Thursday, April 30, 2009

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the event that you presented, including the nineteenth and twentieth century, the new bright industrial landscape of the city, some artists, most sensitive to change, violently broke with the past, giving the new landscape of the dignity of the subject. The great crisis generated by the development of photographic reproduction, he discovered the art art, not in its pseudo-true essence of historical documents, but rather a means of expression staff artist. The rules of Classical artistic composition jump, and the composition becomes more focused on a critical new way of looking at the landscape, as seen in its unusual fragmentation, discontinuity, episodic nature, dynamic. If the paintings become more simple (and fast) to be realized (born, '"en plein air"), they are loaded instead more complex meanings, carried out the sensitivity of the artist; if reality is the starting point, artists will apply a 'convention', creating the artwork . The solitary figure of Cezanne taking a leading role for his colleagues, encouraging the outside of his personality "forgetting everything that has gone before." The need to distance themselves from the past, soon led him on the road-garde, looking for a new way, consistent with the revolution, to recreate the volume, in a constitutional formality. The new look of the painters look the reality is no longer looking for a mimesis, but of elements, parts, atoms, identified by a strong critical and analytical process, which reduced to basics every episodic, and thus depriving it of prominence in a hierarchy. The reality of the Impressionists is a reality that must be penetrated (not shown) to become a new nature, almost metaphysical. The "feelings" of painters became the driving force of the works, and Cezanne-like notes Alfonso Gatto- "has the extreme form of his shapeless" . As the Prof. Wise in class, "the birth of a new look first of all puts a strain on the viewer" and it is no coincidence that there are those who, in 1903, claimed that support this kind of art, support these "mad painter" admitting that the artist Cezanne, "that remains is to set fire to the Louvre, where also acknowledged the French painter " the place where learn to read. " Paul Cezanne can includes the mystical force that explodes from the things and mut , trunks and rocks, which are able to preserve the purity of feeling. The architecture of a Cezanne would probably be a 'primitive architecture, built stone by stone, without a preconceived plan and without refinements, and property in an image without joints, which fights the "circumscribe the contours with a sudden nero "error for the painter himself and deny through nature. Simplicity and abstraction of the design are a way of controlling the complexity, if the reality is understood as a whole complex, the abstract composition, and to issue permits to dry new meanings.
The process of abstraction involves the loss of validity from the usual types and family, to whom history has accustomed lazily. The arrival irrepressible science, involves the abstraction: indeed, it was established formally in a world deductive that answers the question What If ..., playing on minimizing the number of instructions to be executed to resolve the issue. The concept model, which, as Einstein says is "selective abstraction of reality," includes within it the process of simplification elemeti than strictly necessary to represent vividly the reality. All the sciences (I use the plural!) We have today, with this in simplification, recognizing the universal in the study of reality unduly complex can be studied and understood . While generally the model departs from reality in architecture today has an opposite effect: the virtual image through IT can become the subject almost without intermediaries (architectural) practice, direct drive. Besides formal abstraction, today we have here, as we reported in the Japanese study SANAA presence of a 'viewing experience abstract', use of digital, only a few characters structuring linguistic transparency, yet immaterial, light and flow management.

The thoughts presented here were developed from the lecture of Professor Wise's March 18 . Play part A >> part B >>

Image: reflection on the glasses of Dior Building, Omotesando, Tokyo by SANAA

Thursday, April 23, 2009

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Why do a blog?

The request of Professor Alfonso to make a blog I was literally shocked the last days.
I never gave much importance to the blog, considering it a form of communication only useful if you write it and without any real importance or literary journalism. Indeed, the common acceptance that this is a personal diary of the XXI century I find it extremely wrong, as the diary secret by definition: to publicly expose their thoughts, joys and sorrows, always made me think (so maybe too apocalyptic) a sort of "sale" of the soul.
With this background I approached the writing of this blog. Fortunately, my ideas have been mitigated by consulting some blog news more properly, such as Marco Pratellesi on Corriere.it (http://mediablog.corriere.it/): I realized that it can be a valuable information tool and a space for a new kind of writing, more direct and less bound by obligations paper. A positive feature that I found in many common browsing blog is a strong self. For this reason I decided to follow the example of others and write a list of pros and cons of blogging.
Advantages:
- Anyone may read their writings
- maximum freedom of expression, both in content and form
- attracting young people to journalistic writing and creative
- Presence of sources of information not covered by other media
Disadvantages:
- Total lack of privacy
- Loss of authority
- Poor quality of most blogs
Only in the USA there are more than 20 million bloggers. Who is reading them?

