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las calles porteñas que cobijan este árbol se tiñen de violeta, el color de su flor. Hay más de 11 mil ejemplares en la Ciudad, según el último Censo de Arbolado Público. Un mapa interactivo permite ubicarlos en cada comuna.

Los jacarandás porteños fueron incorporados al paisaje urbano por Carlos Thays.

Los barrios en los que hay más ejemplares son Palermo, Recoleta y Belgrano y pueden verse en cantidad a lo largo de las avenidas Del Libertador, Cabildo y Figueroa Alcorta.

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La Plaza de la Concordia o en francés, place de la Concorde está situada al comienzo de la Avenida de los Campos Elíseos en el distrito 8, de París, en Francia ( [mostrar el lugar en un mapa interactivo] 48°51′55.81″N 2°19′15.95″E / 48.8655028, 2.3210972). Se trata de la décima más grande de Francia después de la Plaza de Quinconces en Burdeos.

 

Durante la Revolución francesa, la plaza es el lugar de paso obligado por los cortejos, improvisados o preparados por el protocolo de las fiestas. Será uno de los grandes lugares de alianza del período revolucionario, sobre todo cuando la guillotina estuvo allí instalada.Es donde Luis XVI y María Antonieta fueron ejecutados.

es.wikipedia.org/wiki/Plaza_de_la_Concordia

 

La place de la Concorde est située au pied de l'avenue des Champs-Élysées dans le 8e arrondissement à Paris, en France. Il s'agit de la deuxième plus vaste place de France (après la place des Quinconces à Bordeaux). Métro Ce site est desservi par la station de métro : Concorde.

 

Dès le 12 juillet 1789, les bustes de Jacques Necker et de Philippe d'Orléans y sont exhibés ; le prince de Lambesc et ses dragons chargent les manifestants. Le lendemain, la foule pille les armes du Garde-meuble (situé dans le bâtiment nord-est) pour « aller à la Bastille ». Le 6 octobre, Louis XVI, Marie-Antoinette, et le dauphin (futur Louis XVII), ramenés de Versailles à Paris par le peuple, font leur entrée au palais des Tuileries en traversant la place Louis-XV.

fr.wikipedia.org/wiki/Place_de_la_Concorde

 

The Place de la Concorde is one of the major squares in Paris, France. It is located in the city's eighth arrondissement, at the eastern end of the Champs-Élysées.

 

The center of the Place is occupied by a giant Egyptian obelisk decorated with hieroglyphics exalting the reign of the pharaoh Ramses II. It is one of two the Egyptian government gave to the French in the nineteenth century. The other one stayed in Egypt, too difficult and heavy to move to France with the technology at that time. In the 90's, President Mitterand gave the second obelisk back to the Egyptians.

 

The obelisk once marked the entrance to the Luxor Temple. The viceroy of Egypt, Mehemet Ali, offered the 3,300-year-old Luxor Obelisk to France in 1831. The obelisk arrived in Paris on December 21, 1833. Three years later, on October 25, 1836, King Louis-Philippe had it placed in the centre of Place de la Concorde, where a guillotine used to stand during the Revolution.

 

The red granite column rises 23 metres (75 ft) high, including the base, and weighs over 250 metric tons (280 short tons). Given the technical limitations of the day, transporting it was no easy feat — on the pedestal are drawn diagrams explaining the machinery that were used for the transportation. The obelisk is flanked on both sides by fountains constructed at the time of its erection on the Place.

 

Missing its original cap, believed stolen in the 6th century BC, the government of France added a gold-leafed pyramid cap to the top of the obelisk in 1998.

 

Without warning, in 2000 French urban climber Alain "Spiderman" Robert, using only his bare hands and feet and with no safety devices, scaled the obelisk all the way to the top.

en.wikipedia.org/wiki/Place_de_la_Concorde

 

Parc de la Villette

From Wikipedia, the free encyclopedia

The Parc de la Villette is a park in Paris at the outer edge of the 19th arrondissement, bordering Seine-Saint-Denis. It was designed by Bernard Tschumi. At 25 hectares, these former slaughterhouse grounds constitute the largest park in the city of Paris and its second largest greenspace (after the Père Lachaise cemetery). The park houses public facilities devoted to science and music, and many follies. Tschumi won a major design competition for the park and discussed his design proposal with Jacques Derrida.

It also holds :

* Cité des Sciences et de l'Industrie : a the biggest science museum in Europe.

* La Géode : an Omnimax dome theatre.

See more at www.villette.com/fr/mainprog.htm

 

Parc de la Villette

Paris, France

Architecture only survives where it negates the form that society expects of it.Where it negates itself by transgressing the limits that history has set for it.

-Bernard Tschumi

Derrida...asked me why architects should be interested in his work, since, he observed, "deconstruction is anti-form, anti-hierarchy, anti-structure-the opposite of all that architecture stands for" "Precisely for this reason," was my response.

-Bernard Tschumi

Bernard Tschumi's theories on architecture, developed in the 1970's through gallery installations, texts and "advertisements" (left) focused on contemporary society's disjunction between use, form and social values, rendering any relationship between the three to be both impossible and obsolete. His thoughts on disjunction led to the design of the Parc de la Villette in Paris, in which he won a competition for construction in 1983. The Parc consists of 35 red follies, sport and recreation areas, playgrounds, a science and technology museum, and a music center. Tschumi was in charge of planning, in addition to the design of the follies, and superimposed three ordering systems: the points of the follies, the lines of the paths, and the planes of the sport areas. This network questions the order that is inherent to architecture with a superimposition that attempts to bring together three non-related systems. The process and arbitrary result ignore the basic tenets of architecture throughout history-composition, hierarchy and order. Each follie is based on a cube and deconstructed, according to rules of transformation (repetition, distortion, superimposition, interruption and fragmentation), without any functional considerations.

