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It's So Easy Being Green
National Aeronautics and Space Administration roundupLyndon B. Johnson Space Center JSC2008E020395 NASA/BLAIR It’s so easy being green APRIL 2008 ■ volume 47 ■ number 4 A few safetyrelated events have been on my mind recently, and I need your help! First of all, I want to emphasize there is nothing we do in our space program that would require us to take safety shortcuts or unnecessary risks. Spaceflight is inherently risky, including the development and testing of stateoftheart materials and designs. To be perfectly safe, we would never leave the ground, but that is not the business we chose and it is not the mission our nation gave us. But we should not and cannot add unnecessary risks. None of us should ever feel pressured to do anything we deem unsafe in order to meet a schedule. We have learned to launch when we are ready and not before, and I’m impressed with the number of times we have delayed launches because of reasonable concerns expressed by individuals. My point is: don’t let anyone pressure you into doing something that you consider unsafe. I will back you up. Second, I am concerned that there is reluctance on the part of some folks to report safety incidents such as minor injuries or mishaps or close calls. Their fear is that such reports will affect our safety metrics, such as lost time, days away, Occupational Safety and Health Administration recordable, etc. Let me state very clearly and forcefully that the sole goal of director our safety program is to make our work environment as safe as possible for all our employees. -
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 the Robert Menschel Architecture and Design Gallery, Third Floor
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 The Robert Menschel Architecture and Design Gallery, third floor Endless House considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways. The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come. Work by architects and artists spanning more than seven decades are exhibited alongside materials from Kiesler’s Endless House design and images of its presentation in MoMA’s 1960 Visionary Architecture exhibition. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. Together these works demonstrate how the dwelling occupies a central place in a cultural exchange across generations and disciplines. Organized by Pedro Gadanho, Curator, Department of Architecture and Design, The Museum of Modern Art Architecture and Design Collection Exhibitions are made possible by Hyundai Card and Hyundai Capital America. -
Nowe Miasto Pod Ziemią New Underground City
EWA WĘCŁAWOWICZ-GYURKOVICH∗ NOWE MIASTO POD ZIEMIĄ NEW UNDERGROUND CITY Streszczenie Obserwowana na przełomie wieków fascynacja formami organicznymi, zakrzywionymi bądź pofałdowanymi zmusza do sięgania do świata przyrody, by odkrywać ją niejako na nowo. Szeroki kontekst środowiska, pejzaż, większe fragmenty natury nie zaskakują w analizie projektowej. Nie przypadkiem znowu powracamy do obecnej w awangardzie od lat 70. Sztuki Ziemi. Różnorodność bazująca na topografii terenu staje się podstawową wytyczną wszelkich działań. Słowa kluczowe: miasto, architektura współczesna Abstract Fascination with organic, bent, or undulating forms, observable at the turn of centuries, calls for reference to the world of nature to discover it once again. Broad context of the environment, landscape, bigger fragments of nature do not surprise in design analysis. It is not accidental that we return to the Art of Earth, present in avant-garde since the 70s. Variety basing on topography of the site becomes the guideline of all activity. Keywords: city, contemporary architecture ∗ Dr inż. arch. Ewa Węcławowicz-Gyurkovich, Instytut Historii Architektury i Konserwacji Zabytków, Wydział Architektury, Politechnika Krakowska. 196 (...) z miastami jest jak ze snami: wszystko co wyobrażalne może się przyśnić, ale nawet najbardziej zaskakujący sen jest rebusem, który kryje w sobie pragnienie lub jego odwrotną stronę – lęk. Miasta jak sny są zbudowane z pragnień i lęków, nawet jeśli wątek ich mowy jest utajony, zasady – absurdalne, perspektywy – złudne, a każda rzecz kryje w sobie inną (...) Italo Calvino, Niewidzialne miasta1 Nowe Centrum Kulturalne prowincji Galicja w zachodnio-północnej Hiszpanii zajmuje całe wzgó- rze na zachodnim pogórzu Gór Kantabryjskich, na przedmieściach miasta Santiago de Compostela. Region Galicji od X w. p.n.e. -
