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Arcelormittal Orbit
The ArcelorMittal Orbit is a 115-metre-high (377 ft) sculpture and observation tower in the Olympic Park in Stratford, London. It is Britain's largest piece of public art,[3] and is intended to be a permanent lasting legacy of London's hosting of the 2012 Summer Olympics, assisting in the post-Olympics regeneration of the Stratford area. Sited between the Olympic Stadium and the Aquatics Centre, it allows visitors to view the whole Olympic Park from two observation platforms.
Orbit was designed by Anish Kapoor and Cecil Balmond of engineering Group Arup. Announced on 31 March 2010, it was expected to be completed by December 2011, though like many projects on the Olympic Park that date was pushed back. The project came about after Mayor of London Boris Johnson and Olympics Minister Tessa Jowell decided in 2008 that the Olympic Park needed "something extra". Designers were asked for ideas for an "Olympic tower" at least 100 metres (330 ft) high, and Orbit was the unanimous choice from proposals considered by a nine-person advisory panel.
The project was expected to cost £19.1 million, with £16 million coming from Britain's richest man, the steel tycoon Lakshmi Mittal, Chairman of the ArcelorMittal steel company, and the balance of £3.1 million coming from the London Development Agency. The name "ArcelorMittal Orbit" combines the name of Mittal's company, as chief sponsor, with "Orbit", the original working title for Kapoor and Balmond's design.
Kapoor and Balmond believe that Orbit represents a radical advance in the architectural field of combining sculpture and structural engineering, and that it combines both stability and instability in a work that visitors can engage with and experience via an incorporated spiral walkway. It has been both praised and criticised for its bold design. It has also been criticised as a vanity project, of questionable lasting use or merit as a public art project.
en.wikipedia.org/wiki/ArcelorMittal_Orbit
doors open toronto was last weekend...today only, the lesser known event, "crawling through holes in fences toronto"...
Yaxchilán, Structure 33
Yaxchilan is an ancient Maya city located on the bank of the Usumacinta River in what is now the state of Chiapas, Mexico. In the Late Classic Period, Yaxchilan was one of the most powerful Maya states along the course of the Usumacinta, with Piedras Negras as its major rival. Architectural styles in subordinate sites in the Usumacinta region demonstrate clear differences that mark a clear boundary between the two kingdoms.
Yaxchilan was a large center, important throughout the Classic era, and the dominant power of the Usumacinta River area. It dominated such smaller sites as Bonampak, and had a long rivalry with Piedras Negras and at least for a time with Tikal; it was a rival of Palenque, with which Yaxchilan warred in 654.
The site is particularly known for its well-preserved sculptured stone lintels set above the doorways of the main structures. These lintels, together with the stelae erected before the major buildings, contain hieroglyphic texts describing the dynastic history of the city.
Structure 33, in the Central Acropolis, has been described as a masterpiece in stone and was probably dedicated in 756 by Bird Jaguar IV. The structure overlooks the plaza and the river and would have been prominent to river traffic in the 8th century. It has plain lower walls with three doorways, each of the which supports a well preserved lintel (Yaxchilan Lintels 1 to 3). In the centre of the back wall of the structure, opposite the central doorway, is a niche containing the headless sculpture of a human figure, probably Bird Jaguar IV himself. The roof of the structure is largely intact, including a sloped roof supporting a frieze and a well preserved roof comb. There are niches in both the roof comb and the frieze, the niche in the roof comb contains the remains of a sculpted figure. Tennons on both roof sections once supported stucco decoration. Leading up to the front of Structure 33 from the plaza is a stairway, the top step of which is sculpted, this step is known as Hieroglyphic Stairway 2.
(source: en.wikipedia.org/wiki/Yaxchilan)
Shot from under the Drift Creek Suspension Bridge of the Drift Creek Falls Trail, Lincoln County, Oregon!
Free photos. Set 14.
Use it freely in personal and commercial projects.
CC-License
Photos: Anthony Clochard / wuipdesign.github.io
LAFD Fire FIghters battle a 2 story single family dwelling with 2 rooms on the 2nd floor well involved in LAFD 57s area at 98th and Flower
The DNA structure image is one of the pictures electronically placed on the phonograph records which are carried onboard the Voyager 1 and 2 spacecraft.
Credit: Jon Lomberg
Please note that these images are copyright protected. Reproduction without permission of the copyright holder is prohibited.
Construction worker at his work.
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Usage: Free for personal, non-profit or commercial. License: Creative Commons Attribution-ShareAlike. Credit: Budi Nusyirwan (Bukrie) - stock.bukrie.org.
INSTALAÇÕES | INSTALLATIONS
Ali Miharbi - Movie Mirrors - Estados Unidos | United States
Anne Save de Beaurecueil + Franklin Lee / Equipe SUBdV (Victor Sardenberg, André Romitelli, Lucas de Sardi & Fabrício G. de Oliveira) - High Low - Brasil | Brazil
Annica Cuppetelli & Cristobal Mendoza - Nervous Structure - Estados Unidos | United States
Ben Jack - Elucidating Feedback - Nova Zelândia | New Zealand
Eric Siu - in collaboration with the member of Ishikawa Komuro Laboratory, University of Tokyo, Yoshihiro Watanabe, Ohno Hiroaki & Takeoka Hideki - Body Hack 1.0 - Japão | Japan
Hye Yeon Nam - Please Smile - Estados Unidos | United States
Joon Y. Moon - Augmented Shadow - Coréia do Sul | South Korea
Julian Palacz - algorithmic search for Love - Áustria | Austria
Juliana Mori - timeLandscape - wool rhythms - Brasil | Brazil
Karina Smigla-Bobinski - ADA - analoge interactive kinetic sculpture - Polônia e Alemanha | Poland and Germany
Kimchi & Chips - Link - Reino Unido | United Kingdom
Kimchi & Chips - Journey: Seoul - Reino Unido | United Kingdom
Lars Lundehave Hansen - Spiderbytes - Alemanha | Germany
Lawrence Malstaf - Nemo Observatorium 02002 - Bélgica | Belgium
Matt Roberts - Waves - Estados Unidos | United States
Ryoichi Kurokawa - rheo: 5 horizons - Bélgica | Belgium
Yujiro Kabutoya & Kazushi Mukaiyama - IJIROS - Japão | Japan
HIPERSÔNICA | HYPERSONICA PERFORMANCE
Alfredo Ciannameo - Ionesis - sonic plasma - Holanda | Netherlands
André Rangel, Anne-Kathrin Siegel & Fernando Alçada - SynDyn - Portugal | Portugal
Eduardo Nespoli, Projeto Aquarpa (Thiago Salas Gomes, Lucas Almeida, Flavio Jacon de Vasconcelos & Leandro Pereira Souza) - Mnemorfoses - Brasil | Brazil
Eduardo Patrício - Zin - Brasil | Brazil
Euphorie - França | France
Giuliano Obici - Concerto para Lanhouse - Brasil | Brazil
Nicolas Maigret - Pure Data read as pure data - França | France
HIPERSÔNICA | HYPERSONICA SCREENING
Alison Clifford & Graeme Truslove - Substratum - Reino Unido | United Kingdom
Fernando Velázquez - auto-retrato - Brasil | Brazil
Fernando Velázquez - the mindscapes suite - Brasil | Brazil
Jaap: Harriet Payer & Jorge Esquivelzeta - Cyberspace Photsynthesis - México | Mexico
Jaap: Harriet Payer & Jorge Esquivelzeta - Dog's Eye View - México | Mexico
Paul O Donoghue aka Ocusonic - Phasing Waves - Irlanda | Ireland
Warsaw Electronic Festival 2010: Przemyslaw Moskal - Digital Sculptures for Analog Sounds - Estados Unidos | United States
HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS
Alvaro X - Dead in DUMP - Brasil | Brazil
Bernhard Loibner - Unidentified Musical Subject - Áustria | Austria
Claudio Parodi - The things that are missing - Itália | Italy
CLEBER GAZANA | SIMPLE.NORMAL - F. WILL I DREAM? - Brasil | Brazil
DANIEL GAZANA - NOSOCÔMIO - Brasil | Brazil
Joaquin Cofreces - Hamoni Lapude Anan ( "we used to make canoes" in yaghan language) - Argentina | Argentina
The Tiny Orchestra - Time Wounds All Heels - Canadá | Canada
Juan Pablo Amato - Duo Encaprichado en alisar rugosidades mentales - Argentina | Argentina
Mauro Ceolin - Spore's Ytubesoundscape and his wildlife - Itália | Italy
Panayiotis KOKORAS - Magic - Grécia | Greece
FaoBeat - Beat'nTime / Lift'nBeat - Brasil | Brazil
Philip Mantione - Fabrics - Estados Unidos | United States
Music For Installations - Braindamage - Bélgica | Belgium
RINALDO SANTOS - MUSICONTOS - Brasil | Brazil
Sergio Cajado - Constatações Urbanas - Passado, Presente e Futuro - Brasil | Brazil
Sergio Granada Moreno - Digital Rainbow (2009) - Colombia | Colombia
Sol Rezza - Preguntas - Questions - México | Mexico
MÍDIA ARTE | MEDIA ART
A. Bill Miller - gridSol-precomps - Estados Unidos | United States
A. Bill Miller - gridSol-altar1 - Estados Unidos | United States
Aaron Oldenburg - After - Estados Unidos | United States
Agam (A.) Andreas - La Resocialista Internacional - Holanda | Netherlands
alan bigelow - This Is Not A Poem - Estados Unidos | United States
Alcione Godoy, Camillo Louvise, Bruno Azzolini, Rafael Araujo, Rodolfo Rossi, Marina Maia & Vinicius Nakamura - Hipercepção - Brasil | Brazil
Alex Hetherington - Linda Fratianne - Reino Unido | United Kingdom
Anders Weberg - P2P ART - The aesthetics of ephemerality - Suécia | Sweden
Anders Weberg - JE SUIS PÈRE ET MON PÈRE EST PÈRE I'm a Father and my Father is a Father - Suécia | Sweden
Anders Weberg - Expose Yourself - Suécia | Sweden
Anstey/Pape: Josephine Anstey & Dave Pape - Mrs. Squandertime - Estados Unidos | United States
Balam Soto - Self Portrait Videos - Estados Unidos | United States
Bárbara de Azevedo - VIDEO ESTADO SIMULACRO CINEMATOGRÁFICO - Brasil | Brazil
Ben Baker-Smith - Infinite Glitch - Estados Unidos | United States
Brit Bunkley - Pardox of Plenty - Nova Zelândia | New Zealand
Brit Bunkley - Up River Blues - Nova Zelândia | New Zealand
Brit Bunkley - Springfield Paradox - Nova Zelândia | New Zealand
Bruno Xavier, Fabiane Zambon, Felipe van Deursen, Frederico Di Giacomo & Kleyson Barbosa (Equipe principal) | Ana Freitas, Ana Prado, André Sirangelo, Alisson Lima, André Maciel, Alexandre Versignassi, Dalton Soares, Daniel Apolinario, Douglas Kawazu, Emiliano Urbim, Érica Georgino, Leandro Spett, Gil Beyruth, Gustavo Frota, Marina Motomura, Maurício Horta, Rafael Kenski, Renata Aguiar & Simone Yamamoto (Parceiros e colaboradores) - Newsgames da Superinteressante - Brasil | Brazil
charly.gr - peronismo (spam) - Argentina | Argentina