The grid of red follies create reference points and are non-contextual in their form and color, in favor of an intertextuality that leads to a dissolving of a priori meanings. The forms of the follies become signifiers as opposed to signified (which carries meaning) in order to mean nothing. The process of shaping the follies, and the ideas extrinsic to them, represents a conscious reaction to multiple meanings associated with Jaques Derrida's philosophy of Deconstruction. It is futile to attempt a summation of Derrida's philosophy, but this text defines it as the impossibility of one meaning in a text, or language in general, due to a deconstruction of language to its foundation, where multiple meanings can be found. Unlike many of his contemporaries, though, Tschumi's references to Deconstruction take place at more than a formal level. Although the follies are physically deconstructed, their intended lack of meaning relates his use of the philosophy to its essence, not stylistic applications.

The assertion that the follies lack any historical precedent is important to the idea of "non-meaning" and valid in terms of classical styles and their parts (columns, arches and so forth). When looked at in relation to Constructivist architecture, though, the follies have a definite influence in the formal characteristics of the Russian movement earlier in the century. The similarities are evident in the drawing style and form, as well as the use of structure, evident in his sketch at left with its similarities to Chernikov's drawings from the early 20th Century. The influence of the Constructivists is apparent in the formal qualities of the Parc and Tschumi's desire to upset the traditional aspects of architecture, though he is never explicit of this influence. Instead he relates his work to French philosophers; such as Bataille, Foucault, Baudrillard and, as mentioned, Jaques Derrida.

It is through these and other sources (mainly philosophic, literary and cinematic) that Tschumi witnesses a disjunction between architectural space and the events taking place within them. This realization, coupled with his belief that architecture should import from other fields of culture in order to influence society, has contributed to an architecture that responds to the disjointed nature of the contemporary world to upset the conventions that have been passed down through history.

 

Parc de la Villette

 

Um texto em Português:

Origem: Wikipédia, a enciclopédia livre.

Ir para: navegação, pesquisa

 

[mostrar a localidade num mapa interactivo] 48° 53′ 35" N, 2° 23′ 26" O

Vista do Parc de la Villette.

O Parc de la Villette é um parque urbano em Paris situado no 19º arrondissement, na divisa com Seine-Saint-Denis. Foi projetado por Bernard Tschumi. Em 25 hectares de um antigo abatedouro ele é o maior parque da cidade de Paris e sua segunda maior área-verde (depois do Cemitério do Père-Lachaise). O parque abriga construções públicas voltadas à Ciência e à Música, além de muitos "follies", que são elementos arquitetônicos construídos em jardins com formas e funções distintas. Tschumi venceu a concorrência para o projeto do parque e discutiu sua proposta do projeto com Jacques Derrida.

Ele também abriga:

* Cité des Sciences et de l'Industrie : um dos maiores museus de ciências da Europa.

* La Géode : um teatro com cobertura esférica.

O Parc de La Villette é um pólo cultural e educativo onde arte e ciência estão conjugadas. Ele tem 55 hectares de extensão e se localiza a Oeste de Paris.

O parque é constituído pela “Cité des Sciences et de l’ Industrie” (cidade da Ciência e da Indústria), pelo Parque La Villette, pela “Grande Halle”, pelo “Zénith” e pela “Cité de la Musique” (cidade da Música).

O parque é concebido como uma verdadeira cidade e é o maior parque de Paris, oferecendo espetáculos, restaurantes e diversas atividades culturais.

A “Grande Halle” é uma obra de arte da arquitetura metálica do século XIX. A antiga halle de gados é hoje um espaço de exposições, espetáculos e salões.

“O Zénith”, situado a oeste do Parque, é uma casa de shows consagrada para 6400 pessoas, onde ocorrem grandes concertos de rock e outras variedades musicais.

A “Cité de la Musique”, inaugurada em janeiro de 1995, é um convite à descoberta da música e seus múltiplos aspectos. Local de ensino e prática musical, de informação e descoberta, a cidade da Música atinge todos os públicos: jovens, artistas e futuros artistas, amadores e profissionais da música.

A “Cité des Sciences et de l’ Industrie” é o maior centro de cultura científica da Europa. A cidade das Ciências e da Indústria é um local de descobertas, exposições, documentações e animações que o farão entender e refletir sobre as realizações e possibilidades das ciências no mundo atual. Seus múltiplos espaços permitem a exploração de todos os campos do saber cientifico levando a um mesmo objetivo inicial: tornar o conhecimento científico acessível a todos.

Del mismo modo que los gobiernos corruptos que se sienten amenazados por las investigaciones periodísticas, los grupos criminales mexicanos están tratando de silenciar a los medios de comunicación o de convertirlos en caja de resonancia para sus intereses durante los enfrentamientos entre sí o con las fuerzas federales.

 

No hay todavía ninguna estrategia por parte de los medios o del gobierno federal que sea efectiva para erradicar esta tendencia. Los grupos de la delincuencia organizada mexicana han aplicado con éxito la política de silenciamiento en regiones enteras del país sin que haya nadie que la contrarreste.

________________________

 

Report about attacks against freedom of expression. 2009-2011 in mexico/ Informe sobre ataques contra la libertad de expresión. 2009-2011/

 

De 139 periodistas que perdieron la vida en 29 países durante 2012, México se ubicó en el cuarto lugar –después de Siria, Somalia y Pakistán–, con 11 comunicadores asesinados mientras ejercían su profesión, según la Campaña Emblema de Prensa (PEC). www.proceso.com.mx/?p=328091

 

ARTICLE 19 destacó que la respuesta del Estado mexicano ante el problema creciente de violencia continúa siendo un discurso sin resultados, que presenta como logros la creación de instancias como la Fiscalía Especial para la Atención de Delitos Cometidos contra la Libertad de Expresión que después de seis años:

 

• Ha tenido dos nombres diferentes.

• Ha tenido cuatro titulares.

