30 December 2009
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LABEL: DIM MAK
ARTIST : THE BLOODY BEETROOTS
TRACK: ROMBORAMA
DIRECTED AND SCRATCHED FILM: BENNET PIMPINELLA
CINEMATOGRAPHER: SIMONE D'ARCANGELO
EXECUTIVE PRODUCTION: TDM
FILM FORMAT: UNIVISIUM 1:2
KODAK FILM 35mm
✞©✞™2009
LABEL: DIM MAK
ARTIST : THE BLOODY BEETROOTS
TRACK: ROMBORAMA
DIRECTED AND SCRATCHED FILM: BENNET PIMPINELLA
CINEMATOGRAPHER: SIMONE D'ARCANGELO
EXECUTIVE PRODUCTION: TDM
FILM FORMAT: UNIVISIUM 1:2
KODAK FILM 35mm
✞©✞™2009
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Paola Pivi
www.paolapivi.com
Paola Pivi is an Italian artist, born in 1971 and now living in Alaska. She established herself on the international art scene more than 10 years ago with a singular and formally unpredictable body of work. Whether through installations, photographs or performances (overturning an aeroplane, photographing zebras on the ice flots, releasing a leopard amid fake cups of cappuccino…), Paola Pivi creates unusual and ambivalent situations that disturb our habitual reference points for understanding what we see. Proceeding from visions that are then created 'for real', the artist constructs a universe in the form of a visual puzzle where the wild natural world frequently borders the artificial. A distinctive form of language emerges from the meeting of dream and reality, opening up a new field of possibilities for the spectator: an unusual, poetic and untamed space.
from: http://www.e-flux.com
Paola Pivi
www.paolapivi.com
Paola Pivi is an Italian artist, born in 1971 and now living in Alaska. She established herself on the international art scene more than 10 years ago with a singular and formally unpredictable body of work. Whether through installations, photographs or performances (overturning an aeroplane, photographing zebras on the ice flots, releasing a leopard amid fake cups of cappuccino…), Paola Pivi creates unusual and ambivalent situations that disturb our habitual reference points for understanding what we see. Proceeding from visions that are then created 'for real', the artist constructs a universe in the form of a visual puzzle where the wild natural world frequently borders the artificial. A distinctive form of language emerges from the meeting of dream and reality, opening up a new field of possibilities for the spectator: an unusual, poetic and untamed space.
from: http://www.e-flux.com
Labels: arte
29 December 2009
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TWO BOXES, warehouse to loft conversion, 40 m² - Paris - 18e - Barbès
When the client showed me this artist warehouse (previously a printing factory) he’d just bought in Barbès, Paris, he wasn’t really sure how he could make this place comfortable and still keeping the roughness and the nice volume of it. The idea quickly came to fit most of the functions in two separated white boxes, which would allow the apartment to remain as a single space.
The bathroom occupies the first box on the lower part. Above it is a huge closet (80×250x240). Most of the bathroom walls are covered with 5×5 cm grey tiling, following a precise “calepinage”.
The second box is made of a bedroom-mezzanine and a dressing-room below. The front wall of this box is a sliding door : when you open it to go inside the dressing room, it perfectly closes the entrance of the stairs.
The small black pyramidal hole in the door is made for a video-projector, which is set in a box shelf inside the dressing-room.
The dressing-room is a somehow abstract, extremely luminous room with its neon lights and aluminium foil walls, allowing to choose your clothes with a very good color rendering night and day! This well temperature-insulated room makes it a quite good place to keep precious objects, such as wine bottles…
The mezzanine can be totally shut thanks to three motorized blinds, making the bedroom a white cocoon.
The second box is made of a bedroom-mezzanine and a dressing-room below. The front wall of this box is a sliding door : when you open it to go inside the dressing room, it perfectly closes the entrance of the stairs.
The small black pyramidal hole in the door is made for a video-projector, which is set in a box shelf inside the dressing-room.
The dressing-room is a somehow abstract, extremely luminous room with its neon lights and aluminium foil walls, allowing to choose your clothes with a very good color rendering night and day! This well temperature-insulated room makes it a quite good place to keep precious objects, such as wine bottles…
The mezzanine can be totally shut thanks to three motorized blinds, making the bedroom a white cocoon.
The joineries of the large window are used as a “grid” to set the measurements of every element, i.e. the mezzanine, the kitchen cabinets, the bathroom closets, the wood bench…
Created in order to hide the radiators needed under this 7m long window, this wood bench (22mm basic okoumé plywood) brings through its material the cosiness that lacked to the warehouse. The bench is the link between the kitchen and the shelves on the opposite wall.
The kitchen, with integrated appliances, was mostly bought in Ikea and rearranged to fit the project. The counter-top was especially made with the same decorative concrete used for the floor.
from - nicolas brody architect
pics - David Moulinet
Created in order to hide the radiators needed under this 7m long window, this wood bench (22mm basic okoumé plywood) brings through its material the cosiness that lacked to the warehouse. The bench is the link between the kitchen and the shelves on the opposite wall.