charly.gr - Joan - Argentina | Argentina
Chen, I-Chun - Measuring Distance Between the Self and Others - Taiwan | Taiwan
chiara passa - the virtual prigione - Itália | Italy
Christopher Otto - PXLPNT - Estados Unidos | United States
Cleber Gazana / Daniel Gazana - UNTITLED - Brasil | Brazil
Daniel Duda - Araucaria angustifolia - Brasil | Brazil
David Muth - 1 C A a 01x - Reino Unido | United Kingdom
David Sullivan - Fugitive Emissions - Estados Unidos | United States
Doron Golan - Waking Quad - Israel | Israel
Douglas de Paula - Interfaces Predatórias / Plundering Interfaces - Brasil | Brazil
Elétrico: Ludmila Pimentel, Carolina Frinhani & Bruna Spoladore - Experimento de Corpo - Brasil | Brazil
Grupo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Downtown 2.0 - Brasil | Brazil
Jarbas Agnelli - Birds on the Wires - Brasil | Brazil
Jason Nelson - Sydney's Sibera - Austrália | Australia
Jessica Barness - Common Sounds: Positive Elements, Negative Spaces - Estados Unidos | United States
Joana Moll & Heliodoro Santos - THE TEXAS BORDER - Espanha | Spain
jody zellen - Lines of Life - Estados Unidos | United States
Jorn Ebner - (L'ultimo turista) - Alemanha | Germany
jtwine - ONSPEED - Estados Unidos | United States
Kenji Kojima - RGB Music News - Estados Unidos | United States
kinema ikon: calin man - kinema ikon - Romênia | Romania
Leyla Rodriguez & Cristian Straub - Isle Of Lox "The face" - Alemanha | Germany
Luca Holland - rain.html - Reino Unido | United Kingdom
Luis Henrique Rodrigues - Internet Series - Brasil | Brazil
Luiz Gustavo Ferreira Zanotello - N.A.V.E - Brasil | Brazil
MALYSSE - THE BIOPERVERSITY PROJECT #1 - Brasil | Brazil
Matt Frieburghaus - Song - Estados Unidos | United States
mchrbn - Afghan War Diary - Suíça | Switzerland
Members: Aymeric Mansoux, Dave Griffiths and Marloes de Valk - Naked on Pluto - Holanda | Netherlands
Michael Takeo Magruder - Data Flower (Prototype I) - Reino Unido | United Kingdom
Nagasaki Archive Committee: Hidenori Watanave, Tomoyuki Torisu, Ryo Osera & others - Nagasaki Archive - Japão | Japan
Nanette Wylde - MettaVerse - Estados Unidos | United States
Nicholas Economos - Apophenia - Estados Unidos | United States
Nicholas Knouf - Journal of Journal Performance Studies (JJPS) - Estados Unidos | United States
Nurit Bar-Shai - FUJI spaces and other places - Estados Unidos | United States
Osvaldo cibils- everything breathes - Itália | Italy
Owen Eric Wood - Return - Canadá | Canada
Paolo Cirio - Drowning NYC - Reino Unido | United Kingdom
Quayola - Strata Series - Bélgica | Belgium
rachelmauricio - [[o]] - Brasil | Brazil
rachelmauricio - 3Y - Brasil | Brazil
rachelmauricio - ldj8jbl - Brasil | Brazil
Rayelle Niemann & Erik Dettwiler - www.citysharing.ch - Suíça | Switzerland
Remco Roes - Everything in between - Bélgica | Belgium
rage - Impermanência Formal - Brasil | Brazil
Representa Corisco: Vj Eletroman - Representa Corisco - Espanha | Spain
Richard J O'Callaghan - 'thechildrenswar' - Reino Unido | United Kingdom
Rodrigo Mello - Faces - Brasil | Brazil
Rosa Menkman - Collapse of PAL - Holanda | Netherlands
Santiago Ortiz - Impure - Espanha | Spain
seryozha kOtsun - Synesthesiograph - Rússia | Russia
Stuart Pound - Green Water Dragon - Reino Unido | United Kingdom
Stuart Pound - Time Code - Reino Unido | United Kingdom
TAMURA YUICHIRO - NIGHTLESS - Japão | Japan
TOMMY PALLOTTA: Submarine Channel - Collapsus: The Energy Risk Conspiracy - Holanda | Netherlands
Vladimir Todorovic - The Snail on the Slope - Singapura | Singapore
Vladimir Todorovic - Silica-esc - Singapura | Singapore
MAQUINEMA | MACHINIMA
André Lopes aka spyvspy aeon - Clockwork - Brasil e Portugal | Brazil and Portugal
André Lopes aka spyvspy aeon & slimgirlfat - MooN - Brasil e Portugal | Brazil and Portugal
Bernard Capitaine aka Iono Allen - Fears - França | France
Bernard Capitaine aka Iono Allen - Fusion - França | France
BobE Schism - Love Is Sometimes Colder Than Ice - Reino Unido | United Kingdom
C.-D. Schulz aka Rohan Fermi - 9 - Alemanha | Germany
C.-D. Schulz aka Rohan Fermi - Order in chaos - Alemanha | Germany
Chat Noir Studios: Sherwin Liu & Kate Lee - Death in Venice - Estados Unidos | United States
Chat Noir Studios: Sherwin Liu & Kate Lee - Incubus - Estados Unidos | United States
David Griffiths aka nebogeo - Missile Command - Finlândia | Finland
Evan Meaney - The Well of Representation - Estados Unidos | United States
Gottfried Haider - Hidden in plain sight - Áustria | Austria
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Clockwise: Part 1 - Estados Unidos | United States
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions - Stop, Rewind - Estados Unidos | United States
Henry Gwiazda - history - Estados Unidos | United States
Henry Gwiazda - infectious - Estados Unidos | United States
Iain Friar aka IceAxe - Trichophagia - Reino Unido | United Kingdom
Jun Falkenstein, Ben Covi, Brad Mitchell & Pete Terrill - The Lake - Estados Unidos | United States
Kerria Seabrooke & Paul Jannicola - Tiny Nation - Estados Unidos | United States
LES RICHES DOUANIERS: Gilles RICHARD & Fabrice ZOLL - The Lonely Migrant - França | France
Nonsense Studio: Drozhzhin, TimaGoofy, ultraviolet, ElGrandeBigB, Radiated & Takuhatsu - Johnny Cash - God's gonna cut you down - Finlândia | Finland
Pierre Gaudillere, Thomas Van Lissum, Oliver Delbos, Audrey Le Roy & Jonnathan Mutton - Unheimliche - França | France
Piotr Kopik - Psychosomatic rebuilders animation #002 - Polônia | Polland
Piotr Kopik - Psychosomatic rebuilders emoticons machinima - Polônia | Polland
Pooky Amsterdam, Draxtor Despres & Samuel's Dream - I'm Too Busy To Date Your Avatar! - Estados Unidos | United States
Saskia Boddeke aka Rose Borchovski - Lost in counting - Holanda | Netherlands
Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 5: Greek Myth, The Battle of the Gods - Holanda | Netherlands
Saskia Boddeke aka Rose Borchovski - WHY IS THERE SOMETHING? Part 6: Israel Myth, The punishment - Holanda | Netherlands
Tom Jantol - Dear Fairy - Croácia | Croatia
Tom Jantol - Duel (Part) - Croácia | Croatia
Tom Jantol - The Remake - Croácia | Croatia
Tony Bannan aka ammopreviz - Selfish Gene - Austrália | Australia
Trace Sanderson aka Lainy Voom - Ctrl-Alt-Del - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom - Dagon - HP Lovecraft - Reino Unido | United Kingdom
Tutsy Navarathna - My familiar dream - Índia | India
DOCUMENTA
Garry Shepherd – Global Shuffle - Austrália | Australia
Jim Haverkamp e Brett Ingram – Armor of God – Estados Unidos | United States
Khaled D. Ramadan – Psychic-Dentity - Dinamarca | Denmark
Lucius C. Kuert – Project 798, New Art In New China – China | China
Teilo Vallacott e J.A. Molinari – Altered_Egos – Reino Unido | United Kingdom
Vincenzo Lombardo – The VEP Project – Itália | Italy
Watch Mojo - A História do Daft Punk – Canadá | Canada
FILE ANIMA+
8-Bits Team: Valere Amirault, Jean Delaunay, Sarah Laufer & Benjamin Mattern - 8-Bits - França | France
Alan Becker - Animator Vs Animation - Estados Unidos | United States
Alessandro Novelli - The Alphabet - Itália | Italy
Alexander Gellner - 1 Minute Puberty - Alemanha | Germany
Andrew Huang - The Gloaming - Estados Unidos | United States
Ben Thomas & Leo Bridle - Train of Thought - Inglaterra | England
Birdo Studio: Luciana Eguti & Paulo Muppet - Bonequinha do Papai - Brasil | Brazil
Birdo Studio: Luciana Eguti & Paulo Muppet - Caixa - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Allan Sieber - Animadores - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Jimmy Leroy - Pequeno Cidadão - Brasil | Brazil
Brendan Angelides & Cyriak Harris - Eskmo - Estados Unidos | United States
Christopher Alender - Eye of The Storm - Estados Unidos | United States
Coala Filmes: Cesar Cabral - Dossiê Rê Bordosa - Brasil | Brazil
Dante Zaballa & Matias Vigliano - The Head - Argentina | Argentina
David O’Reilly - Please Say Something - Irlanda e Alemanha | Ireland and Germany
David O’Reilly - The External World - Irlanda e Alemanha | Ireland and Germany
David Wilson - Japanese Popstars “Let Go” - Inglaterra | England
Dominik Käser, Martin-Sebastian Senn, Mario Deuss, Niloy J. Mitra & Mark Pauly - Silhouettes of Jazz - Estados Unidos | United States
Esteban Diácono - Ólafur Arnalds - Ljósið - Argentina | Argentina
Fábio Yamagi & Denis Kamioka ‘Cisma’ - Photocopy Romance - Brasil | Brazil
Fernando Sanches - Xixi no Banho - Brasil | Brazil
Gabrielle Lissot, Pierre Lippens, Laurent Jaffier & Nicolas Deprez - Tous Des Monstres (All Monsters) - França | France
Guilherme Marcondes - Tyger - Brasil | Brazil
Guillermo Madoz - Head Honcho - Argentina | Argentina
Hi-Sim - Jump - Inglaterra | England
Home de Caramel - Alone Together - Espanha | Spain
Jasmin Lai - Brave - Estados Unidos e Tailândia | United States and Thailand
Jason Wishnow - Oedipus - Inglaterra | England
Jean-Paul Frenay - Artificial Paradise, Inc - Bélgica e França | Belgium and France
Joanna Lurie - Tree’s Migration - França | France
Joaquin Baldwin - Sebastian's Voodoo - Estados Unidos | United States
Joaquin Baldwin - The Windmill Farmer - Estados Unidos | United States
Ken Turner - TIM - Canadá | Canada
Lee Tao - Seedling - Canadá / Canada
Lemeh42 - Wool & Water - Itália / Italy
Leszek Plichta - Dreammaker - Polônia e Alemanha | Polland and Germany
Malcolm Sutherland - Bout - Canadá | Canada
Malcolm Sutherland - Umbra - Canadá | Canada
Marc Silver - There Are No Others - Inglaterra | England
Marlies van der wel - Protest Flatness - Holanda | Netherlands
Martin Piana - LUMI - Argentina | Argentina
Martin Woutisseth - Stanley Kubrick, a filmography - França | France
Matatoro Team: Mauro Carraro, Raphaël Calamote & Jérémy Pasquet - Matatoro - França | France
Matthias Hoegg - August - Inglaterra | England
Matthias Hoegg - Thrusday - Inglaterra | England
Max Hattler - SPIN - Inglaterra | England
Meindbender Animation Studio - The Pirate - Suécia | Sweden
Michael Paul Young - The Interpretation - Estados Unidos | United States
Michal Socha - Chick - Polônia | Polland
Michal Socha - Koncert - Polônia | Polland
Mr McFly - Baseball - França | France
MUSCLEBEAVER: Tobias Knipf & Andreas Kronbeck - How your money works - Alemanha | Germany
Napatsawan Chirayukool - What makes your day? - Tailândia e Inglaterra | Thailand and England
Pahnl - Nowhere near here - Inglaterra | England
Peppermelon TV - Advanced Beauty - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - First - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - Target - Friends with you - Inglaterra e Estados Unidos | England and Unites States