EL Education Core Practices
EL Education Core Practices A Vision for Improving Schools EL Education is a comprehensive school reform and school development model for elementary, middle, and high schools. The Core Practice Benchmarks describe EL Education in practice: what teachers, students, school leaders, families, and other partners do in fully implemented EL Education schools. The five core practices—learning expeditions, active pedagogy, school culture and character, leadership and school improvement, and structures—work in concert and support one another to promote high achievement through active learning, character growth, and teamwork. The Core Practice Benchmarks serve several purposes. They provide a comprehensive overview of the EL Education model, a planning guide for school leaders and teachers, a framework for designing professional development, and a tool for evaluating implementation. Each of the five core practices is comprised of a series of benchmarks. Each benchmark describes a particular area of practice and is organized by lettered components and numbered descriptors. A Different Approach to Teaching and Learning In EL Education schools… Learning is active. Students are scientists, urban planners, historians, and activists, investigating real community problems and collaborating with peers to develop creative, actionable solutions. Learning is challenging. Students at all levels are pushed and supported to do more than they think they can. Excellence is expected in the quality of their work and thinking. Learning is meaningful. Students apply their skills and knowledge to real-world issues and problems and make positive change in their communities. They see the relevance of their learning and are motivated by understanding that learning has purpose. Learning is public. -
“Shall We Compete?”
5th International Conference on Competitions 2014 Delft “Shall We Compete?” Pedro Guilherme 35 5th International Conference on Competitions 2014 Delft “Shall we compete?” Author Pedro Miguel Hernandez Salvador Guilherme1 CHAIA (Centre for Art History and Artistic Research), Universidade de Évora, Portugal http://uevora.academia.edu/PedroGuilherme (+351) 962556435 [email protected] Abstract Following previous research on competitions from Portuguese architects abroad we propose to show a risomatic string of politic, economic and sociologic events that show why competitions are so much appealing. We will follow Álvaro Siza Vieira and Eduardo Souto de Moura as the former opens the first doors to competitions and the latter follows the master with renewed strength and research vigour. The European convergence provides the opportunity to develop and confirm other architects whose competences and aesthetics are internationally known and recognized. Competitions become an opportunity to other work, different scales and strategies. By 2000, the downfall of the golden initial European years makes competitions not only an opportunity but the only opportunity for young architects. From the early tentative, explorative years of Siza’s firs competitions to the current massive participation of Portuguese architects in foreign competitions there is a long, cumulative effort of competence and visibility that gives international competitions a symbolic, unquestioned value. Keywords International Architectural Competitions, Portugal, Souto de Moura, Siza Vieira, research, decision making Introduction Architects have for long been competing among themselves in competitions. They have done so because they believed competitions are worth it, despite all its negative aspects. There are immense resources allocated in competitions: human labour, time, competences, stamina, expertizes, costs, energy and materials. -
Serial Pinboarding in Contemporary Television
Serial Pinboarding in Contemporary Television Anne Ganzert Serial Pinboarding in Contemporary Television Anne Ganzert Serial Pinboarding in Contemporary Television Anne Ganzert University of Konstanz Konstanz, Germany ISBN 978-3-030-35271-4 ISBN 978-3-030-35272-1 (eBook) https://doi.org/10.1007/978-3-030-35272-1 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2020 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional affiliations. -
National Register of Historic Places
