What to Do with Your Free Time in Italy
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Stay Local in Venice 2-Night Pre-Voyage Land Journey Program Begins In: Venice Program Concludes In: Venice
Stay Local in Venice 2-Night Pre-voyage Land Journey Program Begins in: Venice Program Concludes in: Venice Available on these Sailings: Journey 09-Apr-2022 Pursuit 16-Apr-2022 Journey 07-May-2022 Onward 13-May-2022 Onward 21-May-2022 Onward 11-Jun-2022 Onward 18-Jun-2022 Journey 18-Jul-2022 Journey 17-Aug-2022 Onward 27-Aug-2022 Journey 06-Oct-2022 Quest 07-Oct-2022 Pursuit 10-Oct-2022 Onward 10-Oct-2022 Pursuit 17-Oct-2022 Journey 15-Apr-2023 Journey 22-Apr-2023 Onward 06-May-202 Onward 13-May-2023 Onward 10-Jun-2023 Onward 17-Jun-2023 Onward 20-Jul-2023 Quest 26-Jul-2023 Quest 04-Aug-2023 Onward 22-Aug-2023 Onward 10-Sep-2023 Onward 04-Oct-2023 Quest 04-Oct-2023 Pursuit 07-Oct-2023 Journey 07-Oct-2023 Quest 12-Oct-2023 Pursuit 14-Oct-2023 Call 1-855-AZAMARA to reserve your Land Journey Venice is—without question—one of the most beautiful and unique cities in the world. Its iconic canals infuse the city with an air of antiquity, reinforced by the presence of ornate palazzos that go back centuries. Your stay includes a walking tour of the city that showcases the great Doge’s Palace and the Bridge of Sighs, so coined because it once led unfortunate souls to their fate in the prison. You’ll also enjoy skip-the-line entrance to Venice’s most famous site, St. Mark’s Basilica. Later, when the sun sets, enjoy a quintessential gondola ride. All Passport details should be confirmed at the time of booking. -
Suspension Bridges
Types of Bridges What are bridges used for? What bridges have you seen in real life? Where were they? Were they designed for people to walk over? Do you know the name and location of any famous bridges? Did you know that there is more than one type of design for bridges? Let’s take a look at some of them. Suspension Bridges A suspension bridge uses ropes, chains or cables to hold the bridge in place. Vertical cables are spaced out along the bridge to secure the deck area (the part that you walk or drive over to get from one side of the bridge to the other). Suspension bridges can cover large distances. Large pillars at either end of the waterways are connected with cables and the cables are secured, usually to the ground. Due to the variety of materials and the complicated design, suspension bridges are very expensive to build. Suspension Bridges The structure of suspension bridges has changed throughout the years. Jacob’s Creek Bridge in Pennsylvania was built in 1801. It was the first suspension bridge to be built using wrought iron chain suspensions. It was 21 metres long. If one single link in a chain is damaged, it weakens the whole chain which could lead to the collapse of the bridge. For this reason, wire or cable is used in the design of suspension bridges today. Even though engineer James Finlay promised that the bridge would stay standing for 50 years, it was damaged in 1825 and replaced in 1833. Suspension Bridges Akashi Kaiko Bridge, Japan The world’s longest suspension bridge is the Akashi Kaikyo Bridge in Japan. -
Venice & the Common Ground
COVER Magazine No 02 Venice & the Common Ground Magazine No 02 | Venice & the Common Ground | Page 01 TABLE OF CONTENTS Part 01 of 02 EDITORIAL 04 STATEMENTS 25 - 29 EDITORIAL Re: COMMON GROUND Reflections and reactions on the main exhibition By Pedro Gadanho, Steven Holl, Andres Lepik, Beatrice Galilee a.o. VIDEO INTERVIew 06 REPORT 30 - 31 WHAT IS »COMMON GROUND«? THE GOLDEN LIONS David Chipperfield on his curatorial concept Who won what and why Text: Florian Heilmeyer Text: Jessica Bridger PHOTO ESSAY 07 - 21 INTERVIew 32 - 39 EXCAVATING THE COMMON GROUND STIMULATORS AND MODERATORS Our highlights from the two main exhibitions Jury member Kristin Feireiss about this year’s awards Interview: Florian Heilmeyer ESSAY 22 - 24 REVIEW 40 - 41 ARCHITECTURE OBSERVES ITSELF GUERILLA URBANISM David Chipperfield’s Biennale misses social and From ad-hoc to DIY in the US Pavilion political topics – and voices from outside Europe Text: Jessica Bridger Text: Florian Heilmeyer Magazine No 02 | Venice & the Common Ground | Page 02 TABLE OF CONTENTS Part 02 of 02 ReVIEW 42 REVIEW 51 REDUCE REUSE RECYCLE AND NOW THE ENSEMBLE!!! Germany’s Pavilion dwells in re-uses the existing On Melancholy in the Swiss Pavilion Text: Rob Wilson Text: Rob Wilson ESSAY 43 - 46 ReVIEW 52 - 54 OLD BUILDINGS, New LIFE THE WAY OF ENTHUSIASTS On the theme of re-use and renovation across the An exhibition that’s worth the boat ride biennale Text: Elvia Wilk Text: Rob Wilson ReVIEW 47 ESSAY 55 - 60 CULTURE UNDER CONSTRUCTION DARK SIDE CLUB 2012 Mexico’s church pavilion The Dark Side of Debate Text: Rob Wilson Text: Norman Kietzman ESSAY 48 - 50 NEXT 61 ARCHITECTURE, WITH LOVE MANUELLE GAUTRAND Greece and Spain address economic turmoil Text: Jessica Bridger Magazine No 02 | Venice & the Common Ground | Page 03 EDITORIAL Inside uncube No.2 you’ll find our selections from the 13th Architecture Biennale in Venice. -
