Palazzo Della Civiltà Italiana/ Palazzo della Civiltà del Lavoro/ Colosseo Quadrato (Square Colosseum) - Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano Architects - 1938 - EUR - Rome, Italy.

The Palazzo del Casinò was designed by the Chief Engineer of the City of Venice, Eugenio Miozzi, in the Rationalist style, and was built in 1938. Compared to the austere façade the interiors of the Palazzo featured spaces on every floor decorated with marble, mosaic and artistic glass from the finest glasshouses in Murano. The Casinò was closed in the late 1990s, and the Palazzo has since been used by the Biennale for the Venice International Film Festival, and for conferences and events.

May 2019

Pastrana. Guadalaja

España

Canons House (S. XVII)

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Esta gran casa construida principalmente en ladrillo y con alta galería.

La estructura del edificio responde a la idea de patio central en torno al cual se distribuyen las dependencias. Su fachada, realizada en ladrillo, utilizando una arquitectura sobria, desornamentada, casi racionalista, donde sólo destaca la rica moldura de sus ventanales.

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This large house built mainly in brick and with a high gallery.

The structure of the building responds to the idea of ​​a central courtyard around which the units are distributed. Its facade, made of brick, using a sober, disorganized, almost rationalist architecture, where only the rich molding of its windows stands out.

Der LC3 Poltrona ist ein wahrer Klassiker unter den Designermöbeln. Der erste Entwurf entstand schon im Jahr 1928 und wurde bis zur Produktion in den 60er-Jahren weiter perfektioniert. Le Corbusier, Pierre Jeanneret und Charlotte Perriand haben ein zeitloses Möbel geschaffen, das seine rationalistische Ästhetik durch die vom Gestell getrennten Polster in einer wunderschön geradlinigen Form darbietet. The LC3 Poltrona is a true classic among designer furniture. The first design was already created in 1928 and was further perfected until production in the 1960s. Le Corbusier, Pierre Jeanneret and Charlotte Perriand created a timeless piece of furniture that presents its rationalist aesthetics through the upholstery separated from the frame in a beautifully linear form.

The Lazzaretto of Ancona, also called the Mole Vanvitelliana, is a pentagonal 18th-century building built on an artificial island as a quarantine station for the port town of Ancona, Italy.

The island is now connected to the mainland by three bridges. The building was commissioned by Pope Clement XII, designed by the architect Luigi Vanvitelli, and built from 1733−1743. It originally had only one link to the mainland. A well was located in the central Neoclassical tempietto dedicated to Saint Roch, invoked against the plague, in the center of the courtyard. It was built to house possibly-infected travellers and goods arriving in the port.

Over the years, the site has taken different functions, mainly as a military citadel since the 19th century. During World War I, there was a failed attempt to sabotage the Italian naval resources by 60 infiltrating Habsburg sailors. Now it is used as a site of the museum Tattile Omero, as well as home for various exhibitions.

It is not clear why a pentagonal shape was chosen for the building. However, the rationalistic and functional ensemble is common to many works of late Enlightenment architecture. The efforts of this work can be compared to the contemporary architecture of institutions meant to provide geometrically compelling structures to house services for the poor in Naples by Fernando Fuga, such as the massive Royal Hospice and Hospital for the Poor and the mathematical Cemetery of the 366 Fossae.

Italia, Emilia-Romagna, Tresigallo, Primavera 2023

Tresigallo è un comune italiano vicino a Ferrara, in Emilia-Romagna, Italia. Nonostante le sue origini medievali, fu trasformata da un ministro dell'agricoltura fascista in una città utopica dal 1927 al 1934, secondo i canoni dell'architettura razionalista. Due assi sono stati tracciati attraverso il paese per collegare i principali aspetti della vita quotidiana: sull'asse orizzontale c'erano la Chiesa (spiritualità) e la Casa Balilla, un centro giovanile, ribattezzato Casa della G.I.L (Gioventù Italiana del Littorio); sull'asse verticale c'era il centro civico (vita quotidiana) e il cimitero (memoria). L'edificio su cui campeggia una grande scritta “SOGNI”, è uno dei simboli della città metafisica. Inizialmente era destinato a spogliatoio e bagno per i giovani appartenenti alle formazioni propagandistiche del regime.

Tresigallo is an Italian town near Ferrara, in Emilia-Romagna, Italy. Despite its medieval origins, it was transformed by a Fascist Minister of Agriculture into a utopian city from 1927 to 1934, according to the canons of rationalist architecture. Two axes were drawn across the town in order to link the main aspects of everyday life: on the horizontal axis there was the Church (spirituality) and the Balilla House, a youth center, renamed Casa della G.I.L (Gioventù Italiana del Littorio); on the vertical axis there was the civic centre (everyday life) and the cemetery (memory). The building on which there is a large sign “SOGNI” (Dreams), is one of the symbols of the metaphysical city. It was initially intended as a dressing room and bath for young people belonging to the propaganda formations of the regime.

with the exception of their occupation ;-)

Karl Kraus

HGGT! HFF!! Justice Matters! No one is above the law! Vote!!!

cosmos, j c raulston arboretum, ncsu, raleigh, north carolina

Edificio Carrión, Gran Vía 41, de Luis Martínez-Feduchi y Vicente Eced y Eced (1933), en Gran Vía, tramo de Callao a Plaza de España.

Estebanell Textile Colony (1870)

CATALÀ

La Colònia Estabanell és una entitat de població i antiga colònia tèxtil de Camprodon (Ripollès).

Malgrat que la fesomia de colònia industrial s'està perdent, en la seva època d'esplendor la colònia estava formada per una fàbrica tèxtil, una església, una escola, tres blocs d'habitatges per a obrers, un cafè, una sala de ball i un estanc. L'església, dedicada a sant Antoni de Pàdua, i en la qual s'hi realitzen esporàdicament actes religiosos, té com a elements destacables, un petit campanar amb campana i un rosetó i, a la part posterior, tres finestrals d'arc apuntat, el central resta tapat. L'escola, d'estil arquitectònic racionalista, està en funcionament. Els habitatges s'agrupen en quatre blocs, i el cafè i la sala de ball s'utilitzen de magatzem i garatge, respectivament.

L'any 1870 s'iniciaren les obres de construcció d'aquesta colònia, la primera del riu Ter. Fou iniciativa de l'industrial d'Olot Antoni Matabosch, que traslladà per l'antic camí d'Olot a Ripoll tota la maquinària per a la posada en marxa de la nova fàbrica de filats i teixits de cotó. La instal·lació tenia 300 telers i una secció de tints. La fàbrica patí un gran incendi l'any 1917. La companyia tèxtil Estabanell i Pahissa l'any 1923 va comprar la colònia a Matabosch i la colònia va passar a anomenar-se Colònia Estabanell, denominació que encara perdura en l'actualitat. La companyia li donà un nou i renovat impuls, va reconstruir la fàbrica, va posar en marxa la filatura i va ampliar la fàbrica successivament fins al 1957.

