0 Eka Swadiansa.Cdr

Total Page:16

File Type:pdf, Size:1020Kb

0 Eka Swadiansa.Cdr Eka Swadiansa is the chief bureau and principal of Office of Strategic Architecture (OSA), research director of Surya University Center for Static City (SU-CSC), lead curator of SPIRIT_45, and Global University (GU) founding member; recipient of 2009 Tadao Ando Foundation/OFIX, and Terrefarm/SOM fellowship. Upon graduating from Brawijaya University and working/interned on various companies which includes Japan giant: Takenaka Corporation; he established OSA to strive for 3 different focuses: (1) Iconoloci/architecture as cultural reinterpretation medium, (2) Static City/planning for the South-South alpha/beta cities, and (3) Reactive Capitalism/banking mechanism which fuels capital accumulation over social-based business cycle. Throughout the years he had been invited to present his works on prestigious institutions such as: the MIT, ENSA Paris LV, ENSA Rouen; and exhibited his works on venues around the globe including: INBAR Industry@Shanghai World Expo, Central Glass@Tokyo UIA Congress, Guggenheim Helsinki Exhibition, Le Galerie Librarie du Impressions, and Strelka Institute Mass Housing Exhibition. Swadiansa, Eka TOPIC 1 : THE BIRTH OF COLLECTIVE IDEALS (Indonesia) TOPIC 2 : THE TRANS-ATLANTIC CROSSOVER OSA, SU-CSC TOPIC 3 : THE TRANS-PACIFIC CROSSOVER [email protected] THE BIRTH OF COLLECTIVE IDEALS OFFICETuesda OF STRAy, 13 th TEGICMarch AR2018CHITEC 18hr00TURE CIAM Congress I Participants Participants who fail to attend INITIATOR due to VISA problem n/a n/a Lazar Markovich Nikolai D. Kolli Moisei Y. Ginsburg Alberto Santoris Andre Lurcat Arnold Hoechel Carlo Enrico Rava Ernst May Fernando G. Mercadal Gabriel Guevrekian (38) (34) (36) (27) (34) (39) (25) (42) (32) (36) Other potential participants Karl Moser (68) n/a De Stijl Piet Mondrian Jacobus Oud Gerrit T. Rietveld Hannes Meyer Hans Schmidt Hendrik P. Berlage H. Von der Muhll Hugo Haring (40) (39) (35) (72) (30) (46) ’Esprit Nouveau Amedee Ozenvant L n/a Le Corbusier (41) Bauhauss Walter Gropius Marcel Breuer Mies vd. Rohe Huib Hoste Josef Frank Juan de Zavala Mart Stam Max Ernst Haefeli Max Ludwig Cetto (47) (43) (26) (29) (27) (25) Vkhutemas Kazimir Malevich Alex Rodchenko n/a Legend Participants Participants AVERAGE AGE Pierre Chareau Pierre Jeanneret Rudolf Steiger Sven Markelius Szymon Syrkus Victor Bourgeois Werner M. Moser who signed who didn’t sign Siegfried Giedion (40) the declaration the declaration (45) (32) (28) (39) (35) (31) (32) 37.28 0/Topic1-I La Sarraz I 1928 Frankfurt II 1929 Brussels III 1930 1931 0/T 1932 IV opic1-II Marseille 1933 -Athens 1934 1935 1936 Paris V 1937 1938 1939 VI 1940 THE BIR C IAM CONGR ES 1941 VIII 1942 1943 1944 V OFFICE OFSTRA 1945 III TH OFC 1946 IX XI IV Bridgewater VI 1947 I 1948 CIAM Congr VII Bergamo 1949 II 1950 VII VIII TEGIC AR Hoddesdon 1951 OLLEC 1952 Aix-en IX 1953 1954 es CHITEC 1955 ses TIVE IDEALS Dubrovnik X 1956 1957 X TURE 1958 Otterlo XI 1959 1960 1961 1962 IV 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 NOR 1977 TH THE BIRTH OF COLLECTIVE IDEALS OFFICE OF STRATEGIC ARCHITECTURE TEAM 10 Meeting I CIAX CIAM 59 Ad-Hoc Committee Inner Circle ORIGINAL MEMBERS JUNIOR CIAM ORIGINAL MEMBERS LATER ADDITION George Candilis Jaap Bakema Jaap Bakema George Candilis (43) (42) (42) (43) Aldo van Eyck Alison Smithson