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Instalação produzida para a disciplina Linguagens da Arquitetura e da Cidade, sob orientação dos professores David Sperling e Fábio Lopes.
4o. ano do Curso de Arquitetura e Urbanismo da EESC|USP São Carlos.
junho.2007
Alunos: Ana Carvalho, Karen Piccoli, Paula Vilela e Ricardo Travassos.
Fotos: Ricardo Travassos
City Park
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Page 48
When Robert Cremean walked through the seemingly
endless corridors of the Vatican Museum in Rome, he was
struck not only by the vastness of the place but by the
number of sculptures it contains, many of which are
neutered by a fig leaf. To him, the sculptures in the museum
represented an enormous collection of mixed metaphors and
only a rare few met his definition of “transparency.” On the
fourth page of his Preparatory Study for VATICAN
CORRIDOR, A Non-Specific Autobiography he wrote:
The enclosure of one metaphor by another—one culture by
another—one time segment by another. “Paganism” is preserved
through forfeit of genitalia—neutered by a fig leaf. Miles of
historical artifacts enclosed within an historical artifact. And yet
there are a few presences that are not dead—not neutered. A few
glimpses— Man existing without metaphor. A few Transparencies.
Are these not worth the endless walk?
Within the concept “One man=all men,” VATICAN
CORRIDOR, A Non-Specific Autobiography was conceived as
an actual and metaphorical record of the journey through
the life of the artist and, by extension, a projection of the
possibilities we all share and may attain. Within both of the
facing walls are ten carved life-sized figures symbolically
conjoined by arches to form a “corridor of the self. ” As Robert
Cremean wrote:
Each arch represents three years and the Corridor of Self-Analysis
begins with my seventeenth year.
It was within the time span of the First Arch he declared
himself a sculptor.
Prior to acquiring the materials necessary for the actualizing
of the sculpture in wood, he spent two months creating
the detailed preparatory study for the entire work, a process
he had followed on only two prior occasions, one for
DONOR WITH CRUCIFIXION and the other, although more
suggestive than detailed, for HOMAGE TO PAUL APOSTLE.
From the first three pages of searching to the final pages of
resolution, the artist’s graphic description of the threedimensional
work provides us with the opportunity to read
the artist’s philosophical concepts for that specific work of
art and to understand how these concepts are interpreted
symbolically through the human figure. Since this is an
actual and a metaphorical autobiography, the Preparatory
Study for VATICAN CORRIDOR, A Non-Specific Autobiography
literarily addresses both.
Because each of the ten arches in the Preparatory Study
and in the completed sculpture spans a period of three years
in the artist’s life, the Tenth Arch was a projection five years
into the future and was at last updated twenty-two years
later in the writing in 1995, and with the publication by
Manuscript Press in 1996, of THE TENTH ARCH, the sculptural
Tenth Arch realized in the form of a book.
As the name implies, the sculpture is in the form of an
actual corridor. It measures eight feet tall, forty feet in length,
and with a width of ten feet. The facing walls of the corridor
are each formed by ten carved blocks of laminated sugar pine
planks for an overall measurement each of 8' x 24½" x 16".
The first figure of the Outer Wall, the “who,”is nearly fully
revealed in the round. But by the Tenth Arch, it has been transposed
into a negative, much like a waste-mold, only the egg
shape of the final transposition still in place. Block by block
and transposition after transposition, the three-dimensional
figure is displaced by a concavity as the wall that contained it
grows thicker and thicker. The reverse is true in each of the
corresponding figures and blocks of the Inner Wall. Each part
of the human figure is symbolic of a particular sense and/or
concept and with its transference the figure of the Inner Wall,
the “what,” becomes more complete.
Shown here is the final page of the manuscript which
lists the actual parts of the Anatomy of Transposition. It is
followed by the first four pages which serve both as an
explanation of the Preparatory Study and of the concept of
the entire sculpture. Each page of the original manuscript
measures 17" x 14".
We have been purchasing some tools specific to the world of rebar.
Which is now our world. The first one arrived today. It is a self
contained hydraulic rebar cutter. I picked it up off ebay for $120. We
haven't tried it yet since it came in late in the afternoon when we
were already onto concrete work. it looks exciting though. Just pump
the handles and cut through #5 rebar. We had been using a angle
grinder for many rebar cuts inside the dome which has a lot of
drawbacks. I bet this tool would also be good for looting.
Cynthia Minet’s Unsustainable Creatures is a new installation of sculptures for the Culver Center for the Arts atrium space. Part of an ongoing project of illuminated life-size sculptures of domesticated animals, a pair of oxen and a camel are made from repurposed and recycled plastic objects, containers and toys. Lit from within by custom LEDs, the pieces relate in a site-specific way to the Culver Center building’s former life as a department store.