• Ha ejercido acción penal en apenas 27 casos.

• Ha logrado una sola sentencia condenatoria.

• El presupuesto supuestamente destinado a la investigación cayó 72.4% (el subejercicio en 2010 fue de 91.79%)

 

Este documento ha sido elaborado por ARTICLE 19, lo puedes descargar directamente en www.scribd.com/doc/86373076/Silencio-forzado-El-Estado-co...

 

Visita la pagina directamente en www.articulo19.org/

 

Documental e informe escrito

 

El documental lo puedes ver en linea: www.youtube.com/watch?v=ItV6ALd1GdY

 

Mapas interactivos: www.articulo19.org/portal/index.php?option=com_wrapper&am...

 

_____________________

 

This document was prepared by ARTICLE 19, you can download directly: es.scribd.com/doc/86373076/Silencio-forzado-El-Estado-com...

 

ARTICLE 19 noted that the Mexican State's response to the growing problem of violence continues to be a speech without results, presented as successes the instantiation as the Special Prosecutor for Attention to Crimes against Freedom of Expression that after six years :

 

• Had two different names.

• Had four starters.

• He has practiced criminal action in just 27 cases.

• There has been a single conviction.

• The budget allocated to research supposedly fell 72.4% (the under-spending in 2010 was 91.79%)

 

According to the report "Forced Silence: The State, complicit in the violence against the press in Mexico", presented by ARTICLE 19, the states where most attacks against freedom of expression were documented Veracruz, with 29, the District Federal, 21, Chihuahua and Coahuila, with 15, and Oaxaca, with 11 cases.

 

As in previous years, officials from different levels of government were responsible for 41.86% of all attacks on journalists, while organized crime is attributed responsibility for 13.37% of cases.

 

Video documental on: www.youtube.com/watch?v=ItV6ALd1GdY

visit web site: www.articulo19.org

Diseño del CD que contiene el mapa interactivo de Machu Picchu.

Google adquirió hace años la tecnología Postini, una plataforma por la cual ofrecen mejoras en la seguridad de sus servicios y aplicaciones. Ahora, la adquisición posibilitó generar una innovadora aplicación: un mapa interactivo para conocer en tiempo real el origen geográfico del spam, o "correo basura".

 

www.remiserostudio.com/hosting

Mapa Interactivo del Sistema Electrico Interconectado Nacional SEIN Peru

Parc de la Villette

Text from Wikipedia, the free encyclopedia

The Parc de la Villette is a park in Paris at the outer edge of the 19th arrondissement, bordering Seine-Saint-Denis. It was designed by Bernard Tschumi. At 25 hectares, these former slaughterhouse grounds constitute the largest park in the city of Paris and its second largest greenspace (after the Père Lachaise cemetery). The park houses public facilities devoted to science and music, and many follies. Tschumi won a major design competition for the park and discussed his design proposal with Jacques Derrida.

It also holds :

* Cité des Sciences et de l'Industrie : a the biggest science museum in Europe.

* La Géode : an Omnimax dome theatre.

See more at www.villette.com/fr/mainprog.htm

 

Parc de la Villette

Paris, France

Architecture only survives where it negates the form that society expects of it.Where it negates itself by transgressing the limits that history has set for it.

-Bernard Tschumi

Derrida...asked me why architects should be interested in his work, since, he observed, "deconstruction is anti-form, anti-hierarchy, anti-structure-the opposite of all that architecture stands for" "Precisely for this reason," was my response.

-Bernard Tschumi

Bernard Tschumi's theories on architecture, developed in the 1970's through gallery installations, texts and "advertisements" (left) focused on contemporary society's disjunction between use, form and social values, rendering any relationship between the three to be both impossible and obsolete. His thoughts on disjunction led to the design of the Parc de la Villette in Paris, in which he won a competition for construction in 1983. The Parc consists of 35 red follies, sport and recreation areas, playgrounds, a science and technology museum, and a music center. Tschumi was in charge of planning, in addition to the design of the follies, and superimposed three ordering systems: the points of the follies, the lines of the paths, and the planes of the sport areas. This network questions the order that is inherent to architecture with a superimposition that attempts to bring together three non-related systems. The process and arbitrary result ignore the basic tenets of architecture throughout history-composition, hierarchy and order. Each follie is based on a cube and deconstructed, according to rules of transformation (repetition, distortion, superimposition, interruption and fragmentation), without any functional considerations.

The grid of red follies create reference points and are non-contextual in their form and color, in favor of an intertextuality that leads to a dissolving of a priori meanings. The forms of the follies become signifiers as opposed to signified (which carries meaning) in order to mean nothing. The process of shaping the follies, and the ideas extrinsic to them, represents a conscious reaction to multiple meanings associated with Jaques Derrida's philosophy of Deconstruction. It is futile to attempt a summation of Derrida's philosophy, but this text defines it as the impossibility of one meaning in a text, or language in general, due to a deconstruction of language to its foundation, where multiple meanings can be found. Unlike many of his contemporaries, though, Tschumi's references to Deconstruction take place at more than a formal level. Although the follies are physically deconstructed, their intended lack of meaning relates his use of the philosophy to its essence, not stylistic applications.

The assertion that the follies lack any historical precedent is important to the idea of "non-meaning" and valid in terms of classical styles and their parts (columns, arches and so forth). When looked at in relation to Constructivist architecture, though, the follies have a definite influence in the formal characteristics of the Russian movement earlier in the century. The similarities are evident in the drawing style and form, as well as the use of structure, evident in his sketch at left with its similarities to Chernikov's drawings from the early 20th Century. The influence of the Constructivists is apparent in the formal qualities of the Parc and Tschumi's desire to upset the traditional aspects of architecture, though he is never explicit of this influence. Instead he relates his work to French philosophers; such as Bataille, Foucault, Baudrillard and, as mentioned, Jaques Derrida.