Giancarlo de Carlo (38) (28) (47) n/a Legend John Voelcker Peter Smithson Rolf Guttmann (29) CIAX (33) (30) AVERAGE AGE LATER ADDITIONS 33.90 n/a George Candilis Jaap Bakema CIAM 59 (43) (42) Ad-Hoc Committee AVERAGE AGE Aldo van Eyck Alison Smithson Bill Howell Ernesto Rogers (38) (28) (34) (50) 45.33 n/a Inner Circle AVERAGE AGE Gill Howell John Voelcker Shadrach Woods Alfred Roth Andre Wogenscky Peter Smithson Shadrach Woods 47.00 (29) (29) (33) (56) (43) (37) (37) SENIOR CIAM 0/Topic1-III 1928 1929 1930 1931 0/T 1932 opic1-IV 1933 13 1934 1935 1936 1937 1938 1939 THE BIR T EA M 10E ETINGS 1940 1941 1942 1943 1944 OFFICE OFSTRA 1945 TH OFC 1946 1947 1948 TEAM 10Meetings 1949 1950 TEGIC AR 1951 OLLEC 1952 1953 1954 CHITEC 1955 1956 TIVE IDEALS 1957 TURE 1958 1959 1 Bagnois 1960 3 2/3 2 Paris 12 1961 London 5 6 4/5 Drottingholm 1962 10 Royaumont 15 1 6 7 Paris 1963 17 7 Delft 1964 8 Berlin 1965 11 9 Urbino 1966 10 9 16 Paris 1967 8 11 Milan 1968 14 1969 4 1970 12 Toulouse 1971 13 Itchaca 1972 14 Berlin 1973 15 Rotterdam 1974 1975 16 Spoleto 1976 NOR 17 Bonnieux 1977 TH TRANS-ATLANTIC CROSSOVER OFFICE OF STRATEGIC ARCHITECTURE CIAM / GSD-UDC Figures Network 1 Le Corbusier: Early Modernism European Power Distribution Sigfried Giedion: the Man Behind Early CIAM? Neues Bauen + De Stijl & 1927 1928 CIAM 1929 First 1932 MoMA NY the Administrator of CIAM Name Der Ring + L'Esprit Weissenhof Founding Participation in Interna-tional TOTAL Bauhauss Nouveau Estate Members CIAM II Style Le Corbusier v v v v 4 Walter Gropius v v v v 4 Jacobus Oud v v v 3 Mies van der Rohe v v v 3 Pierre Jeanneret v v v 3 Alvar Aalto v v 2 Erich Mendelsohn v v 2 Ernst May v v 2 Frederick John Kiesler v v 2 Hannes Meyer v v 2 Josef Frank v v 2 Le Corbusier Karl Schneider v v 2 Siegfried Giedion 1923 Co-founded Paris Atelier with Pierre Jeanneret, Mart Stam v v 2 1937 CIAM V later apprentices includes: Sert, Sakakura and Maekawa Otto Haesler v v 2 1938 Migrated to Cambridge-Mass through Gropius aid, 1925 Completed Maisons la Roche, changed his name from Victor Bourgeois v v 2 started working at Harvard, then GSD Charles-Edouard Jeanneret to Le Corbusier 1939 WWII began 1928 CIAM I 1932 MoMA NY International Style Exhibition Selected Architects 1945 WWII ended 1931 Completed Villa Savoye 1946 Published Space, Time, and Architecture: the Growth 1932 Exhibited Villa Savoye at MoMA NY International Style 1. Fagus Factory 1. Apartment Weissenhof of a New Tradition through Harvard University Press Exhibition (curated by Henry-Russel Hitchcock Workers Semi-detached 2. Bauhaus School 2. German pavilion 1947 Giedion returned to Europe, became ETH Zurich headmaster Houses Villa 3. City Employment 3. Tugendhat House and Phillip Johnson) Office 1948 Published Mechanization Takes Command: a Contribution 1933 CIAM IV developed many disagreements with others to Anonymous History through Oxford University Press on the development of Athens Charter Jacobus Oud Otto Eisler Walter Gropius Mies van der Rohe 1951 Visiting Professor at the MIT 1936 Started collaboration with Lucio Costa: 1. Villa Stein 1954-1956 Returned to GSD through Sert's invitation Schocken shifiting his attention from Europe to Latin America? 