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Richard Neutra Powerpoint.Key
RICHARD NEUTRA Jonathan Marshall Richard Neutra was born April 8th, 1892 in Vienna, Austria. He studied under Adolf Loos at the Technical University of Vienna. In 1923, at the age of 31, Neutra moved to the United States and settled in Southern California. Neutra introduced the International Style to America and (newer) Los Angeles Design to Europe. Briefly worked under Frank Lloyd Wright before accepting work in California. His innovative ideas of the time were well received in Southern California. The Lovell House (The Health House) The Lovell House, built in Los Angeles in 1920, was Neutra’s most influential work. Located on a steeply landscaped hill, it has views of the Pacific Ocean, the Santa Monica mountains, and the city of Los Angeles. The Lovell House The Lovell House was nicknamed the Health House because the interior is brought into harmony with nature as well as having outdoor play and recreation areas. It was similar to of Mies van der Rohe and Le Corbusier’s work in Europe. Comparison Kaufmann Desert House. Barcelona Pavilion. Richard Neutra. Mies Van Der Rohe. -Palm Springs, CA -Barcelona, Spain -was made for 1929 International Exposition German section Richard Neutra Mies van der Rohe Neutra believed in houses that have patios or porches that make the outdoors seem part of the house. He said that “architecture should be a means of bringing man back into harmony with nature”. “As an architect, my life has been governed by the goal of building environmental harmony, functional efficiency, and human enhancement into the experience of everyday living. -
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr. -
URBAN HISTORY Editor DAVID R
JOURNAL OF URBAN HISTORY Editor DAVID R. GOLDFIELD History, University of North Carolina at Charlotte Associate Editors RICHARD DENNIS Geography, University College, London MELINDA H. DESMARAIS University of North Carolina at Charlotte TIMOTHY GILFOYLE History, Loyola University, Chicago SUSAN E. HIRSCH History, Loyola University, Chicago ANDREW LEES Rutgers University, Camden BRUCE M. STAVE History, University of Connecticut Assistant to the Editor LA SHONDA MIMS BYARS University of North Carolina at Charlotte Editorial Board CARL ABBOTT Urban Studies and Planning, Portland State University MICHELE H. BOGART State University of New York at Stony Brook BLAINE A. BROWNELL President, Ball State University JÜRGEN BUCHENAU History, University of North Carolina at Charlotte SARAH J. DEUTSCH History, University of Arizona MICHAEL H. EBNER History, Lake Forest College BARBARA FRANCO Historical Society of Washington, D.C. KENNETH W. GOINGS History, University of Memphis TOM HANCHETT Museum of the New South JOSEF KONVITZ Urban Affairs Division, OECD, Paris KEN KUSMER History, Temple University TIMOTHY MAHONEY History, University of Nebraska HELEN MELLER University of Nottingham, England RAYMOND A. MOHL University of Alabama, Birmingham WILLIAM ROWE History, Johns Hopkins University JOEL SCHWARTZ Montclair State University MARY CORBIN SIES University of Maryland, College Park KRISTIN STAPLETON History, University of Kentucky JOEL A. TARR History, Carnegie Mellon University JOE W. TROTTER History, Carnegie Mellon University DIANE WINSTON PewCharitable Trusts For Sage Publications: STEPHANIE ALLEN, MARIA NOTARANGELO, JOE CRIBBEN, JULIE PIGNATARO, and TINA PAPATSOS THE EDITORS AND PUBLISHER wish to acknowledge with gratitude the encouragement of the University of North Carolina at Charlotte in providing support for Journal of Urban History. -
