HHF Architects Was Founded in 2003 by Tilo Herlach, Simon Hartmann and Simon Frommen- Wiler
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250.Kui Hua Zi (Sunflower Seeds) Ai Weiwei. 2010
250.Kui Hua Zi (Sunflower Seeds) Ai Weiwei. 2010 – 2011 C.E. Sculpted and painted porcelain Article at Khan Academy often uses his art to critique political and economic injustice Content: more than 100 million tiny, handmade porcelain sunflower seeds, originally weighing in at 150 tons o They filled the enormous Turbine Hall at Tate Modern, an industrial building-turned-contemporary art space o Context: while he was growing up, even the poorest in China would share sunflower seeds as a treat among friends o The individual seed is lost among the millions, a critique of the conformity and censorship inherent in modern China designed to subvert popular imagery rooted in the artist’s childhood. Communist propaganda optimistically depicted leader Mao Zedong as the sun and the citizens of the People’s Republic of China as sunflowers, turning toward their chairman More than 1,600 artisans worked to make the individual porcelain seeds by hand Porcelain— a symbol of imperial culture in China—was also made for export via the Silk Road and became important to the creation of the idea of China in the West Mr. Ai’s use of porcelain comments on the long history of this prized material while also rejecting the common negative connotations of the modern term “Made in China.” Utilizing skilled artisans known for their exquisite craftsmanship to make objects that can only be differentiated one from another upon close inspection, alludes to the important porcelain tradition in Jingdzhen (2000 years), as well as to the uniformity and diffusion of modern (cheap and fast) labor that is responsible for China’s hard-won place in the world economy. -
Subject Index
Subject Index Aalto, Alvar, 22 Art Shed Southbank Architectural Com- bearing, solar angle diagrams, 334 Ackerman Student Union, University of petition, 2006, 383 Berkeley Art Museum and Pacific Film California at Los Angeles, Cali- Asia Society, Hong Kong Center, China, Archive, Berkeley, California, fornia, 250 410, 411 197 Adelaide University, South Australia, assembly drawing, linear perspective Bernal Heights residence, San Fran- School of Architecture, Land- drawing, 311 cisco, California, 262 scape Architecture and Urban Atocha Station, Madrid, Spain, 75 B FIVE STUDIO, 550 Design, 499 audience, portfolio, 463–64 Bilbao Effect, 120 Adelman/Liano residence, Santa Moni- August Wilson Center for African Ameri- BIM (building information modeling), ca, California, 207 can Culture, Pittsburgh, Penn- capabilities of, 93–94 Adobe Photoshop, 63 sylvania, 284 bird’s eye perspective African American Museum of Slavery, Aulenti, Gaetana, 22 linear perspective drawing, 246–47, Rockville, Maryland, 429 automobile 298–301 Aga Han Museum, Toronto, Canada, conceptual sketching, 73 one-point perspective from above, 242 representational drawing, 26–29 linear perspective drawing, Alaska, University of, Fairbanks, 198 auxiliary views, multiview-drawings, 177 248–49 alternatives, conceptual diagramming axes addition, orthographic and paraline underside perspective with, linear and sketches, 40, 44–45 drawing, 195 perspective drawing, 303 altitude, solar angle diagrams, 334 axial lines, orthographic and paraline Birkerts, Gunnar, 42, 69, 150 American Museum -
F Grass, 2014 Ai Weiwei (Beijing, China) Iron 13.5 X 13.5 X 0.3 M
