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View allAll Photos Tagged axonometric
CODE: KAAP_MG_0826
Indian Customer please,
Email : kartsandphotography@gmail. com
Print Size : A3 -10,000 INR & A4 6,000 - INR
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YouTube: bit ly/2EoKHKu
PS:
Shot @ Mambalachalai / sathram bridge , Trichy, Tamil Nadu , India
Axono is just a short form I made for the word Axonometric.
Location : Sanno, Nishinari Ward, Osaka City, Osaka, Japan (場所：大阪府大阪市西成区山王).
In axonometric. I remembered Residences level UPPER4 or MID3 of in SimCity.
左下とかがシムシティのUPPER4とかMID3の住宅地を思い出します。
Kamiya Bar (神谷バー).
Architect : Shimizu-Gumi (設計：清水組).
Contractor : Shimizu-Gumi (施工：清水組).
Completed : 1921 (竣工：1921年)
Floor : 3rd (階数：3階).
Location : 1-1-1 Asakusa, Taito Ward, Tokyo, Japan (所在地：日本国東京都台東区浅草1-1-1
Kamiya Bar is very famous, popular bar. exterior and interior keep retro style.
Shitennoji Temple (四天王寺).
Architect : - ().
Founded : 593 (創建：593年).
Location : 1-11-18 Shitennoji, Tennoji Ward, Osaka Citym Osaka, Japan (所在地：日本国大阪府大阪市天王寺区四天王寺1-11-18).
Shitennoji is one of Japanese oldest temple. Amazingly it was founded in 593. Pagoda and the others ware destroyed because of World War 2 in 1945...
Reconstructed in 1979. And now.
Shinanobashi Mitsui Building (信濃橋三井ビル).
Architect : (設計：).
Contractor : (施工：).
Completed : October 1982 (竣工：1982年10月).
Structured : Steel Reinforced Concrete (構造：SRC造).
Height : ft (高さ：m).
Floor : 12nd (階数：12階).
Floor area : 398,212 sq.ft. (延床面積：36,995.15㎡).
Location : 1-11-7 Utubohonmachi, Nishi Ward, Osaka City, Osaka, Japan (所在地：日本国大阪府大阪市西区靱本町1-11-7).
Referenced :
Abeno Gran Tour (あべのグラントゥール).
Architect : Yasui Architects & Engineers Inc. , Osaka City Construction District (設計：大阪市住宅局建設部、安井建築設計事務所).
Contractor : Takenaka Corporation (施工：竹中工務店、東急建設、長谷工コーポレーション、松村組JV).
Completed : 31 July 2004 (竣工：2004年7月).
Height : 472ft (高さ：144m).
Floor : 40th (階数：40階).
Location : 1-7-20 Abenosuji, Abeno Ward, Osaka City, Osaka, Japan (所在地：日本国大阪府大阪市阿倍野区阿倍野筋1-7-20).
This apartment is built in the beginning of redevelopment.
This is the largest Gothic cathedral in Northern Europe. The axon was sketched on site, with the plan blocked out in pencil and completed that evening in our bed and breakfast while looking at the plan in a pamphlet from the church. Drawn with a Pelikan Graphos fountain pen in a hard-bound sketchbook.
Exploded axonometric of one of the four bogies in the Discus turret, built in 2012. At the time, the old Technic connectors (3651) were the only solution for joining the top and bottom plates together. Not sure how this could be accomplished with newer parts.
Axonometric view and plan of our hotel room, named "Sudarshan Room".
From here, we explored the villages of Ramgarh, Fatehpur and Nawalgarh.
The region, known als Shekhawati, is famous for its peculiar vernacular architecture; especially the profusely painted havelis (city palaces).
So, to stay in a converted haveli was a perfect staring point!
Diary page 23 , 17x25 cm
Exploded axonometric of the Discus turret, built in 2012. I will upload the .MPD file for this mecha one day soon to my website.
Quarter view. Arranged point lights under the bench around tree, pilotis of two buildings effect ground space more wide.
クオータービュー風にみるとシムシティのようで楽しいです。
------------------
Shidome Building (汐留ビルディング).
Architect : Mitsubishi Estate (設計：三菱地所設計、日建設計).
Contractor : Taisei Corporation (施工：大成建設).
Completed : December 2007 (竣工：2007年12月).
Structured : Steel Frames (構造：S造).
Costs : $ million (総工費：約億円).
Use : Office (用途：事務所).
Height : 383ft (高さ：117.68m).
Floor : 24 (階数：地下2階、地上24階、塔屋2階).
Floor area : 1,276,308 sq.ft. (延床面積：118,572.95㎡).
Building area : 65,197 sq.ft. (建築面積：6,057.01㎡).
Site area : 129,748 sq.ft. (敷地面積：12,054㎡).
Location : 1-2-20 Kaigan, Minato Ward, Tokyo, Japan (所在地：日本国東京都港区海岸1-2-20).
Referenced :
www.tokyu-land.co.jp/news/2007/index_024.html
www.eonet.ne.jp/~building-pc/tokyo-kensetu/tokyo-140siodo...
atelier ying, nyc.
There's a reason that James Bond is a fantasy, a hero in real life embraces other qualities and is parceled out differently at birth.
The hero needs nothing but his own body which he uses as an artisan uses a well-honed tool.
Every drawing whether it is a rough sketch as this one is, or a carefully measured out & perfectly executed axonometric drawing (which you won't find from this atelier) also calls for a different set of tools. Interestingly, the Bond fantasies adhere to this one rule, having the quartermaster deliver a custom set of gadgetry for each mission.
This homage is for the real-life Nyc hero Wesley Autrey who in a split-second decision jumped onto the train tracks in a Manhattan subway station to save someone's life. Although I could play devil's advocate and think that Mr. Autrey was hardwired at birth with the mind-hand-eye coordination to size up train track gap dimensions and see his own body in third person it would still not explain the fact that a man who would perform such a feat could have no guile in his soul at that crucial moment in life, and that is one aspect (see the drawing's text) of a hero that Bond would silently tip his hat to anytime.
The proposed design for this homage came to me in a dream resembling an asian writing scroll (or the endless track of a train) which Mr. Autrey has rolled up and holds onto like a sort of ball in a sporting game that was a defining moment of his life. I used two pencils, one with 2.5mm lead to meld the forms to the ground as pure masses (to communicate a feeling of substance) and one with 0.5mm lead pressed firmly almost like a carving knife for the text and thin lines. An electric eraser quietly removed any excess with precision, letting me capture my impressions quickly, vividly without distraction. As this Bond series is about gadgetry, my Chinese double name seals always hold the page in stasis with the annotated image shelved vertically as if on an imaginary bookshelf. The time stamp, to those of you who may be curious, is used as an indicator that what I am drawing is earmarked for production and insists on its existence. The drawing itself is colorless, which would be apropo for its subject of humanity (In this respect, it is also a brave thing to upload something onto Flickr without any color or high contrast).
An unusual camera bag, this device is made of fine black leather and holds a square briefcase with one latch that holds one book which would be the biography of Autrey's life. Then proceeding to the right would be a parade of items, a tissue packet holder a pencil case a wallet that unfolds for both bills and change a cell phone holder and a Leica M4-P, and the rest I don't remember but was I quite impressed with in my dream. This roll is offered in two options: the one mentioned above and also an ostrich skin wrap with protruding fur lining and a nondescript label.
Mr. Autrey has received many meaningful gifts from people and institutions. This one may not have much monetary value but it seeks its own in elevated ideas.
After looking at the sober, grim, fragmentary dark realism of "Skyfall" that might have been meant to segue us into the contemporary James Bond, I'm less aware of its traditional escapist aura but to those of us who have faced negativism in its' myriad forms and Bond-worthy villains, it makes me feel that if I could shake Mr. Autrey's hand that would be a defining moment in my own life.
Please read his story below:
www.nytimes.com/2007/01/03/nyregion/03life.html
Lastly, this drawing is dedicated to the photographer Adrian Saker, who is in the current issue of The Inspired Eye, and could give Mr. Autrey a few expert lessons in shooting street with a Leica. I hope he is one of the most recognized people in today's world, then he could travel everywhere taking portraits, the world would be at his camera's disposal it would be great photojournalism.
Size: 28.5" x 40.75"
Condition: Near Mint
He attained international acclaim as a graphic designer in the mid-1970s through his axonometric alphabets. In 1979, GRAPHIS, a leading Swiss design magazine introduced his visual identification design for Summit Inc. and featured his work followed by four issues. On the other hand, he strived to introduce outstanding works of international designers by planning, gathering material, editing, and doing the layout and design all by himself in publications such as Graphic Designers on the West Coast, a special issue of IDEA magazine, and three volumes of World Trademarks and Logotypes. During this time, he also designed visual identity (VI) programs for domestic as well as international clients such as Meiji Milk Products Co. Ltd., Suntory Holdings Ltd., Mitsui Bank Ltd., Tama Art University, Oji Paper Co. Ltd., and UHAG.
In the 1980s he started making alphabet sculptures and also advanced into the field of product design. For the Museum of Modern Art, New York, he produced a series of graphic and product design goods. The calendar with three-dimensional numerals, which he designed for eight consecutive years, is one of his masterpieces. In the late 80s he supported Japanese regional industries by designing products employing their traditional craftsmanship. The series of products (YMD) developed through this project was sold in American and European museum stores. He was nominated and accepted as the member of Alliance Graphique Internationale (AGI) in 1980. From 1983 to 1989 he served two terms in the board of directors of the organization.
Actively involved in nurturing the younger generation, he has taught at Chiba University and the University of California, Los Angeles (UCLA). He collaborated in the foundation of the Faculty of Design at Tama Art University (Kaminoge Campus) to set up the first computerized design education in Japan, and was the first Head of Design Department. In 1988, he was invited as a Hallmark Fellow to give a speech on the final day of the Aspen Design Conference which was met with standing ovation.
In 1994, he ended his 25 years of design activity and moved to Los Angeles to become a sculptor. After working with marble, he discovered terracotta and wood as his material. He returned to Japan in June 2004. In recent years, he has been producing various sculptures and reliefs for public spaces all over Japan and has resumed his design activity from another view point as an artist.
Representative works are in the permanent collection of over 30 museums world wide including MoMA. Books on his work have been published in Japan, China, Korea, Germany and Switzerland. He has been awarded the Commendation of the Minister of Foreign Affairs, Katsumi Masaru Award, the Mainichi Design Award, the IF Design Award and the Good Design Award for his achievements and activities in the field of graphic and product design.
Appointed as President of Tama Art University from April 2011.
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
de.wikipedia.org/wiki/Hundertwasserhaus_(Wien)
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
Conversion 2D>3D
The oriental style - flat and on axonometric plans - of painting is a challenge for those who want to transform it to 3D.
CROSSVIEW
To view 3D pics cross your eyes focusing between at the pictures until both images overlap one another in the middle.
Per vedere le foto in 3D incrociare (strabuzzare) gli occhi fino a che le due immagini si sovrappongono formandone una sola centrale.
Conversion 2D>3D
The oriental style - flat and on axonometric plans - of painting is a challenge for those who want to transform it.
RED/CYAN GLASSES REQUIRED
CLICK TO ENLARGE
©
Imam or Shah Abbas Mosque Plan, Maidan Shah, Isfahan, Iran.
Showing the change in alignment between this Mosque and the great Square.
Persian design contributed the cruciform mosque to Islamic architecture, such as in this Masjid-i-Shah, plan above.
mihrab -- prayer niche
Enlarge
Click diagonal arrows upper-right, then press F11 Fullscreen.
Script continued.........
............Shah (Imam) Mosque:
So we stroll along the Maidan towards that alluring blue dome of the Great Shah mosque, glistening against the sky. A subtle curve in silhouette, it forms a landmark in its grace. Distinct and memorable.
Architecture of the region had evolved over a couple of thousand years from the earth itself. When you don’t have abundant timber beams, or suitable stone, you develop techniques to span space with bricks, together with earth plaster incorporating lime and straw. This produces mass walls with deep openings, vaults spanning and intersecting, and domes round in plan. Juxtaposed, they’re adjoined in three-dimensional geometry — earlier Persians were leaders in maths and geometry. Devoted craftsmanship became decorative expression. All this in that sun-bright light. And Persian design contributed the cruciform mosque. It was in Isfahan especially that they developed the four-iwan courtyard concept — with reflecting ablution pools and shimmering rhythm of arcading. This then became skinned with exquisite, intricate, and brilliantly-coloured glaze-tiles protecting the earth materials and twinkling the light. Ethereal, other-wordly.
As we approach the mosque we see paired verticals of polo posts and angled minaret towers marking our movement. Beyond and above hovers the glistening turquoise balloon of the great dome, while ahead arches the recessed portal entry, super-sized, imposing yet inviting. It’s set back from the Square’s perimeter arcading, yet joined into it. It’s both royal and religious — and a changing atmosphere. The building base is warm-tinted marble from a hundred kilometres away, but all above is a glinting intense blue, an intricacy of decoration and devoted craftsmanship. Here facing northwards, the portal to the Square is usually under shadow, but since it’s covered with tile glaze it glitters with intensity.
Over the top is a honeycombed murqana. A murqana is a three-dimensional complexity forming junction from the straight surfaces below to the curved half-cave suspended above. Persian tradition put much emphasis on the design of various styles of these complex squinches. However, architecturally they can seem a bit of a fudge between forms.
The tiles of much of this mosque aren’t the traditional mosaic of tiny cut pieces to fit a pattern, but a faster-to-produce technique of painting up to seven colour glazes onto a ceramic face and firing as one, and even making into a panel.
And if we look closely at that amazing entry tilework, we note that despite first appearance, the patterns aren’t strictly symmetrical left to right.
Work started on the Royal mosque in 1611, but it wasn’t until 1629, last year of Shah Abbas’s reign, that the building was completed.
So, over a substantial threshold emphasizing our entry into transition space — qualities of aged usage, void, and further light entice us on. That entry portal aligned with the Maidan Square, whereas the interior spiritual aims were directed at 45◦ (towards Mecca). The architects used this to skilfully create the short transition. Apart from the portal entry, and landmark dome marking the main sanctuary, the exterior is unimportant. The transition moves us from the bustle of the daily-life Square into seclusion and quietude of the inner courtyard — a setting aside of space and mind.
The large inner court, surrounded but open to sky, is centred by a pool for ritual ablutions and providing reflections of the perimeter structure and rhythmic arches. Yes, a prayer court, but remember this also accommodated a range of community-centre roles, resolving and setting civic principles. The layout is a cross-axis symmetry with four ivans leading, apart from our entry, into vaulted sanctuaries. Light is reflected in ever-changing effects as we move on. The court walls contain exquisite sunken porches, and surfaces are of glazed tiles in deep blue and yellow — often in stylized floral patterns. The tile designs are indeed impressive in craftsmanship, but we wouldn’t judge a house by its wallpaper pattern. They help define the spaces and their sheen reflects the light emphasizing void and tranquillity. They help complete a unity.
The larger ivan ahead leads to the main sanctuary under the great double-shell dome. We can sit and contemplate the richness of the domed ceiling with its golden rose pattern and circles of mosaic giving deep-blue background. (The interior ceiling is 36m high, the exterior rises 52m.)
Back in the main courtyard we notice another relief to symmetry — above the west ivan perches a pyramid-roofed structure for calling announcements. Below, a further framing of vistas. So, following reflecting glimpses and presence of nature through the deep-reveal arcading, we pass into the side court of the west madraseh (theological school). Sky, trees, seclusion; and the ritual march of time measured by basic sundial. Teaching took place here, and under the arches. But, for this school, one of a pair, we see its east end is an interesting composition of sloped monopitch form with proportioned windows stepping down — resolved play adding to the human scale here. The madraseh courts also provide angled views of the main dome with its tiles in every shade of turquoise.
While exploring this mosque we see, not as add-ons, but integrated as part of the architectural conception, a skilled play with Persia’s historic evolution of calligraphic art. There are distinct styles, some flowing, some geometric, some creative. Used as artistic composition they may be arranged together, perhaps in layers as on the drum of the dome exterior which is altogether architecturally resolved. Together with the exuberant tendril pattern above, we have a tripartite language of visual art: cursive, geometric, and vegetal. The tendril and rose patterns of the tilework remind us of the ancient importance of growth and plant symbols to this oasis-depending peoples.
As we leave the Royal mosque we should note that it’s the unity of design that leaves the lasting impression. But despite requiring regular maintenance, its completeness emphasises decorated surface and makes it the culmination of this style. It’s a statement of international grandeur and importance. We don’t see the earth-brick structure underneath the brittle surface-skin. We can learn more from the bare-bones of the much older Friday (Jame) mosque with its stages of evolution, organic integration, and brickwork crafting. Perhaps it should have been first, but is coming later.
.......................... continued.........
Google map:
maps.google.com/maps?q=isfahan+iran&ie=UTF8&hq=&a...
Link to Gerster aerial photo:
www.payvand.com/news/09/apr/Georg-Gertster-Shah-Mosque-Es...
Axonometric link:
www.islamic-architecture.info/WA-IR/194.jpg
Wikimapia aerial:
wikimapia.org/#lat=32.6546939&lon=51.6779226&z=18...
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// Ｃｒｙｓｔａｌｌｉｚｅｄ //
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Designed by Clint Yang | Backlight
My contribution to the Indonesian Origami Con 2017 (if I get to send one)
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Through all the busy days I finally managed to do a doodle of this tessellation while bored in class. I then applied it to 32*32 grid. Collapsing feels fun, though tricky at the same time. This was supposed to consist of stars inside stars, but since it's winter (I know I'm late), I figured this would be a nice name (because snowflake too mainstream). I know I didn't add "tessellation" in the name, that's necessary lol. Also, Cametek dubstep reference.
Full tiled will cost you a 64*64 grid.
I overdid the vintage filter I know please don't kill me. Blame my phone instead.
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Made with a hexagon cut from an A4 sheet of light blue copy paper, axonometric grid
Finally calculating accurate number and size of cores, Floors outlined in majenta are elvator transfer floors.
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
I thought it would be cool to to a cutaway view of Tower of terror showing the different layers. It looks good but I haven't touched it in a while
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
(for further pictures please go to the end of page and activate the corresponding link!)
Hundertwasser Haus (Vienna)
Hundertwasser House 2007
Facade of Hundertwasser house
The Hundertwasser House is a from 1983 to 1985 of the City of Vienna constructed residential building and it is located at the corner Kegelgasse 34-38 and Löwengasse 41-43 in the third District of Vienna, country road (Landstraße).
History
The Austrian artist Friedensreich Hundertwasser dealt since the 1950s with architecture. He began his involvement with manifestos, essays and demonstrations. Particularly became known his Mouldiness Manifesto. In 1972 he exhibited in the Eurovision Contest broadcast "Wünsch dir Was" (make a wish come true) architecture models with which he illustrated his ideas of the roof forestation, the tree tenants and the window right and architectural forms such as the high-meadows-house, eyes slit house or terrace house. In lectures at universities and architects associations and offices Hundertwasser talked about his concern of an architecture that is more natural and more appropriate for human beings.
In a letter dated of 30 November 1977 to the mayor of Vienna Leopold Gratz, recommended Chancellor Bruno Kreisky to give Hundertwasser the opportunity to put his concerns in the field of architecture in the construction of a residential building in practice. Gratz invited Hundertwasser thereupon by letter dated of 15 December 1977 to create a house in Vienna to his ideas. It followed the years-long search for a suitable property. Since Hundertwasser was not an architect, he asked the City of Vienna, beizustellen (to provide) him an architect who would be willing to transpose his concept into adequate plan drawings.
A conflictual cooperation
The city administration procured Hundertwasser the architect Josef Krawina. This one presented Hundertwasser in August and September 1979 his preliminary designs, based on the then valid rules for social housing as well as a Styrofoam model, however, corresponding to the architectural concept of the closed construction and which Hundertwasser shocked rejected because it corresponded exactly to the rectilinear and leveling grid architecture, against the he had always fought. Hundertwasser wanted a "house for people and trees", just as he had described years earlier in his text "Verwaldung (forestation) of the City": in his model of the "terrace house" for the program "Make a wish" he had already visualized this house.
It succeeded Hundertwasser still 1979 to win the City of Vienna for his concept of a green terrace construction and thus for exceptions from the building regulations, normally applicable. In March 1980 followed a second preliminary draft Krawinas' along with associated perspective or axonometric drawings and an accompanying balsa wood model. Krawina developed in the process under intense utilization of the granted legal options a from the building regulations considerably differing structure shell where a consensus could be found. This structure shell was left substantially unchanged over all planning steps and also came actually to execution.
"Subsequently, there were clashes between Hundertwasser and Krawina, which escalated in the design of the facade. The controversy led to the resignation Krawinas' from cooperation on 14th October in 1981. "The artist in a letter had turned to Rudolf Kolowrath, Head of the Municipal Department 19 (Architecture), asking him to replace the architect so that he could realize his own ideas. Architect Peter Pelikan, an employee of the Municipal Department 19, took over the further planning. He became for hundreds of water (Hundertwasser) a long-term partner for numerous other construction projects. The Supreme Court stated out but in 2010 on the occasion of a long-standing dispute over the authorship of the building: "The opinion of the Court of Appeal, architect Krawina and Hundertwasser were co-authors , [ ... ] is based on comprehensible conclusions from the proceedings for the evidence procedure [ ... ]"
2001 Krawina by the H. B. Media distribution company mbH could be convinced to claim that the "Hundertwasser House" was his work. After an eight-year process, the Supreme Court decided on 11 March 2010: "The fact that Krawina own creative contributions has provided to the building, there is, according to further evidences by the assessment of the legal expert, no doubt, on it the Court of Appeal based its applying legal view of a co-authorship Krawinas': "Since then it is now necessary in the distribution of illustrations or replicas of the house to mention Joseph Krawina next Hundertwasser as co-author.
Characteristics of the house
The according to the concept and the ideas of Friedensreich Hundertwasser designed, by Josef Krawina as co-author and Peter Pelikan planned, colorful and unusual house has in the hallways uneven floors and is lavishly planted. In 1985 about 250 trees and shrubs were planted and are now thanks to the care of tenants and representatives of the owners grown to stately trees, - a real park on the roof of the house.
The house does not follow the usual standards of architecture. Hundertwasser's role models are clearly visible: among others, Antoni Gaudí, the Palace idéal of Ferdinand Cheval, the Watts Towers, the anonymous architecture of the allotment gardens and those of the storybooks. The house has 52 apartments and four shops, 16 private and three communal roof terraces. The media response to the building was worldwide enormous. In Vienna, the Hundertwasser Krawina house is among the most photographed tourist attractions.
"A painter dreams of houses and a beautiful architecture in which man is free and this dream becomes reality".
- Hundertwasser
Other buildings of Hundertwasser
The artist designed some 40 buildings, of which several houses, also popularly known as "Hundertwasser house (Hundertwasserhaus)". Located less than 400 meters away from the Hundertwasser House in Vienna, in the Lower Weißgerberstraße 13, is the in 1991 opened and after designs by Hundertwasser and Peter Pelikan planned Kunsthaus Vienna (KunstHausWien), where in addition to temporary exhibitions a permanent Hundertwasser retrospective is offered.
Similar buildings were in cooperation of Friedensreich Hundertwasser with architect Peter Pelikan and Heinz M. Springmann, among others, in Bad Soden am Taunus, Darmstadt (Forest Spiral), Frankfurt am Main, Magdeburg (Green Citadel of Magdeburg), Plochingen (Living Beneath the Rain Tower), Wittenberg (Luther-Melanchthon-Gymnasium), Bad Blumau (Rogner Bad Blumau), Israel, Switzerland, the United States, Osaka in Japan and New Zealand realized.
See also: buildings by Friedensreich Hundertwasser.
• Milano: Naviglio Grande, Trezzano sul Naviglio •
2011sq7816lr
Copyright © Stefano Guadagni
Tutti i diritti riservati / All rights reserved.
This opera is licensed under a Creative Commons Attribuzione - Non commerciale - Non opere derivate 3.0 Unported License.
Non utilizzare questa fotografia senza il mio consenso.
Do not use this photograph without my consent.
Se siete interessati a questa fotografia, contattatemi,
potrò fornire la versione ad alta risoluzione. Grazie.
If you are interested in this picture, please contact me,
I'll provide you the hi-res version. Thanks.
passionflyer@gmail.com
_______________________________________________________
Discussioni, consigli e suggerimenti sono i benvenuti:
cercherò di rispondere individualmente a ciascuno.
(award e inviti ai gruppi flickr senza commento saranno cancellati)
Suggestion, advicesndiscussions welcome
I'll try to answer directly each of them.
Flickr groups awards or invitations without comments to be deleted.
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Lamellae, Singapore
Ahtehha, 2019
A shelf and display case for research (printed/3d pritned) in the Digital Manufacturing and Design lab.
A multi-agent approach to fabrication. Adapting a lamella system assembly to freeform geometry, every element has a reciprocal relationship with the neighboring pieces creating a complex, interdependent geometry. This is heightened by using 5-axis CNC swarf cutting to maintain surface continuity at joints and integrating all mortise and tenon connections. Each element is modelled as an instance of an agent that determines positioning, relationships with adjacent members, and geometric requirements. The precision of the geometry and CNC fabrication allows for direct assembly that holds by friction-fit alone.
Cercle de l’Ermitage, Epesses
Alberto Sartoris
Alberto Sartoris: Ou la quatrième dimension de l'architecture
Villa le Lac, 2014
// Ｃｒｙｓｔａｌｌｉｚｅｄ //
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Designed by Clint Yang | Front
My contribution to the Indonesian Origami Con 2017 (if I get to send one)
---------------------------------------
Through all the busy days I finally managed to do a doodle of this tessellation while bored in class. I then applied it to 32*32 grid. Collapsing feels fun, though tricky at the same time. This was supposed to consist of stars inside stars, but since it's winter (I know I'm late), I figured this would be a nice name (because snowflake too mainstream). I know I didn't add "tessellation" in the name, that's necessary lol. Also, Cametek dubstep reference.
Full tiled will cost you a 64*64 grid.
I overdid the vintage filter I know please don't kill me. Blame my phone instead.
---------------------------------------
Made with a hexagon cut from an A4 sheet of light blue copy paper, axonometric grid