ENGLISH

Colònia Estabanell is a population entity and former textile colony of Camprodon (Ripollès).

Although the physiognomy of an industrial colony is being lost, in its heyday the colony consisted of a textile factory, a church, a school, three blocks of housing for workers, a cafe, a dance hall and a tobacconist The church, dedicated to St. Anthony of Padua, and in which religious events are held sporadically, has as notable elements, a small bell tower with a bell and a rose window and, at the back, three pointed arched windows , the switchboard remains closed. The school, with a rationalist architectural style, is in operation. The dwellings are grouped into four blocks, and the cafe and ballroom are used as storage and garage, respectively.

In 1870, construction work began on this colony, the first on the Ter River. It was the initiative of the Olot industrialist Antoni Matabosch, who moved all the machinery for the start-up of the new cotton yarn and fabric factory along the old road from Olot to Ripoll. The facility had 300 looms and a dye section. The factory suffered a major fire in 1917. The textile company Estabanell and Pahissa bought the colony in Matabosch in 1923 and the colony was renamed Estabanell Colony, a name that still persists today. The company gave it a new and renewed impetus, rebuilt the factory, started spinning and expanded the factory successively until 1957.

WIKIPEDIA

Oaxaca (Mexique) – Je sortais de la "basilica de nuestro senora de saledad", quand j’ai entendu un accordéon qui égrenait quelques notes. La musique était bizarre, comme si l'accordéoniste – que je ne voyais pas à cet instant – ne savait pas jouer de son instrument. Une "mélodie" hésitante, mais envoutante. Répétitive. Je me suis laissé guider par les notes, jusqu'à cette famille qui faisait la manche. Si la musique n'était pas extraordinaire, elle était obsédante et la scène qui s'offrait à moi était magique. Quatre personnages sur ce fond bleu, baignant dans une lumière chaude. Les rayons du soleil se concentraient sur le visage illuminé de la femme. J’ai hésité à m'approcher, de peur que l'enchantement ne soit rompu. Les notes maladroitement jouées enveloppaient la scène et renforçaient ce sentiment de vivre un moment irréel. Je n'ai pas osé prendre de photo. Je me suis éloigné. Cette famille déshéritée me mettait mal à l'aise. Pour la première fois, je me suis senti "voyeur". Vingt secondes plus tard, je suis revenu sur mes pas, estimant que cette photo, je la regretterai toute ma vie. J'ai mis un gros billet dans la casquette rouge tenue par la jeune mère et j'ai demandé si je pouvais les prendre en photo ? Un simple acquiescement de la tête, à peine perceptible, de la jeune femme. J'ai fait deux photos. Pas une de plus.

The accordionist who did not know to play

Oaxaca (Mexico) - I was leaving the "basilica de nuestro senora de saledad", where I had taken some pictures. As it was dark I increased the sensitivity. Normal. But what is less is that when going out, I did not change the sensitivity, while there was an astonishing brightness at the end of the day.

That's when I heard an accordion. The music was weird, as if the accordionist - whom I couldn't see - didn't really know how to play his instrument. A hesitant "melody", but captivating like repetitive music.

I let myself be guided by the notes, until I saw this little family that appealed to charity. If the music was not extraordinary despite its haunting side, the scene before me was wonderful. Four figures on this blue background, bathed in a very warm light. The woman was overexposed by the ray of sunlight that hit her face.

I hesitated to approach, I do not know why, probably for fear that this spectacle does not stop. May the enchantment be broken. The awkwardly played notes enveloped the stage and reinforced this feeling of living an unreal moment. Magic.

Finally I did not dare to take the photo and I walked away. After twenty seconds I changed my mind - I'm still a rationalist - and I retraced my steps, telling myself that this photo, I will regret it all my life.

I put a big ticket in the red cap held by the young mother and asked if I could take a picture of them ?

They haven't changed their proud and distant attitude. I took two photos. Not one more.

It was in the evening at the hotel that I realized that the sensitivity was not adapted, accentuating the contrast.

The BNR Palace was built during World War II, after having laid the foundation stone back in 1937.

The construction works carried on between 1942-44 under the direction of architect Ion Davidescu assisted by two other architects, Radu Dudescu and N. Crețoiu.

The building is emblematic of the neo-classical style with rationalist influences that prevailed in the interwar period. It impresses by the monumental granite stairs, the huge Corinthian columns forming the façade, and the large, white marble-coated halls inside the building.

The building was commissioned by King Charles VII to serve as the administrative and court center of the new Kingdom of Naples, as well as a symbol of royal power. The monarch wanted to provide the Bourbon-Two Sicilies dynasty with a royal residence and administrative capital of the stature of Versailles.

The project was commissioned to the architect Luigi Vanvitelli, who not only built the palace, but also the city and the gardens. The predominant style would be a rationalist Baroque, very close to early Neoclassicism. However, Charles never saw his project completed, because in 1759 he had to leave Naples to occupy the Spanish throne upon the death of his brother Ferdinand VI. Starting in 1780, the palace could begin to be used as a country residence by his son Fernando IV. The other monarchs of the Kingdom of the Two Sicilies gave it the same use until it passed into the hands of the House of Savoy after the fall of the kingdom and its incorporation into unified Italy in 1860.

King Victor Emmanuel III donated it to the State in 1919 and, since 1926, part of the building has housed the Aeronautical Academy. The palace, along with the gardens and the architectural complex of San Leucio, were declared a World Heritage Site by UNESCO in 1997.1 Currently it is a museum open to the public and has been used on several occasions as a setting for fiction films.

In terms of volume, the Royal Palace of Caserta is the largest royal residence in the world with more than two million cubic meters.

82 Stacked houses in Rationalist style. Designed by Herman Walenkamp (1916), and ordered by housing cooperation "Het Westen". Amsterdam, The Netherlands.

www.iamsterdam.com/en/amsterdam-qr/westerpark/de-zaanhof

nl.wikipedia.org/wiki/Zaanhof

Background

Built by the Dutch Railways as Head Administration Building III sober Cubist-Expressionist style by pulling the Amsterdam School design by GW of Heukelom. Together with the two previous buildings, namely Main Administration Building 1 (designed by architects NJ Kamperdijk and C. Vermeijs, built in 1870-71 / designed by AC Finch expanded in 1879) and Head of Administration Building II (designed by JF Klinkhamer, built in 1893- 95) the ensemble has the status of national monument.