F Grass, 2014 Ai Weiwei (Beijing, China) Iron 13.5 x 13.5 x 0.3 m WHO MADE THIS ART INSTALLATION? Ai Weiwei is a versatile artist, sculptor, designer, part-time architect and political activist who today lives and works out of Beijing. Over the past twenty years he has gained international attention and recognition for his diverse body of work, often addressing questions of culture, history, politics, tradition, in addition to issues such as freedom of expression, individual and human rights, and the power of digital communication both in China and around the world. Though his work is rooted in his Chinese experience, his art that transcends dualities between East and West. He was named one of the Top 100 People of 2011 in Time magazine and has exhibited worldwide. One of his best known architectural projects is the Bird’s Nest stadium for the 2008 Beijing Olympics for which he partnered with architects Herzog & de Meuron for the design. He later distanced himself from the project, having become critical of the spectacle of the Olympics and glossing over human rights injustices in China. When asked why he participated in the designing of the Bird's Nest in the first place, Ai replied "I did it because I love design.” Born in 1957 Ai Weiwei grew up during the Cultural Revolution in China. The Ai family was deeply impacted by the policies of General Mao Zedong who was then head of the state. His father Ai Qing was a renowned poet but was denounced during the Anti Rightist movement in 1958, and as a result the Ai family was sent to labour camp and ultimately exiled for 16 years. -
Ai Weiwei BIO FINAL
AI WEIWEI Present Lives and works in Beijing, China 2012 Pavilion for the London Olympics, collaboration with Herzog and de Meuron, Serpentine Gallery, London, UK 2008 Collaborated on design for Bird’s Nest, Beijing National Stadium for 2008 Summer Olympics 1994 Founded China Art Archives and Warehouse, Beijing, China 1993 Returned to China 1983 Attended Parsons School of Design, New York, NY 1981-93 Lived in New York, NY 1978 Enrolled in Beijing Film Academy 1957 Born in Beijing, China Solo Exhibitions 2013-2012 Ai Weiwei: According to What?, Indianapolis Museum of Art, Indianapolis, Indiana Ai Weiwei. Resistance and Tradition, CAAC, Seville, Spain Ai Weiwei. Louisiana Museum, Humlebaek, Denmark Fragments, Arthur M. Sackler Gallery, Washington, DC Ai Weiwei: According to What?, Hirshorn Museum and Sculpture Garden, Washington, DC 2012 Ai Weiwei: Perspectives, Freer and Sackler Galleries, Smithsonian Institution, Washington, DC Ai Weiwei, Museum de Pont, Tilburg, The Netherlands 2011-2012 Ai Weiwei: Interlacing, Fotomuseum Winterthur, Switzerland; Jeu de Paume, Paris, France Ai Weiwei: Circle of Animals, Somerset House, London, UK; Pulitzer Fountain Central Park, New York; Los Angeles County Museum of Art, CA; Hirshhorn Museum and Sculpture Garden, Washington, D.C. 2011 Ai Weiwei: Absent, Taipei Fine Arts Museum, Taipei, Taiwan Ai Weiwei: Dropping the Urn, Victoria & Albert Museum, London, UK Ai Weiwei: New York Photographs 1983-1993, Asia Society, New York, NY Ai Weiwei: Art/Architecture, Kunsthaus Bregenz, Bregenz, Austria Ai Weiwei: Sunflower Seeds, Kunsthalle Marcel Duchamp, Cully, Switzerland 2010 A Few Works from Ai Wei Wei, Alexander Ochs Gallery, Berlin, Germany; Beijing, China The Unilever Series: Ai Weiwei. -
The Selfie on Europe's Shores: Ai Weiwei and the Selfie As a Means
INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 The Selfie on Europe’s Shores: Ai Weiwei and the Selfie as a Means of Safe Passage Anna Poletti HCM 6 (1): 1–20 DOI: 10.18352/hcm.546 Abstract In the introduction to On Histories and Stories, A. S. Byatt argues that ‘those of us who write about modern writing have a duty to keep the discussion open’ in order ‘to create new paradigms, which will bring new books, new styles, new preoccupations to the attention of read- ers’. This paper considers how Byatt’s suggestion about the role of the critic writing about living authors can be adapted for scholarship and criticism that seeks to respond to new forms of life writing that have emerged in the digital age. Keywords: Ai Weiwei, life writing, migration, selfies This article considers Chinese artist Ai Weiwei’s engagement with the issues raised by the recent rapid increase in the