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Eden Project Cornwall, UK
Grimshaw Architects - Dominic Cole Landscape Architects
The Eden Project is the largest botanical garden in the world. It is a scientific experiment which uses a highly innovative technology to create different climates. Combines ecology, horticulture, science, art and architecture, offering an informative and enjoyable experience while promoting ways to maintain a sustainable future depends on plants and trees. The exhibition includes more than one hundred thousand plants representing 5,000 species from many of the world’s climate zones.
The project was conceived by Tim Smit and designed by the English architect Nicholas Grimshaw and engineering firm Anthony Hunt and Associates. The challenge for this project was to design buildings that provide the environment to create different microclimates. The building opened its doors to the public in March 2001 with the first two phases built. The Eden Project covers 15 hectares of land located in an old clay quarry in St. Austell, Cornwall, UK.
The Humid Tropics Biome is the largest glasshouse in the world, covering 1.56 hectares. It measures 55 meters high, 100 meters wide and 200 long. Here is kept moist climate and dense rainforest, with orchards of bananas, coffee, rubber and bamboo, among others.
The smaller biome retains the warm temperate and arid areas, between 30 and 40 degrees latitude. It covers 0.65 hectares, 35 meters high, 65 wide and 135 meters long. Among the species that are home to vineyards and olives.
A third ecosystem, similar to Britain, is on display outdoors in the gardens surrounding the domes, with plants such as tea, lavender, hops and hemp. The exact location of the biomes on the site was determined by a sophisticated technique that shows where to get more sunlight each gain structure.
The Eden Foundation is the phase 3, which opened in 2003. The Core is part of the fourth phase of development. Eden Project provides an education facility, incorporating classrooms and exhibition spaces. Within the master plan for the whole site contemplating future ambitions, included the design of the access road project.
Architectes: Perret frères - Auguste Perret [1874-1954]
sculpteur: J. Claret d'après les indications de Maurice Denis.
torpedohallen, conversion of naval shipyard building to housing, holmen copenhagen, 1953 / 2000-2003.
architects: tegnestuen vandkunsten.
after 14 years as an architect at vandkunsten, I recently decided to quit my job and thought these february photos of the torpedo boat hall conversion, the very first project I worked on, would be a good way to mark that rather momentous decision.
for now, I am going to be spending some time with my children, but if anyone hears of a job for an experienced architect in greater copenhagen, let me know :)
Possibly Cambodia's favourite architect of the last 700 years, Vann Molyvann's Independence Monument deserves better than a snapshot off the back of a tuk-tuk, and it's one of the genuinely pleasing architectural pieces in Phnom Penh. Influenced by French colonial style, it's shaped like a lotus flower in bud similar to the towers of Angkor Wat, and its naga (serpents heads) give it a distinctive touch.
Built in 1958 to commemorate Cambodia's independence from France five years earlier, it's on the intersection of Norodom Boulevard and Sihanouk Boulevard. With Aeon mall's development and Diamond Island to follow, it feels like Phnom Penh's power centre is drifting to this side of the city.
Appointed Cambodia's state architect by King Sihanouk at 30 years of age, Molyvann designed more than 100 buildings including landmarks, such as the Olympic Stadium, which hosted the 1963 Asian Games. He left the country in 1971, returning 20 years later. While much of his work survived the Khmer Rouge, government policies have seen blocks of Phnom Penh's population evicted to make way for development, and many of his works have gone the way of the bulldozer (locals hint at developers colluding with corrupt politicians for land). At 90, Molyvann moved to Trang near Siem Reap in 2015. His books include Borei in Southeast Asia, Past and Present, which is being translated into English, and a treatise, Modern Khmer Cities.
If you're interested in an architectural tour, I came across this, www.ka-tours.org/ - there is a great walking map and I can vouch for the lively variety of residential types from different periods on Street 19, which I saw from a traffic-oppressed tuk-tuk while getting increasingly late for dinner...