The monument register speaks of a "sober detail office building in modern brick building, designed according to rationalist principles - identified in the symmetric uniformly distributed plan and the use of as many windows as well as the emphasis on the structure by the use of buttresses, pilasters and arches - and designed in a cubist-expressionist style which the great variety in slab construction volumes and rhythmic facade layout with many niches and developed buttresses characteristic; also important from the viewpoint of the administrative development of the railways, created as it was following the merger of me. Exploitation of State Railways and the Dutch Railways in 1917. "

Exterior

If Main III of Dutch Railways established large, flat-topped office at the height of five storeys - basement, ground floor and three floors bell - entirely in brick built in austere Cubist-Expressionist style designed by GW Heukelom in 1918-21 around a rectangular courtyard in a completely symmetric basis in both on the outside and on the side of the courtyard a higher uplink middle ressault with effect party in each of the walls (with the exception of the ZW-wall on the inside), and in looked down upon kicking, annex water tower in recognition of the NO to the side-situated main entrance; the whole is surrounded by a low garden brick wall, partly consisting of misfires and further provided with block-shaped reinforcements, in correspondence with the located stepwise upwardly tapering buttresses against the walls, that count, respectively, 19 and 16 bays. In addition to these buttresses are the facades further articulated by the recessed applied high narrow windows with similar steel rod division, but varying in length and width and rhythmically grouped by two, three or four, in each as a savings field treated bay with pilaster strips and dental strips in the frame .

Triple main entrance with wide and high stone sidewalk, has completed law itself abruptly deepening niches in which the double wooden doors with brass railings are installed and crowned by terracotta friezes, as well as four more senior stylized heads manufactured by WC Brouwer and lead bulb holders, recessed in the front and repeated on the corners, fitted at the Amsterdam School-related and curly motives

© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission

Amsterdam

Copyright - All images are copyright © protected. All Rights Reserved. Copying, altering, displaying or redistribution of any of these images without written permission from the artist is strictly prohibited

“We were keeping our eye on 1984. When the year came and the prophecy didn't, thoughtful Americans sang softly in praise of themselves. The roots of liberal democracy had held. Wherever else the terror had happened, we, at least, had not been visited by Orwellian nightmares.

But we had forgotten that alongside Orwell's dark vision, there was another - slightly older, slightly less well known, equally chilling: Aldous Huxley's Brave New World. Contrary to common belief even among the educated, Huxley and Orwell did not prophesy the same thing. Orwell warns that we will be overcome by an externally imposed oppression. But in Huxley's vision, no Big Brother is required to deprive people of their autonomy, maturity and history. As he saw it, people will come to love their oppression, to adore the technologies that undo their capacities to think.

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions." In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we fear will ruin us. Huxley feared that what we desire will ruin us.

This book is about the possibility that Huxley, not Orwell, was right.”

― Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age of Show Business

Church of the Colònia Estebanell (1870), Camprodon, Camprodon Valey, Ripollès, Catalonia.

CATALÀ

La Colònia Estabanell és una entitat de població i antiga colònia tèxtil de Camprodon (Ripollès).

Malgrat que la fesomia de colònia industrial s'està perdent, en la seva època d'esplendor la colònia estava formada per una fàbrica tèxtil, una església, una escola, tres blocs d'habitatges per a obrers, un cafè, una sala de ball i un estanc. L'església, dedicada a sant Antoni de Pàdua, i en la qual s'hi realitzen esporàdicament actes religiosos, té com a elements destacables, un petit campanar amb campana i un rosetó i, a la part posterior, tres finestrals d'arc apuntat, el central resta tapat. L'escola, d'estil arquitectònic racionalista, està en funcionament. Els habitatges s'agrupen en quatre blocs, i el cafè i la sala de ball s'utilitzen de magatzem i garatge, respectivament.

L'any 1870 s'iniciaren les obres de construcció d'aquesta colònia, la primera del riu Ter. Fou iniciativa de l'industrial d'Olot Antoni Matabosch, que traslladà per l'antic camí d'Olot a Ripoll tota la maquinària per a la posada en marxa de la nova fàbrica de filats i teixits de cotó. La instal·lació tenia 300 telers i una secció de tints. La fàbrica patí un gran incendi l'any 1917. La companyia tèxtil Estabanell i Pahissa l'any 1923 va comprar la colònia a Matabosch i la colònia va passar a anomenar-se Colònia Estabanell, denominació que encara perdura en l'actualitat. La companyia li donà un nou i renovat impuls, va reconstruir la fàbrica, va posar en marxa la filatura i va ampliar la fàbrica successivament fins al 1957.

ENGLISH

Colònia Estabanell is a population entity and former textile colony of Camprodon (Ripollès).

Although the physiognomy of an industrial colony is being lost, in its heyday the colony consisted of a textile factory, a church, a school, three blocks of housing for workers, a cafe, a dance hall and a tobacconist The church, dedicated to St. Anthony of Padua, and in which religious events are held sporadically, has as notable elements, a small bell tower with a bell and a rose window and, at the back, three pointed arched windows , the switchboard remains closed. The school, with a rationalist architectural style, is in operation. The dwellings are grouped into four blocks, and the cafe and ballroom are used as storage and garage, respectively.

In 1870, construction work began on this colony, the first on the Ter River. It was the initiative of the Olot industrialist Antoni Matabosch, who moved all the machinery for the start-up of the new cotton yarn and fabric factory along the old road from Olot to Ripoll. The facility had 300 looms and a dye section. The factory suffered a major fire in 1917. The textile company Estabanell and Pahissa bought the colony in Matabosch in 1923 and the colony was renamed Estabanell Colony, a name that still persists today. The company gave it a new and renewed impetus, rebuilt the factory, started spinning and expanded the factory successively until 1957.

WIKIPEDIA

Moate station for many years lay abandoned and frozen in time in a downgrading process of this former and original mainline to Galway that started in 1928.

Opened in 1851 this MGWR Mullingar - Athlone section of route saw it’s last trains in 1997. Rationalistion by GSR singled the mainline to Galway in 1928, while the diversion of Galway and Mayo trains via Portdarlington in 1973 reduced traffic considerably. The few timetabled trains remaining ceased in 1987. The former railway line was converted into “The Old Rail Trail’ 43 km Greenway shortly after this image were taken in 2010.

H

Canon 5D MK2 - 2010

Mullingar’s Semi derelict west yard. Opened in 1851 as part of the former MGWR mainline route to Galway, the Mullingar - Athlone section of route has not been used since 1997. Rationalistion by GSR singled the mainline to Galway in 1928, while the diversion of Galway and Mayo trains via Portdarlington in 1973 reduced traffic considerably. The few timetabled trains remaining ceased in 1987. In recent years the line past the yard and turntable has been lifted and turned into the midland greenway between Mulling & Athlone.

H

Canon 5DMK2

Behrenshaus Düsseldorf ...

Museum for NRW - History

Peter Behrens Modernität, Sachlichkeit und Nüchternheit war die Wegbereitung für das Bauhaus ...

Peter Behrens (14. April 1868 - 27. Februar 1940) war ein führender deutscher Architekt, Grafik- und Industriedesigner, der vor allem durch seine bahnbrechende AEG-Turbinenhalle in Berlin im Jahr 1909 bekannt wurde.

Er hatte eine lange Karriere und entwarf Objekte, Schriften und wichtige Gebäude in einer Reihe von Stilen von den 1900er bis zu den 1930er Jahren.

Er war 1907 Gründungsmitglied des Deutschen Werkbundes, als er auch begann, für die AEG zu entwerfen, und leistete Pionierarbeit in den Bereichen Corporate Design, Grafikdesign, Schriftarten, Objekte und Gebäude für das Unternehmen.

