Michael Graves & Associates ( MGA) – Planning, Architecture, Interior Design, Product Design and Graphic Design
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YALE ARCHITECTURE FALL 2011 Constructs Yale Architecture
1 CONSTRUCTS YALE ARCHITECTURE FALL 2011 Constructs Yale Architecture Fall 2011 Contents “Permanent Change” symposium review by Brennan Buck 2 David Chipperfield in Conversation Anne Tyng: Inhabiting Geometry 4 Grafton Architecture: Shelley McNamara exhibition review by Alicia Imperiale and Yvonne Farrell in Conversation New Users Group at Yale by David 6 Agents of Change: Geoff Shearcroft and Sadighian and Daniel Bozhkov Daisy Froud in Conversation Machu Picchu Artifacts 7 Kevin Roche: Architecture as 18 Book Reviews: Environment exhibition review by No More Play review by Andrew Lyon Nicholas Adams Architecture in Uniform review by 8 “Thinking Big” symposium review by Jennifer Leung Jacob Reidel Neo-avant-garde and Postmodern 10 “Middle Ground/Middle East: Religious review by Enrique Ramirez Sites in Urban Contexts” symposium Pride in Modesty review by Britt Eversole review by Erene Rafik Morcos 20 Spring 2011 Lectures 11 Commentaries by Karla Britton and 22 Spring 2011 Advanced Studios Michael J. Crosbie 23 Yale School of Architecture Books 12 Yale’s MED Symposium and Fab Lab 24 Faculty News 13 Fall 2011 Exhibitions: Yale Urban Ecology and Design Lab Ceci n’est pas une reverie: In Praise of the Obsolete by Olympia Kazi The Architecture of Stanley Tigerman 26 Alumni News Gwathmey Siegel: Inspiration and New York Dozen review by John Hill Transformation See Yourself Sensing by Madeline 16 In The Field: Schwartzman Jugaad Urbanism exhibition review by Tributes to Douglas Garofalo by Stanley Cynthia Barton Tigerman and Ed Mitchell 2 CONSTRUCTS YALE ARCHITECTURE FALL 2011 David Chipperfield David Chipperfield Architects, Neues Museum, façade, Berlin, Germany 1997–2009. -
Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites. -
An Introduction to Architectural Theory Is the First Critical History of a Ma Architectural Thought Over the Last Forty Years
a ND M a LLGR G OOD An Introduction to Architectural Theory is the first critical history of a ma architectural thought over the last forty years. Beginning with the VE cataclysmic social and political events of 1968, the authors survey N the criticisms of high modernism and its abiding evolution, the AN INTRODUCT rise of postmodern and poststructural theory, traditionalism, New Urbanism, critical regionalism, deconstruction, parametric design, minimalism, phenomenology, sustainability, and the implications of AN INTRODUCTiON TO new technologies for design. With a sharp and lively text, Mallgrave and Goodman explore issues in depth but not to the extent that they become inaccessible to beginning students. ARCHITECTURaL THEORY i HaRRY FRaNCiS MaLLGRaVE is a professor of architecture at Illinois Institute of ON TO 1968 TO THE PRESENT Technology, and has enjoyed a distinguished career as an award-winning scholar, translator, and editor. His most recent publications include Modern Architectural HaRRY FRaNCiS MaLLGRaVE aND DaViD GOODmaN Theory: A Historical Survey, 1673–1968 (2005), the two volumes of Architectural ARCHITECTUR Theory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2 with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience, Creativity, and Architecture (Wiley-Blackwell, 2010). DaViD GOODmaN is Studio Associate Professor of Architecture at Illinois Institute of Technology and is co-principal of R+D Studio. He has also taught architecture at Harvard University’s Graduate School of Design and at Boston Architectural College. His work has appeared in the journal Log, in the anthology Chicago Architecture: Histories, Revisions, Alternatives, and in the Northwestern University Press publication Walter Netsch: A Critical Appreciation and Sourcebook. -
31295018689751.Pdf (8.512Mb)
