View allAll Photos Tagged stage_design
🎥 Video of Aria's Set: www.youtube.com/watch?v=z1wqc0yUgmw
SL18B Music Fest Lineup & Calendar of Events
SL18B Stage design by Walton Wainwright of Contraption
light-control of Richard Meier ...
Richard Meier & Partners Architects
have a lot of experience in building museums. Their facades are not just only stage design, but also structured with a variety of pergolas, slats, blinds, which not only have a function but are also an expression of their style.
I looked for a way to make it obvious in this photoworks ...
ƒ/5.6
120.0 mm
1/1250
160
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The Golden Mask performance in Beijing 北京 was a bit of unknown. We did not know what to expect, as previous theatre outing in Shanghai was a bit of disappointment. Most of us where blown away by the spectacle. The huge cast, acrobatics, dancing, costumes, amazing stage design and choreography exceeded everyone expectation. There were things I have never seen on a stage, like these live white peacocks, which patiently stayed on the heads of the dancer and at the end (musical cue?) flew away. The show is very elaborate and is running now for over 10 years.
826. China 19. Beijing P1130996, Taken 01. May, 2019. Uploaded 2021-Oct-14. Lmx -ZS100.
No seriously. A landscaped garden, such as this one (Hughenden in Buckinghamshire, 19th century), is arranged in such a way that nature is turned into a dramatic stage design that, itself, becomes the backdrop of the life of its illustrious owner (in this case, Benjamin Disraeli, British Prime Minister in the 1860 and 1870s). Fuji X100F.
Four equestrian sculptures are decorating the Anichkov Bridge in Saint Petersburg, depicting four stages of Horse Taming. This triptych shows the most dramatic first stage.
Designed in 1850 by Peter Klodt they symbolise the might of man over nature, thus Industrial revolution.
Big Head Todd just doesn't want to leave the stage...
Designed to dazzle the ladies you do need some straight on light for it to do its magic...
Die im Juli 2021 eröffnete Berliner U-Bahn-Station Museumsinsel mit einem einfahrenden Zug der U5.
Die Gestaltung von Max Dudler wurde vom berühmten Schinkelschen Bühnenbild zur Oper "Die Zauberflöte" inspiriert und hat über den Gleisen als Sternenhimmel ein aquamarinblaues Tonnengewölbe mit 6662 Lichtpunkten.
The Berlin underground station Museumsinsel, opened in July 2021, with an incoming U5 train.
Max Dudler's design was inspired by Schinkel's famous stage design for the opera "The Magic Flute" and has an aquamarine blue barrel vault with 6662 points of light above the tracks as a starry sky.
We did a guided tour of the opera house Palau de les Arts Reina Sofía and it was definitely worth it.
We did see some of the concert halls, even the big one where they were doing final stage rehearsals for "Tristan und Isolde". Unfortunately it was pre-premiere and we were asked not to take any pictures of the stage design, which was stunning.
You get an idea here: youtu.be/uQsmMnfosS8
We also saw some hidden corners and most of all we met a really enthusiastic member of the opera house who did a brilliant tour.
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Wir haben eine Opernhausführung mitgemacht und es war absolut empfehlenswert.
Wir haben einige Konzertsäle und -hallen gesehen, inklusive des Hauptsaals, wo gerade das Bühnenbild für die Premiere von "Tristan und Isolde" zu sehen war. Leider durften wir es nicht fotografieren, aber man kann eine Idee davon bekommen, wenn man hier klickt: youtu.be/uQsmMnfosS8
Es war sehr beeindruckend.
Außerdem sind wir noch mit dem Lastenaufzug gefahren und haben ein paar der weniger besuchten Gänge gesehen. Wirklich beeindruckend war die überaus von ihrem Arbeitsplatz begeisterte MItarbeiterin, die uns sehr kurzweilig durch die Gegend führte.
The new R 18 Roctane joins the R 18, R 18 Classic, R 18 B and R 18 Transcontinental as the fifth member of the R 18 family. Once again, it harks back to the history and tradition of BMW Motorrad and combines state-of-the-art motorcycle technology with the design and charm of times gone by.
Both technically and visually, the BMW R 18 borrows from famous BMW models such as the BMW R 5 and puts the focus back on the essentials of motorcycling: Purist, no-frills technology and the boxer engine as the epicentre of riding pleasure. Classic design and clear, yet contemporary technology merge to form a fascinating overall concept. This combination delivers a unique emotional riding experience and the model is characterised by skilfully staged design language with a rear section in so-called “streamlining design”.
Black and White series.
2. Fitzroy Town Hall.
This civic building is located in Napier Street in Fitzroy, a suburb of Melbourne. As you travel down Napier Street, it is quite a remarkable site to behold.
It was constructed in two separate stages. The first consisted of a hall and tower which was designed by William J. Ellis and built in 1873. Between 1887 and 1890, a new stage designed by George Johnson was added to this comprising municipal offices, a police station and a courthouse as well as extensions to the hall. The clock tower added at this time replaced the original tower.
The building is an example of the Free Classical style of Victorian architecture and is recorded as a "Heritage place" by Heritage Victoria.
After the amalgamation of the City of Fitzroy with the Cities of Collingwood and Richmond in 1994 forming the City of Yarra, the Town Hall now functions as secondary offices, service centre and library servicing the Collingwood area for the City of Yarra.
Museumsinsel is a subway station in Berlin's Mitte district. It is part of the extension of the subway line U5 from Alexanderplatz to Brandenburger Tor, with groundbreaking occurring in 2010. The station opened on 9 July 2021
The Museumsinsel station has a single central platform at the eastern end of Unter den Linden, between Zeughaus and Berlin Palace. Part of the station is located just south of the Schlossbrücke under the Spree, at a depth of 16 meters below the upper edge of the street.
Entrances lead to the station from both ends, with distribution levels below the road surface. The station can be accessed from the west by an entrance in front of the Kronprinzenpalais and east of the Zeughaus. On the east side of the station, two entrances lie at the northwest corner of the Berliner Schloss. Both ends are equipped with escalators, and near the east entrance is an elevator leading from the surface directly to the platform.
The platform occupies the space between the two tunnels, under a flat ceiling supported by two rows of columns. The design by Max Dudler was inspired by a stage design by Karl Friedrich Schinkel for the opera The Magic Flute (Die Zauberflöte) from 1816 and features a starry sky on a dark blue barrel vault with points of light over the tracks.
From Wikipedia
Perspective stage ...
The Teatro Olimpico in Vicenza
UNESCO World Heritage Site and marvel: The Teatro Olimpico in Vicenza.
The Teatro Olimpico in Vicenza in northeastern Italy is definitely worth a visit! It is the first free-standing theater building in Europe since ancient times and the oldest covered theater in the world.
It was built by the architect Andrea Palladio between 1580 and 1585 in the style of a Roman theater and is a UNESCO World Heritage Site.
Theater and music productions take place in the Teatro Olimpico.
The members of the Olympic Academy of Vicenza, of which Palladio was a member, were particularly interested in the stage arts and commissioned him to build a theater hall.
The stage architecture was designed by his student Vincenzo Scamozzi after his sudden death.
At the opening in 1585, the play "King Oedipus" by Sophocles was performed. Palladio did not live to see it.
The Teatro Olimpico was initially a great success, but operations were stopped during the Counter-Reformation. From the middle of the 19th century, occasional performances were held again, but it was not until the post-war period that the theater regained its former fame.
The Teatro Olimpico can also be visited independently of the performances.
Palladio modified the ancient specifications that he had studied in detail in Rome. The auditorium is a semi-oval with 14 ascending rows of seats, which are closed off by a colonnade. The stage wall offers a view of a palace, a city that is supposed to represent Thebes.
Since the houses are smaller towards the back and the stage floor rises towards the back, the scene appears much deeper - a perspective stage.
The stage design is unchangeable.
Goethe was also impressed by Palladio's architecture at the beginning of his trip to Italy in 1786.
The Teatro Olimpico is now only allowed to accommodate 400 spectators (it used to be allowed to accommodate 800 spectators). Depending on the performance, the concert pit is also set up for theatergoers.
The series of events begins in spring with classical music concerts and evenings as part of the Vicenza Jazz Festival.
Classical plays are then performed in autumn. Since the theater cannot be heated or air-conditioned, performances are not possible in summer or winter.
In 1986, director Jean-Pierre Ponnelle filmed the opera "Mitridate, re di Ponto" by Wolfgang Amadeus Mozart in the Teatro Olimpico.
Al Roker, an American producer and actor, released the documentary "Empire of the Eye: The Magic of Illusion" in 2003, in which he describes the spectacular illusions that Palladio created behind the scenes of the Teatro Olimpico.
And if you haven't experienced enough culture yet: From Vicenza you can quickly reach three other UNESCO cultural sites: Venice, Verona, and Padua!
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Christine in her studio in Guggental near Salzburg.
Theatre painting „King Artus“, 1984.
From 1976-1981 Christine studied stage design, costume design and theatre painting at the Mozarteum in Salzburg. Graduation in all three fields of study with the Master of Arts.
1982 opening of a studio for theatre painting. On an area of 500m2
she produced with her business partner Georg pictures, theater paintings and cycloramas till 20x50m.
Christine im Atelier in Guggental bei Salzburg.
Theatermalerei „König Artus“, Salzburger Landestheater, 1984.
Christine studiert von 1976 – 1981 am Mozarteum in Salzburg die Studienrichtungen Bühnenbild, Kostümbild und Theatermalerei. Abschluss aller drei Studienrichtungen mit
Magister Artium.
1982 Eröffnung eines Ateliers für Theatermalerei in Salzburg, Guggental. Auf einer Fläche von 500qm entstehen Bilder, Prospekte und Rundhorizonte bis 20x50m.
OM2, 24mm f2.8
Kodachrome
Guggental / Salzburg / Austria
Please view on flickriver and choose a white background:
www.flickriver.com/photos/105795038@N03/
It looks better :-)
Lovely stage design for G&S's The Sorcerer, at Wilton's Music Hall. Charles Court Opera Co. Set by Lucy Fowler.
9.4.09
The flight arrived on time; and the twelve hours while on board passed quickly and without incident. To be sure, the quality of the Cathay Pacific service was exemplary once again.
Heathrow reminds me of Newark International. The décor comes straight out of the sterile 80's and is less an eyesore than an insipid background to the rhythm of human activity, such hustle and bustle, at the fore. There certainly are faces from all races present, creating a rich mosaic of humanity which is refreshing if not completely revitalizing after swimming for so long in a sea of Chinese faces in Hong Kong.
Internet access is sealed in England, it seems. Nothing is free; everything is egregiously monetized from the wireless hotspots down to the desktop terminals. I guess Hong Kong has spoiled me with its abundant, free access to the information superhighway.
11.4.09
Despite staying in a room with five other backpackers, I have been sleeping well. The mattress and pillow are firm; my earplugs keep the noise out; and the sleeping quarters are as dark as a cave when the lights are out, and only as bright as, perhaps, a dreary rainy day when on. All in all, St. Paul's is a excellent place to stay for the gregarious, adventurous, and penurious city explorer - couchsurfing may be a tenable alternative; I'll test for next time.
Yesterday Connie and I gorged ourselves at the borough market where there were all sorts of delectable, savory victuals. There was definitely a European flavor to the food fair: simmering sausages were to be found everywhere; and much as the meat was plentiful, and genuine, so were the dairy delicacies, in the form of myriad rounds of cheese, stacked high behind checkered tabletops. Of course, we washed these tasty morsels down with copious amounts of alcohol that flowed from cups as though amber waterfalls. For the first time I tried mulled wine, which tasted like warm, rancid fruit punch - the ideal tonic for a drizzling London day, I suppose. We later killed the afternoon at the pub, shooting the breeze while imbibing several diminutive half-pints in the process. Getting smashed at four in the afternoon doesn't seem like such a bad thing anymore, especially when you are having fun in the company of friends; I can more appreciate why the English do it so much!
Earlier in the day, we visited the Tate Modern. Its turbine room lived up to its prominent billing what with a giant spider, complete with bulbous egg sac, anchoring the retrospective exhibit. The permanent galleries, too, were a delight upon which to feast one's eyes. Picasso, Warhol and Pollock ruled the chambers of the upper floors with the products of their lithe wrists; and I ended up becoming a huge fan of cubism, while developing a disdain for abstract art and its vacuous images, which, I feel, are devoid of both motivation and emotion.
My first trip yesterday morning was to Emirates Stadium, home of the Arsenal Gunners. It towers imperiously over the surrounding neighborhood; yet for all its majesty, the place sure was quiet! Business did pick up later, however, once the armory shop opened, and dozens of fans descended on it like bees to a hive. I, too, swooped in on a gift-buying mission, and wound up purchasing a book for Godfrey, a scarf for a student, and a jersey - on sale, of course - for good measure.
I'm sitting in the Westminster Abbey Museum now, resting my weary legs and burdened back. So far, I've been verily impressed with what I've seen, such a confluence of splendor and history before me that it would require days to absorb it all, when regretfully I can spare only a few hours. My favorite part of the abbey is the poets corner where no less a literary luminary than Samuel Johnson rests in peace - his bust confirms his homely presence, which was so vividly captured in his biography.
For lunch I had a steak and ale pie, served with mash, taken alongside a Guinness, extra cold - 2 degrees centigrade colder, the bartender explained. It went down well, like all the other delicious meals I've had in England; and no doubt by now I have grown accustomed to inebriation at half past two. Besides, Liverpool were playing inspired football against Blackburn; and my lunch was complete.
Having had my fill of football, I decided to skip my ticket scalping endeavor at Stamford Bridge and instead wandered over to the British Museum to inspect their extensive collections. Along the way, my eye caught a theater, its doors wide open and admitting customers. With much rapidity, I subsequently checked the show times, saw that a performance was set to begin, and at last rushed to the box office to purchase a discounted ticket - if you call a 40 pound ticket a deal, that is. That's how I grabbed a seat to watch Hairspray in the West End.
