Natural Habitats

Pupa is a habitat by Liam Hopkins of Lazerian within Bloomberg’s London headquarters made from reclaimed cardboard and pallets.

The form and aesthetics are inspired by natural habitats – cocoons, bee hives, spiders nests and weaver birds nests. The ceiling assumes the appearance of a shelter; snug and cave like, but also references the vaulted ceilings of church naves.

The numbers which can be extrapolated from Pupa reflect the almost Sisyphean task faced, whether by human, bird or insect, to create these sort of  structures:


•3,972 triangular cardboard borders make up frame
•3,972 triangle inners fill the exoskeleton providing the cover
•180 wooden pallets taken apart for chair frame and legs
•11,000 nails removed from wooden pallets
•252 leather offcuts from make up the chair seats

Constructed in triangular sections Pupa utilises the structural and acoustic properties of cardboard. Computer design techniques were used to generate the form and the individual components were then extracted from the virtual model to create flat layouts that are glued together by hand.The original Bloomberg cardboard arrived in damp bales so was pulped and re-constituted at a John Hargreaves factory in Stalybridge using machinery originally installed in 1910.

“Commissioned for Bloomberg Philanthropy by art and design agency Arts Co, ‘Waste Not, Want It’ is a series of specially commissioned art and design projects made almost entirely out of Bloomberg’s waste.”

a HogManay

Scotland - Christmas traditions & customs

The Scottish people have their big celebrations on New Year's Day, called Hogmanay. A long time ago There is a superstition that it is bad luck for the fire to go out on Christmas Eve, since it is at this time that the elves are abroad and only a raging fire will keep them from coming down the chimney.

On Christmas day, people sometimes make big bonfires and dance around them to the playing of bagpipes. Bannock cakes made of oatmeal are traditionally eaten at Christmas.

In Scotland, Christmas had traditionally been celebrated very quietly, because the Church of Scotland - the Presbyterian Church - has never placed any great emphasis on the Christmas festival, However, the Scots are members of the Church of England or other churches generally celebrate Christmas in the same way as the English people disapproved of Christmas for they believed that there was too much riotous festivity that went on. Nowadays these things are held at Hogmanay, but they do celebrate Christmas with some very interesting customs.

in Sardinia's Sea and Art

The ecclesiastical architecture
In the main towns and in the greatest centres of Sardinia it is possible to visit ancient churches and
basilicas, prevalent in Romanesque style. The ecclesiastical architecture expresses also in little country Churches and sanctuaries whose artistic value is emphasized by their isolated position and their surroundings.

Civil and military architecture
Among the most significant traces of medieval fortifications we mention the ruins of the Castle of Goceano (1129), the Castle of Serravalle, erected in 3 112 by the Malaspina near Bosa, and the Castle of Acquafredda near Siliqua (13th century). Important, are also the town-walls of Iglesias Sassari, Oristano and above all of Cagliari. In the chief town there are moreover the Castle of San Michele and the Pisan towers of the Elephant (1307) and of San Pancrazio (1305).
The most significant examples of the Catalan -, Aragon's architecture is no doubt the town of Alghero, with many monuments which are very interesting from a civil and military point of view. Among the buildings with a defence and military character we suggest the Castle of Laconi, the Casa-forte in Villasor, the Tower of Ghilarza and the 16th century bastions of Cagliari. Further examples of the civil architecture of this period are the House of Eleonora in Oristano and the Bishop's Palace of Iglesias.

Sassari (1577).
In the 18th century were built various military works especially in Alghero and Cagliari. Among the
examples of the civil building the Palace of the University, the Theatre and the Seminary Tridentino in Cagliari are to be mentioned, as well as the Palace of the Duke of the Asinara in Sassari.

The Palaeo-Christian art

The architectural history in Sardinia goes back to the Palaeo-Christian age. The most important churches are those of San Saturnine in Cagliari (5th century, one of the most interesting early Christian monuments in Italy) and of San Giovanni of Sinis, near Cabras, which goes back to the 6th century.


