#techniques et architecture

[sylvainperrierfotografi]

5 Techniques pour la Photo Noir et Blanc

L’Art de la Photographie Noir et Blanc : 5 Techniques Essentielles 5 Techniques pour la Photo Noir et Blanc La photographie en noir et blanc transcende la simple absence de couleur pour capturer des contrastes, des textures et des formes d’une manière qui interpelle l’émotion et l’imagination. C’est une expression artistique qui exige une compréhension fine des nuances de gris, du jeu entre…

[mizushidokoro]

"Ryuurin, Hanpatsu, Tsugai no Ryuusei" -- the incantation for World Slash, and an epitaph to Gojo Satoru.

In JJK, incantations are supposed to boost power of a particular technique. When Sukuna used World Slash to kill Gojo, he imposed a binding vow that allowed him a single-use activation without the requirement of a hand sign, in exchange for using incantations and directing the attack for all subsequent uses.

In this post I'll examine the specific phrases in Sukuna's incantation and argue that each phrase of the incantation corresponds to an application of Gojo's Limitless technique. Then I'll briefly relate this to the binding vow requirements to argue that Sukuna's promise to never forget Gojo for the rest of his life is one of the conditions of that binding vow.

1. "龍鱗"

First, "ryuurin" (dragon scales) describes the basic application of Limitless, a strong defensive barrier like the scales of a dragon. This one is the most obvious, hinted at by Sukuna's words at the beginning of the fight, telling Gojo he plans to "strip away his scales." More will be said about the dragon references, in the discussion of the third phrase.

Less relevant but still interesting - there’s also a Buddhist reference here, according to this forum post:

At surface, straight value, it is just the literal scales of a dragon. The word can also be used to mean "a large quantity of things". Ryurin is also a metaphor for the power/authority/influence of heroes and of the Heavenly People (the residents of the Japanese version of the Devaloka, where devas and gods reside. Just a heavenly realm, basically.) Lastly, Ryurin means a dangerous condition/situation or a dangerous thing. So. For Sukuna, its basically 'dangerous divine power/authority'.

2. "反発"

Next, "hanpatsu." Hanpatsu means recoil, which is the equal and opposing force of an action. This describes Purple, which is the rebounding damage created by the collision of Red and Blue. At first I thought hanpatsu described Red, because Red is a “repulsing” force. Except “recoil” is not the same thing as repulsion. Another possibility was that hanpatsu described the relationship between Red and Blue — Red as the “equal and opposite” of blue, and vice versa. But we know the two aren’t equal in power, and neither technique is accurately described as the “recoil” or rebounding force produced by the other.

3. "番いの流星"

Finally, "tsugai no ryuusei." A few things here. First, the wordplay and translation. Like ”Ryuurin”, this term references dragons. Here Ryuusei, meaning meteor or comet, is also pun on the word dragon, ryuu (which isn’t novel, see the Japanese word for Pokémon move Draco Meteor, et al.). So a plausible English translation could also be “Twin Dragon Meteors.” Second, how dragons are relevant to Sukuna’s mythology. In Hida, there is a temple Senkoji said to be founded by “Ryomen Sukuna … approximately 1,600 years ago. A central architectural feature of the temple it Dragon Ceiling, a portrait of two dragons painted by Kano Tansetsu on the ceiling of the main buliding. From the website,

According to temple legend, a general of the Sengoku period committed suicide there by seppuku, staining the floor with blood. For the repose of general’s soul, the floorboards were incorporated into the ceiling of the main temple. Some time later, Kano Tansetsu visited Senkoji and painted the dragons on the ceiling. At Senkoji, the objects of worship include not only the main temple and the priest’s quarters, but also the entire temple complex.

According to this Reddit post, the temple’s founding tale describes how Sukuna fought off a dragon god living in the mountain and built a shrine in its place. So — from the fact that dragons are the mythological enemy of the figure Ryomen Sukuna, we may infer that the words of the incantation refer to an enemy or target of the World Slash technique.

What could "twin meteors" refer to other than the related techniques of Limitless, the twin floating spheres Red and Blue?

Another potential connection to Red/Blue rooted in dragon mythology is the tide jewels — the tide-ebbing (a repelling force, like Red) kanju and tide-flowing (an attracting force, like Blue) manju, possessed by Ryuujin, the Sea King.

The final reason I think the incantation refers to Gojo’s technique is because of Sukuna’s explanation in 236 for World Slash — he describes the process of developing the technique as figuring out how to target Limitless with Dismantle. So it makes sense that the incantation to power World Slash operates by describing its target, not World Slash itself.

It also lends significance to the order of the incantation — first visualizing the most generalized application of Limitless (ryuurin), then passing through Purple (hanpatsu) to finally arrive at two separate applications, Red and Blue (tsugai no ryuusei) — a conceptual "bisection" of Limitless into two discrete components.

4. Binding Vows

Isn't this pretty romantic? But wait there's more. We know now after Chapter 255 that in exchange for unleashing the World Slash that killed Gojo without using the hand sign, Sukuna now has to recite the incantation every time (+using the hand signs and directing the attack with his palm) he uses World Slash.

Assuming what I've previously argued is true (the incantation describes Gojo's Limitless), this gives Sukuna's last words to Gojo another layer of significance. When Sukuna tells Gojo he will never forget him, it's not just an expression or a promise, but a statement of the binding vow Sukuna has to make in order to land the killing blow. In other words, the cost of killing Gojo is having to remember him forever, to integrate him into Sukuna's own technique through a verbal invocation that must be made every single time Sukuna uses the world bisecting slash. Yeah, that's pretty romantic.

[monsterblogging]

If you struggle with spaceship/mech/sci-fi architecture design...

There's a very effective technique for designing spaceships, mechs, and sci-fi architecture that many people use, but also many people don't know about:

Step 1: Look at some regular thing nearby, like a razor, bottle, bug, seed pod, et cetera. Step 2: Picture it as a begreebled spaceship, mech, or building.

If you need examples, artist space gooose does this.

("Wait a moment, how does this work for a mech, when most stuff isn't human-shaped?" - you just make it the head or body and work from there. "What if it's asymmetrical?" Then so much the better - if Pacific Rim taught us anything, a little asymmetry on a mech can be a good thing.)

[transparentgentlemenmarker]

Dacia frappe fort avec son nouveau SUV équipé d’un moteur inusable et de deux réservoirs pour 1 400 km sans ravitaillement. Avec son autonomie record, son moteur réputé indestructible et sa consommation minimaliste, le nouveau SUV Dacia s'impose comme le compagnon idéal des grands voyageurs soucieux de leur budget.