2. Villa Savoye Film Guild McGraw-Hill Department 3. Champs-Élysées Cinema building 1939-1945 WWII: failed to escape Europe Store 1947 CIAM VI: started to distanced himself from CIAM? Penthouse 1949 Completed La Maison du Docteur Currutchet a La Plata Le Corbusier Erich Mendelsohn Frederick John Kiesler Raymond Hood in Argentine, his first solo project in the continent 1950 Started working on Chandigarh, brought along Lux Pierre Jeanneret, Maxwell Fry, and Jane Drew PSFS Building n/a apartment n/a 1953 CIAM IX: evidently abandoned CIAM block 1954 Completed La Chapelle de Ronchamp George Howe William Lescaze Irving Bowman Monroe B. Bowman Rothenberg Turun Sanomat Lovell House Siedlung Kunstverein building Richard Neutra Otto Haesler Karl Schneider Alvar Aalto 0/Topic2-I TRANS-ATLANTIC CROSSOVER OFFICE OF STRATEGIC ARCHITECTURE CIAM / GSD-UDC Figures Network 2 Walter Gropius: 1919 - 28 Bauhauss Under Walter Gropius Josep Lluis Sert: the Man Behind Post-Corbusier CIAM? the Godfather of Urban Design Walter Gropius Marcel Breuer Walter Gropius Josep Lluis Sert 1918 WWI ended 1929 Sert graduated from Escola Superior d'Arquitectura, moved to Paris Herbert Bayer Johannes Itten Josef Albers Laszlo Moholy-Nagy Otto Bartning Paul Klee Wassily Kandisky 1919 Became Bauhauss Weimar 1st headmaster, aided by Peter Behren to worked for Corbusier, first participation in CIAM (II) 1925 Designed Bauhauss Dessau with: Carl Fieger, and Ernst Neufert From Europe to USA and Japan 1930 Founded his private practice in Barcelona 1928 Left Bauhauss, replaced by Hannes Meyer 1933 Co-found GATCPAC, became close friend to artists: Pablo Picasso, (Meyer attended CIAM I) Joan Miro, and Alexander Calder 1929 Gropius first participation in CIAM II through Giedion invitation, 1935 GATCPAC changed to GATEPAC and became CIAM's Spanish Section while Aalto and Sert were invited by Corbu 1939 WWII began: migrated to New York, to work at NYC Town Planning 1930 Mies replaced Meyer as Bauhauss Dessau headmaster Association, became masterplanner of numerous Latin American cities Peter Behrens 1932 Exhibited Bauhauss Dessau at MoMA NY International Style 1945 WWII ended Exhibition, Mies was exhibiting Expo’29 German (Barcelona Pavilion) 1947 Replaced Karl Moser as CIAM 2nd president through Giedion 1932 Bauhauss moved to Berlin due to political pressure recomendation 1933 The rise of Nazi Germany: Bauhauss was completely closed, Gropius 1952 Visiting professor at Yale University and Mies were trapped in Berlin 1953 Replaced Gropius as Dean of GSD 1934 Gropius fled to London, through the aid of Maxwell Fry Marcel Breuer Walter Gropius Mies van der Rohe Le Corbusier Pierre Jeanneret 1954 Brought Giedion and Eduard Sekler back to GSD, re-established 1936 GSD founded in Harvard critic and history courses 1937 Gropius migrated to Cambridge-Mass, became chair of Department 1955 Founded private practice in Cambidge-Mass of Architecture 1956 CIAX crisis within CIAM X, Orchestrated GSD-UDC 1 through the aid 1937 Mies migrated to Chicago, chaired IIT School of Architecture
Recommended publications
  • Frederick Kiesler Y El Teatro De Vanguardia