Visit culvercenter.ucr.edu for more information
Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.
The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).
According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”
Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.
In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.
After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)
Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).
En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.
After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).
While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.
Franco Menicagli
A CHI NON PIACE GUARDARE IL CIELO?
(allestimento)
Installazione site specific per il Cortile di Palazzo Strozzi (16.10-16.11.2014)
© Fondazione Palazzo Strozzi
photo James O' Mara
SPECIFIC’s water treatment project is an innovative product, which spun out of our work on titanium dioxide layers in photovoltaic cells. A photoactive coating of titanium dioxide (TiO2) nanotechnology on water containers, roofs or walls, is activated by UV, and degrades organic pollutants. There are many possible applications of this technology, but the potential for use by the textile industry to remove dyes from waterways is perhaps the most significant.
Vernacular signs— "local, site-specific, handmade or hand-crafted signage produced as a unique piece of art or a small run advertisement..."
Advertisements painted by hand directly onto the brickwork of buildings were once a common sight in cities, towns and villages across the country. The rise of printed billboards soon led to their decline but many still survive, often faded, clinging to the walls that host them. These 'Ghostsigns' provide a window into the past and evidence of the craftsmanship that once went into their production. However, they are disappearing fast, often due to weathering but also as a result of property development and demolition.
Sheridan, WY is lucky to have a good deal of these signs still remaining....
Franco Menicagli
A CHI NON PIACE GUARDARE IL CIELO?
(allestimento)
Installazione site specific per il Cortile di Palazzo Strozzi (16.10-16.11.2014)
© photo Mario Guidi
Site specific solid copper fountain placed in the meditation garden of a retirement facility near Baltimore Md. The fountain itself is 80" high set in a stainless steel basin and equipped with a recirculating pump.
Yn ystod ail flwyddyn eu Diploma Estynedig Lefel 3 yn y Celfyddydau Perfformio, bydd myfyrwyr yn ymgymryd ag uned o'r enw Perfformiad safle-benodol sy'n ei wneud yn ofynnol iddynt greu gwaith sydd i'w gyflawni mewn amgylchedd nad yw'n theatraidd. Mae perfformiadau safle-benodol blaenorol wedi cynnwys hanes glan y môr Aberystwyth a'r llynedd, fel rhan o ganmlwyddiant Dylan Thomas, straeon lleol am fywyd Dylan a Caitlin yng Nghei Newydd, Ceredigion rhwng 1944-45. Eleni, maent yn mynd allan i'r bryniau i berfformio 'Tales Along The Way' yn Llanddewi Brefi ac yn Soar-y-Mynydd ar ddydd Gwener 22 o Fai. Cymerodd y myfyrwyr eu hysbrydoliaeth gychwynnol o’r teithiau cerdded mae pererinion wedi eu cymryd o Ogledd Cymru i Eglwys Llanddewi Brefi dros y canrifoedd, yn ogystal â'r teithiau cerdded y mae pobl wedi eu cymryd i Gapel bach Soar-y-Mynydd yn ystod rhan gynnar yr Ugeinfed Ganrif. Mae'r ddau safle yn dal i fod yn ganolfannau crefyddol pwysig heddiw. Gan ddefnyddio barddoniaeth RS Thomas, emynau Ann Griffiths a thestun wedi ei sgriptio ar gyfer y perfformiad, mae'r myfyrwyr wedi creu perfformiad sy’n seiliedig ar symudiad yn bennaf ac sydd wedi ysbrydoli gan straeon lleol. Yna caiff straeon a chlecs eu gwau o’r rhain wrth iddynt ddilyn rhai o'r llwybrau a gymerwyd ers talwm.
In the second year of their Level 3 Extended Diploma in Performing Arts, students have a unit called Site-Specific performance that requires them to make work to be performed in a non-theatrical environment. Previous Site-Specific performances have included the history of Aberystwyth seafront and last year, as part of the Dylan Thomas centenary, local stories of Dylan and Caitlin’s life in New Quay, Ceredigion between 1944-45. This year, they go out into the hills to perform ‘Tales Along the Way’ in Llandewi Brefi and at Soar-y-Mynydd on Friday, the 22nd of May. The students took their initial inspiration from the walks that pilgrims have taken from North Wales to the church of Llandewi Brefi over many centuries as well as the walks that people did to the little chapel of Soar-y-Mynydd during the early part of the 20th Century. These two sites are still important religious centres today. Using the poetry of R.S. Thomas, hymns by Ann Griffiths and text scripted for the performance, the students have created a primarily movement based performance inspired by local stories from which tales and gossip is woven as they follow some of the routes taken in days gone by.
Abierto x Obras. Matadero Madrid. Del 15 de septiembre 2017 al 8 de enero 2018.
Matadero Madrid presenta Los Afijos, una intervención site specific que ha realizado Juan López (Cantabria, 1979) para el programa Abierto x Obras, que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. La propuesta del artista plantea una intervención escultórica sobre la arquitectura como forma de resistencia contra lo establecido.
Los afijos son secuencias lingüísticas que se anteponen, se posponen o se insertan en una palabra para modificar su significado. Esta intervención, realizada específicamente para el programa Abierto x Obras de Matadero Madrid, trabaja con la relación entre escritura y arquitectura, entre signo y significado, entre escultura y collage. En un mundo hipercomunicado, poblado de signos creados por una élite intelectual y/o social, López juega con la posibilidad de alumbrar nuevos significados, nuevos espacios y otros regímenes de lo sensible, a partir de la creación de renovados signos, que además componen otros espacios. Así pues, se resignifica el discurso a la vez que se resignifica la arquitectura y por tanto nuestra manera de relacionarnos en este espacio.
Desde sus obras tempranas de intervención en el espacio urbano, el trabajo de Juan López busca desvelar otros modos de percibir el lugar como hipótesis para otras relaciones sociales fuera de la normatividad impuesta por el poder. En su obra, y mediante el recurso de la metáfora, quiebra y recompone los vínculos entre estos tres elementos: ciudad, subjetividad y poder.
Juan López ha expuesto en numerosas galerías, centros de arte, ferias y museos nacionales e internacionales como La Casa Encendida, MUSAC, Centro de Arte Laboral, Fundación Joan Miró, La Panera, O.K. Centrum Tokyo Wonder Site o Den Frie. Además, ha recibido diversos premios y becas como Hegnspl-Award Byens Hegn, Generaciones 2013, Premio ABC de Arte, Beca Fundación Marcelino Botín o Muestra de Arte INJUVE.
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que invita a artistas a realizar una pieza de nueva producción incentivando el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero.
City Park
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
This specific area shows only a small part of Ireland's longest double-sided herbaceous border. Originally designed in the late 19th century and influenced by pioneering Irish garden writer William Robinson, the border rejects formal, high-maintenance annual bedding in favor of layered perennials that provide changing colors from spring through autumn. The entire planting path contains upwards of 700 to 1,000 distinct plant varieties.
Powerscourt is a large country estate noted for its house and landscaped gardens. The house, originally a 13th-century castle, was extensively rebuilt by German architect Richard Cassels, starting in 1731 and finishing in 1741. A fire in 1974 left the house lying as a shell until it was renovated in 1996. Since 1961 the estate has been owned and run by the Slazenger family.
Remains of a specific medieval fortress, which was built into four basalt towers, which are the remains of an ancient volcano. It was a guard castle with a large tower, which stood high above the landscape with a great outlook at the delta of Elbe river, an important trade route at that time. The original wooden castle stood at least in the 11th Century, and was modified to a stone castle sometimes in the 12th Century. It was expanded in the late 14th Century, attacked in 1444 and damaged, improvized repairs have been done but in the next year another enemies burned the castle down and killed all the men defending it (they were buried under the castle in a mass grave, which is still there). The castle is mentioned as abandoned in 1515, but the buildings under the core were used until WW2. Most of the stone walls sacked down the hill, creating still visible debris fields, today the basalt towers are pretty well accessible, and it is possible to climb to the highest point and have a beautiful look around the landscape.
festival della politica - 9 settembre - Il pensiero italiano e la sua specificità - in foto Andrea TAGLIAPIETRA
ROIL, Christine Sciulli, site specific installation at Smack Mellon photo by Etienne Frossard courtesy of Smack Mellon.
ROIL is an 8 channel video projection of expanding and contracting circles of white light onto a 2000 yard white mesh installation (35'Hx55'Lx28'W) at Smack Mellon (92 Plymouth Street, Brooklyn, NY) on view through 21 February 2016.
Christine Sciulli
Artist Statement
ROIL
December 2016
My most recent explorations have focused on the projection of plane geometries through various three dimensional networks to generate a dynamic mapping of solid geometries of light through space. In this installation, projected circles of white light expand and collapse through Smack Mellon’s cavernous space in a frenzy which harkons back to the roiling steam that powered surrounding factories.