number of people arriving in Europe. The focus will not be the large-scale or event-based works that have garnered attention,1 but on Ai’s use of a contemporary form of life writing, the selfie. As discussed in more detail below, Ai has long used life narrative forms in his work, and this article will place his use of the selfie within that context. It will also consider what Ai’s use of the selfie might tell us about this relatively new (but seemingly ubiq- uitous) form of self-representation, and how life writing has become an important mechanism in responding to the issue of migration in con- temporary Europe. -
Modelling Diagrams
Ateliers Jean Nouvel Paris Capella Garcia Architects Barcelona Miralles Tagliabue Barcelona Shmidt Hammer Lassen Copenhagen David Adjaye Architects London The Next Enterprise Vienna Bolles + Wilson Munster Schultes Frank Architects Berlin VMA Vienna Coop Himmelb(l)au Vienna Christian Kerez Architects Zurich J Mayer H Berlin Lynch Architect London TEEMA Architects Antwerp Claesson Koivisto Rune Stockholm Nigel Coates London JDS Architects Copenhagen Foster and Partners London Kruunenberg Architects Amsterdam Xaveer De Geyter Architects Brussels S.M.A.O Madrid Christian Sumi Zurich Agps architects Zurich Ateliers Jean Nouvel Paris Capella Garcia Architects Barcelona Miralles Tagliabue Barcelona Shmidt Hammer Lassen Copenhagen David Adjaye Architects London The Next Enterprise Vienna Bolles + Wilson Munster Schultes Frank Architects Berlin VMA Vienna Coop Himmelb(l)au Vienna Christian Kerez Architects Zurich J Mayer H Berlin Lynch Architect London TEEMA Architects Antwerp Claesson Koivisto Rune Stockholm Nigel Coates London JDS Architects Copenhagen Foster and Partners London Kruunenberg Architects Amsterdam Xaveer De Geyter Architects Brussels S.M.A.O Madrid Christian Sumi Zurich Agps architects Zurich Ateliers Jean Nouvel Paris Capella Garcia Architects Barcelona Miralles Tagliabue Barcelona Shmidt Hammer Lassen Copenhagen David Adjaye Architects London The Next Enterprise Vienna Bolles + Wilson Munster Schultes Frank Architects Berlin VMA Vienna Coop Himmelb(l)au Vienna Christian Kerez Architects Zurich J Mayer H Berlin Lynch Architect -
Information Concerning the 2010 Prize
WHY PUBLIC SPACE? Given the reductionism and oversimplification of some of the large-scale urban projects implemented in Europe in recent years, and the risks of homogenisation and impoverishment of the urban landscape, we believe that promoting public space and making known its political and plural character and the diversity of functions it can embrace, is an ideal way of stimulating urban projects that aim to reinvent and enhance the structural role that this space has always played in European cities. WHAT IT IS? The European Prize for Urban Public Space is an initiative of the Centre of Contemporary Culture of Barcelona (CCCB). It was established following the exhibition “The Reconquest of Europe”, which was held in the CCCB in 1999, in order to offer testimony to the process of rehabilitation of public spaces that has been occurring in many European cities. Over the last decade, the Prize has become known throughout Europe and has been gaining institutional support to the point that it now constitutes a gauge of the main concerns and initiatives in European urban planning. The aim of the Prize is to recognise and foster the public character of urban spaces and their capacity for fostering social cohesion. While acknowledging the ambiguities inherent in the notion of public space, this Prize – the only one of its kind in Europe – is distinctive in both recognising and promoting a public space that is at once public (open and universally accessible) and urban. The Prize, in highlighting the relational and civic aspects of the typically urban space, thus differs from other initiatives that are focused on the figure of the architect, and from awards given for landscape-centred projects. -
April 13 – July 2, 2017
Viewer’s Guide Ai Weiwei, Dropping a Han Dynasty Urn , 1995 APRIL 13 – JULY 2, 2017 This guide serves as a viewer’s supplement to the exhibition#AiWeiwei and contains information about the works on view, questions for looking and discussion, and suggested readings. You may download this guide from the museum’s website at mocp.org/education/resources-for-educators.php. To schedule a free docent-led tour, please complete the form here. mocp.org/education/tours-and-print-viewings.php. The MoCP is generously supported by Columbia College Chicago, the MoCP Advisory Board, Museum Council, individuals, and private and corporate foundations. The 2016–2017 season is sponsored by the Efroymson Family Fund and the Illinois Arts Council Agency. Viewer’s Guide Contents Introduction 1 Series Text 2 Timeline 9 Questions for Looking and Discussion 11 Extended Resources 13 Illumination, 2009 Introduction Known as one of the world’s most provocative artists, Ai Weiwei (Chinese, b. 1957) creates work that boldly confronts contemporary sociopolitical issues, both in China and abroad. Prolific in practice, Ai has for over thirty years blurred the boundaries between art and politics, often at great personal risk. As an outspoken human rights activist, writer, and curator, Ai crosses multiple disciplines in his practice, working in sculpture, public works, film, music, poetry, photography, and social media. Designed by the artist specifically for the Museum of Contemporary Photography, #AiWeiwei pairs Ai’s early diaristic photographs from the 1980s and ’90s in New York City and Beijing with his recent social media–based installations, work that he refers to as “photo activism.” Ai’s fame drives over half a million followers to his Twitter and Instagram pages. -
Participants
La Biennale di Venezia 17th International Architecture Exhibition How will we live together? Participants Among Diverse Beings (Arsenale) 1. Allan Wexler Studio (New York, USA) Allan Wexler 2. Ani Liu (New York, USA) 3. Azra Aksamija (Cambridge, USA) 4. FABER FUTURES (London, UK) Natsai Audrey Chieza 5. Lucy McRae (Los Angeles, USA) 6. MAEID [Büro für Architektur und transmediale Kunst] (Vienna, Austria) Daniela Mitterberger; Tiziano Derme 7. Modem (Oakland, USA) Nicholas de Monchaux; Kathryn Moll 8. Parsons & Charlesworth (Chicago, USA) Tim Parsons; Jessica Charlesworth 9. Peju Alatise (Lagos, Nigeria) 10. Philip Beesley Architect and Living Architecture Systems Group (Toronto, Canada) Philip Beesley 11. Refik Anadol Studio (Los Angeles, USA) Refik Anadol 12. Studio Libertiny (Rotterdam, The Netherlands) Tomas Libertiny 13. Studio Ossidiana (Rotterdam, The Netherlands; Milan, Italy) Giovanni Bellotti; Alessandra Covini 14. The Living (New York, USA) David Benjamin As New Households (Arsenale) 15. Achim Menges / ICD University of Stuttgart and Jan Knippers / ITKE University of Stuttgart (Stuttgart, Germany) Achim Menges; Jan Knippers 16. Aires Mateus (Lisbon, Portugal) Francisco Aires Mateus; Manuel Aires Mateus 17. AL_A (London, UK) Amanda Levete; Ho-Yin Ng; Alice Dietsch; Maximiliano Arrocet 18. Alison Brooks Architects (London, UK) Alison Brooks 19. Atelier RITA (Paris, France) Valentine Guichardaz-Versini 20. BAAG Buenos Aires Arquitectura Grupal (Buenos Aires, Argentina) Griselda Balian; Gastón Noriega; Gabriel Monteleone 21. ecoLogicStudio (London, UK) Claudia Pasquero; Marco Poletto 22. Farshid Moussavi Architecture (London, UK) Farshid Moussavi 23. Fernanda Canales (Mexico City, Mexico) 24. gad · line+ studio (Hangzhou, China) Fanhao Meng 25. Gramazio Kohler Architects / NCCR DFAB (Zürich, Switzerland) Fabio Gramazio; Matthias Kohler 26. -
ARCHITECTURE for LANDSCAPE the Natural Enviroment As the Stage for Design Special Provisions for the Covid-19 Emergency
