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ARCHITECTURALLY SOUND Engineered / Zoning / Construct
Monolithic 同一方向安装 ARCHITECTURALLY SOUND Engineered / Zoning / Construct China India Rest of Asia Beijing / Tianjin / Wuhan /Shenzhen Bangalore Manila T +86 10 6465 1206 T +91 98459 14059 T +63 915 816 7127 Shanghai / Suzhou / Nanjing Chennai Seoul Hangzhou / Hefei T +91 98408 98963 T +82 2 3783 0747 T +86 21 6145 1758 Delhi Singapore Chengdu / Chongqing T +91 98104 77922 T +65 6593 1301 www.millikencarpet.com T +86 181 1727 5593 Mumbai Tokyo Guangzhou T +91 98926 00362 T +81 3 5203 8406 2710024918 T +86 20 3846 8085 Jakarta Issued Jul 2019 Hong Kong T +6221 5289 7330 T +852 3956 2259 INSPIRED. INSPIRING. 源于灵感 智启灵感 Construct, Zoning and Engineered in Art Nouveau, monolithic installation Construct and Zoning in Art Nouveau, monolithic installation 2 3 Zoning and Engineered in Baroque, monolithic installation Engineered in Baroque, monolithic installation 4 5 在不同色彩层次中丰富大面积空间。 自由拼接，拓展更多设计可能性。 Use accent color to make use of space and to expand design possibility. Construct, Zoning and Engineered in Gothic, monolithic installation 6 7 Construct, Zoning and Engineered in Art Nouveau, monolithic installation Engineered in Bauhaus, monolithic installation 8 9 Construct and Zoning in High Tech, monolithic installation 10 11 INSPIRED. INSPIRING. 源于灵感 智启灵感 Beginning with solid architectural elements, trace out a meticulous inspiring space. From dark to light, natural color transition as music notes, slowly flow along elegant and pure, brand new tones lighting up the space. 以坚实的建筑元素为起点， 勾画更细致的灵动空间。 从深到浅，颜色自然过渡， 如音符点染其中慢慢流动， 或优雅、或清新， 全新的色彩和空间区隔， 让室内的每寸光线，都瞬间被点亮。 Construct, Zoning and Engineered in Bauhaus, monolithic installation 12 13 These three patterns share the same colorline for easier coordination. -
Brief History of Architecture in N.C. Courthouses
MONUMENTS TO DEMOCRACY Architecture Styles in North Carolina Courthouses By Ava Barlow The judicial system, as one of three branches of government, is one of the main foundations of democracy. North Carolina’s earliest courthouses, none of which survived, were simple, small, frame or log structures. Ancillary buildings, such as a jail, clerk’s offi ce, and sheriff’s offi ce were built around them. As our nation developed, however, leaders gave careful consideration to the structures that would house important institutions – how they were to be designed and built, what symbols were to be used, and what building materials were to be used. Over time, fashion and design trends have changed, but ideals have remained. To refl ect those ideals, certain styles, symbols, and motifs have appeared and reappeared in the architecture of our government buildings, especially courthouses. This article attempts to explain the history behind the making of these landmarks in communities around the state. Georgian Federal Greek Revival Victorian Neo-Classical Pre – Independence 1780s – 1820 1820s – 1860s 1870s – 1905 Revival 1880s – 1930 Colonial Revival Art Deco Modernist Eco-Sustainable 1930 - 1950 1920 – 1950 1950s – 2000 2000 – present he development of architectural styles in North Carolina leaders and merchants would seek to have their towns chosen as a courthouses and our nation’s public buildings in general county seat to increase the prosperity, commerce, and recognition, and Trefl ects the development of our culture and history. The trends would sometimes donate money or land to build the courthouse. in architecture refl ect trends in art and the statements those trends make about us as a people. -
Classicism, Modernism, Postmodernism, and Importance of Communication
Classicism, Modernism, Postmodernism, and Importance of Communication Taylor Stevenson Art History II Prof Jason Bernagozzi Midterm Exam March 09, 2016 Art and societies have long since been integrated, with both realms reflecting each other through understandings, values, and ideas. When either realm changes its ideologies, the other realm tends to reflect those changes in a similar form. This is prevalent in the understanding of art movements over the course of history, especially with three periods of art: Classicism, Modernism, and Post Modernism. Through these art movement periods, we can see how ideologies of the artist have evolved from working for other professions that use art as a means to an end, to using art as a way to communicate their own ideas, to creating art for the viewer to decide on the meaning. Many artworks that were taken from (or inspired by) Greek and Roman cultural art are considered to be classical. This may be because at this point in time, the societies behind these works of art have established an aesthetic standard that serves as a fundamental basis for other art movements. The Editors of Encyclopædia Britannica note “’classic’ is also sometimes used to refer to a stage of development that some historians have identified as a regular feature of what they have seen as the cyclical development of all styles.” When applied to art (especially art in the western/European world), these “classic” greek and roman roots placed emphasis on a realistic form, and line over color in two dimensional pieces1. Sculptures of these times, while considered important, did not necessarily translate into the aesthetic view of the next generation. -