The show was worth forty pounds. The music was addictive; and the stage design and effects were not so much kitschy as delightfully stimulating - the pulsating background lights were at once scintillating and penetrating. The actors as well were vivacious, oozing charisma while they danced and delivered lines dripping in humor. Hairspray is a quality production and most definitely recommended.
12.4.09
At breakfast I sat across from a man who asked me to which country Hong Kong had been returned - China or Japan. That was pretty funny. Then he started spitting on my food as he spoke, completely oblivious to my breakfast becoming the receptacle in which the fruit of his inner churl was being placed. I guess I understand the convention nowadays of covering one's mouth whilst speaking and masticating at the same time!
We actually conversed on London life in general, and I praised London for its racial integration, the act of which is a prodigious leap of faith for any society, trying to be inclusive, accepting all sorts of people. It wasn't as though the Brits were trying in vain to be all things to all men, using Spanish with the visitors from Spain, German with the Germans and, even, Hindi with the Indians, regardless of whether or not Hindi was their native language; not even considering the absurd idea of encouraging the international adoption of their language; thereby completely keeping English in English hands and allowing its proud polyglots to "practice" their languages. Indeed, the attempt of the Londoners to avail themselves of the rich mosaic of ethnic knowledge, and to seek a common understanding with a ubiquitous English accent is an exemplar, and the bedrock for any world city.
I celebrated Jesus' resurrection at the St. Andrew's Street Church in Cambridge. The parishioners of this Baptist church were warm and affable, and I met several of them, including one visiting (Halliday) linguistics scholar from Zhongshan university in Guangzhou, who in fact had visited my tiny City University of Hong Kong in 2003. The service itself was more traditional and the believers fewer in number than the "progressive" services at any of the charismatic, evangelical churches in HK; yet that's what makes this part of the body of Christ unique; besides, the message was as brief as a powerpoint slide, and informative no less; the power word which spoke into my life being a question from John 21:22 - what is that to you?
Big trees; exquisite lawns; and old, pointy colleges; that's Cambridge in a nutshell. Sitting here, sipping on a half-pint of Woodforde's Wherry, I've had a leisurely, if not languorous, day so far; my sole duty consisting of walking around while absorbing the verdant environment as though a sponge, camera in tow.
I am back at the sublime beer, savoring a pint of Sharp's DoomBar before my fish and chips arrive; the drinking age is 18, but anyone whose visage even hints of youthful brilliance is likely to get carded these days, the bartender told me. The youth drinking culture here is almost as twisted as the university drinking culture in America.
My stay in Cambridge, relaxing and desultory as it may be, is about to end after this late lunch. I an not sure if there is anything left to see, save for the American graveyard which rests an impossible two miles away. I have had a wonderful time in this town; and am thankful for the access into its living history - the residents here must demonstrate remarkable patience and tolerance what with so many tourists ambling on the streets, peering - and photographing - into every nook and cranny.
13.4.09
There are no rubbish bins, yet I've seen on the streets many mixed race couples in which the men tend to be white - the women also belonging to a light colored ethnicity, usually some sort of Asian; as well saw some black dudes and Indian dudes with white chicks.
People here hold doors, even at the entrance to the toilet. Sometimes it appears as though they are going out on a limb, just waiting for the one who will take the responsibility for the door from them, at which point I rush out to relieve them of such a fortuitous burden.
I visited the British Museum this morning. The two hours I spent there did neither myself nor the exhibits any justice because there really is too much to survey, enough captivating stuff to last an entire day, I think. The bottomless well of artifacts from antiquity, drawing from sources as diverse as Korea, and Mesopotamia, is a credit to the British empire, without whose looting most of this amazing booty would be unavailable for our purview; better, I think, for these priceless treasures to be open to all in the grandest supermarket of history than away from human eyes, and worst yet, in the hands of unscrupulous collectors or in the rubbish bin, possibly.
Irene and I took in the ballet Giselle at The Royal Opera House in the afternoon. The building is a plush marvel, and a testament to this city's love for the arts. The ballet itself was satisfying, the first half being superior to the second, in which the nimble dancers demonstrated their phenomenal dexterity in, of all places, a graveyard covered in a cloak of smoke and darkness. I admit, their dance of the dead, in such a gloomy necropolis, did strike me as, strange.
Two amicable ladies from Kent convinced me to visit their hometown tomorrow, where, they told me, the authentic, "working" Leeds Castle and the mighty interesting home of Charles Darwin await.
I'm nursing a pint of Green King Ruddles and wondering about the profusion of British ales and lagers; the British have done a great deed for the world by creating an interminable line of low-alcohol session beers that can be enjoyed at breakfast, lunch, tea and dinner; and their disservice is this: besides this inexhaustible supply of cheap beer ensnaring my inner alcoholic, I feel myself putting on my freshman fifteen, almost ten years after the fact; I am going to have to run a bit harder back in Hong Kong if I want to burn all this malty fuel off.
Irene suggested I stop by the National Art Gallery since we were in the area; and it was an hour well spent. The gallery currently presents a special exhibit on Picasso, the non-ticketed section of which features several seductive renderings, including David spying on Bathsheba - repeated in clever variants - and parodies of other masters' works. Furthermore, the main gallery houses two fabulous portraits by Joshua Reynolds, who happens to be favorite of mine, he in life being a close friend of Samuel Johnson - I passed by Boswells, where its namesake first met Johnson, on my way to the opera house.
14.4.09
I prayed last night, and went through my list, lifting everyone on it up to the Lord. That felt good; that God is alive now, and ever present in my life and in the lives of my brothers and sisters.
Doubtless, then, I have felt quite wistful, as though a specter in the land of the living, being in a place where religious fervor, it seems, is a thing of the past, a trifling for many, to be hidden away in the opaque corners of centuries-old cathedrals that are more expensive tourist destinations than liberating homes of worship these days. Indeed, I have yet to see anyone pray, outside of the Easter service which I attended in Cambridge - for such an ecstatic moment in verily a grand church, would you believe that it was only attended by at most three dozen spirited ones. The people of England, and Europe in general, have, it is my hope, only locked away the Word, relegating it to the quiet vault of their hearts. May it be taken out in the sudden pause before mealtimes and in the still crisp mornings and cool, silent nights. There is still hope for a revival in this place, for faith to rise like that splendid sun every morning. God would love to rescue them, to deliver them in this day, it is certain.
I wonder what Londoners think, if anything at all, about their police state which, like a vine in the shadows, has taken root in all corners of daily life, from the terrorist notifications in the underground, which implore Londoners to report all things suspicious, to the pair of dogs which eagerly stroll through Euston. What makes this all the more incredible is the fact that even the United States, the indomitable nemesis of the fledgling, rebel order, doesn't dare bombard its citizens with such fear mongering these days, especially with Obama in office; maybe we've grown wise in these past few years to the dubious returns of surrendering civil liberties to the state, of having our bags checked everywhere - London Eye; Hairspray; and The Royal Opera House check bags in London while the museums do not; somehow, that doesn't add up for me.
