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Sometimes the best thing about this blog for me is the constant reminder of how lucky I am. Sure, I've worked pretty damn hard for a long time, but every once in a while, a really sweet gig pops out of nowhere. Last year, I was asked if I wanted to head to the Democratic and the Republican Conventions. My job at the one for the Dems. in Colorado was to be my clients rep in a media lounge......a super cake gig. Although not a real challenge like I usually enjoy and strive for, there were HUGE opportunities to trek about Denver and explore for a week in the off hours. Having driven about a bizillion miles, I have NO IDEA where this one was captured, but I remember it quite vividly. The sounds of the cool rushing water, the birds in the trees, the smell of the great outdoors, the brisk thin air of the mountains...... yeah, I'm pretty lucky sometimes! For all of you that have given me these opportunities over the years.....I sincerely thank you :)
Bruder Klaus Kapelle by architect Peter Zumthor, Wachendorf, North Rhine-Westphalia, Germany.
website | maasvlakte book | portfolio book | getty images
In the hilly Eifel landscape Swiss architect Peter Zumthor designed a small concrete chapel in honor of the fifteenth-century hermit Bruder Klaus. Despite its unusual architecture the chapel connects with its surroundings quite wonderfully. The experience of the extruded pentagonal plan beyond the triangular entrance is completely reversed. Hard corners give way to a smooth space where sound and light are absorbed by the texture of the walls and the visitor can hear his/her own thinking and praying.
The commissioning client of the Bruder Klaus Kapelle in Wachendorf, located in Mechernich, didn't know Peter Zumthor, in fact a world famous Pritzker Prize winning architect. Farmer Hermann-Josef Scheidtweiler encountered Zumthor's name in the local press as the architect of the Arch-bishop Diözesan Museum [a.k.a. the Kolomba Museum] in Cologne and had sent him a letter asking if he would design a plan for a chapel in honour of his patron saint. An exceptional request to a star architect, who usually designs high quality architecture at considerable fees. The fact that Bruder Klaus was a Swiss compatriot and the favorite saint of his mother, Zumthor finally decide he would take the job.
By choosing a low-tech but labor intensive construction method Zumthor was able to reduce costs while giving the design a place in the community and the environment. The harvesting of the thin tree trunks that form the mold of the interior, the pouring of the concrete and the incineration of the trunks in a three-week fire, were all undertaken by family and friends of the farmer.
Architect: Foster + Partners
Built in: 1996-2000
Client:
Here The Millennium Bridge with Saint Paul's Cathedral in the background.
"The Millennium Bridge springs from a dynamic collaboration between engineering, art and architecture to provide the first new Thames crossing since Tower Bridge. A shallow suspension structure, it is designed to allow pedestrians unimpeded views up and down river. A thin ribbon of steel by day, it is illuminated to form a blade of light at night. Co-architects: Sir Anthony Caro and Ove Arup & Partners."
Source: Foster + Partners
[[ATTENTION: THIS MANUSCRIPT WAS CENSORED BEFORE BEING PUBLISHED TO ENSURE THAT RELATIVELY APPROVED-FOR-GENERAL-AUDIENCES RATINGS ARE MAINTAINED AND ALSO TO MASK PRIVATE INFORMATION]]
...I opened the file, Triss at my side. Text and numbers arranged themselves into neat rows on the screen, categorizing the numerous pieces of information in Justin and Hacim's transaction:
DATE: 3:29 pm Minsedion Standard Time, Cycle 3, Demi-Week 62, Earth Year 2014
TRANSACTION TYPE: Cloning Facility Usage Transaction (Single-use) (Private)
CLIENT: Justin M[CENSORED]
REQUIRED DNA SAMPLE: Provided by client
^NOTE: DNA was contained in several hair follicles in a sealed plastic bag
DNA SUBJECT: Lydia (Surname not found)
ORDER DIRECTIVE: Clone DNA subject with 99.999999% accuracy, disregarding fundamental cellular structure but restructuring organs in precise synchrony to original subject. Suspend outside of four-dimensional space to accelerate growth to subject's age before reentering into the time stream.
QUANTITY: 01. (≃9.2149×10^12 cells)
PAYMENT OWED: $500 (Standard single-use fee)
^NOTE: Client has yet to pay. MECHA-CHUCK NORRIS' will be assigned to extract payment
ORDER FULFILLED: 12:54 am Minsedion Standard Time, Cycle 2, Demi-Week 75, Earth Year 2014
^NOTE: Justin came and personally picked up his purchase
^NOTE: I recommended naming her "Aidyl", an anagram of "Lydia". Justin adopted this name for her
MISCELLANEOUS NOTES:
1.) After sequencing, DNA type was found to be abnormal
2.) Contacted Client, but they insisted that their order be fulfilled regardless of complications
3.) Cloned subject formed properly
4.) The personality replicator subsystem reported a failure to recreate unique hormonal ratios and neural synapse rates. Ascribed to unique DNA type
5.) During the testing session, cloned subject showed no signs of mental instability or a different personality-the report was likely a bug
EDIT: REPORT WAS CORRECT. CLONED SUBJECT CAN SWITCH BETWEEN NUMEROUS DANGEROUS, UNBALANCED MENTAL STATES AT WILL
I closed the file and sat still for a few moments, digesting the information.