It is through these and other sources (mainly philosophic, literary and cinematic) that Tschumi witnesses a disjunction between architectural space and the events taking place within them. This realization, coupled with his belief that architecture should import from other fields of culture in order to influence society, has contributed to an architecture that responds to the disjointed nature of the contemporary world to upset the conventions that have been passed down through history.

 

Parc de la Villette

 

Um texto em Português:

Origem do texto: Wikipédia, a enciclopédia livre.

Ir para: navegação, pesquisa

 

[mostrar a localidade num mapa interactivo] 48° 53′ 35" N, 2° 23′ 26" O

Vista do Parc de la Villette.

O Parc de la Villette é um parque urbano em Paris situado no 19º arrondissement, na divisa com Seine-Saint-Denis. Foi projetado por Bernard Tschumi. Em 25 hectares de um antigo abatedouro ele é o maior parque da cidade de Paris e sua segunda maior área-verde (depois do Cemitério do Père-Lachaise). O parque abriga construções públicas voltadas à Ciência e à Música, além de muitos "follies", que são elementos arquitetônicos construídos em jardins com formas e funções distintas. Tschumi venceu a concorrência para o projeto do parque e discutiu sua proposta do projeto com Jacques Derrida.

Ele também abriga:

* Cité des Sciences et de l'Industrie : um dos maiores museus de ciências da Europa.

* La Géode : um teatro com cobertura esférica.

O Parc de La Villette é um pólo cultural e educativo onde arte e ciência estão conjugadas. Ele tem 55 hectares de extensão e se localiza a Oeste de Paris.

O parque é constituído pela “Cité des Sciences et de l’ Industrie” (cidade da Ciência e da Indústria), pelo Parque La Villette, pela “Grande Halle”, pelo “Zénith” e pela “Cité de la Musique” (cidade da Música).

O parque é concebido como uma verdadeira cidade e é o maior parque de Paris, oferecendo espetáculos, restaurantes e diversas atividades culturais.

A “Grande Halle” é uma obra de arte da arquitetura metálica do século XIX. A antiga halle de gados é hoje um espaço de exposições, espetáculos e salões.

“O Zénith”, situado a oeste do Parque, é uma casa de shows consagrada para 6400 pessoas, onde ocorrem grandes concertos de rock e outras variedades musicais.

A “Cité de la Musique”, inaugurada em janeiro de 1995, é um convite à descoberta da música e seus múltiplos aspectos. Local de ensino e prática musical, de informação e descoberta, a cidade da Música atinge todos os públicos: jovens, artistas e futuros artistas, amadores e profissionais da música.

A “Cité des Sciences et de l’ Industrie” é o maior centro de cultura científica da Europa. A cidade das Ciências e da Indústria é um local de descobertas, exposições, documentações e animações que o farão entender e refletir sobre as realizações e possibilidades das ciências no mundo atual. Seus múltiplos espaços permitem a exploração de todos os campos do saber cientifico levando a um mesmo objetivo inicial: tornar o conhecimento científico acessível a todos.

Parc de la Villette

Text from Wikipedia, the free encyclopedia

The Parc de la Villette is a park in Paris at the outer edge of the 19th arrondissement, bordering Seine-Saint-Denis. It was designed by Bernard Tschumi. At 25 hectares, these former slaughterhouse grounds constitute the largest park in the city of Paris and its second largest greenspace (after the Père Lachaise cemetery). The park houses public facilities devoted to science and music, and many follies. Tschumi won a major design competition for the park and discussed his design proposal with Jacques Derrida.

It also holds :

* Cité des Sciences et de l'Industrie : a the biggest science museum in Europe.

* La Géode : an Omnimax dome theatre.

La Géode ( [show location on an interactive map] 48°53′40″N, 2°23′19″E) is an Omnimax theatre in the Parc de la Villette at the Cité des Sciences et de l'Industrie in Paris. It opened on May 6, 1985.

It is fitted with the only 12.1 sound system in the world, designed by Cabasse.

See more at www.villette.com/fr/mainprog.htm

 

Parc de la Villette

Paris, France

Architecture only survives where it negates the form that society expects of it.Where it negates itself by transgressing the limits that history has set for it.

-Bernard Tschumi

Derrida...asked me why architects should be interested in his work, since, he observed, "deconstruction is anti-form, anti-hierarchy, anti-structure-the opposite of all that architecture stands for" "Precisely for this reason," was my response.

-Bernard Tschumi

Bernard Tschumi's theories on architecture, developed in the 1970's through gallery installations, texts and "advertisements" (left) focused on contemporary society's disjunction between use, form and social values, rendering any relationship between the three to be both impossible and obsolete. His thoughts on disjunction led to the design of the Parc de la Villette in Paris, in which he won a competition for construction in 1983. The Parc consists of 35 red follies, sport and recreation areas, playgrounds, a science and technology museum, and a music center. Tschumi was in charge of planning, in addition to the design of the follies, and superimposed three ordering systems: the points of the follies, the lines of the paths, and the planes of the sport areas. This network questions the order that is inherent to architecture with a superimposition that attempts to bring together three non-related systems. The process and arbitrary result ignore the basic tenets of architecture throughout history-composition, hierarchy and order. Each follie is based on a cube and deconstructed, according to rules of transformation (repetition, distortion, superimposition, interruption and fragmentation), without any functional considerations.

The grid of red follies create reference points and are non-contextual in their form and color, in favor of an intertextuality that leads to a dissolving of a priori meanings. The forms of the follies become signifiers as opposed to signified (which carries meaning) in order to mean nothing. The process of shaping the follies, and the ideas extrinsic to them, represents a conscious reaction to multiple meanings associated with Jaques Derrida's philosophy of Deconstruction. It is futile to attempt a summation of Derrida's philosophy, but this text defines it as the impossibility of one meaning in a text, or language in general, due to a deconstruction of language to its foundation, where multiple meanings can be found. Unlike many of his contemporaries, though, Tschumi's references to Deconstruction take place at more than a formal level. Although the follies are physically deconstructed, their intended lack of meaning relates his use of the philosophy to its essence, not stylistic applications.

