View allAll Photos Tagged INTERCONNECTED
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.
Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.
What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.
In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.
Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.
Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.
What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.
In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.
Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.
At Pichavaram.
Pichavaram is located near Chidambaram in Cuddalore District, Tamil Nadu, in South India. The nearest railway station is Chidambaram from where it is accessible by road.
Pichavaram is home to the second largest Mangrove forest in the world, and it is one of the unique eco-tourism spots in South India. The backwaters, interconnected by the Vellar and Coleroon river systems, offer abundant scope for water sports such as rowing, kayaking and canoeing. The Pichavaram forest not only offers waterscape and backwater cruises, but also another very rare sight - the mangrove forest trees are permanently rooted in a few feet of water.
The Pichavaram mangroves are considered among the healthiest mangrove occurrence in the world. Pichavaram consists of a number of islands interspersing a vast expanse of water covered with green trees. The area is about 2,800 acres (11 km2) and is separated from the sea by a sand bar which is a patch of extraordinary loveliness.
The Pichavaram mangrove biotope, consisting of rare species like Avicennia and Rhizophara; presents a special attraction, with its peculiar topography and environmental condition. It supports the existence of many rare varieties of economically important shell and finfishes.
Source : Wikipedia
Joined by President and CEO Dean Garfield of The Information Technology Industry Council, King & Spalding Partner J.C. Boggs, National Security Council Cybersecurity Director Ari Schwartz, and U.S. Department of Commerce General Counsel Kelly Welsh, as well as leading government and industry experts and policymakers, Governor Markell spoke at the 2014 Cybersecurity Summit: Risks & Benefits in an Interconnected Economy. This event kicked off National Cybersecurity Awareness Month with a discourse on cybersecurity risks and benefits in an interconnected economy.
Photo courtesy of Gregory Johns Photography.
“Speaking of the larger environment, God made all things interconnected, mutually intertwined, and interdependent. He used this method and these rules to maintain the survival and existence of all things and in this way mankind has lived quietly and peacefully and has grown and multiplied from one generation to the next in this living environment up to the present day. God balances the natural environment to ensure mankind’s survival. If God’s regulation and control were not in place, no man could maintain and balance the environment, even if it was created by God in the first place—this still can’t ensure mankind’s survival. So you can see that God handles it all perfectly!” (Continuation of The Word Appears in the Flesh).
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
The coherence that has placed the elements into their proper place that has been captured at the right time was such a rewarding shot, something that can really put an initiative to get into street photography even more.
The sagebrush ecosystem is the largest interconnected habitat type in the country. Home to more than 350 species of plants and animals and bridging portions of 13 states, America’s sagebrush country sustains iconic plants and wildlife, and a uniquely western way of life.
These pictures were taken outside of Bend, Oregon, near a sage-grouse mating site, or lek.
Credit: Sarah Levy/USFWS
The Workman-Temple family relates to the pioneer interconnected Workman and Temple families that were prominent in: the history of colonial Pueblo de Los Angeles and American Los Angeles; the Los Angeles Basin and San Gabriel Valley regions; and Southern California — from 1830 to 1930 in Mexican Alta California and the subsequent state of California, United States.
The Workman-Rowland Party was long considered the "first wagon train of Americans to travel overland to Los Angeles," but the party could not use wagons because of the difficult Old Spanish Trail route, nor were they solely Americans.
-Wikipedia
Fujica ST705w with the MC/ARAX 35mm tilt-shift lens on cross-processed Kodak Elite Chrome 100 slide film.
The sagebrush ecosystem is the largest interconnected habitat type in the country. Home to more than 350 species of plants and animals and bridging portions of 13 states, America’s sagebrush country sustains iconic plants and wildlife, and a uniquely western way of life.
These pictures were taken outside of Bend, Oregon, near a sage-grouse mating site, or lek.
Credit: Sarah Levy/USFWS
in your own little leitmotif way. in your own innocent way. in your own engrossed way.
..notes to self, yes. Essence of Rhythm ※
"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.
Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.
What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.
In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.
Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.
This graphic shows how Media Readers, Media Creators, Social Media, and World Wide Web all interconnect.
📜 The Sette Sale, or "Seven Halls," represent the interconnected corridors which formed the large cistern for the Baths of Trajan. In reality, however, the title is a misnomer as the cistern contained nine halls which would once have been filled with water from a branch of a nearby aqueduct. Nevertheless, this impressive structure had a capacity of 8 million-plus liters by some estimates, was built contemporaneously with the imperial thermae it fed, and was located slightly uphill some 75 meters from the baths themselves.