In den folgenden Jahren wurde er ein erfolgreicher Architekt, ein führender Vertreter der rationalistisch-klassischen deutschen Reformbewegung der 1910er Jahre.

Nach dem Ersten Weltkrieg wandte er sich dem Backsteinexpressionismus zu, entwarf das bemerkenswerte Hoechst-Verwaltungsgebäude außerhalb Frankfurts und wandte sich ab Mitte der 1920er Jahre zunehmend der Neuen Sachlichkeit zu.

Er war auch als Pädagoge tätig und leitete von 1922 bis 1936 die Architekturschule an der Akademie der bildenden Künste Wien. Als bekannter Architekt schuf er Entwürfe in ganz Deutschland, in anderen europäischen Ländern, in Russland und England.

Mehrere der führenden Namen der europäischen Moderne arbeiteten in den Anfängen der 1910er Jahre für ihn, darunter Ludwig Mies van der Rohe, Le Corbusier und Walter Gropius.

Das Mannesmann-Hochhaus ist am Ende der Galerie zu sehen (auch Vodafone-Hochhaus nach dem zwischenzeitlichen Nutzer genannt) ist ein Verwaltungsgebäude am Mannesmannufer (Bundesstraße 1) im Düsseldorfer Stadtteil Carlstadt. Entworfen und gebaut wurde es 1956 bis 1958 von den Architekten Egon Eiermann und Paul Schneider-Esleben, nachdem diese 1954 einen Architekturwettbewerb gewonnen hatten.

_V0A9912_16_pt3

Etty Hillesum’s voice is important for us to listen to. She neither requests nor desires what begins to open up from within her. Indeed this rationalist does not know what to make of any of this. Her razor-sharp, analytical mind in fact resists it. Yet somehow she manages to stay out of the way. We who practice with dedication and regularity often fall overboard by trying too hard. Etty teaches contemplatives the importance of staying out of the way. And so we deepen by way of consent, by giving voice to our own small fiat, “let it be done according to thy will” (Lk 1:38).

-An Ocean of Light Contemplation, Transformation, and Liberation, Martin Laird, O.S.A.

Teatro Dehon costruito sotto alla chiesa di Santa Maria del Suffragio. Dettaglio. Dehon Theater built under the church of Santa Maria del Suffragio. Dettaglio. Bologna 2020

Explored 10/11/2020

Baruch de Spinoza lived here.

Baruch de Spinoza (Hebrew: ברוך שפינוזה‎, Portuguese: Bento de Espinosa, Basque: Benedict de Spinoza, Latin: Benedictus de Spinoza) (November 24, 1632 – February 21, 1677) was a Dutch philosopher of Portuguese Jewish origin. Revealing considerable scientific aptitude, the breadth and importance of Spinoza's work was not fully realized until years after his death. Today, he is considered one of the great rationalists of 17th century philosophy, laying the groundwork for the 18th century Enlightenment and modern biblical criticism. By virtue of his magnum opus, the posthumous Ethics, Spinoza is also considered one of Western philosophy's definitive ethicists.

Spinoza lived quietly as a lens grinder, turning down rewards and honours throughout his life, including prestigious teaching positions, and gave his family inheritance to his sister. Spinoza's moral character and philosophical accomplishments prompted twentieth-century philosopher Gilles Deleuze to name him "The absolute philosopher" (Deleuze, 1990). Spinoza died in February 1677 of a lung illness, perhaps tuberculosis or silicosis caused by fine glass dust inhaled while tending to his trade.

en.wikipedia.org/wiki/Baruch_Spinoza

Divenute Terme di Stato, Mussolini impose la costruzione del Grand Hotel per accogliere i reali e le autorità di governo. Opera dell'Ingegnere Diego Corsani fu inaugurato nel 1938 da Umberto di Savoia. Gli interni sono riccamente decorati in stile Art Decò e Liberty Italiano dal grande artista toscano Tito Chini.

English version:

Once the spa became state-owned, Mussolini ordered the construction of the Grand Hotel to accommodate royal family and government officials. Designed by engineer Diego Corsani, it was inaugurated in 1938 by Prince Umberto di Savoia. The interiors are richly decorated in Italian Art Decò and Liberty style by the great tuscan artist Tito Chini.

Pure rationalist materialism, Now even more inhuman.

98% of EVERYONE's favorite:

Circular rationalist villa, by Elio Frisia (1938).

Lomazzo, Italy.

© Roberto Conte (2016)

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The BNR Palace was built during World War II, after having laid the foundation stone back in 1937.

The construction works carried on between 1942-44 under the direction of architect Ion Davidescu assisted by two other architects, Radu Dudescu and N. Crețoiu.

The building is emblematic of the neo-classical style with rationalist influences that prevailed in the interwar period. It impresses by the monumental granite stairs, the huge Corinthian columns forming the façade, and the large, white marble-coated halls inside the building.

Colonia Fara, a Rationalist summer camp built by Camillo Nardi Greco and Lorenzo Castello under the Fascist regime (1938) just in front of the sea. Chiavari (Genoa), Italy.

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Europe, Netherlands, Noord Holland, Hilversum, Raadhuis, Wim Dudok (cut from T & B)

Wim Dudok was an influential architect and urbanist. Remarkable is that he wasn’t trained as an architect or urbanist, but as a civil engineer at the Royal Military Academy (the KMA, the Dutch Westpoint). So his domain was the design of forts and other defensive structures. And in his free time he designed buildings

and was influenced by the rationalist architecture of Berlage.

Dudok eventually became director of municipal works of Hilversum (after a short time in a similar position in Leiden), a thru its industry rapidly growing town. And designed most of the ‘uitbreidingswijken’ - new boroughs (both the urban plans and the architecture) there. And many public buildings, including the town hall (1931) displayed here, with its somewhat modernist and Frank Lloyd Wright-inspired play with building volumes and cantilevers.

Dudok's architecture is still popular, more than a few of the residential buildings realized thru the Dutch VINEX / VONAC etc urban expansion plans are retro-Dudok.

This is number 9 of the Hilversum album.

Ferrocarril directo de Caminreal a Zaragoza inagurado en 1933.

Estación cerrada tras la última renovación de la línea, por una mejora de un radio de curva y aumento de velocidad en las inmediaciones de Longares, el trazado en el que se encontraba el viejo edificio quedó abandonado construyéndose un nuevo apeadero en el nuevo trazado.

La vieja estación de estilo Racionalista Aragonés se encuentra en estado ruinoso y está empezando a colapsar, una lastima...

English;

"Longares"

Direct railway from Caminreal to Zaragoza inaugurated in 1933.

Station closed after the last renewal of the line, due to improvement of the curve radius and speed increase in the vicinity of Longares, the layout where the old building was located was abandoned and a new halt was built on the new layout.

The old Aragonese rationalist style station is in a dilapidated state and is beginning to collapse, a pity...

Obra máxima de seu criador, o arquiteto Affonso Eduardo Reidy (1909-1964) - um dos maiores nomes da arquitetura brasileira -, o Museu de Arte Moderna do Rio de Janeiro situa-se no Parque do Flamengo, em um cenário privilegiado.