The assertion that the follies lack any historical precedent is important to the idea of "non-meaning" and valid in terms of classical styles and their parts (columns, arches and so forth). When looked at in relation to Constructivist architecture, though, the follies have a definite influence in the formal characteristics of the Russian movement earlier in the century. The similarities are evident in the drawing style and form, as well as the use of structure, evident in his sketch at left with its similarities to Chernikov's drawings from the early 20th Century. The influence of the Constructivists is apparent in the formal qualities of the Parc and Tschumi's desire to upset the traditional aspects of architecture, though he is never explicit of this influence. Instead he relates his work to French philosophers; such as Bataille, Foucault, Baudrillard and, as mentioned, Jaques Derrida.

It is through these and other sources (mainly philosophic, literary and cinematic) that Tschumi witnesses a disjunction between architectural space and the events taking place within them. This realization, coupled with his belief that architecture should import from other fields of culture in order to influence society, has contributed to an architecture that responds to the disjointed nature of the contemporary world to upset the conventions that have been passed down through history.

Parc de la Villette

Origem do texto: Wikipédia, a enciclopédia livre.

Ir para: navegação, pesquisa

 

[mostrar a localidade num mapa interactivo] 48° 53′ 35" N, 2° 23′ 26" O

Vista do Parc de la Villette. Refletida na La Géode vemos La Cité des sciences.

O Parc de la Villette é um parque urbano em Paris situado no 19º arrondissement, na divisa com Seine-Saint-Denis. Foi projetado por Bernard Tschumi. Em 25 hectares de um antigo abatedouro ele é o maior parque da cidade de Paris e sua segunda maior área-verde (depois do Cemitério do Père-Lachaise). O parque abriga construções públicas voltadas à Ciência e à Música, além de muitos "follies", que são elementos arquitetônicos construídos em jardins com formas e funções distintas. Tschumi venceu a concorrência para o projeto do parque e discutiu sua proposta do projeto com Jacques Derrida.

Ele também abriga:

* Cité des Sciences et de l'Industrie : um dos maiores museus de ciências da Europa.

* La Géode : um teatro com cobertura esférica.

 

O Parc de La Villette é um pólo cultural e educativo onde arte e ciência estão conjugadas. Ele tem 55 hectares de extensão e se localiza a Oeste de Paris.

O parque é constituído pela “Cité des Sciences et de l’ Industrie” (cidade da Ciência e da Indústria), pelo Parque La Villette, pela “Grande Halle”, pelo “Zénith” e pela “Cité de la Musique” (cidade da Música).

O parque é concebido como uma verdadeira cidade e é o maior parque de Paris, oferecendo espetáculos, restaurantes e diversas atividades culturais.

A “Grande Halle” é uma obra de arte da arquitetura metálica do século XIX. A antiga halle de gados é hoje um espaço de exposições, espetáculos e salões.

“O Zénith”, situado a oeste do Parque, é uma casa de shows consagrada para 6400 pessoas, onde ocorrem grandes concertos de rock e outras variedades musicais.

A “Cité de la Musique”, inaugurada em janeiro de 1995, é um convite à descoberta da música e seus múltiplos aspectos. Local de ensino e prática musical, de informação e descoberta, a cidade da Música atinge todos os públicos: jovens, artistas e futuros artistas, amadores e profissionais da música.

A “Cité des Sciences et de l’ Industrie” é o maior centro de cultura científica da Europa. A cidade das Ciências e da Indústria é um local de descobertas, exposições, documentações e animações que o farão entender e refletir sobre as realizações e possibilidades das ciências no mundo atual. Seus múltiplos espaços permitem a exploração de todos os campos do saber cientifico levando a um mesmo objetivo inicial: tornar o conhecimento científico acessível a todos.

Parc de la Villette

Text from Wikipedia, the free encyclopedia

The Parc de la Villette is a park in Paris at the outer edge of the 19th arrondissement, bordering Seine-Saint-Denis. It was designed by Bernard Tschumi. At 25 hectares, these former slaughterhouse grounds constitute the largest park in the city of Paris and its second largest greenspace (after the Père Lachaise cemetery). The park houses public facilities devoted to science and music, and many follies. Tschumi won a major design competition for the park and discussed his design proposal with Jacques Derrida.

It also holds :

* Cité des Sciences et de l'Industrie : a the biggest science museum in Europe.

* La Géode : an Omnimax dome theatre.

See more at www.villette.com/fr/mainprog.htm

 

Parc de la Villette

Paris, France

Architecture only survives where it negates the form that society expects of it.Where it negates itself by transgressing the limits that history has set for it.

-Bernard Tschumi

Derrida...asked me why architects should be interested in his work, since, he observed, "deconstruction is anti-form, anti-hierarchy, anti-structure-the opposite of all that architecture stands for" "Precisely for this reason," was my response.

-Bernard Tschumi

Bernard Tschumi's theories on architecture, developed in the 1970's through gallery installations, texts and "advertisements" (left) focused on contemporary society's disjunction between use, form and social values, rendering any relationship between the three to be both impossible and obsolete. His thoughts on disjunction led to the design of the Parc de la Villette in Paris, in which he won a competition for construction in 1983. The Parc consists of 35 red follies, sport and recreation areas, playgrounds, a science and technology museum, and a music center. Tschumi was in charge of planning, in addition to the design of the follies, and superimposed three ordering systems: the points of the follies, the lines of the paths, and the planes of the sport areas. This network questions the order that is inherent to architecture with a superimposition that attempts to bring together three non-related systems. The process and arbitrary result ignore the basic tenets of architecture throughout history-composition, hierarchy and order. Each follie is based on a cube and deconstructed, according to rules of transformation (repetition, distortion, superimposition, interruption and fragmentation), without any functional considerations.