2021 edition ARCHITECTURE FOR LANDSCAPE The natural enviroment as the stage for design Special provisions for the Covid-19 emergency Due to the pandemic situation, in site of the courses taking place between September 2020 and February 2021, YAC has taken extra- ordinary measures for the best performance of its activities and to facilitate access to its courses, in accordance to safety criteria. As far as the 2021 programs are concerned, it is specified that: 1. based on merit, 5 scholarships are provided for each course (for a total of 30 scholarships in 2021) to fully cover the enrol- lment cost; 2. the course will also be open to students of architecture or simi- lar disciplines who have not graduated yet; 3. although the courses will be held in person, 10 students per course will have the opportunity to participate in the courses virtually, without any limitations in participating in the work- shop and in the placement service at the end of the course. In the cover: Tree House Module, project by Susanna Nobili, Davide Arca, Marina Ambrogio Summary 04 YACademy 05 Where 06 Main partners 07 Reasons why 08 Lectures 09 Placement 10 Visits 11 Workshops 13 Become the protagonist 15 The course 16 Overview 17 Structure 18 Calendar 19 Program 20 Lessons 25 Lectures 29 Workshop 31 Visits 32 Placement 38 Rules 3 Tree House Module, project by Andrea Maltinti, Giacomo Cozzi YACADEMY The greatest innovation in postgraduate education YAC is an association which promotes architectural competitions aimed at fostering culture and design research. Over the years, YAC has broadened its experience of work and collaboration with the main architectural firms of contemporary architecture, dealing with diverse and numerous topics of architectural design. -
Ai Weiwei's Functional, FAKE and Fantasy Design Studio
University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Amelia Camamile Ai Weiwei's Functional, FAKE and Fantasy Design Studio The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number: 43887! ! Ai Weiwei’s Functional, FAKE and Fantasy Design Studio.! ! ! ! Dissertation submitted for the Degree of B. A. Honours in History of Art ! 2014/15 ! ! ! Table of Contents! ! Abstract 1. ! Introduction 3. ! Chapter 1. Function: Role of Architecture a. Material and Structural Analysis 9. b. Effect of Architecture 14. Chapter 2. FAKE: Role of Literature ! a. -
Arch Thesis Inventory.Xlsx
Page 1 ARCHITECTURE SCHOOL THESES YEAR AUTHOR TITLE 2012 Aditi, Padhi Urban Centre for Justice Re-Investment: Rehabilitation in Treme-Seventh Ward, New Orleans 2012 Asher, Mira Post-Postal: Making Physical Public Space in a Digital World 2012 Bardwell, Kristy Evidence-Bases Design: A New Recovery and Rehabilitation Facility Typology 2012 Berman, Leland Bailey Stitching Houston: Degradation and Creation of Place in the Contemporary Muli-Nodal City 2012 Brooks, Nicholas The Motor City: Networking Density Amongst Decay: Detroit, MI 2012 Cho, Hee Kyung Rebuilding Traditions: A new cemetary for Seoul, South Korea 2012 Coles, Samuel Valu(able)Access(able) Architecture 2012 Dardant. Marie Sophie independence through Integration: Encouraging Variation within a Regulated Environment Manufactured Innovation: A study of community revitalization through systemic manufacturing and creative 2012 Davis, Elizabeth incubation 2012 David. Alexandra Building as threshold: Houston Transitional Center: An architectural nexus 2012 DeCotiis, Matt Planning for Death: A celebration of life through the redesign of the cities of the dead 2012 Diiorio, Laura Take me to the river!: facilitating access to the Mississippi in New Orleans 2012 Faircloth, Gillian Performance of the Collective Memory: Rejuvinating a Culture Through Adaptive Reuse 2012 Finkelstein, Rachel Amplifying Awareness: Atlantic City Re-treat 2012 Fisher, Sean Individual Experience & Collective Memory: The Sports Stadium in Place Making Page 2 2012 Franke, Patrick Flux Capacity: asymmetrical activity