Une prouesse technique qui confirme le positionnement de Dacia comme champion du rapport qualité-prix. Dans un contexte o�� le coût de la mobilité et la réglementation environnementale se resserrent, Dacia continue de frapper fort avec des solutions techniques simples, robustes et accessibles. Le constructeur franco-roumain annonce une nouvelle motorisation mild-hybrid essence/GPL, destinée à ses futurs modèles phares, le Duster et le Bigster. Un choix stratégique qui promet jusqu’à 1 400 km d’autonomie cumulée, à un tarif toujours compétitif. Moins cher que le Duster 4×4 : Ce Jeep compact consomme seulement 5,4 L/100 km. L’impossible équation résolue : autonomie titanesque, empreinte écologique minimale et prix cassé pour ce SUV qui chamboule les codes. Ce 4×4 hybride familial affiche 6l/100km et 7 ans de garantie : la révolution que les familles attendaient. Cette initiative reflète parfaitement l’approche pragmatique de Dacia : proposer des véhicules modernes sans surcharge technologique, mais capables de répondre aux besoins du plus grand nombre. Une architecture ingénieuse et économique, un moteur essence couplé à un système électrique 48V et deux réservoirs (essence + GPL) assurent efficience et autonomie record sans compromis. Le système proposé par Dacia repose sur une hybridation légère 48V associée à une motorisation essence compatible GPL, le tout connecté à deux réservoirs de 50 litres chacun. Cette solution permet au véhicule de basculer automatiquement entre essence et GPL selon la situation, avec pour objectif de réduire la consommation tout en maximisant la distance parcourue

1 Dacia Spring

2 Fiat 500e

3 Leapmotor T03

[himalayanarchitectureandplanning]

Reflecting from the Himalayas: Our Journey as Jurors for the Materia Award 2025

This year held an extra layer of meaning for our sister firm SMA and us. Sagarmatha Next— mountaineering waste upcycling center near Everest—was officially welcomed into the Materia Award family on 22 March 2025 in Paris. Selected by a distinguished jury of 15 professionals and scientists, the project was included in both the Materia exhibition and the accompanying publication, Stone: 40 Best Contemporary Sustainable Architecture Projects in the World. Architect Himanshu Lal, a key member of the design and execution team, was in Paris to receive this international recognition on behalf of SMA, making it a super proud and reflective moment for all of us rooted in the Himalayas.

To be counted among the top 40 projects in the global Materia Award 2025 is a humbling recognition. Rooted in the spirit of place and material—so deeply aligned with the Himalayan ethos—this honor came with a beautiful invitation from Prof. Anne: to pause, reflect, and engage deeply with the other 39 selected works from around the world.

Together, as Team SMA from Kathmandu and Team HAP from Bhimtal, we also stepped into the role of Himalayan jurors, grounding our perspectives in the mountains we call home. Over days of review and deliberation, we curated our personal Top 5 from the shortlisted entries—projects that spoke not only to innovation and sustainability but to cultural continuity, the dignity of materials, and human-scale craft.

Each of the 11 jury members brought a lens informed by their local terrain and traditions. On the morning of March 26th, we came together—across regions and time zones—to listen, debate, and learn from one another. The following day, we cast our votes.

The entries stretched across climates and cultures: from Housing Now’s affordable bamboo housing solution in Myanmar, to the restoration of a barrack built with earth and thatch in El Palmar, to a rest house entirely clad in scallop shells. What unified them all was a rootedness in local context and a commitment to ecological intelligence.

After careful reflection, our collective selection of five projects stood out:

Le Costil House, France A thoughtful extension of a traditional brick house, aiming for 0% concrete, 0% plastic, and 100% natural materials—wattle-and-daub, light earth, lime plaster, and hemp—demonstrating how heritage materials can guide future architecture.

Medical Surgical Center, Burkina Faso A powerful response to resource constraints, this center uplifts local materials—adobe, straw, and laterite—while celebrating the wisdom of vernacular craftsmanship.

La Bricole, France A poetic celebration of reuse, reinterpreting reclaimed wood and hemp into a space that feels both familiar and forward-looking.

Low-Cost Housing, Sahel, Mauritania A modular, scalable housing solution by Architecture et Développement au Sahel, using Nubian vault adobe techniques.

Casa Lasso, Ecuador A grounded yet ambitious project that draws from Cotopaxi’s vernacular traditions. Built with rammed earth and local labour, it’s as much about construction as it is about community learning and continuity.

The Materia Awards invited us into an exploration—a pilgrimage of sorts—through material cultures and sustainable imaginations. What we found reaffirmed something we’ve long known in the mountains: sustainability is not a constraint—it is a path of creativity, humility, and beauty.

[knightinkosherarmour]

Post Human Studies: The Progress Cult

Post Human Studies as a discipline does not strictly look into the existence of species descended from homosapiens, such homo florophagi or homo radiogensis It can also involve the study of socities and cultures that emerged after Galatic Springtime and the dissolution various human polities. (Tembrem et al, 3419 GC)

One such polity that arose was the Church-State of the Progress Cult. The Progress Cult was originally centered on Alpha Centauri, one of humanity's earliest settlements outside their cradle system. It was renamed by the Cult and will be heretofore referred to as Center and Proxima B to Lux-Mundus. The Progress Cult blended all forms of temporal and spiritual power in a manner not seem since the brief establishment of the Neopapcy. It was headed by the Provost Major. They even embraced the term and self labeled as a cult.

The main tenet of the Progress Cult was the study of be information new methods by any and all means possible, as fast as possible. It was s largely Futuristic and Accelerationist society that burned brightly and briefly. The Progress Cult also advocated for the violation and abolishment of all former ethics, safety codes, and even by some radical members knowledge. It was all to be thrown out for the radical reordering of society. Proxima now known as Lux Mundus was transformed from a beautiful example of the First Wave Human Colonial Architecture to a radical avant guard style blending advances in building techniques with whatever fancy crossed the architect's mind.

The use of autofactories and other advances in robotics allowed rhe Progress Cult to exist for roughly 309 standard Earth years without the existence of a prolieterate class. While the advancement of knowledge at all costs did create some achievements that are still around today such as the rejuvenation protocols, homo florophagi, and extrasolar cows most of their creations their wunderbare Ideen have by and large been either replicated without the loss of life involved or dead ends. The Progess Cult collapsed 8 years after the death of the first and only Provost Major when their famed rejuvenation protocols finally lost their efficacy after half a millennium. After their death there were several pretenders to the title across the systems that the Cult controlled.

The Progress Cult hurtling full speed ahead at all times has consigned itself to the dust bin of galactic history.

