The Soviet Avant-Garde: International Reflections of the OSA-ASNOVA (Constructivist-Rationalist) Split « The Charnel-House Architectural Experiment from Nikolai Ladovskii's Studio at VKhUTEMAS, 1924 In his landmark structural analysis of the antinomical tendencies existing within Russian culture (broadly termed “Culture One” and “Culture Two”),[1] Vladimir Paperny locates a subset of contradictions operative in the context of the former considered by itself. This second-order oppositional pair he identifies corresponds to the two main positive bases of modernist architecture we have already set forth: the contours of abstract art on the one hand, and modern industrialism (and more specifically, the machine) on the other. While it is difficult to see how this opposition fits into Paperny’s broader scheme of Russian history as a whole — for he claims that these cultural patterns recur, and the existence of this particular binary in earlier epochs seems unlikely — his conceptual division of these two tendencies is entirely correct with reference to the 1920s. J.J.P. [1] See above, pgs. 139-140.
Les 5 préceptes du Mouvement moderneLe Corbusier a... Legorreta+Legorreta Ubicación: Ciudad de México, México Área: 40,000 m² Cliente: Grupo Gigante Arquitecto Asociado: Parque Humano Arquitecto Asociado en centro comercial: Grupo Architech Año: En Construcción Con usos mixtos de vivienda, oficinas, comercio, entretenimiento y estacionamiento, el proyecto responde a las necesidades del mercado, pero también establece un balance para obtener los beneficios de un plan maestro con áreas comunes para la convivencia de diferentes sectores de la población, logrando un verdadero centro urbano, un hito arquitectónico y no un proyecto aislado dentro de la ciudad. Esta entrada fue publicada en 2010´s, Categoría, Conjuntos Habitacionales, Cronológico, En construcción, México, Planes maestros, Proyectos y clasificada en 2010, distrito federal, Grupo Gigante, LEGORRETA + LEGORRETA, Miguel de Cervantes Saavedra, Moliere. Guarda el enlace permanente. o deja un trackback: URL del Trackback.
diller scofidio + renfro Open standards such as HTML5, WebGL, and WebAssembly have continually matured over the years and serve as viable alternatives for Flash content. Also, major browser vendors are integrating these open standards into their browsers and deprecating most other plug-ins (like Flash Player). See Flash Player EOL announcements from Apple, Facebook, Google, Microsoft and Mozilla. By providing more than three years’ advance notice, Adobe believes that there has been sufficient time for developers, designers, businesses, and other parties to migrate Flash content to new standards. Le Corbusier | The Father of “International Style” Design « Black Watch “Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep.” * –Le Corbusier Architect Le Corbusier sitting in chair & holding book in hands-- Paris France 1965. “To create architecture is to put in order. *–Le Corbusier Architect Le Corbusier working on project for French ministry of reconstruction in his Paris atelier-- Paris, France 1965. “The home should be the treasure chest of living.” *–Le Corbusier Architect Le Corbusier sitting in chair with book in hands, glasses perched on his forehead-- Paris, France 1965. “I prefer drawing to talking. –Le Corbusier Swiss architect Le Corbusier leaning down to write w. his glasses pushed back on his forehead-- Venice, Italy 1952. “Architecture is the learned game, correct and magnificent, of forms assembled in the light.” –Le Corbusier Le Corbusier and student working on project for French ministry of reconstruction-- Paris, France 1946. “A house is a machine for living in.” –Le Corbusier Like this:
Alain FLEISCHER / Passagers clandestins et Ecran sensible - Artefake C’est aussi un livre publié à l’occasion de la belle exposition Passagers clandestins/Transferts, Transformations, et Restes, au Centre des Arts d’Enghien-les-bains dirigé par Dominique Roland qui a présenté sa nouvelle saison d’abord par le biais d’un très remarquable hologramme de lui-même, après avoir serré la main de son double. Brillante saison, avec, entre autres des spectacles et des films, notamment quelques fabuleux court-métrages de Charlie Chaplin et de Buster Keaton, dans une salle de presque quatre cent places, des ateliers, des conférences et des résidences de création, toujours à la marge entre arts scéniques et plastiques, et nouvelles technologies de l’image et du son. « Tout cela peut paraître bien théorique. Ne nous y trompons pas, il y a dans les dispositifs d’Alain Fleischer une présence forte du jeu, de la vie quotidienne, des fantasmes des souvenirs qui nous dispensent des images froides et absconses. L’âme du couteau (1982). Autant en emporte le vent (1979).
Dominique Perrault Figure of French architecture, Dominique Perrault gained international recognition after having won the competition for the National French library in 1989 at the age of 36. This project marked the starting point of many other public and private commissions abroad, such as The Velodrome and Olympic swimming pool of Berlin (1992), the extension of the European Court of Justice in Luxembourg in (1996), the Olympic tennis centre in Madrid (2002), the campus of Ewha’s University in Seoul (2004) and the Fukoku Tower in Osaka, Japan (2010). For Dominique Perrault, the relentless transformation of the territories has resulted in an increase in their complexity, their differences and density. As his approach is to transform the landscape and territories, Dominique Perrault’s work as an architect is strictly related to his role as an urban planner.
Online Portfolio Sites from Behance | Prosite pauldnicholls.com Buy this domain The domain pauldnicholls.com may be for sale by its owner! Related Searches This webpage was generated by the domain owner using Sedo Domain Parking. Man and Nature « The Charnel-House Nature! We are encircled and enclasped by her — powerless to depart from her, and powerless to find our way more deeply into her being. Without invitation and without warning she involves us in the orbit of her dance, and drives us onward until we are exhausted and fall from her arm.[…]We live in the midst of her, and yet to her we are alien. She parleys incessantly with us, and to us she does not disclose her secret. — Goethe, Ode “To Nature”[1] With recent events in Japan and images of Hurricane Katrina and the 2004 tsunami still fresh in our minds, it seems appropriate to revisit the old issue of humanity’s relationship to nature. After all, the problem of man’s relation to nature has been conceived in a number of distinct ways over the ages, many of which survive into the present day, in various mutations. Starting from humanity’s most primitive social state, nature was often viewed as an adversary to be feared — bringing plague, catastrophe, and famine to ravage mankind.
Une Biennale sans foi ni choix N otre époque aime les palmarès. Quel est le meilleur musicien d'aujourd'hui ? Les plus grands peintres de tous les temps ? Elle a été confiée à deux commissaires, Stéphanie Moisdon et Hans-Ulrich Obrist, qui ont esquivé la tâche en posant la mauvaise question de "l'artiste essentiel" à quarante-neuf commissaires d'expositions et critiques d'un peu partout dans le monde - mais pas d'Afrique... - et à quatorze artistes. Chiffres encore : ces dizaines d'artistes sont répartis en quatre lieux fort éloignés les uns des autres, Sucrière, Musée d'art contemporain, Institut d'art contemporain de Villeurbanne et Fondation Bullukian. La décision de Moisdon et Obrist de déléguer à d'autres le choix des artistes s'expliquerait par la mondialisation de la scène de l'art et la multiplication des expositions, qui empêcheraient toute vue globale. Si aucun thème, aucune esthétique, aucune invention ne se dégagent, une tonalité s'impose, celle du déjà-vu. 9e Biennale de Lyon.
Renzo Piano Building Workshop