^M'-^Ki'm-r- --' •« >i^'?fi O^t LQG The Design for a School of Art 'mi The Depot District Lubbock, Texas Robyn Giuiro^a '^^mX'> m KfiB^i?»5!^ppii|M^|(!f|?s Fall 1999 I^^^S-"* • . .M by Robyn Qulroqa A Thesis Architecture Submitted to the Architecture faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for The Degree of MASTERS OF ARCHITECTURE Jarfcesl White, Dean. College of Architecture December 1999 ii 5 2 a037cQ.L'J> /9 <^ r- •] ^r.^^ wt\' ~^Kitlft ii^ A^^m oj ii N (iW/!>«n#»ij%) 11 J IAB »? s; of IINSSI^ ' 04 THEORY 05 THEORY GOALS AND OBJECTIVES oe BACI^GROUND INFORMATION ON COLLAGE 24 THEORY ISSUES 25 THEORY ISSUE NUMBER ONE 26 THEORY ISSUE NUMBER TWO 27 THEORY ISSUE NUMBER THREE 26 THEORY CASE STUDIES 29 THEORY CASE STUDY NUMBER ONE: THE ANTHENEUM BY RICHARD MEIER THEORY CASE STUDY NUMBER TWO: ADDISON CONFERENCE AND THEATRE CENTRE 33 FACILITY TYPE 34 MISSION STATEMENT 35 ACTIVITY ANALYSIS 37 FACILITY PERFORMANCE REQUIREMENTS 40 SPATIAL ANALYSIS 56 SPATIAL SUMMARY 60 FACILITY TYPE CASE STUDIES 61 FACILITY TYPE CASE STUDY NUMBER ONE: CENTRE FOR THE VISUAL ARTS BY FRANK GEHRY 67) FAr:il ITY TYPE CASE STUDY NUMBER TWO: ART SCHOOL BY KUOVO & PARTANEN ARCHITECTS 111 OS i|Nii9D^ DESIGN PROCESS SCHEMATIC REVIEW DESIGN DEVELOPMENT COHCEFTONE CONCEPT TWO COHCEFTTHREE DESIGN RESPONSE RESPONSE TO THEORY ISSUES RESPONSE TO FACILITY TYPE PERFORMANCE REQUIREMENTS RESPONSE TO CONTEXT ISSUES IV -"" IABIH OJ ilNiSSiip 102 DOCUMENTATION 103 Overall Presentation Layout 104 Courtyard Level Plan if: 105 First Floor Plan 106 East and North Elevations 107 West and South Elevations 106 Transverse and Longitudinal Sections 109 Structural Axon 110 Site Plan and Mechanical Flans 111 Interior Perspective 112 Exterior Perspective 113 Mode! Photos 114 Conclusion 115 LIST OF ILLUTRATIONS 125 BIBLIOGRAPHY l£s iHaAgT 'AK I£s fiQABT The theory of artistic collage as an architectural design tool will be used in the design process. -
2018-19 Rome Prize Winners and Italian Fellows
L’American Academy in Rome annuncia i nuovi Vincitori del Rome Prize e gli Italian Fellows Artisti e ricercatori a cui viene dato tempo e spazio per pensare e lavorare a Roma I borsisti italiani sono Ila Bêka (Enel Foundation Italian Fellow in Architecture, Urban Design, and Landscape Architecture), Carmen Belmonte (Italian Fellow in Modern Studies), Invernomuto (Cy Twombly Italian Fellow in Visual Arts), Renato Leotta (Fondazione Sviluppo e Crescita CRT Italian Fellow in Visual Arts), Francesco Lovino (Italian Fellow in Medieval Studies), Virginia Virilli (Italian Fellow in Literature) e Francesco Zorzi (Tiffany & Co. Italian Fellow in Design) New York e Roma (13 aprile 2018) – L’American Academy in Rome (AAR) ha annunciato i vincitori del Rome Prize 2018–19 e le Italian Fellowship dedicate agli artisti e studiosi italiani. Queste borse di studio, altamente selettive, supportano il lavoro e la ricerca indipendente e di qualità nel campo delle arti e degli studi umanistici. I vincitori del Rome Prize e i borsisti italiani sono stati annunciati il 12 aprile 2018 durante la cerimonia di assegnazione dei Rome Prize intitolata ad Arthur and Janet C. Ross nel Frederick P. Rose Auditorium alla Cooper Union di New York. Dopo un’introduzione di Mark Robbins, Presidente e Amministratore Delegato dell’Accademia, borsista nel 1997, i vincitori del Rome Prize 2018–19 e i borsisti italiani sono stati presentati da Mary Margaret Jones, Presidente del Consiglio di Amministrazione, borsista nel 1998. Oltre ai 29 vincitori del Rome Prize, l’Accademia ha annunciato i vincitori delle 7 borse di studio italiane, attraverso cui artisti e ricercatori italiani vivono e lavorano all’interno della comunità dell’Accademia, dedicandosi ai propri progetti in un ambiente collaborativo e interdisciplinare con i loro colleghi americani. -
Research Article the Hidden Geometry of the Douglas House
Research Journal of Applied Sciences, Engineering and Technology 7(12): 2483-2490, 2014 DOI:10.19026/rjaset.7.556 ISSN: 2040-7459; e-ISSN: 2040-7467 © 2014 Maxwell Scientific Publication Corp. Submitted: July 22, 2013 Accepted: August 16, 2013 Published: March 29, 2014 Research Article The Hidden Geometry of the Douglas House Saleem M. Dahabreh Department of Architecture, University of Jordan, Jordan Abstract: This study aims to uncover the hidden geometry that regulates and orders the design of the Douglas House by Richard Meier. Richard Meier, over a five decade career, has been associated with a recognizable design language that has a clear set of formal characteristics and design themes, including among others: geometrical order exemplified in the use of modules and proportions and visual layering that organizes space in his buildings through the arrangement of successive planes across the visual field. Taking the Douglas house as a case study, the aim of the study is to show how these themes and motifs are employed in a particular building with a particular emphasis upon the geometrical ordering of building plans and elevations and the modular and proportional systems entailed in this ordering. This choice of emphasis is not coincidental: while other aspects of Meier’s language may be equally important from the point of view of the perceptual qualities or the aesthetic judgment of his buildings, geometrical ordering most closely regulates and interacts with the overall arrangement of formal elements of the building. The study concludes that the final form of the house depends on the interaction between a design program and a formal language but is not determined solely by any. -