United States Department of the Interior NATIONAL PARK SERVICE 1849 C Street, N.W. Washington, D.C. 20240 The attached property, the Dover Green Historic District in Kent County, Delaware, reference number 77000383, was listed in the National Register of Historic Places by the Keeper of the National Register on 05/05/1977, as evidenced by FEDERAL REGISTER/WEEKLY LIST notice of Tuesday, February 6,1979, Part II, Vol. 44, No. 26, page 7443. The attached nomination form is a copy of the original documentation provided to the Keeper at the time of listing. ational Register of Historic Places Date S:/nr_nhl/jjoecke/archives/inventoriesandfrc/certificanletter/certifyletter . 1MOO ,M-*° UNITEUSTATESUti'AKl/SUti'ARl/ )M)NTOJ THE INTERIOR IFoTh, V UK ONLY NATIONALIATIONAL fAiik SESERVICfc NATIONAL REGISTER OF HISTORIC PLACES RECEIVED INVENTORY-. NOMINATION FORM DATE ENTERED SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ____ TYPE ALL ENTRIES •• COMPLETE APPLICABLE SECTIONS | NAME HISTORIC Dover, Brother's Portion AND/OH COMMON Dover Green Historic District | LOG ATI ON STREETINUMBER Between North, South, and East Streets ____and Governors avenue__________ .... _ _NOTFORPUiU CATION CITY.TOWH CONGRESSIONAL DISTniCT Dover One STATE CODE COUNTY Delaware 10 Kent - 001* ^CLASSIFICATION i CATEGORY OWNERSHIP STATUS PRESENTUSE ', X-DISTRICT —PUPLIC X-OCCUPIED —AGRICULTURE X— MUSEUM _ BUILDIMGIS) — PRIVATE — UNOCCUPIED &COMM[RaAL X— PARK —STRUCTURE X.BOTH —WORK IN PROGRESS -.EDUCATIONAL X_ PRIVATE RESIDENCE { — SITE PUBLIC ACQUISITION ACCESSIBLE — ENTERTAINMENT X_REUGtOOS — OBJECT «IN PROCESS —YES' RESTRICTED X.COVERNMENT _SC1ENTIFIC _ BEING CONSIDERED X-YES. UNRESTRICTED ^INDUSTRIAL —TRANSPORTATION _NO —MILITARY ™01HER OWNER OF PROPERTY £:tate, County, City Governments, and Private Owners STREET li NUMBER CITY. -
Arc De La Villette Competition Entry, 1982, Original Image Cropped
OMA, Parc de la Villette competition entry, 1982, original image cropped, http://oma.eu/projects/parcdelavillette ARC 201: Design Studio 3: Process, Process, Process SYLLABUS FALL 2018 CREDITS 6 CLASS HOURS MWF 1:00 pm – 4:20 pm 1 2018 ARC201 Syllabus INSTRUCTORS Mustafa Faruki mustafa@thelablab.com Crosby 120 Julia Jamrozik (coordinator) [email protected] Crosby 101 Virginia Melnyk [email protected] Crosby 110 Nellie Niespodzinski [email protected] Crosby 160 Sasson Rafailov [email protected] Crosby 130 Jon Spielman [email protected] Crosby 150 ELIGIBILITY ARC102: Architectural Design Studio. Architecture majors only. PREREQUISITES/COREQUISITES ARC311: Architectural Media 3 required. ARC 241: Environmental Systems – recommended. These courses will be linked in content and schedule. COURSE DESCRIPTION How do we design? What drives ideas and what generates concepts? How do we productively and critically engage with the vast history and contemporary practice of architecture in the process? How do we design places that are rooted in their location but reflective of the past and aspiring to a better future? How do we meld idealism with practicality? This studio will not offer answers to all of these questions but it will introduce one methodology and prompt a selfconscious and introspective approach to the design process. The studio is guided by ideas of morphology and context. Morphology is understood as formfinding or the deliberate, logical and wellargumented development of a formal strategy. Context is understood as the relation to site at different scales and through different lenses (physical, social, cultural) and includes the history of the discipline of architecture. -
Jeffrey R. Matz Architects LLC, 200 Henry St., Stamford, CT 06902 Phone
Jeffrey R. Matz Architects LLC, 200 Henry St., Stamford, CT 06902 Phone: 203-722-3686 Mobile: 203-722-3686 Email: [email protected] Web: jrmallc.com Resume 2000-present Jeffrey R. Matz Architects, LLC, Stamford, Connecticut Residential additions, alterations, and new construction. L.M. Reid Group, Wilton, Connecticut Architectural Consultant, Residential additions, alterations, and new construction. J. Raymond Matz Architects, Norwalk, Connecticut Architectural Consultant, Historical preservation, multi-family, senior housing; residential additions and alterations. 1999 - 2000 SDR and Associates, East Hampton, New York. Architectural Consultant, Custom residential cabinetry, millwork and furniture design. 