Utopia Art Et Design Italiens 18 October - 21 December 2019
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Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa1
Nexus Esecutivo 19-01-2004 9:17 Seite 7 Marco Frascari Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa1 Consciously or unconsciously, part of the apparatus that architects use in their daily fabrications of the built environment grows out of their understanding of numbers and numerals. Marco Frascari examines the use of number and especially the number 11 in the architecture of Carlo Scarpa. In Scarpa’s opus, it is true that One and One Equals Two, but it is also wonderfully true that A Pair of Ones Makes an Eleven. Imagination is everything (Raymond Roussel 1975, p. 279). Introduction In their daily fabrications of the built environment, architects deal with the various chiastic relationships between visible and invisible. Part of the apparatus that they use, consciously or unconsciously, to imagine future constructions grows out of their understanding of numbers and numerals. To divine future buildings they rely on numeracy.2 Architectural numeracy consists in neither objective nor subjective constructs based on an arithmetical use of numbers, but rather in sedimentations of experience, formed by matter and memory. By the agency of tectonic aspects controlled by numbers, architects relate visible construction with invisible constructs. By linking recollection and anticipations, architectural numeracy deals with the meanings of constructional aspects and gives new visual angles. By using poli-dimensional tools of transversal epistemologies such as “angelic numbers” and “monstrous numerals”, the architect’s control of numbers transacts tangible matter with intangible dreams. Numbers summon up in detailed examinations what is passing and what is to come. Embodied in tectonic events and parts, numbers hinge the past and the future of buildings and their inhabitants into a search for a way of life with no impairment caused by psychic activity. -
Carlo Scarpa: Visions in Glass 1926-1962 a Private European Collection
P R E S S RELEASE | NEW YORK | 1 2 APRIL 2 0 1 7 | F O R IMMEDIATE RELEASE Carlo Scarpa: Visions in Glass 1926-1962 A Private European Collection CARLO SCARPA (1906-1978) Carlo Scarpa, circa 1970 Detail: CARLO SCARPA (1906-1978) A ‘TESSUTO-BATTUTO’ VASE, DESIGNED © Lino Bettanin - CISA A. Palladio- Regione AN IMPORTANT ‘MURRINE OPACHE’ DISH, 1938-40 Veneto CIRCA 1940 Estimate: $20,000-30,000 Estimate: $100,000-150,000 DEDICATED AUCTION | MAY 4, 2017 | CHRISTIE’S NEW YORK New York—Christie’s is pleased to announce the sale of Carlo Scarpa: Visions in Glass 1926-1962. A Private European Collection, taking place on May 4, 2017 at Christie’s New York. The sale features the only single-owner collection of works by the Venetian architect and designer Carlo Scarpa ever to be sold at auction to this day. Encompassing approximately 90 pieces of Italian art glass, the collection provides an overview of the pioneering styles Scarpa created for M.V.M. Cappellin and subsequently Venini between the years 1926 and 1962. In his collaboration with the two glassmakers and in particular with Venini, Scarpa developed a modern vocabulary for the century-old techniques of glass making and paved the way for the resurgence of the island of Murano as a center of glass with a modern outlook. Deeply influenced by his training as an architect, Scarpa developed a range of new surface treatments and techniques, while being inspired by ancient Roman glass as well as Chinese works of art. The pieces included in this collection encompass over forty years of his creations, offering a body of work which is unparalleled at auction. -
Contemporary Architecture in Historic Environment: Bibliography
Bibliography Contemporary Architecture in the Historic Environment An Annotated Bibliography Edited by Sara Lardinois, Ana Paula Arato Gonçalves, Laura Matarese, and Susan Macdonald Contemporary Architecture in the Historic Environment An Annotated Bibliography Edited by Sara Lardinois, Ana Paula Arato Gonçalves, Laura Matarese, and Susan Macdonald THE GETTY CONSERVATION INSTITUTE LOS ANGELES Contemporary Architecture in the Historic Environment: An Annotated Bibliography - Getty Conservation Institute - 2015 © 2015 J. Paul Getty Trust The Getty Conservation Institute 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 United States Telephone 310 440-7325 Fax 310 440-7702 E-mail [email protected] www.getty.edu/conservation Copy Editor: Dianne Woo ISBN: 978-1-937433-26-0 The Getty Conservation Institute works to advance conservation practice in the visual arts, broadly interpreted to include objects, collections, architecture, and sites. It serves the conservation community through scientific research, education and training, model field projects, and the broad dissemination of the results of both its own work and the work of others in the field. And in all its endeavors, it focuses on the creation and dissemination of knowledge that will benefit professionals and organizations responsible for the conservation of the world’s cultural heritage. Front Cover: City Hall Extension, Murcia, Spain, designed by Rafael Moneo (1991–98) Photo: © Michael Moran/OTTO Contemporary Architecture in the Historic Environment: An Annotated Bibliography -