The Art of Architecture
LEARNING TO LOOK AT ARCHITECTURE LOOK: Allow yourself to take the time to slow down and look carefully. OBSERVE: Observation is an active process, requiring both time and attention. It is here that the viewer begins to build up a mental catalogue of the building’s You spend time in buildings every day. But how often visual elements. do you really look at or think about their design, their details, and the spaces they create? What did the SEE: Looking is a physical act; seeing is a mental process of perception. Seeing involves recognizing or connecting the information the eyes take in architect want you to feel or think once inside the with your previous knowledge and experiences in order to create meaning. structure? Following the steps in TMA’s Art of Seeing Art™* process can help you explore architecture on DESCRIBE: Describing can help you to identify and organize your thoughts about what you have seen. It may be helpful to think of describing as taking a deeper level through close looking. a careful inventory. ANALYZE: Analysis uses the details you identified in your descriptions and LOOK INTERPRET applies reason to make meaning. Once details have been absorbed, you’re ready to analyze what you’re seeing through these four lenses: OBSERVE ANALYZE FORM SYMBOLS IDEAS MEANING SEE DESCRIBE INTERPRET: Interpretation, the final step in the Art of Seeing Art™ process, combines our descriptions and analysis with our previous knowledge and any information we have about the artist and the work—or in this case, * For more information on the Art of Seeing Art and visual literacy, the architect and the building. -
2015 West Coast Championships June 16-20 2015 by 19Turkeys
Volume 26 ~ Issue 6 ~ July 2015 Steve Parsons T/C: 300 Whisper 36 0 24 ML 2015 West Coast Championships Doug Hockinson T/C: 7 TC/U 23 0 15 June 16-20 2015 A T SO CO Notes Marvin Wahl T/C: 357 Mag. 8 0 5 By 19Turkeys U INT T SO CO Notes Russell Mowles XP-100: 7 BR 60 4 40 First and Foremost, a big thank you goes out to those folks that made this match possible. Bret Stuntebeck Rampro: 6.5 BR 60 3 40 Mike & Tyler Abel and Rick Redd worked diligently on Sunday before the match getting the Joe Cullison XP-100: 7 BR 60 2 40 range ready. Mike (Boomer) Aber was ever faithful every day checking guns, and Paul Tyler Abel Rampro: 6 BR 60 1 40 Hoadley was Super Welder keeping us in targets. And a special thanks goes out to Bret Stun- Dan Hagerty XP-100: 6.5 BR 59 0 39 tebeck for being the consummate brew master and fisherman and to Steve Parsons for cook- Russell Plakke T/C: 7 BR 59 0 39 ing the fish and all the shooters & significant others that contributed side dishes and desserts Mike Abel XP-100: 6.5 BR 59 0 39 for the Wednesday night fish fry. Richard Redd T/C: 6 BR 58 0 38 Jim Kesser T/C: 7 TC/U 58 0 38 Also, thanks to all our travelers from around the US, Canada and Australia because we just Steve Parsons XP-100R: 6 B 56 0 37 could not put this match on without the dedication you make coming and supporting us. -
Society of Fellows News American Academy in Rome
SOCIETY OF FELLOWS NEWS AMERICAN ACADEMY IN ROME GARDENS SPRING 2004 From the Editor Catherine Seavitt FAAR’98 The Latin word hortus translates as and the delicacy of life itself, through Society of Fellows NEWS "kitchen garden", which certainly its very materiality. A field of golden SPRING 2004 implies a very different notion than wheat is certainly a powerful image - Published by the Society of Fellows of FAAR’98 that of a large public park or a private epitomized in Agnes Denes 's The American Academy in Rome pleasure garden. Conceptually, the Wheatfield, the planting and harvesting 7 East 60 Street kitchen garden embodies notions of of two acres of wheat at the Battery New York, NY 10022-1001 USA growth, careful tending, and suste- Park landfill, New York, in 1982. This tel 212 751 7200 