Czech National House in Olomouc Architect Karel Starý starší
cs.wikipedia.org/wiki/Karel_Star%C3%BD_star%C5%A1%C3%AD
Národní dům v Olomouci od architekta Karla Starého staršího
Karel Starý starší (18. březen 1843 v Heřmanově Městci – 22. říjen 1929 v Olomouci) byl český architekt a stavitel, autor a spoluautor mnoha obytných i veřejných budov na Moravě, především v Olomouci.
Olomouc is said to occupy the site of a Roman fort founded in the imperial period, the original name of which, Iuliomontium (Mount Julius), would be gradually corrupted to the present form. Although this account is not documented except as oral history, archaeological excavations close to the city have revealed the remains of a Roman military camp dating from the time of the Marcomannic Wars of the late 2nd century.
During the 6th century, Slavs migrated into the area. As early as the 7th century, a centre of political power developed in the present-day quarter of Povel (in lowland, south of the city centre). Around 810 the local Slavonic ruler was defeated by troops of Great Moravian rulers and the settlement in Olomouc-Povel was destroyed.
A new centre, where the Great Moravian governor resided, developed at the gord at Předhradí, a quarter of the inner city (the eastern, smaller part of the medieval centre). This settlement survived the defeat of the Great Moravia (c. 907) and gradually became the capital of the province of Moravia.
In 906 the first Jews settled in Olomouc.[citation needed] In 1060 they were forced into a ghetto and instructed to wear a yellow badge.[citation needed]
The bishopric of Olomouc was founded in 1063;[3] centuries later in 1777, it was raised to the rank of an archbishopric. The bishopric was moved from the church of St. Peter (since destroyed) to the church of Saint Wenceslas in 1141 (the date is still disputed, other suggestions are 1131, 1134) under bishop Jindřich Zdík. The bishop's palace was built in the Romanesque architectural style. The bishopric acquired large tracts of land, especially in northern Moravia, and was one of the richest in the area.
Olomouc became one of the most important settlements in Moravia and a seat of the Přemyslid government and one of the appanage princes. In 1306 King Wenceslas III stopped here on his way to Poland. He was going to fight Władysław I the Elbow-high to claim his rights to the Polish crown and was assassinated. With his death, the whole Přemyslid dynasty died out.
The city was officially founded in the mid-13th century and became one of the most important trade and power centres in the region. In the Middle Ages, it was the biggest town in Moravia and competed with Brno for the position of capital. Olomouc finally lost after the Swedes took the city and held it for eight years (1642–1650).
Olomouc Národni dům Olmütz 6833. Böhmisches Nationalgebäude Verlag v. Römmler & Jonas, Königlich Sächsischer Hof-Photograph Dresden Jahr 1897. 2738 R Olomouc Haná Olomóc Holomóc Ołomuniec Morava Morvaország Morawy Mähren Olomucium or Iuliomontium
Architects; GLC Architects Department. Scanned from a slide taken in 1967. More photos of newly built project here.
“I wanted to be an Architect initially. Half way through my A-levels I realised it wasn’t for me - project management wasn’t my strong suit. I swopped my subjects and ended up with Art, German and Biology. Which sounds like a really strange mix, thinking about it. I nearly went to art school at one point, but you can’t do science as a hobby. It was when I found and read my mum’s old psychology book that I knew what I wanted to do. I thought to myself, ‘Why am I not doing more of this stuff?’ So I ended up doing psychology and neuroscience at university. I pulled a lot of all-nighters throughout my time, but nothing like my last dissertation. In my final year, the night before I had to hand my dissertation in, I hadn’t written one word. I had a mini breakdown. I do put myself in these situations sometimes and somehow always manage to get out of them. It was 8,000 words. I was up all night. When I finally got it finished, I remember running to the bureau for printing and binding. Hoping it was open and there wasn’t a long queue. I read through it a few months ago, and there were parts which were coherent, but equally there were parts where my sentences stopped being sentences. I try and be a lot more organised now.”
between Yeoval and Molong of animals on bicycles. The theme for these sculptures, designed by local farmers, obviously came from a local man’s poem – Banjo Paterson’s poem –
Twas Mulga Bill from Eaglehawk that caught the cycling craze.