I'm in a majestic bookshop on New Street in Birmingham, and certainly to confirm my suspicions, there are just as many books on the death of Christianity in Britain as there are books which attempt to murder Christianity everywhere. I did find, however, a nice biography on John Wesley by Roy Hattersley and The Screwtape Letters by C.S. Lewis. I may pick up the former.
Lunch with Sally was pleasant and mirthful. We dined at a French restaurant nearby New Street - yes, Birmingham is a cultural capitol! Sally and I both tried their omelette, while her boyfriend had the fish, without chips. Conversation was light, the levity was there and so was our reminiscing about those fleeting moments during our first year in Hong Kong; it is amazing how friendships can resume so suddenly with a smile. On their recommendation, I am on my way to Warwick Castle - they also suggested that I visit Cadbury World, but they cannot take on additional visitors at the moment, the tourist office staff informed me, much to my disappointment!
Visiting Warwick Castle really made for a great day out. The castle, parts of which were established by William the Conquerer in 1068, is as much a kitschy tourist trap as a meticulous preservation of history, at times a sillier version of Ocean Park while at others a dignified dedication to a most glorious, inexorably English past. The castle caters to all visitors; and not surprisingly, that which delighted all audiences was a giant trebuchet siege engine, which for the five p.m. performance hurled a fireball high and far into the air - fantastic! Taliban beware!
15.4.09
I'm leaving on a jet plane this evening; don't know when I'll be back in England again. I'll miss this quirky, yet endearing place; and that I shall miss Irene and Tom who so generously welcomed me into their home, fed me, and suffered my use of their toilet and shower goes without saying. I'm grateful for God's many blessings on this trip.
On the itinerary today is a trip to John Wesley's home, followed by a visit to the Imperial War Museum. Already this morning I picked up a tube of Oilatum, a week late perhaps, which Teri recommended I use to treat this obstinate, dermal weakness of mine - I'm happy to report that my skin has stopped crying.
John Wesley's home is alive and well. Services are still held in the chapel everyday; and its crypt, so far from being a cellar for the dead, is a bright, spacious museum in which all things Wesley are on display - I never realized how much of an iconic figure he became in England; at the height of this idol frenzy, ironic in itself, he must have been as popular as the Beatles were at their apex. The house itself is a multi-story edifice with narrow, precipitous staircases and spacious rooms decorated in an 18th century fashion.
I found Samuel Johnson's house within a maze of red brick hidden alongside Fleet Street. To be in the home of the man who wrote the English dictionary, and whose indefatigable love for obscure words became the inspiration for my own lexical obsession, this, by far, is the climax of my visit to England! The best certainly has been saved for last.
There are a multitude of portraits hanging around the house like ornaments on a tree. Every likeness has its own story, meticulously retold on the crib sheets in each room. Celebrities abound, including David Garrick and Sir Joshua Reynolds, who painted several of the finer images in the house. I have developed a particular affinity for Oliver Goldsmith, of whom Boswell writes, "His person was short, his countenance coarse and vulgar, his deportment that of a scholar awkwardly affecting the easy gentleman. It appears as though I, too, could use a more flattering description of myself!
I regretfully couldn't stop to try the curry in England; I guess the CityU canteen's take on the dish will have to do. I did, however, have the opportune task of flirting with the cute Cathay Pacific counter staff who checked me in. She was gorgeous in red, light powder on her cheeks, with real diamond earrings, she said; and her small, delicate face, commanded by a posh British accent rendered her positively irresistible, electrifying. Not only did she grant me an aisle seat but she had the gumption to return my fawning with zest; she must be a pro at this by now.
I saw her again as she was pulling double-duty, collecting tickets prior to boarding. She remembered my quest for curry; and in the fog of infatuation, where nary a man has been made, I fumbled my words like the sloppy kid who has had too much punch. I am just an amateur, alas, an "Oliver Goldsmith" with the ladies - I got no game - booyah!
Some final, consequential bits: because of the chavs, Burberry no longer sells those fashionable baseball caps; because of the IRA, rubbish bins are no longer a commodity on the streets of London, and as a result, the streets and the Underground of the city are a soiled mess; and because of other terrorists from distant, more arid lands, going through a Western airport has taken on the tedium of perfunctory procedure that doesn't make me feel any safer from my invisible enemies.
At last, I saw so many Indians working at Heathrow that I could have easily mistaken the place for Mumbai. Their presence surprised me because their portion of the general population surely must be less than their portion of Heathrow staff, indicating some mysterious hiring bias. Regardless, they do a superb job with cursory airport checks, and in general are absurdly funny and witty when not tactless.
That's all for England!
8.3.2011, ca. 4,50 x1,40 m, Acryl auf Leinwand
8.3.2011, each about 180 x 55 inch., acrylic on canvas
Für die Hafenszene zu Beginn der Rokoko-Oper Zanaida malte ich als erstes diese beiden Kulissenbilder, es sind Reste einer antiken Bebauung.
For the harbor scene at the beginning of the rococo opera Zanaida I painted the first these two backdrop images, there are remains of an ancient building.
El Mesón de Cándido is a restaurant located next to the aqueduct. Its inauguration dates back to the 17th century. The name and fame of the inn is due to the middle of the 20th century when it was acquired by the Castilian chef and senior innkeeper Cándido López who popularized Segovian cuisine by making roast suckling pig and his own stage design of cutting the edge of the dish when serving them.
El Mesón de Cándido es un local de hostelería ubicado junto al acueducto. Su inauguración data del siglo XVII. El nombre y la fama del mesón se debe, a mediados del siglo XX, cuando lo adquiere el cocinero castellano y mesonero mayor Cándido López que popularizó la cocina segoviana mediante la realización de cochinillo asado y su escenografía propia de corte al canto del plato al servirlos.
El Acueducto de Segovia.
Segovia (Comunidad autónoma de Castilla y León). Spain
This car was an early-stage design experiment that Oldsmobile chose not to develop further. Other than its experimental and avant-garde appearance, little else is known about it.
Clay models are often used by automotive designers to explore and refine the visual and aerodynamic aspects of a vehicle before it ever hits the production stage. These models can sometimes remain as purely conceptual pieces, never advancing beyond the design phase. They allow designers to physically visualize and tweak their concepts.
3.3.2011, ca. 4,50 x1,40 m, Acryl auf Leinwand, Detail.
3.3.2011, each about 180 x 55 inch., acrylic on canvas, Detail.
Für die Hafenszene zu Beginn der Rokoko-Oper Zanaida malte ich diese Treppe als Rest einer antiken Bebauung.
For the harbor scene at the beginning of the rococo opera Zanaida I painted this staircase as a remain of a ancient building.
8.3.2011, ca. 4,50 x1,40 m, Acryl auf Leinwand
8.3.2011, each about 180 x 55 inch., acrylic on canvas
Für die Hafenszene zu Beginn der Rokoko-Oper Zanaida malte ich als erstes diese beiden Kulissenbilder, es sind Reste einer antiken Bebauung.
