View allAll Photos Tagged Refinement

Demonstrating Nissan's commitment to the constant refinement and improvement of its iconic performance flagship, the newly upgraded Nissan GT-R has lapped the fearsome N¸rburgring Nordschleife circuit in Germany in just 7 minutes 8.679 seconds1. The lap time was recorded by Michael Krumm, a Nissan racing pilot and test-driver, behind the wheel of a 2014 Nissan GT-R NISMO*.

The hotel is covered in this amazing artwork. Tere really is a sense of refinement that needs to be experienced in person.

who doesn't like to match their wallpaper?!

David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.

_

 

‘Composiciones’ is a a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.

 

‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.

 

Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).

 

Curated by Latitudes | www.lttds.org

 

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

 

Info: www.lttds.org/projects/composiciones/

 

Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...

May 2, 2018

 

Big changes in Seattle waterfront design merge Overlook Walk with Ocean Pavilion

 

The result will be a grand civic gesture, a single project that changes the way people experience the city.

 

By CLAIR ENLOW

Special to the Journal

 

Five years from now, getting to the Seattle waterfront should be an unforgettable experience. That's still just a promise, but design of the future waterfront has reached another milestone.

 

New drawings shown to the Seattle Design Commission last month tell the story. There were a variety of changes and refinements, but the big step is that the Overlook Walk and the Ocean Pavilion — an addition to the Seattle Aquarium — have been joined together as a seamless whole.

 

The designer of the Overlook Walk is James Corner Field Operations, and LMN is designing the Ocean Pavilion.

 

It may come as a surprise that the Overlook Walk, the cliff-spanning centerpiece of the post-viaduct Seattle waterfront, is actually partly built. It is part of MarketFront, an extension of Pike Place Market designed by The Miller Hull Partnership, and yields new views and pathways west from the market. The space opened last spring and is already a popular spot to sit, snack and soak in the views.

 

Miller Hull is collaborating with JCFO on the Overlook Walk.

 

A good fit

 

Design for the Overlook Walk and MarketFront started six years ago, and design of the Ocean Pavilion has accelerated in the last year. But until now it's been difficult to work out how exactly MarketFront and the Overlook Walk would fit with the Ocean Pavilion.

 

Now it's clear. The Ocean Pavilion has been moved to the south and reshaped under a functional roof so it is a little more streamlined and less obstructive to grand views of the bay.

 

The Overlook Walk and Ocean Pavilion will be virtually indistinguishable from some angles, with a roof on the pavilion that doubles as a park-like view deck and walkway. That walkway will lead to an elevator on the south side, one of three prominent public elevators connected with the Overlook Walk.

 

That's not the only thing that has changed since new images were last available, in the fall of 2017. The overlooks themselves — vantage points for pedestrians — have shifted. They are more integrated with the rest of the Overlook Walk and there are none that look out directly over a street.

 

New drawings from JCFO show that the Overlook Walk will consist of three main structures on the hillside between Pike Place Market and the Seattle Aquarium. There is a platform or bridge to span a street — the un-built Elliott Way — between the lower two structures.

 

At the top is MarketFront, already filled with people streaming from Pike Place Market and Western Avenue. It extends the character and presence of the market.

 

Overlook Building

 

The second structure, roughly in the path of the Alaskan Way Viaduct, is called the Overlook Building, and it will partly extend the character of the market with a shed-like cafe structure on top, looking out toward the water. It will also be a base for the next segment of the path to the waterfront. Planters, seating and places for kids to slide are shown.

 

Below the Overlook Building, a span over the future Elliott Way takes the Overlook Walk over to the top of the Ocean Pavilion. North of the pavilion the path divides into three distinct stairways. Whether they lead toward Pier 62-63 or hug the pavilion, all the stairways will lead to the shore.

 

As JCFO's Overlook Walk design has evolved, a primary piece is the span over Elliott Way between the Overlook Building and the complex structure of the Ocean Pavilion. The landscaped bridge will be an important segment of the whole. In previous versions, the width threatened to cast too much shadow on the street.

 

When shown last fall, the bridge was streamlined and curved to minimize cost and maximize light. In the newest version, it has also been slightly raised and leveled to bring more light to the street — and to the Overlook Building's storefronts along Elliott Way.

 

The top of the bridge and connecting pathways give less emphasis to north and south views, saving them to be enjoyed from the Ocean Pavilion's roof.

 

At the street level of Elliott Way, just below the bridge, is another significant change in the design. It's an opening and archway between the branching stairways, leading from Elliott Way under the Overlook Walk, gently down to the plaza around Ocean Pavilion.

 

With the top of the Overlook Walk mimicking features of Pike Place Market and the lower parts made of streamlined concrete, two very distinct characters will meet in the middle, at the Overlook Building.

 

But the three parts add up to a grand civic gesture, a single project that will change the way people experience the city. Some of the basic ideas seem simple, but it's complicated to join different projects of this scale and deliver them at the same time.

 

Most of the Overlook Walk will be so visible and accessible that it will undoubtedly be well used — at least by the people who now stream through the market and along the waterfront. The growing population of downtown Seattle is expected to show up.

 

The pathways will be welcoming and exciting, especially going down.

 

Will elevators work?

 

When it comes time to rise, the three elevators — especially the one next to the roof platform of the Ocean Pavilion, will be very popular. Will they work? The city of Seattle will have to do better than it has with the prominent lift to the east of Alaskan Way across from Bell Street Pier, which has had spotty service in the last year.

 

So far, the design of the Overlook Walk has been well received by the Seattle Design Commission. It's due for one more review at an undetermined time before passing into the next phase — permitting.

 

Ken Johnsen of Shiels Obletz Johnsen was hired last fall by the Seattle Aquarium to manage the Ocean Pavilion project, and he has seen the designers of MarketFront, Overlook Walk and Ocean Pavilion come together as a team to work out the overall concept.

 

But Overlook Walk and the pavilion will be permitted separately. The city has already completed the environmental impact statement for the Overlook Walk, and the aquarium will begin its EIS next month and finish in time to meet the Overlook Walk schedule, according to Johnsen.

 

Construction on both will wait until demolition of the Alaskan Way Viaduct is complete and construction on the new Alaskan Way is well underway, likely in the summer of 2021.

 

Johnsen expects that construction contracts for both projects will be advertised this summer, and contractors will become part of both teams early. He emphasized the need for both projects to be completed in tandem, and estimates that will happen by 2023.

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.

 

The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.

 

The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.

 

The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.

Pierce Brosnan tries out 'all the usual refinements' of his BMW Z3 in the Caribbean countryside.

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

Hand-crafted understated refinements of standard out-of-the box pressed steel lugs.

This model, judging by the headbadge, transfers etc etc should be an early-50s one probably the top-of-the-range Professionel.. but those were made from VITUS tubing and this one is Reynolds 531. so I conclude that it is a mid-50s frame....the Plume model which was Uragos first venture into using Reynolds DB tubing for the top flight frames..

 

The Plume modelwas a custom-built model which probably explains why this frame has Simplex forged drop-outs instead of steel plate ones...an option for 550 ancient francs.

 

The head tube assembly is identical to that of the red Plume frame shown later.

 

Normally French chrome plate does not stand up to the weather and wear-and-tear very well..possibly it's planned for sunny weather... but all the chrome Uragos that I have seen over the years still have good chrome.

  

Hill Aerospace Museum

 

The AIRS (Advanced Inertial Reference Sphere) is the most accurate inertial navigation (INS) system ever developed, and perhaps marks the end of a long process of continuous refinement of INS technology. The AIRS was designed for use in the LGM-118A Peacekeeper ICBM.

 

The most novel aspect of the AIRS is that it has no gimbals. Gimbals are pivots that are provided for each of three spatial axes so that the guidance platform can move freely in all directions (and thus maintain its absolute alignment with the outside world). The AIRS consists of a beryllium sphere that floats in a fluorocarbon fluid within an outer shell and can thus rotate in any direction. The importance of this innovation is that it eliminates the possibility of gimbal lock (where the axes of two gimbals line up and destroy the three-dimensional freedom of motion), and is free from arbitrary limits to range of motion found in some gimbal designs.

 

The temperature of the fluid is controlled with extreme accuracy by transfer of heat from the fluid through "Power shells" to freon-cooled heat exchangers. The alignment of the sphere is controlled by three hydraulic thrust valves directed by the inertial sensors in the sphere.

 

Like other INS systems, the sphere houses three accelerometers and three gyroscopes. The accelerometer design is called a SFIR (specific force integrating reciever). This is essentially the same approach as the pendulous integrating gyro accelerometer (of PIGA) used in the Minuteman II. The SFIR/PIGA works by measuring the rate of precession (and thus force applied) to a gyroscope at right angles to its axis of rotation. The gyroscope is a floated gas bearing gyroscope design.

Purchased this Lovely lady a year ago, it was time for Vanessa's debut.

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.

 

‘Composiciones’ is a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.

 

‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.

 

Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).