He turned away the good old horse that served him many days;
He dressed himself in cycling clothes, resplendent to be seen;
He hurried off to town and bought a shining new machine;
And as he wheeled it through the door, with air of lordly pride,
The grinning shop assistant said, "Excuse me, can you ride?"
"See here, young man," said Mulga Bill, "from Walgett to the sea,
From Conroy's Gap to Castlereagh, there's none can ride like me.”
This poem about cycling was published in 1896.
Cumnock. Population 450.
On the outskirts of Cumnock a number of Animals on Bicycles are located in or very close to the town. Look for Hen and Chickens and Giraffe, with Coyote and Horse. Within Cumnock is the Bird and Jockey, Gorilla, Eagle, Koala, Caterpillar, Snake and Zebra and Magpie on top of the old courthouse. Between Cumnock and Molongl there are a further 17 sculptures. A Scotsman named Straborn had one of the first sheep runs here and he named his run Cumnock after his home town of that name in Scotland. The town had a railway station (1925) on the Molong to Dubbo line. It is a small town with the usual facilities including a school, commercial premises and community facilities. It has the impressive red brick towered Amaroo Shire Council Offices (1911); the former Bruce Memorial Presbyterian Church (1908); Catholic Church; an Anglican Church (1929); the former Commercial Bank of Sydney (Art Nouveau style 1908); the former Courthouse (1901) with the being architect Walter Liberty Vernon); the former Post Office (1901-1984) with the first Post Office built in 1879; and the Royal Hotel (Federation style 1914.
Eemhouse Amersfoort NL
Client Municipality of Amersfoort / NRA
Architect Neutelings Riedijk Architects
Project size 15,000 m² GFA.
Lead time 2007-2014
Construction costs € 55 million
Various cultural and educational institutions in Amersfoort come together in the Eemhuis/Eemhouse: the Eemland Library, Art Schools, Eemland Archive and Kunsthal KAdE. The building is located in an inner-city redevelopment area close to the city center.
The building is organized as a vertical stack of the aforementioned programs. This setup stimulates collaboration between users and visitors. Through collective initiatives, a wider audience will visit the Eemhuis. The KAdE art hall is right next to the public square with a large exhibition hall that is half sunk into the floor. This large hall is surrounded by an enfilade of smaller exhibition spaces. The library in turn is directly connected to the public space of the Eemplein. The public character of the square is continued inside, where the library extends from the ground floor in a high hall upwards like a staircase with large, wide terraces, accessible to everyone. The Eemland Archive, the collective memory of Amersfoort, hangs above the library space like a treasure chest.
The facade of the Eemhuis has 24,000 small and large aluminum spheres. The upper floors therefore deviate from the brick plinth. The outer façade extends to the interior and the motif refers as an expression of art to the art education that is housed behind the façade. In addition, the spheres symbolically refer to the shield of the dragon slayer Sint-Joris, which is depicted in the municipal coat of arms of Amersfoort.
The municipality has the ambition to make this area, the Eemkwartier, the "second city center" of Amersfoort. In 2003 the Bolles + Wilson agency was commissioned to make a master plan for the Eemkwartier. Designer Peter Wilson provided a space that opens to the river in two ways, with a diverging perspective and a sloping slope towards the quay. The square walls, designed by Mecanoo (residential-retail building), Dick van Gameren (hospitality building), Drost and Van Veen (residential), Rijnboutt Van der Vossen (cinema) and O'Donnell + Tuomey (residential) ), just like in the historic center, would be made of masonry. Bureau Sant en Co worked out the square with stairs and greenery, the cars disappeared into an underground parking garage. The Eemhuis was to be the crowning glory of the new neighborhood.