For the harbor scene at the beginning of the rococo opera Zanaida I painted the first these two backdrop images, there are remains of an ancient building.
Die Regisseurin schickte mir diese Zeichnung eines italienischen Künstlers mit einer barocken, wildaufgewühlten Hafenszene, mit Phantasie-Schiffen und windzerzausten Segeln. Dies sollte mir Anregung für das Bühnenbild der Oper Zanaida sein.
The director sent me this drawing of an Italian artist with a baroque, wild roiling harbor scene with fancy ships and windswept sails. This should be my inspiration for the stage design of the opera Zanaida.
In a collective energy, the Association of the students of the ENSP (Ecole Nationale Supérieure de la Photographie) wished, this year, for the annual exhibition of WIP, to imagine this instant of monstration of jobs of the students as a second shutter of the edition of 2016.
How to introduce, to represent jobs of all the students, at the same time peculiar but forming a whole, A school? That have him of expression Work In Progress once all jobs in the same space. Work In Progress because some people need to reveal their process to issue the message of their work, Work In Progress because we are still only students, in tremble of our career we are "ongoing".
For the third consecutive year, AEENSP combines with the stage designers Elizabeth Guyon and Mona Nahas (Digital Deluxe), and for the second time with the graphic designers Eva Lambert and Paul Cabanes. The pooling of our respective domains offers a wandering then to the public in the Church Holy-St Julian in which stage design and clash are played of transparency, of space and full, as though they entered a forest of pictures which sometimes immerse us.
Der am 9. Juli 2021 eröffnete U-Bahnhof Museumsinsel ist Teil der Verlängerung der U-Bahn-Linie U5 vom Alexanderplatz zum Brandenburger Tor, mit deren Bau 2010 (erster Spatenstich) begonnen wurde. Er ist der 175. U-Bahnhof des Berliner Streckennetzes. Der Bahnsteig liegt in rund 16 Metern Tiefe unter der Straßenoberkante. Ein Teil des Bahnhofs befindet sich unmittelbar südlich der Schloßbrücke unter dem Spreekanal, was ein sehr aufwendiges Bauverfahren nötig machte. Nicht nur musste der Spreekanal temporär teilweise abgeriegelt und zugeschüttet werden, sondern die schwierige Bodenstrruktur machte es erforderlich, die gesamte Baugrube zu vereisen, um den Boden während des Baus zu stabilisieren.
Zur Vereisung unter dem Spreekanal wurden bis Ende November 2017 insgesamt 95 je 105 Meter lange Bohrungen eingebracht. In diese wurden Leitungen für die Kühlflüssigkeit – minus 37 °C kalte Calciumchloridlösung – gelegt.
Der Bahnsteigraum bildet sich aus den Gewölben der beiden Streckentunnel sowie dem von zwei Stützenreihen getragenen Zwischenraum mit flacher Decke. Die Gestaltung von Max Dudler wurde vom berühmten Schinkelschen Bühnenbild zur Oper Die Zauberflöte aus dem Jahr 1816 inspiriert und sieht über den Gleisen als dessen Sternenhimmel ein aquamarinblaues Tonnengewölbe mit 6662 Lichtpunkten vor. Die Wände wurden in Anlehnung an die klassizistische Architektur der umliegenden Gebäude mit hellem Naturstein verkleidet, hierfür kam Granit aus dem Fichtelgebirge zum Einsatz. Die Hintergleiswände wurden mit großformatigen Fotografien von Stefan Müller gestaltet, die die umliegenden Gebäude zeigen. Seit der Eröffnung der verlängerten Strecke am 4. Dezember 2020 waren die U-Bahn-Züge ohne Halt durch diesen Bahnhof gefahren, weil der Innenausbau noch nicht abgeschlossen war, seit dem 9. Juli 2021 halten sie nun auch hier.
Quelle: Wikipedia
Museumsinsel (Museum Island) underground station, opened on 9 July 2021, is part of the extension of the U5 underground line from Alexanderplatz to Brandenburg Gate, the construction of which began in 2010 (groundbreaking ceremony). It is the 175th underground station on Berlin's network. The platform is located at a depth of around 16 metres below the street level. Part of the station is located under the Spree Canal, directly south of the Schloßbrücke (Palace Bridge) which necessitated a very elaborate construction process.Not only did the Spree Canal have to be partially sealed off and filled in temporarily, but the difficult ground structure made it necessary to ice the entire excavation pit to stabilise the ground during construction.
To freeze the ground under the Spree Canal, a total of 95 boreholes, each 105 metres long, were drilled by the end of November 2017. Pipes for the cooling liquid - a minus 37 °C cold calcium chloride solution - were laid in these.
The platform space is formed from the vaults of the two track tunnels and the intermediate space with flat ceiling supported by two rows of columns. Max Dudler's design was inspired by Schinkel's famous stage design for the opera The Magic Flute from 1816 and envisages an aquamarine barrel vault with 6662 light points above the tracks, evoking a starry sky. The walls were clad in light-coloured natural stone in keeping with the neo-classical architecture of the surrounding buildings; granite from the Fichtelgebirge region was used for this purpose. The rear track walls were designed with large-format photographs by Stefan Müller showing the surrounding buildings. Since the opening of the extended line on 4 December 2020, the underground trains had passed through this station without stopping because the interior work had not yet been completed; since 9 July 2021, they have now also stopped here.
Source: Wikipedia
In a collective energy, the Association of the students of the ENSP (Ecole Nationale Supérieure de la Photographie) wished, this year, for the annual exhibition of WIP, to imagine this instant of monstration of jobs of the students as a second shutter of the edition of 2016.
How to introduce, to represent jobs of all the students, at the same time peculiar but forming a whole, A school? That have him of expression Work In Progress once all jobs in the same space. Work In Progress because some people need to reveal their process to issue the message of their work, Work In Progress because we are still only students, in tremble of our career we are "ongoing".
For the third consecutive year, AEENSP combines with the stage designers Elizabeth Guyon and Mona Nahas (Digital Deluxe), and for the second time with the graphic designers Eva Lambert and Paul Cabanes. The pooling of our respective domains offers a wandering then to the public in the Church Holy-St Julian in which stage design and clash are played of transparency, of space and full, as though they entered a forest of pictures which sometimes immerse us.
Ragdale is a nonprofit artists’ community located on the former country estate of architect Howard Van Doren Shaw.
More than 150 residencies and fellowships are now offered annually to creative professionals of all types, making Ragdale one of the largest interdisciplinary artists’ communities in the country. Ragdale residents represent a cross-section of ages, cultures, experience, and mediums, for a diverse and vibrant community.
In each session, 13 artists-in-residence enjoy uninterrupted time for work, a supportive environment, dynamic artist exchanges, 50 acres of idyllic prairie, and a family-style dinner each evening.
The Adrian Smith Prize for the 2017 Ragdale Ring goes to “LIVING PICTURE” by T+E+A+M. In its short history, this competition has produced an exciting series of experimental projects.