 

Curated by Latitudes | www.lttds.org

 

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

 

Info: www.lttds.org/projects/composiciones/

 

Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

View Large Size

 

A View of Pulau Bukom Shell Oil Refinery, captured from Sentosa Island, Singapore

 

Shell's 500,000 bpd (barrels-per-day) Bukom refinery is today the largest Shell refinery in the world in terms of crude distillation capacity.

   

Ok…….I am making yet another refinement to my bread. Last time, I made a very successful bread without preferment. This time, I am making a bread with a true biga, NOT a poolish.

  

Monday 10:00 AM

  

Biga

6 oz water

Pinch of instant yeast

12 oz All Trumps Hi Gluten Flour

  

Mix on low until bread comes together, and there is no dry flour remaining. Cover with a plate, and allow to remain on the counter. My plan is to allow the biga to ferment for 24-32 hours, yes, a long time, but I hope to make a strongly flavored bread.

  

Now…I have had it with waiting for poolish or biga to develope………So, I am going to make this loaf using a total of 32 oz of flour, and 24 oz of water, plus salt and yeast. When I make the bread, I am going to reserve 8 oz of flour and 6 oz of water as 14 oz of pate fermente. I am going to keep the pate fermente in the fridge for the next loaf. Then, I will always have “old dough” to make bread with.

  

Tuesday 10:30 AM

  

Add to biga:

  

18 oz water

1 tbl yeast

20 oz flour

1/4 tsp citric acid

2 tsp salt

  

I allowed the bread to bulk ferment for 2 hours, removed and refrigerated 14 oz for pate fermente, and shaped the remainder into 2 loaves. I allowed the loaves to rise for 2 hours, and then baked at 450 F for 35 minutes. The bread temped at 200 F.

  

I made a similar bread last week, no preferment, and it had a tablespoon of lard in it. Last weeks bread was soft, and very springy. The current bread had a much fuller, lightly sour taste, and is very springy, but some effort has to be made to bite it. The holes are also bigger and more irregular. THIS is my favorite style, although the addition of a little fat can make the bread “easier, less tough”, but I’m not sure that is a good thing. I am delighted that I am actually in control of what the loaf flavor and texture can be.

Render from a project i've made

without refinements

 

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

1859 Concentrates. CO2 Oils made with wax pulled from an Apeks Supercritical 1500-20L.

David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.

‘Composiciones’ is a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.

 

‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.

 

Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).

 

Curated by Latitudes | www.lttds.org

 

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

 

Info: www.lttds.org/projects/composiciones/

 

Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...

 

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

Paris - raw processed with Darktable - DSCF8263dm

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

The Taj Mahal (/ˌtɑːdʒ məˈhɑːl/, more often /ˈtɑːʒ/; from Persian and Arabic, "crown of palaces", pronounced [ˈt̪aːdʒ mɛˈɦɛl]) is a white marble mausoleum located on the southern bank of Yamuna River in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned 1628–1658) to house the tomb of his favorite wife of three, Mumtaz Mahal.

 

Construction of the mausoleum was essentially completed in 1643 but work continued on other phases of the project for an additional ten years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million Indian rupees, which in 2015 would be valued at around 52.8 billion Indian rupees ($827 million US). The construction project employed around 20,000 artisans under the guidance of a board of architects led by Ustad Ahmad Lahauri. The domed marble tomb is part of an integrated complex consisting of gardens and two red-sandstone buildings surrounded by a crenellated wall on three sides.

 

The Taj Mahal is regarded by many as the best example of Mughal architecture and is widely recognized as "the jewel of Muslim art in India". It is one of the world’s most celebrated structures and a symbol of India’s rich history. Designated a UNESCO World Heritage Site in 1983, the Taj Mahal attracts some 3 million visitors a year.

 

INSPIRATION

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was grief-stricken when his favorite of three wives and beloved companion, Mumtaz Mahal, a Persian princess, died during the birth of their 14th child, Gauhara Begum. Construction of the Taj Mahal began in 1632. The court chronicles of Shah Jahan's grief illustrate the love story traditionally held as an inspiration for Taj Mahal. The principal mausoleum was completed in 1643 and the surrounding buildings and garden were finished about five years later.

 

ARCHITECTURE AND DESIGN

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.

 

TOMB

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.

 

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

 

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres high which is close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on which is approximately 7 metres high. Because of its shape, the dome is often called an onion dome or amrud (guava dome). The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasized by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

 

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.

 

The minarets, which are each more than 40 metres tall, display the designer's penchant for symmetry. They were designed as working minarets - a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

 

EXTERIOR DECORATIONS

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that the passages were chosen by Amanat Khan.

 

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity". Near the lines from the Qur'an at the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi." Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

 

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting color which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

 

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.