Carlo Scarpa: Architecture and Design Pdf, Epub, Ebook
CARLO SCARPA: ARCHITECTURE AND DESIGN PDF, EPUB, EBOOK Guido Beltramini, Italo Zannier, Vaclav Sedy, Gianant Battistella | 320 pages | 13 Feb 2007 | Rizzoli International Publications | 9780847829118 | English | New York, United States Carlo Scarpa: Architecture and Design PDF Book Learn more about the change. The exhibition illustrates how Carlo Scarpa worked, with a lot of attention to the surface of the objects and the final decoration. Carlo Scarpa: Architect. The organizational Gestalt-Laws are consciously used by the master to form one wholeness of the different spogli. The art of making as well as the use and development of local traditions and crafts was of capital importance in the work of Scarpa, and it is true that the sort of crafts that he used are out of reach for the most architects and clients of today. The psychology of visual perception. A perfectionist, he would often stay throughout the night alongside the glass blowers in order to perfect new designs. Controspazio, 2. In the second line of the small Roman letters inscription, the four letters I. Carlo Scarpa a Castelvecchio: l'archivio digitale dei disegniLe fotografie sono consultabili on-line, gratuitamente e senza restrizioni, salvo l'approvazione delle condizioni di utilizzo, per gli utenti registrati. Consequently is that the reason why at these days in the architectural archives a lot of literature from others about him available is, but not literature directly from him. Tomba Brion by Carlo Scarpa. Where a flat figure has a contour as a boundary, a three-dimensional object has a surface. In conclusion the second step is essential, since the three different Gestalt-Laws are applied on this particular step. -
Frank Lloyd Wright in Venice and the Masieri Memorial
MODERNISM CONTESTED: FRANK LLOYD WRIGHT IN VENICE AND THE MASIERI MEMORIAL DEBATE by TROY MICHAEL AINSWORTH, B.A., M.A. A DISSERTATION IN LAND-USE PLANNING, MANAGEMENT, AND DESIGN Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Michael Anthony Jones Co-Chairperson of the Committee Bryce Conrad Co-Chairperson of the Committee Hendrika Buelinckx Paul Carlson Accepted John Borrelli Dean of the Graduate School May, 2005 © 2005, Troy Michael Ainsworth ACKNOWLEDGMENTS The task of writing a dissertation is realized through the work of an individual supported by many others. My journey reflects this notion. My thanks and appreciation are extended to those who participated in the realization of this project. I am grateful to Dr. Michael Anthony Jones, now retired from the College of Architecture, who directed and guided my research, offered support and suggestions, and urged me forward from the beginning. Despite his retirement, Dr. Jones’ unfaltering guidance throughout the project serves as a testament to his dedication to the advancement of knowledge. The efforts and guidance of Dr. Hendrika Buelinckx, College of Architecture, Dr. Paul Carlson, Department of History, and Dr. Bryce Conrad, Department of English, ensured the successful completion of this project, and I thank them profusely for their untiring assistance, constructive criticism, and support. I am especially grateful to James Roth of the John F. Kennedy Library in Boston, Massachusetts, for his assistance, and I thank the John F. Kennedy Library Foundation for awarding me a research grant. Likewise, I extend my thanks to the Ernest Hemingway Foundation and Society for awarding me its Paul Smith-Michael Reynolds Founders Fellowship to enable my research. -
Japanese Spatial Culture, Nature and Architecture
PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories. -
Michele De Lucchi, Designer Gentile