The kitchen, with integrated appliances, was mostly bought in Ikea and rearranged to fit the project. The counter-top was especially made with the same decorative concrete used for the floor.
from - nicolas brody architect
pics - David Moulinet
Labels: arquitectura
27 December 2009
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The Krink Mini
The Krink Mini
Labels: video
26 December 2009
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Nocturne
Nocturne
Labels: video
23 December 2009
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Pavilhão de Portugal na Bienal de Veneza
O Pavilhão de Portugal da Bienal de Veneza, da autoria do Arquitecto Souto Moura e de Ângelo de Sousa, integra-se no tema “Cá fora: Arquitectura desassossegada”.
Foi exigida uma estrutura de fachada de aproximadamente 20x12m² de suporte para um espelho encobrindo o único piso do edifício Fondaco Marcello aproximando-se da cércea dos edifícios adjacentes. Para esse efeito desenvolveu-se uma estrutura metálica funcionando como um enorme outdoor altamente susceptível à acção do vento. Esta acção condicionante obrigou ao transporte da estrutura para o interior do edifício através de um conjunto de perfis metálicos que atravessam as janelas da fachada.
A obrigatoriedade de manter intacto o edifício existente aumenta a complexidade do problema, levando ao dimensionamento de um conjunto de contrapesos em betão que permitiram pousar a estrutura interior garantindo a sua estabilidade à acção horizontal do vento.
Para as salas de exposição interiores foram desenvolvidas estruturas de suporte dos espelhos interiores, posteriormente iluminados, criando o ambiente desejado pelos autores da exposição.
www.afaconsult.com
Pavilhão de Portugal na Bienal de Veneza
O Pavilhão de Portugal da Bienal de Veneza, da autoria do Arquitecto Souto Moura e de Ângelo de Sousa, integra-se no tema “Cá fora: Arquitectura desassossegada”.
Foi exigida uma estrutura de fachada de aproximadamente 20x12m² de suporte para um espelho encobrindo o único piso do edifício Fondaco Marcello aproximando-se da cércea dos edifícios adjacentes. Para esse efeito desenvolveu-se uma estrutura metálica funcionando como um enorme outdoor altamente susceptível à acção do vento. Esta acção condicionante obrigou ao transporte da estrutura para o interior do edifício através de um conjunto de perfis metálicos que atravessam as janelas da fachada.
A obrigatoriedade de manter intacto o edifício existente aumenta a complexidade do problema, levando ao dimensionamento de um conjunto de contrapesos em betão que permitiram pousar a estrutura interior garantindo a sua estabilidade à acção horizontal do vento.
Para as salas de exposição interiores foram desenvolvidas estruturas de suporte dos espelhos interiores, posteriormente iluminados, criando o ambiente desejado pelos autores da exposição.
www.afaconsult.com
Labels: arquitectura
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Nomiya Space Restaurant at Palais de Tokyo, Paris, France
Architect Pascal Grasso designed a temporary, transportable restaurant on the roof of Le Palais de Tokyo museum in Paris, France. The temporary structure, features a dining room for twelve people with a very nice panoramic view over the Seine and the Eiffel tower in Paris. The restaurant comprises a glass cabin with perforated metal screen that covers the central cooking area. Coloured LED lighting is placed between the metal skin and the glass cube .The glass cube is part of the ‘Art Home’ culinary project by the Palais de Tokyo and Electrolux.
The art center « Le Palais de Tokyo » asked us to imagine a temporay piece on the roof of the building. We designed a take-down and easily transportable module, which is a twelve seats dining room, with a panoramic view on Paris. Nomiya is the name of the very small restaurant in Japan. The structure is 18m long, 4m large, 3.50 m high and weights 22 tonnes. It has been constructed in the Cherbourg boatyard, in the North of France, and transported in two pieces by special trunks to Paris, and then set on the roof of the Museum.
This construction is composed by a glass volume, covered by a metallic skin on its central part. The dining area, entirely made of glass, is looking at the Seine and the Eiffel tower. The central part (cooking aera) is covered by a punched made-to-measure sheet metal. The perforations represent an aurora borealis drawing. The lightning system is put between the glass and the metallic skins.
Composed by lines of leds, it emphasizes the drawing of the facade and changes its colors, like a real aurora borealis. The interior design is minimalist, with a white Corian furniture and a grey wooden floor. Above the dinner table, suspended leds extend the sparkling of the city.
Nomiya Space Restaurant at Palais de Tokyo, Paris, France
Architect Pascal Grasso designed a temporary, transportable restaurant on the roof of Le Palais de Tokyo museum in Paris, France. The temporary structure, features a dining room for twelve people with a very nice panoramic view over the Seine and the Eiffel tower in Paris. The restaurant comprises a glass cabin with perforated metal screen that covers the central cooking area. Coloured LED lighting is placed between the metal skin and the glass cube .The glass cube is part of the ‘Art Home’ culinary project by the Palais de Tokyo and Electrolux.