 

INTERIOR DECORATION

The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements. The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, although only the door facing the garden to the south is used. The interior walls are about 25 metres high and are topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas, and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers. Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in miniature detail, the design elements seen throughout the exterior of the complex.

 

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.5 by 2.5 metres. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side, and is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him. On the lid of the casket is a traditional sculpture of a small pen box.

 

The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively. The Ninety Nine Names of God are calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal. Other inscriptions inside the crypt include, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."

 

GARDEN

The complex is set around a large 300-metre square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the center of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.

 

Elsewhere, the garden is laid out with avenues of trees and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

 

Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan. Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees. As the Mughal Empire declined, the Taj Mahal and its gardens also declined. By the end of the 19th century, the British Empire controlled more than three-fifths of India, and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.

 

OUTLYING BUILDINGS

The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open. Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant.

 

The main gateway (darwaza) is a monumental structure built primarily of marble, and reminiscent of the Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.

 

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb. The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in 1643.

 

CONSTRUCTION

The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three acres was excavated, filled with dirt to reduce seepage, and leveled at 50 metres above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.

 

The Taj Mahal was constructed using materials from all over India and Asia. It is believed over 1,000 elephants were used to transport building materials. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

 

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

 

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". Construction of the mausoleum itself was essentially completed by 1643 while work continued on the outlying buildings. Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost has been estimated to be about 32 million Indian rupees, which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.

 

LATER DAYS

Abdul Hamid Lahauri in his book Badshahnama refers to Taj Mahal as rauza-i munawwara, meaning the illumined or illustrious tomb. Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the mausoleum next to his wife. In the 18th century, the Jat rulers of Bharatpur invaded Agra and attacked the Taj Mahal, the two chandeliers, one of agate and another of silver, which were hung over the main cenotaph, were taken away by them, along with the gold and silver screen. Kanbo, a Mughal historian, said the gold shield which covered the 15-foot high finial at the top of the main dome was also removed during the Jat despoliation.

 

By the late 19th century, parts of the buildings had fallen into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque. During this time the garden was remodelled with British-style lawns that are still in place today.

 

THREATS

In 1942, the government erected a scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots.

 

More recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura Oil Refinery, which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre area around the monument where strict emissions standards are in place.

 

Concerns for the tomb's structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 5 feet a year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. In 2011 it was reported that some predictions indicated that the tomb could collapse within 5 years.

 

TOURISM

The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001, which increased to about 3 million in 2015. A two tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor center.

 

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was originally constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.

 

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after, excluding Fridays and the month of Ramadan. For security reasons only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.

 

MYTHS

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument. A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.

 

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

 

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.

 

In 2000, India's Supreme Court dismissed P. N. Oak's petition to declare that a Hindu king built the Taj Mahal. In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.

 

WIKIPEDIA

A first attempt to understanding the principles and aesthetics of the genre. Definitely missed a lot of nuances and refinements, but quite fun to see things differently.

 

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

The first-ever Cadillac XT6 Premium Luxury model provides an elevated level of refinement.

David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.

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‘Composiciones’ is a a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.

 

‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.

 

Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).

 

Curated by Latitudes | www.lttds.org

 

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

 

Info: www.lttds.org/projects/composiciones/

 

Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...

Still need some refinement to get to premier league, but getting there

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

Colorful or more pale, the charming hotel Le Tourville, offers several style of rooms but ever with the same elegance and comfort.

Choose the one which is like you!

 

www.hoosta.com/france/hotel-tourville/?lang=en

Hoosta Style Hotels Collection : the coolest travel website for modern urban nomads. Dream and book directly with your independant hotelier !

First series of refinements. Improved detail on beak and feet.

 

My son wanted me to make a bird for him. We were looking at a photo of Bernie Peyton's owls at the time, so I was influenced by the look of his design. After doing the first quick and dirty version for my son, I realized the design had potential, so I worked at refining it.

 

The name comes from a washi-producing area near Tokyo in Japan. I visited the area while on a sightseeing tour organized by Yamaguchi Makoto in 2004. The name of the place means "little bird". The pronunciation is unusual, so the name stuck in my head.

David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.

_

 

‘Composiciones’ is a a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.

 

‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.

 

Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).

Curated by Latitudes | www.lttds.org

 

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

 

Info: www.lttds.org/projects/composiciones/

 

Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...

Another first for me. Quite happy how this came out but needs quite a bit of refinement!

The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.

 

The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.

Nice enough frame..but little refinement. The cable stops are pressed steel instead of the turned steel ones used on the firm's top frames..there are no reinforcement tangs on the seat and mixte stay bridges.. The double cable stop on the transverse stay indicates that the double cable for the Cyclo gear was routed down this way.

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