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This is a collaboration with the German photographer Dagmar Bressel, and was part of a short-lived project called 'Mr. & Mrs. Cloud'. This time I edited a selfportrait of hers. Apps used: iColorama, Stackables, Repix and Decim8.
Music (right click to open in a new tab):
"Donso" by OUMOU SANGARÉ, in 'La Diva Africaine En Tournée Européenne' (2012)
La llacuna del Cañizar constitueix un dels grans atractius naturals de la comarca Comunitat de Terol. Situat entre les localitats de Cella i Villarquemado, es tracta d'un aiguamoll que, des de 2006 i en diferents fases, es troba en procés de recuperació, convertint-se en un ambiciós projecte de restauració ambiental que, pràcticament, pot seguir-se en viu. El projecte preveu la recuperació de 400 ha -300 d'elles inundables-, d'un entorn que al llarg de la història va ser drenat per aprofitar la riquesa dels seus sòls com a superfícies de conreu i que abans de 1729, any en què van començar les obres per a la seva total dessecació, va arribar a assolir una extensió total de gairebé 10 km2.
La laguna del Cañizar constituye uno de los grandes atractivos naturales de la comarca Comunidad de Teruel. Situado entre las localidades de Cella y Villarquemado, se trata de un humedal que, desde 2006 y en diferentes fases, se encuentra en proceso de recuperación, convirtiéndose en un ambicioso proyecto de restauración ambiental que, prácticamente, puede seguirse en vivo. El proyecto prevé la recuperación de 400 ha -300 de ellas inundables-, de un entorno que a lo largo de la historia fue drenado para aprovechar la riqueza de sus suelos como superficies de cultivo y que antes de 1729, año en el que comenzaron las obras para su total desecación, llegó a alcanzar una extensión total de casi 10 km2.
This lake is one of the greatest natural attractions of the region of Teruel. Since 2006, this wetland between Cella and Villarquemado is being restored in different steps in which can practically be followed as a live project.
The target is to control 300 to 400 ha of flood, making profit of an environment that was drained throughout history to exploit the richness of the soil for growing crops. Before 1729, when the process for complete drying started, a total length of nearly 10 km2 has been reached.
Cette lagune constitue l'un des grands attraits naturels de la Communauté de Teruel. Elle est située entre les localités de Cellaet de Villarquemado et se compose d'une zone humide qui, dès 2006, et depuis en différentes phases, est intégrée dans un processus d’aménagement, se convertissant en projet ambitieux de protection environnementale, qui peut quasiment se suivre en direct.
L'objectif du projet est la récupération de 400 hectares - dont 300 inondables -, d'un site qui, au cours de l'histoire, a été drainé pour mettre à profit la richesse du sol dans le but de le cultiver. Avant 1729, l'année où a commencé l’assèchement total, la lagune atteignait quasiment 10 km2.
an apprehension for reality, the death of the flower,
the collapse of hope, the crush of
wasted years, the nightmare faces,
the mad armies attacking for no reason at all
and/or
old shoes abandoned in old corners like half-forgotten
voices that once said love but did not mean
love.
see the face in the mirror? the mirror in the
wall? the wall in the house? the house in the
street?
now always the wrong voice on the telephone
and/or
the hungry mouse with beautiful eyes which now lives in
your brain.
the angry, the empty, the lonely, the
tricked.
we are all
museums of fear.
there are
as many killers as flies as
we dream of giant
sea turtles with strange words carved into
their hard backs
and no place for the knife to go in.
Cain was Able,
ask him.
give us this day our daily dread.
the only solace left to us is to hide
alone in the middle of night in some deserted
place.
with each morning less than zero,
humanity is a hammer to the brain,
our lives a bouquet of blood, you can watch
this fool still with his harmonica
playing elegiac tunes while
slouching toward Nirvana
without
expectation or
grace.
Charles Bukowski
10,000 supporters can help this project get turned into an official LEGO set!
Support this project on LEGO Ideas!
ideas.lego.com/projects/ac39874d-5a6a-48e6-b094-9d6ee260b1d4
If you love Totoro, and LEGO, why not support this live project on LEGO Ideas? I would really appreciate any support and if you are able, share this idea with your friends and family on social media!
This build was really fun to design and photograph. The trees are a new design I came up with, and the path came together nicely as well. I'm also really liking the way Totoro was developed. Just like in the film, Totoro has a olive green leaf on his head. He also features two eyes, which I used a sharpie marker to make the eyes. Gotta get creative sometimes....