The sanctuary windows were made locally in Adelaide By Thompson & Harvey and were donated by parents connected with the college: Sacred Heart being the gift of Mrs Fred Tennant, Our Blessed Lady that of Mr Taylor, and St Joseph, Mr P Flannagan. Ref: Stained Glass Australia.
Other chapel stained glass windows were designed by Franz Xaver Zettler of Munich, Germany.
Sacred Heart College Memorial Chapel
The Marist Brothers were favoured with beautiful, though rather warm weather, for the double ceremony which took place at the Sacred Heart College, Glenelg, on Sunday afternoon last, when his Grace the Archbishop blessed and opened the extensions to the College recently erected, and laid the foundation stone of the fine new chapel which is to be erected as a memorial of the jubilee of the Marist Brothers in Australia and of the students of the College who were killed in the late European war.
A crowd of some thousand persons, including many visitors from the city and suburbs, assembled in the grounds to witness the ceremony.
The Archbishop first blessed the extensions at the rear of the College, assisted by Rev Frs Gatzemeyer and Considine.
He then blessed the ground on which the memorial chapel is being erected on the eastern side of the College, and blessed and laid the foundation stone. For this purpose he was presented by Bro Joseph with a silver trowel, suitably inscribed, the gift of the architects (Messrs Garlick and Jackman).
Fifty years ago four Marist Brothers arrived in Sydney to take up the work at St Patrick's School in that city. They began with 117 scholars. Since then they had extended their operations from New Norcia, in the West, to Sydney, in the East, throughout the Commonwealth, in the Dominion of New Zealand, and the islands of the Pacific, and had nearly 300 brothers engaged in scholastic work, and something like 9000 scholars.
In order to signalise this jubilee a committee was formed. They were anxious to mark the occasion by some permanent memorial. The Marist Brothers had never made an appeal to the public for help during their 50 years' existence in Australia, and he thought that was a record for any of the Orders in Australia. The committee also desired to erect a memorial to the ex-students of the College who had fallen in the war, and it had been decided that the two objects could best be combined in the erection of a college chapel.
Bro. Joseph said it was his pleasant duty to introduce his Grace the Archbishop, who had kindly come down to perform the ceremony.
The one concern of the appeal committee was the erection of the chapel, which would cost between £9000 and £10,000, and which they all knew would be an architectural ornament, not only to the college, but to the district. The committee was not merely an ornamental body. It had done a large amount of work in the 12 months since its formation with his Grace's consent, and deserved their best thanks. It had £3300 in hand, of which the members had contributed £1200, over a third, out of their own pockets. They had shown themselves willing to back their enthusiasm with their cash.
In addition to being a memorial of the jubilee, the building would serve another purpose, rather by coincidence than by set design. His Grace would remember that he was present five years ago, when Sir Henry Galway unveiled a roll of honour to over 300 of their students who had enlisted. Some 70 or 80 went to the front afterwards, bringing the total up to nearly 400. Between 60 and 70 of these had made the supreme sacrifice. It was thought fitting to commemorate them by a jubilee and memorial chapel.
The visitors then inspected the building and extensions, and afternoon tea was served.
The style adopted for the new chapel is that known as the Romanesque, and the materials to be used, bluestone with cement dressings, will harmonize with the architectural treatment of the existing buildings. The foundations are of specially designed reinforced cement concrete. The walls will be built of Tapley's Hill bluestone, with cement quoins and dressings to all door and window openings. The trustees have obtained a lease of a quarry at Tapley's Hill, and only specially selected stone will be used.
All the window frames will be of steel, with subdued colour-stained glass leaded lights of simple design. The joinery will be of blackwood, specially chosen for beauty of grain, and polished. The whole of the walls internally will be finished in cement and brown sand, thus giving a permanent buff shade effect, and they will be jointed to represent stone. The ceiling will be panelled in wood and stained to harmonize with the cement-finish of the walls.
The roof is to be covered with Roman-pattern terra cotta tiles. The width of the chapel will be 28 feet, and the length 66 feet, with aisles on each side six feet wide. The sanctuary at the eastern end will be 18 feet wide and 21 feet long, semicircular and lighted by three stained glass windows placed above the altar.