The art center « Le Palais de Tokyo » asked us to imagine a temporay piece on the roof of the building. We designed a take-down and easily transportable module, which is a twelve seats dining room, with a panoramic view on Paris. Nomiya is the name of the very small restaurant in Japan. The structure is 18m long, 4m large, 3.50 m high and weights 22 tonnes. It has been constructed in the Cherbourg boatyard, in the North of France, and transported in two pieces by special trunks to Paris, and then set on the roof of the Museum.
This construction is composed by a glass volume, covered by a metallic skin on its central part. The dining area, entirely made of glass, is looking at the Seine and the Eiffel tower. The central part (cooking aera) is covered by a punched made-to-measure sheet metal. The perforations represent an aurora borealis drawing. The lightning system is put between the glass and the metallic skins.
Composed by lines of leds, it emphasizes the drawing of the facade and changes its colors, like a real aurora borealis. The interior design is minimalist, with a white Corian furniture and a grey wooden floor. Above the dinner table, suspended leds extend the sparkling of the city.
Artist associated : Laurent Grasso
Structure / facade engineer : ARCORA
Client: Palais de Tokyo / Electrolux
from - http://archide.wordpress.com
Labels: arquitectura
22 December 2009
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Alma
Written and Directed by: Rodrigo Blaas
Produced by: Cecile Hokes
Music: Mastretta
Art Director: Alfonso Blaas
Lighting Supervisor: Jonatan Catalán
Character Technical Supervisor: Jaime Maestro
Character Design: Bolhem Bouchiba, Carlos Grangel,
Sergio Pablos, Santi Agustí
Animation: Daniel Peixe, ManueBover, Remi Hueso
Sound Design: Tom Myers and David Hughes
Post Production Coordinator: David Heras
Special Thanks: Keytoon, Next Limit, UserT38
Full credits: almashortfilm.com
Alma
Written and Directed by: Rodrigo Blaas
Produced by: Cecile Hokes
Music: Mastretta
Art Director: Alfonso Blaas
Lighting Supervisor: Jonatan Catalán
Character Technical Supervisor: Jaime Maestro
Character Design: Bolhem Bouchiba, Carlos Grangel,
Sergio Pablos, Santi Agustí
Animation: Daniel Peixe, ManueBover, Remi Hueso
Sound Design: Tom Myers and David Hughes
Post Production Coordinator: David Heras
Special Thanks: Keytoon, Next Limit, UserT38
Full credits: almashortfilm.com
Labels: video
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THE EDGE, aires mateus & associados
O conceito do projecto THE EDGE foi baseado em quatro princípios arquitectónicos. Estes princípios orientam a concepção do edifício, encarando o ambiente urbano em constante mutação e promovendo uma multiplicidade de ambientes criativos, com identidade própria, suportados por espaços interiores que estimulem a interacção e conectividade.
Os quatro princípios são:
1) Proteger: A criação de um vazio, um refúgio da cidade dentro da cidade. Este vazio interior de 20 m de largura, é ocupado ao nível do solo por um eixo comercial, que estabelece a ligação entre os diferentes núcleos e o elo entre o edifício e o exterior.
2) Agrupar: Fraccionar a massa do edifício em “clusters” permite a cada ocupante a sua própria imagem, no céu da cidade. As dimensões destes espaços variam entre 5,000 e 15,000 m².
3) Visualização: A separação do volume do edifício em “clusters”, permite visualizar a cidade através do edifício.
4) Conectar: O estudo da disposição dos “clusters” permitiu a partilha das entradas e das instalações ao nível do solo, e a partilha de instalações comuns, sob a forma de “Keystones”, ligando os dois edifícios transversalmente.
Embora vários cenários pudessem ser concebidos a partir dos conceitos listados anteriormente, apenas duas soluções arquitectónicas foram desenvolvidas. A solução vertical é composta por um complexo de 60x170 m² de implantação por 300 m de altura, enquanto a solução horizontal é composta por um complexo de 60x400 m² de implantação por 130 m de altura.
Conceito Estrutural
A lógica estrutural do edifício segue a lógica arquitectónica, que consiste em “clusters” independentes, ligados entre si pelos núcleos verticais. O processo construtivo também segue a lógica organizacional do edifício, permitindo uma construção faseada de fracções independentes.
A superestrutura das pontes e consolas é materializada por fachadas armadas por treliças metálicas compostas por módulos metálicos de aço de alta resistência. As treliças de fachadas encontram-se suspensas dos núcleos verticais. Os banzos, montantes e diagonais das treliças são compostos por secções ocas tipo caixão, ligados entre si por soldadura. A geometria destes elementos construtivos foi projectadas de forma a respeitar um espaçamento regular dos seus componentes, permitindo a prefabricação e facilitando a montagem. A utilizando de técnicas construtivas de prefabricação permite a minimização do tempo de montagem, resultando assim num ritmo de construção mais rápido.
Estas treliças são revestidas por betão, respeitando o acabamento requerido pela arquitectura e ao mesmo tempo assegurando uma eficiente protecção ao fogo.
