Expo Milano 2015
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Sowing the Seeds
The UAE pavilion designed by Sir Norman Foster to resemble sand dunes at the Milan Expo 2015 SOWING THE SEEDS Could the $880 million Expo 2015 be a mere exercise in vanity or is there any substance to its message? GC visits Milan as a precursor to Expo 2020 in Dubai BY IVAN CARVALHO PHOTOGRAPHY BY JESSICA PEPPER-PETERSON very five years countries come together for an Energy for Life highlights the latest developments in agriculture extravagant show unlike any other: the world’s fair. and sustainable food production to prepare the world for the Since 1851, when London’s Hyde Park hosted the challenge of providing for a global population expected to top first edition and erected the impressive Crystal Palace to greet nine billion in 2050. visitors, the universal exposition has served as a showcase for Organisers are optimistic that the six-month event, which nations to display their industrial prowess and present their runs until October, will give a much-needed shot in the arm vision of the future. to a local economy looking to shake off years of recession. A Once great gatherings where major technological advances business destination for those in finance, fashion and furniture, were unveiled to an eager public, in today’s instant access world hopes are high in Milan for a big influx of tourists, who normally of the internet the fair has evolved into an elaborate exercise stop in the Lombard capital for a brief stint of shopping before of nation branding, where countries fly the flag and promote spending the bulk of their money at more popular sightseeing tourism more than trade. -
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. -
Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
Organiser's Guide for International Horticultural Exhibitions
Organiser’s Guide for International Horticultural Exhibitions A guide to the planning and organisation of an international horticultural exhibition About the authors This report was written by Sven Stimac and Manuela Dimuccio. Sven Stimac has been in the World Expo and Horticultural Exhibition field for over 20 years, both as a consultant and as a director. Manuela Dimuccio is international relations professional with over 8 years of experience across major international organisations and geographies. The text was updated by AIPH International Relations Manager Elena Terekhova in 2020. She currently works for AIPH as International Relations Manager in the office of Secretary General. Notice and disclaimer This report is copyright to the International Association of Horticultural Producers (AIPH) except where otherwise noted. To the extent permitted by law, AIPH will not be liable by reason of breach of contract, negligence or otherwise for any loss or consequential loss (including loss of anticipated profits, damage to reputation or goodwill, loss of expected future business, damages, costs or expenses payable to any third party or other indirect losses) occasioned by any person or entity acting or omitting to act or refraining from acting in reliance on this report or the data and/or information used to compile the same. Copy last updated in September 2020. Artwork by CSM Live. 2 Foreword We live in a world facing many challenges. The need to live in a sustainable way and to protect the environment we inhabit is now more important than ever. As the world becomes increasingly urbanised so society faces challenges of poor health, crime and economic crisis. -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
I Total Actiuni Realizate in 292 206 171 111 Trimestrul II Al Anului 2017 38 36
Ra port asupra actiunilor intreprinse de misiunile diplomatice ~i oficiile consulare pe dimensiunea diplomatiei economice pe parcursul trimestrului IV 2017 Legenda: i - intrevederi; D - diseminare/colectare de informatii; 0 - organizarea/co-organizarea de evenimente; A - altele: Nr., MDOC IV 2017 i D 0 A d/o Total Total actiuni realizate in 780 292 206 171 I 111 trimestrul II al anului 2017 I ---------~ ------- - -··-·----- 1. Ambasada Republicii Moldova In 4 Austria 6 1 1 0 2. Ambasada Republicii Moldova in 59 23 21 IO 5 Azerbaidjan I f-- 3. Ambasada Republicii Moldova in 11 5 5 17 Belarus 38 -- ------ 4. Ambasada Republicii Moldova in 16 2 2 2 Bulgaria 22 r- 5. Ambasada Republicii Moldova in 25 16 0 8 I Canada 6. Ambasada Republicii Moldova in 8 5 8 0 Confederatia Elvetiana 7. Ambasada Republicii Moldova in 36 15 6 14 I Estonia 8. Ambasada Republicii Moldova in 86 28 39 19 0 Federatia Rusa -~ 9. Ambasada Republicii Moldova in 21 5 5 6 5 Japonia 10. Ambasada Republicii Moldova in 22 5 4 8 5 Letonia - r-----~~-- 11. Ambasada Republicii Moldova in 4 I 3 0 0 Lituania ~ 12. Ambasada Republicii Moldova in ,., 12 5 2 2 .) Republica Ceha Ambasada Republicii Moldova in 13. 21 14 7 0 0 Republica Elena 14. Ambasada Republicii Moldova in ,., 9 5 .) 1 0 Republica Franceza ------------------1- - -----, 15. Ambasada Republicii Moldova in I I • 17 5 4 5 i 3 i Republica ltaliana I Ambasada Republicii Moldova in 16. 46 8 19 10 9 Republica Populara Chineza _ 17. Ambasada Republicii Moldova in 6 4 0 0 2 Republica Federala Germana 18. -
Towards the Expo 2015
Towards the Expo 2015 1 Towards the Expo 2015 An Expo is a large international event that aims at the enrichment of human knowledge and technological progress, to promote cooperation and dialogue with international press. Given the importance of these major events, for almost a century now the need has arisen to standardise some aspects, such as duration, frequency and above all quality. The Bureau International des Expositions (BIE), established in 1928 with the International Convention of Paris is the international organisation responsible for establishing the parameters that control the Expo; the objective of the BIE is therefore to guarantee continuity of these events and maintain the level of international prestige earned over the years, selecting venues and dates and organising new Expos. The members of this organisation, with official headquarters in Paris, are all the States that have signed the convention. There are two different types of Expo: "Universal Expositions" (World Expo) and "International Expositions" (International Expo). The Expositions in the first category involve topics that concern the whole of humanity and therefore are global in nature. States, International Organisations, NGOs, Companies and other institutions can participate in these events, there is no limit to the size of the Exposition venue, and participants arrange the set-up of their own pavilions. Since 1996 these events have lasted six months and take place every five years. A Universal Expo will take place in Milan in 2015. 122 On the other hand the “International Expositions" take place in the period between the two Universal Expos and last for three months. The possible participants are the same as for a Universal Expo while the theme is more specific. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
2016 AIA Fellowship Entry 133503 Nominee Hsinming Fung Organization Hodgetts + Fung Location Los Angeles Chapter AIA Los Angeles
This cover section is produced by the AIA Archives to show information from the online submission form. It is not part of the pdf submission upload. 2016 AIA Fellowship Entry 133503 Nominee Hsinming Fung Organization Hodgetts + Fung Location Los Angeles Chapter AIA Los Angeles Category of Nomination Category One - Design Summary Statement Hsinming Fung’s emphasis on rigorous formal logic and precise delineation of materials has translated into exceptional designs, balancing innovation and poetic sensitivity. Her academic leadership has been instrumental in bridging the discipline and contemporary practice. Education University of California, Los Angeles, 3 years (1977-1980), Master of Architecture California State University, Dominguez Hills, 3 years (1974-1977), Bachelor of Arts Miami University, Ohio, 1 year (1973-1974) Oxford College, Oxford, 2 years (1971-1973) Licensed in: California Employment Hodgetts + Fung, employed 31 years (1984-present) Charles Kober Associates, employed 4 years (1980-1984) October 8, 2015 ALTOON | Strategic Diane Georgopulos, FAIA Chair, 2016 Jury of Fellows THE AMERICAN INSITITUTE OF ARCHITECTS 1735 New York Avenue, NW Washington, D.C. 20006-5292 Re: Sponsorship of Hsinming Fung, AIA Dear Diane Georgopulos and the 2016 Jury of Fellows: As a student of leadership, I am honored to sponsor Hsinming Fung, AIA, a most worthy nominee to the AIA College of Fellows. I do so with comprehensive 35-year awareness of her contributions, having hired her as a designer in 1980. Ming immediately demonstrated curiosity, resourcefulness, commitment and competency. Perhaps because she was a immigrant relocating from Viet Nam driven to achieve “the Amerian Dream”, she volunteered for any task, seized every opportunity, took every risk, and never disappointed. -
The EXPO MILANO Ex-Ante Control Mechanism in Italy
The EXPO MILANO ex-ante control mechanism in Italy Country case: The EXPO MILANO ex-ante control mechanism in Italy Description Public Procurement Following several corruption scandals that occurred in 2013 and Principle: Evaluation, 2014 in the procurement and construction processes of EXPO2015 Accountability Milano, the President of ANAC (Autoritá Nationale Anticorruzione – National Anti-corruption Authority of Italy) was committed Procurement Stage: functions of supervision and guarantee of the fairness and Post-award transparency of the procurement procedures related to the implementation of the event in June 2014. As part of this Audience: Policy Maker, assignment in July 2014 ANAC established a special operational unit Procuring Entity (UOS) to monitor the projects of the EXPO 2015. With the establishment of the UOS several rules, procedures and control mechanisms were set as to monitor and exercise “a priori” control of the procurement processes (Linee Guida ANAC 17.07.2014). The establishment of ex ante control mechanisms, although not a common practice for Supreme Audit Institutions in OECD countries (only Chile, Italy and Portugal exercise it with regularity) seems adequate for the enforcement of additional integrity measures, necessary to be addressed at the development stage of the project. In fact, this approach could prove useful mainly in specific contexts, such as EXPO 2015, that have already been affected by instances of corruption which have not only contaminated existing tenders but also threaten to undermine future contracting procedures. Indeed, to be effective, ex ante controls of documents concerning the award and performance of public contracts for works, services and supplies of goods, by an entity separate from the contracting authority, cannot cover all public tenders but must focus on individual, specific cases with a “high risk of corruption”. -
Delivering a Sustainable Expo
DELIVERING A SUSTAINABLE EXPO Expo 2020 Dubai Sustainability Report 2018 “We pay the utmost care and attention to our environment for it is an integral part of the country, our history and our heritage. Our forefathers and our ancestors lived in this land and coexisted with its environment, on land and sea, and instinctively realised the need to preserve it.” LATE SHEIKH ZAYED BIN SULTAN AL NAHYAN Founder of the UAE “Protection of the environment and achievement of sustainable development in the UAE is a national duty; it has its own institutional structures, integrated legislature and advanced systems.” HIS HIGHNESS SHEIKH KHALIFA BIN ZAYED AL NAHYAN President of the United Arab Emirates “We are building a new reality for our people, a new future for our children, and a new model of development.” HIS HIGHNESS SHEIKH MOHAMMED BIN RASHID AL MAKTOUM Vice-President and Prime Minister of the UAE and Ruler of Dubai “The civilised, advanced nation we seek to build and the sustainable development we are keen to achieve both require concerted efforts from all sectors of the community and from all public and private entities and organisations. They require consistent and harmonious work in order to achieve our goals and promote and underpin our nation’s status with its distinct role regionally and internationally.” HIS HIGHNESS SHEIKH MOHAMED BIN ZAYED AL NAHYAN Crown Prince of Abu Dhabi and Deputy Supreme Commander of UAE Armed Forces INTRODUCTION HIS HIGHNESS SHEIKH AHMED BIN SAEED AL MAKTOUM President, Dubai Civil Aviation Authority Chairman of the Expo Dubai 2020 Higher Committee It gives me great pleasure to introduce the first Expo 2020 Dubai Sustainability Report (2018) as we build up to the World Expo in 2020. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.