Smack Mellon’s current home once belonged to Robert Gair, who patented his revolutionary design for a structurally sound three-dimensional lidded box folded from a single two-dimensional sheet of paper without adhesives in 1900. Industrialist Gair housed his widely varied paper product operations in several buildings concentrated in DUMBO. “Gairville” was fueled by tons of coal dropped through chutes carved out of the 4th and 5th floors of this former mill. Boilers in this vast hall superheated, churned and compressed water into hissing steam that pulsed through pipes and coursed into adjacent buildings supplying heat and energy. Racing progress and rapidly expanding industrialization, made possible by the relatively simple kinetic expansion of water into a vapor that could provide so many uses, was the starting point for my immersive, site-specific installation, ROIL. My installation stretches through the industrial hall offering opportunities to inhabit it’s passages, caves, nooks, hubs and low overhangs which become clear to the viewer as dark adaptation takes place.
2023 La Delice Pastry Shop and Candy Store Easter Chocolate Display specific on 3rd Avenue and 27th Street Kips Bay New York City - 04/08/2023 April NYC - Mystery Magic Chef outside mannequin Superchef Comicbook super hero comic book comics standee Halloween stand up store stores popup Bake Bakery Easter candy store entrance Pop n Fresh Mannequins dummy wax sculpture standees butler domestic hat uniform chocolate Mysterious
Uchee is a site-specific work, assembled in situ. The brushstrokes sit one in front of the other and are made of polymer and pigment on aluminum. Donald Martiny is a local abstract artist. Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of Fine Arts. His museum exhibitions include the FWMoA, Courtauld Institute of Art, Alden B Dow Museum of Art, Falmouth Museum, and the Cameron Art Museum. Martiny’s work is represented by galleries in Europe, the US and Australia and is collected internationally. His work has been featured in the Huffington Post, NPR, Philadelphia Inquirer, VOGUE LIVING | Australia, New American Paintings | South, Decor Magazine, Hong Kong Tatler and Woven Tale Press.
In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City.
ROIL, Christine Sciulli, site specific installation at Smack Mellon photo by Etienne Frossard courtesy of Smack Mellon.
ROIL is an 8 channel video projection of expanding and contracting circles of white light onto a 2000 yard white mesh installation (35'Hx55'Lx28'W) at Smack Mellon (92 Plymouth Street, Brooklyn, NY) on view through 21 February 2016.
Christine Sciulli
Artist Statement
ROIL
December 2016
My most recent explorations have focused on the projection of plane geometries through various three dimensional networks to generate a dynamic mapping of solid geometries of light through space. In this installation, projected circles of white light expand and collapse through Smack Mellon’s cavernous space in a frenzy which harkons back to the roiling steam that powered surrounding factories.
Smack Mellon’s current home once belonged to Robert Gair, who patented his revolutionary design for a structurally sound three-dimensional lidded box folded from a single two-dimensional sheet of paper without adhesives in 1900. Industrialist Gair housed his widely varied paper product operations in several buildings concentrated in DUMBO. “Gairville” was fueled by tons of coal dropped through chutes carved out of the 4th and 5th floors of this former mill. Boilers in this vast hall superheated, churned and compressed water into hissing steam that pulsed through pipes and coursed into adjacent buildings supplying heat and energy. Racing progress and rapidly expanding industrialization, made possible by the relatively simple kinetic expansion of water into a vapor that could provide so many uses, was the starting point for my immersive, site-specific installation, ROIL. My installation stretches through the industrial hall offering opportunities to inhabit it’s passages, caves, nooks, hubs and low overhangs which become clear to the viewer as dark adaptation takes place.
Chapada Diamantina - Vale do Capão
Bahia - Brasil
*site specific
*Plic*
gabrieow@gmail.com
verão 2011
Franco Menicagli
A CHI NON PIACE GUARDARE IL CIELO?
(allestimento)
Installazione site specific per il Cortile di Palazzo Strozzi (16.10-16.11.2014)
© Fondazione Palazzo Strozzi
photo James O' Mara
L’installazione sonora, nata come work site specific, catalizza l’attenzione sulle tre teste commemorative preesistenti collocate nel ballatoio dell’atrio del Liviano, caratterizzanti lo spazio espositivo in quanto esse stesse opere fatte ad arte. L’artista vuole riportare alla memoria la storia di questi tre personaggi, le cui effigi sono presenze ormai divenute mute suppellettili, essendo parte dell’immagine di un luogo consueto e pertanto dato per scontato. Interviste rivolte dall’artista alle persone in Facoltà, infatti, hanno rivelato che quasi nessuno sapeva chi fossero Carlo Diano, Luigi Pierobon o Emilio Bodrero. Il lavoro di ricerca sulla loro identità è confluito in tre tracce audio distinte, ognuna riferita alla singola testa, da ascoltare mediante l’ausilio di cuffie stereo. Ogni traccia si apre con una citazione attribuita al personaggio ed è e orientata a dare indicazioni sulle relazioni che queste persone hanno avuto con la città di Padova e la Facoltà e pertanto a restituire il loro significato specifico.