[softrobotcritics]

Photoresponsive Shape Morphing

Movement with light: Photoresponsive shape morphing of printed liquid crystal elastomers

Michael J. Ford1 ∙ Dominique H. Porcincula1 ∙ Rodrigo Telles3 ∙ … ∙ Shu Yang2 ∙ Elaine Lee1 lee1040@llnl.gov ∙ Caitlyn C. Cook1,5 krikorian3@llnl.gov … 

Progress and potential

Soft matter that can adapt in response to a stimulus like light holds immense promise for various applications, such as biomedical devices and soft robotics. One example of adaptive soft matter is liquid crystal elastomer composites, which incorporate a functional additive and change shape through a phase transition. The combination of the material composition, the printed geometry of the material, and the localization of the stimulus can enable novel movement and reaction to light, as we demonstrate in this paper. Our results mark a significant advancement toward creating complex, 3D-printed, intelligent materials that pave the way for developing next-generation adaptive machines and devices that can transform in response to specific stimuli.

Highlights

•

Optimized inks for additive manufacturing of a liquid crystal elastomer composite

•

Developed spatiotemporal control during printing for complex three-dimensional structures

•

Demonstrated unique combinations of complex three-dimensional photoresponsive actuation

•

Controlled novel modes of actuation with computer vision techniques

Summary

Soft machines will require soft materials that exhibit a rich diversity of functionality, including shape morphing and photoresponsivity. The combination of these functionalities enables useful behaviors in soft machines that can be further developed by synthesizing materials that exhibit localized responsivity.

Localized responsivity of liquid crystal elastomers (LCEs), which are soft materials that exhibit shape morphing, can be enabled by formulating composite inks for direct ink writing (DIW). Gold nanorods (AuNRs) can be added to LCEs to enable photothermal shape change upon absorption of light through a localized surface plasmon resonance.

We compared LCE formulations, focusing on their amenability for printing by DIW and the photoresponsivity of AuNRs. The local responsivity of different three-dimensional architectures enabled soft machines that could oscillate, crawl, roll, transport mass, and display other unique modes of actuation and motion in response to light, making these promising functional materials for advanced applications....

Soft machines could enable new breakthroughs in technologies related to human-machine interactions, remote exploration in difficult-to-reach spaces, and individually tailored health care. These machines will require soft materials that exhibit a diverse range of functionalities, including actuation for movement, conductivity for sensing and signal processing, stimuli-responsivity, self-healing, and reprocessability.1,2,3The demonstration of such a diverse range of functionalities results in a profound outcome where “the material is the machine.”4,5 That is, by taking advantage of behaviors like self-assembly and phase transitions, these materials as machines can replace traditional sensors, transducers, gears, levers, and electromagnetic motors to enable perception, responsivity, and motion without engineered complexity.2,4

Liquid crystal elastomers (LCEs) that are pre-programmed to change shape in response to external stimuli are considered useful for soft machines.6,7 The shape morphing is induced by heat, electricity, and light.8,9Light may be useful to stimulate localized actuation and does not require physical contact with the shape-changing material, as wires that transmit electrical power might require.10,11 Localized actuation using light could also allow for unique modes of actuation.12 For example, asymmetric illumination of photoresponsive LCEs led to twisting and rolling motions.13 Peristaltic motion that resembles the movement of biological organisms has been demonstrated by using localized impingement of different patterns of light upon an LCE.14 To extend this work, the programmed order of the liquid crystal (LC) domains could be controlled and modified....

[alfaromeofrance]

Alfa Romeo 6 : La berline oubliée, mais pas sans mérite

Parmi les voitures les plus méconnues d’Alfa Romeo, l’Alfa 6 occupe une place à part. Lancée en 1979 après une gestation difficile, cette grande berline ambitieuse n’a jamais réellement trouvé son public. Pourtant, derrière son échec commercial se cache une voiture intrigante, aujourd’hui appréciée comme un classique discret.

Une genèse mouvementée

Conçue dès la fin des années 1960, l’Alfa 6 était censée incarner le haut de gamme de la marque pour concurrencer des modèles comme la BMW Série 5 ou la Mercedes Classe E. Initialement prévue pour un lancement en 1973, son développement a été retardé au profit de l’Alfetta, une berline plus compacte et commercialement plus urgente. Résultat : l’Alfa 6 n’a vu le jour qu’en 1979, en plein cœur de la deuxième crise pétrolière, un contexte économique peu favorable aux grandes berlines gourmandes en carburant.

Un design discret et pragmatique

L’esthétique de l’Alfa 6 reflète les préoccupations de l’époque en Italie, marquée par des troubles politiques et des enlèvements ciblant les élites. Alfa Romeo a opté pour un design volontairement sobre, presque austère, afin de ne pas attirer l’attention. Si cette approche se voulait rassurante, elle a également contribué à rendre la voiture peu désirable sur un marché où le prestige visuel était un argument de vente clé.

Sous le capot : un V6 inoubliable

Le principal atout de l’Alfa 6 réside dans son moteur V6 de 2,5 litres en aluminium, développant 156 ch. Ce bloc, réputé pour sa sonorité mélodieuse et sa souplesse, offrait des performances honorables pour l’époque, avec un 0 à 100 km/h abattu en 9 secondes et une vitesse de pointe de 185 km/h. Si les premières versions étaient équipées d’un système de carburateurs complexe et difficile à régler, une mise à jour en 1982 a introduit l’injection électronique, améliorant à la fois la fiabilité et la consommation.

Un châssis solide, mais une conception dépassée

Partageant sa plateforme avec l’Alfetta, l’Alfa 6 bénéficiait d’une architecture de suspension sophistiquée pour l’époque : double triangulation à l’avant et essieu De Dion à l’arrière. Elle se distinguait par une direction précise et une tenue de route agile, rivalisant avec des concurrentes allemandes. Cependant, l’absence de la transmission transaxle de l’Alfetta limitait son équilibre et son raffinement global.

À l’intérieur, l’Alfa 6 offrait une ambiance élégante mais étroite, héritage de sa base technique. Les matériaux utilisés étaient de bonne facture, en particulier pour une berline italienne des années 1980, souvent critiquées pour leur finition médiocre.

Une carrière commerciale désastreuse

Malgré ses qualités dynamiques et son moteur remarquable, l’Alfa 6 n’a jamais rencontré le succès. Les ventes ont été plombées par son positionnement maladroit, son style démodé et son retard de lancement. Sur les 12 070 exemplaires produits entre 1979 et 1986, seulement 134 ont été vendus au Royaume-Uni, un marché pourtant prometteur pour ce type de véhicule.

Un classique à redécouvrir

Aujourd’hui, l’Alfa 6 est davantage considérée comme une curiosité de collection qu’une berline de prestige oubliée. Son moteur V6, toujours aussi raffiné, et son châssis bien conçu en font une voiture agréable à conduire, tandis que son faible nombre d’exemplaires produits lui confère une certaine rareté. Avec son allure discrète, elle séduit les amateurs d’Alfa Romeo à la recherche d’un modèle atypique et accessible.