Robert Seidel - Vellum - Alemanha | Germany
Rogier van der Zwaag Nobody Beats The Drum - Grindin - Holanda | Netherlands
Ross Phillips - 5 Second Projects ( Ballons) - Inglaterra | England
Ross Phillips - 5 Second Projects ( Reverse) - Inglaterra | England
Sasha Belyaev - The Rite of Youth - Letônia | Latvia
Scott Pagano - Pororoca - Estados Unidos | United States
Scott Pagano - Trust In The 'M' Machine - Estados Unidos | United States
Serene Teh - Parkour - Cingapura | Singapore
Stephen Irwin - Black Dog's Progress - Inglaterra | England
Stephen Irwin - Horse Glue - Inglaterra | England
Sylvain Marc - Cocotte Minute - França | France
Sylvain Marc - Fertilizer Soup - França | France
Tanya Aydostian - L'autre - França | France
Taylor Price - Hunt - Canadá e Estados Unidos | Canada and United States
Treat Studios - E4 - Inglaterra | England
Veronika Obertová - Viliam - Eslováquia | Slovakia
Wesley Rodrigues - Pinga com Saquê - Brasil | Brazil
Zach Cohen - The Chair Not Taken - Itália | Italy
Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia
Animatório - Neomorphus - Brasil | Brazil
Bertrand Bey & Pierre Ducos - La Détente - França | France
Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil
Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil
Fábio Yamaji - O Divino, de repente - Brasil | Brazil
Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France
GAMES
Adam Saltsman & Danny Baranowsky - Canabalt - Estados Unidos | United States
Alex May & Rudolf Kremers - Eufloria - Reino Unido
| United Kingdom
Alexander Bruce - Hazard: The Journey of Life - Austrália | Australia
Binary Tweed - Clover: a Curious Tale - Reino Unido | United Kingdom
Cats in the Sky - Cargo Delivery - Brasil | Brazil
Christoffer Hedborg - Toys - Suécia | Sweden
Colibri Games - The Tiny Bang Story - Rússia | Russia
Edmund McMillen & Tommy Refenes - Super Meat Boy - Estados Unidos | United States
ENJMIN - Paper Plane - França | France
Evan Blaster - Infinite Blank - Estados Unidos | United States
Frictional Games - Amnesia: The Dark Decent - Suécia | Sweden
Gaijin Games - BIT TRIP BEAT - Estados Unidos | United States
Kiaran Ritchie, Jasmine Ritchie & Francisco Furtado - Beep Game - Canadá | Canada
Mark Essen - "Nidhogg" - Estados Unidos | United States
Mediatronic - Monsters Probably Stole My Princess - Reino Unido | United Kingdom
Nicklas Nygren - Saira - Suécia | Sweden
Paolo Pedercini / Molleindustria - "Every Day The Same Dream" - Estados Unidos e Itália | United States and Italy
Richard E Flanagan / Phosfiend Systems - FRACT - Canadá | Canada
Spaces of Play - Spirits - Alemanha | Germany
State of Play Games - Lume - Reino Unido | United Kingdom
Tales of Tales - The Path - Bélgica | Belgium
FILE TABLET
Aircord: Toshiyuki Hashimoto, Masato Tsutsui & Koichiro Mori – REFLECTION – Japão | Japan
Alex Komarov & Sergey Rachok – ACCORDION – Estados Unidos e Rússia | United States and Russia
Cruz-Diez Foundation - CRUZ-DIEZ "INTERACTIVE CHROMATIC RANDOM EXPERIENCE" – Venezuela | Venezuela
Fingerlab: Antoine Lepoutre & Aurélien Potier – MULTIPONG – França | France
Jason Waters – SPIROGROW – Estados Unidos | United States
Jay Silver & Eric Rosenbaum - SINGING FINGERS – Estados Unidos | United States
Nate Murray & TJ Fuller - IPAD GAME FOR CATS - Estados Unidos | United States
Pavel Doichev - ART IN MOTION – Estados Unidos | United States
Pavel Doichev - LINE ART – Estados Unidos | United StatesPavel Doichev – TESLA – Estados Unidos | United States
Rob Fielding – MUGICIAN – Estados Unidos | United States
RunSwimFly - Richard Harrison – GLOOP - Austrália | Australia
Scott Snibbe – ANTOGRAPH (ou MYRMEGRAPH) – Estados Unidos | United States
Scott Snibbe – BUBBLE HARP – Estados Unidos | United States
Scott Snibbe – GRAVILUX – Estados Unidos | United States
Scott Snibbe – OSCILLOSCOOP – Estados Unidos | United States
Scott Snibbe – TRIPOLAR – Estados Unidos | United States
Smule - MAGIC FIDDLE – Estados Unidos | United States
Spaces of Play: Mattias Ljungstrom, Marek Plichta, Andreas Zecher & Martin Strak – SPIRITS – Alemanha | Germany
Ted Davis - TEXT2IMAGE – Estados Unidos | United States
Typotheque / Resolume - DANCE WRITER – Estados Unidos | United States
WORKSHOP
Workshop Fiesp - AA School: Franklin Lee, Robert Stuart Smith (Kokkugia), Anne Save de Beaurecueil (SUBdV), Sandro Tubertini (Environmental Engineering Agency, BDSP), Thiago Mundim, Ernesto Bueno, Arthur Mamou-Mani, Arya Safavi, Yoojin Kim & Victor Sardenberg
Parametric Architecture - Reino Unido | United Kingdom
Edited ISS055 image of the Richat Structure in the Sahara Desert in Mauritania. Color/processing variant.
The Orion crew module is being moved into a covered structure at the Mole Pier at Naval Base San Diego in California where it will be prepared for return to NASA's Kennedy Space Center in Florida. Orion was secured on its crew module recovery cradle in the well deck of the USS Anchorage after it was recovered from the Pacific Ocean. After lifting off at 7:05 a.m. EST on Dec. 5, atop a Delta IV Heavy rocket from Space Launch Complex 37 at Cape Canaveral Air Force Station in Florida, Orion completed a two-orbit, four-and-a-half hour mission to test systems critical to crew safety, including the launch abort system, the heat shield and the parachute system. NASA, the U.S. Navy and Lockheed Martin coordinated efforts to recover Orion after splashdown in the Pacific Ocean. The Ground Systems Development and Operations Program led the recovery efforts. For more information, visit www.nasa.gov/orion Photo credit: NASA/Cory Huston
Verona, day 6 of our Cosmos tour, October 5, 2012.
Sant'Anastasia is a church of the Dominican Order in Verona, northern Italy. In Gothic style, it is located in the most ancient part of the city, near the Ponte Pietra.
The current church was started in 1280 and completed in 1400, designed by the Dominican friars Fra' Benvenuto da Imola and Fra' Nicola da Imola. It took its name from a pre-existing temple built by King Theoderic the Great upon which was built the actual church. Since 1307, it is in fact co-entitled to St. Peter of Verona, martyr and co-patron of the city.
Consecrated only in 1471, until 1808 the church was held by the Dominicans.
The 72 mt tall belltower had four bells in 1460. In the 1839 were casted the modern 9 bells tuned in C, them are ringed in Veronese bellringing art by a team founded in 1776.
The church is similar in structure to the Basilica of San Zanipolo in Venice.
The façade is divided into three vertical section corresponding to the nave and the two aisles in the interior. Unfinished, the façade is mostly in brickwork. In the centre of the middle section is a simply rose window.
The 15th century portal has two doors, and is enclosed into a Gothic structure (1330) with arches supported by ornamental columns in red, black and white marble. The arches forms three lunettes: in the larger one is a representation of the Holy Trinity with two Angels, flanked by St. Joseph and the Holy Virgin. The Father sits on a Gothic throne with Crucifix on his knees and Christ on his side, surmounted by a dove. In the two smaller lunettes, directly over the portal, are portrayed the Bishop leading the Veronese people and St. Peter of Verona leading the monks, with the white-black banner of the Dominicans. The five splays of the Gothic arch are decorated with six chronological scenes of Jesus' life: the Annunciation, the Birth, the Adoration of the Magi, the Path towards the Calvary, the Crucifixion and the Resurrection. The central column between the doors has high-reliefs with St. Dominic, St. Peter of Verona and St. Thomas.
The architrave has three statues: the central and larger is Madonna with Child of Venetian school, while the other represents St. Anastasia and St. Catherine at the Wheel.
The side sections of the façade, corresponding to the aisles, have large stainglassed mullioned windows, flanked by two square belfries.
The interior, on the Latin cross plan, is divided into a nave and two aisles, with crossed vaults, separated by six columns each; the latter are in white or red Verona marble, with Gothic capitals. The four columns over the high altar show the coat of arms of the Castelbarco of Trento, a family who extensively contributed to the church's construction. Notable is the funerary monument to Cortesia Serego, on the left of the apse, which was finished in 1432. It portrays the riding figure of Cortesia, clad with an armor and holding a commanding wand. The horse is placed of the sculpted sarcophagus, which was has always been empty. The fresco part represent the Annunciation and the Saints Peter of Verona and Dominic.
The two stoups before the first two columns stands on two hunchback figures, one of which attributed to Paolo Veronese's elder son, Gabriele Caliari.
The Pellegrini Chapel houses the late International Gothic fresco of St. George and the Princess, as well as terracotta statues by Michele di Firenze, executed before 1436. A frieze by the latter, or by Pisanello, has now disappeared. The Pellegrini chapel also houses the grave of Wilhelm von Bibra.
To the left of the church entrance, Guglielmo di Castelbarco, podestà of Verona, built an arch that became his tomb (Arca) anticipating the more famous Scaliger Tombs.
Taken From: en.wikipedia.org/wiki/Sant'Anastasia_(Verona)
For More Info: en.wikipedia.org/wiki/Verona
Pavilion Le Corbusier Zürich, Switzerland - Publications from 1967 in some architectural magazines.
Project credits:
•Client: Heidi Weber
•Architect: Le Corbusier
•Construction management 1961–66: Willy Boesiger
•Execution 1966–67: Alain Tavès and Robert Rebutato
•Steel structure engineer: Louis Fruitet
•Façade studies engineer: Jean Prouvé
•Renovation 2017–19: Silvio Schmed and Arthur Rüegg on behalf of the city of Zurich
Iconic for its floating steel roof and brightly colored panels, the Pavilion Le Corbusier is the last building Le Corbusier designed before his death in 1965. Completed in 1967, the building stands as a testament to Corbusier’s renaissance genius as an architect, painter, and sculptor. It does so both intentionally, as it is an exhibition space for his life’s work, and naturally, as it is a building masterfully designed. Interestingly, the building diverges in some ways from the style responsible for his renown – concrete, stone, uniform repetition, etc. It celebrates the use of steel, with which he explored prefabrication and assembly, and a freedom through modularity, in which the plan is completely open but infinitely adaptable.
Heidi Weber, a successful interior designer and so called ‘great patron’ of Corbusier, commissioned the building in 1960 to be both a small home for herself, and a building to house Le Corbusier’s artwork, which she had already spent years patronizing. The project, then, was to be a ‘complete work of art,’ or a ‘Gesamtkunstwerk’ as it were, where Corbusier would design a building for the sake of his own art. This was a fitting task for Corbusier as, according to Sigfried Giedion, “It is essentially the synthesis of the arts that was expressed so strongly in everything he created.”
The building is composed of two major volumetric elements: a floating parasol roof-structure and beneath it, a two-story rectilinear volume sitting on a concrete pavilion floor. Modular steel frame cubes with a standard dimension of 2,26 x 2,26 x 2,26 m make up the structural framework of the base volume. Two sets of these cubes are stacked on top of one another to achieve the two-story height of the building. All necessary elements, including walls, windows, doors, etc., are bolted into these frames. The nature of these prefabricated cubes make for a completely open ground plan that can be divided at will, a convenience well attuned for a hybrid exhibition/dwelling space. In this way, Le Corbusier used standardized parts to create individual forms instead of uniform repetitions.
The roof structure, which stands on four rectangular supports, consists of two 12 x 12 m square elements made of welded steel sheets. Each square is in the shape of a parasol, one facing up and the other down. The entire structure is prefabricated: produced by the steel manufacture, brought to the site in the biggest possible pieces, assembled to its final state on the ground, and finally lifted into place. The two parasols provided cover from sun and rain during construction and continue to provide cover for the entire pavilion, while also acting as a dominant aesthetic element of the building.
Enamel panels in primary colors and glass envelope the main volume of the building. In the language of the rest of the building, the panels are of a standard dimension, one-third the size of the steel cubes. The panels and their respective colors are distributed throughout the building’s exterior with a perceptible rhythm.
Despite what seems to be a major focus towards the building itself, the pavilion does not neglect its site. Pivoting doors and windows that open to the outside help to blur the boundary between outside and inside; and a roof garden beneath the parasol structure allows for appreciation of its beautiful site, which includes a small pond adjacent to the pavilion.
It is important to note that the first design for the project, which he delivered to Weber in 1961, called for an entirely concrete building. This type of museum building was realized in Chandigarh, India. See my pictures in :
www.flickr.com/photos/durr-architect/3288234067/in/album-...
www.flickr.com/photos/durr-architect/albums/7215761497057...
It wasn’t until 1962 that Corbusier changed the design for Switzerland to be predominantly in steel. In its final form, however, he did choose to use some concrete, but only for the vertical circulation. This consists of only two structures: the interior staircase in the two-story studio space, and the exterior ramp, both of which go from the ground to the roof garden.
After a 50-year lease from Zurich council on the land it sits on ran out in 2014, the pavilion – a heritage listed building – reverted to being property of the city. In 2019 Pavilion Le Corbusier has reopened to the public in Zurich after architects Silvio Schmed and Arthur Rüegg restored the art museum to its original state.
Sir Joshua Reynolds
West Building, Main Floor—Gallery 59
•Date: 1784
•Medium: Oil on Canvas
•Dimensions:
oOverall: 91.6 × 76.4 cm (36 1/16 × 30 1/16 in.)
oFramed: 108 × 93.7 × 5.7 cm (42½ × 36⅞ × 2¼ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1942.8.21
•Artists/Makers:
oPainter: Gilbert Stuart: American, 1755-1828
Provenance
Commissioned by John Boydell [1719-1804], London; probably inherited by his nephew and business partner, Josiah Boydell [1752-1817], London. Possibly sold by an unidentified consigner at (Greenwood & Co., London, 3 April 1806, no. 49) and (Greenwood & Co., London, 21 May 1807, no. 40), purchaser not recorded.[1] Murrough O’Brien, 5th Earl of Inchiquin and 1st Marquis of Thomond [d. 1808];[2] by descent to his nephew, James O’Brien, 7th Earl of Inchiquin and 3rd Marquis of Thomond [1769-1855], Bath.[3] (T.H. Robinson, London, and M. Knoedler & Co., New York), October 1919; sold 11 December 1919 to Thomas B. Clarke [1848-1931], New York;[4] his estate; sold as part of the Clarke collection on 29 January 1936, through (M. Knoedler & Co., New York) to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1942 to NGA.
[1]The Index of Paintings Sold in the British Isles during the Nineteenth Century, Burton B. Fredericksen, ed. (Santa Barbara, California and Oxford, England, 1990), 2: 951, as “Stuart, An Original Protrait of Sir Joshua Reynolds,” consigned by “a gentleman,” and as “G. Stuart, A Portrait of Sir Joshua Reynolds.” Only the second price is recorded, with some question, as three pounds, six pence. Since this is a very small price for a full-size portrait, perhaps these sales are instead for the “Small head, Sir Joshua Reynolds, sketch” attributed to Sturart that was sold at Christie’s on 5 February 1818 by a Mr. Rising, with a small head of the Marquis of Landsown, also attributed to Stuart. The pair went for five guineas. (Information courtesy of The Getty Provenance Index, 7 April 1992).
[2]Jane Stuart, “The Youth of Gilbert Stuart,” Scribner’s Monthly 13, no. 5 (March 1877), 644 recorded that “Lord Inchiquin” paid 250 guineas for her father’s portrait of Reynolds. It has been assumed that this was the 5th Earl, whose wife was Mary Palmer [d. 1820], Reynolds niece and heiress. On the Earls of Inchiquin see Burke’s Genealogical and Heraldic History of the Peerage, Baronetage and Knightage, 104th ed., London, 1967, 1325-1330.
[3]According to Knoedler’s records (letter from Melissa De Medeiros, librarian, 5 June 1992, NGA curatorial file), the portrait was from the estate of James O’Brien, the 3rd and last marquis of Thomond, and “the present Lord Inchiquin is unable to say when the picture left the family.” Henry William Beechey, ed., The Literary Works of Sir Joshua Reynolds, First President of the Royal Academy, rev. ed., 2 vols., London, 1855, 300, records the portrait and reproduces an engraving of it as his frontispieces, but he does not record any owner after Boydell.
[4]Knoedler purchased a joint share from T.H. Robinson in October 1919 and sold the painting to Clarke in December. The name of the seller and the date of purchase are recorded in a copy of Portraits by Early American Painters of the Seventeenth, Eighteenth and Nineteenth Centuries Collected by Thomas B. Clarke, (Exh. cat., Philadelphia Museum of Art, 1928) annotated with information from files of M. Knoedler & Co., NY (copy in NGA curatorial records and in NGA library).
Associated Names
•Boydell, John
•Boydell, Josiah
•Clarke, Thomas Benedict
•Greenwood & Co.
•Greenwood & Co.
•Knoedler & Company, M.
•Knoedler & Company, M.
•Mellon Educational and Charitable Trust, The A.W.
•O’Brien, 5th Earl Inchiquin, Murrough
•O’Brien, 7th Earl Inchiquin, James
•Robinson, T.H.
Exhibition History
•1786—John Boydell’s Gallery, London, 1786.
•1792—Possibly Boydell’s Shakespeare Gallery, London, 1792-1802.
•1922—Portraits Painted in Europe by Early American Artists, The Union League Club, New York, January 1922, no. 1.
•1928—Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke, Philadelphia Museum of Art, 1928-1931, unnumbered and unpaginated catalogue.
•1944—Gilbert Stuart: Portraits Lent by the National Gallery of Art, Washington, D.C., Virginia Museum of Fine Arts, Richmond, 1944-1945, no. 1.
•1967—Gilbert Stuart, Portraitist of the Young Republic, National Gallery of Art; Museum of Art, Rhode Island School of Design, Providence, 1967, no. 12.
•2004—Gilbert Stuart, The Metropolitan Museum of Art, New York; National Gallery of Art (for the National Portrait Gallery), Washington, D.C., 2004-2005, no. 14, repro.
Bibliography
•1784—Sir Joshua Reynolds’ Diary, 1784, at the Royal Academy of Arts, London
•1786—”Fabius.” “The Arts. No. II. Alderman Boydell’s Gallery.” The Morning Post, and Daily Advertiser. 14 November 1786: 2.
•1792—Felton, Samuel. Testimonies to the Genius and Memory of Sir Joshua Reynolds. London, 1792: 67.
•1804—”Monthly Retrospect of the Fine Arts.” Monthly Magazine; or British Register 17 (1 July 1804): 595.
•1855—Beechy, Henry William, ed. The Literary Works of Sir Joshua Renolds, First President of the Royal Academy. Rev. ed., 2 vols. London, 1855:1:frontispiece, engraving by E. Scriven, 300.
•1865—Leslie, Charles Robert and Tom Taylor. Life and Times of Sir Joshua Reynolds, with Notices of some of his Contemporaries. 2 vols. London, 1865:2:468
•1869—Dunlap, William. A History of the Rise and Progress of The Arts of Design in the United States. 2 vols. Reprinted in 3. New York, 1969 (1834): 1:184, 219.
•1877—Stuart, Jane. “The Youth of Gilbert Stuart.” Scribner’s Monthly 13, no. 5 (March 1877):644
•1879—Mason, George C. The Life and Works of Gilbert Stuart. New York, 1879: 248.
•1880—MFA 1880, 52, no. 508
•1913—Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin and London, 1913: 2:416
•1922—Sherman, Frederick Fairchild. “Current Comment: Exhibitions.” ArtAm 10, no. 3 (April, 1922):139 repro., 143-144.
•1926—Park 1926, 641-642, no. 702, repro.
•1928—Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke. Exh. cat. Philadelphia Museum of Art, 1928, unnumbered.
•1932—Whitley 1932, 46-47, 55-56
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 133, repro.
•1959—Mount, Charles Merril. “A Hidden Treasure in Britain.” The Art Quarterly 22, no. 3 (Autumn, 1959): 220, 223
•1964—Mount 1964, 90, 362
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 104, repro.
•1974—Bruntjen, Hermann Arnold. John Boydell (1719-1804): A Study of Art Patronage and Publishing in Georgian London. Ann Arbor, Michigan, 1974:28-29, 36, 58, 63
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 382, color repro.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 233, repro.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 50, 62.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 378, no. 534, color repro.
•1985—Bruntjen, Sven H. A. John Boydell (1719-1804): A Study of Art Patronage and Publishing in Georgian London. New York and London, 1985: 28-29. 36, 58, 63.
•1986—McLanathan, Richard. Gilbert Stuart. New York, 1986:51, 54, color repro.
•1990—Harris, Eileen. “Robert Adam’s Ornament for Alderman Boydell’s Picture Frames.” Furniture History: The Journal of the Furniture History Society. 26 (1990): 93-96, figs. 1-3
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 346, repro.
•1993—Rather, Susan. “Stuart and Reynolds: A Portrait of Challenge.” Eighteenth-Century Studies 27, no. 1 (Fall 1993): 61-84.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 172-177, color repro. 175.
•2000—Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 262.
•2016—Rather, Susan. The American School: Artists and Status in the Late Colonial and Early National Era. New Haven, 2016: 172-174, color fig. 128.
From American Paintings of the Eighteenth Century:
1942.8.21 (574)
Sir Joshua Reynolds
•1784
•Oil on canvas, 91.6 × 76.4 (36 1/16 × 30 1/16)
•Andrew W. Mellon Collection
Technical Notes
The primary support is a mediumweight, plain-weave fabric with a vertical seam 4.5 cm from the left side. A second, almost identical fabric is stretched beneath this support. Both the added strip and the lining appear to be original to the painting, as only one set of tack holes is found in the fabric, which has its original tacking margins. The four-member mortise-and-tenon, keyed stretcher also appears to be original. The thin, grayish white ground extends over the edges of the fabric, indicating that the canvas was prepared before stretching. The ground color contributes generally to the tonality in the more thinly painted passages in the hair, scroll, and column. In the more thickly painted coat, face, and hands, the ground is visible around the eyes and in the sitter’s left hand.
