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Studio Photo 2D, 3D sur la thématique des Robots, Constructivisme, futurisme italien…. Robot Kids c’est une journée spéciale pour les enfants, avec des ateliers créatifs, de la musique, des installations... dans le cadre du Robot Festival et avec le département éducatif du Musée d’art Moderne de Bologne. Une après midi pour participer à une expérience multi-sensorielle...
Atelier «mascarades» par Studio Public, Installations avec l’association Shape, Musique avec Dj Bubble...
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
Model - Young-Eun Chun.
(c) Kyung K. Park
Троицк, окраина Москвы. Жилой дом 1927 года, возведённый на белокаменном фундаменте усадебной постройки.
Renaat Braem was born in Antwerp in 1910. He graduated as an architect from the Royal Academy of Fine Arts in Antwerp in 1935, with a constructivism-inspired design for a linear city between Antwerp and Liège. He received the biannual Godecharle Prize the same year.
Braem used the money of the award to study abroad, wotking at the studio of Le Corbusier in 1936 and 1937. He became a member of the Congrès International d'Architecture Moderne in 1937, and his first architectural realisations in these pre-war years were rooted firmly in the new "modern" style.
He became one of Belgium's most prominent architects in the early 1950s, when he received two commissions from the city council of Antwerp: the development of the Administratif Center in the heart of the city, and a social housing project in Het Kiel, a neighborhood in the suburbs. The Administratif Center was only partly realised ten years later, and the one tower that was actually built in the end became the Police Tower, the headquarters of the Antwerp police force. The social housing project though became a landmark in the history of social housing in Belgium and one of the most important architectural realisations of the 1950s.
Over the next two decades, Braem created many projects, ranging from private buildings to large scale housing complexes in Leuven, Brussels, Deurne and Boom. His work was faithful to the Athens Charter of the CIAM until the late 1960s, when his work became less rigid and more organic.
Braem was also an important figure in the study and debate of modern achitecture in Belgium, cofounding important magazines like Plan, Architecture, or Bouwen en Wonen, writing articles, and being interviewed for radio, television and newspapers. He was one of the oginators of the Bouwcentrum in Antwerp, which tried to promote the industrialisation of the work of building through education and prototyping. In 1968, he wrote Het lelijkste land ter wereld ("The most ugly country in the world"), an essay against the postwar spatial planning of Belgium with an ecological warning as well.
Renaat Braem published his memoirs Het schoonste land ter wereld (The most beautiful country in the world) in 1987. He moved to a nursing home in 1997. His private home, built in 1955, and all its contents (archive, library, furniture) was legated to the Flemish Community in 1999. He died in 2001 in Essen. His house was transformed into a museum, the second of its kind in Belgium after the Horta Museum in Brussels.
Monumento a la Revolución, Ciudad de México (2010)
A partir del nunca terminado Palacio Legislativo diseñado por Émile Bernard en 1910, se construyó el monumento en 1932-1934 en una mezcla de Art Deco y Constructivismo Socialista por el arquitecto Carlos Obregón Sanatacilia, y esculturas de Oliverio Martínez.
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
Ekaterinburg (Sverdlovsk). Water Tower, architect M.Rreysher, 1928
Photo: 1985
This view is symbolic for me of Russian Constructivism being gone: a lonely water tower, a patch of land, birches and drowsy boredom. Sorry for the mood...
I used to love that object. Now this view doesn't exist anymore.
Monumento a la Revolución, Ciudad de México (2010)
A partir del nunca terminado Palacio Legislativo diseñado por Émile Bernard en 1910, se construyó el monumento en 1932-1934 en una mezcla de Art Deco y Constructivismo Socialista por el arquitecto Carlos Obregón Sanatacilia, y esculturas de Oliverio Martínez.
A sort of mock up or trial for a later real relief print. Using software on my android phone mostly.
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
My first time sewing with satin! A very lengthy process to make this clutch, but a very satisfying finish. Pattern by Constructivism on Etsy. 4 more of these babies are in the works for my friend's bridesmaids. :)
blogged: www.skooksplayground.com/2012/03/bridesmaid-style-fancy-b...
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
CAMERA: Canon NEW F1
LENS: Canon fd lens 24mm f/2,8 S.S.C.
FILM: Kodak color ISO 400 36 exp. negative scanning
FILM DEVELOPMENT: author's manual film development
Digibase c41 MIDI kit [8min 30sec 32 °C] diluted bleaching
FILM SCANNED: OpticFilm Plustek 7400 with SilverFast Software
SHOOTING DATE: 05/2015
DEVELOPER DATE: 09/2015
TECHNIQUE: Multiple Exposure unedited.
NUMBER OF EXPOSURES: 2
NO POST-PROCESSING
OBJECT: Multi-level parking
PLACE: Saint-Petersburg, Russia 2015
In June 2014 the former Van Nelle Factory (Van Nellefabriek) in Rotterdam received the status of UNESCO World Heritage Site. The buildings were designed by the Brinkman & Van der Vlugt office and built between 1925 and 1931. The Van Nelle Factory shows the influence of Russian Constructivism.
It was a factory, processing coffee, tea and tobacco. Now it houses offices for the creative sector and is called Van Nelle Design Factory.
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
Built: 1929-1931
Architect: Moses Reischer
Yekaterinburg, Russia
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In dem Berliner Showroom wird dem Besucher auf mehr als 500 qm eindrucksvoll das Standbausystem constructiv Clic von Burkhardt Leitner constructiv demonstriert.
Interessenten haben die einmalige Möglichkeit das Produkt live auf Funktion und Optik zu prüfen.
Synthesis of brevity, geometry and functionality.
Phase transition of water into steam and steam into motion. The highest form of utility of the thing!
The old color slide distorts the color. But shows the viewer the whole essence of Vanguard.
Time was dissolved. There is no past or future... In the present moment there is only a viewer with his meanings…
Filmed in May 2019
Old DDR film Orwo chrom UT18( process of Sovcolor) + Nikon f5 + Nikkor 24-70/2.8G
The emulsion expired in 1992
국민대학교 의상디자인학과 졸업 패션쇼 (The 38th Kookmin University Fashion Show)
Students of Fashion Design presented their gradution portfolios through a fashion show, Seoul, Korea, Sept 18, 2010. Its theme was "Constructivism(구성주의)."
(c) Kyung K. Park
Visuales ."Ballet triadico"
"El ballet triadico es en realidad una anti danza,constructivismo coreografico,enmuñecamiento,alegria burlezca,fiebre mistica,ambiente festivo,donde tres bailarines,la danza,los trajes y la musica componen esta performance en 1922"
Gracias a la lectura del sonido, se puede recrear el movimiento de los bailarines,observar su vestuario, con los sonidos de la gente que participa en la instalacion ,jugando con elementos de percusion, poniendo a los personajes del ballet al servicio del espectador...
Vestuario "Ballet triadico" Oskar Schlemmer
imagenes extraidas de la revista teatral "De nuevo Metropol" 1926
Teatro metropol de Berlin.
Instalación de video por reconocimiento de sónido.
Bajo el marco de la Usina de arte 09
Teatro Auditorium (del 23 al 27 de septiembre)
ACOPIODG
"Bau House"
Gráfica, medios y manejo de tecnologias software
MIMICA
Visuales ."Ballet triadico"