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GIOTTO AND THE THREE HUNDRED

The Age "and large et inept" mentioned by Vasari in his "Lives" is still the Italian Middle Ages, a period in which we find, however, the eminent figure of Giotto di Bondone , which he credited with having discovered, or rather raised, the old way of doing fine art. The exhibition hosted by the Complesso del Vittoriano in Rome, presents a survey on the "most sovereign master of painting" framing, with 150 works on show, the period between the end of the thirteenth century and the first half of the fourteenth century. is indicated as a contemporary of Giotto, among others-was-Dante Alighieri, the "poet" who shares with the artist the title of "first Italian", made at least evidenced by their constant trips that will take them to travel from north to south across the Italian peninsula, where the text of the Vasari gives precise route . The Giotto's revolution is to emerge with the complex iconography, spatial constructions set to scenic depending on the space of architecture, whose elements are designed and painstakingly reproduced in perspective (despite its in-science). The technology helps the show in the performance of its program: the Victorian wanted to propose a collection of works that "retrace the route in its entirety figurative giottesco" at a distance of more than seventy years after the last major exhibition on Giotto, held at the Galleria degli Uffizi in 1937. It's obvious the difficulty of articulating an exhibition has its completeness, for artists such as Giotto, who make their work more important, especially as frescoes, to remedy this gap, the body builder's use of the technology shows: and hall first floor, they set about ten screens showing the frescoes-evidently impossible to remove and transport-filling what vulnus than some of the work of Giotto. Unfortunately monitors are not interactive, as they are, I must say unnecessarily, those on the lower level having the Italian regions with descriptions of the works of Giotto, that the corridor, overcrowded because of expectation of visitors between a zoom and 'another, it penalizes the exposure.

In presenting below a short excerpt of some works in the exhibition, I want to point out that they were not chosen on the basis of quality closely related to works of art as an art historian might do, but rather, according to personal impressions evoked by these works. Immediately you feel a common feature: the figures are all framed. The boundaries of the frame and sized boards staggered the figures represented in them. The pasty blue sapphire fills its shades our eyes, no longer accustomed to a color so decides. In a small room on the first floor were placed beautiful medieval manuscripts, whose smooth, shiny surface (highlighted by fluorescent lighting, which obviously come from their creation logic) is soul of the folds of time, as tired of being close to each stumps to the other for the past centuries, expanding and separating, proud of his magnificent self. Among all, it hits the page of the Milanese illuminator Godfrey of Viterbo (Pantheon of the XIV century) in which he draws figures that invade free text space, elbowing the Latin letters black ross and . But it is the great room to gather the most beautiful works: Almost all the figures are three-quarters pose, the face turns in search of the representation of a three-dimensional space and, as determined by the directionality of the nose, which becomes the break the frontal. The front side of Giotto's long table representing the "Annunciation with Saints Reparata and John the Baptist, Mary Magdalene, Nicola" of 1310, strikes in a particular: Santa Reparata is dressed in a soft dress that falls conscious of the gravity force, as this color purple wonder, however, when, in his down to his feet, meets the flat surface of the ground, assuming that we are meeting folds reducing the distance between us and Santa.

The portrayal of figures floating in a beautiful background of sea bream, making a clear separation, as a sharp close proximity to such an extent that it is often a strong sense of modern decoupage ! Climbing Upstairs the fresco of the crucifix by Pietro (or Julian?) from Rimini in 1320-1330, bears the marks of his centuries, realizing, however, inadvertently, something that stimulates different thoughts. The figure of Christ, as we see it today, is to merge with the tempera-ocher gray plaster, from which, as color on color, only some details emerge, tying strettamemente represented subject and its support. The haze generated gray cloth of time, wrap the painting while still allowing the figurative sense of the object that covers it. Later on, always in a fresco, it's fun to see deconstructionist architecture (So \u200b\u200bto speak, of course) through a fragment dell'Orcagna (Andrea di Cione) taken from the Beggars (The Triumph of Death, 1350), which represents the collapse of a factory, a moment frozen by the dynamic brushstrokes of ' artist.

Thursday, April 9, 2009

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Architecture in poétique

When Le Corbusier, in his case by introducing - in addition to architectural promenade - the famous 'jet poetic objects', he extrapolated from the world SELECTED plastic fragments, which then resulted in design . A world that could be one of nature, rather than history or even that of the machine and everyday life, to which they belonged elements chosen through "eyes that know see." Once Le Corbusier had met the functional requirements of the architecture through processes almost normative, he was - as he had learned on the Acropolis of Athens - emerge from the "standardization" of his artistic personality, infusing its architecture that Zevi defines a "geometric cosmic throb." These items should not simply be there, but provoke a reaction, not impassive
had to leave the audience, but engage in a feeling, an emotion in which the Swiss architect called it poetry. While there is therefore a vision of architecture as a machine that would work well for first, getting closer to a proper scientific and technical side, on the other hand, Le Corbusier - who was also a painter and sculptor - has taught us that architecture should give something more , something that today would call an "information" over which he tied to some particular objects (bones, shells, leaves, twigs, stones, etc.)..