Historical elements from the original Ragdale Ring appear on lightweight objects stacked and spread throughout the grounds. Blending a historic scene with its contemporary counterpart, Living Picture recreates Howard Van Doren Shaw’s 1912 garden stage design—the low limestone wall, columns topped with fruit baskets, and the lush landscape of trees and hedges that formed the stage’s proscenium, wings, and backdrop—as digital imagery nestled among the trees and buildings of the Ragdale estate.
The effect is a vivid visual space where images and objects overlap, align, and misregister. Members of the audience become performers as they weave between the scenic objects and sit on platforms at their base. A taller grouping of objects draws attention toward the stage where the historic imagery merges with the natural surrounds, placing the performer in a state of theatrical suspension—between past and present, between reality and artifice.
Operahus, Oslo, Norge
Gross area: 38,500 m2 divided into 1,100 rooms
Audience areas: 11,200 m2
Stage areas: 8,300 m2
Rehearsal rooms, administration and workshops: 19,100 m2
Depth below sea level of stage: 16 m
Main Auditorium: 1,364 seats (depending on size of orchestra pit)
Stage 2: Up to 440 seats (depending on stage design)
Rehearsal Stage 1: 200 seats
digging into PaD out-takes, I thought "oh? that is rather nice"
and I have to agree with myself (for once), I rather like the edit on this one so I better let it see the world
as a counterbalance: i.e. we need to maintain the balance of beauty in the world don't we? i.e. go overboard with beauty and you tip over to kitsch and unpleasantness, right? right!
so we need to bring it down a bit , right? right!
so, man! I mean , honestly! Mike!
you are a genius ... you are!
but man!
this whole affair is beyond humanly acceptable, from music to lyrics to hairdos , not to ignore the outfits .. and did I mention stage design?
man or man!
this is bad
17 Back to News
Friday 2 September 2016
ICC Theatre: Sydney’s largest theatre nearing completion
With construction of the ICC Theatre nearing completion, Keith Urban has been announced as the venue’s first headline act.
Designed by HASSELL + Populous for the Darling Harbour Live consortium, the ICC Theatre will provide an unrivalled Sydney concert experience with an expansive stage designed for rock concerts and other large entertainment events.
Every one of the venue’s 8,000 seats is focused on the centre of the stage, and a fan-shaped vertical seating layout ensures an optimal view from every seat in the house. The venue can accommodate 9,000 people when additional standing room is employed.
One of three new ICC Sydney venues, the Theatre’s layered mesh facade wraps what will be a unique and memorable venue, with the vibrant red foyer areas glowing in the evening
signaling the exciting energy of the entertainment industry.
While inside the auditorium the experience is inward looking, focused on the event, the VIP areas of the ICC Theatre boast spectacular views of Sydney’s city skyline to create an all-encompassing experience for fans – a connection to the performance and a connection to Sydney.
Source: Hassell
Charles de Wailly (1730-1798) - Le Palais d'Armide
www.sothebys.com/en/buy/auction/2022/master-works-on-pape...
Kings Theatre, Southsea. The auditorium from the stage. Designed by Frank Matcham and opened in 1907, the Kings seats over 1,400 on four levels. Despite some difficulties, it has remained open (except during restorations) for over a century and is now run by a Trust, who lease it from Portsmouth City Council. It is a near complete example of Matcham's later work, and is Grade 2* listed.
Southsea, Portsea Island, Hampshire, South Coast of England, UK - Kings Theatre, Albert Road / Exmouth Road / Collingwood Road
June 2023
Amazingly detailed and imaginative stage design model by John Napier. The Towner in Eastbourne is host to a great exhibition of his stage design and artwork, well worth a visit.
TAO:Drum Heart directed by Amon Miyanmoto, Costumes by Junko Koshino, and Stage Design by Rumi Matsui.
(2016 Taiko Drum-0723)
As Published on New York Business:
© Saúl Tuñón Loureda
www.instagram.com/saul_t_loureda/
El Radio City Music Hall es un lugar de entretenimiento ubicado en el Rockefeller Center en la ciudad de Nueva York, Estados Unidos. Es considerado como el teatro más importante del país, y se le da el apodo "Showplace of the Nation" ("Sitio del Más Interés Turístico en la Nación"). Fue inaugurado el 27 de diciembre de 1932 y, por un tiempo, fue considerado como el primer destino turístico de la ciudad de Nueva York. En su escenario, el espectáculo "Radio City Christmas Spectacular" ha sido presentado anualmente desde 1933. Su interior fue declarado como un punto de referencia del ciudad en 1978.
El complejo de 12 acres (49 000 m²) en Midtown Manhattan, que es actualmente conocido como el Rockefeller Center, fue desarrollado entre 1929 y 1940 por el filántropo John D. Rockefeller Jr., sobre un terreno arrendado de la Universidad de Columbia. El Radio City Music Hall fue diseñado por el arquitecto Edward Durell Stone y el diseñador de interiores Donald Deskey en el estilo art decó.
El nombre originalmente previsto para el teatro fue International Music Hall.2 Los nombres "Radio City" y "Radio City Music Hall" se derivan de uno de los primeros inquilinos del complejo, la Radio Corporation of America. El Radio City Music Hall fue un proyecto de Rockefeller; Samuel Roxy Rothafel, quien previamente había abierto el Roxy Theatre en 1927; y el presidente de RCA, David Sarnoff. RCA había desarrollado numerosos estudios para la NBC en el 30 de Rockefeller Plaza, justo al sur del Music Hall, y el complejo de la radiotelevisión que prestó al Music Hall su nombre sigue siendo conocido como los NBC Radio City Studios.
El Music Hall se abrió al público el 27 de diciembre de 1932 con un espectáculo escénico presentado por Ray Bolger, Doc Rockwell, y Martha Graham. La apertura estaba destinado a ser un retorno a entretenimiento de variedad de la primera clase. El nuevo formato no fue un éxito. El programa era muy largo y las actuaciones individuales se perdían en el salón cavernoso. El 11 de enero de 1933, el Music Hall optó por el formato más familiar entonces de proyectar una película con un espectáculo escénico ejecutado por Rothafel en el Roxy Theatre de Nueva York. La primera película que se mostró en la pantalla gigante fue The Bitter Tea of General Yen, dirigida por Frank Capra y protagonizada por Barbara Stanwyck, y el Music Hall se convirtió en el lugar habitual para los estrenos de las películas del estudio RKO Pictures. El formato de "película de cine con espectáculo escénico" continuó en el Music Hall hasta el año 1979, con cuatro pases completos cada día.
En la década de 1970, los cambios en el mercado de distribución de cine hizo difícil para el Radio City asegurar reservas exclusivas de muchas películas; además, el teatro optó por mostrar sólo películas calificadas para todos los públicos (denominadas en inglés como "G-rated"), lo que limitó aún más sus opciones de películas a medida que avanzaba la década. La exhibición habitual de cine en el Radio City terminó en 1979. Se hicieron planes para convertir el teatro en un espacio de oficinas, pero una combinación de interés por la conservación del lugar e intereses comerciales dio lugar a la conservación del Radio City que en 1980, después de una renovación, reabrió sus puertas al público.
