Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau’s beliefs, motivations and strategies. It also articulates how the BMD studio works.

1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.

3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

5. Go deep. The deeper you go the more likely you will discover something of value.

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The first years’ MUJI Awards announced at the website.

The winning suggestions are open to discussions. I think the third winner MUJI Roll, deserved to be at the first place. However, the interesting point is the winners’ list. All the winner prizes went to Japanese competitors. The questions rises: Among the 4758 works from 52 countries, is it only the Japanese people who can make minimalist designs?

Internet is a good platform where you can sustain the transparency of any competition. Since physical space is not a limitation, we expect to see the other applicants’ works on the website.

Everyone watching the famous TV series Nip Tuck may realize that, most of the scenes are interior shots, even though the story takes place in a sunshine filled city like Miami. However, there is something attractive in those spaces. Every interior set is carefully designed into the smallest object. The heavy use of artificial light, the absence of direct sunlight and the struggle to avoid of the outside view is considerable. Apart from these points, the sterilized, hygienic use of the interior spaces is interesting. They are so well designed that it would be insane to use them. One can feel that none of the people in the story actually uses those spaces. Actually the players are like visitors in the rooms they are in. They do not use the props in the sets, they do not mess up with the furniture, everywhere is so tidy, clean, hygienic and thus so disturbing, so stressed. Thus it goes very well with the plot and the characters…

One considers who is behind of all of these. It was Ellen Brill, the architect who designed all of the interior sets of the Nip Tuck TV Series. And Nip Tuck is not the only one she took care of. She is also the interior set decorator of many TV  series and films. More can be found on her neat web site.

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At last, you have the chance to buy a birdhouse that won’t contradict in style with your own house. Modernist style birdhouses are available from a firm developing three bird house styles. Your contemporary flying little friends may sleep well in their modern minimal houses.

Volkswagen, yaklaşık 70 yıl önce “Halk Arabası” olarak başladığı kısa ömrüne fazlası ile teknolojik gelişme sığdırdı. Şimdi de üretimlerini yaptıkları fabrikalarının teknolojisini ve mimarisini de değiştiriyor. Alışılageldik kirli, paslı, karanlık otomobil fabrikaları, aydınlık, temiz, pürüzsüz fabrikalara dönüşüyor. Beş altı bin yıllık bir tarihe sahip inşaat teknolojimiz ile otomotiv endüstrisinin en fazla 150 yıllık tarihi arasındaki uçurum oldukça çarpıcı. Üretim süreci açısından bakıldığında ise mimarlık hala en ilkel mesleklerden biri olarak hayatını devam ettirmeye çalışıyor.

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