To bring the discussion to the present day, as stated by Prof. Wise, gave the "works well" is an essential assumption that we now take for granted, what gives architecture (as well as other fields) a surplus, it is the item information. The new architecture as a whole is becoming an object poétique à reaction, and the entire design process, advanced on information, create aesthetic forms must able to excite. If some of these forms are made by the purity of the Platonic solids, while others identify the - like Le Corbusier's last period of his activities - in a more free and complex but yet (or maybe more) to pluck those strings feelings that make us excited. As already stated in another post, today we are much closer to those for Greeks were the ideals of beauty: the Greek sculpture was considered more beautiful the more she approached to simulate the real - recalled the famous bunch of grapes of Apelles (IV century BC), according to the widespread anecdotal, it was so similar to real that "the birds were running to peck the grapes." This concept of mimesis is delivered today in In-architectural training, so that we find (one name for all: Calatrava) real architectures that are drawn from reflections on shells, bones and so on. Thanks to information technology, biology goes even more powerfully in the architecture, especially in the study of its chemical and physical processes, so much so that you start to see more products like building a body, in aesthetic ecstasy, which has now extended those assimilated and Le Corbusier "provocative presence of emotion."

image: Kunthaus de Graz by Peter Cook

Wednesday, April 1, 2009

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REACTION SPACE Inscribed

Let me start this new post, assuming that Mies Baukunst und Zeitwille! writes: "Architecture is always the will of an epoch (Zeitwille) translated into space." He introduces two key elements: the will and the space, defining the latter as a result of the will of an era, indeed. The living space varies depending on the era, with the company, representing the vision, the mental space. For millennia architectural space was based on an idea archetypal, with variable elements in the surface but not in substance, well defined, elements such as doors, windows, walls and even the same type of architecture, as we found in classroom in the implementation of the chart. Thus, the identification of an architecture whose form typology was established a priori and is characterized by continuity and closure (in a symbiotic relationship between building and city that followed the famous formula 'the organization of the city must reflect that of the house ', and vice versa) expresses very well what Mies van der Rohe as indicated Zeitwille . The industrial architecture already put these classic types respond in a crisis, an antithetical, with the strength of the new architecture. Even today, computer architecture, although it is still in its infancy, has already produced significant changes, found chiefly in the projects of the avant-garde architects.

When Peter Eisenman, who besides being an architect "builder" is also an architect, "theoretical," says that "windows, doors, beams and columns are a way to inscribe the space," he continues explaining this conception, "they make the architecture an obvious fact, strengthening the vision. Since there are not inscribed spaces, we can not look to a window without putting it in connection with the idea of \u200b\u200bthe window." In his description of how to organize the space, Eisenman combines the one that probably could be defined as the "window" with the information denoted by the window. But, what happens to this information - the "window" for instance - in our era, the era of information revolution, in which information is born in a world which by its nature is computerized? It is certainly a paradigm shift, well played, moreover, by Zaha Hadid when a need to operate by subtracting "those family information that otherwise would allow residents to fall in the usual behavior," or of using them a whole new convection compared to the data which have hitherto assumed value archetype.

To clarify this point a brief excerpt Digital Hadid by Patrik Schumacher, who, on pg. 19, writes:
" The new techniques lead to a new conception of space (space of the magnetic field, particle space, space distorted) and suggest a new orientation, navigation and providing new housing. Dwellers an environment so conceived is not horizontal through the primary forms: Axes, boundaries and clearly defined spaces. Rather, the destribuzione densities, the polarization direction, the distribution of the texture scale, the gradient vector processing are the new ontology that defines what it means to live a space. "
Within these few lines, then it happens a real architectural revolution, which, starting from the use of powerful new tool, developed an unusual architecture.

After all it is perhaps true theory Charles Winick of the City University of New York, that man has a relationship with the television-like a drug addict or alcohol, or who have very serious consequences: in addition to bringing the viewer to a specific point of view, it leads, even to accept the image they are looking at in its entirety. The environment and the objects displayed have been selected by others, the viewer is led to a passive perception. This attitude harmful, probably corresponds to what has been the pre-industrial architecture, which took on a unique point of view, and escapes to the idea of \u200b\u200barchitecture in the last few 50-60 years, an architecture that is - especially digital - in where the means of representation themselves can no longer be the usual ones, but they must be renewed. But as a very clear perhaps not be possible, because this new architecture is knowable only through its being covered, or through living in a space that already Bruno Zevi called "temporalized.


image: bethel, the design of Zaha Hadid for the museum of contemporary art and Mediterranean Nuragic