Pensado para dialogar com a paisagem - a horizontalidade da composição para fazer frente ao perfil dos morros cariocas -, as fachadas envidraçadas, trazendo para o interior o paisagismo de Burle Marx, o projeto de Reidy apresenta-se racionalista e plástico a um só tempo. Não há distância entre a estrutura e a aparência final. Os vãos livres têm um fim prático: a liberdade de composição oferecida ao espaço expositivo, o convite ao jardim no plano térreo. Do cuidado com o concreto aparente à escolha dos granitos e pedras portuguesas, o projeto ganha o parque.

Masterpiece of its creator, architect Affonso Eduardo Reidy (1909-1964) - one of the biggest names of Brazilian architecture - the Museum of Modern Art in Rio de Janeiro is located in the Parque do Flamengo, in a privileged setting.

Thought for dialogue with the landscape - the horizontality of the composition to cope with the profile of Rio's hills - the glazed facades, bringing to the interior landscaping by Burle Marx, the project presents Reidy rationalist and plastic at once. There is no distance between the structure and final appearance. The spans have a practical purpose: the compositional freedom offered to the exhibition space, the invitation to the garden at ground level. Care for the exposed concrete to the choice of Portuguese granite and stone, the project gains the park.

www.mamrio.org.br/index.php?option=com_content&task=v...

Tresigallo è una piccola cittadina in provincia di Ferrara.

Tra il 1933 e il 1939 conosce il suo massimo splendore, quando Edmondo Rossoni, nativo del luogo e allora ministro dell'Agricoltura e delle Foreste, diede avvio alla "rifondazione" del paese promuovendo la costruzione di innumerevoli edifici secondo lo stile architettonico razionalista.

Per questo motivo Tresigallo è oggi chiamata "Città Metafisica".

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Tresigallo is a small town in the province of Ferrara town (Italy).

Between 1933 and 1939 it experienced its maximum splendor, when Edmondo Rossoni, a native of the place and then Minister of Agriculture and Forestry, began the "refoundation" of the town by promoting the construction of countless buildings according to the rationalist architectural style.

For this reason Tresigallo is today called the "Metaphysical City".

www.tresigallolacittametafisica.it/

RISTRUTTURAZIONE EDILIZIA BEN RIUSCITA

Lo stile littorio denota un linguaggio architettonico che si è sviluppato in Italia negli anni trenta del Novecento e che caratterizza soprattutto un gran numero di edifici pubblici commissionati dal regime fascista dall'inizio degli anni trenta fino alla sua caduta.

Dopo la caduta del regime, nel secondo dopoguerra questa architettura razionalista è stata a lungo criticata per reazione politica. Con il tempo il giudizio estetico è andato modificandosi e le migliori tra queste architetture sono state rivalutate per i loro pregi estetici.

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WELL SUCCESSFUL BUILDING RENOVATION

The lictorian style denotes an architectural language that developed in Italy in the 1930s and which mainly characterizes a large number of public buildings commissioned by the Fascist regime from the beginning of the 1930s to its fall.

After the fall of the regime, this rationalist architecture was for a long time criticized for political reaction after World War II. Over time, the aesthetic judgment has changed and the best of these architectures have been re-evaluated for their aesthetic qualities.

Immagine realizzata con lo smartphone HUAWEI MATE 20 PRO

The Getty Center, designed by architect Richard Meier, is the $1.2 billion museum of the J. Paul Getty Trust, the largest arts endowment in history ($3 billion).

An influential, contemporary American architect, Mr. Meier is known for his rationalist, geometric designs and the use of the color white, influenced by Le Corbusier, Mies Van der Rohe and, Frank Lloyd Wright.

EXPLORE #292, April 21, 2008

La Porte Bleue, a mixed-use structure located in the Arenc district of Marseille, was completed in 2023 as part of the Euroméditerranée redevelopment project. Designed by Pietri Architectes, the building stands 53 meters tall and features a façade of 414 white concrete arches, inspired by Mediterranean heritage and rationalist architecture.

Amusing Ourselves to Death

by Neil Postman

'What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions". In 1984, Huxley added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we hate will ruin us. Huxley feared that what we love will ruin us.'

“So true”

-rc

De Lubac identifies a distinctive contrast between a mature grasp of secular knowledge and a puerile grasp of religious faith. The latter has “remained that of a child, wholly elementary, rudimentary, a mixture of childish imagination, poorly assimilated abstract notions, scraps of vague and disconnected teachings gathered by chance from existence.”8 The failure to foster a mature and intelligent grasp of faith often results in its abandonment. Even scholars have foregone a deep engagement with biblical texts, relegating it to a domain for a few specialists. The Bible became a “source for rationalist objections to which the apologist had to respond.”9 It was no longer studied seriously as a religious text – a reservoir of the sacred – and instead became a source for thin apologetics.

-THE GIVENNESS OF DESIRE Concrete Subjectivity and the Natural Desire to See God, Randall S. Rosenberg

Rialto Teatre Filmoteca located in Plaza del Ayuntamiento number 17, built in 1939 with a project by the architect Cayetano Borso di Carminati. The project responds to the rationalist style, although with influences from Valencian art deco.

Currently Valencian Institute of Cinematography.

Rialto Teatre Filmoteca situado en la plaza del Ayuntamiento número 17, construido en el año 1939 con proyecto del arquitecto Cayetano Borso di Carminati. El proyecto responde al estilo racionalista, aunque con influencias del art déco valenciano.

Actualmente Instituto Valenciano de Cinematografía.

València (Spain).

tingbjerg social housing, copenhagen, c.1950-1972.

architect: steen eiler rasmussen.

many influences come together in steen eiler rasmussen's postwar essay in urbanism, tingbjerg: his liking of urban spaces, repetition, and anonymous architecture bespeak his origin in nordic neoclassicism; there is the klint school's reactionary insistence on local craft, masonry in this case; also rasmussen's love of all things English shows itself in street scenes resembling at times a garden city and at times a mining town...finally, there is more than a hint of Italian rationalism.

but all that is invisible to most Danes, not because they don't appreciate architecture, but rather because of the almost complete failure of tingbjerg as an urban experiment.

its 2000-3000 counsil flats have been used as a social dump by the copenhagen municipality for decades; together with the physical isolation of the neighbourhood this has created an endemic condition of unemployment, substance abuse, and crime. flats are abandoned, shops are boarded up.

steen eiler rasmussen knew full well that his major work was a failure and made no effort to hide the fact that a different approach had to be found for public housing. his legacy as a building architect was permanently tainted and his reputation today rests solely on his writings.

these days see the early stages of a huge reinvestment in the area. the basic architectural fabric is of a quality that should make change possible even if some of us remain sceptical about what landscape architects can do about social problems...

still, as the early modernists well knew, social problems are best adressed with education, jobs, and decent housing. architecture does play a part.

