Inspirations from Europe's Leading Architects
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The Devil's Colors
Open Research Online The Open University’s repository of research publications and other research outputs The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Journal Item How to cite: Ugochukwu, Francoise (2007). The Devil’s Colors: A Comparative Study of French and Nigerian Folktales. Oral Tradition, 21(2) pp. 250–268. For guidance on citations see FAQs. c 2007 Center for Studies in Oral Tradition Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1353/ort.2007.0005 http://journal.oraltradition.org/issues/21ii Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Oral Tradition, 21/2 (2006): 250-268 The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Françoise Ugochukwu Introduction In the concluding chapter of her book on race in African oral literature, Veronika Görög-Karady (1976:245) remarks that “the main difficulty is to find the precise meaning of color oppositions, valorization or depreciation in African cultures.” This study, mainly based on five separate published collections by Joisten (1965, 1971, 1977, 1996) and the author (1992), will compare French and Nigerian folktales, focusing on French Dauphiné and Nigerian Igboland,1 in order to consider the role color plays in encounters with supernatural characters, revealing a complex network of correspondences that serve as a tool to communicate color-coded values. -
Cersaie Bologna | International Exhibition of Ceramic Tile
INTINTERNATIONAL EXHIBITION OF CERAMIC TILE AND BATHROOM FURNISHINGS 28 SEPTEMBER - 2 OCTOBER 201 Cersaie Bologna | International Exhibition of Ceramic Tile ... ERNATIONAL EXHIBITION OF CERA AND BATHROOM FURNISHINGS Home > Events > Protagonists Protagonists Claudio Musso Digicult Network Oscar G. Colli Biographical notes Columnist for the magazine “il Bagno Oggi e Domani” of which he was co-founder and editorial director. He is been part for about 16 years of the ADI’s Permanent Observatory of Design. From 2008 to 2010 he directed the selection and publication on the ADI-Design-Index of the best products and services among which the winners of the “Compasso d’Oro” are selected. He held many conferences and talks with students in various universities and he is often moderator for conventions and seminars about interior design and industrial design. Marco Vismara Architect Biographical notes Studio D73 by Marco Vismara and Andrea Viganò is specialized in architectural and design projects in a wide international dimension. Studio D73 deals with interior design, different commercial and private projects, from analysis to production, and carries out the project phases thanks to a very efficient team of professionals based in the headquarter in Italy and the two other offices in Moscow, Tunis and Tbilisi. Within the past few years, Studio D73 has grown and reached many countries abroad, mainly in Russia, East Europe and North Africa, with the aim of keeping growing in new countries in the near future. State-of- the-art design project solutions by Studio D73 include Spa, hotel, showroom, and residential buildings. Giampietro Sacchi Interior designer Biographical notes Interior designer and director of the masters “High education design” at POLI.design – Polytechnic University of Milan. -
M E L I S C a N K a R a Turkey, Izmir 35280 | +90 5368762976 | [email protected]
M E L I S C A N K A R A Turkey, Izmir 35280 | +90 5368762976 | [email protected] Professional experiences Postdoctoral researcher, Foundation for Research and Technology-Hellas, Institute for Mediterranean Studies 01/04/2019 – 31/01/2021 • CuRe: Cultures and Remembrances (EU&ESPA Project in collaboration with the University of Hamburg, Ludwig Maximilian University of Munich, and Foundation for Research and Technology–Hellas (FORTH)/Institute of Computer Science (ICS) & NovelTech) Postdoctoral researcher, University of Crete, Department of History and Archeology 01/01/2019 – 01/07/2019 • The Silent Witnesses of the Population Exchange: The Buildings of Crete-Rethymno that Changed Hands with the Treaty of Lausanne Senior archivist, SALT Research & Programs 15/08/2016 – 01/05/2019 • Architecture and Design Archive (Doğan Tekeli-Sami Sisa Archive, Cengiz Bektaş Archive, Erkal Güngören Archive, Altuğ-Behruz Çinici Archive, Fazıl Aysu Archive, Yılmaz Zenger Archive, Gültekin Çizgen Archive) • Commissioners' Exhibition, 3rd-30th March 2018: ÇSM-Ankara (research & curatorial work) • Commissioners' Exhibition, 13th September-26th November 2017: SALT Galata-Istanbul (research & curatorial work) • Out of the Archive, 19th April-10th June 2017: SALT Ulus-Ankara, 23rd February-9th April 2017: SALT Galata-Istanbul (research & content) • Doğan Tekeli-Sami Sisa Archive public programs (with Pelin Derviş) • SALT Research Architecture and Design Archive public programs • Cengiz Bektaş Archive public programs (with Işıl Uçman Altınışık, Burak Altınışık, -
New Varieties
NEW2021 VARIETIES AUTUMN INFERNO® COTONEASTER Cotoneaster ‘Bronfire’ PP30,493 USDA Hardiness Zone: 5 AHS Heat Zone: 7 Height: 5-6’ Spread: 4-5’ Exposure: Full Sun to Part Shade Shape: Upright- Arching Discovered at Bron & Sons Nursery in British Columbia, this new Cotoneaster is a natural cross between C. lucidus and C. apiculatus. It has many of the attributes of C. lucidus that we so love for a hedge - great form, easily pruned, great foliage all season long plus great fall color. But what we really love about Autumn Inferno® is the small red berries formed along the stems in fall. The berries stay on the plant until the birds come and take them, no mess involved. Perfect as a pruned formal hedge or let it go natural. Just enough height to block off your annoying neighbors. FIRSTEDITIONSPLANTS.COM Plant patent has been applied for and trademark has been declared. Propagation and/or use of trademark without license is prohibited. GALACTIC PINK® CHASTETREE Vitex agnus-castus ‘Bailtextwo’ PP30,852 USDA Hardiness Zone: 6 AHS Heat Zone: 9 Height: 6-8’ Spread: 6-8’ Exposure: Full Sun Shape: Upright - Rounded Galactic Pink® has flowers that are a beautiful shade of pink and intermediate in size. The fragrant flowers, born in longGalactic panicles, Pink® bloomhas flowers from Junethat areto Octobera beautiful and shade attract of pollinatorspink and intermediate by the dozens. in size. The The darkfragrant green flowers, foliage is cleanborn and in the long branching panicles, bloomis dense from and June full. toMaturing October atand a slightly attract pollinatorssmaller size by than the dozens.Delta Blues™. -
Modernism for the Future: an International Conference
Modernism for the Future: An International Conference Conference Proceedings September 12–13, 2018, Kaunas, Lithuania European Year of Cultural Heritage 2018 Modernism for the Future 1 Organizers Kaunas – European Capital of Culture 2022 Lithuanian National Commission for UNESCO International Scientific Committee Edward Denison (The Bartlett School of Architecture, UCL) Marija Drėmaitė (Vilnius University) Giedrė Jankevičiūtė (Lithuanian Institute for Culture Research) Vaidas Petrulis (Kaunas University of Technology) Viltė Migonytė-Petrulienė (Vytautas Magnus University) Renata Kepežinskienė (Lithuanian National Commision for UNESCO) Vladimir Šlapeta (Brno University of Technology) Proceedings Editor: Vaidas Petrulis Language editor: George Vaitkunas Designer: Vytis Gruzdys Kaunas – European Capital of Culture 2022 kaunas2022.eu Kaunas, 2019 Copyright according to Creative Commons license CC BY-NC-ND, unless otherwise stated Terms on creativecommons.org/licenses/by-nc-nd/2.0/ ISBN 978-609-96109-0-0 2 Modernism for the Future 3 Contents INTRODUCTION 6 Approaches for the Conservation of 20th Century Architectural Heritage 140 Vaidas Petrulis (The Madrid Document): A Good Example to be Followed Fernando Espinosa de los Monteros OPENING SESSION SESSION IV – Artistic interpretations of Modernism Self-Realization of the Newly Liberated: Architecture in the Baltic States 10 Between the World Wars Why Do We Need to Decentre Modernism? Art History and 150 Mart Kalm Avant-Garde Art from the Periphery Partha Mitter SESSION I – National Modernisms -
The Promise of Whiteness: Fifty Shades of Grey As White Racial Archive
Issue 8 January 2016 www.intensitiescultmedia.com The Promise of Whiteness: Fifty Shades of Grey as White Racial Archive Moon Charania Spelman College Abstract This paper looks closely at how whiteness—a key demonstrative site of power in Sam Taylor-Johnson’s egregious Fifty Shades of Grey (2015)—scripts a repertoire of behaviours on sexual, gender, racial, and class lines. Positioning Fifty Shades of Grey in the post 9/11 globalised media machine, I argue that this interna- tionally bestselling erotic phenomenon is haunted by the master narrative of white racism and heterosexual compulsion, where both are reconstituted as desirable in growing social climate of gay cosmopolitanism and anti-racist awareness. Wrought through a lexicon white superiority, Fifty Shades offers us a way of thinking about how dominant fe/male subject(s) employ whiteness as a crucial practice of producing social subordina- tion, and how a close reading of this film underscores the private and public pleasures of white subjectivity, and the inherent stability of white affluent subjectivity, despite its excesses—a position disallowed to queer and colored subjects. Analyzing various narrative moments in the film, I show how Christian Grey, despite his eroticization of violence, is nonetheless secured by distinctive individuality most closely associated with white bodies and the privileges of the white body politic. Grey’s irreducible and extradiagetic white pres- ence demand further thinking about how Fifty Shades is fundamentally about the pleasures (and promises) of whiteness. I argue that the ultimate duplicity of Fifty Shades of Grey is that it seduces viewers through a promise of explicit sex and wealth, even though the film’s true offering is much more simple: the promise of whiteness. -
Choose Paint Colors and Schemes
Choose Paint Colors and Schemes When you’re decorating your home, choosing the right paint colors is the most important decision you’ll make. As fun as choosing colors can be, this part of the planning can be overwhelming. Thousands of combinations are possible, but by having a basic understanding of color you can create a scheme you love. Basic Color Terms The Color Wheel The color wheel identifies color families and how they relate to each other. Primary Colors All colors, with the exception of white, come from primary colors.. Blue, yellow and red are the primary colors; combinations of these three colors produce secondary colors. Secondary Colors Mix equal amounts of two primary colors to create secondary colors. The results are violet (red and blue), green (blue and yellow) and orange (red and yellow). Tertiary Colors Mix one primary color with larger amounts of another primary color to create tertiary colors. For example, mix one part blue with two parts red to red-violet. Other Color Terms • The hue of a color is the basic color. For example, blue is the hue in light blue and dark blue. • Tone is the result of adding white and black (gray) to a color. Tone makes colors more pleasing to look at instead of pure pigment. • The value of a color describes the amount of white or black in the color. The value ranges from light to dark on a gray scale. • The saturation of a color refers to its strength or weakness in different light. Think about it in terms of bright or dull. -
4 Colour Words in English and Italian
Connotative meaning in English and Italian Colour-Word Metaphors Gill Philip, Bologna ([email protected]) Abstract Colour words are loaded with attributive, connotative meanings, many of which are realised in conventional linguistic expressions such as to feel blue, to be in the pink, and to see red. The use of such phrases on an everyday basis reinforces the currency of the connotative meanings which they assume in particular cultural and linguistic settings, and the phrases themselves are often cited as evidence of the existence of colours’ connotative meanings. But how do the colour words in conventional linguistic expressions relate to the multitude of symbolic meanings that colours (in general) are said to represent? Based on data extracted from general reference corpora as well as traditional reference works, this article examines the use of colour-word metaphors in English and Italian. It pays particular attention to the ways in which colour words take on connotative meanings, how the meanings are fixed linguistically, and similarities and differences across the two languages under examination. Farbbezeichnungen enthalten viele attributive und konnotative Bedeutungen, wobei viele von ihnen in umgangssprachlichen Ausdrücken vorkommen, wie z.B. to feel blue, to be in the pink und to see red. Die Verwendung derartiger Ausdrücke im alltäglichen Umgang trägt zur weiteren Verbreitung der konnotativen Bedeutungen innerhalb eines bestimmten kulturellen und sprachlichen Umfeldes bei, und die Ausdrücke selber werden oft als Beweis für den offensichtlichen konnotativen Aspekt der Farbbegriffe angeführt. In welchem Verhältnis stehen aber die konventionellen Ausdrücke zur großen Anzahl symbolischer Bedeutungen, die doch Farben (im Allgemeinen) darstellen sollen? Ausgehend von Resultaten allgemeiner reference corpora wie auch herkömmlicher Studien wird hier der Umgang mit Farbbezeichnungsmetaphern (idiomatische Ausdrücke) im Englischen und Italienischen untersucht. -
Architects' Auto-Monographs in Turkey, 1950S-1980S a Thesis Submitted to the Graduate School of Social
PRINTED ARCHITECTURES: ARCHITECTS’ AUTO-MONOGRAPHS IN TURKEY, 1950S-1980S A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY SELDA BANCI IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE PROGRAM OF ARCHITECTURAL HISTORY MARCH 2016 APPENDIX D ApprovalApprovalApproval of of of the the the Graduate Graduate Graduate School School School of of of Social Social Social Sciences Sciences Sciences CHRONOLOGICAL CHART OF ARCHITECTS’ AUTO-MONOGRAPHS AND THEIR CONTEXT Prof.Prof.Prof. Dr. Dr. Dr. Meliha Meliha Meliha Altunışık Altunışık Altunışık DirectorDirectorDirector I Icertify Icertify certify that that that this this this thesis thesis thesis satisfies satisfies satisfies all all all the the the requirements requirements requirements as as as a a thesisa thesis thesis for for for the the the degree degree degree of of of Doctor Doctor Doctor of of of Philosophy.Philosophy.Philosophy. Prof. Prof. Prof. Dr. Dr. Dr. T. T. T. Elvan Elvan Elvan Altan Altan Altan Head Head Head of of of Department Department Department ThisThisThis is is isto to to certify certify certify that that that we we we have have have read read read this this this thesis thesis thesis and and and that that that in in in our our our opinion opinion opinion it it itis is isfully fully fully adequate, adequate, adequate, ininin scope scope scope and and and quality, quality, quality, as as as a a thesisa thesis thesis for for for the the the degree degree degree of of of Doctor Doctor Doctor of of of Philosophy. -
RGB to Color Name Reference
RGB to Color Name Reference grey54 138;138;138 8A8A8A DodgerBlue1 30;144;255 1E90FF blue1 0;0;255 0000FF 00f New Tan 235;199;158 EBC79E Copyright © 1996-2008 by Kevin J. Walsh grey55 140;140;140 8C8C8C DodgerBlue2 28;134;238 1C86EE blue2 0;0;238 0000EE 00e Semi-Sweet Chocolate 107;66;38 6B4226 http://web.njit.edu/~walsh grey56 143;143;143 8F8F8F DodgerBlue3 24;116;205 1874CD blue3 0;0;205 0000CD Sienna 142;107;35 8E6B23 grey57 145;145;145 919191 DodgerBlue4 16;78;139 104E8B blue4 0;0;139 00008B Tan 219;147;112 DB9370 Shades of Black and Grey grey58 148;148;148 949494 170;187;204 AABBCC abc aqua 0;255;255 00FFFF 0ff Very Dark Brown 92;64;51 5C4033 Color Name RGB Dec RGB Hex CSS Swatch grey59 150;150;150 969696 LightBlue 173;216;230 ADD8E6 cyan 0;255;255 00FFFF 0ff Shades of Green Grey 84;84;84 545454 grey60 153;153;153 999999 999 LightBlue1 191;239;255 BFEFFF cyan1 0;255;255 00FFFF 0ff Dark Green 47;79;47 2F4F2F Grey, Silver 192;192;192 C0C0C0 grey61 156;156;156 9C9C9C LightBlue2 178;223;238 B2DFEE cyan2 0;238;238 00EEEE 0ee DarkGreen 0;100;0 006400 grey 190;190;190 BEBEBE grey62 158;158;158 9E9E9E LightBlue3 154;192;205 9AC0CD cyan3 0;205;205 00CDCD dark green copper 74;118;110 4A766E LightGray 211;211;211 D3D3D3 grey63 161;161;161 A1A1A1 LightBlue4 104;131;139 68838B cyan4 0;139;139 008B8B DarkKhaki 189;183;107 BDB76B LightSlateGrey 119;136;153 778899 789 grey64 163;163;163 A3A3A3 LightCyan 224;255;255 E0FFFF navy 0;0;128 000080 DarkOliveGreen 85;107;47 556B2F SlateGray 112;128;144 708090 grey65 166;166;166 A6A6A6 LightCyan1 224;255;255 -