The entrance porch will be 14 feet by 10 feet, with white Angaston marble steps leading from the carriage drive. At each side of the entrance porch will be a tower 12 feet square carried up to a height of 60 feet, the upper portion of which will be octagonal and surmounted with a copper dome and cross.
Provision will be made over the entrance porch for an organ chamber, and curved and panelled wooden gallery for the organ-passage ways leading from the sanctuary.
The whole of the floors will be of reinforced cement concrete, covered with wood parquetry flooring of specially selected blackwood and oak. Messrs Garlick and Jackman are the architects, and Messrs Dwyer and Warner the contractors.
[Ref: Southern Cross Friday 29-9-1922]
The blessing and opening of the magnificent Romanesque Memorial Chapel recently erected in the grounds of the Sacred Heart College, Glenelg, will take place on Sunday, March 30, at 3.15 pm. The ceremony will be performed by his Grace the Archbishop. The public are cordially invited to attend, especially the parents and friends of Marist Bros' old boys who fell in the war, of whom the chapel is a memorial. It also commemorates the centenary of the Marist Brothers in France in 1817 and the golden jubilee of their establishment in Australia in 1922.
The chapel, which was built at a cost of £11,000, is an imposing structure of Tapley Hill bluestone. In the porch two beautiful statues of Youth will serve as lights. The chapel has seating accommodation for 350 persons.
[Ref: Southern Cross Friday 14-3-1924]
Architect; Smiljan Radic, 2014.
London's yearly architectural offering wich only lasts for few months.
Previous Pavilions can be seen in one of my sets here here.
Went to London to visit the Bartlett school of architecture summer show.
Met an ex student of mine. One of the groups exhibiting presented their work exclusively on iPads. Here's two students viewing the work.
A terrific exhibition, so much talent, hard work and creativity. A credit to students and staff.
I am retired now, miss working with those talented young people.
© Tous Droits Réservés
Architecture Nancy //
Beaudouin Architectes
www.beaudouin-architectes.fr/2012/11/logements-quartier-d...
Architect: Kohn Pedersen Fox
Location: 33rd Street and 10th Ave, New York City
Height: 1,296 feet (395 m)
Floors: 92
Type: Office
Tenant: Time Warner, KKR, Wells Fargo, HBO, CNN, Warner Brothers, Neiman Marcus
This will be the second tallest office tower in New York City right after 1 WTC and New York highest outdoor observation deck.
Architects: Rosemary Stjernstedt, A.W.Cleeve Barr and Oliver Cox of the LCC's Housing Division, 1955. Point block with in-situ concrete frame, the floor plates providing horizontal banding. Curved services enclosure on flat roof. Projecting balconies, with original panelling according to Grade 2 listing. Alton East Estate, Roehampton, London Borough of Wandsworth.
(CC BY-NC-ND - credit: Images George Rex)
D963_017
28/02/2021 : Arles, route d'Arles à Saint-Gilles : hôtel Les Cabanettes (Armand Pellier, 1965-67 ; 1976-78)
Information architect, photographer, race car driver and a bunch of other stuff.
Canon 5D2
Canon 24-105L
Cass Gilbert was the architect, building was completed in 1905 and has just undergone extensive repairs.
Architects: Office dA / Johnston Marklee (2007)
Location: Beverly Hills, CA (Corner of Robertson & Olympic)
Green gas station used recycled aluminum panels and solar panels on the roof which supply most of its power. The pavement is also made of ground glass.
auf den ersten Blick vielleicht einfach/schlicht, wie Pierre Cardin seine Puppe hier angezogen hat ...
ich mag die Dynamik der unendlich langen Beine und ihre Stellung mit Standbein und Spielbein ... durch die Schatten und natürlich durch den Seitentausch der Farben bekommt es etwas Harlikineskes, als währen die Schatten der Arme die springenden Beine ... und natürlich mag ich hier die verspielte Gürtelschlaufe, die einfache Kopfbedeckung, das Farbenspiel des Weiß ...