"Well, that was pointless," I concluded, "I suppose I could convince Lydia to sue Justin with me to get the money, but that could take months...and the doctor only gave Professor Unikitty how long, again?"
"The hospital sent us a notice saying that the procedure needed to be performed within three weeks," Triss replied.
I reviewed a few other options in my head: Snapping my fingers and making money materialize out of thin air, robbing a bank, blackmailing someone, stealing money from an AFOL, selling my Lego collection, turning Triss into a gold platinum statue, going into real estate...
None of them seemed viable.
After dinner, I went out onto the beach to ponder a solution to our conundrum. Walking alongside the thin line of the melting sunset, I let my thoughts wander. They gradually strayed off, no longer relevant to Unikitty's plight.
“...carry the seven and find the inverse factorial; apply the logarithm of thirty-nine and the answer is forty-tw-”
“HI AARON!!!”
“AAAARRGGHH!!!”
I was about to solve a formula for all prime numbers when my train of thought was completely obliterated by a loud salutation from behind. I spun around to face a tentacled monstrosity...saliva dripped from cragged mandibles, tentacles pulsated gently, strange liquid eyes gaped at me from folds of pliable flesh...
“Oh...good afternoon, Squid Man,” I acknowledged him politely, “How are you doing?”
“I'm fine. I was just stopping by to tell you where Aidyl is, Legofin said you were looking for her,” he replied.
“What...how do you know where...WHERE?!?!”
“In that depressing, cyberpocalyptic dimension with all the trenchcoats and degenerate individuals and Simon Liu and stuff-”
“What?”
“She's staying somewhere in the Lower West District of Neo-New York. I don't know the exact address, but you can ask around. I gotta go, bye!”
“Wait, stop! Tell me more!” I cried after him, but he had already sloodled his way into the water. The sun was nothing more than a puddle on the ocean now, and I turned back, watching it drain over the horizon.
In that moment, I decided to take Squid's advice. If everything went horribly wrong, I could always snap my fingers.
I arrived back at the castle and told Triss about my peculiar encounter. Surprisingly, she seemed irritated by Squid's sudden appearance and quick dispersal of information, claiming that it was due to “budget cuts on the Fourth Wall” or something like that. The next day, we prepared some disguises and other supplies we might need. I also contacted Dead Frog inc, asking him to help us scout discreetly. He agreed, apparently under the misconception that the other girls were all still here. We “beamed him up” shortly after. What followed was an embarrassing sequence that I will forgo censoring and just leave out of the story entirely.
Triss was still angry as we stepped out of hyperspace an hour later. She kept boring her eyes into my skull, trying to extract from my brainwaves where Frog was. After the incident, she had chased him around the castle with a shovel with me following, trying to calm her down (although I was rather incensed myself). Frog came up to me while Triss was searching in another part of the castle, now an amphibian. He begged me to hide him, and I grudgingly accepted. I still needed his services, after all. Slipping him into a hidden pocket in my disguise, I told him not to move around.
“You might set off one of the grenades.”
“THESE LUMPS ARE GRENADES?!”
“Shh, Triss is coming back,” I whispered, “She'll hear yo-”
I cut off my sentence as Triss walked up, but she must have heard me anyway. She hefted the shovel, and gave me a glare. It's fortunate that I did not think about gorgons at that time, as the Imaginator could literally have given Triss some petrifying power...
I steadfastly resisted her verbal barrage, and a few minutes later we were on our way.
I had placed our output portal in a deserted alleyway, as our mission would work best if left unadvertised. The only person who saw us was a drunken hobo with a few cybernetic implants who stumbled away muttering something about “...radioactive squid people lurking around, and now mushroomy reality vandals...”. From the gloomy, damp space between a couple buildings, we looked out on a marginally less gloomy but much damper (it was raining, after all) city street lit up with holographic signs and neon advertisements. A few trenchcoated individuals were walking swiftly up and down the sidewalks, heads down. Grey and darker grey was the dominant color scheme, lending the whole scene a gloomily repressive feeling. Triss stepped out first, and I followed, glancing around for locational help.
It took quite some to search the gleaming sea of attention-grabbing holograms before finding any street signs. Fortunately, we were already in the general area that Squid Man had stated Aidyl was hiding in, the Lower West District.