La Porte Bleue, a mixed-use structure located in the Arenc district of Marseille, was completed in 2023 as part of the Euroméditerranée redevelopment project. Designed by Pietri Architectes, the building stands 53 meters tall and features a façade of 414 white concrete arches, inspired by Mediterranean heritage and rationalist architecture.

The sky was a jigsaw of torrential showers and brilliant, untroubled blue, each busily becoming one another. A few moments later we were deluged. Ten minutes after, all was sunny.

Perhaps one could agonise in such conditions, but the great blessing of my old Leica was that it encouraged a cavalier attitude to metering. In those days I used a Leningrad 8 - invariably for incident readings - backed by the extraordinary Johnson’s exposure calculator. TTL metering, as on the OM2, gives me nowhere near the confidence. Nor does a modern Sekonic meter. They agree far too well.

This may be blind prejudice, but both seem to detract from the photographer's intuitive freedom. Considering which, it’s a curious fact that the first popular exposure meter was invented and produced by Alfred Watkins (1855-1935), better remembered for discovering Ley Lines.

The latter are usually portrayed as lines of a supposed terrestrial energy, marked by alignments of ancient sites, although Watkins - a sturdy Victorian rationalist - saw them as simply prehistoric paths. His classic book, “The Old Straight Track” was published in 1925 and received a bewildered review in “Amateur Photographer”. Yet Watkins had “discovered” Leys in a moment of visionary insight, a revelation that a hidden, immemorial framework underlay the landscape.

His book was republished in the 1970s, amid a revival of esoteric folklore. It was avidly read by odd adolescents, negotiating the interesting years between the last comic and the first romance. Mine was, anyway :)

This spot - Chalkpit Lane, in the hills above Titchwell - is part of a fascinating and very distinctive grid of minor roads, paths and farm tracks between Ringstead, Burnham Market and the sea. There is good reason to think that much of this - at least - is of Roman origin. It somehow gives the place a mysterious unity, having linked it together for around 2000 years.

A personal note: For the last three years I have worked with people who have what are termed - I think not entirely satisfactorily - “severe learning disabilities”. This often means that I am away from home and off-line for extended periods - far longer than I am home and on-line. If I don’t post, comment or reply it is because of this. Please do not think I am being rude, neglectful or unappreciative :) I won’t excuse myself again as it gets boring for you :)

Chalkpit Lane, above Titchwell, Norfolk. Olympus OM-2n, Zuiko f2.8 28mm, Kodak T-Max 400, Orange Filter.

Casa Milà, La Pedrera, Barcelona.

La Casa Milà, La Pedrera («cantera» en catalán), es un edificio modernistanota 1 obra del arquitecto Antoni Gaudí, construido entre los años 1906 y 1910 en el distrito del Ensanche de Barcelona, en el número 92 del paseo de Gracia. La casa fue edificada por encargo del matrimonio Pere Milà i Camps y Roser Segimon i Artells, y Gaudí contó con la colaboración de sus ayudantes Josep Maria Jujol, Domènec Sugrañes, Francesc Quintana, Jaume Bayó i Font, Joan Rubió, Enrique Nieto y Josep Canaleta, así como del constructor Josep Bayó i Font, que había trabajado con Gaudí en la Casa Batlló. Desde su apertura al público en 1987 ha recibido más de 20 millones de visitas (un millón cada año aproximadamente), convirtiéndola en uno de los diez lugares más visitados de Barcelona.

La Casa Milà es un reflejo de la plenitud artística de Gaudí: pertenece a su etapa naturalista (primera década del siglo XX), periodo en que el arquitecto perfecciona su estilo personal, inspirándose en las formas orgánicas de la naturaleza, para lo que puso en práctica toda una serie de nuevas soluciones estructurales originadas en los profundos análisis efectuados por Gaudí de la geometría reglada. A ello añade el artista catalán una gran libertad creativa y una imaginativa creación ornamental: partiendo de cierto barroquismo sus obras adquieren gran riqueza estructural, de formas y volúmenes desprovistos de rigidez racionalista o de cualquier premisa clásica.

Casa Mila, La Pedrera ( "quarry" in Catalan) is a building modernistanota first work of architect Antoni Gaudi, built between the years 1906 and 1910 in the district of Ensanche of Barcelona, ​​at number 92 Paseo de Gracia. The house WAS built by encargo del matrimonio Pere Mila i Camps and Roser Sigismund and Knuckles, and Gaudí Conti with the collaboration of its assistantship Josep Maria Jujol, Dominic Sugrañes, Francisco Quintana, James Bayó i Font, Joan Rubio, Enrique Nieto and Josep Canaleta as well as the builder Bayó and Josep Font, who had trabajado with Gaudí Casa Batllo. Since its opening to the public in 1987 recibido has more than 20 million visits (a MILLION each year approximately), turning it into one of the ten most places visitados Barcelona.

Casa Mila is a reflejo the full artistic Gaudi belongs to its stage naturalist (first decade of century XX), periods in which the architect perfected your personal style, inspirándose in the forms orgánicas of nature, for what Pusó in nuevas practice toda a series of structural solutions in the originadas profundos efectuados analysis by Gaudí formal geometry. A ello añade the great Catalan artist libertad creative and imaginative ornamental creation: Partiendo cierta baroque style of its works adquieren great wealth of structural forms and lacking volumes of rationalist rigidity or whatever the classic premise.

Already in 1931 he thinks about occupying through a new building the space of the "El Progreso" market, near the Campoamor Theater. In 1944 the City Council opens the project contest. The design was presented in 1952 and several architects such as Joaquin Suárez, Carlos Sidro (Correos Architect), Gabriel of Tourants and Fernando Cavanilles took part. It was projected as a hotel, Palacio de Congresos, headquarters and telegraphs and businesses. In 2005, a complete rehabilitation was carried out within the "Giraffe Elite" project adapting as luxury apartments and offices.

The building plant is adapted to the confluence of two streets. Inspired perhaps in the Bank of Rome (Milan), it is a building ennobled, rationalist, elegant, sober, gray, on horseback between a certain classicism and the modernity of the remarkable Asturian architecture of the 50s. The tower, of 19 floors , it was built at the furthest point of the Campoamor Theater, favoring that the perspective of the Decimononic Building should not blink. Its "giraffe" shape, at the beginning of popular nursing, made it just recognized officially with this denomination. It is the highest building in Oviedo after La Torre Teatinos, the Tower of the Cathedral and the Congress Palace.

" To Claudio Del Fuoco", for your help and explanation, about my new Jellika Copyright!"

"Thank you very much, my friend"

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***Canon 5D Mark II - EF 24-105mm 1:4 L IS USM. © 2016.***

Lázaro Antônio dos Santos - "monsieurlazarophotographies".

Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.

---------------------------------GOD BLESS YOU------------------------------------

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Murano glass paper weights

Murano glass is glass made on the Venetian island of Murano, which has specialized in fancy glasswares for centuries. Murano’s glassmakers led Europe for centuries, developing or refining many technologies including crystalline glass, enamelled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo), and imitation gemstones made of glass. Today, the artisans of Murano are still employing these centuries-old techniques, crafting everything from contemporary art glass and glass figurines to Murano glass chandeliers and wine stoppers, as well as tourist souvenirs.

Today, Murano is home to a vast number of factories and a few individual artists' studios making all manner of glass objects from mass marketed stemware to original sculpture. The Museo del Vetro (Glass Museum) in the Palazzo Giustinian houses displays on the history of glassmaking as well as glass samples ranging from Egyptian times through the present day.

History

A Murano glassworker adds color to his creation

Making the glass malleable

Making a Glass Horse

Located 1.5 km (0.93 mi) from the main city Venice, Italy, Murano has been a commercial port since as far back as the 7th century. It is believed that glassmaking in Murano originated in 8th-century Rome, with significant Asian and Muslim influences, as Venice was a major trading port[citation needed]. Murano glass is similar to the 1st-century BC Greek glasses found in the shipwreck of Antikythera[citation needed]. Murano’s reputation as a center for glassmaking was born when the Venetian Republic, fearing fire and destruction of the city’s mostly wooden buildings, ordered glassmakers to move their foundries to Murano in 1291. Murano glass is the largest proportion of Venetian glass.

Murano's glassmakers were soon the island’s most prominent citizens. By the 14th century, glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state, and their daughters permitted to marry into Venice’s most affluent families. Marriage between glass master and the daughter of the nobleman wasn't regarded as misalliance. However glassmakers were not allowed to leave the Republic. Exportation of professional secret was punished by death. Many craftsmen took this risk and set up glass furnaces in surrounding cities and as far afield as England and the Netherlands. By the end of the 16th century, three thousand of Murano island's seven thousand inhabitants were involved in some way in the glassmaking industry. French revolutionary armies occupied Murano in 1797.

Murano glass was produced in great quantities in the 1950s and 1960s for export and for tourists.

Murano glass chandeliers

In the 18th century Murano glassmakers started to introduce new products such as glass mirrors and chandeliers to their production. In history these glass chandeliers became popular after the iron, wood and brass era of chandeliers, and they were such a success that instantly brought chandeliers to a new dimension. The first Murano glass chandeliers to be produced by Venetian glassmakers date back around the year 1700. This new type of chandelier was called "ciocca", literally bouquet of flowers, for the characteristic decorations of glazed polychrome flowers. The most sumptuous of them consisted of a metal frame covered with small elements in blown glass, transparent or colored, with decorations of flowers, fruits and leaves, while simpler model had arms made with a unique piece of glass. Their shape was inspired by an original architectural concept: the space on the inside is left almost empty since decorations are spread all around the central support, distanced from it by the length of the arms. One of the common use of the huge Murano Chandeliers was the interior lighting of theatres and rooms in important palaces.

Giuseppe Briati was the most famous producer of these chandeliers. He focused his work on the creation of what are now recognised as the typical Murano chandeliers with multiple arms decorated with garlands, flowers and leaves, called "ciocche". Born on the island of Murano in 1686 from a family of glassmakers he apparently had the chance to work in a Bohemian glass factory, where he learned the secrets of working the crystal, that at the time was taking over venetian glass leadership on the European market. Briati contributed significantly to improve the fortunes of the Venetian glass, which after having experienced a period of success, was heavily decayed. His furnace became famous for the production of Bohemian inspired glass with a twist of eccentricity, that through colors and decorations gave them the look of triumph of polychrome flowers. Giuseppe Briati created what it's now called Rezzonico Chandelier, whose name derive from the first chandelier of its kind, that represents the classic Murano chandelier. It was designed by Briati for the noble venetian family Rezzonico and hung in their palace along the Grand Canal, now famed venetian museum under the name "Ca' Rezzonico". This kind of chandelier, completely realized by hand, required a particular working by the glassmakers due to the arms being formed by many small pieces of glass. Every shape of glass had to be masterly executed because any outsize piece wouldn't fit to be mounted between the others. Rezzonico chandelier is an example of the ability of the Italian craftmanship to adapt to changes and to offer new and innovative solutions to the mutation of architectural needs.

Murano glass chandeliers have a unique history and continue to be produced in Venice today, thanks to the success that makes them one of Venetian glass best-known and most appreciated products. These pretty and joyful glass chandeliers that became popular after the iron, wood and brass era of chandeliers, instantly brings a new dimension of fun and fashion to the idea of chandelier. Today they are widely appreciated as one of the most beautiful and decorative types of chandelier.

Murano glass in the 20th century

Conditioned by the gusto of recovery and revival which had decreed the nineteenth century re-launching, modern glass-making on Murano was born relatively late on, that is, in the first years of the century while it gave original results only in the second decade at the time when the great foreign Art Nouveau glass-makers had already given their best works.

In the first twenty years of this century the glass of modern style was produced at Murano quite discontinuously, for the most part on the occasion of the Venice Biennale exhibitions and of the Fondazione Bevilacqua la Masa at Ca’ Pesaro. Only in the immediate post-war period did the factories begin a normal production of non-traditional models which often constituted the development of attempts made in previous years. In the 1920s Muranese glass-making positively felt the changes which had taken place in the international artistic world to a greater extent than had been the case in the pre-war period. In the 1930s and 1940s we have the happy union to Art Deco, with its preciosity and decorative fancies. The handicraft of production which will continue to characterize the Muranese glass-works in the 30’s and 40’s in such a way that at the dour Biennale of 1942, invaded by praise of war, the Murano glass constituted a vivacious and almost anachronistic note. Having come out from the nightmare of the dictatorship and the war, those who operated in the interior decorating sector took up activity once again with enthusiasm, nevertheless showing themselves divided between the desire to renew themselves on the bases of rationalist principles and the continuous and inevitable reference to the experiences of the 1930s.

The modern furniture market was covered almost completely by Swedish production for the whole of the 1950s. The rationalists produced furnishing objects which were practical and simple, even programmatically modest. The rationalist instances were generally ignored in Murano, while the attempt was made to stylistically renew the product. In this way the glass-makers, exploiting traditional manual techniques, shaped vases in elementary forms, often square, in bright and provocative colors, with schematic motifs, sometimes geometrical whilst others were inspired by abstract painting. This was an exasperated and provocative affirmation of modernity which, shortly after, would be resolved in more meditated ways.

Murano glass today

Some of Murano's historical glass factories remain well known brands today, amongst them De Biasi, Gabbiani, Venini, Salviati, Barovier & Toso, Pauly, Berengo Studio, Seguso, Formia International, Simone Cenedese, Alessandro Mandruzzato, Vetreria Ducale, Estevan Rossetto 1950 and many others. The oldest glass factory is Antica Vetreria Fratelli Toso, founded in 1854.

Orange Murano beads

Murano Millefiori pendant

Overall, the industry has been shrinking as demand has waned. Imitation works (easily recognizable by experts but not by the common client) from Asia and Eastern Europe take an estimated 40% - 45% of the market for Murano glass, and public tastes have changed while the designs in Murano have largely stayed the same. Due to these factors, as well as the difficult and low-paying nature of the work, the number of professional glassmakers in Murano has decreased from about 6000 in 1990 to fewer than 1000 today.

