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3D Architectural Masterplanning Rendering for Mixed Used Development in China.
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This photo represents how we are "expected" to be in public. In this case we have a professional young woman who seems like she is on top of the world and everything is perfect.
Raquel Avila's Photography
vrender.com Architectural 3d Rendering Services.
Our company is specialized in creating photo realistic renderings, virtual tours, virtual reality apps and animations for marketing purposes.
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the specs will be foggy after treatment. air-conditioning revision ad. picture for clients visualization only.
Elizabeth Hawes 1903–1971
Ralph Steiner (1899–1986)
Gelatin silver print, c. 1938
Ridgefield, New Jersey
Elizabeth Hawes was one of the fashion industry’s most innovative designers. She was also its harshest critic. This witty portrait visualizes her dual role. She hovers one finger over a typewriter while another sticks a pin into a dressmaker’s dummy.
By the time Ralph Steiner photographed Hawes, she had been needling the fashion industry for more than a decade. While living in Paris in the 1920s, she wrote irreverent articles on French couture for the New Yorker, using the pseudonym “Parisite.” She gained expertise in the design and construction of fine clothing by working at Parisian shops that produced couture knockoffs.
In 1928, Hawes returned to the United States to adapt French methods to American needs. She coaxed women from their dependence on France with stylish, comfortable, and well-made clothing. Hawes showed her work in Paris in 1931. It was a rare instance of an American designer challenging Parisian fashion on French soil.
April 26, 2024 - February 23, 2025
www.smithsonianmag.com/smithsonian-institution/these-amer...
npg.si.edu/podcasts/brilliant-exiles
During the early twentieth century, Paris was the destination of choice for talented and independent American women who were determined to move beyond the limitations that restricted them at home. As foreigners in a cosmopolitan city, they escaped the societal expectations and constraints of both the United States and France. Many used their newfound liberty as an opportunity for self-reinvention and discovery.
In Paris, American women explored a variety of options for making their mark on contemporary culture. They carried out transformative work in wide-ranging fields including art, literature, dance, publishing, music, and fashion. An impressive number not only participated in important modernist initiatives but led them.
By crossing the Atlantic to pursue their personal and professional aspirations, these “brilliant exiles” took a leap into the future. They experienced liberties, opportunities, and tolerances that were yet to be achieved in the United States. How much has changed since then? Have the freedoms and possibilities they sought become realities?
npg.si.edu/exhibition/brilliant-exiles
"IN 1900, PARIS DAZZLED. The Exposition universelle was held from April to November that year, and 50 million visitors flocked to see Modernism celebrated in such wondrous exhibits as an escalator of moving steps and “talking pictures.” A “Palace of Electricity” bloomed in a pavilion decorated with thousands of lightbulbs, colored lamps, and multicolored electric flames. The exposition was cheered as “a fairytale spectacle.”
American dancer Loïe Fuller had her own pavilion. She was a star of the Folies Bergère, and brought her innovative performance to the exposition: She used yards of swirling silk and attached bamboo sticks to her sleeves to transform herself into such wonders of nature as a silken butterfly or a bursting flower. Isadora Duncan, then just starting out, came to the exposition expressly to see Fuller, and launched her own career by performing in Fuller’s troupe.
The 1900 Exposition universelle secured Paris as a center for Modernism, and a new exhibition describes how that city became a beacon for American women seeking to break from constrained traditions in the United States in the early twentieth century. Brilliant Exiles at the National Portrait Gallery spotlights fifty-seven of these expatriate women who were involved in art, writing, dance, fashion, music, and theater. As curator Robyn Asleson writes in the catalogue, Paris was a “particularly attractive destination for women who were impatient to move beyond the societal expectations and constraints that limited them in the United States”—restrictions on gender, sexuality, and race. They believed that Paris would help them forge new identities as Modern Women............"
www.thebulwark.com/p/brilliant-exiles-national-portrait-g...
"The artistic American women who moved to Paris in the first four decades of the 20th century traveled there to change their lives. In the process, they changed much more than that. Their story is sumptuously illustrated by the National Portrait Gallery’s sweeping exhibition “Brilliant Exiles: American Women in Paris, 1900-1939.”
One well-known saga of Americans in Paris in those years is exactly what curator Robyn Asleson intends to counterbalance. In her catalogue essay, she writes that “focusing on the accomplishments and experiences of women brings into view a very different picture from that conveyed by the male-centered Lost Generation legend.”
Some of the subjects of this exhibition, it’s true, are known for their links to famous men. Bookseller Sylvia Beach published James Joyce’s “Ulysses” when no one else would, and author Gertrude Stein is represented in the show by a notable portrait painted by Pablo Picasso.
Yet Beach and Stein helped construct a world largely independent from men. As lesbians, along with more than a few of their fellow American expatriates, they were able to live women-centered lives in Paris that would have been improbable, if not impossible, in the United States. This freedom was facilitated by a privilege many of them shared: inherited wealth......."
www.washingtonpost.com/dc-md-va/2024/06/19/brilliant-exil...
"Perhaps no place and time has captured the American imagination more than Paris in the first decades of the 20th century. Certainly for one group of remarkable women who moved across the Atlantic before World War II, Paris offered a life-changing allure. Robyn Asleson’s “Brilliant Exiles: American Women in Paris 1900-1939” highlights the lives and work of 57 of these women, including artists, writers, publishers, entertainers, designers, collectors and salonistes. The book is being published to coincide with an exhibit running at the Smithsonian’s National Portrait Gallery through February 2025......"
www.wsj.com/arts-culture/books/brilliant-exiles-review-a-...
www.c-span.org/video/?536085-1/brilliant-exiles-exhibit-a...
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Nathaniel Keihn & Daniel Potash
Location: College of Architecture and Planning 1st Floor
Theme: Privacy is considered to be the ability of a person to seclude themselves from the others around them.
Problem: The bare windows of the Visual Resources Collection room did not allow any privacy from the public walkway while working on the computers.
Design Intervention: Since frosting of the glass was not an option, as with the windows across the hall, a simple application of trace paper was utilized. The paper was placed at eye level for a passerby. There was enough space left to allow visual contact for security concerns. Text above was added to help complete the mimicry of the deans office windows. Both of these together give a clean, crisp look to this act of privacy.