The grid of red follies create reference points and are non-contextual in their form and color, in favor of an intertextuality that leads to a dissolving of a priori meanings. The forms of the follies become signifiers as opposed to signified (which carries meaning) in order to mean nothing. The process of shaping the follies, and the ideas extrinsic to them, represents a conscious reaction to multiple meanings associated with Jaques Derrida's philosophy of Deconstruction. It is futile to attempt a summation of Derrida's philosophy, but this text defines it as the impossibility of one meaning in a text, or language in general, due to a deconstruction of language to its foundation, where multiple meanings can be found. Unlike many of his contemporaries, though, Tschumi's references to Deconstruction take place at more than a formal level. Although the follies are physically deconstructed, their intended lack of meaning relates his use of the philosophy to its essence, not stylistic applications.

The assertion that the follies lack any historical precedent is important to the idea of "non-meaning" and valid in terms of classical styles and their parts (columns, arches and so forth). When looked at in relation to Constructivist architecture, though, the follies have a definite influence in the formal characteristics of the Russian movement earlier in the century. The similarities are evident in the drawing style and form, as well as the use of structure, evident in his sketch at left with its similarities to Chernikov's drawings from the early 20th Century. The influence of the Constructivists is apparent in the formal qualities of the Parc and Tschumi's desire to upset the traditional aspects of architecture, though he is never explicit of this influence. Instead he relates his work to French philosophers; such as Bataille, Foucault, Baudrillard and, as mentioned, Jaques Derrida.

It is through these and other sources (mainly philosophic, literary and cinematic) that Tschumi witnesses a disjunction between architectural space and the events taking place within them. This realization, coupled with his belief that architecture should import from other fields of culture in order to influence society, has contributed to an architecture that responds to the disjointed nature of the contemporary world to upset the conventions that have been passed down through history.

 

Parc de la Villette

 

Um texto em Português:

Origem do texto: Wikipédia, a enciclopédia livre.

Ir para: navegação, pesquisa

 

[mostrar a localidade num mapa interactivo] 48° 53′ 35" N, 2° 23′ 26" O

Vista do Parc de la Villette.

O Parc de la Villette é um parque urbano em Paris situado no 19º arrondissement, na divisa com Seine-Saint-Denis. Foi projetado por Bernard Tschumi. Em 25 hectares de um antigo abatedouro ele é o maior parque da cidade de Paris e sua segunda maior área-verde (depois do Cemitério do Père-Lachaise). O parque abriga construções públicas voltadas à Ciência e à Música, além de muitos "follies", que são elementos arquitetônicos construídos em jardins com formas e funções distintas. Tschumi venceu a concorrência para o projeto do parque e discutiu sua proposta do projeto com Jacques Derrida.

Ele também abriga:

* Cité des Sciences et de l'Industrie : um dos maiores museus de ciências da Europa.

* La Géode : um teatro com cobertura esférica.

O Parc de La Villette é um pólo cultural e educativo onde arte e ciência estão conjugadas. Ele tem 55 hectares de extensão e se localiza a Oeste de Paris.

O parque é constituído pela “Cité des Sciences et de l’ Industrie” (cidade da Ciência e da Indústria), pelo Parque La Villette, pela “Grande Halle”, pelo “Zénith” e pela “Cité de la Musique” (cidade da Música).

O parque é concebido como uma verdadeira cidade e é o maior parque de Paris, oferecendo espetáculos, restaurantes e diversas atividades culturais.

A “Grande Halle” é uma obra de arte da arquitetura metálica do século XIX. A antiga halle de gados é hoje um espaço de exposições, espetáculos e salões.

“O Zénith”, situado a oeste do Parque, é uma casa de shows consagrada para 6400 pessoas, onde ocorrem grandes concertos de rock e outras variedades musicais.

A “Cité de la Musique”, inaugurada em janeiro de 1995, é um convite à descoberta da música e seus múltiplos aspectos. Local de ensino e prática musical, de informação e descoberta, a cidade da Música atinge todos os públicos: jovens, artistas e futuros artistas, amadores e profissionais da música.

A “Cité des Sciences et de l’ Industrie” é o maior centro de cultura científica da Europa. A cidade das Ciências e da Indústria é um local de descobertas, exposições, documentações e animações que o farão entender e refletir sobre as realizações e possibilidades das ciências no mundo atual. Seus múltiplos espaços permitem a exploração de todos os campos do saber cientifico levando a um mesmo objetivo inicial: tornar o conhecimento científico acessível a todos.

Parc de la Villette

Text from Wikipedia, the free encyclopedia

The Parc de la Villette is a park in Paris at the outer edge of the 19th arrondissement, bordering Seine-Saint-Denis. It was designed by Bernard Tschumi. At 25 hectares, these former slaughterhouse grounds constitute the largest park in the city of Paris and its second largest greenspace (after the Père Lachaise cemetery). The park houses public facilities devoted to science and music, and many follies. Tschumi won a major design competition for the park and discussed his design proposal with Jacques Derrida.

It also holds :

* Cité des Sciences et de l'Industrie : a the biggest science museum in Europe.

* La Géode : an Omnimax dome theatre.

See more at www.villette.com/fr/mainprog.htm

 

Parc de la Villette

Paris, France

Architecture only survives where it negates the form that society expects of it.Where it negates itself by transgressing the limits that history has set for it.

-Bernard Tschumi

Derrida...asked me why architects should be interested in his work, since, he observed, "deconstruction is anti-form, anti-hierarchy, anti-structure-the opposite of all that architecture stands for" "Precisely for this reason," was my response.