Re-Viewing the Role of Culture in Architecture for Sustainable Development
Research Article JOURNAL OF DESIGN FOR RESILIENCE Online: www.drarch.org IN ARCHITECTURE & PLANNING Volume 2, Issue 2, (157-169), 2021 DOI: 10.47818/DRArch.2021.v2i2017 Re-viewing the role of culture in architecture for sustainable development Neslihan Dostoğlu* Abstract Architecture is most often defined as the art and technique of creating space. The understanding and use of space in a society is the most important means that concretely reflects the cultural system and way of life, which is the sum of all the experiences, talents and values of that society. While the physical environment created by people in history is mostly shaped according to local values, the spaces designed by architects have been the scene of conflict among universal and regional values, especially after the Industrial Revolution, with the development of Modern Architecture. This study which evaluates the architectural approaches adopted after Modern Architecture, within the framework of economic, technological and socio- cultural developments in the world and discusses them with their reflections in Turkey, emphasizes the validity of striving for lasting values instead of fashions in architecture. In this context, the issue of culture and identity comes to the fore. Cities have their own unique appearance, physical structure and way of life, as well as a "spirit" that makes them distinctive. The characteristics of the city which make it different from the others constitute "urban identity". Especially in developing countries, many cities face the risk of losing their identity in the process of urban development, which consists of the expansion of the streets and the demolition of buildings that can actually be evaluated. -
Cengiz Bektaş Ile Mimari Üretimleri Üzerine Söyleşi
CENGİZ BEKTAŞ İLE MİMARİ ÜRETİMLERİ ÜZERİNE SÖYLEŞİ CENGİZ BEKTAŞ İLE MİMARİ ÜRETİMLERİ ÜZERİNE SÖYLEŞİ SALT025-CENGİZ BEKTAŞ-001 CENGİZ BEKTAŞ İLE MİMARİ ÜRETİMLERİ ÜZERİNE SÖYLEŞİ Bu yayın, 20 Mart’ta kaybettiğimiz, kendisini ba- zen ozan-mimar-yazar bazen de yüksek mühen- dis-mimar olarak tanımlayan Cengiz Bektaş’la Ekim 2019’dan Şubat 2020’ye dek aralıklarla sürdürülen söyleşileri bir araya getirmektedir. Bektaş’ın mimari projeleri arasından seçili bir kısmı arşivcinin merak duygusuyla yeniden ele alınarak yapılan bu uzun sohbet, mimarın yak- laşık altmış yıla yayılan pratiğinin izini SALT Araştırma’daki arşivi aracılığıyla sürmeyi hedef- lerken söz konusu belgeleri yeni yorumlara açar. Cengiz Bektaş’ın 1980 öncesi ve sonrası üretimi- ni karşılıklı okuma yapmaya elverecek biçimde ve devamı gelmek üzere planlanmış buluşma- ların çıktısı niteliğindeki bu yayın, bir anlamda Bektaş’ın süreç odaklı yaklaşımının küçük bir anlatısı olarak kabul edilebilir. ― Tuğçe Kaplan, SALT Araştırma Arşiv Sorumlusu SALT025-CENGİZ BEKTAŞ-002 CENGİZ BEKTAŞ İLE MİMARİ ÜRETİMLERİ ÜZERİNE SÖYLEŞİ Tuğçe Kaplan: Benim önerim bu 1979 yılında Yaprak Kitapevi’nden basılmış Proje Uygulama kitabından faydalanarak onunla benzer bir izlekte 1980 öncesi yapılarınızı düşünsel arka planlarıyla birlikte konuşmak. Sizin de bina bilgisine çok da kaymadan yapılar özelinde vurgulamak isteye- ceğiniz noktalar vardır. Özellikle arşivinizin bize sunmadığı hikâyeler de ilgimi çeker. Ben kendimce yapılarınızdan şöyle bir seçki yaptım. Ne düşünürsünüz? Cengiz Bektaş: Şimdi bunu mu [Kitap: Proje Uygulama] esas aldınız? TK: Şimdilik evet. Buradaki gibi konu konu ayırarak da ilerleyebiliriz. İşleyim yapıları, okullar, çarşılar, toplu konutlar, yaşlılar için yapılar gibi... Aslında kırk yıl önce/kırk yıl sonra (1979-2019) gibi bir karşılaştırma yapmaya elverecek şekilde yapı- Cengiz Bektaş, Proje Uygulama 2 - Mimarlık Çalışmaları, larınızın üzerine konuşabiliriz diye düşündüm.