Don't miss these all-new DESIGN Insights post highlighting Phase II of my ongoing efforts to build all of Ancient Rome, circa mid-4th century CE!
😎 These insights are EXCLUSIVE to Corinthian patrons, and peel back the curtain months before these designs will be shared publicly. The renderings, on the other hand, are shared with patrons of all tiers.
Support this unprecedented project on Patreon!
Link below ➡️🔗⤵️
www.patreon.com/posts/design-insights-94265831?utm_medium...
#Artist #SupportArtists #SupportOnPatreon #FineArt #VisualArt #VisualArtist #SmallBusiness #SmallBusinessOwner #ArtHistory #WorldHistory #AncientHistory #ChicagoArtist #SPQR #ImperialRome #AncientRome #Rome #Roma #FestinaLente #LEGO #LEGOArchitecture #LEGOArt #LEGOArtist #InstaLEGO #WorldHeritage #Antiquity #GrecoRoman #Esquiline #SetteSale
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
The 4 interconnected circles should be placed in the trash says Mr Walrus.
The people of Hamburg have voted to withdraw the city's bid to host the 2024 Olympics, in an unexpected defeat for the city authorities.
“It seems the Olympic spirit and Germany do not belong together right now,” Alfons Hörmann, the president of the German Olympic Sports Confederation, said. “This is a body blow and a setback for sport in Germany.”
www.telegraph.co.uk/news/worldnews/europe/germany/1202521...
A still from the looped DVD, from the installation `The Fabric of the Universe `, Oriel Henry Thomas Gallery 2006.
"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.
Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.
What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.
In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.
Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.
This forlorn and overgrown structure in Cleveland’s Gordon Park is the former Cleveland Aquarium, which once occupied this complex of two interconnected buildings. Opened in 1953, the aquarium was an outgrowth of the Cleveland Natural History Museum, and included 50 exhibits of freshwater and marine species. However, the building’s story goes back to 1937, when it was built by the City of Cleveland with support from the New Deal-era Works Progress Administration as a bath house for the park, which at the time included a beach. However, the inconvenient location far from the beach led to the facility becoming disused, leading to its use as a trail side museum before becoming the Cleveland Aquarium. In 1967, an addition twice the size of the original building was added to the facility, which included the iconic Octagonal rotunda with its wavy roof, and an entrance with aqua-colored panels that mimicked waves on the surface of the lake. The aquarium, however, ran into financial trouble during the 1970s, and though it was popular, the attendance and higher cost of admission were not enough to save it from bankruptcy, and the aquarium closed in 1985, with all animals being transferred to the Cleveland Metroparks Zoo after the aquarium ceased operating in 1986. The aquarium was used for a brief time as a dog training facility and K9 kennel for the Cleveland Police Department for a few years, until deteriorating conditions in the 1930s wing led to the facility becoming abandoned. Today, the aquarium is in very rough shape, and stands forlorn as a bleak reminder of the city’s decline overlooking the Cleveland Memorial Shoreway in the midst of a park and neighborhood that has seen better days.
Lightning rods are installed on a roof as network of interconnected rods and grounded to an appropriately designed grounding system. The aim of the lightning rod is to become the point of discharge of the bolt in order to achieve a controlled impact without damage. As the lightning strikes this rod, static energy is safely grounded, protecting the facility from damage. LEC's system lowers the static field in the protected area long enough for the lightning strike to terminate outside the protected area.Lightning rod protection is important to prevent accidents from happening. Start protection of your facility now by contacting us: www.lightningprotection.com/lightning-rod-protection-cts/
This forlorn and overgrown structure in Cleveland’s Gordon Park is the former Cleveland Aquarium, which once occupied this complex of two interconnected buildings. Opened in 1953, the aquarium was an outgrowth of the Cleveland Natural History Museum, and included 50 exhibits of freshwater and marine species. However, the building’s story goes back to 1937, when it was built by the City of Cleveland with support from the New Deal-era Works Progress Administration as a bath house for the park, which at the time included a beach. However, the inconvenient location far from the beach led to the facility becoming disused, leading to its use as a trail side museum before becoming the Cleveland Aquarium. In 1967, an addition twice the size of the original building was added to the facility, which included the iconic Octagonal rotunda with its wavy roof, and an entrance with aqua-colored panels that mimicked waves on the surface of the lake. The aquarium, however, ran into financial trouble during the 1970s, and though it was popular, the attendance and higher cost of admission were not enough to save it from bankruptcy, and the aquarium closed in 1985, with all animals being transferred to the Cleveland Metroparks Zoo after the aquarium ceased operating in 1986. The aquarium was used for a brief time as a dog training facility and K9 kennel for the Cleveland Police Department for a few years, until deteriorating conditions in the 1930s wing led to the facility becoming abandoned. Today, the aquarium is in very rough shape, and stands forlorn as a bleak reminder of the city’s decline overlooking the Cleveland Memorial Shoreway in the midst of a park and neighborhood that has seen better days.
