modernism and the Cultural Front

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
World War Ii ◽  
Popular Front ◽  
World War ◽  
Social Relevance ◽  
The Arts ◽  
Biographical Approach ◽  
New Ideas ◽  
The Cold War ◽  
Political Economic

This chapter takes a biographical approach to Lincoln Kirstein’s creation of a modernist theory of ballet to situate its development in the 1930s cultural wing of the Popular Front and explore its evolution through and after World War II. Fueled by the cultural front’s belief in the role of the arts in social revolution, Kirstein seized the opportunity to decouple ballet from existing biases about its elitism and triviality, and formulate new ideas about its social relevance in the Depression period. After exploring the development of Kirstein’s social modernism in the cultural front, chapter 2 then turns to the challenges posed to the 1930s belief that art could be productively combined with politics through two major turning points in Kirstein’s life. These are his experiences in World War II, and the erosion of his own artistic role in the ballet company after the formation of the New York City Ballet and the ascendance of George Balanchine’s dance-for-dance-sake aesthetic in the late 1940s. The chapter illustrates Kirstein’s attempts to negotiate the social modernist aesthetic he crafted under the wing of the cultural front within the volatile political, economic, and artistic circumstances of World War II, anticommunism, and the Cold War.

Sign in / Sign up

Export Citation Format

Share Document