Historic Art-Deco in the Heart of the Dtphx Music Scene
HISTORIC ART-DECO IN THE HEART OF THE DTPHX MUSIC SCENE 747 W VAN BUREN ST, PHOENIX, AZ 85007 HISTORIC ART DECO BUILDING FOR SALE ABOUT THE PROPERTY 747 W. Van Buren is a 2,821 SF historic Art Deco/Art Moderne building superbly located adjacent to some of Phoenix’s most exciting music, entertainment and nightlife. Many of these venues, such as Crescent Ballroom, The Van Buren and The Valley Bar are located in historic adaptive-reuse projects, bringing a distinctive new personality to the area. 747 W. Van Buren brings a unique opportunity to add to the growing Downtown entertainment scene, with this rare sale. Located just West of the Southwest corner of Van Buren and 7th Avenue, the location is within walking distance of both the Grand Avenue Arts District and the Roosevelt Row Arts District, as well as the Downtown ASU Campus. These areas continue to grow, and with many new multifamily projects having just been completed or currently under construction, the area is dense with young urban professionals and recent graduates. As Downtown Phoenix continues to become a more walkable urban core filled with activity, restaurants, nightlife and tourism, this location is a rare opportunity to develop something extraordinary and make a permanent mark on the future of our city. INTERSECTION OF VAN BUREN AND CENTRAL AVENUE ART DECO DESIGN IN PHOENIX (1925-1940s) Art Deco is a style of visual arts, architecture and design that first appeared in France just before World War I. Some examples of Art Deco Architecture in Phoenix include The Luhrs Tower, The City-County Building, The Orpheum Theatre and The Arizona Biltmore Hotel. -
“International Style” and Its Interpretation at the Beginning Of
DOI: 10.4467/25438700SM.18.048.9213 VIKTOR PROSKURYAKOV*, YULIYA BOHDANOVA**, RUSLAN YURIYCHUK*** use the terminology of the countries of which these lands Basic material statement were part of during the times of researched objects con - At the beginning of the 21st century interest struction. in studying art and architecture of the 20th In connection to this, recently in order to characterize archi- century has increased. Unfortunately, cultural “International style” and its tecture of the first third of the 20th century, on the territory of achievement of the period which has begun Ukraine the term “modernism” is widely used, which in its after World War II has not gained overall rec- meaning is close to understanding of “international style” ognition yet, it can be at least claimed about interpretation at the beginning of by Le Corbusier. Ukrainian wikipedia, as the most accessible the territories of Ukraine. Nevertheless, the source, provides the following explanation of these terms first third of the 20th century is currently in fo- “architecture of modernism generalizes a few tendencies in cus of numerous world researchers. Address- the XXI century itself, styles in architecture which appeared in the 20 th cen- ing what questions can most frequently be tury and tried to bring the features of dashing technological found in scientific published works dedicated advance into architecture. Modernism was one of prevail- to this historical period? Abstract ing styles of the 20th century architecture and still adheres The article is dedicated -
Art Deco Inventory
ART DECO INVENTORY INFORMATION & PHOTOGRAPHS ART DECO INVENTORY CONTENTS PAGE i Notes ii - v Maps of Napier vi - x Numerical List of Buildings xi - xv Alphabetical List of Buildings PUBLICATION DETAILS First edition published 1991 Compiled by Amanda Bilman and Tom Gill for the ART DECO TRUST in association with the NAPIER CITY COUNCIL Revised 1995 & 1997 by Kirsten Ratcliffe (Napier City Council) Second Edition published 2004 Compiled by Napier City Council with the assistance of The Art Deco Trust NOTES Name of Building This is either the current name on the building’s facade, the name of its current owner or the name of the original owner Architect: The Architect responsible for the post-quake appearance of the building, unless specified otherwise Builder: The Builder responsible for the post-quake appearance of the building, unless specified otherwise Cost: Generally the contract price taken for the building permit application Historic Places Trust Classification: The classification assigned to the building under the Historic Places Act 1993 The categories are: Category 1: Places of outstanding historical, special or cultural heritage, significance or value Category 2: Places of historical or cultural heritage, significance or value Plans in existence: All building ‘X’ files are held at Napier City Council offices. The Natusch Partnership and Dead Storage D/S files are held at Judd Fenwick Team Architecture Ltd, 1 Craven Street, (please note that there is a search and copy charge to view these plans). The Louis Hay Dead Storage files are held at the Hawkes Bay Museum. In addition to the photograph references given in this inventory, there are many photos held by the Art Deco Trust, The Alexander Turnbull Library (Wellington) and the Berry Library (Hawkes Bay Museum). -