Let's keep the LEGO Totoro dream alive! Support this project and share it with your friends and family. Sharing on social media is also very helpful, and can help this project gain momentum.
That's it for now! Drop a comment and let me know of any improvements I got potentially add on to this set. I will have two more Space Jam 2020 entries coming very soon, so look forward to those.
Thanks for viewing! :)
A long time ago I had a short lived project doing some aviation art. It was before the internet and research began to be a bit of a handicap and I finally decided not to pursue it. I finally found a home for these two so they're out of the attic. Thanks Nick and Flora.
Some shots I took of the Gobbins path for my company McLaughlin and Harvey who carried out the construction/restoration of the path
www.mclh.co.uk/live-projects/gobbins-coastal-path-reconst...
Some shots I took of the Gobbins path for my company McLaughlin and Harvey who carried out the construction/restoration of the path
www.mclh.co.uk/live-projects/gobbins-coastal-path-reconst...
During June 1965 60127 would return to Gateshead Shed and was positioned on the Ash Heap area where for a couple of weeks it was used as a stationary boiler providing steam to clean Diesel locomotive bogies. It also received the attention of shed staff gaining Silver painted smokebox door straps, door handle and buffers. It was a short lived project as the following month its next journey was to a North Blyth based scrapyard
Ghost Fishing UK returned to Plymouth this weekend with 2 new divers completing their first “live” project since completing their training course.
Day 1
We’d received a report of a lost Gill net a few weeks ago on a reef in the Yealm Estuary from Pete Plume (facebook Peter.plume) of BSAC club East Cornwall Divers.
Pete's report was very detailed and gave us great marks to start our search/survey for the lost gear.
The divers found the net as described in the report and completed their survey and then over lunch made a plan for recovery with Matt and Jonna doing the work supervised by Instructor Fred.
The net was successfully retrieved, but unfortunately there was only one live Spider crab to be found. All the other trapped animals had succumbed to the deadly net. These were removed and returned to the sea to contribute to the food web.
Day 2
Returning to the site of the Kingston Alalite in Plymouth Sound where the team had previously recovered 12 Lobster pots and some sections of Trawl net the team were eager to continue the cleanup of this Wreck.
Over 2 dives the team successfully recovered a further 3 Lobster pots, A huge entangled mass of rope from the pots, and 3 further sections of trawl net.
Upon loading all of the retrieved gear into the trailer for transportation to our storage site, unfortunately the weight was just too much for the aging trailer and one side of the suspension collapsed!! Luckily the kind chaps at InDeep once again saved the day and have allowed us to store the trailer temporarily until we can get it repaired.
Do you like the picture ? Press "F"
Picture from a two days photoshoot for The (A)live Project
------------------------------
Photo d'un photoshoot de deux pour The(A)live Project
Feel free to share it, but don't forget the credits!
More pictures are comming on The (A)live Project
*************************** INFOS ***************************
D7000 - 50 mm 1.4 G
Natural light
**************************************************************
Coplayer : Ryuu Seika
NO images/awards/graphics please!
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
A long time ago I had a short lived project doing some aviation art. It was before the internet and research began to be a bit of a handicap and I finally decided not to pursue it. I finally found a home for these two so they're out of the attic. Thanks Nick and Flora.
La Paris Comics Expo s'est déroulée les 27 et 28 Octobre.
N'hésitez pas à aller lire les articles de The (A)live Project :
thealiveproject.wordpress.com/category/paris-comics-expo-...
www.facebook.com/The.Project.a.Live
Le Replay Flickr arrive bientot :
www.flickr.com/photos/thealiveproject/
------------------------------------------------------------------------------------------------
The Paris Comics Expo was in Paris the 27&28 October 2012.
As usual i worked for The (A)live Project.
www.facebook.com/The.Project.a.Live"; rel="nofollow">www.facebook.com/The.Project.a.Live
thealiveproject.wordpress.com/category/paris-comics-expo-...
The Flickr Replay is comming soon :
The Paris Comics Expo was in Paris the 27&28 October 2012 more pictures are coming soon.
As usual i worked for The (A)live Project.
"https://www.facebook.com/The.Project.a.Live
Ghost Fishing UK returned to Plymouth this weekend with 2 new divers completing their first “live” project since completing their training course.
Day 1
We’d received a report of a lost Gill net a few weeks ago on a reef in the Yealm Estuary from Pete Plume (facebook Peter.plume) of BSAC club East Cornwall Divers.
Pete's report was very detailed and gave us great marks to start our search/survey for the lost gear.
