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Your Kaleidoscope by Liz West at Chester Cathedral (Aug 2024)
British artist Liz West returns to Chester Cathedral with two stunning installations. Known for her wide-ranging works which blur the boundaries between sculpture, architecture, design and painting, West creates works that are both playful and immersive.
Hymn to the Big Wheel (2021) by Liz West
Hymn to the Big Wheel, by artist Liz West, is an immersive sculptural work exploring the illusion and physicality of colour and natural light in space. Consisting of a multi-coloured octagon nestled within a larger octagonal shape, this work encourages the viewer to reposition and align themselves to differing colour-ways to see a changing scope of colours mixing before their eyes.
Constructed using transparent coloured sheets, the work prompts the playful movement of visitors to explore the work in context with their surroundings. This saturated installation is an energizing beacon of colour that radiates across the space it inhabits, creating an intriguing interplay of coloured shadows for people to discover. The viewer becomes performer within the work as they move around the inside and outside of the structure to explore the changing optics and colour-ways mixing within the installation.
Presence (2021) by Liz West
Presence transforms the space taking the form of a tunnel, created from hundreds of iridescent dichroic panels creating a kaleidoscope artery down the centre of the south transept.
The tunnel is made up of 450 squares covered in the colour transmitting dichroic film, which is open at one end to allow visitors to walk in it and become immersed in the work. One side of the tunnel features cool colours ranging from purples though to greens and blues and on the other warm corals, pinks and yellows. The reflective and refractive nature of the material projects coloured light across the entire space, helping to reveal parts of the architecture that may otherwise be missed.
Dates: From 1st August 2024 to: 31st August 2024
More information about the installation, see:
#ChesterCulture
William Smith Building by Pick Everard. Visit www.pickeverard.co.uk. For details visit www.nhit-shis.org/william-smith-building-modern-architect...
SCHOOL OF ARCHITECTURE SYRACUSE UNIVERSITY IN FLORENCE FACOLTÀ DI ARCHITETTURA and UNIVERSITÀ DEGLI STUDI DI FIRENZE present: "GREEN VALUE: THE ECONOMIC BENEFITS OF SUSTAINABLE DESIGN - VALORE VERDE: BENEFICI ECONOMICI DEL DESIGN SOSTENIBILE" - Aula Magna Istituto Geografico - Florence March 31, 2011 (photo : Francesco Guazzelli
Architectural detail photographed in Martin Place, Sydney. Photographed for the exhibition Modern Times: the untold story of modernism in Australia.
File #00z28734
Photography by Marinco Kojdanovski
This studio aimed to develop and further a students' understanding of architecture by studying the intersection of at, design and materials science. Three primary exercises helped develop student’s techniques of drawing, making and organizing structures. This course was specifically created to play off students' non-architectural education by introducing a domain of investigation whereby students learned to design through the lens of cross-disciplinary experimentation.
Throughout the semester students investigated generative art, design and materials science through the lens of “pattern formation” and attempted to extract principles, learned techniques and developed strategies for design. By studying the formation of materials students explored both the fundamental science as well as new advances in research to understand the building blocks of matter, organizational patterns, processes of material creation and micro-to-macro material behavior. To draw comparison, students also researched both contemporary and historic works of generative art and design to understand the rules, logic and components of the work and how high-level patterns emerge from local interaction. These seemingly opposite fields converged and become precedents for three exercises: 1. Generative drawings, 2. New material formations and 3. Living objects / growing structures.
Learn more at arts.mit.edu
Photo by Sharon Lacey
KEREN OBIUZU AND CARLOS JIMÉNEZ, Certificate ceremony. The Bartlett Summer Studio 1, 2015. From the workshop Hand Drawing + Augmented Reality run by Thomas Hillier, Pascal Bronner + Sirisan Nivatvongs.
Image Found on foltbolt.hu By media-cache-ak0.pinimg.com
Resolution of Design home : 570 x 447 · 120 kB · jpeg
ATENEO MADRID
Installation for the lobby of Ateneo Madrid, March 2011, selected for the second round.
The Cheesy Animation Studio Services Is 3D Architectural Animation and Design Company provide In India, UK, USA, and Dubai.
www.3d-architectural-rendering.com/Animation-Design-Studi...
Toby Lewis (University of Bath) talks about the Process of Design during AAE, The Research Based Education 2016 international peer reviewed conference. Held at Bartlett School of Architecture. 140, Hampstead Road, London. 08/04/2016.
Student Housing in Epinay, France by ECDM. Visit www.combarel-marrec.com. Photography by Benoit Fougeirol. Visit www.benoitfougeirol.com
A forbidding perimeter wall protects the dead of the Recoleta Cemetery in Buenos Aires. The entrance to the necropolis is a Doric-columned portico, beyond which the great and powerful of Argentina’s history lay at rest; cast members in a silent theatre.
Former presidents, military generals, artists and, most famously, Eva Perón, are buried here in fabulous mausoleums of stone and bronze crowned by cupolas and crying angels. There are more than 6400 tombs in this city of the dead, densely packed against one another along narrow alleyways and leafy avenues.
It is great theatre, the city of the dead. Walking its labyrinth, one encounters a silent opera. Look and you spy a cherub, cast in white stone, dancing on a street corner. Crying widows, fashioned from stone, suckle infants on the steps of tombs. At the doors to great mausoleums, hooded virgins stare forlornly downwards, palms spread in mute, anguished supplication. Grieving mothers shaped from marble lay prostrate on the lids of stone caskets. This is hushed, thrilling theatre, almost mocking in its silence. Atop cupolas, winged angels, hair in tresses, hark and blow trumpets. Their blasts go unheard.
The fabulous tombs of the Recoleta Cemetery stand as vainglorious monuments, in death, to earthly success and ambition. They are symbols of Buenos Aires’ 1880-1930 golden age, when it was one of the world’s richest cities. Its social elite commissioned Paris’ finest architects to build their mausoleums in the image of the great palaces of the Recoleta district they inhabited. They built a city within a city; one that mirrored the opulence of the neighbourhood surrounding it.
Architect: Luca Selva Architects
Location: Lupsingen near Basel, Switzerland
Photographs: Ruedi Walti, Menga von Sprecher
Visit www.selva-arch.ch
This studio aimed to develop and further a students' understanding of architecture by studying the intersection of at, design and materials science. Three primary exercises helped develop student’s techniques of drawing, making and organizing structures. This course was specifically created to play off students' non-architectural education by introducing a domain of investigation whereby students learned to design through the lens of cross-disciplinary experimentation.
Throughout the semester students investigated generative art, design and materials science through the lens of “pattern formation” and attempted to extract principles, learned techniques and developed strategies for design. By studying the formation of materials students explored both the fundamental science as well as new advances in research to understand the building blocks of matter, organizational patterns, processes of material creation and micro-to-macro material behavior. To draw comparison, students also researched both contemporary and historic works of generative art and design to understand the rules, logic and components of the work and how high-level patterns emerge from local interaction. These seemingly opposite fields converged and become precedents for three exercises: 1. Generative drawings, 2. New material formations and 3. Living objects / growing structures.
Learn more at arts.mit.edu
Photo by Sharon Lacey