Art Deco at Fair Park
Art Deco at Fair Park Fair Park is home to one of the greatest concentrations of early 20th century Art Deco exposition buildings in the world. For the Texas Centennial Exposition and World's Fair of 1936, a total of fifty structures were erected. Twenty -one of those survive today, including the centerpiece of the entire project, the Hall of State. Enjoy learning the history of Art Deco, touring the art and architecture of Fair Park, and discovering some of the episodes from history that inspired the vision of Hall of State architect Donald Barthelme. Teacher’s Materials Teacher’s The Origins of Art Deco The term Art Deco comes from the 1925 Paris Ex- hibition Internationale des Arts Décoratifs et Industriels Modernes (which translates to the “International Exhibi- tion of Decorative and Industrial Arts”). The exposition was dedicated to the display of modern decorative arts, exhibiting the work of thousands of designers from all over Europe. Several countries sponsored pavilions, deco- rative temporary buildings that housed exhibits showcas- ing the splendors of their national culture. The exposition attracted over 16 million visitors, marking the high point of the first phase of Art Deco. The Primavera Pavilion, inspired by African thatched huts. The host city played a very large role in the exhibition. Following the devastation wrought by the Great War, Europe entered a rebuilding era, and France was determined to lead the way. Parisi- ans had traditionally been trendsetters in fashion and the arts, and once again they sought to be the world leaders in style. The exhibition helped to es- tablish the preeminence of French taste and luxury goods. -
Art Deco : a Mode of Mobility
Épine 0,5788 po. – 320 p. – 140 M Prix 9 PHYLLIS-LAMBERT atrimoine urbain atrimoine urbain Prize 2011 his book argues that mobility is the central theme of the interwar mode of design known today as Art Deco. It is present on the very surfaces of Art Deco objects and architecture – in iconography and general formal qualities (whether the zigzag rectilinear forms WINDOVER MICHAEL popular in the 1920s or curvilinear streamlining of the 1930s). By focussing on mobility as a means of tying the seemingly disparate quali- ties of Art Deco together, Michael Windover shows how the surface-level expressions correspond as well with underpinning systems of mobility, including those associated with migration, transportation, commodity exchange, capital, and communication. Journeying across the globe – from a skyscraper in Vancouv er, B.C., to a department store in Los Angeles, and from super-cinemas in Bombay (Mumbai) to radio cabinets in Canadian living rooms – this richly illustrated book examines the reach of Art Deco as it affected public cultures. Windover’s innovative perspective exposes some of the socio- political consequences of this “mode of mobility” and offers some reasons as to how and why Art Deco was incorporated into everyday lifestyles around the world. MICHAEL WINDOVER, Ph.D., is an Assistant Professor in the School for Studies in Art & Culture at Carleton University in Ottawa where he teaches in the History and Theory of Architecture Program. His research interests focus on modern visual and material culture, especially designed Michael environments in the twentieth century. Windover Foreword by A MODE OF MOBILITY . Rhodri Windsor Liscombe ART DECO ART ISBN 978-2-7605-3512-1 Presses ,!7IC7G0-fdfbcb! de l’Université PUQ.CA du Québec 3512-Couvert.indd All Pages 12-08-21 10:55 atrimoine urbain Series edited by Lucie K. -
6. After Modernity: Rohmer's Classicism and Universalism
6. After Modernity: Rohmer’s Classicism and Universalism Grosoli, Marco, Eric Rohmer’s Film Theory (1948-1953). From ‘école Schérer’ to ‘Politique des auteurs’. Amsterdam: Amsterdam University Press, 2018 doi: 10.5117/978946298580/ch06 Abstract From the outset of his career, Eric Rohmer made no secret of his preference for classicism, as far as both aesthetics in general and cinematic aesthetics in particular are concerned. One must hasten to add, however, that he never really conceived of “classic” and “modern” as two opposite concepts. Rather, he maintained that what is truly classic is also truly modern, because in either case genuine art is primarily about achieving a certain harmony with nature. What he exactly meant by this forms the main subject matter of this chapter, which also