The divers found the net as described in the report and completed their survey and then over lunch made a plan for recovery with Matt and Jonna doing the work supervised by Instructor Fred.
The net was successfully retrieved, but unfortunately there was only one live Spider crab to be found. All the other trapped animals had succumbed to the deadly net. These were removed and returned to the sea to contribute to the food web.
Day 2
Returning to the site of the Kingston Alalite in Plymouth Sound where the team had previously recovered 12 Lobster pots and some sections of Trawl net the team were eager to continue the cleanup of this Wreck.
Over 2 dives the team successfully recovered a further 3 Lobster pots, A huge entangled mass of rope from the pots, and 3 further sections of trawl net.
Upon loading all of the retrieved gear into the trailer for transportation to our storage site, unfortunately the weight was just too much for the aging trailer and one side of the suspension collapsed!! Luckily the kind chaps at InDeep once again saved the day and have allowed us to store the trailer temporarily until we can get it repaired.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Première photo d'un shoot réalisé avec une superbe cosplayeuse de Catwoman.
La lumière principale provient d'un DIY beauty dish avec SB-900.
Shoot réalisé pour The (A)live project.
Site: thealiveproject.wordpress.com/
Facebook: www.facebook.com/The.Project.a.Livehttps://www.facebook.c...
Image de référence sur la page de la cosplayeuse : emcosplay.weebly.com/catwoman-comics.html
Lieu: www.mistybengals.com/index.html
-------------------------------------------------
First pictures of a photoshoot with a great Catoman Cosplayer.
The main light is from my SB-900 through a DIY beauty dish.
Shoot made for my friend and for The (A)live Project.
Website:http://thealiveproject.wordpress.com/
Facebook: www.facebook.com/The.Project.a.Livehttps://www.facebook.c...
Check here her page : emcosplay.weebly.com/catwoman-comics.html
Location: www.mistybengals.com/index.html
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
C'est avec toute l'équipe de The (A)live Project que nous avons participé à la tournée d'avant-premières pour le film de Silent Hill Revelation 3D.
Nous avons eu la chance de travaillé avec un équipe formidable avec laquelle nous avons passé 4 jour formidables.
Immersion Studio : www.facebook.com/ImmersionStudio.event?fref=ts
Metropolitan Film Export :http://www.metrofilms.com/
Pierre (MUA) : www.facebook.com/Makeup.Art.of.Pierre.Carles?fref=ts
The (A)live project:
Website: thealiveproject.wordpress.com
Facebook: www.facebook.com/The.Project.a.Live
Photos :
Day 1 : www.facebook.com/media/set/?set=a.499256163439748.112913....
Day 2 : www.facebook.com/media/set/?set=a.499617310070300.113007....
Day 3 : www.facebook.com/media/set/?set=a.500013360030695.113068....
Day 4 : www.facebook.com/media/set/?set=a.500661406632557.113178....
Videos:
Day 1 : www.youtube.com/watch?v=UMElDHgMbDY
Day 2 : www.youtube.com/watch?v=ZoHyg3gMHLE
Day 3 : www.youtube.com/watch?v=aFZ5VzKM238&feature=plcp
Day 4-1 :www.youtube.com/watch?v=FSYgfGDlcJQ
Day 4-2 :www.youtube.com/watch?v=mu172LCFIxs
----------------------------------------------------------------------------------------------
I just done with the whole team of The (A)live Project a crazy movie premiere tour for the movie Silent Hill Revelation 3D.
We were able and lucky to work with a great team during this past four days.
Immersion Studio : www.facebook.com/ImmersionStudio.event?fref=ts
Metropolitan Film Export :http://www.metrofilms.com/
Pierre (MUA) : www.facebook.com/Makeup.Art.of.Pierre.Carles?fref=ts
The (A)live project:
Website: thealiveproject.wordpress.com
Facebook: www.facebook.com/The.Project.a.Live
Pictures :
Day 1 : www.facebook.com/media/set/?set=a.499256163439748.112913....
Day 2 : www.facebook.com/media/set/?set=a.499617310070300.113007....
Day 3 : www.facebook.com/media/set/?set=a.500013360030695.113068....
Day 4 : www.facebook.com/media/set/?set=a.500661406632557.113178....