www.sof-aarome.org Catherine Seavitt FAAR’98 nance, as well as a deeper notion of is a work that profoundly addresses Editor: Co-Editors: Stefanie Walker FAAR’01 text the stewardship of the land. The capitalism and hunger as well as the Joanne Spurza FAAR’89 news cycling of nature is visible in the sea- sustainability of our own humanity. Brian Curran FAAR’94 obits sonal passage of fruits and vegetables, Agnes' Wheatfield is particularly SOF Liason: Elsa Dessberg as is the quirky character of plants - poignant in light of the aftermath of the eternal return of the tomatoes September 11, 2001. Contents and the certain invasion of the A garden captures the spiritual SOF President’s Message 3 rhubarb. The challenges of a small notion of the eternal return, and per- From the AAR President, New York 4 kitchen garden certainly have some haps no city matches that spirit more From the AAR Director, Rome 6 News From Rome 8 analog with each of our own person- than Rome, the Eternal City. -
Michael Rosenfeld Gallery @ Frieze New York Spotlight Stand D31 May 5-7, 2017 , 1967/1994, Polished Bronze and Silk on on Silk and Bronze Polished 1967/1994,
Michael Rosenfeld Gallery @ Frieze New York Spotlight Stand D31 May 5-7, 2017 , 1967/1994, polished bronze and silk on on silk and bronze polished 1967/1994, , FOR IMMEDIATE RELEASE (April 22, 2017 – New York) Michael Rosenfeld Gallery will present a spotlight position for Barbara Chase-Riboud (American, b.1939) at Frieze New York, concentrating on works from the 1960s and 1970s. The exhibition will in- clude a selection of sculpture and drawings; most works to Twins in Back Matisse’s be featured have never been exhibited in the United States. American-born, European-based au- thor, poet, and sculptor Barbara Chase- Riboud, will be attending Frieze New York on Thursday, May 4 from 2:00-6:00pm; she will be available for interviews. Following her seminal spotlight at (b.1939), Chase-Riboud Barbara cm 45.7 x 99.1 x 191.1 / 18” x 39” x 1/4” 75 base, steel painted Frieze New York, Michael Rosenfeld Gallery will present in September 2017 Barbara Chase-Riboud – Malcolm X: the series, begun in 1969. Additions to the series came in 2003, Complete, her second large-scale solo 2007-08 and 2016-17, totaling twenty sculptures. Known collec- exhibition at 100 Eleventh Avenue. tively as the Malcolm X Steles, the first thirteen sculptures were exhibited in 2014 to acclaim at the Philadelphia Museum of Art Scheduled to be on view from September 8 to November 4, and the Berkeley Art Museum (University of California Berkeley). 2017, the exhibition will focus on her now complete series Malcolm X Steles which she started in 1969. -
40 Anni Di Memphis in Mostra Al Vitra Design Museum
https://living.corriere.it/tendenze/design/40-anni-di-memphis-in-mostra-al-vitra-design-museum/ 40 anni di Memphis in mostra al Vitra Design Museum Il museo tedesco celebra il gruppo fondato da Ettore Sottsass che ha rivoluzionato l'estetica Anni 80. E influenza ancora generazioni di creativi. Dal 6 febbraio 2021 al 23 gennaio 2022 Testo di Luca Trombetta – Foto Studio Azzurro / Memphis Che stagione formidabile quella del gruppo Memphis. In soli sette anni – dal 1980/81 al 1987, circa – rivoluzionò il modo di vedere e di pensare il design dei decenni successivi e ancora oggi il suo influsso si ritrova nelle collezioni di diversi designer in una sorta di revival Anni 80, tra citazioni nostalgiche e coraggiosi omaggi. Collettivo italiano di design e architettura radunatosi a Milano attorno alla figura magnetica di Ettore Sottsass, Memphis fu l’espressione più alta del movimento Postmoderno in Italia e, con la sua forza dirompente, si affrancò dagli stereotipi del funzionalismo che avevano caratterizzato il design nostrano fino agli Anni 70, ricorrendo a colori sgargianti, forme geometriche, pattern optical, nonché una rilettura ironica e intelligente del kitsch. A quarant’anni dalla sua fondazione, il Vitra Design Museum di Weil am Rhein celebra l’anniversario del gruppo con la mostra Memphis: 40 Years of Kitsch and Elegance curata da Mateo Kries e in calendario dal 6 febbraio 2021 al 23 gennaio 2022. Attraverso una selezione di arredi, lampade, oggetti, disegni, fotografie e materiali d’archivio racconta la portata di una rivoluzione estetica che celebrava il Pop, il banale e il quotidiano e rompeva i tabù del buon gusto e del minimalismo. -
Postmodernism
Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted.