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Centro de Exposiciones y Congresos Lienzo Norte
Avenida de Madrid, 102 Ávila
2005 (concurso de ideas) -2010
Francisco J. Mangado Arquitecto
El edificio define sus características fundamentales en relación con el recinto amurallado de la ciudad de Ávila y crea un gran espacio público de acceso orientado al mismo. Su organización permite la adaptación a los distintos requerimientos funcionales derivados de un amplio programa de actividades. Sus interiores se organizan según una secuencia donde los materiales y el uso de la luz ayudan a significar el valor del conjunto.
El proyecto propone una gran explanada, un lugar de encuentro al borde de las murallas “plaza del nuevo mercado lúdico”, con una superficie aproximada de 10.000 m2 orientada al sur, que permite organizar eventos culturales y expositivos al aire libre. La edificación ocupa básicamente el lateral norte de ese espacio público. En función de la topografía, el proyecto hace convivir dos geometrías diferentes que se adaptan al terreno desarrollando un volumen tallado y trabajado como si de una pieza que emerge del subsuelo granítico del entorno se tratara. La parte más ortogonal y alargada contiene los auditorios y salas principales. La parte más irregular y adaptada al suelo, alberga el área de exposiciones. Sus fachadas de granito rugoso se funden con el entorno asegurando mediante superficies vidriadas la relación visual entre el interior del edificio y los lienzos de las murallas que constituyen su horizonte.
La edificación se desarrolla de manera que a los auditorios principales se llega desde la plaza y por la parte más alta de su graderío, permitiendo una comprensión inmediata del espacio interior. El área de exposiciones tiene un acceso independiente desde las “quebradas” en las que se rompe la plataforma en el límite este.
Desde un punto de vista formal y constructivo, la actuación se inspira en la fuerza evocadora del paisaje, en la masa granítica que todo lo invade. Los volúmenes se piensan para ser vistos desde la distancia. El edificio se percibe desde lo alto de las murallas como una manipulación cincelada de la gran roca del terreno. Se trata de una yuxtaposición de volúmenes de granito. Resumida en una pieza, más ortogonal, que se esculpe de una manera precisa y otra algo más abrupta e irregular que aloja el volumen de las exposiciones. Son esos pliegues los que generan grietas para el paso de la luz natural y el acceso independiente a esta zona.
Los distintos auditorios, salas y áreas de exposición, se suceden en su interior organizados según recorridos donde la riqueza espacial constituye un objetivo fundamental. Destaca la gran Sala Sinfónica con una superficie de 1600 m2 y capacidad para 1390 espectadores, divisible en dos. Además se distribuyen sobre este bloque principal la denominada Sala Dorsal, la Sala de Cámara, 3 salas de conferencias, la Sala de Prensa y 3 salas multifuncionales, con sus correspondientes zonas de servicio, camerinos y almacenaje. Los vestíbulos han sido diseñados para facilitar el acceso a las salas y, en caso necesario, habilitarse para exposiciones o recepciones.
El complejo dispone además, con carácter independiente, de un volumen compuesto una sala de Exposiciones y un conjunto de 6 Salas para Congresos.
En lugar prominente del edificio principal, con vistas directas a la muralla, se sitúan las áreas de cafetería y restaurante, que presentan una gran fachada de vidrio, reforzando el tratamiento especular del recinto amurallado.
Marines of 2D Light Armored Reconnaissance (LAR) Battalion, First and Third Platoon, engage in a crowd-control training demonstration for airmen (not shown) of the 24th Security Forces Squadron inside a hangar at Howard Air Force Base, Panama. The Marine are serving as Security Force detachment at the Camp Hayes compound situated on the shoreline of the Panama Canal.
Bouillet, Duval, Mertens, Vos.
"Betronic" visual identity workshop, Haute École Albert Jacquard, Namur (B), 2014.
Preppin' visuals for the China tour in october. Controlling a patch I made in Quartz Composer from Ableton Live via MIDI.
Galería de imágenes del acto de presentación de las nuevas instalaciones de Sevilla de Moda. El Centro Empresarial de Moda de Sevilla abrirá sus puertas en Septiembre de 2013. Fotografías: Fran Rivero
Predjama Castle
Predjama Castle is situated in the middle of a towering cliff, a mere 9 km from Postojna Cave. Picturesque, magnificent, defiant, mysterious and impregnable, it has been dominating the surrounding area, perched high up in the 123-metre high cliff, for more than 800 years. It is listed among the Guinness World Records as the largest cave castle in the world.
Predjama Castle with its location and mysterious tunnels is truly something special. It impresses visitors with how well the natural cave and the man-made castle walls are interwoven, sometimes making it difficult to see where the former ends and the latter begin.
In the past, the castle provided the venue for the filming of several science documentaries and feature films. A few years ago, the castle was visited by a Discovery Channel team that was in search of any unexplained events and managed to capture a number of visual images and sounds that could not be quite clearly specified. In 1986, Predjama Castle was one of the filming locations of the film Armour of God with Jackie Chan in the starring role.
Its picturesque interior and exterior would make a perfect venue for the filming of historical and fantasy films such as Harry Potter or Game of Thrones. In 2011, the castle was visited by the famous writer and screenwriter George R. R. Martin, and who knows when he might return to Predjama with a new screenplay in hand.
The castle offers a unique insight into the construction techniques and ingenuity of medieval people who came here searching for a safe haven right at the entrance to the cave. During a siege in the 15th century, the castle offered refuge to its most famous and notorious owner - Erazem of Predjama. The appealing and inspiring legend about the brave robber baron Erazem, who had remained undefeated until he was betrayed by one of his servants, still lives on in the common lore, and rightly so as the gallant knight resisted the besiegers inside his safe castle for over a year without any major problems.
The karstic terrain beneath the castle with its cave system was an excellent choice. It provided Erazem and his people with a secret passage that lead to freedom, a source of drinking water, a further place for hiding and storage of food - everything that turned out to be indispensable, invaluable and essential during the siege.
Between May and September, visitors are also able to have a look around the picturesque Cave under Predjama Castle. Due to its location and favourable temperatures the cave is inhabited by a colony of bats, as a result of which visitors have no access to it during the bats' hibernation.
Armoury
Visitors to Predjama Castle now have the opportunity to see a renovated room inside the main castle attic. Back in the day, the room, which boasts a superb view of the entire valley and the roads leading to the castle, served both as an area from where the castle’s defence crew defended the castle and their dwelling place. Nowadays, the room gives an insight into the castle area once used by the team tasked with the castle’s defence. Visitors can have a look at a number of replicas of various weapons, including spears and halberds, swords, war hammers, bows and crossbows, as well as quite likely the most noteworthy and most valuable ones, i.e. armours. Medieval weapons, which were cold weapons for the most part, often required users to possess a lot of strength, experience and skill. As is the case with everything else, the weapons highlighted a significant difference between the nobility and the peasants. As their acquisition imposed a heavy financial burden, armours and swords were almost always owned and used by the noblemen. The late Middle Ages saw the arrival of firearms, some of which are on display in the castle as well. Within a period of a few decades, the firearms completely changed the combat methods and equipment.
Church of Our Lady of Sorrows and Erazem's Linden Tree
They are located in the middle of the village of Predjama. Legend has it that the knight Erazem used to rest under the linden tree and that the tree was planted on the grave by a grieving girl.
The church is mentioned in documents dating back to 1549, when it was consecrated by the then Bishop of Trieste, Enea Silvio Piccolomini, later Pope Pius II. Its Gothic design is attested by the nave, the bell tower and the chancel, with traces of Renaissance reconstructions performed at a later time clearly visible. The frescoes from the 15th century, destroyed by humidity, were attributed to the Master Painter of the village of Srednja vas near
Incrível a saudade que eu estava de usar francesinha nos pés!!!
Fazia tempos que não usava porque fazia tempos que não fazia os pés com a manicure, pois eu não consigo fazer em mim francesinha tão perfeita.
Não me canso de olhar pros meus pés!
Todays notes come from an online workshop from VizthinkU on visual notetaking, featuring Austin Kleon, Mike Rohde, and Sunni Brown.
FOTOGRAFÍA: [ S.I.ON ] Poesías Visuales
ASISTENTES DE FOTOGRAFÍA: Alan pulido
MODELO: Lauh / Polly
PROYECTO: Amateurs Candy - Terro
EPSON scanner image
NeochaEDGE /// is a Shanghai-based creative agency that produces inspiring visual arts and music content with China's leading creators – the EDGE Creative Collective – for the most forward-thinking brands and agencies in the world.
新茶锋潮 /// 成立于上海的创意机构, 旨在集合中国最先锋的创作人(锋潮创意集体), 为拥有前卫理念的全球品牌和广告公司提供视觉及音乐方向的创意内容.
foto(s): Oliver Blum Film + Photography
550 km Oberwesel
Liquid Memory / Riverine Zones
Video-installations of Philipp Geist (Berlin), monastery gardens of family Hütte,
Monastery gardens and sacristy, Oberstr. 11
Fr 20-24h / Saturday 20-24h / Su 20-23h
The artist Philipp Geist (Berlin) shows his video installation „ Liquid Memory“ in the church ruins and in the sacristy of the former Minorite cloister in Oberwesel. In his installation Philipp Geist picks out the element water as a central theme and puts this in the immediate connection to the historical place and the Rhine Valley. Water and time are the constants in the oeuvre of Philipp Geist. He works with the media videoinstallation, audio/visual performance, painting and photography. His projects integrate space, sound and moving image.
With this installation, the artist renounces the use of canvases and projects directly onto parts of the former cloister facade, the ruins and onto fog as a transpartent and volatile projection-ground. An interaction between the concrete and tangible wall and the clear evaporating projection will bring together time and space.
Geist will exhibit his long term water-project ´Riverine Zones´ in the former sacristy. This video-space installation takes the viewer on an exploratory expedition through international rivers. The artist makes a world visible which is so near and yet so distant to us. With an underwater camera he roams through all zones of the river: the ground, the deep or shallow water and the surface. Thus originate Geist´s partly minimum-puristic, partly colour-intensive, dream-like and shadowy-breakable image compositions. Geist covers– from the water perspective– also the bank area, from which, using another English term -„riverine“- the project receives its name.
Profile:
Philipp Geist, born in 1976 in Witten, grown up in Weilheim (Bavaria), lives in Berlin since 1999. He works internationally in the media video installation, audio visual performances, painting and photography. Among others he has exhibited in 2002: Pinakothek der Moderne, Munich. In 2004: Sonar Festival Barcelona, Mutek festival Montreal, Dissonanze festival, Rome. In 2005: Zurich, Winterzauber, video installation. In 2006: Salon Noir, New National Gallery Berlin. In 2007: Riverine video installation, Three Walls Gallery, Chicago; Video installation Time Lines Palazzo delle Esposizioni, Rome. In 2008: Kulturforum Berlin, Time Fades Australia Melbourne, Urban Screens– Riverine Movie Screening. In 2009: Geneva Palais Eynard, Parc des Bastions, Mapping festival…
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LIQUID MEMORY - PHILIPP GEIST
Outdoor - Video – Installation
in Oberwesel / Kulturstiftung Hütte
Luminale - Rheinpartie "auf zu neuen ufern"
02 – 04. Oktober 2009
Der Berliner Künstler Philipp Geist (1976) zeigt seine Videoinstallation 'LIQUID MEMORY' an der Klosterruine und in der Sakristei in Oberwesel (Oberes Mittelrheintal) im Zeitraum vom 01. - 04. Oktober 2009. In seiner Installation thematisiert Philipp Geist das Element Wasser und setzt dieses in den unmittelbaren Zusammenhang zu dem geschichtlichen Ort und dem Rheintal.
Wasser und Zeit sind die Konstanten im Werk von Philipp Geist. Der Künstler, Autodidakt arbeitet international in den Medien Videoinstallation, Audio/Visuelle Performance, Malerei und Fotografie. Seine Projekte sind in erster Linie gekennzeichnet durch ihre Integration von Raum, Ton und Bewegbild.
Bei der Installation verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert direkt auf Teile der ehemaligen Klosterfassade, die Ruine und auf den transparenten, flüchtigen Projektionsgrund Nebel. Es entsteht ein Zusammenspiel zwischen der konkreten, greifbaren Wand und der transparenten, sich verflüchtigenden Projektionsfläche des Nebels. Der sich temporäre Projektionsgrund Nebel steht dabei für das ungreifbare Moment der Zeit und damit auch der Geschichte, und Erinnerung. So entwickelt Geist einen Dialog mit dem Ort und seiner künstlerischen Arbeit.