En noviembre de 1988, se presentaron en el teatro dos semanas de episodios de Wheel of Fortune, que estaba tomando su primer viaje por carretera. El locutor de Saturday Night Live, Don Pardo, anunció durante esas dos semanas. El órgano icónico del teatro, el "Mighty Wurlitzer" (véase más abajo), fue usado para tocar el tema musical del programa, "Changing Keys", a lo largo de cada episodio, excepto al fin.
El Radio City Music Hall es actualmente arrendado a, y gestionado por, Madison Square Garden, Inc.3 Ocasionalmente se programan en el Radio City estrenos de largometrajes, como los de la serie de películas de Harry Potter, pero la explotación del teatro a lo largo de todo el año está enfocada sobre todo en la programación de conciertos y espectáculos escénicos en vivo. The Radio City Christmas Spectacular, que se ha presentado todos los años desde 1933, continúa siendo un evento anual de gran importancia (véase más abajo para detalles). En el Radio City Music Hall se han hecho presentaciones de una mayoría de líderes de la música pop y rock de los últimos 30 años, así como eventos televisados incluyendo los Premios Grammy, los Premios Tony, los MTV Video Music Awards, y el draft de la NFL.
Radio City tiene 5.931 asientos para los espectadores, y asientos adicionales pueden ser colocados en el ascensor pozo durante los eventos que no requieren esa cantidad de espacio, llevando la capacidad de asientos a más de 6.000; se convirtió en el mayor teatro de cine en el mundo en el momento de su inauguración.
Diseñado por Edward Durell Stone, el interior del teatro, con sus líneas austeras del estilo art decó, representó una ruptura con el ornamento ornado tradicional de rococó que fue asociado con palacios del cine en ese momento. Los arcos irradiandos del proscenio unieron el gran auditorio, lo que permitió una sensación de tanto intimidad como grandeza. La decoración interior fue creada por el diseñador Donald Deskey. Los diseños geométricos de art decó aprovisionados por Deskey incorporan vidrio, aluminio, cromo y cuero en el adorno para los revestimientos de pared, alfombras, lámparas, y muebles del teatro. Su trabajo endeudó fuertemente del estilo estético de Europa Moderna, de lo cual fue el exponente más importante en los Estados Unidos.
es.wikipedia.org/wiki/Radio_City_Music_Hall
Radio City Music Hall is an entertainment venue located in Rockefeller Center in New York City. Nicknamed the Showplace of the Nation, it was for a time the leading tourist destination in the city. Its interior was declared a city landmark in 1978, and the venue is notable as the headquarters for the precision dance company, the Rockettes.
The 12-acre (4.9 ha) complex in Midtown Manhattan known as Rockefeller Center was developed between 1929 and 1940 by John D. Rockefeller, Jr., on land leased from Columbia University. The Radio City Music Hall was designed by architect Edward Durell Stone and interior designer Donald Deskey in the Art Deco style.
Its originally planned name was International Music Hall.[3] The names "Radio City" and "Radio City Music Hall" derive from one of the complex's first tenants, the Radio Corporation of America (RCA). Radio City Music Hall was a project of Rockefeller; Samuel Roxy Rothafel, who previously opened the Roxy Theatre in 1927; and RCA chairman David Sarnoff. RCA had developed numerous studios for NBC at 30 Rockefeller Plaza, just to the south of the Music Hall, and the radio-TV complex that lent the Music Hall its name is still known as the NBC Radio City Studios.
The Music Hall opened to the public on December 27, 1932 with a lavish stage show featuring Ray Bolger, Doc Rockwell and Martha Graham. The opening was meant to be a return to high-class variety entertainment.
However, the new format was not a success. The program was very long, and individual acts were lost in the cavernous hall.
On January 11, 1933, the Music Hall converted to the then-familiar format of a feature film, with a spectacular stage show perfected by Rothafel at the Roxy Theatre in New York City. The first film shown on the giant screen was Frank Capra's The Bitter Tea of General Yen, starring Barbara Stanwyck, and the Music Hall became the premiere showcase for films from the RKO-Radio Studio. The film-plus-stage-spectacle format continued at the Music Hall until 1979, with four complete performances presented every day.
By the 1970s, changes in film distribution made it difficult for Radio City to secure exclusive bookings of many films; furthermore, the theatre preferred to show only G-rated movies, which further limited their film choices as the decade wore on.[4]
On January 5, 1978, Alton Marshall, president of Rockefeller Center, announced that due to a projected loss of $3.5 million for the upcoming year Radio City Music Hall would close its doors on April 12.[5] Plans for alternate uses for the structure included converting the theater into tennis courts, a shopping mall, or the American Stock Exchange.[6]
Upon hearing the announcement, Rosemary Novellino, Dance Captain of the Radio City Music Hall Ballet Company, motivated a group of dedicated colleagues and friends to form The Showpeople's Committee to Save Radio City Music Hall. Joining forces with the media and political allies, including New York Lt. Gov. Mary Anne Krupsak,[7] they challenged the Rockefeller establishment, against all odds, to save "The Showplace of the Nation". A monologue by Johnny Carson on the Tonight Show, an irate commentary on Saturday Night Live's "Weekend Update" given by John Belushi, local news, "The Today Show", and perhaps most importantly, an appearance by Showpeople's Committee members Rosemary Novellino and Ron Hokuff on "The Tomorrow Show" with Tom Snyder mobilized love for the Music Hall nationally. On March 28, 1978 New York City's Landmarks Preservation Commission designated the interior of Radio City Music Hall a landmark guaranteeing that the building would remain a theatre.[8] On May 12, 1978, Radio City Music Hall was placed on The National Register of Historic Places.[9]
Regular film showings at Radio City ended in 1979 l. In 1980, after a renovation, it reopened to the public.
Radio City Music Hall is currently leased to and managed by The Madison Square Garden Company.[10] Movie premieres and feature runs have occasionally taken place there such as the Harry Potter film series, but the focus of the theater throughout the year is now on concerts and live stage shows, and the Radio City Christmas Spectacular continues to be an important annual event (see below). The Music Hall has presented most of the leading pop and rock performers of the last 30 years, as well as televised events including the Grammy Awards, the Tony Awards, the Daytime Emmy Awards, the MTV Video Music Awards, and the NFL Draft.
Starting in 2013, however, the Tony Awards will be the only major televised awards ceremony at Radio City, as the Video Music Awards relocated permanently to the Barclays Center that year. (The Grammys, which alternated between New York City and Hollywood, has been held since 2004 in Los Angeles, as have the Daytime Emmys, off and on, since 2006.)