English
at first glance it may seem simple/plain, the way Pierre Cardin dressed his doll here...
I like the dynamics of the infinitely long legs and their position with the standing leg and the free leg... the shadows and of course the swapping of the colours give it a Harlikinsque feel, as if the shadows of the arms were the jumping legs... and of course I like the playful belt loop, the simple headgear, the play of colours in the white...
a series ...
Architect of fashion design...
Pierre Cardin, born Pietro Costante Cardin on July 2, 1922 in San Biagio di Callalta, Italy, is a legendary French fashion designer known for his avant-garde style and innovative, architecturally inspired contributions to the fashion industry.
His family moved to France in 1924 due to the political situation in Italy. Although his father wanted him to become an architect, Cardin developed a passion for tailoring that made him a key figure in the development of modern fashion.
With a total of 76 years of professional experience until his death in 2020, he is considered the longest-serving person in the fashion business in the world.
Cardin, along with Paco Rabanne and André Courrèges, was considered the inventor of futuristic fashion from 1963 onwards.
Cardin's activities were not limited to fashion. There was hardly an article in the consumer goods sector that was not produced with his label: "Wristwatches, table, bed and terry linen, porcelain, ceramics, cutlery, upholstery fabrics, transistor devices, record players and car interiors". In the automotive sector, Cardin's name appeared on the AMC Javelin model (1973), the Sbarro Stash (1976) and the Cardin Evolution I (1980).
From the 1970s onwards he worked on furniture design and created brightly painted bentwood furniture in a geometric style, which he called sculptures utilitaires (utilitarian sculptures).
One of his employees was Philippe Starck.
In 2007, Cardin had over 800 companies in 180 countries with around 200,000 employees, 850 licenses, 18 restaurants and four theaters (Théâtre des Ambassadeurs). His corporate conglomerate also includes hotels, media, castles and ships. One of the remarkable things about the Cardin company is that it does not belong to a holding company and shares in the company have never been sold.
Cardin claimed not to have incurred any debts in the company's history.
in tabular form...
1936
At the age of 14, Cardin learned the basics of fashion design and construction as a tailor's apprentice.
1939
He left home and worked for a tailor in Vichy, where he made women's suits.
1945
After working for the Red Cross during World War II, Cardin goes to Paris to study architecture and work in the fashion house of Paquin and Elsa Schiaparelli.
He designs the costumes for the film Beauty and the Beast by Jean Cocteau.
1947
He becomes head of Christian Dior's tailoring studio and designs the iconic Bar suit for the first Dior collection.
1950
Cardin creates his own fashion house at 10 rue Richepanse in Paris and begins to design masks and costumes for the theater.
1951
He designs costumes for a masked ball in Venice organized by Carlos de Beistegui.
1953
He presents his first women's collection and becomes a member of the Chambre Syndicale, a prestigious association of haute couture designers.
1954
Cardin introduces the bubble dress, which becomes his trademark and cements his reputation as a fashion designer.
He opens his first women's fashion boutique, Eve, at 118, rue du Faubourg Saint-Honoré in Paris.
1957
Cardin travels to Japan and is the first fashion designer to explore this market. During his stay, he teaches three-dimensional tailoring at the Bunka Fukuso School of Design.
In addition to his boutique Eve, Cardin opens his first men's boutique, Adam.
1958
He receives the Young Designers Award in Boston, USA.
1959
He presents one of the first ready-to-wear (Prêt-à-porter in addition to haute couture) collections for women by a major designer at the Printemps department store, which further cements his influence in the fashion world.
1960
Cardin launches his first men's collection, called "Cylindre", which represents an important step towards men's fashion. His models are all students at the University of Paris.
1961
He creates the men's ready-to-wear department, cementing his status as a pioneer of ready-to-wear.
1963
The Beatles change their style on the advice of their manager and wear an iconic Pierre Cardin suit.