    Oppidum, nº 2. Universidad SEK. Segovia, 2006, 291-320 - I.S.S.N.: 1885-6292 FREDERICK KIESLER Y EL TEATRO DE VANGUARDIA José Luis Luque Blanco Universidad SEK [email protected] Resumen Análisis y evolución del Espacio Escénico a través de la obra e investigación artística del arquitecto Frederick John Kiesler (1890-1965). Palabras clave: Vanguardia, Espacio escenográfico, Estética de la máquina, Innovación, Flexibilidad. Summary Scene Space: Analisis and avant-garde progress through the work and the art rese- arch of architect Frederick John Kiesler (1860-1965). Key Words: Avant-Gard, Scene Space, Machine aesthetic, Innovation, Flexibility, Endless. ******* 291 JOSÉ LUIS LUQUE BLANCO Frederick John Kiesler (1890-1965), arquitecto, escultor, pintor, diseña- dor de interiores, tipógrafo y poeta, proyectó pabellones de exposiciones, gale- rías de arte y escaparates de grandes almacenes, escenografías para teatro y ópera, muebles y alojamientos prefabricados, rascacielos y sus llamados Endless. Nació en Cernauti, Bucovina (Rumania) cuando formaba parte del Imperio Austro-Húngaro aunque todas las referencias sobre su infancia y educación le vinculan con Viena. Se nacionalizó americano en el año 1936. Frederick Kiesler participó de los espacios estilísticos del Expresionismo, De Stijl, Futurismo, Elementarismo, Cubismo, Neoplasticismo y otras categorías artísticas de nuestro siglo. Esto dio como resultado un con- junto de trabajos complejo y multifacético. Fue pionero en el diseño de nuevas formas de escenarios, teatros, cines y galerías de arte. Además, escribió una importante y extensa obra teórica y colaboró con grandes figuras del Movimiento Moderno o de la generación de artistas más jóvenes del Nueva York de Postguerra como Adolf Loos, Theo van Doesburg, Marcel Duchamp, Arshile Gorky, Willem de Kooning, Robert Rauschenberg, entre otros.
    [Show full text]
  • Mário Pedrosa PRIMARY DOCUMENTS
    Mário Pedrosa PRIMARY DOCUMENTS Editors Glória Ferreira and Paulo Herkenhoff Translation Stephen Berg Date 2015 Publisher The Museum of Modern Art Purchase URL https://store.moma.org/books/books/mário-pedrosa-primary-documents/911- 911.html MoMA’s Primary Documents publication series is a preeminent resource for researchers and students of global art history. With each volume devoted to a particular critic, country or region outside North America or Western Europe during a delimited historical period, these anthologies offer archival sources–– such as manifestos, artists’ writings, correspondence, and criticism––in English translation, often for the first time. Newly commissioned contextual essays by experts in the field make these materials accessible to non-specialist readers, thereby providing the critical tools needed for building a geographically inclusive understanding of modern art and its histories. Some of the volumes in the Primary Documents series are now available online, free-of-charge. © 2018 The Museum of Modern Art 2 \ Mário Pedrosa Primary Documents Edited by Glória Ferreira and Paulo Herkenhoff Translation by Stephen Berg The Museum of Modern Art, New York Leadership support for Mário Pedrosa: Copyright credits for certain illustrations Primary Documents was provided and texts are cited on p. 463. by The International Council of The Museum of Modern Art. Distributed by Duke University Press, Durham, N.C. (www.dukepress.edu) Library of Congress Control Number: 2015954365 This publication was made possible ISBN: 978-0-87070-911-1 with cooperation from the Fundação Roberto Marinho. Cover: Mário Pedrosa, Rio de Janeiro. c. 1958 p. 1: Mário Pedrosa in front of a sculp- Major support was provided by the ture by Frans Krajcberg at the artist’s Ministério da Cultura do Brasil.