Of Frank Gehry's Los Angeles Katherine Shearer Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The "Postmodern Geographies" of Frank Gehry's Los Angeles Katherine Shearer Scripps College Recommended Citation Shearer, Katherine, "The "Postmodern Geographies" of Frank Gehry's Los Angeles" (2017). Scripps Senior Theses. 1031. http://scholarship.claremont.edu/scripps_theses/1031 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE “POSTMODERN GEOGRAPHIES” OF FRANK GEHRY’S LOS ANGELES BY KATHERINE H. SHEARER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR GEORGE GORSE PROFESSOR BRUCE COATS APRIL 21, 2017 ACKNOWLEDGEMENTS First and foremost, I wish to thank my primary reader, Professor George Gorse. In the spring of my sophomore year, I took Professor Gorse’s class “Modern Architecture and Sustainability,” during which I became enthralled in the subject by his unparalleled passion for and poetic articulation of architectural history. Having been both his student and advisee, I am eternally grateful for the incredible advice, challenging insights, and jovial encouragement that Professor Gorse has always provided. I will also forever be in awe of Professor Gorse’s astonishing mental library and ability to recall entire names of art historical texts and scholars at the drop of a hat. I would also like to thank my secondary reader, Professor Bruce Coats, who made himself available to me and returned helpful revisions even while on sabbatical. -
Beckett on Film (2001) Artists for the Extraordinary Interviews That They Gave to Me, Some of Whom Are Quoted Here
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Balaam, Annette C Title: Samuel Beckett in Virtual Reality General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Samuel Beckett in Virtual Reality. ANNETTE CAROLINE BALAAM. A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of PhD in the Faculty of Arts, Graduate School of Arts and Humanities, October 2019. -
Lew Christensen, Michael Smuin the Most Exciting Floor Show in Brooklyn Is Playing on Fulton Street
BAm BROOKLYN ACADEMY OF MUSIC Directors: Lew Christensen, Michael Smuin The most exciting floor show in Brooklyn is playing on Fulton Street. • THE • A&S Brooklyn has eight floors that offer continuous entertainment seven days a week. Our headliners range from show-stopping dresses to sit down dining that will make you stand up and cheer. The list of attractions also includes Ken 's Food Basket on Five for gourmet delicacies, Glemby Beauty Salon on Six, the Entertainment Center on the meuanine and countless other services to serve you. And the neighbor hood A&S lives in lets a store that has it all give you even more. Within walking distance of our Fulton Street home, BAM has emerged as a prestigious entertainment complex and nearby Atlantic Avenue has blossomed into a dynamic area for shops and restaurants for every taste. And when you want to catch your breath, take in the breathtaking view from the Promenade in Brooklyn Heights. When you shop at A&S, there's more in store for you than just our store. Because when you catch our show, there are some great supporting acts waiting in the wings. • Abraham and Straus BAm BROOKLYN ACADEMY OF MUSIC October 26 through November 5, 1978 Opera House ' THE BROOKLYN ACADEMY OF MUSIC presents SAN FRANCISCO BALLET Directors: Lew Christensen, Michael Smuin Artists of the Company Damara Bennett Vivian Little Tina Santos Madeleine Bouchard Susan Magno Don Schwennesen Val Caniparoli Dennis Marshall Jim Sohm Gardner Carlson John McFall Robert Sund Evelyn Cisneros David McNaughton Michael Thomas Janne Clement Diana Meistrell Elizabeth Tienken Laurie Cowden Lynda Meyer Paula Tracy Allyson Deane Cynthia Meyers Vane Vest Nancy Dickson John Mourelatos Gary Wahl Betsy Erickson Gina Ness Diana Weber Attila Ficzere Anita Paciotti Jerome Weiss Alexander Filipov Zoltan Peter Deborah Zdobinski Victoria Gyorfi Roberta Pfeil Jamie Zimmerman Tomm Ruud Ballet Master Regisseur Robert Gladstein Virginia Johnson Regisseur Richard L. -
FY17 Annual Report View Report
Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969. -
Author(S): Jaqueline Goldstein Published By: the Coalition Of
Author(s): Jaqueline Goldstein Published by: The Coalition of Master’s Scholars on Material Culture URL: https://cmsmc.org/publications/machines-in-the-garden Date Published: March 12, 2021 Citation: Goldstein, Jaqueline. “Machines in the Garden: The Private Houses of Richard Neutra.” The Coalition of Master’s Scholars on Material Culture, March 12, 2021. CMSMC is run by fellow master’s scholars as a platform for colleagues to disseminate their work. We are an independently run organization and are not affiliated with any university or institution. This work is licensed under CC BY-NC-ND 4.0 For more information about The Coalition of Master’s Scholars on Material Culture, please email us at [email protected] Machines in the Garden: The Private Houses of Richard Neutra By: Jacqueline Goldstein Citation: Goldstein, Jaqueline. “Machines in the Garden: The Private Houses of Richard Neutra.” The Coalition of Master’s Scholars on Material Culture, March 12, 2021. Abstract: Richard Neutra’s designs for private houses in the 1930s simultaneously emerge from the Machine Age and resist it. In the 1930s, the United States was in the middle of the time period categorized as the Machine Age, roughly the period between the two world wars. America in the 1930s was in the throes of a love affair with technology, machines, and the products they shaped. This paper examines the ways in which Neutra identified his private houses as “machines,” specifically as “machines in the garden.” It is this distinction and association with nature that separates Neutra from many of his peers categorized in this international movement of the machine aesthetic. -
Richard Neutra's Ambiguous Relationship to Luxury
arts Article Richard Neutra’s Ambiguous Relationship to Luxury Matthias Brunner Institute for the History and Theory of Art and Architecture (ISA), Academy of Architecture, Università della Svizzera italiana, 6850 Mendrisio, Switzerland; [email protected]; Tel.: +41-58-666-5402 Received: 17 October 2018; Accepted: 22 October 2018; Published: 5 November 2018 Abstract: Many architects of the modern movement who, in theory, refused luxury nonetheless responded to the demand for it. Richard J. Neutra was one of them: Although he mostly rejected luxury in his writings, he gained fame for his skills in constructing luxurious residences. This paper explores how he handled such discrepancies. For this purpose, it relates his understanding of luxury to the German debates on the luxury of the interwar period and analyzes two of his most important expensive residences: the Lovell Health House (1927–1929) and the Kaufmann Desert House (1946–1947). It comes to the conclusion that Neutra took an intermediate position between socialist opponents and idealist proponents of luxury. While he acknowledged the importance of objectivity and scientific thinking and agreed to give priority to the improvement of the living conditions of the masses, he was nevertheless much interested in comfort, aesthetics, details, and individualization. Moreover, it draws attention to the fact that Neutra’s houses also reflected his clients’ relationship to luxury. The Kaufmanns asked for a luxurious background for leisure; the Lovells’ wanted a place for a disciplined life that lacked certain essential traits of luxury. Keywords: luxury in architecture; architect and owner; California modern architecture; transatlantic exchange in architecture; Richard J. -
Narrative Theory and the Poetics of Story and Plot 169
THEORY AND INTERPRETATION OF NARRATIVE THE FOR OF PLOT POETICS A James Phelan, Peter J. Rabinowitz, and Katra Byram, Series Editors TWENTY-FIRST CENTURY TWENTY-FIRST “Brian Richardson’s ever-expanding knowledge of world historical li terature—ancient and contemporary, arcane and canonical—allows him, seemingly without effort, to put things in a fresh light—a rare pleasure in academic prose.” —H. PORTER ABBOTT A POETICS OF Story, in the largest sense of the term, is arguably the single most important aspect of narrative. But with the proliferation of antimimetic writing, traditional narrative theory has been inadequate for conceptualizing and theorizing a vast body of innovative narratives. In A Poetics of Plot for the Twenty-First Century: Theorizing Unruly Narratives, Brian Richardson proposes a new, expansive model PLOT for understanding story and plot, including beginnings, endings, temporality, and FOR THE unusual narrative progressions. While he focuses on late modernist, postmodern, and contemporary