O esquema estrutural concebido para os pavimentos, é composto por treliças metálicas de piso com desenho tipo “Warren”. Os banzos destas treliças são compostos por duplas contoneiras de aba e espessura variável. As diagonais são compostas por perfis tubulares de espessura também variável. Esta solução possibilita um alto grau de flexibilidade, permitindo que todas as instalações seja de fácil acesso, permitindo que os espaços se ajustem e se convertam facilmente.
A solução estrutural adoptada para a cave e piso térreo, consiste em lajes fungiformes de betão armado. No centro do edifício, as lajes são suportadas por pilares e paredes de betão, e na periferia as lajes são suportadas pela parede periférica de contenção de terras.
www.afaconsult.com
THE EDGE, aires mateus & associados
O conceito do projecto THE EDGE foi baseado em quatro princípios arquitectónicos. Estes princípios orientam a concepção do edifício, encarando o ambiente urbano em constante mutação e promovendo uma multiplicidade de ambientes criativos, com identidade própria, suportados por espaços interiores que estimulem a interacção e conectividade.
Os quatro princípios são:
1) Proteger: A criação de um vazio, um refúgio da cidade dentro da cidade. Este vazio interior de 20 m de largura, é ocupado ao nível do solo por um eixo comercial, que estabelece a ligação entre os diferentes núcleos e o elo entre o edifício e o exterior.
2) Agrupar: Fraccionar a massa do edifício em “clusters” permite a cada ocupante a sua própria imagem, no céu da cidade. As dimensões destes espaços variam entre 5,000 e 15,000 m².
3) Visualização: A separação do volume do edifício em “clusters”, permite visualizar a cidade através do edifício.
4) Conectar: O estudo da disposição dos “clusters” permitiu a partilha das entradas e das instalações ao nível do solo, e a partilha de instalações comuns, sob a forma de “Keystones”, ligando os dois edifícios transversalmente.
Embora vários cenários pudessem ser concebidos a partir dos conceitos listados anteriormente, apenas duas soluções arquitectónicas foram desenvolvidas. A solução vertical é composta por um complexo de 60x170 m² de implantação por 300 m de altura, enquanto a solução horizontal é composta por um complexo de 60x400 m² de implantação por 130 m de altura.
Conceito Estrutural
A lógica estrutural do edifício segue a lógica arquitectónica, que consiste em “clusters” independentes, ligados entre si pelos núcleos verticais. O processo construtivo também segue a lógica organizacional do edifício, permitindo uma construção faseada de fracções independentes.
A superestrutura das pontes e consolas é materializada por fachadas armadas por treliças metálicas compostas por módulos metálicos de aço de alta resistência. As treliças de fachadas encontram-se suspensas dos núcleos verticais. Os banzos, montantes e diagonais das treliças são compostos por secções ocas tipo caixão, ligados entre si por soldadura. A geometria destes elementos construtivos foi projectadas de forma a respeitar um espaçamento regular dos seus componentes, permitindo a prefabricação e facilitando a montagem. A utilizando de técnicas construtivas de prefabricação permite a minimização do tempo de montagem, resultando assim num ritmo de construção mais rápido.
Estas treliças são revestidas por betão, respeitando o acabamento requerido pela arquitectura e ao mesmo tempo assegurando uma eficiente protecção ao fogo.
O esquema estrutural concebido para os pavimentos, é composto por treliças metálicas de piso com desenho tipo “Warren”. Os banzos destas treliças são compostos por duplas contoneiras de aba e espessura variável. As diagonais são compostas por perfis tubulares de espessura também variável. Esta solução possibilita um alto grau de flexibilidade, permitindo que todas as instalações seja de fácil acesso, permitindo que os espaços se ajustem e se convertam facilmente.
A solução estrutural adoptada para a cave e piso térreo, consiste em lajes fungiformes de betão armado. No centro do edifício, as lajes são suportadas por pilares e paredes de betão, e na periferia as lajes são suportadas pela parede periférica de contenção de terras.
www.afaconsult.com
Labels: arquitectura
21 December 2009
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Swiss architects Christ + Gantenbein have been awarded first prize in a competition to design an extension to the Kunstmuseum in Basel.
dezeen.com
Swiss architects Christ + Gantenbein have been awarded first prize in a competition to design an extension to the Kunstmuseum in Basel.
The exhibition showing all competition entries runs until Sunday December 20th, 2009; Maiengasse 7/11, CH–Basel.
Initial Position and Objective
The Basel Kunstmuseum or Museum of Fine Arts is considered one of the leading art museums of the world. It is a museum with a rich tradition and a top-quality art collection that has continued to develop since the 17th century, is innovative and was and is at the very front of contemporary art production. Thus, a unique thread of suspense emerged that spans art from the 15th to the 21st centuries.
The museum built on St. Alban-Graben in 1936 is the main building and was continually renovated and remodelled from the 1990s till 2007. In 1980, the Museum für Gegenwartskunst or Museum of Contemporary Art on St. Alban-Rheinweg was established as a branch entirely dedicated to contemporary art and renovated in 2005. Since 2004, the Laurenz Building directly adjacent to the museum houses the library, administrative offices, and the University of Basel Department of Art History.