1998 - 1999 Frederick Stelle Company, Inc., Bridgehampton, New York. Architectural Consultant on per job basis. Conceptual master planning for 130 acre, 600,000 square foot private school campus in Eastern Long Island. 1993 - 1998 Kaehler/ Moore Architects, Greenwich, Connecticut. Project Architect. Residential additions, alterations and new construction. 1991 - 1993 William A. Kelly & Company Katonah, New York. Construction Project Management; Residential additions and alterations, architectural restoration of country estate. 1989 - 1991 Russell Gibson von Dohlen, White Plains, New York. Project Architect. Water Treatment Facility, space planning and interior redesign, Pitney Bowes Main Plant. Green House Banquet Hall, Co-op City. 1985 - 1989 SMS Architects, New Canaan, Connecticut. Project Architect. Addition to country club, mid-rise office building, retail building complex and parking garage, private residence, addition to private art gallery. 1984 Gwathmey Siegel andAssociates, New York, New York. Architect Intern. Design development: Knoll International furniture showroom. Construction documents: medical condominium complex, law firm interior cabinet and fumiture millwork. page 2 1979 - 1983 J. Raymond Matz, AIA, Architect and Planner, White Plains, New York. -
Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1
Deconstructivism: Richness or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1 1School of Landscape Architecture, Beijing Forestry University, 35 Qinghua East Road Beijing, 100083 China Abstract: In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world’s largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We’ve based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor’s satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor’s satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, -
Gaiás Cidade Da Cultura
ENG 8 GAIÁS, CITY OF CULTURE 10 ARCHITECTURE 12 THE CITY OF CULTURE IN FIGURES 13 GAIÁS CENTRE MUSEUM 14 LIBRARY AND ARCHIVE OF GALICIA 15 CINC. NEW TECHNOLOGIES BUILDING 16 GAIÁS CENTRE FOR ENTREPRENEURSHIP (CEM) 17 HEJDUK TOWERS AND OUTDOOR SPACES 18 FOREST OF GALICIA AND GREEN AREAS 19 CULTURAL PROGRAM 20 EVENTS 21 MAP 6 GAIÁS—CITY OF CULTURE cidadedacultura.gal GAIÁS, CITY OF CULTURE The City of Culture presents itself as a driver to promote innovative projects in the field of culture, entrepreneurship and technology, and a point to connect Galicia to the rest of the world. Built on the top of Mount Gaiás, one of the hills surrounding Santiago de Compostela, this city that seems to emerges from the earth stands as an architectural icon of modern Galicia, in dialogue with the centuries- GAIÁS CENTRE LIBRARY AND old Compostela, a World Heritage site and MUSEUM ARCHIVE OF destination of the Way of Saint James. Its beauty and versatility GALICIA render this the perfect venue They preserve the bibliographical Open to the public since the year 2011, the to host temporary exhibitions, and documentary memory of City of Culture of Galicia was inaugurated performing arts shows and large- Galicia, and they act as the head scale events. of the public network of libraries by the then Prince and Princess of Asturias, and archives. now their majesties King Felipe de Borbón and Queen Letizia, of Spain. This powerful infrastructure, surrounded by nature areas, houses these four buildings: 7 GAIÁS—CITY OF CULTURE cidadedacultura.gal GAIÁS CENTRE CENTRE FOR GREEN AREAS FUNDACIÓN CIDADE FOR ENTREPRE- CULTURAL On the slopes of Mount Gaiás DA CULTURA DE NEURSHIP INNOVATION grows the Forest of Galicia, with GALICIA over nine thousand native trees. -
Revisiting Giancarlo De Carlo's Participatory Design Approach
heritage Article Revisiting Giancarlo De Carlo’s Participatory Design Approach: From the Representation of Designers to the Representation of Users Marianna Charitonidou 1,2,3 1 Department of Architecture, Institute for the History and Theory of Architecture (GTA), ETH Zurich, Stefano-Franscini-Platz 5, CH 8093 Zurich, Switzerland; [email protected] 2 School of Architecture, National Technical University of Athens, 42 Patission Street, 106 82 Athens, Greece 3 Faculty of Art History and Theory, Athens School of Fine Arts, 42 Patission Street, 106 82 Athens, Greece Abstract: The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo0s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches.