DOCSLIB.ORG

Constructs Yale Architecture Fall 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Constructs Yale Architecture Fall 2009 Constructs Yale Architecture Fall 2009 Constructs Fall 2009 Table of Contents 02 Eric Bunge and Mimi Hoang/ nARCHITECTS 03 Lise Anne Couture/Asymptote 04 Reconsidering Rudolph by Brad Walters 06 James Stirling: Architect and Teacher by Enrique Ramirez Views on Stirling by Everardo Jefferson, Alexander Gorlin, Raymund Ryan 08 Worlds Away exhibit reviewed by Andrei Harwell 09 Spatial Illiteracies reviewed by Michael Abrahamson Hines Fund for Advanced Research 10 Modern Times and Palladio by Dietrich Neumann 11 In the Field Unspoken Borders reviewed by Kian Goh One Perspective from New Orleans by David Waggonner A Matter of Opinion reviewed by Michael Abrahamson 12 Sustainable Urbanism with Ljiljana Blagojevic, Alex Felson, Keith Krumwiede, Tim Love, and Ed Mitchell 16 Book Reviews Modernism in the Middle East reviewed by Tala Gharagozlou Alvar Aalto reviewed by Ken Tadashi Oshima Twenty Minutes in Manhattan reviewed by Ed Mitchell Greg Lynn Form reviewed by Pierre Alexander de Looz 18 Fall Events Symposium: Constructed Objects by John Stuart Gordon Exhibitions: The Green House What We Learned: The Yale Las Vegas Studio and the Work of Venturi Scott Brown & Associates New YSoA Books: Kahn Assistant professorship: Vol. 2 Building (in) the Future Bass, Vol. 4: Nick Johnson/FAT 19 Kroon Hall assessed by Mike Taylor, Patrick Bellew, and Mark Simon 20 Spring 2009 Lectures 22 Spring 2009 Advanced Studios 23 Vann Molyvann Project by Bill Greaves 24 Faculty News 26 Alumni News, Where and How to Work Charles Gwathmey: A Eulogy 2 CONSTRUCTS YALE ARCHITECTURE FALL 2009 ERIC BUNGE AND MIMI HOANG Eric Bunge and Mimi Hoang of nARCHITECTS are the Louis I. Kahn Visiting Assistant Professors in fall 2009. They will be giving a lecture, “Control,” on Thursday, September Eric Bunge & 3, and were interviewed in their nARCHI- Dumbo, Brooklyn, studio, by Nina TECTS, Rappaport for Constructs. Unpacking, Car Launch for Lexus, Mimi Hoang New York, 2006. nARCHI- bend and sway with the wind and change TECTS, Canopy color with the temperature. This influenced P.S.1 Young the design we are working on for the Buffalo Architects Niagara Medical Campus. We are focusing Program, on one street that will be a new green spine Long Island and public space for the campus—a new City, New York, 2004. linear park. We are using the crosswalk as a unifying design element along the park’s 3,300-foot length—varied widths of crosswalk bands slow down and speed up the pace. NR Like Burle Marx’s landscapes in Brazil? MH Yes, we are obsessed with him and know all the patterns. For Ordos, the environment is the catalyst for the build- ing concept and its morphology. It was our way to minimize the amount of thermal energy consumed, given that the houses are huge. We created a compact, fully condi- tioned inner house wrapped by a partially conditioned, protective outer house, which nARCHITECTS, Windshape, Savannah College of Art and Design, Lacoste, addresses how to deal with the harsh nARCHITECTS, scheme for the Ordos Villa-Villa, Inner Mongolia, China, 2008-10. France, 2006. desert climate. EB And our guilt. NR How is everyone dealing with Nina Rappaport How did you form NR When you make things out of repetition, we wanted to create variability. that aspect of the project? your partnership and come together as a components and assemble smaller pieces The switching bay windows and rear balco- EB It’s perhaps not surprising, but working team, in terms of dividing up the to form a larger whole, how is your method nies produce different light and view condi- the architects who have gone there have different roles in the office? different from other architects who use tions in each apartment, though their layout very different opinions about the context. I Eric Bunge We met at Harvard’s computer fabrication? How does the material is the same. The cladding also switches from think we began to see nuanced conditions GSD at the photocopy machine. .We are choice become a result of construction floor to floor and in front of the AC units to in China. .But there is some guilt, which very cagey about that last question; no one constraints? separate intake and exhaust air. The choice is why we made a smaller house within has yet succeeded in extracting that from us, MH A few projects share the desire of metal panels is tied to the switching the larger, required house. We have some mainly because there’s no simple answer. to use non-architectural materials—such as concept at the scale of cladding, whereas the misgivings about the urban plan, but at the Any idea that can survive the other’s brutal green bamboo or string—in a precise and bay windows and balconies operate at the same time what everyone describes as a criticism is the result of a shared debate, so engineered way or to develop a very simple scale of massing. zoo, we feel is the most powerful thing about the division of roles is naturally blurred. structure that in its experience and interactiv- NR How did the freedom of the the project. In fact, the unreal scale of large Mimi Hoang We started nARCHI- ity is varied and complex. In making models Ordos project ultimately provide you with houses in close proximity somehow allows it TECTS in 1999, soon after moving to New for Party Wall, we started with formally the restraints you normally seek out to to surpass the suburban. York. I was still working for Steven Holl at complicated flat surfaces that created guide a project? Was the design freedom NR How did you approach the the time. In 2001, I left Holl’s office, and we topographies when pulled apart from each overwhelming? design of the building envelope for your latest moved into a shared space on Essex Street other. We decided the interactivity was what EB At the larger scale, the variety project, the ABC Dbayeh Department Store with Lewis Tsurumaki Lewis and others, was interesting. So we opted for simple of experience within a limited palette of in Beirut? The lightness of a lattice in front of which helped us engage with New York archi- bands of foam that registered dynamic ideas is still operative. For the Ordos villa, a cavity embodies many of the same aesthet- tects and academics more easily. change rather than using formal complexity we designed a very simple brick box after ics as your other projects. NR I am fascinated by some formal as a departure point. we saw what Ai Weiwei and his group Fake MH The building is like an enormous threads in your work, from the more ephem- EB I think the process is organic Design are building in Beijing. We designed billboard on a highway, and we naturally eral installation pieces to the larger-scale since we are interested in making things real. a building within a building, what Kipnis worked through options that are about the projects. Many have the appearance of built We quickly sketch ideas and are fluid in our called the “ontology of the double.” There are differences between north- and southbound drawings, with strong gestural lines that are design process. One thing that ties this all three stacked volumes, each calibrated by traffic experience. It became a programmatic also structural. How does your interest in line together is that, in practice, we are not that different views, orientation, and use, so they and branding idea. We are doing everything as an element of structure or as a singular interested in process itself; we don’t have have different shapes. What is interesting is we can to stop them from putting up a sign; form to direct a project become three-dimen- an obsession with CAD/CAM and computer the intermediate space between them and so we’re integrating the logo into the façade. sional, especially in projects such as Canopy tools revolutionizing the world. We are inter- the envelope. It’s not heated but performs NR How do you combine teaching (PS1), Party Wall, and Windshape? ested in them insofar as they can help us, but passively and reaches the climatic and and practice, and how do they inform each EB There are a few things that we don’t want to be constrained by them. We experiential variety we seek in our projects, other? Why do you devote so much time to connect the projects: one is the desire to fill are very opportunistic: what is much more with very limited means. teaching in general? as much space as possible despite limited important is the effect, the economy, and NR The commonality between EB It’s challenging and interesting constraints, so there is a question of concep- the speed with which we can build things Canopy, Windshape, and the Ordos Villa- but very different from practice. We teach tual and material economy. This can lead to and how we get there. And we are critical Villa indicates an interest in the performance studios that unite political and tectonic an emphasis on a single material—a kind of about the legibility of the computer in our of architecture and working with climate. issues. This usually results in discrete archi- self-imposed rigor that sometimes results work. For instance, neither Windshape nor Climate has become a moniker in some tectural programs that have implications at in an assemblage in which I suppose you Canopy would have been possible without architectural projects: buildings don’t need an urban scale. We don’t focus on materials notice lines. the computer. In addition to all the laser-cut to fight nature but rather work with it.
Load more

Recommended publications
  • Het Fenomeen “Poeske” Scherens
    KATHOLIEKE UNIVERSITEIT LEUVEN FACULTEIT LETTEREN MASTER IN DE GESCHIEDENIS Het fenomeen “Poeske” Scherens Promotor Masterproef Prof. dr. D. VANYSACKER ingediend door HERPELINCK FRAN Leuven 2010-2011 Voorwoord Alsof hij soms even tot leven kwam, in een literaire wielerflits. Alsof hij soms even aan de einder voorbijvloog, in een welgemikte ‘kattensprong’. Jef “Poeske” Scherens is al even niet meer onder ons, maar zijn sportieve adem, evenals de ziel van zijn tijdsperiode, zijn vervat in honderden documenten, in archieven overal te lande, in privé-collecties, in oude kranten en tijdschriften. Het afgelopen jaar was er een van puzzelwerk. Puzzelstukjes vinden, was geen probleem. Punt was te kijken welk stukje het meest authentiek was. Vele stukjes blonken immers buitensporig fel. Jef “Poeske” Scherens was een overstijgende persoonlijkheid, die zowel op als naast de fiets wist te fascineren. Als sprintende baanwielrenner kende hij in de periode tussen de Twee Wereldoorlogen, het interbellum van de twintigste eeuw, veruit zijn gelijke niet. Scherens was als ‘fenomeen’ een ‘idool’, die supporters deed juichen, journalisten in de pen deed kruipen en lyrische reacties aan hen ontlokte. In een fervente poging op zoek te gaan naar een kern van waarheid en tijdsgevoel, was het vaak noodzakelijk mezelf te berispen, wanneer enthousiasme primeerde op kritische zin. Het leven van Jef Scherens rolt zich dan ook uit als een lofdicht, dat doorheen de jaren haast niet aan charme heeft ingeboet. Na een intensieve kennismaking met “Poeske”, wielerheld en volksfiguur, was ik anderzijds terdege verwonderd . De laatste decennia kenden wielerbelangstelling en ‘koersliteratuur’ een enorme hausse . Kronieken, biografieën en poëtische werken worden gekleurd door noeste renners en wervelende persoonlijkheden - al kan er sprake zijn van een chronologische en pragmatische richtlijn.
    [Show full text]
  • Assessment Actions
    Assessment Actions Borough Code Block Number Lot Number Tax Year Remission Code 1 1883 57 2018 1 385 56 2018 2 2690 1001 2017 3 1156 62 2018 4 72614 11 2018 2 5560 1 2018 4 1342 9 2017 1 1390 56 2018 2 5643 188 2018 1 386 36 2018 1 787 65 2018 4 9578 3 2018 4 3829 44 2018 3 3495 40 2018 1 2122 100 2018 3 1383 64 2017 2 2938 14 2018 Page 1 of 604 09/27/2021 Assessment Actions Owner Name Property Address Granted Reduction Amount Tax Class Code THE TRUSTEES OF 540 WEST 112 STREET 105850 2 COLUM 226-8 EAST 2ND STREET 228 EAST 2 STREET 240500 2 PROSPECT TRIANGLE 890 PROSPECT AVENUE 76750 4 COM CRESPA, LLC 597 PROSPECT PLACE 23500 2 CELLCO PARTNERSHIP 6935500 4 d/ CIMINELLO PROPERTY 775 BRUSH AVENUE 329300 4 AS 4305 65 REALTY LLC 43-05 65 STREET 118900 2 PHOENIX MADISON 962 MADISON AVENUE 584850 4 AVENU CELILY C. SWETT 277 FORDHAM PLACE 3132 1 300 EAST 4TH STREET H 300 EAST 4 STREET 316200 2 242 WEST 38TH STREET 242 WEST 38 STREET 483950 4 124-469 LIBERTY LLC 124-04 LIBERTY AVENUE 70850 4 JOHN GAUDINO 79-27 MYRTLE AVENUE 35100 4 PITKIN BLUE LLC 1575 PITKIN AVENUE 49200 4 GVS PROPERTIES LLC 559 WEST 164 STREET 233748 2 EP78 LLC 1231 LINCOLN PLACE 24500 2 CROTONA PARK 1432 CROTONA PARK EAS 68500 2 Page 2 of 604 09/27/2021 Assessment Actions 1 1231 59 2018 3 7435 38 2018 3 1034 39 2018 3 7947 17 2018 4 370 1 2018 4 397 7 2017 1 389 22 2018 4 3239 1001 2018 3 140 1103 2018 3 1412 50 2017 1 1543 1001 2018 4 659 79 2018 1 822 1301 2018 1 2091 22 2018 3 7949 223 2018 1 471 25 2018 3 1429 17 2018 Page 3 of 604 09/27/2021 Assessment Actions DEVELOPM 268 WEST 84TH STREET 268 WEST 84 STREET 85350 2 BANK OF AMERICA 1415 AVENUE Z 291950 4 4710 REALTY CORP.
    [Show full text]
  • Maquetas: Entre La Representación Y La Simulación / Live of the Models: Between Representation and Simulation
    20 16 ● EDITORIAL ● vida DE las Maquetas: ENTRE la REPRESENtaciÓN Y la SIMulaciÓN / LIVE OF THE MODELS: BETWEEN REPRESENTATION AND SIMULATION. Miguel Ángel de la Cova Morillo-Velarde ● ARTÍCULOS MAQUETAS 15 ● LA MAQUETA DE CÁDIZ DE 1779. UTILIDAD MILITAR O METÁFORA DE PODER / THE SCALE MODEL OF CADIZ AÑO VII 1779. MILITARY UTILITY OR POWER METAPHOR. Grabiel Granado Castro; José Antonio Barrera Vera; Joaquín Aguilar Camacho ● RETRATANDO SUEÑOS. FOTOGRAFÍAS DE MAQUETAS DE ARQUITECTURA MODERNA EN ESPAÑA / PORTRAYING 15 DREAMS. PHOTOGRAPHS OF MODERN ARCHITECTURE MODELS IN SPAIN. Iñaki Bergara Serrano ● TRASLACIONES MIESIANAS / MIESIANAS’ TRANSLATIONS. Valentín Trillo-Martínez ● JEAN PROUVÉ Y KONRAD WACHSMANN. DOS FORMAS DE UTILIZAR ARQUITECTURA ARQUITECTURA LA MAQUETA COMO HERRAMIENTA DE PROYECTO / JEAN PROUVÉ AND KONRAD WACHSMANN. TWO WAYS OF USING THE SCALE MODEL AS A TOOL FOR PROJECTING. Ruth Arribas Blanco ● BOCETANDO UNA “SÍNTESIS DE LAS ARTES”. LE CORBUSIER MODELA EN NUEVA YORK / SKETCHING A “SYNTHESIS OF ARTS”. LE CORBUSIER MODELS NEW YORK. Miguel Ángel de la Cova Morillo-Velarde ● LOUIS I. KAHN, EL PAISAJE TELÚRICO Y LAS MAQUETAS DE ARCILLA / LOUIS I. KAHN, THE TELLURIC LANDSCAPE AND CLAY MODELS. José María Jové Sandoval ● LA GENERACIÓN DEL ESTRUCTURALISMO HOLANDÉS A TRAVÉS PROGRESO DE SUS MAQUETAS. EL CASO DE HERMAN HERTZBERGER, 1958-1968 / DUTCH STRUCTURALISM GENERATION THROUGH ITS MODELS. THE CASE OF HERMAN HERTZBERGER, 1958-1968. Víctor Rodríguez Prada ● ENRIC MIRALLES Y LAS MAQUETAS: PENSAMIENTOS OCULTOS ENTRECRUZADOS Y OTRAS INTUICIONES / ENRIC MIRALLES AND MODELS: HIDDEN INTERTWINED THOUGHTS AND OTHER INTUITIONS. Jesús Esquinas Dessy; Isabel Zaragoza de Pedro ● ARQUITECTURAS MINIATURIZADAS Y SU CONTEXTUALIZACIÓN EN EL ARTE CONTEMPORÁNEO / MINIATURISED ARCHITECTURE AND ITS CONTEXTUALISATION IN CONTEMPORARY ART.
    [Show full text]
  • Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation
    Harvard Graduate School of Design Department of Architecture Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation Master of Architecture Undergraduate degree outside of Architecture + 105 graduate credit hours Related pre-professional degree + 75 graduate credit hours Year of the Previous Visit: 2006 Current Term of Accreditation: At the July 2006 meeting of the National Architectural Accrediting Board (NAAB), the board reviewed the Visiting Team Report for the Harvard University Department of Architecture. As a result, the professional architecture program: Master of Architecture was formally granted a six-year term of accreditation. The accreditation term is effective January 1, 2006. The program is scheduled for its next accreditation visit in 2012. Submitted to: The National Architectural Accrediting Board Date: 14 September 2011 Harvard Graduate School of Design Architecture Program Report September 2011 Program Administrator: Jen Swartout Phone: 617.496.1234 Email: [email protected] Chief administrator for the academic unit in which the program is located (e.g., dean or department chair): Preston Scott Cohen, Chair, Department of Architecture Phone: 617.496.5826 Email: [email protected] Chief Academic Officer of the Institution: Mohsen Mostafavi, Dean Phone: 617.495.4364 Email: [email protected] President of the Institution: Drew Faust Phone: 617.495.1502 Email: [email protected] Individual submitting the Architecture Program Report: Mark Mulligan, Director, Master in Architecture Degree Program Adjunct Associate Professor of Architecture Phone: 617.496.4412 Email: [email protected] Name of individual to whom questions should be directed: Jen Swartout, Program Coordinator Phone: 617.496.1234 Email: [email protected] 2 Harvard Graduate School of Design Architecture Program Report September 2011 Table of Contents Section Page Part One.
    [Show full text]
  • Spokts Philately
    s/J RMA SPOKTS SPORTS PHILATELISTS INTERNATIONAL PHILATELY Number 5 May - June 1979 Volume 17 THE IRISH RUGBY FOOTBALL UNION by B G Vincent On 9 September, 1974, the Irish Post Office issued two stamps to mark the centenary of the foundation of the Irish Rugby Football Union. The design, which is common to both stamps (3l'2P and 12P) was taken from an Irish Press photograph. Today it is accepted that Rugby Football had its origins at Rugby School. England, in 1823 when William Webb Ellis ran with the ball in hand, thus some­ what extending the rules of the game of football as played at that time. The Rugby code established itself quickly in England and it was being played at Cambridge University by 1839. A Rugby Football club was formed at Guy's Hospital in 1843 and soon the game had spread throughout the British Isles. The Rugby Football Union (English) was formed in 1871 and during that year the first Rugby Test Match was played _ England versus Scotland. And where does Ireland fit into this picture? Well, according to the Irish, right from the beginning. The Irish Post Office publicity brochure for this issue states, and I quote: " William Webb Ellis, who was the son of an Irish emigrant, and he himself may have been bore in Ireland." The authorative book, "Centenary History of the Rugby Football Union," has established Ellis's birthplace as Manchester, but continues to state: "Irishmen are sometimes wont to claim that William Webb Ellis was born at Tipperary " The Irish also claim to have founded the first Rugby Football Club in the world at Trinity College, Dublin, in 1854, but this cuts across the claim of the English who maintain that Guy's Hospital Club was formed in 1843- Trintity College -was certainly formed before any clubs in Scotland or Wales.
    [Show full text]
  • Company Profile 2020
    COMPANY PROFILE 2020 AN MISSION & VISION In each of its products, Pugnale combines uncompromising Pugnale has distinguished itself since its birth for unique connotations craftsmanship with design. of Italian style by designing eyewear collections with an extremely The strong know-how in the use of technologies, quality materials glamorous character and an unmistakable style. from Italy, Japan or Germany, and the unique and precise finishes, Research and technological knowledge combined with the innovative HANDCRAFTED are the absolute protagonists of every creation. use of techniques and materials are the foundations for creating The brand takes inspiration from our prestigious Italian background: excellence in the Made in Italy premium eyewear sector. our artistic and cultural heritage. Pugnale identifies itself in the market of independent eyewear Pugnale’s collections tell the charm and emotion of a bygone while manufacturers because it focuses more on sales topics, on product being interpreted in an extremely contemporary way. highlights, on the transfer of emotions and passions rather than on Pugnale knows it has a mission, to transfer all the know-how of the traditional commercial sales techniques. Italian production tradition of high quality to the world, enriching it It is precisely the concept of craftsmanship, exclusivity combined TECHNOLOGICAL with design and research contents to be able to satisfy the needs of with high quality that induces our ideal customers to choose and a sophisticated public attentive to values. appreciate our products. The deepest mission of Pugnale is therefore to recover the high The ambition to see our creations worn by an audience that loves to value of the craftsmanship belonging to the first eyewear factories stand out with personality and creativity.
    [Show full text]
  • Buildings for the Performing Arts This Page Intentionally Left Blank Buildings for the Performing Arts a Design and Development Guide
    Buildings for the Performing Arts This page intentionally left blank Buildings for the Performing Arts A design and development guide Second Edition Ian Appleton AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Architectural Architectural Press is an imprint of Elsevier Press Architectural Press is an imprint of Elsevier Ltd Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Road, Burlington, MA 01803 First published 1996 Reprinted 1997 Second edition 2008 Copyright © 2008 Ian Appleton. Published by Elsevier Limited. All rights reserved The right of Ian Appleton to be identified as the author of this work ha been asseted in accordance with the copyright, Designs and Patents Act 1988 No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic, mechincal, photocopying, recording or otherwise without the prior written permission of the publisher Permission may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone (ϩ44) (0) 1865 843830; fax (ϩ44) (0) 1865 853333; email: [email protected]. Alternatively you can submit your request online by visiting the Elsevier web site at http://elsevier.com/locate/ permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons to property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein. Becuse or rapid advances in the medical sciences, in particular, independent verification of diagnoses and drug dosages should be made.
    [Show full text]
  • PROPERTY DISPOSITION Health and Hospitals Corporation
    SUPPLEMENT TO THE CITY RECORD THE CITY COUNCIL-STATED MEETING OF WEDNESDAY, JANUARY 7, 2009 28 PAGES THE CITY RECORD THE CITY RECORD Official Journal of The City of New York U.S.P.S.0114-660 Printed on paper containing 40% post-consumer material VOLUME CXXXVI NUMBER 55 MONDAY, MARCH 23, 2009 PRICE $4.00 PROPERTY DISPOSITION Health and Hospitals Corporation . .1023 Sanitation . .1024 TABLE OF CONTENTS Citywide Administrative Services . .1022 Materials Management . .1023 Agency Chief Contracting Officer . .1024 Homeless Services . .1023 PUBLIC HEARINGS & MEETINGS Division of Municipal Supply Services 1022 School Construction Authority . .1024 Office of Contracts and Procurement . .1023 Police . .1022 Contract Administration . .1025 Board Meetings . .1013 Housing Authority . .1023 Auction . .1022 Bureau of Contracts Services . .1025 Administration for Children’s Services .1013 Purchasing Division . .1024 PROCUREMENT Youth and Community Development . .1025 Housing Preservation and Development 1024 City University . .1013 Administration for Children’s Services .1022 AGENCY RULES Human Resources Administration . .1024 Citywide Administrative Services . .1025 City Planning Commission . .1013 Citywide Administrative Services . .1023 Labor Relations . .1024 SPECIAL MATERIALS Division of Municipal Supply Services 1023 Employees’ Retirement System . .1021 Office of the Mayor . .1024 Tax Commission . .1026 Vendor Lists . .1023 Landmarks Preservation Commission . .1021 Criminal Justice Coordinator’s Office .1024 Changes in Personnel . .1052 Design and Construction . .1023 Parks and Recreation . .1024 LATE NOTICES Transportation . .1022 Contract Section . .1023 Contract Administration . .1024 Criminal Justice Coordinator . .1052 Voter Assistance Commission . .1022 Environmental Protection . .1023 Revenue and Concessions . .1024 Economic Development Corporation . .1052 THE CITY RECORD MICHAEL R. BLOOMBERG, Mayor Contractor/Address 1. Brooklyn Perinatal Network, Inc. MARTHA K.
    [Show full text]
  • School of Architecture 2010–2011
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Architecture 2010–2011 School of Architecture 2010–2011 BULLETIN OF YALE UNIVERSITY Series 106 Number 4 June 30, 2010 BULLETIN OF YALE UNIVERSITY Series 106 Number 4 June 30, 2010 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a special disabled veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation Managing Editor: Linda Koch Lorimer or gender identity or expression. Editor: Lesley K. Baier University policy is committed to a∞rmative action under law in employment of PO Box 208230, New Haven CT 06520-8230 women, minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans.
    [Show full text]
  • Architecture Program Report 7 September 2015
    ARCHITECTURE PROGRAM REPORT FOR THE NATIONAL ARCHITECTURAL ACCREDITATION BOARD 7 SEPTEMBER 2015 THE IRWIN S. CHANIN SCHOOL OF ARCHITECTURE THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART NADER TEHRANI, DEAN ELIZABETH O’DONNELL, ASSOCIATE DEAN The Irwin S. Chanin School of Architecture of the Cooper Union Architecture Program Report September 2015 The Cooper Union for the Advancement of Science and Art The Irwin S. Chanin School of Architecture Architecture Program Report for 2016 NAAB Visit for Continuing Accreditation Bachelor of Architecture (160 credits) Year of the Previous Visit: 2010 Current Term of Accreditation: From the VTR dated July 27, 2010 “The accreditation term is effective January 1, 2010. The Program is scheduled for its next accreditation visit in 2016.” Submitted to: The National Architectural Accrediting Board Date: 7 September 2015 The Irwin S. Chanin School of Architecture of the Cooper Union Architecture Program Report September 2015 Program Administrator: Nader Tehrani, Dean and Professor Chief administrator for the academic unit in which the Program is located: Nader Tehrani, Dean and Professor Chief Academic Officer of the Institution: NA President of the Institution: William Mea, Acting President Individual submitting the Architecture Program Report: Nader Tehrani, Dean and Professor Name of individual to whom questions should be directed: Elizabeth O’Donnell, Associate Dean and Professor (proportional-time) The Irwin S. Chanin School of Architecture of the Cooper Union Architecture Program Report September 2015 Section Page Section 1. Program Description I.1.1 History and Mission I.1.2 Learning Culture I.1.3 Social Equity I.1.4 Defining Perspectives I.1.5 Long Range Planning I.1.6 Assessment Section 2.
    [Show full text]
  • School of Architecture 2016–2017 School of Architecture School Of
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Architecture 2016–2017 School of Architecture 2016 –2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 4 June 30, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 4 June 30, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco
    UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”.
    [Show full text]