Historically, the Basel Kunsthalle or Art Hall was the venue for changing exhibitions and the Kunstmuseum – apart from some periodical exceptions – the venue of the main collection. Today, however, solely an attractive exhibition programme and venue guarantee a museum remains popular with the public and survives among the leading art museums on an international scale. Ever since 2002, two large special shows are being organized each year, complemented by 8-10 smaller exhibitions held in the main building, above all at the Kupferstichkabinett, the Department of Prints and Drawings, and at the Museum für Gegenwartskunst. As, originally, there was no intention to hold large exhibitions at the Kunstmuseum, there is currently no respective infrastructure. Time and again, entire collections have to be repositioned or stored, causing a permanently provisional state of affairs. Besides, not all of the more recent forms of art can easily be exhibited in the otherwise ideal Beaux Arts halls of the museum. Apart from the temporary use of the halls of the collection for special shows, space for the continually growing collection has become increasingly scarce.
The targeted vision is to enhance the Kunstmuseum into a venue radiating tradition while remaining a dynamic and open institution of international renown with strong local roots, too. Not only the collection but also the travelling exhibits and special shows of the museum are consistently on a world-class level that is to be consolidated and expanded, in particular to address a younger public. Because of a generous gift to the Canton of Basel-Stadt, there is now a unique opportunity to realize the requisite spatial expansion with a new building on the adjacent lot of the Burghof property.
Dr. Bernhard Mendes Bürgi, Direktor Kunstmuseum Basel
dezeen.com
Labels: arquitectura
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Vodafone
O Edifício Sede da empresa de telecomunicações Vodafone no Porto, "...tem uma configuração dinâmica que tenta reflectir a atitude vodafone live – a vida em movimento".
"...Arquitectura e Estrutura fundem-se num sistema estrutural coerente".
Este edifício tem uma geometria em planta aproximadamente rectangular, com três pisos abaixo do solo e cinco acima. Nos níveis abaixo do solo as dimensões em planta são de aproximadamente 45 m de largura por 36 m de comprimento. Os pisos -3 e -2 destinam-se a parqueamento automóvel, enquanto o piso -1 será partilhado entre outros espaços por uma galeria comercial (Megastore), por um pequeno auditório e por salas de formação. Acima do solo e até ao piso 2 o edifício sofre um estrangulamento em planta, baixando as suas dimensões em planta para 45 metros de comprimento por 18 de largura. No rés-do-chão existirá uma galeria comercial (Megastore), que comunica com a do piso -1. Acima do piso 3 até à cobertura a dimensão em planta do edifício baixa novamente para 35 metros de comprimento por 18 de largura. Os pisos 1, 2, 3 e 4 serão ocupados por áreas de trabalho do tipo open-space.
As lajes do edifício serão maciças em betão armado cinzento, suportadas lateralmente pela fachada em betão armado branco, por dois núcleos de geometria rectangular no interior do edifício e por apenas dois pilar-parede no centro do edifício.
O edifício apresenta um volume irregular, formado por uma envolvente facetada com planos de orientação indefinida, resultando numa geometria global semelhante a um "diamante em bruto". Estas superfícies são constituídas por painéis em betão armado branco betonados in situ e têm um importante desempenho no comportamento global da estrutura do edifício, ao suportarem grande parte das acções verticais transmitidas pelas lajes localizadas acima do rés-do-chão.
www.afaconsult.com
Vodafone
O Edifício Sede da empresa de telecomunicações Vodafone no Porto, "...tem uma configuração dinâmica que tenta reflectir a atitude vodafone live – a vida em movimento".
"...Arquitectura e Estrutura fundem-se num sistema estrutural coerente".
Este edifício tem uma geometria em planta aproximadamente rectangular, com três pisos abaixo do solo e cinco acima. Nos níveis abaixo do solo as dimensões em planta são de aproximadamente 45 m de largura por 36 m de comprimento. Os pisos -3 e -2 destinam-se a parqueamento automóvel, enquanto o piso -1 será partilhado entre outros espaços por uma galeria comercial (Megastore), por um pequeno auditório e por salas de formação. Acima do solo e até ao piso 2 o edifício sofre um estrangulamento em planta, baixando as suas dimensões em planta para 45 metros de comprimento por 18 de largura. No rés-do-chão existirá uma galeria comercial (Megastore), que comunica com a do piso -1. Acima do piso 3 até à cobertura a dimensão em planta do edifício baixa novamente para 35 metros de comprimento por 18 de largura. Os pisos 1, 2, 3 e 4 serão ocupados por áreas de trabalho do tipo open-space.
As lajes do edifício serão maciças em betão armado cinzento, suportadas lateralmente pela fachada em betão armado branco, por dois núcleos de geometria rectangular no interior do edifício e por apenas dois pilar-parede no centro do edifício.
O edifício apresenta um volume irregular, formado por uma envolvente facetada com planos de orientação indefinida, resultando numa geometria global semelhante a um "diamante em bruto". Estas superfícies são constituídas por painéis em betão armado branco betonados in situ e têm um importante desempenho no comportamento global da estrutura do edifício, ao suportarem grande parte das acções verticais transmitidas pelas lajes localizadas acima do rés-do-chão.
www.afaconsult.com
Labels: arquitectura
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Yeasayer - Ambling Alp
Anand Wilder, Chris Keating and Ira Wolf Tuton are Yeasayer, an indie band from New York who describe their music as "middle eastern-psych-snap-gospel". I'm not sure if that's true, but their latest single is great and the video is amazing!
Daft Arts and Spy Films (Canada)
Director: Radical Friend
Producers: Paul Hahn and Jett Steiger
Production Manager: Ryan Patten
DP: Kevin Phillips
Gaffer: Wyatt Garfield
Key Grip: Eli Born
1st AC: Dylan Johnson
2nd AC: Scott Johnson
Grip: Matthew Harfield
Production Designer: Megan Fenton
Art Dept: David Gruner, Liz Garner, Ayse Arf, Douglas Armour
Costume Design: Diana Contreras and Eliot Lee Hazel
Makeup and Body Paint: William Lemon
radicalfriend.com
amblingalp.com
mute.com
secretlycanadian.com
spyfilms.com
daftarts.com
teamgproductions.com
Check these guys out @ myspace.com/yeasayer
Yeasayer - Ambling Alp
Anand Wilder, Chris Keating and Ira Wolf Tuton are Yeasayer, an indie band from New York who describe their music as "middle eastern-psych-snap-gospel". I'm not sure if that's true, but their latest single is great and the video is amazing!
Daft Arts and Spy Films (Canada)
Director: Radical Friend
Producers: Paul Hahn and Jett Steiger
Production Manager: Ryan Patten
DP: Kevin Phillips
Gaffer: Wyatt Garfield
Key Grip: Eli Born
1st AC: Dylan Johnson
2nd AC: Scott Johnson
Grip: Matthew Harfield
Production Designer: Megan Fenton
Art Dept: David Gruner, Liz Garner, Ayse Arf, Douglas Armour
Costume Design: Diana Contreras and Eliot Lee Hazel
Makeup and Body Paint: William Lemon
radicalfriend.com
amblingalp.com
mute.com
secretlycanadian.com
spyfilms.com
daftarts.com
teamgproductions.com
Check these guys out @ myspace.com/yeasayer
Labels: music
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Hotel na Herdade do Barrocal - afaconsult / Aires Mateus & Associados, Lda
O Hotel do Barrocal pertence à cadeia de hotéis Aquapura. Esta "marca" vem afirmando uma identidade própria, através de unidades recentemente construídas, ou ainda em fase de projecto, mas sempre em contextos muito distintos.
Esta nova unidade hoteleira localiza-se próximo da área inundada da Barragem do Alqueva, em Monsaraz.
A água é o recurso essencial na construção do hotel. A sua presença dissemina-se por todo o complexo, adoptando as formas dos diferentes "reservatórios" previstos (espelhos de água, tanques e piscinas, exteriores ou interiores) e cumprindo diversas funções específicas (contemplação, amenização ambiental, terapêutica ou simples lazer, de utilização colectiva ou privativa).
Numa perspectiva de eficiência e sustentabilidade, será promovida uma gestão integrada de toda a água do hotel, desde a captação até aos vários tipos de abastecimento, incluindo a drenagem, o tratamento e a recirculação.
Estruturalmente o edifício do Hotel constitui um desafio, sendo de evidenciar alguns elementos estruturais como as consolas na zona dos quartos com cerca de 15m e o vazio no centro desta mesma ala com vão da ordem de 40m.
www.afaconsult.com
Hotel na Herdade do Barrocal - afaconsult / Aires Mateus & Associados, Lda
O Hotel do Barrocal pertence à cadeia de hotéis Aquapura. Esta "marca" vem afirmando uma identidade própria, através de unidades recentemente construídas, ou ainda em fase de projecto, mas sempre em contextos muito distintos.
Esta nova unidade hoteleira localiza-se próximo da área inundada da Barragem do Alqueva, em Monsaraz.
A água é o recurso essencial na construção do hotel. A sua presença dissemina-se por todo o complexo, adoptando as formas dos diferentes "reservatórios" previstos (espelhos de água, tanques e piscinas, exteriores ou interiores) e cumprindo diversas funções específicas (contemplação, amenização ambiental, terapêutica ou simples lazer, de utilização colectiva ou privativa).
Numa perspectiva de eficiência e sustentabilidade, será promovida uma gestão integrada de toda a água do hotel, desde a captação até aos vários tipos de abastecimento, incluindo a drenagem, o tratamento e a recirculação.
Estruturalmente o edifício do Hotel constitui um desafio, sendo de evidenciar alguns elementos estruturais como as consolas na zona dos quartos com cerca de 15m e o vazio no centro desta mesma ala com vão da ordem de 40m.
www.afaconsult.com
Labels: arquitectura
18 December 2009
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faroe islands education - BIG architects
from:
www.worldarchitecturenews.com
faroe islands education - BIG architects
BIG, in collaboration with Fuglark, Lemming & Eriksson, Sámal Johannesen, Martin E. Leo and KJ Elrad have won the largest ever commission on the Faroe Islands for a 19,200 sq m Education Centre in Torshavn.
The winning design was chosen among five submissions by a unanimous jury, comprised of an architect, representatives from the Ministry of Culture and Landsverk together with principals from each of the three schools. As the largest educational building project in the country’s history, the institution combines a gymnasium, Torshavn’s Technical College and Business College in one building, housing 1,200 students and 300 teachers.
Located on a hillside, 100m above the sea level with a panoramic view overlooking the sea, mountains and harbour of Torshavn, the project is designed as a vortex, radiating out towards its surroundings while at the same time focusing in on the school’s inner landscape for learning the lessons of life. Each institution is organised as a school in a school with ideal conditions for each, while creating a sense of community for learning and life. At the school’s heart is an open rotunda space, creating a natural gathering point across floor levels and academic interests. A stepped interior reflects the undulating Faroese landscape with its alternating plateaus, stairwells and terraces serving different social and academic activities.
Bjarke Ingels, Creative Director, BIG said: "The school is a pedagogical diagram turned in the form of a building in the open hilly landscape formed by the considerations to the internal functional needs rather than external limitations. The architectural expression of the new Education Centre in Marknagil captures the essence of: form follows function."
Jakup Pauli Johannesen, Partner, Fuglark Architects commented: “The architecture of the school emphasises an educational equality, with lobbies and the central rotunda space promoting a sense of community across the three different schools.”
from:
www.worldarchitecturenews.com
Labels: arquitectura, BIG architects
17 December 2009
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happy birthday oscar niemeyer
happy birthday oscar niemeyer
yesterday, december 15th, brazil's most famous architect oscar niemeyer celebrated his102nd birthday.
instead of commemorating his supercentennial age, he preferred spending time workingon piles of projects. the architect can become a bit grumpy when it comes to this subject of age,commenting that 'there is nothing fun about being old.'
his granddaughter said it was with great joy that the family was celebrating his birthday:'for us it's been a relief to see him get to this age so well, especially after the scare we had(the september hospitalization). he acts like a sweetheart with his wife, smokes his cigarillos and taking his wine, without problem,' she said.
niemeyer in turn, doesn't seem impressed with his longevity and he is humble when describing
his work:'I gave no contribution (to the brazilian architecture). I just tried to be helpful.
I'm no better than anyone. I have no fantasies,' he concluded.
text from: http://www.designboom.com
instead of commemorating his supercentennial age, he preferred spending time workingon piles of projects. the architect can become a bit grumpy when it comes to this subject of age,commenting that 'there is nothing fun about being old.'
his granddaughter said it was with great joy that the family was celebrating his birthday:'for us it's been a relief to see him get to this age so well, especially after the scare we had(the september hospitalization). he acts like a sweetheart with his wife, smokes his cigarillos and taking his wine, without problem,' she said.
niemeyer in turn, doesn't seem impressed with his longevity and he is humble when describing
his work:'I gave no contribution (to the brazilian architecture). I just tried to be helpful.
I'm no better than anyone. I have no fantasies,' he concluded.
text from: http://www.designboom.com
Labels: arquitectura
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Tom Friedman
http://www.gagosian.com/artists/tom-friedman/
Tom friedman's funny and clever sculptures are passive-aggressive,
we see them through the eyes of the outsider, the alien, the artist.
looking at these sculptures is sort of like looking too closely
in the mirror and seeing fields of blackheads on your otherwise
lovely and photogenic nose. but at the same time things are
simpler here on friedman's side.
there is humor in his work, but it is very modest and lightly
dispensed. the exquisite fragility is very relaxing.
simple and sometimes trivial ideas are taken to the extreme of
credibility. his pieces are descriptive but devoid of content,
and others spatially empty while inhabited by history.
Sculptures balancing in a precarious equilibrium may appear paradoxical, because of the unusual materials they are
made from: a ring of plastic cups; a dense mass of pencil sections,
or the sculpture obtained by wedging some 30,000 toothpicks in
order to create a fantastic geometric construction that recalls the
structure of a starburst.
'a mentality based on atoms and tiny infinitesimal fragments,'
according to germano celant, cuator of the exhibition 'leaning toward
the sublime, magical atmosphere of a science fiction film by
lucas or spielberg.'
from: http://www.designboom.com
Tom Friedman
http://www.gagosian.com/
Tom friedman's funny and clever sculptures are passive-aggressive,
we see them through the eyes of the outsider, the alien, the artist.
looking at these sculptures is sort of like looking too closely
in the mirror and seeing fields of blackheads on your otherwise
lovely and photogenic nose. but at the same time things are
simpler here on friedman's side.
there is humor in his work, but it is very modest and lightly
dispensed. the exquisite fragility is very relaxing.
simple and sometimes trivial ideas are taken to the extreme of
credibility. his pieces are descriptive but devoid of content,
and others spatially empty while inhabited by history.
Sculptures balancing in a precarious equilibrium may appear paradoxical, because of the unusual materials they are
made from: a ring of plastic cups; a dense mass of pencil sections,
or the sculpture obtained by wedging some 30,000 toothpicks in
order to create a fantastic geometric construction that recalls the
structure of a starburst.
'a mentality based on atoms and tiny infinitesimal fragments,'
according to germano celant, cuator of the exhibition 'leaning toward
the sublime, magical atmosphere of a science fiction film by
lucas or spielberg.'
from: http://www.designboom.com
Labels: arte
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Kommt in die Gänge ! (Gängeviertel, Hamburg)
Kommt in die Gänge ! (Gängeviertel, Hamburg)
Labels: music
16 December 2009
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ACID WASHED | General Motors, Detroit, America - Snake EP
"Acid Washed is a two-man process primarily, deteriorating sound amongst souvenirs, friends, home studios and analogue equipment.
The result is a fusion of late nineties filter house and DFA disco anthems that acknowledges the influence of Chicago and Detroit without being overly reverential. Throw names like Steve Reich, Giorgio Moroder into the hat as well if you like, but don’t dwell on them. Cosmic tunes for the party tonight.
Collaboration is the key to Acid Washed; the list of big-name players involved is set to run and run. Labels and artists involved currently: Xaver Naudascher & Gavin Russom (Death From Abroad/Supersoul/DFA), Lippie (Because Music Publishing), Christian Kreuz (Get Physical), Arnaud Rebotini/Blackstrobe, Turzi (Record Makers), Barbara Panther, Alan Gay, Christophe Chassol (Sébastien Tellier, Phoenix), King of Kong (Max Skiba & Artur 8).
The party’s only just getting started."
http://www.myspace.com/weareacidwashed
ACID WASHED | General Motors, Detroit, America - Snake EP
"Acid Washed is a two-man process primarily, deteriorating sound amongst souvenirs, friends, home studios and analogue equipment.
The result is a fusion of late nineties filter house and DFA disco anthems that acknowledges the influence of Chicago and Detroit without being overly reverential. Throw names like Steve Reich, Giorgio Moroder into the hat as well if you like, but don’t dwell on them. Cosmic tunes for the party tonight.
Collaboration is the key to Acid Washed; the list of big-name players involved is set to run and run. Labels and artists involved currently: Xaver Naudascher & Gavin Russom (Death From Abroad/Supersoul/DFA), Lippie (Because Music Publishing), Christian Kreuz (Get Physical), Arnaud Rebotini/Blackstrobe, Turzi (Record Makers), Barbara Panther, Alan Gay, Christophe Chassol (Sébastien Tellier, Phoenix), King of Kong (Max Skiba & Artur 8).
The party’s only just getting started."
http://www.myspace.com/weareacidwashed
Labels: Acid Washed, music, video
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McBride Charles Ryan
The Klein bottle is a descriptive model of a surface developed by topological mathematicians. Klein bottle, mobius strips, boy surfaces, unique surfaces that while they may be distorted remain topologically the same. I.e. a donut will remain topologically a donut if you twist and distort it, it will only change topologically if it is cut.
The surfaces that mathematicians have developed hold intrigue for architects as they hold a promise of new spatial relationships and configurations. Technology (CAD) has played an important part in all this, it is now more possible to efficiently describe more complex shapes and spaces and communicate these to the build. Previously the more orthogonal means of communication – plans, sections and elevations naturally encourage buildings which are more easily described in these terms, i.e. boxes.
The building (we think) is also within that tradition of the use of an experimental geometry that could be adapted to more suitably meet contemporary needs, and desires. In that sense it is within the heroic tradition of invigorating the very nature of the home, most notable of this tradition would be the great experimental heroic houses by Melbourne architects in the 50’s (McIntyre and Boyd in particular).
for more please visit - www.archdaily.com
from - arch daily
McBride Charles Ryan
The Klein bottle is a descriptive model of a surface developed by topological mathematicians. Klein bottle, mobius strips, boy surfaces, unique surfaces that while they may be distorted remain topologically the same. I.e. a donut will remain topologically a donut if you twist and distort it, it will only change topologically if it is cut.
The surfaces that mathematicians have developed hold intrigue for architects as they hold a promise of new spatial relationships and configurations. Technology (CAD) has played an important part in all this, it is now more possible to efficiently describe more complex shapes and spaces and communicate these to the build. Previously the more orthogonal means of communication – plans, sections and elevations naturally encourage buildings which are more easily described in these terms, i.e. boxes.
The building (we think) is also within that tradition of the use of an experimental geometry that could be adapted to more suitably meet contemporary needs, and desires. In that sense it is within the heroic tradition of invigorating the very nature of the home, most notable of this tradition would be the great experimental heroic houses by Melbourne architects in the 50’s (McIntyre and Boyd in particular).
for more please visit - www.archdaily.com
from - arch daily
Labels: arquitectura
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