clarifies the degree to which Rohmer’s aesthetics can be called “universalist” and “anti-evolutionist”, and why. In addition, Rohmer’s views on the key notions of authorship and mise en scene are also summarily sketched. Keywords: Rohmer, classic, modern, universalism, aesthetics 6.1. Beyond modern art Rohmer’s attachment to classical tragedy is a clear token of his overt classi- cism, which can hardly be accounted for as orthodox and one-dimensional. For him, ‘classicism’ and ‘modernity’ are not necessarily opposite. In order to clarify this issue, it is again useful to draw upon Kant, since the critic’s classicism and his peculiar, idiosyncratic Kantism ultimately shed a decisive light on each other. For one thing, Rohmer does not connect cinema and Kantian aesthetics in a straightforward way. Contrary to what the previous chapter(s) might have suggested, in spite of cinema’s capability to attain artistic and natural beauty and to tackle freedom, it would be too simplistic to maintain that Rohmer regarded cinema simply as the perfect match to Kant’s ideas on aesthetics. -
Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905. -
The Evolution of Renaissance Classicism
The Evolution of Renaissance Classicism From "World History Encyclopedia" Copyright 2011 by ABC-CLIO,LLC The term "Renaissance classicism" refers to a fundamental attribute of the period that scholars refer to as the European Renaissance, roughly 1400–1600. Renaissance classicism was an intellectual movement that sought to mimic the literature, rhetoric, art, and philosophy of the ancient world, specifically ancient Rome. Scholars, politicians, and philosophers looked to ancient literary and artistic models for inspiration, and in turn this love of the classical world is termed classicism. The interest in the classical world was not new in the fifteenth century. In fact, there were powerful classicist themes in medieval Europe’s scholarship, law, and art. However, when eighteenth- and nineteenth- century scholars sought to find the origins of their modern secular worldview, instead of pointing to the medieval classicists they pointed to the Italian (and other) classicists of the fifteenth and sixteenth centuries. Most notable among these modern scholars was the historian Jacob Burckhardt (1818–1897). Burckhardt claimed that the model of ancient Rome sparked a more secular individualistic society in Renaissance Italy. Burckhardt’s rosy view of the Renaissance generally ignored the importance of religion, the horrors of incessant warfare, and the agonies of daily life during the period. Nevertheless, his research did point to the importance of classicism in the intellectual life of the Renaissance, a point on which later scholars elaborated. > ELEGANCES OF THE LATIN LANGUAGE Lorenzo Valla’s (1407–1457) Elegances of the Latin Language (1444) is a paean to the ancient Roman orators. In this section, Valla castigates the medieval period for what he believes to be a lack of learning and an ignorance of the classical world. -
Chapter 26 Rococo to Neoclassicism: the 18Th Century in Europe And
Chapter 26 Rococo to Neoclassicism: The 18th Century in Europe and America Social, political, economic, and technological change, as well as transformation in the arts. In 1700 Louis XIV still ruled as Sun King at Versailles. His palace inspired construction of many grandiose homes in the early 18th century. By 1800 revolutions had overthrown monarchy in France and achieved independence in America from Britain. Industrial Revolution transformed economies. Death of Louis XIV in 1715 – elite abandoned court of Versailles and resided in hotels (townhouses) of Paris, decorated in ligg,hthearted, softer Rococo style. Aristocrats reestablished predominance as art patrons. The Rococo style was replaced by the Neoclassical, which was perceived as more democratic Enlightenment brought about a rejection of royal and aristocratic authority Neoclassicism was inspired by the unearthing of the ruins at Pompeii. Even if works of art depict current events or contemporary portraits, there are frequently classical allusions. The late eighteenth century was the age of the Industrial Revolution: new technologies such as cast iron were introduced into architecture, and for the first time it became more economical to carve from bronze than marble. 3 Rocaille (pebble) – small stones and shells that decorated grotto interiors (natural or man-made caves). Shell forms – principal motifs in Rococo ornamentation. Women dominated cultural sphere and held influential positions in Europe. Rococo salons –center of Parisian society Wealthy, ambitious, clever society hostesses, referred to as femmes savants (learned women) competed to attract most famous and accomplished people to their salons. More intimate and decentralized culture based in private homes. Rococo interiors were total works of art with elab orat e furnishings – ceramics, silver, small ppgaintings and tapestries.