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Kaohsiung Cruise Terminal / Emergent - 1 views

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    The design for the Kaohsiung Cruise Terminal by Emergent is interior driven, biasing building section, and interior spatial effects. The goal is to create a cavernous space which will appear simultaneously massive and lightweight. The project oscillates between volume and surface, avoiding the limitations of exclusively surface-based and volume-based architectures. The Port Services Center, made up of string of hard elliptical volumes, is pushed down into the soft bubble of the Ferry Terminal, so that exterior skin becomes interiorized. This nesting action allows for functional division between the programmatic elements while creating complex interior formations. While the Ferry Terminal is oriented towards the inside, the Port Services Center- consisting primarily of offices- is oriented towards the outside, with views out to the city and the ocean. It is a building within a building. The skin of the Ferry terminal is constructed out of transparent ETFE membrane and hard fiber-composite Armor Plates. These Armor Plates operate as both structure and ornament. They create stiff zones in the skin where the membrane can be affixed. Ultimately, the construction system is a hybrid of shell and membrane construction types- what we now call Shell-branes. A pattern of color flows over the armor, both responding to underlying formal features, and at times becoming graphic. Similar to a butterfly wing, coloration follows competing criteria, such as structural and optical pattern logics. Gradient effects begin to blur boundaries between opacities and transparencies, creating unifying visual crossovers between the two systems of the Shell-brane. The open space to east and west of the buildable area is designed as new kind of park, which does infrastructural work as well as supporting the picturesque. It is an organic machine, where energy is cultivated and grown inside algae photo-bioreactor pods. Using sunlight as well as artificial light at night, these pods gener
anonymous

Mark Tobey | Panamerican Art Projects - 1 views

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    Pan American Art Projects specializes in art of the Americas with the mission to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions. We deal with emerging to established artists, as well as secondary market paintings, sculpture, and works on paper.In 1990 we started as Galerie Malraux in Los Angeles, California: at that time the gallery focused mainly on Caribbean art. In 1994 the gallery followed its founder to Dallas, Texas, in a transition which marked the beginning of Pan American Art Gallery; the inaugural exhibit was a massive 400-piece show of important modernist Cuban art. By the early 2000's the gallery moved to a 4500 square feet exhibition space in the upscale Turtle Creek area of Dallas; the first show there, a comprehensive view of Cuban photography titled "Cuban Photography - Revolutionary to Contemporary" was named one of the ten best shows of the year in America.Since that time the gallery expanded its reach to North and South America, and promotes contemporary artists of distinction from the Western Hemisphere. In December 2006 we opened as 12,000 sq. ft. compound in the heart of the Wynwood district of Miami, which features multiple exhibition rooms, a video box, on-site storage, a library, and an apartment with a studio for visiting artists. Our first Miami exhibit was a large two-man show of Leon Ferrari and Oscar Bony, both from Argentina. At that time, we modified our name to Pan American Art Projects, to reflect our evolution into a dynamic contemporary art venture.
Scheiro Deligne

The Aldrich Contemporary Art Museum - 0 views

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    The Aldrich is one of the few non-collecting contemporary art museums in the United States. Founded on Ridgefield's historic Main Street in 1964, the Museum enjoys the curatorial independence of an alternative space while maintaining the registrarial and art-handling standards of a national institution. Exhibitions feature work by emerging and mid-career artists, and education programs help adults and children to connect to today's world through contemporary art. The Museum is located at 258 Main Street, Ridgefield, CT 06877.
stvalentine stvalentine

Innovative Office Tower in Brisbane - 1 views

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    In troubled economic times, there is only one high rise office tower being built in Brisbane. So enamoured was the client, GPT, with the design by Cox Rayner Architects that he decided to proceed on the basis that the building's aesthetic, environmental and workplace benefits would lure prospective tenants. The tower's structure is organic in that the columns twist and turn up its 45 storey height, emerging through the roof to form a tree-like canopy. The resulting filigree of structure reflects the city's two iconic Fig Trees in the building's forecourt, but the rationale for the concept was initially pragmatic. This was because the tower is being built over a wide existing loading dock such that there were few points on the ground where columns could land. Cox Rayner Architects with their engineers ARUP devised a structural system where loads could be gradually transferred diagonally down to the land predominantly on one side of the site, avoiding the dock. The concept evolved with several attributes. The columns in the 'web' are abnormally thin at 600 - 400 wide, maximising views to the river. Less concrete is required than in conventional typologies entailing reduced embodied energy in construction. Overall the tower is currently measured to be above 6 star rating under the Green Building Council of Australia's Green Star Design Rating System. The tower has a corner services core that also maximises the availability of views to the office areas, with the structural frame wrapping around the remaining volume inside a glass skin with operable blinds responding to solar orientations. The ground plane is designed as a public thoroughfare space linking the city to its main ferry terminal, such that the foyers are at the first level above. This design enriches the sense of lightness and space for which the building will become renowned
anonymous

Pan American Art Projects specializes in art of the Americans. - 6 views

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    Pan American Art Projects specializes in art of the Americas with the mission to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions. We deal with emerging to established artists, as well as secondary market paintings, sculpture, and works on paper.
anonymous

Historical Art And Painting - Panamericanart - 4 views

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    Pan American Art Projects specializes in art of the Americas with the mission to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions. We deal with emerging to established artists, as well as secondary market paintings, sculpture, and works on paper.
anonymous

Panamericanart | Art And Paintings - 5 views

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    Pan American Art Projects specializes in art of the Americas with the mission to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions. We deal with emerging to established artists, as well as secondary market paintings, sculpture, and works on paper.
ruben vh