    [Show full text]
  • Contemporary Design Philosophy in American Architecture
    ^O 1 CONTEMPORARY DESIGN PHILOSOPHY IN AMERICAN ARCHITECTURE by KENNETH EDWARD LAY, JR. B. Arch., The Pennsylvania State University, 1956 e\\i A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF ARCHITECTURE College of Architecture and Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1966 Approved by: Ma^or Professor , Lb 2j>^i ii a.o- ACKNOWLEDGEMENTS I gratefully acknowledge the guidance and encouragement given me during the planning and writing of this report by Professor Emil C. Fischer, Dean of the College of Architecture and Design at Kansas State University. My most sincere appreciation goes to my wife, Margaret F. Lay, A.S.L.A. whose professional advice and understanding helped immeasurably in its preparation. Appreciation is further extended to my committee members, Professor Jack C. Durgan, Professor J. Cranston Heintzelman, Professor Cecil H. Miller, and Dr. William C. Tremmel, and to my typist, Mrs. Michael R. Hawkins. , TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION: THE MODERN MOVEMENT 1 Prior to the Chicago School 2 The Chicago School of Architecture 4 L'Art Nouveau and Cubism 6 The Organic Architecture of Frank Lloyd Wright . 8 The International Style 10 Mies van der Rohe 12 LeCorbusier 14 The Present Situation .............. 16 Design Trends in Architectural Education 17 The Rediscovery of History 19 Structural Experimentation 20 II. THE CLASSIC ARTICLE 22 III. STRUCTURAL EXPRESSIONISM 27 IV. THE AESTHETIC REVIVAL 36 V. THE DIRECTION OF AMERICAN ARCHITECTURE 42 VI. CRITICISM OF CONTEMPORARY DESIGN PHILOSOPHY .... 45 VII. THE NEW FREEDOM WITHIN THE MODERN MOVEMENT 57 VIII. THE NEW FREEDOM'S AVANT-GARDE 71 Dr.
    [Show full text]
  • Texts, Interviews, Portrait, Social Media (Mainly in English / Few In
    Texts, Interviews, Portrait, Social Media (mainly in English / Few in French) _Parrhesia / Athazagoraphobia / main texts / Page 2 _Parrhesia / Frigoli Symptomes / letter ad-hominem / Page 137 _Parrhesia / Chronophobia / Some real-time social media / Page 166 _Parrhesia / Narcissus / A book / a portrait FR / Page 175 _Parrhesia / Schizoid / interviews / page 218 Parrhesia / Athazagoraphobia #digitaldisobediences….but Architecture / Venice Biennale 2018- Bembo [gardens of earthly delights] In power games, [apparatuses could be considered] relationship strategies supporting types of knowledge and supported by themselves. Michel Foucault, 1994, Dits et Écrits We can’t remain satisfied with protest. This historically operative way to challenge the organization of power is now naive, childish, self-complacent and unproductive. Should we suspect that digital “art” is meant to be used as a glamorous lure, a blue sleeping pill, to entertain those who produce it, just as turpentine intoxicates the painter, and, for its consumers, to help maintain their belief in the illusion of positivism, progress, emancipation through science and novelty gadgets… Trapped in a postscience world without even knowing it, one already described by Rabelais in the middle of the Quattrocento… Should we suspect the apparent direct opposites of these Mephistopheleses, the regressive moralists and semiologists who turn their indignation into capital to recoup their 30 pieces of silver, using correct consciousness as a flagship, commoners and common goods as their willing
    [Show full text]
  • La Casa Encendida Exhibits Frederick Kiesler's Theater Designs
    Madrid, September 26, 2013 From October 4, 2013 to January 12, 2014 La Casa Encendida exhibits Frederick Kiesler’s theater designs Architect, theater designer and artist Frederick Kiesler is one of the most relevant avant-garde creators of the 20th C. “Frederick Kiesler. El escenario explota” (Frederick Kiesler: The Stage Explodes) includes works created by the artist during his theatrical period. A film cycle, a workshop and a parallel exhibition devoted to the Kiesler Foundation’s photographic archive complete the exhibition. La Casa Encendida, part of the Fundación Especial Caja Madrid, presents “Frederick Kiesler. El escenario explota”, an exhibition that shows the theater designs made by this talented artist. Frederick J. Kiesler is considered one of the 20th century’s most visionary artists. His comprehensive oeuvre encompasses multiple fields: architecture, sculpture, design, painting and the stage. This exhibition, the result of a joint production with the Austrian Theater Museum and the Villa Stuck Museum in Munich curated by Barbara Lesak, focuses on his creations for the stage. The works of Frederick Kiesler (Czernowitz, 1890 – New York, 1965) are contained in the sphere of the avant-garde. It has been nearly a half a century since his death, but his works continue to fascinate us. Kiesler was an artists’ artist, an artist before his time, an innovator. His enormous and creative intuition made of him an undisputable point of reference in the architecture of the future. A man of great and deep culture, of vast talents, he divined concepts and manifestations that have allowed us to untangle the elements of absolute contemporaneity.