The Romanesque

From an architectural point of view the Romanesque age is the most significant, various and richest. To the first Romanesque period (11 th century) belong the church of Santa Sabina in Silanus and the middle part of San Pietro in Bosa. To a next Romanesque current date back, on the contrary, the parish church of Sant'Antioco (1102) and the characteristic little churches of Santa Maria of Sibiola, near Serdiana and of San Platano in Villaspeciosa.
Of Tuscan derivation is the third Romanesque current, which the first construction of the church of San Gavino in Porto Torres, very impressive, Basilica Della SS. Trinità di Saccargia (SS) belongs to. The architects of the church of San Leonardo in Santulussurgiu and of the cathedral of Santa Giusta near Oristano follow that model. Of the same current we find different examples in the province of Oristano, with the cathedral of Terralba. The first construction of Santa Maria of Bonarcado (1147). San Paolo in Milis and San Palmerio in Ghilarza (12th century). The most representative building of the local architectonical style is the cathedral of Ottana, made of black and violet trachyte. To a later Romanesque period (12th - 13th century), in which are mixed Tuscan and Lombard influences belong some of the most important medieval monuments of the island and of Italy. We mention among them:

- The basilica of SS. Trinità in Saccargia, in the countryside surrounding Codrongianus;
- The Romanesque - Pisan church of Nostra Signora of Tergu, which rises solitary on a plateau near the village;
- The basilica of Sant'Antioco of Bisarcio, one of the most important monuments in Sardinia, erected on a hill near Ozieri, not so far from the road Sassari - Olbia from where you can see it;
- The imposing basilica of San Pietro of Sorres, one of the most important Italian Romanesque buildings, finished at the end of the 12th century.
The cathedral of San Pantaleo in Dolianova (1261) the church of San Gemiliano in Sestu and that of Santa Maria of Betlehem in Sassari testify the vitality of the late Romanesque in Sardinia. Of Gothic style is the church of San Pietro in Zuri planned by Anselmo of Como, the only church in Sardinia whose architect is known.

in Ethnic Romania

Into Music...

BanatIn Banat, the violin is the most common folk instrument, now played alongside imported woodwind instruments; other instruments include the taragot (today often the saxophone plays the taragot role in bands), which was imported in the 1920s from Hungary. Efta Botoca is among the most renowned violinists from Banat.

BucovinaBucovina is a remote province, and its traditions include some of the most ancient Romanian instruments, including the ţilincă and the cobza. Pipes (fluieraş or fluier mare) are also played, usually with accompaniment by a cobza (more recently, the accordion). Violins and brass instruments have been imported in modern times.

CrişanaCrişana has an ancient tradition of using violins, often in duos. This format is also found in Transylvania but is an older tradition. Petrică Paşca has recently helped popularize the taragot in the region.

DobrogeaDobrogea's population is especially diverse, and there exist elements of traditional Tartar, Ukrainian, Turkish and Bulgarian music among those populations. The most popular dance from Dobrogea is the geamparale, which is very different from the other traditional dances of Romania. In fact, Dobrujan music is characterized by Balkan and Turkish rhythms.

Maramureş and OaşThe typical folk ensemble from Maramureş is zongora and violin, often with drums. Taragot, saxophone and accordion have more recently been introduced.

In Oaş, a violin adapted to be shriller is used, accompanied by the zongora. The singing in this region is also unique, shrill with archaic melodic elements.
 

music Theme Liesma

The project is designed by Boston based PRAUD Studio as a competition proposal for the music-themed hotel in Jurmala, Latvia. The main idea was to take a more aggressive stand and focus on creating a unique experience of a “music park”. Creating an urban landscape, equivalent to the hotel’s natural surroundings resulted in an architecturally strong statement. An elevated structure  facilitating the new hotel was introduced to the site, achieving widely open public space on the ground level, and a better view of the Baltic Sea from the hotel rooms. Every room in the new mass has direct view towards the sea and has access to the balcony on the roof.

The structure is supported by multiple cones that contain public programs such as music café, restaurants, etc. By freeing up the ground level, and having hotel rooms separated from the public programs, the architects transformed the patio into a versatile, polyvalent public space, with a strong social connection to the city. The music park thus becomes a new venue for concerts, festivals, public performances in general. Because of its somewhat segregated treatment of different content, the hotel can run on different operational levels, depending on the season and activating specific parts of the new structure

libri, Libro, books...