-Bernard Tschumi

Bernard Tschumi's theories on architecture, developed in the 1970's through gallery installations, texts and "advertisements" (left) focused on contemporary society's disjunction between use, form and social values, rendering any relationship between the three to be both impossible and obsolete. His thoughts on disjunction led to the design of the Parc de la Villette in Paris, in which he won a competition for construction in 1983. The Parc consists of 35 red follies, sport and recreation areas, playgrounds, a science and technology museum, and a music center. Tschumi was in charge of planning, in addition to the design of the follies, and superimposed three ordering systems: the points of the follies, the lines of the paths, and the planes of the sport areas. This network questions the order that is inherent to architecture with a superimposition that attempts to bring together three non-related systems. The process and arbitrary result ignore the basic tenets of architecture throughout history-composition, hierarchy and order. Each follie is based on a cube and deconstructed, according to rules of transformation (repetition, distortion, superimposition, interruption and fragmentation), without any functional considerations.

The grid of red follies create reference points and are non-contextual in their form and color, in favor of an intertextuality that leads to a dissolving of a priori meanings. The forms of the follies become signifiers as opposed to signified (which carries meaning) in order to mean nothing. The process of shaping the follies, and the ideas extrinsic to them, represents a conscious reaction to multiple meanings associated with Jaques Derrida's philosophy of Deconstruction. It is futile to attempt a summation of Derrida's philosophy, but this text defines it as the impossibility of one meaning in a text, or language in general, due to a deconstruction of language to its foundation, where multiple meanings can be found. Unlike many of his contemporaries, though, Tschumi's references to Deconstruction take place at more than a formal level. Although the follies are physically deconstructed, their intended lack of meaning relates his use of the philosophy to its essence, not stylistic applications.

The assertion that the follies lack any historical precedent is important to the idea of "non-meaning" and valid in terms of classical styles and their parts (columns, arches and so forth). When looked at in relation to Constructivist architecture, though, the follies have a definite influence in the formal characteristics of the Russian movement earlier in the century. The similarities are evident in the drawing style and form, as well as the use of structure, evident in his sketch at left with its similarities to Chernikov's drawings from the early 20th Century. The influence of the Constructivists is apparent in the formal qualities of the Parc and Tschumi's desire to upset the traditional aspects of architecture, though he is never explicit of this influence. Instead he relates his work to French philosophers; such as Bataille, Foucault, Baudrillard and, as mentioned, Jaques Derrida.

It is through these and other sources (mainly philosophic, literary and cinematic) that Tschumi witnesses a disjunction between architectural space and the events taking place within them. This realization, coupled with his belief that architecture should import from other fields of culture in order to influence society, has contributed to an architecture that responds to the disjointed nature of the contemporary world to upset the conventions that have been passed down through history.

 

Parc de la Villette

 

Um texto em Português:

Origem do texto: Wikipédia, a enciclopédia livre.

Ir para: navegação, pesquisa

 

[mostrar a localidade num mapa interactivo] 48° 53′ 35" N, 2° 23′ 26" O

Vista do Parc de la Villette.

O Parc de la Villette é um parque urbano em Paris situado no 19º arrondissement, na divisa com Seine-Saint-Denis. Foi projetado por Bernard Tschumi. Em 25 hectares de um antigo abatedouro ele é o maior parque da cidade de Paris e sua segunda maior área-verde (depois do Cemitério do Père-Lachaise). O parque abriga construções públicas voltadas à Ciência e à Música, além de muitos "follies", que são elementos arquitetônicos construídos em jardins com formas e funções distintas. Tschumi venceu a concorrência para o projeto do parque e discutiu sua proposta do projeto com Jacques Derrida.

Ele também abriga:

* Cité des Sciences et de l'Industrie : um dos maiores museus de ciências da Europa.

* La Géode : um teatro com cobertura esférica.

O Parc de La Villette é um pólo cultural e educativo onde arte e ciência estão conjugadas. Ele tem 55 hectares de extensão e se localiza a Oeste de Paris.

O parque é constituído pela “Cité des Sciences et de l’ Industrie” (cidade da Ciência e da Indústria), pelo Parque La Villette, pela “Grande Halle”, pelo “Zénith” e pela “Cité de la Musique” (cidade da Música).

O parque é concebido como uma verdadeira cidade e é o maior parque de Paris, oferecendo espetáculos, restaurantes e diversas atividades culturais.

A “Grande Halle” é uma obra de arte da arquitetura metálica do século XIX. A antiga halle de gados é hoje um espaço de exposições, espetáculos e salões.

“O Zénith”, situado a oeste do Parque, é uma casa de shows consagrada para 6400 pessoas, onde ocorrem grandes concertos de rock e outras variedades musicais.

A “Cité de la Musique”, inaugurada em janeiro de 1995, é um convite à descoberta da música e seus múltiplos aspectos. Local de ensino e prática musical, de informação e descoberta, a cidade da Música atinge todos os públicos: jovens, artistas e futuros artistas, amadores e profissionais da música.

A “Cité des Sciences et de l’ Industrie” é o maior centro de cultura científica da Europa. A cidade das Ciências e da Indústria é um local de descobertas, exposições, documentações e animações que o farão entender e refletir sobre as realizações e possibilidades das ciências no mundo atual. Seus múltiplos espaços permitem a exploração de todos os campos do saber cientifico levando a um mesmo objetivo inicial: tornar o conhecimento científico acessível a todos.

www.arqueologiadelperu.com/el-mapa-interactivo-del-patrim...

Plataforma virtual cuenta con más de 50 documentales en video, colecciones de música y relatos orales

 

Cliente: Ozzio Gourmet Festival 2010

- Unicentro Cali

 

Diseño de imagen corporativa, evento 2010, plegables, brochure, boletines electronicos, mapa interactivo.

 

Fondo negro.

A new interactive map from IPYS Venezuela shows the breakdown of media outlets in each state of the country. (Screenshot courtesy IPYS Venezuela)

Curso del Institut Cartogràfic Valencià “Fundamentos del cambio al sistema de referencia europeo ETRS89 en la información geo-espacial” en colaboración con la delegación de la Comunidad Valenciana del Ilustre Colegio Oficial de Ingenieros Técnicos en Topografía.