Romanticism - 3 views

  • second half of the 18th century in Western Europe
  • revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature
  • confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories
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  • escape the confines of population growth, urban sprawl and industrialism, and it also attempted to embrace the exotic, unfamiliar and distant
  • ideologies and events of the French Revolution laid the background
  • in the second half of the nineteenth century, "Realism"
  • Romanticism elevated the achievements of what it perceived as misunderstood heroic individuals and artists that altered society. It also legitimized the individual imagination as a critical authority which permitted freedom from classical notions of form in art
  • Despite this general usage of the term, a precise characterization and specific definition of Romanticism has been the subject of debate in the fields of intellectual history and literary history throughout the twentieth century, without any great measure of consensus emerging
  • t is the period of 1815 to 1848 which must be regarded as the true age of Romanticism in music - the age of the last compositions of Beethoven (d. 1827) and Schubert (d. 1828), of the works of Schumann (d. 1856) and Chopin (d.1849), of the early struggles of Berlioz and Richard Wagner, of the great virtuosi such as Paganini (d. 1840), and the young Liszt and Thalberg
  • At that time Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism
  • The poet and painter William Blake is the most extreme example of the Romantic sensibility in Britain, epitomised by his claim “I must create a system or be enslaved by another man's.”
  • In predominantly Roman Catholic countries Romanticism was less pronounced than in Germany and Britain, and tended to develop later, after the rise of Napoleon. François-René de Chateaubriand is often called the "Father of French Romanticism". In France, the movement is associated with the nineteenth century, particularly in the paintings of Théodore Géricault and Eugène Delacroix, the plays, poems and novels of Victor Hugo (such as "Les Misérables" and "Ninety-Three"), and the novels of Stendhal.
  • But by the 1880s, psychological and social realism was competing with romanticism in the novel.
  • One of Romanticism's key ideas and most enduring legacies is the assertion of nationalism, which became a central theme of Romantic art and political philosophy
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    very well developed description + analysis of the Romantic tradition
Ian Yang

Patterns : Graphic Design Books : Drusilla Cole - 0 views

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    Patterns Drusilla Cole Theme: Graphic Design By: Drusilla Cole Publisher: Laurence King Year: 2007 Pages: 240 pages Format: 17x24 cm Features: hardcover Languages: English ISBN: 978-1-85669-505-3 Pattern is back, and what better way to celebrate its revival than with a cool compendium of the best pattern design from around the globe? This exciting new book showcases some of the most innovative pattern designs, including graphics, textiles, fashion, furnishings, ceramics, tiles, wallpaper, and stationery. While many of the featured designers work commercially, others are independent players whose work is cutting-edge even though, or perhaps because, they don't follow conventional techniques or disciplined structures. Figurative, funky, abstract, pixel-based, graphic, or retro patterns are all featured in this visual feast of the best work to emerge in the last five years.


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    Spreads:
Ian Yang

Art Community & Forum : Art Face Off :: View topic - Top 10 Reasons Why Galleries Rejec... - 0 views

  • Too Similar: A gallery looks at the group of artists they represent, much like an artist looks at a painting. It is not so much the individual artist that is considered, but, rather, how that art fits into the existing group. Often galleries are reluctant to take artists that are too similar to an artist they already represent. Too Different: All galleries try to create a niche for themselves by representing artists that are stylistically similar and would appeal to their core group of collectors. If your work is outside the arbitrary parameters they have established, you are out of luck. Too Far Away: Unless you have already established a reputation elsewhere, galleries are reluctant to work with artists outside their regional area. Issues surrounding shipping costs and the inconvenience of getting and returning work in an expedient manner make it often not worth it. Too Fragile/Difficult to Store: Regardless of how big a gallery is, there is never enough storage space. Galleries shy away from work that is 3 dimensional, easily breakable, heavy or hard to handle. Too Expensive: Most artists undervalue their work. But, occasionally I will come across an artist with a totally unrealistic sense of how to price their work. Prices are established by the law of supply of demand (Read Pricing Your Art). If a gallery feels they can not price your work fairly and still make a 50% commission, they will not be willing to take a chance on you. Too Cheap: Artists who only do works on paper, photographers, etc often can not generate enough income from sales to make an exhibition worth it to a gallery. If you have 20 pieces in a show, and each piece sells for $500, and your show completely sells out…your gallery has only made $5000… barely enough to cover the costs of the postage, announcement and opening reception. Too Difficult: Entering into a relationship with a gallery is in many ways similar to entering into a marriage. It's a relationship that needs to be able to endure candid dialog about the things that are often the most difficult to discuss with anyone…your artwork and money. Both the artist and the gallery need to have a level of trust and comfort that will guarantee honest communication. If a gallery perceives you as being a difficult person to work with, they tend to veer away. Too Inexperienced: Many artists start approaching galleries too soon, before their work has fully matured. Most critics and curators say it takes an artist several years after college for their work to fully develop stylistically. Galleries want to make sure that once they commit to you, your work will not make radical and/or unpredictable changes. Even if a gallery LOVES your work, they may want to watch your development over a period of years to confirm their initial opinion. Artists must also have enough work of a similar sensibility to mount an exhibition. Too Experienced: The gallery fear of failure is strong, particularly in this economic climate. Careful to be sensitive to a price point that is right for their audience, galleries may not be financially able to risk representing artists who are farther along in their career, therefore demanding higher prices, than emerging younger artists. Artists with a long sales history of gradually appreciating prices may find themselves priced out of the current market.
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    Something that every artist should keep in his/her mind.
Scheiro Deligne

eop - emergence of projects - 3 views

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    eop ist ein transdisziplinäres Netzwerk, das von Helga Köcher Anfang 2003 gegründet wurde. Menschen aus verschiedenen Bereichen von Kunst, Wissenschaft und Kultur treffen sich, diskutieren ihre Projekte, bilden Kooperationen und entwickeln so ein Netz lebendiger Strukturen.
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