narratives, the study also includes many earlier works, unruly narratives theorizing spanning from Aristophanes and Shakespeare through James Joyce and Virginia TWENTY-FIRST Woolf to Salman Rushdie and Angela Carter. By exploring fundamental questions about narrative, Richardson provides a CENTURY detailed, nuanced, and comprehensive theory that includes neglected categories of storytelling and significantly enhances our treatment of traditional areas of analysis. Ultimately, this book promises to transform and expand the study of story and plot. theorizing unruly narratives RICHARDSON BRIAN RICHARDSON is Professor of English and Comparative Literature at the University of Maryland, College Park, and author of Unnatural Narrative: Theory, History, and Practice (OSU Press, 2015). COVER DESIGN: Laurence J. -
Volume XXV, Published in 2016
THE JOURNAL OF THE CORE CURRICULUM AN ANNUAL ACADEMIC REVIEW OF THE CORE COMMUNITY AT BU NUMBER XXV, SPRING 2016 ISSN 1555-2233 EDITOR Alina Szremski STAFF EDITORS Radhika Akhil Rosie Carter Cat Dossett Rich Driscoll Elizabeth Foster Priest Gooding Hannah Hamilton Emily Hatheway Haotong Jiang Shanti Khanna Matthew Moon Sierra Tempas Isaiah Tharan EDITOR-AT-LARGE Justin Lievano MANAGING EDITOR Zachary Bos FACULTY ADVISOR Prof. Sassan Tabatabai © 2016 by the Trustees and Officers of Boston University. All rights are reserved by the creators of these texts and images. // Creative works published herein are works of the imagination; any resemblance to persons or beings living or dead may be coincidental, or may be artistically deliberate. Resemblance to fictional characters found originally in song, myth, art, religion or literature is in all cases meaningful, and in many cases, inspired. // Correspondence may be sent to the editors c/o the College of Arts & Sciences Core Curriculum at Boston University, 685 Commonwealth Avenue, Room 119, in Boston, Massachusetts, 02215, or via email sent to [email protected]. The editors dedicate this issue to BRUCE REDFORD whose manner, wisdom and great & stately spirit we regard as cherished touchstones of our experience in the Core. * “... but being so entire, so complete, would always stand up on the horizon, stone-white, eminent, like a lighthouse marking some past stage on this adventurous, long, long voyage...” Mrs. Dalloway, Virginia Woolf Table of Contents 8 The Core Almanac The Editors 13 Are Utopias Useless? Caroline Aaron 18 On Ajax’s “Deception Speech” Elizabeth Foster 21 Waiting for God Lydia Erickson 29 Soldier and Sage Abagail Petersen 35 Is Milton’s Eve Taking a Bite Shanti Khanna Out of the Apple, or Out of the Patriarchy? 40 Understanding History Samantha Arnold 42 My Father and Him Brian Jorgensen 44 Ovid’s Dido Konrad Herath 49 Formulating a Thesis Peter J. -
NR Form for Inhouse
NPS Form 10-900-b (Rev. 01/2009) OMB No. 1024-0018 (Expires 5/31/2012) United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting property groups relating to one or several historic contexts. See instructions in National Register Bulletin How to Complete the Multiple Property Documentation Form (formerly 16B). Complete each item by entering the requested information. For additional space, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items X New Submission Amended Submission A. Name of Multiple Property Listing The Case Study House Program: 1945-1966 B. Associated Historic Contexts (Name each associated historic context, identifying theme, geographical area, and chronological period for each.) Experimental modern residential architecture of the Case Study House Program in California: 1945-1966 C. Form Prepared by name/title Peter Moruzzi / Architectural historian organization Los Angeles Conservancy Modern Committee date Dec 2012; Revised Mar 2013 street & number 2935 Angus Street telephone 323-913-9299 city or town Los Angeles state CA zip code 90039 e-mail [email protected] D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional requirements set forth in 36 CFR 60 and the Secretary of the Interior’s Standards and Guidelines for Archeology and Historic Preservation.