A mild, retouched abrasion is in the more thinly painted passages, with an untouched area of abrasion in the sitter’s left hand. Heavy retouching is evident in the areas of abrasion in the jacket. The varnish is a somewhat discolored, thick, and uneven glossy layer of natural resin.
Provenance
Commissioned by John Boydell [1719-1804], London; probably inherited by his nephew and business partner Josiah Boydell [1752-1817], London. Possibly sold by an unidentified consignor at (Greenwood & Co., London, 3 April 1806, no. 49) and (Greenwood & Co., London, 21 May 1807, no. 40), purchaser not recorded.1 Murrough O’Brien, 5th Earl of Inchiquin and 1st Marquis of Thomond [d. 1808];2 by descent to his nephew James O’Brien, 7th Earl of Inchiquin and 3rd Marquis of Thomond [1769-1855], Bath.3 (T.H. Robinson, London, and M. Knoedler & Co., New York), October 1919; sold 11 December 1919 to Thomas B. Clarke [1848-1931], New York;4 his estate; sold as part of the Clarke collection on 29 January 1936, through (M. Knoedler & Co., New York), to The A.W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibited
John Boydell’s Gallery, London, 1786. Possibly at Boydell’s Shakespeare Gallery, London 1792-1802. Union League Club, January 1922, no. 1. Philadelphia 1928, unnumbered. Richmond 1944-1945, no. 1. Gilbert Stuart, NGA; RISD; PAFA, 1967, no. 12.
Gilbert Stuart painted this portrait of sixty-one-year-old Sir Joshua Reynolds (1723-1792), the celebrated English painter and president of the Royal Academy of Arts, in July 1784. It is one of fifteen portraits of painters and engravers commissioned from Stuart by John Boydell, the London print publisher, of the men associated with his commercial success. In addition to Reynolds, Stuart painted portraits of John Singleton Copley (National Portrait Gallery, London), Benjamin West (National Portrait Gallery, London), Ozias Humphrey (Wadsworth Atheneum, Hartford), William Miller, and Richard Patón, and engravers James Heath (Wadsworth Atheneum, Hartford), William Woollett (Tate Gallery, London), John Hall (National Portrait Gallery, London), Johann Gottlieb Facius, Georg Sigmund Facius, John Browne, and Richard Earlom, as well as Boydell and his nephew and partner Josiah Boydell.5 He completed the portraits of Copley, Heath, and Josiah Boydell by 3 April 1784, when Robert Adam, the Scottish architect, designed an elaborate frame that positioned the portraits as a group above Copley’s history painting The Death of Major Peirson (1782-1784, Tate Gallery, London).6 Boydell had commissioned the Death of Peirson and had employed Heath as its engraver. He exhibited these paintings at 28 Haymarket, London, before moving them to the gallery in his print shop at 90 Cheapside.7 On 12 June, Robert Adam designed a second grouping of a number of circular, oval, and rectangular frames on one wall, perhaps for the display of some of Stuart’s fifteen portraits with other, horizontal works.8
Reynolds sat for his portrait that July. He listed the sittings in his pocket diary : on 23 July, “9½ Mr. Stewart” (fractions indicate the half-hour), and on 28 and 30 July, also at half past nine.9 A month later, on 27 August, “Mr. Stewart” had a final appointment at nine o’clock.10 The result shows Reynolds in a black suit, white shirt, and powdered gray wig. His cheeks are ruddy and his wig frizzy, in a natural style. Seated in an upholstered chair, Reynolds rests his hands in his lap as he holds a gold snuffbox in his left hand. Between the thumb and index finger of his right hand he takes a pinch of snuff. On a red-draped table beside him are rolled sheets of paper; a column and a red curtain fill the background.11 Stuart’s technique, with its loose, dry brushwork, is similar to that in his full-length of The Skater (Portrait of William Grant of 1782 [1950. 18.1] and his portrait of Sir John Dick of 1783 [1954.1.10], English works that mark the artist’s transition from the more evenly painted colonial American manner to his later fully calligraphic style. This transitional quality can be seen in his modeling of Reynolds’ face, where hatched brushwork defines the features, the shadows, and the wig, while a more thickly applied paint layer depicts the skin. The looser brushwork was undoubtedly a conscious imitation of Reynolds’ own technique.
In this portrait, Reynolds appears slightly older than in his self-portrait in academic robes with the bust of Michelangelo (c. 1780, Royal Academy of Arts, London). Instead, he more closely resembles his self-portrait of about 1789 (Royal Collection, London).12 Despite this similarity, Sir Joshua remarked about Stuart’s painting, according to American painter Charles Fraser, that “if that was like him, he did not know his own appearance.”13 As Susan Rather indicates in her close reading of the portrait, Reynolds no doubt was referring to the characterization. As she aptly points out, the two men, one a young artist and the other the most admired British portrait painter of the time, shared the habit of taking snuff. She suggests that Reynolds might have though the gesture of taking snuff was inappropriate for his portrait. Through this response to the portrait, however, she interprets Stuart as satirizing Reynolds “by coded references to his deafness and irascibility, while overtly presenting the Royal Academy president in a manner that Reynolds, in his public addresses on art, condemned.”14 The gesture of pinching snuff might, on the other hand, be seen as an early example of Stuart’s exceptional gift of interpreting personality through the choice of a characteristic pose, in this case, one with which he was very familiar.
Stuart’s series of artists’ portraits was completed by the fall of 1786, when it was exhibited at Boydell’s gallery at 90 Cheapside. Among the many visitors who saw the portraits there was Sophie de la Roche, a young traveler to London who noted in her journal on 28 September 1786 that Boydell’s second floor exhibition room was “devoted to works by native artists, and contains portraits of famous English painters, especially engravers.”15 “Fabius” wrote a more detailed description for the 14 November issue of the Morning Post, and Daily Advertiser. “The inner room is now furnishing wholly with modern paintings—around it on the top are portraits of the most eminent English artists, whose works have been purchased, and engraved from by the Alderman, or of engravers, whom he hath at different times employed to engrave for him—They are strong likenesses, and by Stuart.” A writer for the London Monthly Magazine; or British Register later wrote about the group of portraits when remarking on the generally commonplace appearance of the artists of his time in their portraits, compared to the distinguished air of Van Dyck’s portraits of seventeenth-century painters.
Very different are the portraits of the painters of the present day. A large number of them sat to Gilbert Stuart the American, who painted them for Alderman Boydell; they were afterwards shown at his gallery. They were all strong resemblances, but a set of more uninteresting, vapid countenances it is not easy to imagine; neither dignity, elevation nor grace appear in any of them; and had not the catalogue given their names they might have passed for a company of cheesemongers or grocers. The late President of the Royal Academy [Reynolds] was depicted with a wig that was as tight and close as a hackney coachman’s caxon, and in the act of taking a pinch of snuff. The present President [West] and many others were delineated as smug upon the mart as so many mercers or haberdashers of small wares, all of which originated in the bad taste of the sitters.16
The commission for this series of artists’ portraits predates by two years Boydell’s announcement in December 1786 of plans for a collection of paintings by English artists on subjects from Shakespeare. He intended to commission the series and to offer two sizes of engravings for public subscription. By the time the Shakespeare Gallery opened at 52 Pall Mall in 1789, thirty-four of the paintings were completed.17 Boydell moved Stuart’s portrait of Reynolds there by 1792, when Samuel Felton, the author of Testimonials to the Genius and Memory of Sir Joshua Reynolds (London, 1792), listed a number of portraits and self-portraits of Reynolds, including one “in Mr. Boydell’s Shakespeare Gallery, among those of the other painters who are now engaged in painting scenes for Mr. Boydell’s edition of that poet.” Felton declared the Boydell portrait “undoubtedly the best painted Head of Sir Joshua,” thinking it was a self-portrait.18 That he was referring to Stuart’s portrait is confirmed by an engraving of it by Johann and Georg Facius that Boydell published in 1802. Crediting Stuart as the painter, it is inscribed “From the Original Picture in the Shakespeare Gallery.”19 The Shakespeare Gallery project went bankrupt in 1804, and Boydell offered the collection for sale by lottery to raise funds to repay extensive loans. His Plan of the Shakespeare Lottery lists sixty-two prizes, the last being the entire contents of the Shakespeare Gallery. The lottery was held on 28 January 1805.20 None of Stuart’s portraits was included, however. The most likely scenario is that they remained at the print gallery at 90 Cheapside, which became the property of Boydell’s nephew Josiah after Boydell’s death in 1804.21 In 1825 Henry Graves acquired the holdings of the Boydell firm when he, Francis Graham Moon, and J. Boys purchased the company’s stock and leasehold and changed the firm’s name to Moon, Boys and Graves.22 Three of the Stuart portraits—those of John Hall and Benjamin West (National Portrait Gallery, London) and James Heath (Wadsworth Atheneum, Hartford)—can be traced to Henry Graves and Company, the successor firm of Moon, Boys and Graves.23
Charles Bestland (b. 1764?) copied the portrait in miniature.24
EGM
Notes
1.Fredericksen 2:951, as “Stuart, An Original Portrait of Sir Joshua Reynolds,” consigned by “a gentleman,” and as “G. Stuart, A Portrait of Sir Joshua Reynolds.” Only the second price is recorded, with some question, as three pounds, six pence. Since this is a very small price for a full-size portrait, perhaps these sales are instead for the “Small head, Sir Joshua Reynolds, sketch” attributed to Stuart that was sold at Christie’s on 5 February 1818 by a Mr. Rising, with a small head of the Marquis of Lansdowne, also attributed to Stuart. The pair went for five guineas. (Information courtesy of the Getty Provenance Index, 7 April 1992.)
2.Stuart 1877, 644, recorded that “Lord Inchiquin” paid 250 guineas for her father’s portrait of Reynolds. It has been assumed that this was the 5th earl, whose wife was Mary Palmer [d. 1820], Reynolds’ niece and heiress. On the Earls of Inchiquin see Burke 1967, 1325-1330.
3.According to Knoedler’s records (letter from Melissa De Medeiros, librarian, 5 June 1992; NGA), the portrait was from the estate of James O’Brien, the 3rd and last Marquis of Thomond, and “the present Lord Inchiquin is unable to say when the picture left the family.” Beechey 1855, 300, records the portrait and reproduces an engraving of it as his frontispiece, but he does not record any owner after Boydell.
4.Knoedler purchased a joint share from T.H. Robinson in October 1919 and sold the painting to Clarke in December. The name of the seller and the date of purchase are recorded in an annotated copy of Clarke 1928 in the NGA library.
5.Whitley 1932, 55, lists the portraits without giving his source. It may have been the catalogue to which the anonymous author in Monthly Magazine 1804 referred; no copy has been located. On the portrait of West see Walker 1985,11543-544; 2 :pl. 1352. A portrait at the Holburne of Menstrie Museum, Bath, has been identified as that of Josiah Boydell, but the identity is open to some question. Many of the portraits are unlocated today.
6.Harris 1990, 93, and fig. 1 (Sir John Soane’s Museum, London); this reference courtesy of Jacob Simon, National Portrait Gallery, London.
7.Prown 1966, 2:307.
8.Harris 1990, 94 and fig. 3, dated 12 June 1784 (Sir John Soane’s Museum).