    [Show full text]
  • Elastic Architecture
    Elastic Architecture: Frederick Kiesler in the Age of Robotic Culture Stephen Phillips iii Contents Preface and Acknowledgments vii Introduction: Design Research: The Non-building Architect 1 1. Actorless Stages and Endless Theaters 21 2. Habits and Tactics: The Automatisms of Display 55 3. Laboratory Experiments: Design-Correlation 85 4. Autonomic Visions: The Surrealist Galleries and Museums 115 5. Elastic Architecture: Humanity, Technology, and the Environment 145 Conclusion: Architecture and Its Robota 178 Glossary 195 Notes 199 Selected Bibliography 231 List of Illustrations 245 Index 249 iv Preface and Acknowledgments The age of mankind is over. A new world has begun! The rule of Robots! --Karl Capek In 1920, the Czech playwright, Karel Capek coined the term ‘robot’ for his play R.U.R. (Rossum’s Universal Robots), crediting his brother Josef for inventing the term. Austrian architect Frederick Kiesler, working with Capek in 1922, designed the sets for the R.U.R., and their work together announced a turning point in cultural history. Robots became the official symbol of the human body incorporated within the surrounding technological environment establishing common ground between humanity and the new world of machines. Both exciting and disconcerting, the idea of androids or living machines reflected society’s obsession with modern industry and technology’s impact on everyday human life. A preoccupation of the human imagination since antiquity, the concept of living machines reached a new level of interest in the early twentieth century. Leonardo da Vinci ‘s first humanoid plans (1495)to Jacques de Vaucanson’s invention of his famous automata—the duck, flute player, and pipe player in (1738-1739)—revealed humanity’s ambivalence about automated technology.
    [Show full text]
  • Zwoje Znad Morza Martwego
    Renata Ciesielska-Kruczek Biblioteka Instytutu Neofilologii — Sekcja Angielska Uniwersytet Pedagogiczny im. KEN w Krakowie Zwoje znad Morza Martwego Streszczenie: Rękopisy z Qumran (Zwoje znad Morza Martwego) to unikatowy zbiór spisanych po hebraj- sku, aramejsku i grecku żydowskich manuskryptów pochodzących sprzed blisko 2000 lat. Ich odkrycie wią- że się z niezwykłymi wydarzeniami i zbiegami okoliczności. W latach 1947–1956 i w roku 2017 w grotach położonych w okolicach Qumran, na północno-zachodnim wybrzeżu Morza Martwego znaleziono około 900 rękopisów. Ta jedna z najstarszych na świecie i najbogatsza kolekcja tekstów biblijnych jest obecnie przechowywana i prezentowana w specjalnie w tym celu wybudowanym Sanktuarium Księgi, stanowią- cym część Muzeum Izraela w Jerozolimie. Słowa kluczowe: Zwoje znad Morza Martwego, Rękopisy z Qum- ran, Sanktuarium Księgi w Jerozolimie. Historia odkryć Na północno-zachodnim brzegu Morza Martwego, gdzie wapienne skały o po- marańczowej barwie wyznaczają granice Pustyni Judzkiej, w 1947 r. miało miej- sce niezwykłe odkrycie. Beduin Mohammed Wilk1 (Mohammed Ed-Di’b) szu- kając zaginionej kozy, usiadł w cieniu głazów. Wypoczywając, wrzucił kamień do skalnego otworu i wówczas usłyszał dźwięk tłuczonych naczyń. W jaskini, wśród glinianych skorup, mieściły się zamknięte pokrywami dzbany, lecz ku rozczarowaniu odkrywcy tylko w jednym znajdowały się zwoje. Tego samego roku trzy kompletne, jeszcze nierozwinięte pergaminowe zwoje, zapisane pi- smem paleohebrajskim zakupił profesor Eleazar Sukenik z Uniwersytetu He- brajskiego, który jako pierwszy prawidłowo ocenił wartość znaleziska i jego pochodzenie. Sukenik wspomina: „Ręce mi się trzęsły, gdy zacząłem rozwi- jać jeden ze zwojów. Przeczytałem kilka zdań. Były napisane piękną, biblijną hebrajszczyzną. Język przypominał ten z Psalmów”2. Hebrajskie zwoje, które miał przed sobą, nie były czytane od ponad 2000 lat.
