segunda-feira, 29 de março de 2010
domingo, 28 de março de 2010
2010 Monte Carlo Rose Ball
The SGI Charter
We, the constituent organizations and members of the Soka Gakkai International (hereinafter called SGI), embrace the fundamental aim and mission of contributing to peace, culture and education based on the philosophy and ideals of the Buddhism of Nichiren Daishonin.
We recognize that at no other time in history has humankind experienced such an intense juxtaposition of war and peace, discrimination and equality, poverty and abundance as in the twentieth century; that the development of increasingly sophisticated military technology, exemplified by nuclear weapons, has created a situation where the very survival of the human species hangs in the balance; that the reality of violent ethnic and religious discrimination presents an unending cycle of conflict; that humanity’s egoism and intemperance have engendered global problems, including degradation of the natural environment and widening economic chasms between developed and developing nations, with serious repercussions for humankind’s collective future.
We believe that Nichiren Daishonin’s Buddhism, a humanistic philosophy of infinite respect for the sanctity of life and all-encompassing compassion, enables individuals to cultivate and bring forth their inherent wisdom and, nurturing the creativity of the human spirit, to surmount the difficulties and crises facing humankind and realize a society of peaceful and prosperous coexistence.
We, the constituent organizations and members of SGI, therefore, being determined to raise high the banner of world citizenship, the spirit of tolerance, and respect for human rights based on the humanistic spirit of Buddhism, and to challenge the global issues that face humankind through dialogue and practical efforts based on a steadfast commitment to nonviolence, hereby adopt this Charter, affirming the following purposes and principles:
Purposes and Principles
1. SGI shall contribute to peace, culture and education for the happiness and welfare of all humanity based on the Buddhist respect for the sanctity of life.
2. SGI, based on the ideal of world citizenship, shall safeguard fundamental human rights and not discriminate against any individual on any grounds.
3. SGI shall respect and protect the freedom of religion and religious expression.
4. SGI shall promote an understanding of Nichiren Daishonin’s Buddhism through grass-roots exchange, thereby contributing to individual happiness.
5. SGI shall, through its constituent organizations, encourage its members to contribute toward the prosperity of their respective societies as good citizens.
6. SGI shall respect the independence and autonomy of its constituent organizations in accordance with the conditions prevailing in each country.
7. SGI shall, based on the Buddhist spirit of tolerance, respect other religions, engage in dialogue and work together with them toward the resolution of fundamental issues concerning humanity.
8. SGI shall respect cultural diversity and promote cultural exchange, thereby creating an international society of mutual understanding and harmony.
9. SGI shall promote, based on the Buddhist ideal of symbiosis, the protection of nature and environment.
10. SGI shall contribute to the promotion of education, in the pursuit of truth as well as development of scholarship, to enable all people to cultivate their characters and enjoy fulfilling and happy lives.
sábado, 27 de março de 2010
sexta-feira, 26 de março de 2010
Ron Arad
Yesterday I went to the Ron Arad exhibition at the Barbican Centre in London. Arad is an Israel born, London based, architect and product designer, although at times it would seem fair to refer to him as an artist too (similarities to the work of artists like Anish Kapoor spring to mind). I was aware of Arad’s plastic ‘Tom Vac’ chair, of his curvilinear ‘Book Worm’ shelving system, and of his use of metal for seating and other furnishings, but this exhibition introduced me to many other aspects of his work, giving me a newfound, greater interest in the designer.
The exhibition is called ‘Ron Arad: Restless,’ probably in reference to the incredible fluidity and sense of movement possessed by a lot of Arad’s designs, many of which are in themselves miniature feats of engineering and construction. Arad works frequently with metal, yet his pieces often have an organic feel to them, along with underlying connotations of sensuality and sexuality thanks to the smooth, curvaceous forms, and the throbbing movements they make when set into motion (several of the moveable pieces, like the rocking chairs, were displayed with mechanical mechanisms to make them move). Arad really is a very talented and interesting designer.
These are a selection of the photos that I took (I apologise for the quality: I did not have a proper camera with me).
These metal chairs resemble geological formations, or molten volcanic rock:
USA shelving:
Reclining chair with an indented human shape to lie in, inspired by the work of Antony Gormley:
Rocking shelves:
GOD/WAR light:
The chair on the right is the 'inverse' of the chair on the left (and vice-versa):
The exhibition is called ‘Ron Arad: Restless,’ probably in reference to the incredible fluidity and sense of movement possessed by a lot of Arad’s designs, many of which are in themselves miniature feats of engineering and construction. Arad works frequently with metal, yet his pieces often have an organic feel to them, along with underlying connotations of sensuality and sexuality thanks to the smooth, curvaceous forms, and the throbbing movements they make when set into motion (several of the moveable pieces, like the rocking chairs, were displayed with mechanical mechanisms to make them move). Arad really is a very talented and interesting designer.
These are a selection of the photos that I took (I apologise for the quality: I did not have a proper camera with me).
These metal chairs resemble geological formations, or molten volcanic rock:
USA shelving:
Reclining chair with an indented human shape to lie in, inspired by the work of Antony Gormley:
Rocking shelves:
GOD/WAR light:
The chair on the right is the 'inverse' of the chair on the left (and vice-versa):