9.Reynolds’ pocket ledger for 1784, Royal Academy of Arts, London. The entries are also cited in Leslie and Taylor 1865, 2:468, and in Whitley 1932, 46.
10.Mount 1959, 223, proposed without documentation that the August appointment was for Stuart to finish a copy of one of Reynolds’ self-portraits (the attribution of the copy to Stuart is Mount’s). Stuart has also been credited, without apparent documentation, with the copy of a Reynolds self-portrait that was exhibited at the Maryland Historical Society in 1853 and is now in the Charles J.M. Eaton Collection, Peabody Institute, Baltimore. See Peabody Institute 1949, 19; Yarnall and Gerdts 1986,3418.
11.Stuart widened the canvas of the portrait from the standard kit-cat proportions of 91.4 by 71 cm (36 by 28 inches) by adding a 5~cm (2-inch) strip of canvas on the left, which did not change the composition appreciably. It may have been done in keeping with its setting in Boydell’s gallery.
12.Penny 1986, 287-288, no. 116, repro., and 320-322, no. 149, repro.
13.Dunlap 1834, 1:184, quoting Fraser, who added that the remark “was certainly not made in the spirit of his usual courtesy.”
14.Rather 1993, 63-65.
15.Her description of BoydelPs shop is quoted in Bruntjen 1985, 28-29, from Sophie in London (London, 1933), 237-239.
16.Monthly Magazine 1804, 595, quoted by Rather 1993, 63.
17.Friedman 1976, 3, 71-73.
18.Felton 1792, 67; Whitley 1932, 47.
19.See Park 1926, 642; an example of the engraving is in the NGA curatorial file. Another engraving by E. Scriven is listed in O’Donoghue 1906, 3 (1912): 564.
20.For an example of the Plan, published in London on 5 April 1804, see the scrapbook collection of Press Cuttings 3 : 815-81 8. William Tassie, a gem engraver, won the lot that included the Shakespeare paintings, which he sold at Christie’s, 17-20 May 1805. The catalogue is discussed in Fredericksen 1:52; the paintings are indexed under Boydell’s name and listed by the name of each artist.
21.Boydell also acquired Copley’s Death of Major Peirson, which he sold at Christie’s on 8 March 1806, lot 98; it was bought in and sold to Copley; Prown 1966, 2:440, and Fredericksen 2:264.
22.Bruntjen 1985, 242-243; on the history of this firm see also Graves 1897, 143-148 (the author was the son of Henry Graves), and the entry on Henry Graves (1806-1892) in DNB 22 (supplement), 771-772.
23.Information on the provenance of these portraits is courtesy of Jacob Simon, Keeper of i8th Century Portraits, National Portrait Gallery, London, and Elizabeth Mankin Kornhauser, curator of American Art, Wadsworth Atheneum, Hartford.
24.Foskett 1972, 1:163.
References
•1786—”Fabius.” “The Arts. No. II. Alderman Boydell’s Gallery.” Morning Post, and Daily Advertiser. 14 November: 2.
•1792—Felton : 67.
•1804—Monthly Magazine : 595 .
•1834—Dunlap: 1:184, 219.
•1855—Beechey: 1:300, and frontispiece engraving by E. Scriven.
•1865—Leslie and Taylor: 2:468.
•1877—Stuart: 644.
•1879—Mason: 248.
•1880—MFA: 52.no. 508.
•1913—Strickland: 2:416.
•1922—Sherman: 139 repro., 143-144.
•1926—Park: 641-642, no. 702, repro.
•1932—Whitley: 46-47, 55-56.
•1959—Mount: 220, 223.
•1964—Mount: 90, 362.
•1981—Williams: 62, color repro. 50.
•1984—Walker: 378, no. 534, color repro.
•1985—Bruntjen: 28-29, 36, 58, 63.
•1986—McLanathan: 51 , color repro. 54.
•1990—Harris: 93-96 and figs. 1-3.
•1993—Rather: 61-84.
Urbex Benelux -
Any structure that stands “in the open” must brave the elements of nature, which negatively impacts the structural integrity of a building. For example, during the summer, water may seep into the ceiling or walls of a house and dampen it. However, come winter, water freezes and compromises the strength of the wall. In fact, this is one of the primary reasons why the walls of abandoned buildings begin to fall apart during winters.
Additionally, the material used in the construction of the building is also affected by the ambient weather. If a building has a lot of metal, like iron or steel, it will rust gradually if not maintained, which will accelerate the decay of the structure.
Original structure built in the 10th century and later destroyed in the Hundred Years War. Rebuilt by Louis XI in the medieval style.
Famous for its many chimnies.
Details of a pigeon's wing as it balances on one of our feeders trying to get at some seeds. Primary and secondary wing feathers are clearly seen along with the covert feathers underneath. These are surprisingly delicate structures and it's not often we get the chance to get a good look at them like this
This ice cube showed some fascinating cracks in the afternoon heat. In particular, air began to bubble up through one of the larger cracks to the top of the ice cube.
Following, a text, in english, from Wikipedia the Free Encyclopedia:
Foro Romano
Roma, Largo della Salara Vecchia 5/6
The valley of Foro, nestled between the seven hills of Rome, was in ancient times a marsh. From the end of the seventh century B.C., after the improvement and drainage of the marshes, the Foro Romano (a forum) was constructed and this served as the centre of public life in Rome for over a thousand years. Over the course of the centuries, the various monuments were constructed: firstly, those structures which served political, religious and economic purposes and, later, during the second century B.C., the civil buildings or ‘basilicas’, which functioned as juridical centres. At the end of the Republic era of Ancient Rome, the Foro Romano was inadequate in its functioning as a civil and administrative centre. The various Emperors and their dynasties added only monuments of prestige: The Temple of Vespasian and Titus and that of Antoninus Pio and Faustina dedicated to the memory of the Divine Emperors, the monumental arch of Settimo Severo, built on the extreme west of the square in 203 A.D. to celebrate his military victories. The last great addition was made in the first years of the fourth century A.D. under the Emperor Massenzio, a temple dedicated to the memory of his son Romulus. The imposing Basilica on the Velia was restructured at the end of the fourth century A.D. and the last monument to be erected in the Foro was the Column of 608 A.D. in honour of the Byzantine Emperor Foca.
Copyright © 2003-2007 Pierreci
The Roman Forum, Forum Romanum, (although the Romans called it more often the Forum Magnum or just the Forum) was the central area around which ancient Rome developed, in which commerce and the administration of justice took place. The communal hearth was also located here. It was built on the site of a past cemetery.
Sequences of remains of paving show that sediment eroded from the surrounding hills was already raising the level of the forum in early Republican times. Originally it had been marshy ground, which was drained by the Tarquins with the Cloaca Maxima. Its final travertine paving, still visible, dates from the reign of Augustus.
Structures within the Forum
The ruins within the forum clearly show how urban spaces were utilized during the Roman Age. The Roman Forum includes a modern statue of Julius Caesar and the following major monuments, buildings, and ancient ruins:
Temples
Temple of Castor and Pollux
Temple of Saturn
Temple of Vesta
Temple of Venus and Roma
Temple of Antoninus and Faustina
Temple of Caesar
Temple of Vespasian and Titus
Temple of Concord
Shrine of Venus Cloacina
Basilicas
Basilica Aemilia
Basilica Julia
Basilica of Maxentius and Constantine
Arches
Arch of Septimius Severus
Arch of Titus
Arch of Tiberius
Arch of Augustus
Temple of Saturn
Temple of Castor and Pollux
Temple of Vesta
Temple of Venus and Roma
Temple of Antoninus and Faustina
Temple of Concord
Campo Vaccino, by Claude Lorrain
The Roman Forum
Other structures
Regia, originally the residence of the kings of Rome or at least their main headquarters, and later the office of the Pontifex Maximus, the high priest of Roman religion.
Rostra, from where politicians made their speeches to the Roman citizens
Curia Hostilia (later rebuilt as the Curia Julia), the site of the Roman Senate
Tabularium
Gemonian stairs
Clivus Capitolinus was the street that started at the Arch of Tiberius, wound around the Temple of Saturn, and ended at Capitoline Hill.
Umbilicus Urbi, the designated centre of the city from which and to which all distances in Rome and the Roman Empire were measured
Milliarium Aureum
Lapis Niger, a shrine also known as the Black Stone
Atrium Vestae, the house of the Vestal Virgins
A processional street, the Via Sacra, linked the Atrium Vetae with the Colosseum. By the end of the Empire, it had lost its everyday use but remained a sacred place.
Column of Phocas, the last monument built within the Forum
Tullianum, the prison used to hold various foreign leaders and generals.
Excavation and preservation
An anonymous 8th century traveler from Einsiedeln (now in Switzerland) reported that the Forum was already falling apart in his time. During the Middle Ages, though the memory of the Forum Romanum persisted, its monuments were for the most part buried under debris, and its location was designated the "Campo Vaccino" or "cattle field," located between the Capitoline Hill and the Colosseum. The return of Pope Urban V from Avignon in 1367 led to an increased interest in ancient monuments, partly for their moral lesson and partly as a quarry for new buildings being undertaken in Rome after a long lapse. Artists from the late 15th century drew the ruins in the Forum, antiquaries copied inscriptions in the 16th century, and a tentative excavation was begun in the late 18th century.
A cardinal took measures to drain it again and built the Alessandrine neighborhood over it. But the excavation by Carlo Fea, who began clearing the debris from the Arch of Septimius Severus in 1803, and archaeologists under the Napoleonic regime marked the beginning of clearing the Forum, which was only fully excavated in the early 20th century.
Remains from several centuries are shown together, due to the Roman practice of building over earlier ruins.
Other forums in Rome
Other fora existed in other areas of the city; remains of most of them, sometimes substantial, still exist. The most important of these are a number of large imperial fora forming a complex with the Forum Romanum: the Forum Iulium, Forum Augustum, the Forum Transitorium (also: Forum Nervae), and Trajan's Forum. The planners of the Mussolini era removed most of the Medieval and Baroque strata and built the Via dei Fori Imperiali road between the Imperial Fora and the Forum. There is also:
The Forum Boarium, dedicated to the commerce of cattle, between the Palatine Hill and the river Tiber,
The Forum Holitorium, dedicated to the commerce of herbs and vegetables, between the Capitoline Hill and the Servian walls,
The Forum Piscarium, dedicated to the commerce of fish, between the Capitoline hill and the Tiber, in the area of the current Roman Ghetto,
The Forum Suarium, dedicated to the commerce of pork, near the barracks of the cohortes urbanae in the northern part of the campus Martius,
The Forum Vinarium, dedicated to the commerce of wine, in the area now of the "quartiere" Testaccio, between Aventine Hill and the Tiber.
Other markets were known but remain unidentifiable due to a lack of precise information on the function of the sites. Among these, the Forum cuppedinis, was known as a general market for many goods.
Fórum Romano.
O principal fórum da Roma antiga.
O Fórum Romano ( latim : Forum Romanum, italiano : Foro Romano) é um pequeno retângulo aberto rodeado pelas ruínas de antigos edifícios do governo no centro da cidade de Roma . Os cidadãos da cidade antiga referência a este mercado como a Magnum Fórum, ou simplesmente o Fórum . Foi durante séculos o centro da vida pública romana: o local de procissões triunfais e as eleições, palco para discursos públicos e núcleo de assuntos comerciais. Aqui estátuas e monumentos comemorou os grandes homens da cidade. O coração cheio de Roma antiga , foi chamado o local de encontro mais célebre do mundo, e em toda a história. [1] Localizado no pequeno vale entre o Palatino e Capitolino Hills , hoje o Fórum é um imenso arruinar de fragmentos de arquitetura intermitente e escavações arqueológicas atrair turistas numerosos.
Muitas das estruturas mais antigas e importantes da cidade antiga foram localizadas sobre ou próximo ao Fórum. O Reino de primeiros santuários e templos foram localizados na borda sudeste. Estes incluíram a sua antiga residência real antiga, a Regia ( século 8 aC ), bem como os arredores do complexo virgens vestais , as quais foram reconstruídas depois da ascensão de Roma imperial . Outros santuários arcaico para o noroeste desenvolvido na República formal Comitium , onde o Senado - bem como do governo republicano em si - começou. A Casa do Senado, repartições públicas, tribunais, templos, monumentos e estátuas gradualmente a área desordenado. Com o tempo a Comitium arcaica foi substituída pelo Fórum maiores eo foco da atividade judicial movida para a nova Basílica Emília (179 aC). Cerca de 130 anos depois, Júlio César construiu a basílica Julia , juntamente com a nova Cúria Júlia , a recentragem ambos os cargos judiciais e do próprio Senado. O Fórum serviu então como uma praça revitalizada em que o povo de Roma pudesse se reunir para comercial, político, judicial e religioso buscas em um número cada vez maior.
Eventualmente negócio muito económico e judicial seria a transferência de distância do Fórum de estruturas maiores e mais extravagantes para o norte. Após a construção do Fórum de Trajano (110 dC), essas atividades transferidas para o Ulpia Basílica . O reinado de Constantino, o Grande viu a divisão do império em suas metades oriental e ocidental, bem como a construção da Basílica de Maxêncio (312 dC), as principais última expansão do complexo do Fórum. Este devolveu o centro político do Fórum, até a queda do Império Romano do Ocidente quase dois séculos mais tarde.
Descrição
A plateia grego antigo (πλατεία), uma praça pública ou praça da cidade , foi o modelo utilizado como base para o fórum romano. No período Imperial os edifícios públicos de grande porte que se aglomeraram ao redor da praça central havia reduzido a área aberta a um retângulo de aproximadamente 130 por 50 metros, a sua dimensão de longo foi orientado de noroeste para sudeste e estendia desde o sopé da colina do Capitólio ao do Hill Velian . O Fórum bom incluídos nesta praça, os prédios de frente para ele e, às vezes, uma área adicional (o Adjectum Forum ) que prorroga a sudeste até o Arco de Tito . [2] O Fórum basílicas , embora originalmente concebido como escritórios do governo, foram as bases dos primeiros elaborados cristã igrejas. A arquitetura dos templos e edifícios judiciais do fórum romano pode ser visto copiado em muitas das estruturas atuais do governo moderno que ainda estão organizadas em torno de um espaço público central.
Originalmente, o site do Fórum foi pantanoso terreno, que foi drenada por Tarquínio com a Cloaca Máxima . Devido à sua localização, nos sedimentos de ambas as inundações do Rio Tibre ea erosão das colinas circundantes foram o aumento do nível do piso do Fórum durante séculos. Escavada seqüências de remanescentes de pavimento mostram que o sedimento corroído das colinas circundantes já levantava o nível no início republicano vezes. Como o chão em torno dos edifícios começou a subir, os moradores simplesmente abriu sobre os escombros que foi demais para remover. Seu final de travertino pavimentação, ainda visível, as datas do reinado de Augusto . As escavações no século 19 revelou uma camada em cima da outra. O nível mais profundo escavado foi de 3,60 metros acima do nível do mar. Achados arqueológicos mostram a atividade humana a esse nível com a descoberta de madeira carbonizada.
Uma importante função do Fórum, durante os dois republicanos e os tempos imperiais, era o de servir como local para os militares que culminou desfiles comemorativos conhecidos como Triunfos . generais vitoriosos entrou na cidade pelo oeste do Triunfo Gate ( Porta Triumphalis ) e circum o Palatino (esquerda) antes de prosseguir a partir do monte Velian abaixo da Via Sacra e no Fórum. A partir daí eles montar o Rise Capitolino ( Clivus Capitolinus ) até o Templo de Júpiter Optimus Maximus na cúpula do Capitólio. Pródiga banquetes públicos seguiu para baixo sobre o Fórum.
A área do Fórum foi originalmente uma gramínea pantanal . Ele foi drenado no século 7 aC, com a construção da Cloaca Maxima , um sistema de esgotos cobertos de grandes dimensões que desaguava no rio Tibre , quanto mais pessoas começaram a se estabelecer entre os dois morros.
Segundo a tradição, o começo do Fórum estão relacionadas com a aliança entre Rômulo , primeiro rei de Roma controlar o Monte Palatino , e seu rival, Tito Tácio , que ocupou a colina do Capitólio . Assim, uma aliança formada após o combate havia sido interrompida pelas orações e gritos de Sabine mulheres. Como o vale estava entre os dois assentamentos, foi o local designado para os dois povos se conhecerem. Como a área do Fórum adiantados incluíram poças de água estagnada, a área mais acessível foi a parte norte do vale, que foi designado como o Comitium . Foi aqui que, de acordo com a história, as duas partes depuseram as armas e formaram uma aliança. [4]
O fórum foi fora das muralhas da fortaleza original Sabine, que foi inserido através da Porta Saturni. Estas paredes foram destruídas na maior parte, quando os dois morros foram apensados. [5] O Fórum original começou como um mercado ao ar livre perto da Comitium, mas ampliou sua dia-a-dia de compras e as necessidades do mercado. Como a política, questões judiciais e julgamentos começaram a assumir cada vez mais espaço, fóruns por toda a cidade começou a surgir a expandir as necessidades específicas da população em crescimento. Fora de gado, porco, legumes e vinho especializada em produtos de seu nicho e as divindades associadas ao seu redor.
O segundo rei, Numa Pompilius , é dito ter começado o culto de Vesta, construção de sua casa e no templo, bem como a Regia como a primeira cidade real do palácio. Mais tarde Tullus Hostilius fechado Comitium ao redor do templo etrusco antigo, onde o senado se reunir no local do conflito Sabine. Ele disse ter convertido o templo ao Hostilia Curia perto de onde o Senado se conheceram em uma velha cabana etrusca. Em 600 aC, Tarquínio Prisco teve a área pavimentada, pela primeira vez.
Durante o período republicano Comitium continuou a ser o local central para todos e vida política judiciária, na cidade de Roma. [6] No entanto, a fim de criar um espaço, bem como local de reunião maior, o Senado começou a expandir tanto o Fórum e Comitium através da compra de casas particulares existentes e removê-los para uso público. construção de projetos de vários cônsules e imperadores repaved e construída em ambos os Comitium e do Fórum. [7]
O século V aC viu a construção do Templo de Castor e Pólux . O templo de Concord foi introduzido no século IV aC, possivelmente por Marcus Furius Camillus. A Basílica Emília é uma estrutura republicana, mas teve vários nomes após a sua dedicação inicial em 179 aC. Muitas das tradições do Comitium tais como assembléias populares, os funerais da nobreza e os jogos foram transferidos para o Fórum. [8] Caio Graco é creditado com (ou acusados de) perturbar mos maiorum ("costume dos pais / ancestrais" ) na antiga Roma. Um realizada longa tradição de falar nos alto-falantes elevados " Rostra frente para o norte em direção à Casa do Senado para os políticos ea elite montada colocar de volta o orador para o povo reunido no Fórum Romano atrás do Comitium. A tribuna conhecido como Caio Licínio foi o primeiro a afastar-se da elite romana para as pessoas no Forum, um ato repetido posteriormente por Gracchus. [9] Isso começou a tradição de popularis locus, onde, ainda jovens nobres eram esperados para falar da Rostra.
Em 78 aC, o tabularium (Registros Hall) foi construído no final Capitólio do Fórum, por despacho dos cônsules para o ano, M. Emílio Lépido e Q. Lutatius Catulus . Com o tempo a Comitium foi perdida para o crescimento Cúria sempre e Júlio César s rearranjos "antes de seu assassinato em 44 aC. Naquele ano, dois dramáticos eventos extremamente foram testemunhados pelo Fórum, talvez o mais famoso de sempre a acontecer lá: Marc Antony é oração fúnebre de César (imortalizada em Shakespeare é famosa peça ) foi entregue a partir parcialmente falante concluída a plataforma conhecida como a Nova Rostra ea queima pública de corpo de César ocorreu em um local em frente ao Rostra torno do qual o Templo para o César Deificado foi posteriormente construída por grandes Octavius sobrinho dele (Augusto). [10] Quase dois anos depois, Marc Antony adicionado a notoriedade da Rostra por exibir publicamente a cabeça cortada e mão direita de seu inimigo de Cícero lá.
A estreita relação entre a Comitium eo Fórum Romano eventualmente sumiu a partir dos escritos dos antigos. O primeiro é o último mencionado no reinado de Sétimo Severo .
Após a morte de Júlio César, e no final do subsequente Guerra Civil , Augusto terminou grande tio, seu trabalho no Fórum. Ele teria declarado "Achei Roma, uma cidade de tijolos e deixou uma cidade de mármore". O que é verdade é que ele continuou a construção de projetos de seu antecessor e começou a muitos de seus próprios diretamente no Fórum. Durante primeiros tempos imperiais, no entanto, os negócios económicos e judiciais transferidos muito longe do Fórum de estruturas maiores e mais extravagantes para o norte. Após a construção do Fórum de Trajano (110 dC), essas atividades transferidas para o Ulpia Basílica .
O reinado de Constantino, o Grande viu a divisão do império em suas metades oriental e ocidental, bem como a construção da Basílica de Maxêncio (312 dC), as principais última expansão do complexo do Fórum. Este devolveu o centro político do Fórum, até a queda do Império Romano do Ocidente quase dois séculos mais tarde.
No século 5 a velhos edifícios no âmbito do Fórum começaram a ser transformados em igrejas cristãs. Por volta do século 8, todo o espaço foi cercado por igrejas cristãs tomando o lugar das ruínas e templos abandonados. [11]
Um viajante do século 8 anônimas de Einsiedeln (agora na Suíça) informou que o Fórum já caía aos pedaços em seu tempo. Durante a Idade Média, embora a memória do Fórum Romano persistisse, seus monumentos foram em sua maioria enterrados embaixo do entulho, e sua localização foi designado "Campo Vaccino" ou "campo de gado", localizado entre o Capitólio eo Coliseu .
Após o século 8 as estruturas do Fórum foram desmontadas, re-arranjadas e usado para construir torres e castelos feudais dentro da área local. No século 13 dessas estruturas reorganizadas foram derrubadas eo local se tornou uma lixeira. Isto, junto com os restos da construção medieval desmontado e estruturas antigas, ajudou a contribuir para o aumento do nível do solo. [12]
O retorno do Papa Urbano V de Avinhão em 1367 levou a um interesse crescente em monumentos antigos, em parte para sua lição moral e em parte como uma pedreira para os edifícios novos que estão sendo empreendidos em Roma depois de um longo lapso.
Artistas do final do século 15 atraiu as ruínas do Fórum, os antiquários copiaram inscrições no século 16, e uma tentativa de escavação teve início no final do século 18.
Um cardeal tomou medidas para drená-lo novamente e construiu a vizinhaça Alessandrina sobre ele. Mas a escavação por Carlo Fea , que começou a limpar o entulho do Arco de Septímio Severo em 1803, e arqueólogos sob o regime napoleônico marcaram o início do clareamento do Fórum, que só foi totalmente escavado no início do século 20.
Restos de vários séculos são mostrados em conjunto, devido à prática romana de construir sobre ruínas anteriores.