Design
Radio City has 5,933 seats for spectators, and additional seating can be placed on the pit elevator during events that do not require that space bringing the seating capacity to over 6,000.[citation needed]
Designed by Edward Durell Stone, the interior of the theater with its austere Art Deco lines represented a break with the traditional ornate rococo ornament associated with movie palaces at the time. The radiating arches of the proscenium united the large auditorium, allowing a sense of intimacy as well as grandeur. The interior decor was created by designer Donald Deskey. Deskey's geometric Art Deco designs incorporate glass, aluminum, chrome, and leather in the ornament for the theater's wall coverings, carpet, light fixtures, and furniture. He commissioned textile designers Marguerita Mergentime and Ruth Reeves to create carpet designs and designs for the fabrics covering the walls.[11][12]
The Great Stage, designed by Peter Clark, measures 66.5 by 144 ft (20.3 by 43.9 m), and resembles a setting sun.[13] Its system of elevators was so advanced that the U.S. Navy incorporated identical hydraulics in constructing World War II aircraft carriers; according to Radio City lore, during the war, government agents guarded the basement to assure the Navy's technological advantage.[14] This elevator system was also designed by Peter Clark, and was built by Otis Elevators.
The public areas of the Music Hall feature the work of many depression era artists. The large mural in the grand foyer is entitled "Fountain of Youth" and was painted by Ezra Winter. The murals on the wall of the grand lounge are collectively known as the "Phantasmagoria of the Theater" by Louis Bouche.[15] Three female nudes cast in aluminum were commissioned for the music hall, however Roxy Rothafel thought that they were inappropriate for a family venue.[16] Although the Rockefellers loved the sculptures, the only one that was displayed on opening night was "Goose Girl" by Robert Laurent, which is currently on the first mezzanine. Since opening night the other two sculptures have been put on display at the music hall, "Eve" by Gwen Lux is currently displayed in the southwest corner of the grand foyer, and "Spirit of the Dance" by William Zorach is currently on display in the Grand lounge.[15] Each of the Public restrooms have adjoining lounges that display various works of art.[17] Stuart Davis, Witold Gordon, Edward "Buk" Ulrich, Henry Billings and Donald Deskey all have art displayed in these lounges. Georgia O'Keeffe was asked to paint a mural for the second mezzanine lady's lounge, however she never completed the mural. The reason for her withdrawal is subject to debate.
"Undines Traum"
Hans Jürgen Zimmermann, Hannover, 1996
The stainless steel sculpture by Hans Jürgen Zimmermann arose from one of the artist's preliminary designs for the stage design of the ballet version of "Undine" at the State Opera of Hannover in 1994.
The author of "Undine", Friedrich de la Motte Fouqué, was stationed as an officer at Bückeburg in 1796. Therefore, it is considered certain that his tale about the mermaid has its source at Lake Steinhuder Meer.
Maker: Frank Eugene (1865-1936)
Born: USA
Active: USA
Medium: Photogravure
Size: 4 1/2" x 6 1/2"
Location: USA
Object No. 2016.806
Shelf: A-7
Publication: Caffin, Charles, Photography As A Fine Art, Doubleday, Page & Company, New York, 1901, pg 86
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997,
La Boheme, Museum Ludwig/Steidl, Koln, 2010, pg 266
Robert Doty, Photography as a Fine Art, George Eastman House, Rochester, 1960, pg 8
Other Collections: MOMA
Notes: from American Pictorial Photography: Series Two. New York: Published for "Camera Notes" by the Publication Committee of the Camera Club, 1900. Portfolio (18 plates) : photogravures ; 19 x 15 cm. and smaller. Limited to 150 copies. No 6.
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery and in 1929 opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. (source: The Phillips Collection)
Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world. Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences. He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.” A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers. In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer. In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council. In 1904 one gravure published in Camera Work, No. 5 (January). In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs. A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York. In 1909 two more of his gravures were published in Camera Work, No. 25 (January). In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July). More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors." In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world. Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927. Eugene died of heart failure in Munich in 1936.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
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On september the 13th 2013 we made the first edition of the Glowing Vibes event in Second Life. This is a totally fictional event that was created by inQue. Glowing Vibes was one of the first electronic dance music events with a whole huge stage design and light show.
Aftervideo: www.youtube.com/watch?v=lyZfaaP_JB8
Stagedesign by: Daim Aima
Edition 2022 - Bright Brussels
HYDRA - Module / Nicolas Paolozzi
The symbolism of the snake through abstract and minimal aesthetics.
From Greek mythology to the Chinese culture, the snake is present in the imagination of cultures worldwide. Benevolent, protective, intimidating and sometimes evil, the chimeric animal has a range of temperaments. This interpretation highlights the ambivalent feelings of humans towards the animal: its fluid, winding and undulating body is hypnotic and enchanting, while its metallic structure and thorny articulations evoke a feeling of hostility or fear. The flows of light, which set the animal's skeleton in motion at the whim of its instincts, strengthen this dual perception. As you near it, you can hear its murmurs, part of a soothing atmosphere of sound.
Module produces works at a point where architecture, design and new technologies intersect. The Lyon agency, created by the artist-architect ?Nicolas?Paolozzi, produces sculptural, light, sound and interactive installations that revamp public spaces.
Nicolas?Paolozzi?a designed his first artistic installations with the RDV collective, which he founded in 2011. Bringing together skills from different backgrounds, the project evolved towards the transversal practice of architecture. In a process of continual experimentation, the collective explored the possibilities provided by images and sound through numerous projects: stage design, exhibitions, performances, ephemeral micro-architecture.
With the creation of Module in 2017, Nicolas has gone further by developing the concept of large-scale architecture in his works. Considering space as a set of interactions, he designs hybrid structures oscillating between tangible and intangible materials. As living creatures, his installations are given rhythm by the sound creations of the composer Baptiste Martineau. They evolve over time and provide the spectator with an immersive and singular experience of reality.
Copyright:
Sound design: Baptiste Martineau
Associate production: Module
Co-production: Festival of Lights 2020/2021
The festival of lights in Brussels
Bright Brussels, the festival of lights returns to brighten up the capital this winter!
Four evenings and three routes will take you on a journey to discover of some twenty immersive and poetic artistic works. From 10 to 13 February, the Royal Quarter, the European Quarter and the Flagey neighborhood will be illuminated by enchanting light installations. The festival will also feature a fringe programme, including evening events in the museums.
It's become a tradition for the lights of Bright Brussels to warm us up in the dead of winter and, best of all, it's completely free!
( Bright Brussels is a light festival, a fascinating route through the city consisting of a dozen light installations that are artistic, interactive, playful,... and simply captivating. )
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Had some extra time yesterday morning. On my way to work I got a call letting me know that I hadn't a patient until well after lunch.
So I stopped at the Trifecta Coffee Company to pick up some freshly roasted whole beans, and decided to stay for a cup and some quiche.
I had a great conversation with the young woman washing dishes. She is in the entertainment industry, and works when she can as a stage manager.
Essentially, a stage manager is the sergeant who keeps everything in a stage production running on time.
She is also into set design and we talked a lot about Impressionist art, stage design, and color theory as regards photographic editing, and setting a mood of a stage production.
And before I left, I tried for a shot showing the cool lighting and hues on the back wall.
Happy Wall Wednesday!
Oh, this should probably be viewed large, as I tried something new, called color sharpening. It's done in LAB color space, with a layer set to Color, so the sharpening is only affecting the hues, not the luminosity values. Then the layer's opacity is reduced to almost nothing.