48 Michele De Lucchi, Designer gentile 49 Michele De Lucchi, Designer gentile items # 3 Peter van Kester items # 3 Peter van Kester 2010 2010 “Ontwerpen is niet het beeldhouwen van mooie vormen en materialen, maar deze voorzien van betekenis.” Premsela en galerie BINNEN presenteren de Italiaanse designer-architect Michele de Lucchi als pionier van een Michele veranderende industriële cultuur. Michele de Lucchi (1951) debuteerde bij het assembleren en bespaarde materiaal. Hoe ziet hij zelf zijn Alchymia, brak door via Memphis en ont- Zo voert de opening in de kap bijvoorbeeld De Lucchi, wikkelde zich tot een veelzijdig ontwerper. de warmte af. “Als ik wist hoe ik hem had michele Meest bekend is zijn Tolomeolamp voor getekend, had ik er meer getekend”, schreef rol als industrieel Artemide, maar hij ontwerpt voor uiteen- hij ooit schertsend. ontwerper? Welke lopende industrieën, musea, banken en Designer invloed heeft energieproducenten. Sinds 1990 brengt hij ambachtelijke series op de markt onder het Attitude label Produzione Privata. Tegenover de de- In 1977 verhuisde De Lucchi van Florence Produzione Privata signindustrie staat De Lucchi ambivalent: naar Milaan. Hij begon te ontwerpen gentile op zijn industriële “Industrie zorgt voor wetenschappelijke voor Studio Alchymia en Olivetti, waar de lucchi, doorbraken en een hoge levensstandaard, hij niet alleen kantoorsystemen, maar ook praktijk en hoe maar vervuilt de oceanen, vernielt de voor- faxen, computers en laptops tekende, geen steden en versterkt de kloof tussen arm en onderscheid makend tussen apparaten evolueerde zijn rijk. Toch is er geen alternatief. Ontwer- voor thuis en het kantoor. In datzelfde pers moeten met nieuwe visies komen. -
Firmamento Milano at Euroluce 2019
Firmamento Milano at Euroluce 2019 Firmamento Milano will participate for the first time at Euroluce, introducing its entire collection and its representative values. Now more than ever, Milan is in the international spot-light. Always the capital of a powerful industrial and commercial network, it is today reco- gnized worldwide as a vital hub of culture, art, creativity, and innovation – in other words, of knowledge. In Milan, knowledge means knowing how to learn, study, search, experiment, take action, change, and risk. The culture of our city means we never stop and never accept the obvious. On the contrary, we look everywhe- re for new solutions for living in beauty and for pursuing wealth as a way to live and let live with generosity of spirit. With these values, it’s easy to see why Milan has welcomed so many start-ups and experiments in architecture, design, and fashion. This is why we wanted the name of our company to include the name Milan, to reflect our city and its values, which we believe in so strongly. We also wanted our name to include Firmamento, meaning the firmament above us, the sky sparkling with ideas. Dreams. Values. Architects. Projects. Beauty. With the support of the prestigious architectural firms who work with us, as well as a remarkable group of medium-sized companies in our region who work in various market sectors, we want to replicate the valuable-model which made Italian design globally successful. There were big Milanese architects such as Zanuso, Magistretti Castiglioni, Albini, Helg, Sottsass… now together with us in this project we have: Pierluigi Cerri, Michele De Lucchi, Benedetta Miralles Tagliabue, Parisotto+Formenton, Park Associati, Daniela Puppa, Franco Raggi, Michele Reginaldi,Attilio Stocchi, Filippo Taidelli, Cino Zucchi. -
Sebastian Herkner Stellar Works’ Creative Direction Is Overseen by the Neri&Hu Design ‘Architect
NEW COLLECTIONS 2021 1 2 3 9 LETTER FROM THE CHAIRMAN 10 DESIGNERS 14 NEW COLLECTION 2021 16 Float 26 Host 34 Everyday 4 5 Asian sensibility, timeless craft. ABOUT US IN 2012 Stellar Works stands for a renaissance of refined culture We established Stellar Works as a way to bring ideas and Asian aesthetics. Inspired by the long standing together: East and West, heritage and modernity, craft and industry of traditional cultures, it represents a craft and industry – bringing the best of the past into commitment to bridging the gap between old and new, the light of the present. Our aim was to inspire a east and west – in attitude, form and application. renaissance in Asian aesthetics, taking the forms, styles and motifs that have characterised Japanese Stellar Works seeks to reintroduce past collections of design across the centuries and filtering them through classics, alongside culturally-inspired contemporary the lens of the European tradition to create something We bridge the gap signatures. It infuses freshness into heritage and grounds new and timeless. innovation with enduring craftsmanship. Between east and west 6 7 LETTER FROM THE CHAIRMAN I believe that this bringing together of cultures is what We have chosen this path between the old and the sets us apart, both in terms of the character of our new because I believe good design is timeless design. creative output and the strength of our business today. A particular style of furniture may be all the rage for a From the beginning, Stellar Works has benefited from while, but if it looks tired after a decade, it’s not good the strategy and dynamism of Japanese operations design – it’s a passing trend. -
Ettore Sottsass & the Memphis Group Inside a Collector's Home