Hoje, as escavações arqueológicas continuam, juntamente com a restauração e preservação permanente. Por muito tempo um dos principais destinos turísticos na cidade, o Fórum está aberto para tráfego de pedestres ao longo das ruas da Roma antiga que são restauradas para o nível Imperial tarde. O Museu do Forum (Antiquarium Forense) é encontrado no final Coliseu de uma estrada moderna, a Via dei Fori Imperiali . Este pequeno museu tem uma importante colecção de esculturas e fragmentos arquitetônicos. Há também reconstruções do Fórum e nas proximidades Imperial Fora, bem como um pequeno vídeo em vários idiomas. Ele é realizado a partir do Fórum ao lado de Santa Francesca Romana (n º 53 Piazza S. Maria Nova) e está aberto das 08:30 h às uma hora antes do anoitecer. A entrada é gratuita.
Em 2008, as fortes chuvas causaram danos estruturais da cobertura de concreto segurando o moderno "Black Stone" de mármore em conjunto durante os Vulcanal .
Muitos dos templos do Fórum de data para os períodos do Reino e da República, embora a maioria foi destruída e reconstruída várias vezes. As ruínas no âmbito do Fórum mostram claramente como os espaços urbanos foram utilizados durante a época romana. O Fórum inclui actualmente uma estátua moderna de Júlio César e os principais monumentos seguintes, prédios antigos e ruínas :
Templos
Esta seção requer expansão .
Templo Data construída Construtor Localização dentro do Fórum
Templo de Castor e Pollux 494 aC Aulus Postumius Albino Lado sul, leste da Basílica Júlia
Templo de Saturno 501 aC Tarquínio Superbus Lado sul, a oeste da Basílica Júlia
Templo de Vesta 7 º século aC Numa Pompilius Canto sudeste, junto ao Templo de Castor e Pollux
Templo de Vênus e Roma 135 Adriano Late expansão fórum Imperial para a mais distante da Regia , em frente ao Coliseu
Templo de Antonino e Faustina 141 Antonino Pio Lado norte, a leste da Basílica Emília
Templo de César 29 aC Augustus Lado Leste, a oeste da Regia
Templo de Vespasiano e Tito 79 Tito e Domiciano West borda abaixo do tabularium Sul do Templo da Concórdia e no norte do Dii Portico Consentes
Templo de Rômulo 309 Maxêncio
Santuário de Vênus Cloacina
Templo de Rômulo Divus 309 Maxêncio
Basílicas
Basílica Emília
Basílica Júlia
Basílica de Maxêncio e Constantino
Arcos
Arco de Septímio Severo
Arco de Tito
edifícios públicos ou residências oficiais
Regia , originalmente a residência dos reis de Roma ou, pelo menos, a sua sede principal, e mais tarde do escritório do Pontifex Maximus, o sumo sacerdote da religião romana.
Cúria Júlia (mais tarde reconstrução por Diocleciano ), o site do Senado romano .
Tabularium , o escritório de registros de Roma.
Portico Dii Consentes
Atrium Vestae , a casa das virgens vestais.
Tullianum , a prisão usado para prender vários líderes estrangeiros e de generais.
monumentos menores
Rostra , de onde os políticos discursavam aos cidadãos romanos.
Urbi umbigo , o centro da cidade designados a partir da qual e para o qual todas as distâncias em Roma e no Império Romano foram medidos.
Milliarium Aureum Depois de Augustus erguido este monumento, todas as estradas foram consideradas para começar aqui e todas as distâncias no Império Romano foram medidos em relação a esse ponto.
Coluna de Focas , o último monumento construído dentro do Fórum.
Lapis Niger ("Pedra Negra"), um antigo santuário, que foi muito obscura, mesmo para os romanos.
Piscinas, molas
O Lacus Curtius , o site de uma piscina misteriosa venerado pelos romanos, mesmo depois de terem esquecido o que significava.
O Iuturnae Lacus ("Primavera de Juturna"), uma piscina de cura, onde Castor e Pólux foram disse ter regado os seus cavalos
Estradas, ruas, escadarias
Gemonian stairssteps situado na parte central de Roma, líder da Arx do Capitólio até o Fórum Romano.
Clivus Capitolinus era a rua que começou no Arco de Tibério, enrolado em torno do Templo de Saturno, e terminou no Capitólio.
Via Sacra , a famosa procissão de rua de Roman triunfos ; ligados a Vestae Atrium com o Coliseu .
Vanished (ou quase desapareceu) estruturas
Arco de Augusto
Arco de Fabius
Arco de Tibério
Basílica Fulvia
Basílica Opimia
Basílica Porcia
Basílica Sempronia
Golden House of Nero (Domus Aurea)
Instituto dos escribas e Arautos do Aediles
Santuário de Faustina, o Jovem
Santuário de Vulcano (Vulcanal)
Estátua de Navius Attus
Estátua de Constantino, o Grande
Estátua de Domiciano
Estátua de Tremulus
Estátua de Vertumno
Templo de Augusto
Templo de Baco
Templo da Concórdia
Templo de Janus
Tribunal do Marco Aurélio
Tribunal da Cidade do Pretor (Praetor Urbanus)
Tribunal do Pretor para Estrangeiros (Praetor Peregrinus)
Bem-chefe de Libo (Puteal Libonus ou Scribonianum)
Estátuas de vários outros deuses e os homens
The Palais Theatre, on the corner of the Lower Esplanade and Cavell Street in the seaside Melbourne suburb of St Kilda, was constructed in 1927 as the Palais Pictures, a picture theatre, to a design by prominent Sydney based theatre and cinema architect, Henry E. White. It was built on leased Crown land for the American entrepreneurs, Herman, Harold and Leon Phillips, who had previously established Luna Park in 1912 and the St Kilda Palais de Danse in 1913.
The Palais Pictures building replaced an earlier Palais Pictures designed by American architect Walter Burley Griffin (1876 – 1937) which was commenced in 1920 and destroyed by fire in 1926, just before its opening. It was designed to seat up to 3000 patrons and incorporated generous backstage facilities and a broad proscenium. Like its predecessor, the form of the new Palais Pictures conformed to that of the adjacent Palais de Danse, with the adoption of a curved, aircraft hangar-type structure.
The Palais Theatre is a free-standing, rendered, concrete encased steel frame building, with brick infill walls. The roof is a two level, shallow-curved corrugated iron roof, supported on steel trusses. Extensive use was made of steel framing, with the dress circle cantilevered from a steel frame, to minimise the number of columns required in the auditorium.
The design of the Palais Theatre is highly eclectic in style, and reflects a wide range of influences, some relating to the local St Kilda context, others to broad developments in architectural thinking of the day, and still others that are specific to cinema and theatre design. The highly visible side and rear facades of the free-standing building have minimal decoration, placing emphasis on the front facade. Conceived as a signboard, the central section of this main facade incorporates a large descriptive sign on a curved, rendered parapet. Domed towers flank the facade in a similar manner to the Luna Park entrance and the Palais de Danse facade.
Wanting to convey a sense of modernity, Henry White stated that he adopted no particular style in the design of the Palais Pictures building. He used Baroque, Modern Gothic and Neoclassical elements to heighten the perceived emotional effect of the cinema interior on an audience. Henry White’s interest in Modern Gothic design was combined with a striking Spanish-Baroque influence in the detailing, leaving the interior described at times as Spanish, French and Oriental. The Palais Theatre has a large, double-height entrance foyer with giant order columns, and two sweeping staircases to the dress circle foyer above. Walls are decorated with a disc-like surface pattern and columns have a scagliola finish. Two open wells in the upper foyer, a rectangular one over the lower foyer and an elliptical one over the back stalls, are an important aspect of the design.
The Palais Theatre is one of the few theatres with a foyer in the true sense of the word. The Paris Opera House was the first theatre to include fireplaces on its landings. The French word for fire is “feu”, and it was this that led for the landings to be subsequently known as foyers. The Palais Theatre has two Rococo style fireplaces located on the first level foyer. They have imitation plaster logs that were fired by gas to create an atmosphere of cosy warmth for patrons. The internal early or original decorative scheme of the Palais Theatre, designed mainly by Melbourne firm A. E. Higgins, is still substantially intact. The interior of the Palais Theatre is adorned by a variety of lighting, including candelabras, wall lamps and illuminated glazed panels. The lighting is either part of the A. E. Higgins decorative scheme or is part of a suite of light fittings manufactured especially for the Palais Theatre by Victoria's pre-eminent manufacturer of lighting and hardware, William Bedford Pty Ltd. Some of the William Bedford light fittings are now located off-site. A switchboard located in the dome originally controlled the lighting in the theatre. In addition to the light fittings, the building retains many other carefully resolved original or early design features including: illuminated glass directional signs to the ladies and gentlemen's cloakrooms; illuminated exit signs; tip-up theatre seating, associated foot warmers and attendant piping; arm chair style seating and carved timber benches; wall-mounted usher's seating; stage curtains and wall and door drapes; and moulded spotlight housings. The Palais Theatre also contains an array of original and early service equipment and some remnants of orchestra pit balustrading that contributes to an understanding of how the theatre originally operated. The carved benches located on the first floor foyer, made especially by a Melbourne furniture manufacturer, were created for the original Walter Burley Griffin building of 1920, which was far more Art Deco in style.
After World War II some alterations were made to the building to enable large live performances. The Palais Theatre subsequently became home to the Elizabethan Theatre Trust's ballet and opera seasons, and home to the Melbourne Film Festival from 1962 to 1981. In 1973 the outdoor promenade to the upper foyer was infilled across the front facade, significantly altering the building's external appearance. Affected by the opening of the Arts Centre theatres in the 1980s, the use of the Palais Theatre became sporadic, and it has been used largely as a live music venue since this time.
The Palais Theatre is of historical significance for its association with the development of St Kilda as an important seaside resort and as an integral part of the St Kilda foreshore entertainment complex. Its vast scale and solid construction reflect the confidence in the location and the medium of film, by the 1920s. The Palais Theatre is of historical significance for its continuous association with a major form of popular entertainment in the twentieth century. This includes its original association with American entrepreneurs, the Phillips brothers, and its continued operation through the 1960s-1980s when many other amusements in the vicinity were closed, demolished or burnt down.
Shipbreaking is the process of dismantling an obsolete vessel’s structure for scrapping or disposal. Conducted on a dismantling yard, it involves a wide range of activities. From removing all the gear and equipment that are on the ships to cutting down and recycling the ship’s infrastructure. Shipbreaking is a challenging process, due to the structural complexity of the ships and the environmental, safety and health issues involved . Due to cheaper labour costs and fewer health and safety regulations that have to be followed, the developing world hosts the vast majority of ship breaking efforts.
This impressive pedestrian Air Bridge by Wilkinson Eyre spans a taxiway at Gatwick Airport, it's sufficiently high and wide for planes to pass underneath.
From the Wilkinson Eyre website : "The Pier 6 Connector is a project delivered off-framework for British Airport Authority [BAA} at London Gatwick airport [LGW], connecting the existing North Terminal to a new satellite serving stand previously serviced by bus movements across the taxi apron. The 197m long bridge link provides for flow separated passenger movement and is the first such structure outside the US to span a live taxiway.
The bridge is composed of two decks cantilevered transversely from a central spine truss. The shallow arch profile, amended from a taller tied-arch reference design, allows visibility of the north terminal stands and runway from the VCT beyond. Each deck accommodates fixed and travelator paths, allowing for mid-span passenger viewing of taxiing aircraft passing beneath. The clearance is configured for passage of all operational aircraft up to the A380, which is not accommodated on the Pier 6 stands."