Curso del Institut Cartogràfic Valencià “Fundamentos del cambio al sistema de referencia europeo ETRS89 en la información geo-espacial” en colaboración con la delegación de la Comunidad Valenciana del Ilustre Colegio Oficial de Ingenieros Técnicos en Topografía.

SIGRAF DIGITAL Colombia Menus Digitales y Pantallas informativos

En el mundo actual, los clientes exigen agilidad en la atención y la disminución de los tiempos de espera en sitios como restaurantes y bares, que pueden solucionarse fácilmente con los menús digitales, una herramienta eficiente no solo para mejorar la calidad de la atención que se brinda en este tipo de establecimientos, sino también para lograr un manejo eficaz de la contabilidad del negocio. Sigraf sabe interpretar las necesidades de sus clientes en ese sentido y le ofrece una llamativa gama de menús digitales.

Curso del Institut Cartogràfic Valencià “Fundamentos del cambio al sistema de referencia europeo ETRS89 en la información geo-espacial” en colaboración con la delegación de la Comunidad Valenciana del Ilustre Colegio Oficial de Ingenieros Técnicos en Topografía.

Curso del Institut Cartogràfic Valencià “Fundamentos del cambio al sistema de referencia europeo ETRS89 en la información geo-espacial” en colaboración con la delegación de la Comunidad Valenciana del Ilustre Colegio Oficial de Ingenieros Técnicos en Topografía.

Wikimedia Commons image page

 

Description

 

{{es|Mapa vial del Estado Nueva Esparta, Venezuela}}

Street map of Nueva Esparta

 

Source

self work, data obtained traveling across the zone with a GPS ; photographs taken by the author of the map (as it is said [http: //commons.wikimedia.org/w/index.php?title=Commons%3AFeatured_picture_candidates%2FImagen%3ANueva_Esparta_Mapa_Interactivo.jpg&diff=10681466&oldid=10674189 here]).

 

Date

2007

 

Author

{{User: The Photographer/info}}

 

Permission

Own work, copyleft: Multi-license with GFDL and Creative Commons CC-BY-SA-2.5 and older versions (2.0 and 1.0)

 

Other_versions

 

Image: Division Politico Territorial Nueva Esparta.svg

Image: Nueva Esparta Mapa Vial.svg

  

{{self|GFDL|cc-by-sa-all}}

 

Maps of Nueva Esparta

Files by The Photographer

Images of Venezuela by User: The Photographer

Checking off street corner's checked on Buenos Aires' mapa interactivo

 

thomaslockehobbs.wordpress.com/2011/08/08/a-little-bit-ab...

SIGRAF DIGITAL Colombia Mapas Interactivos

La mejor manera de posibilitar que sus clientes ubiquen rápidamente y con exactitud los lugares en los que usted presta sus diferentes servicios, es facilitándoles el acceso a mapas interactivos que superan las limitaciones de los mapas estáticos, entre otras razones porque les permiten a los usuarios modificar su escala y sus límites, trasladarlos en varias direcciones, etc. En Sigraf contamos con la más moderna tecnología para ponerlos en funcionamiento de acuerdo con sus necesidades.

A new interactive map from IPYS Venezuela compiles information about media outlets around the country and breaks down information by state. (Screenshot courtesy IPYS Venezuela)

SIGRAF DIGITAL Vitrinas Interactivas y Mapas Interactivos

Sigraf es consciente de las ventajas de las vitrinas interactivas por sus características de innovación y flexibilidad, que aportan presentaciones impactantes y escenografías seductoras y atractivas para el espectador. Por tal razón, pone a disposición de sus clientes esta creativa herramienta publicitaria para la exhibición de productos y servicios.

SIGRAF DIGITAL Colombia Vitrinas Interactivas y Mapas Interactivos

Sigraf es consciente de las ventajas de las vitrinas interactivas por sus características de innovación y flexibilidad, que aportan presentaciones impactantes y escenografías seductoras y atractivas para el espectador. Por tal razón, pone a disposición de sus clientes esta creativa herramienta publicitaria para la exhibición de productos y servicios.

BARRIO ABIERTO FUNES TOWN – SOLJAN MARTI INMOBILIARIA

 

Club house, cancha de tenis y futbol, circuito aeróbico, piscina, solarium y quinchos.

Cuenta con todos los servicios. Lotes disponibles desde 450 m2 hasta 1102 m2

 

Hace realidad tu sueños, viví como soñas, un nuevo proyecto de vida.

 

Tenemos un mapa interactivo, que podés verlo haciendo clic acá: ow.ly/TbaoI

 

SOLJAN MARTI INMOBILIARIA

3 de Febrero 1769 PB

S2000BLI - Rosario

Santa Fe - Argentina

t. (+54 0341) 426-4409 / 426-0738

w. www.soljanmarti.com.ar

m. contacto@soljanmarti.com.ar

fb: www.facebook.com/SoljanMartiInmobiliaria

tw: twitter.com/SoljanMarti

Mapa interactivo de la guía móvil turismo de la ciudad de Vilanova i la Geltrú .

¿Cómo sería un mapa ideal? Aquel que, más allá de las obviedades, nos diera información de experiencias singulares vividas por los mismos vecinos y visitantes. Un mapa interactivo, dinámico y que utilizara las nuevas tecnologías para aproximarse lo máximo posible a la realidad. El proyecto Invisible Maps, creado por el colectivo Noninteraction Group y el artista Peter Ankh, responde a la perfección a estas premisas. ¡Con el teléfono móvil y los códigos QR se puede llegar a construir un nuevo modelo de mapa mucho más democrático y personal!

 

www.bvisio.com/bancdeproves/index.php?idioma=cat&secc...

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