GRIEDER CONTEMPORARY Ettore Sottsass & The Memphis Group Inside a Collector’s Home November 24, 2017 – February 23, 2018 Opening hours: Fri, 11 am – 6 pm and by prior arrangement Grieder Contemporary is delighted to present the exhibition: Ettore Sottsass and The Memphis Group – Inside a Collector’s Home, marking the official inauguration of its new gallery space in Küsnacht/Zurich. After extensive renovation and extension works by Fuhrimann & Hächler architects, the newly built annex of the Modernist villa is now ready to welcome Grieder Contemporary's first exhibition in Küs- nacht with works by Ettore Sottsass and the Memphis Group. The exhibition will showcase masterpieces of the acclaimed designer and artist Ettore Sottsass, as well as other objects by members of the Memphis Group sourced from an original private interior collection from the early 1980s. Original vintage furniture and objects will send us back in time and allow us to immerse ourselves in a collector's household, a liv- ing environment transferred in its entirety to a gallery space. Ettore Sottsass founded Memphis in 1980 together with former colleagues from Studio Alchimia and a younger generation of architects and designers. In 1981 it counted among its members Michele de Luc- chi, Matteo Thun, Marco Zanini, Aldo Cibic, Andrea Branzi, Shiro Kuramata, Michael Graves, Javier Mariscal, Barbara Radice, Martine Bedin, George J. Sowden, Masanori Umeda and Nathalie du Pasquier. Memphis, named after a Bob Dylan’s song: Stuck Inside of Mobile With The Memphis Blues Again, was a successful attempt to kickstart a radical change and emancipation from the international Modernist Style of the 1960s. -
2020 Consolidated Non-Financial Statement Pages [I] Link to Websites
2020 Consolidated Non-financial Statement in accordance with Legislative Decree No. 254 of 2016 Boards, Management, Auditors BOARD OF DIRECTORS Chairman Gian Maria GROS-PIETRO Deputy Chairperson Paolo Andrea COLOMBO Managing Director and Chief Executive Officer Carlo MESSINA (a) Board Members Franco CERUTI Rossella LOCATELLI Luciano NEBBIA Bruno PICCA Livia POMODORO Maria Alessandra STEFANELLI Guglielmo WEBER Daniele ZAMBONI Maria MAZZARELLA Anna GATTI Andrea SIRONI (1) Fabrizio MOSCA (*) Milena Teresa MOTTA (*) Maria Cristina ZOPPO (*) Alberto Maria PISANI (*) (**) Roberto FRANCHINI (*) (2) MANAGER RESPONSIBLE FOR PREPARING THE COMPANY'S FINANCIAL REPORT Fabrizio DABBENE INDIPENDENT AUDITORS KPMG S.p.A. (a) General Manager (*) Member of the Management Control Committee (**) Chairman of the Management Control Committee (1) Appointed by the Shareholders’ Meeting on 27 April 2020 after co-option by the Board of Directors on 2 December 2019 (2) Appointed by the Shareholders’ Meeting on 27 April 2020 in substitution of resigning Director Corrado Gatti 3 Contents LETTER TO STAKEHOLDERS 6 Combating money laundering 79 Compliance with tax regulations 80 METHODOLOGY 9 Protection of free competition 83 Privacy protection 84 EXECUTIVE SUMMARY 11 Compliance with labour laws 85 Main performance indicators 12 Audits 85 Main actions taken to face the Disputes and fines 86 COVID-19 emergency 23 Sustainability indices, rankings SOCIETY 87 and awards 24 Quality of service and customer satisfaction 92 IDENTITY AND PROFILE 26 Service quality 92 Group Presentation -
Eleven in the Architecture of Carlo Scarpa
Oz Volume 13 Article 10 1-1-1991 A Deciphering of a Wonderful Cipher: Eleven in the architecture of Carlo Scarpa Marco Frascari Follow this and additional works at: https://newprairiepress.org/oz This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Frascari, Marco (1991) "A Deciphering of a Wonderful Cipher: Eleven in the architecture of Carlo Scarpa," Oz: Vol. 13. https://doi.org/10.4148/2378-5853.1222 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Oz by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. A Deciphering of a Wonderful Cipher: Eleven in the architecture of Carlo Scarpa Marco Frascari The Beginning Trace: Fourth Trace: Roman people that it was necessary to but also built cosmological resonances. I am a 13. Anton Francesco Doni was an In proposing a search for an architecture protect the shield by making 11 other Traces of this tradition are still present in 18, Antonio Abbondi, called the which produces thauma-vulgarly called equal to it so whoever tried to steal the current practice. Many apothegms in the Scarpagnino, was a 14, called the 11. 1 wonder-my aim is to suggest an ap sacred object could not distinguish it architectural project. One recently re proach to the study of the theories of from the other eleven. A bronze-smith vived by formalistic trends is based on the Second Trace: architecture from a humanistic and named Mamurius Veturius was the only number three: "a perfect facade or Weak thinking is a procedure which is playful point if view.