    [Show full text]
  • Ontdek Architect, Beeldhouwer, Lithograaf Frederick Kiesler
    87393 2 afbeeldingen Frederick Kiesler man / Amerikaans, Oostenrijks architect, beeldhouwer, lithograaf, ontwerper, schilder, theatervormgever, auteur Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Kiesler, Fredrich John Kiesler, Frederick J. Kiesler, Friedrich Kwalificaties architect, beeldhouwer, lithograaf, ontwerper, schilder, theatervormgever, auteur Nationaliteit/school Amerikaans, Oostenrijks Geboren Chernivtsi 1890-09-22/1892-09-22 Cernauti (Roemenië, distr.), according to 'Peggy Guggenheim & Frederick Kiesler.: The Collector and the Visionary', Venetië 2003- 2005, p. 364, (tentoonstellingscat.) // Tent.cat. Keulen 1988 : geb. Wenen 1890-09-22 Overleden New York City 1965-12-27 Deze persoon/entiteit in andere databases 7 treffers in RKDimages als kunstenaar 1 treffer in RKDimages als provenance 8 treffers in RKDlibrary als onderwerp 4 treffers in RKDlibrary als auteur Verder zoeken in RKDartists& Geboren 1890-09-22 Sterfplaats New York City Plaats van werkzaamheid Wenen Plaats van werkzaamheid New York City Kwalificaties architect Kwalificaties beeldhouwer Kwalificaties lithograaf Kwalificaties ontwerper Kwalificaties schilder Kwalificaties theatervormgever Kwalificaties auteur Materiaal/techniek hout Product decorontwerp Stroming De Stijl Stroming surrealisme Opleiding Akademie der Bildenden Künste (Wenen) Collectie
    [Show full text]
  • Nadeau David 2014 Memoire.Pdf
    UNIVERSITÉ DE MONTRÉAL Influence de l'iconographie duchampienne dans Les Célibataires, vingt ans plus tard, de Roberto Matta par David Nadeau Département d'histoire de l'art et d'études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des arts et des sciences en vue de l’obtention du grade de Maîtrise ès arts en histoire de l’art Mars 2014 © David Nadeau, 2014 UNIVERSITÉ DE MONTRÉAL Faculté des études supérieures Ce mémoire intitulé : Influence de l'iconographie duchampienne dans Les Célibataires, vingt ans plus tard, de Roberto Matta présenté par David Nadeau a été évalué par un jury composé des personnes suivantes : Madame Louise Vigneault directrice de thèse Madame Suzanne Paquet présidente du jury Madame Johanne Lamoureux membre du jury Mémoire accepté le 6 février 2014 i Résumé L’alchimie, science de la manipulation des influences spirituelles par une métallurgie sacrée, et la pataphysique, esthétique pseudo-scientifique associant l'ésotérisme à l'humour, sont les deux principaux fondements idéologiques qui unissent Marcel Duchamp et Roberto Matta. Tandis que Duchamp s'intéresse déjà à l'ésotérisme dès 1910, soit près d'une vingtaine d'années avant sa rencontre avec Matta. Ce dernier aborde, dans sa production, des thèmes propres à la littérature alchimique, soit les opérations occultes, les états merveilleux de la matière et les appareils de laboratoire. De plus, les écrivains symbolistes et pseudo-scientifiques, lus par Duchamp, puis par Matta, influencent l'humour pataphysique, teinté d'ésotérisme, qui s'exprime dans la production de ces deux artistes. Ainsi, Les Célibataires, vingt ans plus tard, est une huile sur toile, réalisée en 1943, par Roberto Matta, qui représente un paysage cosmique, composé d'astres et de trous noirs, de trois alambics et d'une grande machine noire.
    [Show full text]
  • Urban Architecture As Connective-Collective Intelligence. Which Spaces of Interaction?