Fiche technique de l'Alfa 6 (1980-1986)

Moteur : V6 2,5 litres, injection

Puissance max : 158 ch à 5600 tr/min

Couple max : 212 Nm à 4000 tr/min

Transmission : Propulsion, boîte automatique ZF 3 rapports

Performances : 0-100 km/h en 9 secondes, Vmax 185 km/h

Poids : 1470 kg

Production totale : 12 070 exemplaires

L’Alfa 6 reste une pièce singulière dans l’histoire de la marque, une voiture qui incarne à la fois l’ambition et les défis auxquels Alfa Romeo a dû faire face à une époque troublée.

[anthedesign]

⚡SEO ou SEA : quelle stratégie choisir ?

➡️ Le SEO améliore le classement d’un site via un contenu optimisé, une bonne architecture et des liens entrants. Cette stratégie est progressive mais assure une visibilité durable et renforce la crédibilité.

➡️ Le SEA permet d’acheter des annonces (Google Ads) pour une visibilité immédiate et un ciblage précis. Mais il nécessite un budget constant, et son impact cesse dès l'arrêt des campagnes.

💡 Vous ne savez pas quelle stratégie adopter ? Alors découvrez l’article complet et trouvez la stratégie adaptée à vos besoins…

[maddogsociety]

Pendant 4 jours je me suis noyée au milieu d'oeuvres d'arts. J'ai compris que les musées faisaient partis des lieux qui faisaient taire ma tête. Le monde est en suspend. Comme au cinéma mais cette fois ci je n'ai ressenti qu'une joie immense que de pouvoir enfin voir de mes yeux des oeuvres dont on me parle depuis enfant. Me rapprochant le plus possible de chaque tableau afin d'en admirer la texture, la technique, en faisant le tour des statues. Je dois être un enfer pour les gens qui m'accompagne parce que j'y passe beaucoup de temps, mais visiblement mon copain l'a accepté puisque mon sourire béat et un peu gaga le rendait heureux.

Bref. J'ai de nouveau de l'inspiration pour dessiner et tenter des choses, j'ai encore un peu de temps avant la reprise des cours donc je vais vraiment essayer de faire ça et puis, retourner faire des sorties musée à Strasbourg même seule, ça peut être chouette d'essayer de dessiner quelques oeuvres.

Bref. Paris reste une ville qui pue, qui n'est pas très organisé mais la quantité d'art ( architectural et arts ) est incroyable.

J'ai mal aux pieds,je suis crevée mais qu'est ce que c'était bien.

Par contre le retour a la maison a signé mon retour sur insta et ça c'est nul. Je vais tenter au max d'éviter de regarder les stories des gens parce que c'est déprimant.

Voilà voilà

[simplydesignch]

5 Conseils Incontournables pour Optimiser le SEO de Votre Site Web en 2024

L'optimisation pour les moteurs de recherche (SEO) est essentielle pour améliorer la visibilité de votre site web. En 2024, avec les mises à jour des algorithmes de Google et l'importance croissante de l'expérience utilisateur, il est plus que jamais crucial de maîtriser certaines techniques pour assurer une bonne performance en ligne. Cet article vous présente 5 conseils incontournables pour optimiser le SEO de votre site et attirer plus de visiteurs.

1. Priorisez l'Expérience Utilisateur (UX)

L'expérience utilisateur est devenue un facteur clé dans le référencement. Les moteurs de recherche privilégient les sites qui offrent une navigation fluide et un contenu pertinent.

Optimisez la vitesse de chargement de vos pages.

Assurez-vous que votre site est responsive (adapté aux mobiles et tablettes).

Facilitez la navigation avec des menus simples et une architecture claire.

2. Utilisez des Balises Meta Optimisées

Les balises meta, comme les titres et les descriptions, restent des éléments fondamentaux pour le référencement. Ces balises aident les moteurs de recherche à comprendre de quoi traite votre contenu.

Rédigez des titres captivants et concis, contenant vos mots-clés principaux.

Créez des meta descriptions attrayantes, incitant les utilisateurs à cliquer.

3. Investissez dans un Contenu de Qualité

Le contenu est roi, et en 2024, la qualité prime sur la quantité. Les moteurs de recherche valorisent les contenus bien structurés et utiles pour les utilisateurs.

Créez des articles longs et détaillés qui répondent aux questions de votre audience.

Utilisez les bons mots-clés, mais sans en abuser (évitez le keyword stuffing).

4. Optimisez pour la Recherche Vocale

Avec la montée en puissance des assistants vocaux, il est important de penser à la recherche vocale. Les utilisateurs formulent leurs requêtes différemment lorsqu’ils parlent.

Utilisez des phrases plus naturelles et des questions dans vos contenus.

Structurez vos articles pour répondre directement à des questions fréquentes.

5. Renforcez Votre Stratégie de Backlinks

Les backlinks sont un signal fort pour les moteurs de recherche. Plus vous avez de liens entrants provenant de sites de qualité, mieux votre site sera classé.

Collaborez avec d'autres sites pour échanger des backlinks.

Publiez des articles invités sur des blogs pertinents pour votre industrie (comme cet article !).

Conclusion :

L'optimisation SEO en 2024 nécessite de rester à jour avec les dernières tendances et techniques. En suivant ces 5 conseils, vous mettrez toutes les chances de votre côté pour améliorer la visibilité de votre site. Si vous souhaitez un accompagnement professionnel dans la création ou l'optimisation de votre site web, faites confiance à Simply Design, une agence spécialisée dans la création de sites web performants et leur optimisation SEO.

Visitez Simply Design pour en savoir plus sur nos services.

[nordiamus]

Les Civilisations Paléomagos

La découverte pour les humains du monde magique suite à l’Événement de Stonehenge ne fut pas le seul choc majeur qui suivit l’Éveil de la Magie.

Les multiples barrières de dissimulations tombées révélèrent également les Mers, que même les magus avaient oubliés… mais surtout de multiples ruines à travers le monde, prédatant toutes les civilisations connues!

Ces ruines, il s’avéra vite, étaient les vestiges des civilisations Paléomagos, peuples d’Homo Magicus vivant durant le Mésolitique, et ayant disparu au Néolithique.

Ces civilisations faisaient toutes un grand usage de magie, à un niveau équivalent, voire parfois supérieur au niveau de connaissance et de maîtrise de la magie actuel, et même un niveau technique et culturel proche des Homo Sapiens durant l’Antiquité. De plus, l’usage de magie fait que ces civilisations pouvaient voyager et communiquer à travers le monde avec une facilité qui ne sera plus vue jusqu’à la Révolution Industrielle. Même si on avait perdu tout souvenir d’elles, ces civilisations avaient clairement laissé leur trace dans l’Histoire, puisqu’on trouve encore, des millénaires après leur disparition, des vestiges de leur culture dans les civilisations humaines ayant suivi.

Liste des Civilisations Paléomagos:

Agartha

localisation : Ouest Asie, principalement dans l’Himalaya jusqu’en Inde et au Népal mais également jusqu’en Mongolie et en Ouzbékistan langue : Samskrtam Agarthan écriture : Siddham Agarthan style architectural : rappelant des temples hindous Il s’agit d’une civilisation presque entièrement souterraine, si bien que les ruines auxquels on a pu avoir accès sont très bien préservées. En contrepartie, la découverte et l’accès à ces ruines est parmi les plus compliqués.

Les Agarthans étaient un peuple vivant relativement isolé, ne faisant que peu de commerce, et très spirituel, cherchant à se rapprocher toujours plus de l’essence de la magie. C’est probablement pour cela qu’ils vivaient sous terre, cherchant à se rapprocher plus des points telluriques où la magie était la plus puissante, mais aussi la plus instable. Leur utilisation de la magie s’appuyait largement sur les gemmes taillées, faisant de leurs zones magiques des œuvres d’art étincelantes.

Avalon

localisation : Europe du Nord-Ouest, de l’Islande à la Bretagne et de l’Irlande jusqu’en Suède langue : Gaelg Avalonan écriture : Ogham Avalonan style architectural : rappelant du celte et viking Les Avalonans était un peuple très spirituel, mais ouvert aux autres cultures dans son ensemble. Religieux, la divinité principale de leur panthéon était une déesse de la Magie et de la Flore. Ils construisaient donc énormément en symbiose avec la nature. Leurs ruines ne sont pas faciles à trouver, car les constructions les plus durables sont enfouies pour se rapprocher des lignes telluriques, tandis que le reste était fait pour être difficilement différenciable de la nature. Des recherches à Stonehenge ont révélé que le site avait été bâti au-dessus d’une place religieuse Avalonane, d’où l’Événement de Stonehenge a probablement été déclenché d’une manière ou d’une autre… Les écrits à travers le monde semblent s’accorder pour dire que les Avalonans étaient un peuple ayant un don pour la Divination inné.

Atlantis

localisation : Bassin méditerranéen langue : Ellinika Atlantida écriture : Alfavito Atlantida style architectural : rappelant du style gréco-romain antique Peu de ruines ont pour l’instant été explorés, car cette civilisation possédait probablement les barrières les plus sophistiquées, difficiles à désarmer et dangereuses à forcer. Des rares ruines ouvertes, il est clair qu’ils sont l’influence principale derrière l’architecture gréco-romaine. Ils paraissaient avoir une approche quasi scientifique de la magie, n’ayant quasiment aucune notion de religion et étaient très commerçants. Ils ont probablement créé les fondamentaux de l’Arithmancie.

Hyperborea

localisation : de la Suède jusqu’en Corée, couvrant principalement la Russie et l’Europe de l’Est langue : Hyperboroi Yazik écriture : Cyril Hyperboreal style architectural : rappelant les fort militaires XVIIe siècle C’était un peuple martial, très ordonné, voyant plutôt d’un mauvais œil ceux s’intéressant de trop près aux lignes et points telluriques, car ils étaient considérés comme trop dangereux, puisque la magie environnante en est plus puissante, mais surtout plus instable. Ils commerçaient assez peu et ont provoqué des conflits avec la plupart de leurs voisins. Les rares ruines identifiées pour l’instant étaient toutes des forts, massivement fortifiés aussi bien magicalement que physiquement, ayant probablement inspiré les premiers châteaux au Moyen Âge et confirmant leur côté très belliqueux.

Iram

localisation : Moyen-Orient, de la Turquie à l’Éthiopie, de la Libye au Pakistan langue : Iram-Gi écriture : Cuneis Irami style architectural : rappelant Pétra et les villes troglodytes Tout aussi commerçants que leurs voisins Atlantes, les Iramis avaient en revanche une approche bien plus artistique de la magie, et sont ceux qui ont laissé le plus de recueils écrits de l’époque dans leurs ruines. En outre, la désertification de la région a enfoui nombre de ruines, les rendant difficiles à retrouver. C’était un peuple troglodyte, rendant leurs ruines d’autant plus délicates à retrouver, mais le travail fait dans les montagnes et autres ravins où on a retrouvé leurs traces est absolument époustouflant.

Lemurie

localisation : Sub-Sahara et Océan Indien langue : Al’Lemuria écriture : Abjad’ Lemuria style architectural : navires de tous types

On ne sait que peu de choses des Lemures, car très peu de ruines ont été retrouvées. Cependant, tout indique que c’était un peuple de marins, très doué en astronomie et vivant plus en mer qu’à terre, leurs navires ayant été de vraies villes flottantes. Malheureusement, cette vie sur l’eau fait que presque tout a été perdu de leur civilisation, à l’exception de quelques restes très dégradés par le temps. Cependant, les rumerus veulent qu’il existe encore certains de leurs navires, si bien protégés qu’ils n’ont pas encore été retrouvés, et que ce seraient eux qui sont à l’origine de la plupart des légendes de navires fantômes.

Mu

Localisation : Amérique du Nord, mais également Nouvelle-Zélande et Australie langue : Tjukurrpa-Kapi écriture : Tjukurrpa-Waru style architectural : rappelant les ruines Incas

Ayant entretenu des liens étroits avec les Avalonans, le peuple de Mu avait une civilisation similaire, mais donnant la part belle à la Faune plutôt qu’à la Flore, et que leurs temples n’étaient pas sous terre mais au cœur des montagnes. Il est fort probable que les premiers Bestiamihis viennent de cette civilisation.

Tiwanaku

localisation : Amérique du Sud et Centrale langue : Tsagali Mu écriture : Sequoyah Mu style architectural : rappelant les ruines mayas C’est le seul peuple dont des ruines ont été découvertes avant même l’Événement de Stonehenge, bien que, bien entendu, personne à l’époque n’ait cru à la datation qui paraissait fantaisiste des lieux. C’est peut-être le peuple le plus différent, cherchant au contraire à s’élever vers les cieux en s’établissant sur de hauts plateaux montagneux plutôt qu’à vivre sous terre comme le faisaient nombre de leurs contemporains. Ils pratiquaient énormément la magie rituelle, et sont l’exemple typique que l’on donne pour prévenir des dangers de la magie noire : on pense en effet que cette civilisation s’est écroulée avant les autres suite à une pratique trop intensive de rituels dangereux, ayant rendu une bonne partie de leur civilisation folle ou corrompue.

Yamatai

localisation : Japon, Chine et Asie du Sud-Est langue : Yamatai Guo écriture : Kan Yamatai style architectural : rappelant les châteaux japonais Cette civilisation était probablement la plus isolationniste, n’ayant quasiment pas de liens avec les autres peuples de l’époque et se contentant de commerce interne. Ils avaient une bonne maîtrise des rituels, et des lois très strictes à ce sujet pour éviter les cas de corruption et de folie.

C’était également un peuple spirituel, respectueux de la magie qu’ils possédaient et tout à fait conscient de sa dangerosité. Là encore, leur architecture a été adoptée, d’abord part les Youkais, puis par les populations non magiques de la région bien plus tard.

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[yannlyr]

Paquebots 1913-1942, une esthétique transatlantique

L'art moderne a toujours à voir avec le développement technique. Au Musée d'art moderne André Malraux (MuMa) du Havre, la nouvelle exposition temporaire (du 26 avril au 21 septembre 2025) conçue avec le Musée d'arts de Nantes où l'exposition fut déjà très largement appréciée, s'attarde autour du paquebot comme objet dans l'art. En 2020, le MuMa, avec Nuits électriques, revenait sur l'apparition de la lumière artificielle, au gaz puis électrique, dans la nuit qui allait éclairer des scènes que, jadis, l'obscurité rendait impénétrables et donc jamais rendues par les artistes. En 2024, le MuMa toujours, avec Photographier en Normandie (1840-1890), rendait hommage au nouvel art que des découvertes encore techniques allait offrir à une muse plus moderne que ses soeurs aînées et classiques.

Charles Demuth, Paquebot Paris, 1921-1922. Huile sur toile, 63,5 x 50,8 cm, Colombus, Colombus Musuem of Art @ Columbus Museum of Art, Ohio, Don de Ferdinand Howald

Mais, qu'est-ce qu'un paquebot peut bien offrir à l'art que la peinture de l'Arche de Noé, la représentation d'une galère, d'une Armada espagnole, d'un Radeau de la Méduse, n'aura pas déjà donné? La technologie fascine l'ingénieur, le quidam et l'artiste, dans ce qu'elle invente, dans ce qu'elle permet et le paquebot dont Normandie est le plus représenté dans cette exposition, non pas par chauvinisme mais parce son étrave fine, longiligne, tend autant vers la perfection d'ingénierie qu'artistique. A l'époque des inventions en "isme", le paquebot est le symbôle de la modernité audacieuse, de l'attraction esthétique; c'est une ville flottante, condensée d'une société qui avance et qui se renouvelle. Le paquebot est l'ambassadeur d'une technologie nationale fière, d'un art déco qui s'impose, de la mode qui se montre en sportswear sur les ponts ou en robes de soirée à la nuit tombée lors des traversées, le tout magnifié par des affiches de réclame de graphistes qui inventent des lignes, des typographies. Le paquebot est une époque en soi.

Byron Company, Normandie dans la 5e avenue, photomontage vers 1935. Epreuve gélétino-argentique, tirage d'époque, 33 x 27 cm, Le Havre, French Lines et Compagnies, patrimoine maritime et portuaire @ Collection French Lines & Compagnies

L'exposition se décline en différentes étapes faisant la part belle aux photographies, dont de singuliers photomontages de la Byron Company (vers 1935), comme un collage à la Marx Ernst ou à la Jacques Prévert. On appréciera les affiches dont l'original de Cassandre, et des oeuvres américaines rares de Charles Demuth et l'étonnant The Upper Deck de Charles Sheeler, qui est la photographie par l'artiste de la peinture qu'il aura réalisée d'un pont d'un bâtiment, émerveillé par l'objet en soi, sa peinture, la photographie de celle-ci. Le MuMa expose un grand carton de Jean-Théodore Dupas, Le Char de Poséidon (1934), destiné au grand salon de Première classe de Normandie et on reste émerveillé par les laques de Jean Dunand destinées au même paquebot. La Compagnie Générale Transatlantique (CGT) avait pour mission de relier la France aux Etats-Unis, et les grands noms de France, Ile-de-France s'ajoutent à celui de Normandie. La Transat, comme on l'appellera alors donnera aussi son nom à un élément de mobilier destiné à s'asseoir sur les ponts, le paquebot entrant aussi dans nos vies plus communes, comme un élément architectural des ports, grands vaisseaux invitant au voyage que des poésies de Blaise Cendrars, Jean Cocteau, Jules Supervielle émaillent entre les oeuvres et les cartels d'explications.

Paquebots 1913-1942, Une esthétique transatlantique, Musée d'art moderne André Malraux, 2 boulevard Clémenceau 76600 Le Havre, +33 (0)235196262 muma-lehavre.fr

Du 26 avril au 21 septembre 2025, ouverture du mardi au dimanche de 11h à 18h, le samedi et dimanche de 11h à 19h, fermé le lundi et le 1er mai. Entrée libre le premier samedi du mois.

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Bauhaus was a school of art in Germany that was started in 1919 by architect Walter Gropius to address some of the challenges being faced in design. During this time, traditional building techniques relying heavily on materials such as wood, stone, and bricks were being by novel construction approaches using glass, steel, and concrete. With the foundation of the Bauhaus school, Gropius created an innovative curriculum inspired by the idea of Gesamtkunstwerk, which means creating total work of art, whereby all various forms of art would be combined and integrated into one. However, the school was shut in 1933 under political pressure from the Nazis in Weimer, but this development allowed its staff members to move around the world and spread the underlying concepts of the Bauhaus. The underlying concepts of Bauhaus permeated almost every design area including the construction and fashion industries together with typography among other related sectors. This paper argues that Bauhaus contributed significantly to the modernism movement in art and design. The paper begins with a brief historical background of Bauhaus before discussing how this concept led to modernism. History Bauhaus was born out of necessity with several historical factors converging to facilitate the emergence of this concept. Industrialization led to the emergence of mass production and with the rising urban working and middle classes, there was an overriding desire for beautification as material progress was overtaking livability. Therefore, there was an overarching need for designers to come up with novel ideas to address these needs. At the same time, World War I happened and when it ended in 1919, Europe was in ruins and designers were ready to explore radical theories in design, art, and materials. Therefore, in 1919, against the backdrop of these circumstances, architect Walter Gropius founded the Bauhaus School of Art in Weimar. Gropius had a unique utopian vision for Bauhaus to overhaul the traditional thinking in design and define modern life. In explaining his vision and philosophy in his founding manifesto for Bauhaus, Gropius famously said: Let us together desire, conceive, and create the new building of the future, which will combine everything – architecture and sculpture and painting, in a single form which will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith (Saletnik and Schuldenfrei 16). As such, the Bauhaus doctrine hinged on the belief that form and function could be integrated and fused with all other branches of art and design to make a holistic, harmonious, and seamless whole (Findeli “The Bauhaus Project” 39). However, at the time, before the foundation of the school, Gropius could not find an institution that could execute his vision, and thus he started the Bauhaus school. In executing his design philosophy, Gropius wrote a curriculum that could be easily taught to students, gathered a team of willing teachers, and opened the course to anyone who was willing to study a basic course in introduction to materials. No academic requirements were needed for a student to enroll in this basic course. This strategy worked as hundreds of students joined the school and the Bauhaus movement started in earnest. The Bauhaus was the most authoritative and influential school in art, design, and architecture in the 20th century. In its formative years, the school majored on individual handmade craft, but it evolved to adopt an industrial approach whereby art would be merged with technology to facilitate the mass production of products (Bartram et al. 73). The underlying principle of the Bauhaus was uniting people and ideas to create a new way of life touching all aspects of human living. By the end of the 1920s, Bauhaus had become a symbol of progressiveness in modern design. However, Nazi Germany was concerned with Bauhaus philosophy and ideologies. It was classified in the same category as Expressionist paintings and atonal music, which was closely associated with Jews, and thus the Nazis sought to eliminate this school. The concept of uniting all various forms of art, design, and architecture and applying all areas of human living for social regeneration was highly radical for the Nazis (Watson and von Osten 27). The school was initially state-funded, but in 1932, the local authorities in Dessau voted unanimously to close the school (Hochman and Ashton 259). It was reopened as a private entity, but it could not survive the overwhelming influence of Nazism in Germany at the time. Therefore, in 1933, the Bauhaus was closed indefinitely which marked its dissolution. However, the unwarranted closure of the school precipitated the birth and spread of an enduring Bauhaus legacy and philosophy around the world, which marked the age of modernism. Bauhaus and Modernism Modernism is a global movement that emerged in the early decades of the 20th century seeking to align societal values and culture with values of modern industrial life. Therefore, the underlying principle of the Bauhaus could be termed as modernist in nature. Gropius sought to break away from the conventional practices in design, architecture, and art by introducing what would become avant-garde ideologies in this area (Friedewald 44). The idea was to incorporate all other areas of human life in design to address some of the societal challenges being faced at the time. At the same time, Gropius believed that anyone could be trained in the area of design and use those skills in different professions, even in typography. This assertion underscores the sentiments held in Gropius’ founding manifesto and the dream to create the building of the future, whereby “everything” would be put together including painting, sculpture, and architecture. Therefore, in the quest to accomplish this dream, Gropius hired people with radical ideas and willing to change art and design. One such individual was a former elementary teacher, Johannes Itten, who worked as the first instructor in the school’s innovative preliminary course, which was multidisciplinary in nature. Itten introduced gymnastics, breathing exercises, and meditation in teaching design (Friedewald 108). This approach was revolutionary, but it carried the vision of Gropius and the Bauhaus ideology. In this case, students were allowed to play around with wood, stone, glass, clay, and cloth among other materials that were being used in design classrooms. The objective was to allow learners to transform and assemble materials and in the process discover their individual properties and how they related to one another. In addition, students were taught about the principles of color and form to identify the specific media to which they would be adapted the best. In other words, the work of teachers was to transmit concepts to students while at the same time encouraging them to develop individual creativity and expression. In other words, in the Bauhaus, ideas were allowed to flow freely with students being given basic concepts about design before being allowed to apply their creativity and inventiveness. This approach formed the idiosyncratic extremes in design education and the advancement of a personal vision that defined the Bauhaus ideology. Students were re-grounded in new perceptions about the basics of making objects. Ultimately, Itten was replaced by László Moholy-Nagy, a Hungarian painter and photographer, who shared Gropius’ vision of incorporating technology with art for the creation of desired and revolutionary future in design and human life (Hochman and Ashton 265). At the center of learning at Bauhaus was the novel idea of integrating properties and uses of materials, which was a major aspect of modernism in art, design, and architecture at the time. However, the Bauhaus was primarily based in Germany and it could not have influenced modernism around the world without moving beyond this country. Therefore, one might wonder why and how the Bauhaus ideology found its way into making a global impact.   Therefore, this is how the Bauhaus, whether by design or coincidence, moved beyond Germany and into the world. The Bauhaus school attracted people from various places around the world, and thus it could be argued that this scenario created a global presence of this school of thought. However, this argument is partly true as the reasons for the spread of the Bauhaus ideology were mainly political. After the closure of the school in Germany in 1932, the underlying political pressures and forces could not allow its former students and teachers to continue living in the country. Therefore, the majority of them escaped to other countries for fear of political persecution as they were being accused of promoting communism. As such, these former students and teachers sought asylum in other territories, especially in Europe and the US. The Bauhaus founder, Gropius, moved to London on October 18, 1934 (Powers 3) before proceeding to the US where he became a long-serving professor at Harvard University. While at the institution, in collaboration with other individuals, such as the then dean and founder of the Harvard Graduate School of Design (GSD), Joseph Hudnut, Gropius initiated changes in curriculum and teaching methodology to promote the concept of modernism (Pearlman 13). Additionally, after leaving Germany, Moholy-Nagy went to the Netherlands and later moved to the UK spreading the Bauhaus philosophy. He later migrated to the US and settled in Chicago where he founded the Chicago Institute of Design. Another influential figure, Ludwig Mies van der Rohe, who once headed the Bauhaus School of Art in Germany, moved to New York where he introduced modernist architecture and took part in the building of various skyscrapers around the city at the time (Hochman and Ashton 240). Therefore, the Bauhaus became a movement and it spread all over the world, starting with major cities in Europe, the US, and Asia. The Bauhaus ideology became popular due to the various movements that it embraced at the time. It should be remembered that the underlying principle about the Bauhaus concept was the idea of unity and bringing together people from different walks of life by allowing them to infuse their ideas in design. Therefore, the Bauhaus movement invited other movements such as expressionism and functionalism. In the various places where former students and teachers moved to after leaving Germany, the Bauhaus ideology was exposed to other concepts and contexts in design, art, and architecture (Hochman and Ashton 132). In the process, modernism spread widely allowing people to be creative with their ideas in various areas whether in construction, fashion, architecture, interior design, or typography. In architecture, the Bauhaus made a lasting impact by revolutionizing the way buildings were designed and constructed. First, Europe was in an urgent need to house millions of people after the destruction caused by World War I. The concept of mass production of houses was thus the only viable option in addressing this problem. Architects turned to the Bauhaus ideology to design taller buildings using the latest technologies at the time. By bringing together different professionals in the creation of building designs, the Bauhaus style was characterized by proportionately balanced geometric shapes with an emphasis on functionality. In interior design, the new tall buildings required modernized furniture and interiors to match the avant-garde designs. Therefore, interior designers started embracing the Bauhaus philosophy of openness and simplicity. Minimalism in interior design was embraced as the guiding principle in the attempt to appreciate space. In art, the Bauhaus ideology made lasting impacts (Lupton and Miller 87). Artists started emphasizing functionality to achieve dimensionality in their works. Ultimately, the Bauhaus influenced every aspect of human living including home set-ups, fashion designs, writing, and hairdressing. In fashion, designers started applying the concept of less is more attitude associated with the Bauhaus, whereby the focus was on creating strong geometric forms using contrastive colors. In hairdressing, professionals would focus on eliminating the superfluous by adopting aureate geometric styles. Even in writing, the Bauhaus had a significant influence. It introduced the concept of sans-serif typography, which was an internationalist style of writing with easy to read fonts devoid of the gothic distractions associated with the then-popular “blackletter” fonts. The commonly used fonts in modern times, such as Calibri and Helvetica are products of Bauhaus typography. The Bauhaus also influenced the way teaching and learning design takes place. Initially, students would be given specific instructions on what was expected of them. In other words, learners were being taught what to think instead of how to think, which severely affected creativity. However, with the entry of the Bauhaus and teachers like Itten, learners were given the room to exercise their creativity (Findeli “Bauhaus Education” 33). They only needed to be introduced to the basics of design before being allowed to personalize their designs based on their ideas. This form of learning would later form the basis of curriculum development during the modernism era. Conclusion The Bauhaus school of thought started when Walter Gropius founded the Bauhaus School of Art in Weimer, Germany, in 1919. After World War I, Europe lay in ruins and there was a need to come up with a novel idea in design, art, and architecture to help solve the many societal problems, especially in the construction industry. Gropius seized this opportunity and introduced his revolutionary idea of creating a building whereby painting, sculpture, and architecture would be combined in design to form a single unified unit. This ideology played a central role in the emergence and spread of modernism across the world starting from the early decades of the 20th century. The closure of the Bauhaus school in 1932 forced its former students and teachers to migrate to other countries in Europe and the US, where they spread the Bauhaus philosophy and ideas. Therefore, it suffices to say that the Bauhaus ideology shaped almost all areas of modernism in areas of art, design, and architecture as explained in this paper. Annotated Bibliography Bartram, Alan, et al. Bauhaus, Modernism and the Illustrated Book. New Haven: Yale University Press, 2004. In this definitive book, Bartram et al. discuss how Bauhaus and modernism shaped the course of typography and book design. Bartram is an accomplished author and book designer and he explores the works of prominent individuals, such as Paul Rand, Jan Tschichold, F.T. Marinetti, and Max Bill, to highlight how Bauhaus and modernism revolutionized the field of graphic design. In the introduction, Bartram explores Bauhaus – the famous German art and design school, which changed design in various areas including architecture. According to this book, the main objective of Bauhaus was to revolutionize visual expression by integrating architecture, art, design, and industry by merging practical, theoretical, and academic fields into one – a feat that had not hitherto been attempted. Bartram observes that despite Bauhaus being in existence for only 14 years from 1920 to 1934, its philosophy shaped the visual appearance of virtually every modernist artifact from then untie modern times. This book is written engagingly with in-depth illustrations, and thus I find it a valuable resource, especially for my work. Fandel, Alain. “Bauhaus Education and After: Some Critical Reflections.” The Structurist, 31 (1991): 32-43. In this journal article, Findeli, a distinguished professor of industrial design, discusses the influence of Bauhaus in education and the surrounding criticisms concerning this school in Germany. One of the main critics of this school of design, Victor Papanek, holds that the majority of ideas associated with this school, especially in workshops on the welding gun, circular saw, and drill press should be modified to be in tandem with emerging technologies in modern-day schools. FFidelityargues that Bauhaus and the entire modernist movement has been a target for critics who question the underlying theoretical and methodological corpus of this school of thought, but some of the criticisms are based on prejudices and assumptions. While discussing and deconstructing these criticisms, the author highlights the central role that Bauhaus education has shaped art and design starting from the early twentieth century to modern times. Even though the author focuses on criticism towards Bauhaus education, I find this source informative as in the process, Findeli underscores the important role that Bauhaus has played in informing art and design education. Fandel, Alain. “The Bauhaus Project: An Archetype for Design Education in the New Millennium.” The Structurist, 39 (1999): 36-43. FFandelextensively discusses the architectural ideals of Walter Gropius, the founder of Bauhaus school. The author argues that the Bauhaus project is still unfinished and if its original objectives were pursued impartially, it could centrally inform the future of design education. The article examines and discusses the central features of the original Bauhaus project and how they remain applicable in the 21st century. The author focuses on Bauhaus as a project by zeroing on its original intentions as opposed to the achievement of its founders, such as Walter Gropius. This approach gives the article some objectivity, which is needed in the quest to understand the underlying Bauhaus principles. Findeli argues that at the core of Bauhaus’ intentions is the desire to shape and revolutionize design education, and thus the Bauhaus project is not just a mere art historical composition but a premise to challenge the future of design education. I liked the objectivity of this article as it offers important information concerning the Bauhaus philosophy and how it could be applied in modern-day design education. Friedewald, Boris, et al. Bauhaus. Munich: Prestel, 2009. In this book, Friedewald et al. discuss Bauhaus, what it was, and how it purposefully contributed toward modernism. According to the authors, the underlying principle of Bauhaus is the idea of novel unity whereby appearances, styles, and art are gathered and integrated to form an indivisible unit. Such a unit is holistic and complete by itself and in the end, it generates its own meaning via animated life. According to the authors, the adherents of Bauhaus practiced an anti-academic education and through a concept of utopia, they sought to design for the mankind of the future. Friedewald et al. argue that Bauhaus took deliberate actions to envision a future that did not exist and make it a reality. In the third chapter, this book discusses how Bauhaus school was a laboratory of modernism by breaking away from the conventions of the time, which were widely used in design education. I found this book resourceful to my work because it extensively explores how Bauhaus influenced modernism. Hochman, Elaine, and Dore Ashton. Bauhaus: Crucible of Modernism. New York: Fromm International, 1997. In this authoritative book, Hochman and Ashton explore how Bauhaus influenced and contributed centrally to modernism even though it lasted only for 14 years. The authors argue that Bauhaus school is the most illustrious artistic institution of contemporary times. According to this book, the ideas that were forged within the Bauhaus school literally changed the design education and practice. As such, almost everything that is worn, read, or lived in modern times has some element of ideas from Bauhaus school. Read the full article