Νέα - Ειδήσεις
Διεθνής έκθεση του βιβλίου "Umbria libri 2011" (10-13/11/2011)
Ξεχωριστή θέση θα έχουν φέτος τα ελληνικά γράμματα, στην ετήσια έκθεση του βιβλίου "Umbria libri 2011", η οποία θα διεξαχεί στην Περούτζια της Ιταλίας ( 10 με 13 Νοεμβρίου) καθώς θα εκπροσωπηθούν με το βιβλίο "Η Γυναίκα των Δελφών" της συγγραφέας κ Ελένη Στασινού, που εξέδωσε ο οίκος "Ωκεανός".
Βραβείο Αναγνωστών 2011
Για 7η χρονιά οι αναγνώστες παίρνουν τον λόγο και ψηφίζουν το αγαπημένο τους μυθιστόρημα. Ο νικητής θα ανακοινωθεί στις 7 Δεκεμβρίου.
Αφιέρωμα στη δημιουργική γραφή (12/11/2011)
Το Σάββατο 12 Νοεμβρίου 2011 και ώρα 18:00, θα γίνει το αφιέρωμα στη δημιουργική γραφή. Ο Ανδρέας Καρακίτσιος, Αναπληρωτής Καθηγητής στο Τμήμα Επιστημών Προσχολικής Αγωγής & Εκπαίδευσης στο Α.Π.Θ., θα μυήσει τους παρισταμένους στα μυστικά της δημιουργικής γραφής, της συγγραφής άρθρων κ.ά. Η εκδήλωση θα πραγματοποιηθεί στην Αίθουσα Εκδηλώσεων της Κεντρικής Δημοτικής Βιβλιοθήκης Θεσσαλονίκης (Εθνικής Αμύνης 27 & Αλεξ. Σβώλου), στο πλαίσιο των εκδηλώσεων "Ημέρες Βιβλιοθηκών". Η είσοδος είναι ελεύθερη.

Αφιέρωμα στον ποιητή Γιώργο Μαρκόπουλο (12/11/2011)
Ο κύκλος "Ημέρες ποίησης-Ημέρες γνωριμίας με την πρόσφατη δημιουργία παλαιότερων και νεότερων ποιητών" συνεχίζεται στο Πολύεδρο (Κανακάρη 147, Πάτρα), το Σάββατο 12 Νοεμβρίου (ώρα 13.00.), με αφιέρωμα στον ποιητή Γιώργο Μαρκόπουλο.
Αφιέρωμα στον ποιητή Dylan Thomas (14/11/2011)
Τα σεμινάρια ποίησης στον χώρο του Πολύεδρου (Κανακάρη 147, Πάτρα) συνεχίζονται αυτή τη Δευτέρα 14 Νοεμβρίου (ώρα 8:30 μ.μ.) με αφιέρωμα στον ποιητή Dylan Thomas και ομιλήτρια τη Λύντια Στεφάνου, ποιήτρια και μεταφράστρια.

Εκδήλωση: "Οι συγγραφείς και οι μεταφραστές τους" (16/11/2011)
Το ΕΚΕΜΕΛ προσκαλεί γνωστούς λογοτέχνες και μεταφραστές να παρουσιάσουν έναν συγγραφέα το έργο του οποίου απέδωσαν στα ελληνικά, καθώς και την ιδιαίτερη σχέση που διαμόρφωσαν μαζί του μεταφράζοντάς τον. Πρώτη προσκεκλημένη, η Κλ. Σωτηριάδου θα μιλήσει την Τετάρτη 16 Νοεμβρίου 2011 (6-8 μ.μ.) για τον Γκ. Γκ. Μάρκες.

Έκθεση Αρχειακού Υλικού από το Αρχείο του Μ. Τριανταφυλλίδη και του Ινστιτούτου Νεοελληνικών Σπουδών (11-27/11/2011)
Το Ινστιτούτο Νεοελληνικών Σπουδών (Ίδρυμα Μανόλη Τριανταφυλλίδη) του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης, η Ελληνική Εταιρεία Ορολογίας και το Ίδρυμα Ευγενίδου διοργανώνουν Έκθεση Αρχειακού Υλικού από το Αρχείο του Μ. Τριανταφυλλίδη και του Ινστιτούτου, η οποία θα πραγματοποιηθεί με την ευκαιρία του 8ου Συνεδρίου (10-12 Νοεμβρίου 2011) της ΕΛΕΤΟ, που είναι αφιερωμένο στον Μ. Τριανταφυλλίδη. Η Έκθεση θα πραγματοποιηθεί στη Βιβλιοθήκη του Ιδρύματος Ευγενίδου (Λεωφόρος Συγγρού 387, 175 64, Παλαιό Φάληρο) από τις 11 έως τις 27 Νοεμβρίου 2011 και θα είναι ανοιχτή τις ώρες λειτουργίας της Βιβλιοθήκης (Δευτέρα έως Πέμπτη 8.30-20.00, Παρασκευή 8.30-15.00, Σάββατο 8.30-14.00).

to Hang a Hotel. Such a Fun!