Il recupero della memoria personale e collettiva evocata da queste immagini plastiche di personaggi profondamente collegati con il luogo dove sono esposte, altresì pregno di significato, è stato l’obiettivo del processo di questa ricerca che, aggettando un ponte fra passato e presente e cercando non tanto, o non solamente, di riesumare dei ricordi, si propone soprattutto di metterli in relazione con lo spettatore, che è invitato ad interagire e ad essere coinvolto personalmente in un’operazione di intervento e scambio.
Marco Rossanda
Your services are an integral part of efficient travel. Empower your employees!
Don't let seat change requests, bag checks at the gate and pre-paid vouchers for on-board services slow down the check in process -- Preh's unique MC30GC speeds transactions to keep the boarding process moving smoothly.
Specific request from nephew for monkeying Dj to incorporate new head phones he was getting for his birthday.
Inspired by a design I saw with a baby Dj. :)
Aus der Serie „Denudation“
Site-specific Performance und Intervention
Hohe Tauern, Großvenediger Juli 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
AERIAL BOUNDARIES by Loris Cecchini (setting)
Site-specific installation for the courtyard of Palazzo Strozzi in Florence
curated by Franziska Nori
30 April to 1 July 2012
photo © Martino Margheri
Uchee is a site-specific work, assembled in situ. The brushstrokes sit one in front of the other and are made of polymer and pigment on aluminum. Donald Martiny is a local abstract artist. Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of Fine Arts. His museum exhibitions include the FWMoA, Courtauld Institute of Art, Alden B Dow Museum of Art, Falmouth Museum, and the Cameron Art Museum. Martiny’s work is represented by galleries in Europe, the US and Australia and is collected internationally. His work has been featured in the Huffington Post, NPR, Philadelphia Inquirer, VOGUE LIVING | Australia, New American Paintings | South, Decor Magazine, Hong Kong Tatler and Woven Tale Press.
In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City.
Even though we've selected a specific newspaper, we can't just browse it page by page. We must now do another search, either by keyword or a specific issue, and the results will be a series of individual articles.
In this case, I choose to search the Liberty Bell for any articles talking about slavery, slaves, or slavers, published any time after 1850.
Specific to Santa Fe - Emergency!
3 fingers up.
Check out the brand new Occupy Santa Fe pool, a group with very practical discussion threads:
festival della politica - 9 settembre - Il pensiero italiano e la sua specificità - in foto da sinistra Andrea TAGLIAPIETRA,Massimo DONÀ,Davide SPANIO
Uchee is a site-specific work, assembled in situ. The brushstrokes sit one in front of the other and are made of polymer and pigment on aluminum. Donald Martiny is a local abstract artist. Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of Fine Arts. His museum exhibitions include the FWMoA, Courtauld Institute of Art, Alden B Dow Museum of Art, Falmouth Museum, and the Cameron Art Museum. Martiny’s work is represented by galleries in Europe, the US and Australia and is collected internationally. His work has been featured in the Huffington Post, NPR, Philadelphia Inquirer, VOGUE LIVING | Australia, New American Paintings | South, Decor Magazine, Hong Kong Tatler and Woven Tale Press.
In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City.
Cover of the PREPARATORY STUDY FOR VATICAN CORRIDOR, A Non-Specific Autobiography as published in a limited edition signed and numbered by the artist
The lovely Sara and I took a mini road trip up to Vermont last weekend. No specific destination - the plan was to drive around and stop whenever we wanted and where ever we ended up around 7pm we'd stop and continue on the following day. I brought my X100V and my Polaroid SX-70 with a pack of color film and a pack of black & white film. Anytime we saw something to make a photograph of, we'd stop.
The weather was perfect both days and it was great to just head off and see where we ended up.
Here are some selections from the weekend from the X100V
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Mirror is a site specific installation by international artist Jaume Plensa. Mirror features two 10 foot tall figures positioned in conversation with each other. Up close, their physical forms are an intermingling of white coated marine steel letters from many alphabets. Viewers are provided with an entry point to each figure, where they can physically walk inside the sculpture. One of the new public art works celebrating Rice University's centennial.
twistylane.blogspot.com/2012/05/my-world-public-art-mirro...