The women's ready-to-wear department is created.
1966
Pierre Cardin presents his first children's collection, proving his versatility and commitment to expanding the brand's reach.
Pakistan International Airlines introduces the uniforms he designed.
1968
Introduction of the "Cardin" fabric in the "Mod Chic" line and opening of a children's boutique at 8, rue du Faubourg Saint-Honoré.
First license agreement outside of fashion for porcelain tableware and start of furniture design.
1970
Inspired by space exploration, Cardin visits NASA and tries on Buzz Aldrin's spacesuit. He designs futuristic garments that embody the aesthetics of the space age, including austere tunics and vinyl outfits.
1971
He redesigns the Barong Tagalog, the Philippine national costume.
1972
Launches his first men's fragrance, "Pour Monsieur."
1973
Cardin receives the "Basilica Palladiana," an award given each year to a successful Venetian.
1974
Cardin becomes the first fashion designer to appear on the cover of Time magazine in recognition of his influence on world fashion.
1975
Opens his first furniture store.
1977
Cardin receives the prestigious Dé d'Or of French Haute Couture for the first time.
1978
Awarded the Prestige Tourisme diploma for his contribution to the development of French tourism.
1979
Winned the prestigious Dé d'Or of French Haute Couture for the second time and became the first Western designer to present a fashion show in China since the Cultural Revolution, demonstrating his commitment to international fashion diplomacy.
Maxim's flower boutique opened in Paris.
1980
Opening of a retrospective at the Metropolitan Museum of Art in New York, showing his work from 30 years.
1981
Cardin acquired the famous Maxim's de Paris restaurant and expanded his brand to include the hotel and catering sectors.
He launched his first women's perfume, "Choc".
1983
He received the French Haute Couture Dé d'Or award for the third time.
1985
Launched the Pierre Cadrin doll line.
1987
Appointed Grand Officer of the Order of Merit of the Italian Republic.
1991
France appoints him Officer of the Legion of Honor and UNESCO Goodwill Ambassador to promote cultural understanding through fashion. He also designs jewelry for UNESCO's Chernobyl program.
Cardin receives the gold and silver star of the Japanese Order of the Sacred Treasure, Japan's highest honor.
1992
Cardin is elected a member of the Institut de France's Academy of Fine Arts, becoming the first designer to be admitted under the Academy's dome.
1995
He signs a contract with the Chinese government to produce uniforms for the army, police and post office. Other contracts for uniforms with other countries followed.
2000
At the Espace Pierre Cardin in Paris, he presents a retrospective collection to celebrate his 50th anniversary in the fashion world.
2007
Cardin receives the CFDA Fashion Award in New York.
2011-2018
During these years, Cardin organizes several fashion shows, including one on an aircraft carrier in Tianjin and one at the Villa Medici in Rome. He also celebrates important anniversaries with retrospectives around the world.
2020
In February, his star is added to the Palm Springs Walk of Stars.
In December, Pierre Cardin dies at the age of 98 in Neuilly-sur-Seine, France.
Pierre Cardin_22_084_pa2
PERMISSION TO USE: you are welcome to use this photo free of charge for any purpose including commercial. I am not concerned with how attribution is provided - a link to my flickr page or my name is fine. If the used in a context where attribution is impractical, that's fine too. I want my photography to be shared widely. I like hearing about where my photos have been used so please send me links, screenshots or photos where possible.
Architects; MKDC Architects, 1972-77
Design Team; Chris Cross, Jeremy Dixon, Ed Jones, Mike Gold, Jim Muldrew, Derek Walker.
All the architectural sophistication of modern residential design used by the illustrious design team including colour schemes representing height of 'grey' sleek refinements could not match the freedom of expression Mrs Thatcher's 'Right to Buy' bestowed on the new owners of the properties who had a right and obligation to express the change in their status by 'decorations' and any other signs of announcing that 'now we are the elite of this dump estate".
A classical approach employed here to start/end a series of 'boring' repetitive shapes.