In der Sakristei wird Geist sein langfristiges Wasser - Projekt Riverine Zones ausstellen. Die Video-Raum-Installation ''Riverine Zones'' nimmt den Betrachter mit auf eine Entdeckungsreise durch internationale Flüsse. Der Künstler macht eine Welt sichtbar, die uns so nah und gleichzeitig doch so fern ist. Mit einer Unterwasser-Kamera streift er durch alle Zonen des Flusses: den Grund, das tiefe oder seichte Wasser und die Oberfläche. So entstehen Geists teils minimal-puristische, teils farbintensiven, traumartigen und schemenhaft-zerbrechlichen Bildkompositionen. Geist bezieht auch, aus der Wasserperspektive, das Ufergebiet mit ein, dessen englische Bezeichnung „riverine“ sogar Namensgeber des Projekts wurde.
Programación para artistas visuales con Processing en CAMON Madrid Obra Social CAM
Processing es uno de los lenguajes de programación más utilizados en las artes visuales. En los últimos años se ha convertido en la herramienta de referencia para crear instalaciones interactivas. Permite integrar imágenes, vídeos, sonidos, cámaras, sensores, motores de física y partículas, elementos 3D... Su potencia y flexibilidad se combina con la facilidad de aprendizaje, y lo mejor de todo es que el curso no precisa de conocimientos previos.
Programa
En el transcurso del curso se cubrirán los siguientes temas: geometría básica, color, imagen, vídeo, tipografía, captura web, visión artificial básica, interactividad básica con ratón y teclado. Librerías básicas de sonido y física.
A quién va dirigido
Está destinado a todos aquellos artistas visuales, creadores de instalaciones, diseñadores, escenógrafos, etc... que quieran introducirse en el mundo de la programación interactiva paso a paso.
Ponentes
Miguel Espada y Carlos Gregorio
Visual marketing is a huge trend. According to Social Media Examiner, 70% of marketers are increasing their visual budget. Why? Because people see and retain visual content 500% faster than text.
Programación para artistas visuales con Processing en CAMON Madrid Obra Social CAM
Processing es uno de los lenguajes de programación más utilizados en las artes visuales. En los últimos años se ha convertido en la herramienta de referencia para crear instalaciones interactivas. Permite integrar imágenes, vídeos, sonidos, cámaras, sensores, motores de física y partículas, elementos 3D... Su potencia y flexibilidad se combina con la facilidad de aprendizaje, y lo mejor de todo es que el curso no precisa de conocimientos previos.
Programa
En el transcurso del curso se cubrirán los siguientes temas: geometría básica, color, imagen, vídeo, tipografía, captura web, visión artificial básica, interactividad básica con ratón y teclado. Librerías básicas de sonido y física.
A quién va dirigido
Está destinado a todos aquellos artistas visuales, creadores de instalaciones, diseñadores, escenógrafos, etc... que quieran introducirse en el mundo de la programación interactiva paso a paso.
Ponentes
Miguel Espada y Carlos Gregorio
Lichtkunst an der Frontfassade der Landesbibliothek Glarus, als Aktionskunst eine Nacht die Wikipedia, das Geburtstagskind in den hellen Schein gestellt by bennoH.
The album documents the visual journey of Sri Swami Vishwananda and the Bhakti Marga devotees on pilgrimage to Vrindavan, India.
Vrindavan is an ancient city located in the upper part of India near Delhi, where Lord Krishna spent his childhood. The city is associated with many pastimes (leelas) of Lord Krishna, including the famous Ras Leela which he performed with the gopis.
Highlights of the trip include unforgettable experiences to temples and locations where Kirshna performed His pastimes and the Darshan given by Sri Swami Vishwananda at the Jiva Institute on the last day of the pilgrimage.
For more information about Sri Swami Vishwananda and Bhakti Marga please visit: www.bhaktimarga.org
Hosted by UTSOA Career Services
Photographed by School of Architecture Visual Resources Collection Photography TA, Katie Slusher
Visual presentation of MLG. m8.
My little brother asked me to make something to do with “MLG”. Quite funny to build.
Criticism is welcome!