    Sustainability 2013, 5, 2928-2943; doi:10.3390/su5072928 OPEN ACCESS sustainability ISSN 2071-1050 www.mdpi.com/journal/sustainability Article Urban Architecture as Connective-Collective Intelligence. Which Spaces of Interaction? Andreina Maahsen-Milan 1,*, Margot Pellegrino 2,†, Luigi Oliva 3,† and Marco Simonetti 4,† 1 Department of Architecture, University of Bologna, Via Risorgimento 5, Bologna 40126, Italy 2 Centre de Recherche sur l’Habitat (CRH), UMR-CNRS, 7218–Lavue, France; E-Mail: [email protected] 3 Department of Architecture, Design, Urban Planning, University of Sassari, Palazzo Pou Salit, Piazza Duomo 6, Alghero (SS) 07041, Italy; E-Mail: [email protected] 4 Energy Department, Polytechnic of Turin, C.so Duca degli Abruzzi 24, Torino 10129, Italy; E-Mail: [email protected] † These authors contributed equally to this work. * Author to whom correspondence should be addressed; E-Mail: [email protected]; Tel.: +39-544-936-511; Fax: +39-544-936-503. Received: 22 April 2013; in revised form: 24 June 2013 / Accepted: 26 June 2013 / Published: 4 July 2013 Abstract: During the twentieth century, with the advent of industrial society and globalization, the language of planning changed according to the shifts in construction and use of physical space. By borrowing terms and spatial forms from biology and cybernetics, industrial society and globalization increased the original semantic connotations. Moving from cognitive sciences, this paper outlines the definition of architecture as connective-collective intelligence and presents its implication in urban design. Spontaneous and commercial initiatives are redefining the communication form of urban life, affecting the procedures of the transmission of traditional knowledge.
    [Show full text]
  • Surrealism & Anti-Colonialism
    INTRODUCTION Surrealism & Anti-colonialism A Long View How we read Surrealism today…is neither a purely textual question nor a purely historical one. It is both; and by the questions we – or I – ask about Surrealist texts are determined both by Surrealism’s history (itself ‘to be read’) and by our (my) own. – Susan R. Suleiman1 rom before the official beginnings of the Surrealist movement, its future F members denounced European imperialism. Some of the last manifestoes published by the Parisian Surrealist group supported Vietnamese and Algerian struggles for independence. From 1919 then, anti-colonialism was a line of critique that ran through Surrealism during the movement’s first two decades, and continued through the era of decolonisation after the Second World War until the official closure of the Surrealism in the1960s.2 Yet this narrative has yet to take shape. It is not commonly remarked that over a span of more than forty years the Surrealists published anti-colonial tracts and staunch criticism of the West, but it is routinely observed that in their collections, exhibitions and artwork they included objects and referred to the cosmologies of non-Western cultures. This latter tendency is often dubbed ‘primitivism’ and regarded negatively, and seen in the same light as the ‘primitivism’ of modernist movements that came before Surrealism. 1 Susan R. Suleiman, Subversive Intent: Gender, Politics, and The Avant-Garde (Cambridge, Mass.; London: Harvard University Press, 1990), xv-xvi. 2 Jean Schuster officially announced that ‘historical surrealism’ was over in Le Monde, on October 4, 1969. 1 Synthetic readings of the aesthetic and the political currents of Surrealism are relatively rare.
    [Show full text]
  • Ambient Media and Postindustrial Japan by Paul Roquet A
    Atmosphere as Culture: Ambient Media and Postindustrial Japan by Paul Roquet A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language and the Designated Emphasis in Film Studies in the Gradute Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor Daniel Cuong O’Neill Professor Miryam Sas Spring 2012 Abstract Atmosphere as Culture: Ambient Media and Postindustrial Japan by Paul Roquet Doctor of Philosophy in Japanese Language Designated Emphasis in Film Studies University of California, Berkeley Professor Alan Tansman, Chair Ambient media are oriented towards tinting the space around them with a particular mood or emotional tone, which their users can then attune to. Atmosphere as Culture begins by tracing how this use of media as a mood regulator emerges in postindustrial Japan, drawing from the longer histories of background music, environmental art, and therapy culture. The dissertation then theorizes this aesthetics of atmosphere in music, animation, literature, and video art. The analysis explores the relationship between ambient media and landscape, dreams, the cosmos, domesticity and gender, the rhythms of urban life, cosubjectivity, and information overload. In each case, discussion focuses on how the aesthetics of atmosphere reimagines subjectivity vis-à-vis the surrounding environment, shifting the postindustrial self away from a social identity based in interpersonal relations and towards a more abstract sensing body developed with and through the moods afforded by mediated space. Each section documents how the aesthetics of ambient media serve to erase other people from the sensible horizons of postindustrial life, while at the same time expanding the environmental affordances of the human body in new directions.
    [Show full text]