Commissioned by FOCUS Gallery Cape Town, the project reevaluates our perception of immediate spatial contexts by heightening the experience of being in a natural environment. According to the architect, Margot Krasojevic, the reinforced glass pods offer resting areas for climbers, but also prevent and contain anomalous perceptual experiences during mountain climbing. The spaces within the hotel can either enhance the perception of the surrounding area or block it to aid recovery and overexposure, depending on the desired effect. It is a hanging hotel with viewing platform, providing structural security for climbers and a rest stop to enjoy the view.

The glass spaces protect the climber form glare reflecting light in an uniform direction, creating an illusion that the sun at in a lower position than it is. The high tech prism louver system alters the views, controlling and editing mirages and illusions by using the prismatic optical elements which divide color with changing viewing points. The glass also filters the number and types of wavelengths entering the spaces, reducing the harmful UVB rays.

The main shell structures are made from carbon fiber reinforced polymer which is flexible yet strong. The whole structure is attached to the granite cliffs by the walkway, columns and horizontal foundations. The majority of the load is carried by columns, which sit into the rock and strengthen under load. Timber cross beams have triangular wedges attached to edge so when they are driven into trapezoidal holes in the cliff the wedges are pushed into the timber beams creating a very tight fit into the rock itself. The main body of the structure is partly supported by existing rock, it’s centre of gravity is positioned on the ledge allowing the structure to lean back into the granite cliff face making it easier to clip into the horizontal foundations.
 

a Chernobyl Frame

The proposed design is intended to become a framework for development of Chernobyl’s exclusion zone through the introduction of modular infrastructural facilities. The idea uses several datascapes, all revealing an increase in plant and animal activity in the area around the nuclear power plant. Paradoxically, the absence of human activity created favorable conditions for several animal and plant species. The proposal focuses on the Ukranian part of the exclusion zone and attempts to reactivate the territory by developing safe infrastructure systems. The structures are intended to straighten scientific activity in the area, along with environment protection and tourism.

The stations are made of modular, interchangeable units. Entering the station, trains are washed and dried in the decontamination zone. The space between platforms accommodates vertical communications and interactive touch-boxes for booking guided tours. Emergency shower cabins are situated on the first level, along with the decontamination zone. The third level facilitates entertainment and catering services, leaving the fourth level free for housing offices.

Along with the stations, the area is populated with several scattered housing units. Hexagonal modules are assembled in numbers of five, equipped with a kitchen and bathroom. The fifth cell is usually organized as a common area. The hall is used as a decontamination zone.

The project aims to draw attention to the Chernobyl exclusion zone by transforming it into a tourist destination.

opposite Geometries

The project was designed and produced by Matt Miller, Dale Fenton, Emau Vega, Aubrie Damron, and Adrian Cortez, all students at the Texas A&M University. Developing the idea of two opposite spatial and symbolic conditions, the team decided to emphasize the difference between them, instead of trying to blend them together. The resulting structure was marked by two polar personalities that defined exteriority and interiority. The Bi-Polar Project comprises three systems: the tessellated parametric logic performative exterior, the free-flowing sensual interior, and the in-between bladder system acting as a mediator between the two extremes.

“Bi-Polar is a project like many others emerging from the discussion of performance and sensation through an architectural skin. While there are projects addressing similar discussions, Bi-Polar embraces an emphasis on the distinction between two competing directions. Just like bipolar disorder this prototype is argued in two different moods, different personalities, you can psychotically switch from one to the other. One personality, the exterior side, is about performance whose surface logic is resolved parametrically, as a rain water collecting instrument that takes the water into bladders integrated between the two skins. These bladders also serve as heating and cooling devices producing light and temperature affects. The other personality, the interior surface, is emotionally designed and more interested in matters of sensation whose surface logic is created by a sensual pleated skin, silk and/or leather, producing nuances and affordances that become ornament, pattern and furniture.”

 

in MoMa's ART

In the late 1920s, three progressive and influential patrons of the arts, Miss Lillie P. Bliss, Mrs. Cornelius J. Sullivan, and Mrs. John D. Rockefeller, Jr., perceived a need to challenge the conservative policies of traditional museums and to establish an institution devoted exclusively to modern art. When The Museum of Modern Art was founded in 1929, its founding Director, Alfred H. Barr, Jr., intended the Museum to be dedicated to helping people understand and enjoy the visual arts of our time, and that it might provide New York with "the greatest museum of modern art in the world."

The public's response was overwhelmingly enthusiastic, and over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of the building it still occupies in midtown Manhattan. Upon his appointment as the first Director, Barr submitted a plan for the conception and organization of the Museum that would result in the Museum's multi-departmental structure with departments devoted for the first time to Architecture and Design, Film and Video, and Photography, in addition to Painting and Sculpture, Drawings, and Prints and Illustrated Books. Subsequent expansions took place during the 1950s and 1960s planned by the architect Philip Johnson, who also designed The Abby Aldrich Rockefeller Garden. In 1984, a major renovation designed by Cesar Pelli doubled the Museum's gallery space and enhanced visitor facilities.

The rich and varied collection of The Museum of Modern Art constitutes one of the most comprehensive and panoramic views into modern art. From an initial gift of eight prints and one drawing, The Museum of Modern Art's collection has grown to include over 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists. The Museum Archives contains primary source material related to the history of MoMA and modern and contemporary art.

The Museum maintains an active schedule of modern and contemporary art exhibitions addressing a wide range of subject matter, mediums, and time periods, highlighting significant recent developments in the visual arts and new interpretations of major artists and art historical movements. Works of art from its collection are displayed in rotating installations so that the public may regularly expect to find new works on display. Ongoing programs of classic and contemporary films range from retrospectives and historical surveys to introductions of the work of independent and experimental film- and videomakers. Visitors also enjoy access to a bookstore offering an assortment of publications and reproductions, and a design store offering objects related to modern and contemporary art and design.

The Museum is dedicated to its role as an educational institution and provides a complete program of activities intended to assist both the general public and special segments of the community in approaching and understanding the world of modern and contemporary art. In addition to gallery talks, lectures, and symposia, the Museum offers special activities for parents, teachers, families, students, preschoolers, bilingual visitors, and people with special needs. The Museum's Library and Archives contain the leading concentration of research material on modern art in the world, and each of the curatorial departments maintains a study center available to students, scholars and researchers. In addition, the Museum has one of the most active publishing programs of any art museum and has published more than 1,200 editions appearing in twenty languages.

In January 2000, the Museum and P.S.1 Contemporary Art Center exercised a Memorandum of Understanding formalizing their affiliation. The final arrangement results in an affiliation in which the Museum becomes the sole corporate member of P.S.1 and P.S.1 maintains its artistic and corporate independence. This innovative partnership expands outreach for both institutions, and offers a broad range of collaborative opportunities in collections, exhibitions, educational programs, and administration.

MoMA has just completed the largest and most ambitious building project in its history. This project nearly doubled the space for MoMA's exhibitions and programs. Designed by Yoshio Taniguchi, the new MoMA features 630,000 square feet of new and redesigned space. The Peggy and David Rockefeller Building on the western portion of the site houses the main exhibition galleries, and The Lewis B. and Dorothy Cullman Education and Research Building—the Museum's first building devoted solely to these activities—on the eastern portion of the site provides over five times more space for classrooms, auditoriums, teacher training workshops, and the Museum's expanded Library and Archives. These two buildings frame the enlarged Abby Aldrich Rockefeller Sculpture Garden. The new Museum opened to the public on November 20, 2004, and the Cullman Building opened in November 2006.

To make way for its renovation and rebuilding, MoMA closed on Fifty-third Street in Manhattan on May 21, 2002, and opened MoMA QNS in Long Island City, Queens, on June 29, 2002. MoMA QNS served as the base of the Museum's exhibition program and operations through September 27, 2004, when the facility was closed in preparation for The Museum of Modern Art's reopening in Manhattan. This building now provides state-of-the-art storage spaces for the Museum.

Today, the Museum and P.S.1 welcome thousands of visitors every year. A still larger public is served by the Museum's national and international programs of circulating exhibitions, loan programs, circulating film and video library, publications, Library and Archives holdings, Web site, educational activities, special events, and retail sales.