Joined by President and CEO Dean Garfield of The Information Technology Industry Council, King & Spalding Partner J.C. Boggs, National Security Council Cybersecurity Director Ari Schwartz, and U.S. Department of Commerce General Counsel Kelly Welsh, as well as leading government and industry experts and policymakers, Governor Markell spoke at the 2014 Cybersecurity Summit: Risks & Benefits in an Interconnected Economy. This event kicked off National Cybersecurity Awareness Month with a discourse on cybersecurity risks and benefits in an interconnected economy.
Photo courtesy of Gregory Johns Photography.
The Daily Shoot assignment for 2011/08/05:
Create a photograph that illustrations connection. dailyshoot.com/assignments/628
Very unusual for me, but I went with zero processing on this one. I actually took this before I checked the DailyShoot assignment and was happy that there was a connection...
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Address: Na Poříčí 24, Praha 1
Year: 1921–1923; 1937–1938; 1991–1994 (reconstructed)
Architects: Josef Gočár; František Marek; Vojtěch Obadálek
Archa palace is composed of two interconnected buildings built during the course of the 20th century. The first building, known as Legiobanka, was built for the Czechoslovak Legions Bank in 1921–1923. It was designed by Josef Gočár in the so-called National style (also called Rondocubism), which can be considered the local variant of the international art deco movement. The architect collaborated with sculptors Otto Gutfreund and Jan Štursa, while the interior decoration was partially executed by the painter František Kysela. There used to be a concert hall and later a theater in the basement.
The bank was enlarged in 1937–1938 by another building designed by Gočár’s protégé, František Marek, in the Functionalist style. The addition respects the aesthetic weight disposition of Gočár’s building and creates a harmonious whole of two different architectural approaches. The second building is known as Zlatý klas (The Golden Stalk) on account of the decoration on the second floor in the form of forged ears of grain made by Josef Kaplický. It also houses a shopping arcade where there used to be a cafe and fast-food restaurant called automat U Rozvařilů.
In 1990, after the revolution, both buildings were bought by ČSOB bank and reconstructed. The theater was modernized and became Theater Archa, from which the name of the whole building is now derived.
After the last reconstruction in 2008–2009, a 26,000 m2 multipurpose office space was created inside the buildings and is currently under the administration of CPI Property Group.
Address: Na Poříčí 24, Praha 1
Year: 1921–1923; 1937–1938; 1991–1994 (reconstructed)
Architects: Josef Gočár; František Marek; Vojtěch Obadálek
Archa palace is composed of two interconnected buildings built during the course of the 20th century. The first building, known as Legiobanka, was built for the Czechoslovak Legions Bank in 1921–1923. It was designed by Josef Gočár in the so-called National style (also called Rondocubism), which can be considered the local variant of the international art deco movement. The architect collaborated with sculptors Otto Gutfreund and Jan Štursa, while the interior decoration was partially executed by the painter František Kysela. There used to be a concert hall and later a theater in the basement.
The bank was enlarged in 1937–1938 by another building designed by Gočár’s protégé, František Marek, in the Functionalist style. The addition respects the aesthetic weight disposition of Gočár’s building and creates a harmonious whole of two different architectural approaches. The second building is known as Zlatý klas (The Golden Stalk) on account of the decoration on the second floor in the form of forged ears of grain made by Josef Kaplický. It also houses a shopping arcade where there used to be a cafe and fast-food restaurant called automat U Rozvařilů.
In 1990, after the revolution, both buildings were bought by ČSOB bank and reconstructed. The theater was modernized and became Theater Archa, from which the name of the whole building is now derived.
After the last reconstruction in 2008–2009, a 26,000 m2 multipurpose office space was created inside the buildings and is currently under the administration of CPI Property Group.