Theatre Tips Sion of the Men in Her Life, Unfolded on Stage
Issue 152 September 2018 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY GETTY IMAGES Theatre Tips sion of the men in her life, unfolded on stage. Broadway show inexpensively, but of course, Not every theatre experience is as emotion- you shouldn’t rely on winning to have plans M ELISSA JAR M EL ally charged as that one, but they all offer a to see theatre that night. Some shows like One of the best ways that I know how chance to see life from a different perspective Mean Girls, Book of Mormon, and Once On to take myself out of lab life is to see live the- and with a unique group of people. In future This Island offer in person lotteries every atre, and I’m lucky that New York City offers posts, I hope to highlight shows I’ve watched day that are usually drawn two hours before an overwhelming number of options to do on and off Broadway, but this time I want to the performance. In the last couple of years, this affordably (though Hamilton ticket pric- give you tips for seeing theatre on a budget. many shows have begun to offer digital lot- es may have you fooled about this). If you are a full time student, teacher, tery options. Broadway Direct (https://lot- One of the aspects I love most about or faculty member (or other qualifying cat- tery.broadwaydirect.com/) offers digital lot- going to the theatre is the acute feeling that egory), the Theatre Development Fund is teries for Lion King, Aladdin, Spongebob, and I am part of a connected community. -
Architecture and the City in Humanist Urban Culture – the Case of Venice
Proceedings of the 11th Space Syntax Symposium #104 CITY-CRAFT AND STATECRAFT: Architecture and the City in Humanist Urban Culture – the case of Venice SOPHIA PSARRA UCL, London, United Kingdom [email protected] ABSTRACT Architecture is defined by intentional design, while cities are the product of multiple human actions over a long period of time. This seems to confine us between a view of architecture as authored object and a view of the city as authorless socio-economic process. This debate goes back to the separation of architecture from its skill base in building craft that took place in the Renaissance, including its division from the processes by which cities are produced by clients, users, regulatory codes, markets and infrastructures. As a result, architecture is confined in exceptional cases to the status of iconic buildings, or more generally to the status of buildings as economic production. Currently, buildings and cities are appropriated by digital technology and ubiquitous computing as a way of managing the city’s assets. Digital technologies integrate designing with making, informational models of buildings with geographic information systems and digital mapping. What had to be separated from city-making practices in order to raise architecture to a different status is increasingly re-integrated through digital infrastructure. As for architecture, traditionally engaged with the design of objects rather than networks or systems, is deprived of relevance in shaping social capital, politically and intellectually sidelined. Focusing on the Piazza San Marco in relationship to the urban fabric of Venice this paper traces the interlocking spheres of self-conscious architecture, the institutional and intellectual resources mobilised by Venetian statecraft and the networked spaces of everyday action. -
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................ -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
"Nuper Rosarum Flores" and the Cathedral of Florence Author(S): Marvin Trachtenberg Source: Renaissance Quarterly, Vol
Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence Author(s): Marvin Trachtenberg Source: Renaissance Quarterly, Vol. 54, No. 3 (Autumn, 2001), pp. 740-775 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/1261923 . Accessed: 03/11/2014 00:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 192.147.172.89 on Mon, 3 Nov 2014 00:42:52 AM All use subject to JSTOR Terms and Conditions Architectureand Alusic Reunited: .V A lVewReadi 0 u S uperRosarum Floresand theCathedral ofFlorence. byMARVIN TRACHTENBERG Theproportions of the voices are harmoniesforthe ears; those of the measure- mentsare harmoniesforthe eyes. Such harmoniesusuallyplease very much, withoutanyone knowing why, excepting the student of the causality of things. -Palladio O 567) Thechiasmatic themes ofarchitecture asfrozen mu-sic and mu-sicas singingthe architecture ofthe worldrun as leitmotifithrough the histories ofphilosophy, music, and architecture.Rarely, however,can historical intersections ofthese practices be identified. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
Venice & Florence
Venice & Florence from £ 1,095.00 per person Based on 2 adults (August 2020 departure) Venice Florence Italy Italy 2 2 3 1 6 DESTINATIONS HOTELS TICKETS TRANSFERS NIGHTS Rail Tickets included Flights not included in the price of the experience: to be added as per your personal choice of UK departure airport *Price and itinerary are subject to change Call our Sales Experts for a Tailor-made Package 0208 973 2292 Venice From day 1 to day 4 (06/Aug/2020 > 09/Aug/2020) Italy About the city Perhaps no city is as fabulous as Venice, a metropolis built upon pilings, a labyrinth poised over a lagoon. 3 Venice has been called the drawing room of Europe, and indeed for centuries the city was a sanctuary for ideas and idealists, a crossroad of the Byzantine and Roman worlds. Today Venice is a different kind of drawing room. Wealthy visitors clamber into gondolas to gawk at the Byzantine palaces while being serenaded by accordionists and art appreciators stand on tiptoe for a glimpse of Renaissance masterpieces. No monument is as memorable as the city itself, so use the major sights only as an excuse for wandering. Venice revolves around piazza San Marco. The best feature of the mosaic-covered Basilica di San Marco is the Pala D’Oro, a glittering gold Byzantine bas-relief. The Torre dell’Orologio, left of San Marco, is a beautifully embellished clock tower. For culture vultures check the Accademia for the best of Venetian paintings. Some say that the tourist Venice is indeed Venice, but there are other Venices as well. -
The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS. -
OGGETTO: Venezia – Ex Palazzo Reale
MINISTERO PER I BENI E LE ATTIVITA’ CULTURALI DIREZIONE REGIONALE PER I BENI CULTURALI E PAESAGGISTICI DEL VENETO Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna Palazzo Ducale, 1 V e n e z i a PERIZIA DI SPESA N. 23 del 2 luglio 2012 D.P.C.M. 10 Dicembre 2010 di ripartizione della quota dell’otto per mille dell’IRPEF a diretta gestione statale per l’anno 2010 RELAZIONE STORICA E RELAZIONE TECNICA CON CRONOPROGRAMMA VENEZIA – PIAZZA SAN MARCO LAVORI DI CONSERVAZIONE DELLA FACCIATA, DEL PORTICO E DELLE COPERTURE DELLE PROCURATIE NUOVE – Campate XI – XXXVI C.U.I. 13854 CUP F79G10000330001 Venezia, 2 LUGLIO 2012 IL PROGETTISTA Visto:IL SOPRINTENDENTE Arch. Ilaria Cavaggioni arch. Renata Codello IL RESPONSABILE DEL PROCEDIMENTO Arch. Anna Chiarelli Venezia - Procuratie Nuove o Palazzo Reale Intervento di conservazione della facciata principale e dalla falda di copertura (…) guardatevi dal voler comparire sopra le cose fatte: accomodatele, assicuratele, ma non aggiungete, non mutilate, e non fate il bravo. Giuseppe Valdier L’Architettura Pratica, III, p. 115 Relazione illustrativa con cenni sulla storia della fabbrica SOMMARIO 1. Introduzione 2. Cenni sulla storia della fabbrica 3. Caratteri stilistici 4. Caratteri costruttivi 5. La ricerca d’archivio 6. Stato di conservazione 7. Descrizione dell’intervento: linee guida e tecniche 8. Riferimenti bibliografici 1. Introduzione Molti degli aspetti descritti in questa relazione, relativi alla vicenda storica della fabbrica delle Procuratie Nuove, alle caratteristiche stilistiche e costruttive della facciata principale del palazzo, al suo stato di conservazione, ecc., si basano su ipotesi fondate sull’osservazione a distanza, ai piedi della fabbrica, sulla letteratura artistica consultata, su precedenti restauri documentati, su analogie con le Progetto definitivo 2 Venezia - Procuratie Nuove o Palazzo Reale Intervento di conservazione della facciata principale e dalla falda di copertura fabbriche coeve, sulle raccomandazioni dei manuali storici, ecc.