Videos:
Day 1 : www.youtube.com/watch?v=UMElDHgMbDY
Day 2 : www.youtube.com/watch?v=ZoHyg3gMHLE
Day 3 : www.youtube.com/watch?v=aFZ5VzKM238&feature=plcp
Day 4-1 :www.youtube.com/watch?v=FSYgfGDlcJQ
Day 4-2 :www.youtube.com/watch?v=mu172LCFIxs
Alan Parsons Live Project concert, Pabst Theater Milwaukee Wisconsin
Alan Parsons (born 20 December 1948) is an English audio engineer, musician, and record producer. He was involved with the production of several significant albums, including The Beatles' Abbey Road and Let It Be, as well as Pink Floyd's The Dark Side of the Moon for which Pink Floyd credit him as an important contributor. Parsons' own group, The Alan Parsons Project, as well as his subsequent solo recordings, have also been successful commercially.
In October 1967, at the age of 18, Parsons went to work as an assistant engineer at Abbey Road Studios, where he earned his first credit on the LP Abbey Road. He became a regular there, engineering such projects as Paul McCartney's Wild Life and Red Rose Speedway, five albums by The Hollies, and Pink Floyd’s The Dark Side of the Moon, for which he received his first Grammy Award nomination.
He was known for doing more than what would normally be considered the scope of a recording engineer’s duties.[citation needed] He considered himself to be a recording director, likening his contribution to recordings to what Stanley Kubrick contributed to film.[citation needed] This is apparent in his work with Al Stewart's "Year of the Cat", where Parsons added the saxophone part and transformed the original folk concept into the jazz-influenced ballad that put Al Stewart onto the charts.[citation needed] It is also heard in Parsons' influence on the Hollies' "He Ain't Heavy, He's My Brother" and "The Air That I Breathe", sharp departures from their popular 1960s hits "Stay", "Just One Look", "Stop! Stop! Stop!" or "Bus Stop".[citation needed] Parsons was also known to have swapped shifts during the engineering of The Dark Side of the Moon so he could work entirely on the project.
Parsons also produced three albums by Pilot, a Scottish pop rock band consisting of Ian Bairnson on guitar, Stuart Tosh on drums, and David Paton on lead vocals, guitars,bass and William (Billy) Lyall, on piano and keys. Their hits included "January" and "Magic".
He also mixed the debut album by the American band Ambrosia and produced their second album Somewhere I've Never Travelled. Parsons was nominated for a Grammy Award for both of these albums.
In 1975, he declined Pink Floyd's invitation to come back and work on the follow-up for "Dark Side," Wish You Were Here, and instead initiated The Alan Parsons Project with producer and songwriter (and occasional singer) Eric Woolfson, whom he had met at Abbey Road. The Project consisted of a revolving group of studio musicians and vocalists, most notably the members of Pilot and (on the first album) the members of Ambrosia. Unlike most rock groups, The Alan Parsons Project never performed live during its heyday, although it did release several music videos. Its only live performance during its original incarnation was in 1990, with Woolfson present but behind the scenes. After releasing ten albums, the last in 1987, the Project terminated in 1990 after Parsons and Woolfson split, with the Project's intended 11th album released that year as a Woolfson solo album. Parsons continued to release work in his own name and in collaboration with other musicians. Parsons and his band now regularly tour many parts of the world.
Although an accomplished vocalist, keyboardist, bassist, guitarist and flautist, Parsons only sang infrequent and incidental parts on his albums. While his keyboard playing was very audible on the Alan Parsons Project albums, very few recordings feature his flute. During the late 1990s, Parsons' career travelled an interesting full circle. Having started out in the music industry at the Abbey Road Studios in London as an assistant engineer in the late 1960s, he briefly returned to run the studio in its entirety. He reportedly managed to combine this role with the demands of a hectic performing and recording schedule. Parsons also continued with his selective production work for other bands.
Of all his collaborations, guitarist Ian Bairnson worked with Parsons the longest, including Parsons' post-Woolfson albums, Try Anything Once, On Air, and The Time Machine.
In 1998, Parsons became Vice President of EMI Studios Group including the Abbey Road Studios. He soon left the post deciding to return to more creative endeavours. Parsons remained as a creative consultant and associate producer for the group.
As well as receiving gold and platinum awards from many nations, Parsons has received ten Grammy Award nominations for engineering and production. In 2007 he received a nomination for Best Surround Sound Album for A Valid Path.
Beginning in 2001 and extending for four years, Parsons conceived and led a Beatles tribute show called A Walk Down Abbey Road featuring a group of headlining performers such as Todd Rundgren, Ann Wilson of Heart, John Entwistle of The Who, and Jack Bruce of Cream. The show structure included a first set where all musicians assembled to perform each other's hits, and a second set featuring all Beatles songs.
Since 1999 he has toured under a revised name, The Alan Parsons Live Project (with Woolfson’s permission). The globe-trotting band currently features lead singer P.J. Olsson, guitarist Alastair Greene, drummer Danny Thompson, keyboardist Manny Focarazzo, bass guitarist Guy Erez and vocalist and saxophonist Todd Cooper.
In May 2005, Parsons appeared at the Canyon Club in Agoura Hills, California, to mix front-of-house sound for Southern California-based Pink Floyd tribute band Which One’s Pink? and their performance of The Dark Side of the Moon in its entirety.[3]
In 2010, Parsons released his single "All Our Yesterdays" through Authentik Artists.[4] Parsons also launched a DVD educational series in 2010 titled The Art and Science of Sound Recording ("ASSR") on music production and the complete audio recording process. The single "All Our Yesterdays" was written and recorded during the making of ASSR. The series, narrated by Billy Bob Thornton,[5] gives detailed tutorials on virtually every aspect of the sound recording process. Individual sections of the series are also being released in batches and are available to stream or download at www.artandscienceofsound.com.[5]
During 2010, several media reports,[6][7] one of which included a quote from a representative of Parsons,[8] alleged that the song "Need You Now" by country music group Lady Antebellum possessed the melody and arrangement of "Eye in the Sky."
Parsons produced Jake Shimabukuro's album, Grand Ukulele which was released on 2 October 2012.
Also in 2012, he contributed lead vocals and performed keyboards and guitar on the track "Precious Life" by German electronic music duo Lichtmond, and appeared with many other noted progressive-rock musicians on The Prog Collective album by Billy Sherwood, singing lead on "The Technical Divide."
Parsons engineered the latest album by Steven Wilson, The Raven that Refused to Sing (And Other Stories), released on 25 February 2013.
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Marcia Wachuta – Marcia's Crafty Sewing and Quilting
It's Where I Live – Project Quilting Challenge Number 5.
I live on County Rd W out in the country in Boscobel, Wisconsin.
My colors are: Whimsical Greens, Blues, and Watermelon. I used the three colors to create “Ribbons of the Sky”. This is my view at the end of the day!
My Ribbons of the Sky Quilt measures 12” by 17”.
I stitched two pieces of fabric together with a wavy seam. I thread painted to create my horizon view.
Blog Post marciascraftysewing.blogspot.com/2012/03/ribbons-of-sky.html
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
Feel free to share my work and comment my pictures.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
N'hésitez pas à partager mon travail, et commenter mes photos.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
www.facebook.com/The.Project.a.Live
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Suivez-nous :http://www.facebook.com/The.Project.a.Live
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
Feel free to share my work and comment my pictures.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
N'hésitez pas à partager mon travail, et commenter mes photos.
Do you like the picture ? Press "F"
Picture from a special photoshoot for The (A)live Project.
------------------------------
Vous aimez la photo? Appuyez sur "F"
Photo d'un photoshoot spécial pour The(A)live Project.
Première photo d'un shoot réalisé avec une superbe cosplayeuse de Catwoman.
La lumière principale provient d'un DIY beauty dish avec SB-900.
Shoot réalisé pour The (A)live project.
Site: thealiveproject.wordpress.com/
Facebook: www.facebook.com/The.Project.a.Livehttps://www.facebook.c...
Image de référence sur la page de la cosplayeuse : emcosplay.weebly.com/catwoman-comics.html
Lieu: www.mistybengals.com/index.html
-------------------------------------------------
First pictures of a photoshoot with a great Catoman Cosplayer.
The main light is from my SB-900 through a DIY beauty dish.
Shoot made for my friend and for The (A)live Project.
Website:http://thealiveproject.wordpress.com/
Facebook: www.facebook.com/The.Project.a.Livehttps://www.facebook.c...
Check the original character on her page : emcosplay.weebly.com/catwoman-comics.html
Location: www.mistybengals.com/index.html
Fashion students from the University of Salford have teamed up with leading fashion brand Dr Martens on a one day live project to create imagery for the company’s new collection as part of its ‘How to Wear’ campaign.
Sixty students from the BA (Hons) Fashion Design and Fashion Image Making and Styling course were paired up and given only 30 minutes to choose garments, find a model and shoot on location. Each group produced five different fashion editorial photos which were then assessed by a panel of judges, with two winning students receiving a prize of Dr Martens products.
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
I had a wonderful photoshot with Shae for the (A)live Project.
I wanted to work back with the natural light so we went to a beautiful natural parc.
It such interesting to work with the natural through the years because every season has it own colour range and we have to take care of it!
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