In an effort to curb imitations, a collection of companies and concerned individuals in Murano created a trademark to certify authenticity. Today about 50 companies use the Artistic Glass Murano® trademark of origin.[6] The trademark was introduced by and continues to be regulated by Region of Veneto Law no.70 of the 23/12/1994. Factories on the island are not required to apply for the trademark and many choose not to, but if a work carries the trademark, its authenticity is guaranteed.

Materials

The other raw materials, called flux or melting agents, soften at lower temperatures. The more sodium oxide present in the glass, the slower it solidifies. This is important for hand-working because it allows the glassmaker more time to shape the material. The various raw materials that an artisan might add to a glass mixture are sodium (to make the glass surface opaque), nitrate and arsenic (to eliminate bubbles) and coloring or opacifying substances.

Colors, techniques and materials

The Murano glass is made up of 70% silica sand, added to a 30% of other substances called “fluxes” and "stabilizers" (soda and lime). These added “fluxes” allows the glass to be melted at a lower temperature, and the "stabilizers" prevent the glass's solubility in water. When the glass melts at a lower temperature, it is possible to create homogeneous and bubble free Murano glass. The Murano glass in its basic composition is colorless. The colors are obtained by adding small amounts of minerals, oxides, and chemical derivatives to the base composition of the glass powder. This is the Murano magic that creates infinite combinations of transparent colors, crayons and alabasters.

Colors, techniques and materials vary depending upon the look a glassmaker is trying to achieve. Aquamarine is created through the use of copper and cobalt compounds, whereas ruby red uses a gold solution as a coloring agent.

Murrine technique begins with the layering of colored liquid glass, which is then stretched into long rods called canes (see caneworking). When cold, these canes are then sliced in cross-section, which reveals the layered pattern. The better-known term "millefiori" is a style of murrine that is defined by each layer of molten color being molded into a star, then cooled and layered again. When sliced, this type of murrine has the appearance of many flowers, thus mille- (thousand) fiori (flowers).

Filigree (a type of caneworking), glass engraving, gold engraving, incalmo, lattimo, painted enamel, ribbed glass and submersion are just a few of the other techniques a glassmaker can employ.

Sommerso

Sommerso (lit. "submerged" in Italian), or "sunken glasses", is a form of artistic Murano glass that has layers of contrasting colors (typically two), which are formed by dipping a gather of colored glass into another molten glass and then blowing the gather into the desired shape; the outermost layer, or casing, is often clear. Sommerso was developed in Murano during the late thirties and was made popular by Seguso d'Arte in the fifties. This process is a popular technique for vases, and is sometimes used for sculptures.

Tools

Special tools are essential for Murano artisans to make their glass. Some of these tools include borselle (tongs or pliers used to hand-form the red-hot glass), canna da soffio (blowing pipe), pontello (an iron rod to which the craftsman attaches the object after blowing in order to add final touches), scagno (the glass-master's workbench) and tagianti (large glass-cutting clippers). The tools for glass-blowing have changed little over the centuries and remain simple. An old Murano saying goes "Good tools are nice, but good hands are better," reinforcing the artistic nature of the glass-making process, which relies on the skill of the worker rather than the use of special tools.

In popular culture

In The Sopranos episode, "A Hit Is a Hit", Tony Soprano's neighbor, Jean Cusimano, hosts a dinner party, at which she comments about the Soprano home: "Oh, but that bar with the goombah[disambiguation needed] Murano glass". Dinner party guest (and Tony's psychiatrist), Dr. Jennifer Melfi, responds: "I like Murano glass". This exchange occurred in the context of a larger conversation that addressed the blurred distinctions amongst various socio-economic classes of Italian-Americans and between gangsters and successful professionals.

Informations from Wikipedia, the free Encyclopedia.

# Immanuel Kant is one of the influential German philosophers of his time. He was born in the Prussian city of Königsberg, which is today's Kaliningrad located in present day Russia.

# He is known for his ideas in the fields of Epistemology, Ethics, Metaphysics and Logic.

# His 3 major works are : Critique of Pure Reason (German: Kritik der reinen Vernunft), in 1781 which was his Magnum Opus; Critique of Practical Reason (German: Kritik der praktischen Vernunft), in 1788 and Critique of Judgment (German: Kritik der Urteilskraft), in 1790.

# His philosophy on ethics (Kantian ethics) is considered central in Deontology. His major work, Groundwork of the Metaphysics of Morals (German: Grundlegung zur Metaphysik der Sitten), in 1785, explained his philosophy on morality.

# He believed himself to be a compromise between the Empricists and Rationalists of his time and thought that human understanding of Metaphyics can be enhanced or bettered through our study of Epistemology, which is the study of the nature of human knowledge.

# Kant's ideas are studied as Kantianism, and include ideas such as the Categorical imperative, Transcendental Idealism, Deontological Morality, Synthetic A Priori, Noumenon, Schema, Sapere Aude, Nebular hypothesis.

# Though not regarded as a Political Theorist, Kant used his ideas to expound some political views like the classical republican theory which was explained in his work Science of Right.

# The Kingdom of Ends is another thought experiment of Kant which he explained in his work Groundwork of the Metaphysics of Morals. His is a hypothetical kingdom based on his idea of morality taking shape from the Deontologically moralistic idea of the Categorical Imperative.

L'Ex Casa del Fascio e dell'Ospitalità di Predappio richiama le suggestioni dell'architettura razionalista e rappresenta il completamento della città nuova di Predappio, costruita negli anni venti e trenta con l'obiettivo di materializzare il "mito delle origini" voluto da Mussolini.

Essa viene così concepita e realizzata su progetto dell'Ing. A. Fuzzi, sovradimensionata anche rispetto al nuovo contesto urbano, essendo destinata ad accogliere grandi folle di pellegrini ed a costituire un simbolo della forza propagandistica del regime.

Complessivamente ha una superficie netta (su tre piani) di circa 2.200 metri quadrati, con una torre littoria di circa 40 metri ed un monumentale sistema di ingresso. Vi é un impiego diffuso di marmi e materiali decorativi.

Fu inaugurata il 21 aprile del 1937.

Attualmente l'ex Casa del Fascio é in stato di abbandono.

English:

The Ex Casa del Fascio e dell'Ospitalità of Predappio recalls the suggestions of rationalist architecture and represents the completion of the new city of Predappio, built in the twenties and thirties with the aim of materializing the "myth of origins" desired by Mussolini.

It was thus conceived and built according to a design by Eng. A. Fuzzi, oversized even compared to the new urban context, being intended to accommodate large crowds of pilgrims and to constitute a symbol of the propaganda power of the regime.

Overall it has a net surface area (on three floors) of approximately 2,200 square meters, with a lictor tower of approximately 40 meters and a monumental entrance system. There is widespread use of marble and decorative materials.

It was inaugurated on April 21, 1937.

The former Casa del Fascio is currently in a state of abandonment.

REGIONE LAZIO