I sent Triss to “scout out the area” as an excuse to have her out of the way when I revealed Frog.
I grabbed him out of my pocket, stuck a metal band around his stumpy frog neck, (Sorry, PETA) and set him on a wall.
“I will be maintaining contact with you through that band. Do not remove it, please.”
“It itches!' he whined, “Can't you just use magic to find out where this stupid clone lives?”
“That,' I prepared to explain, “Would be too easy and would make for a boring story. In fact, once of us might have to die in order to make it excitin-
What am I saying?!”
I snapped my fingers and imploded, reassembling in a considerably more run-down part of the Lower West District. Triss appeared a moment later, summoned along with the frog plushie, box of sewing needles, and “Guide to Voodoo” she had been holding.
“Arh! You made me shoplift! I wish you wouldn't do that.”
I rolled my eyes and sent the merchandise back.
“We are not here to look in the mall,” I reprimanded her, “The Professor is counting on us. What was that stuff for, anyway?”
“Nothing...”
Meanwhile, Frog had been left behind. He hopped/climbed up to the roof of the building with considerable difficulty; fortunately, it was only three stories high. He hopped to the adjacent edge, and jumped onto the next roof...
I looked around for the first time, taking in the rusty and degraded surroundings. Some questionable-looking ghettoborgs were lounging about in a nearby alley, but the other residents seemed respectable enough. Although there was no telling what secret double lives they led...
At any rate, nobody was paying us much attention. I double-checked our position. My spell should have placed us in very close proximity to our target; within a radius of a yard or two...
From overhead came a metallic clanking sound. Looking up, I realized that there was a balcony a few feet over our heads. A dark figure moved about on top. I moved closer to the building's wall and motioned for Triss to do the same. Pulling out a small metallic disc, I prepared to contact Frog.
“Frog...come in, Frog...can you hear me?” I whispered into the sensitive device
“Yep,” he replied, “I can see you, too! I'm on the roof; I hopped ove-”
“FROG,” Triss said quietly, teeth clenched, “When this is over I'm going to stuff you in a jar of formaldehyde and then I'm going to conduct a [CENSORED] class on you...I have a scalpe-”
Another voice carried over the speakers, raspy and low. It addressed Frog.
“h3y fr0G boy, u Se3ms k1nda l0Ne5ome...h0Ws@BoUt u c0me wiF Me & i fiNd some coMP@ny 4 u?”
“What kind?” Frog asked.
“feMi9...jU5t f0Llo m3 & I pr0mM1Ss u w1LL hAv @ guD t1m-”
“Stop listening to that pervert, you worthless amphibian!” Triss yelled into the disc.
“wHt?!1 thaTs @ r3c0rdr?!1! g3t aw@Y, [CENSORED] 5ecr3T c0pPeR!1!1!!!!1!11!!eleven!!!1!!!”
Scuffling sounds over the mic told us that Frog's “friend” was leaving.
“Aw man, that monkey was just trying to help me have a good tim-”
I promptly told Frog that if he would please hurry up and hop over to our side of the building, and check to see if the person looming over us on a balcony looked like Lydia, we would very much appreciate it. He obliged.
“Yup, it's Lydia, except with an eye patch and a trenchcoat and-”
That was enough for me. I transported us all into the second-story building the balcony connected to. Suddenly, we were in a small but extremely opulent apartment. Lush purple carpeting, an expensive-looking cyber interface, and a few small but pricey decorations were some of the main distractions. I hoped she hadn't already spent all my money. I glanced quickly toward the bounty hunter...her back was still toward us.
Looking around more thoroughly this time, I was relieved to see a few crates packed with valuables in one corner of the room. Rushing over, Triss started searching through them while I began to advance toward Aidyl. Formulating a plan was difficult under the circumstances, and the best I could come up with involved arming myself with one of the various weapons she kept in yet another crate, yelling something random at her, and then throwing Frog at her face when she turned around. He would hang on for dear life and I could incapacitate her while she was thus disadvantaged.
My plan worked perfectly...up to a point.
“SIGN UP YOUR TUNA FISH FOR CLOCK-MAKERS 101!” I proclaimed grandly, hefting a very trendy trans-neon orange chainsaw.
Aidyl spun around, issuing a single “Wah-” as I flung Frog toward her at a speed of 56.492 miles per hour. He landed perfectly...in her mouth. Thinking quickly, she clapped a hand over her mouth, trapping him inside. With the other, she pulled out a blaster pistol, leveling it at Triss.
“SAH-WUHN-DUH!” She articulated at me.
I was at a loss for words. How could my flawless plan have backfired so inelegantly? Triss was staring at me from her position by the crates.
“Aaron! Just use your wizard powers to get us out of this!”
“No! What kind of a writer am I if I have to use magic to solve everything because I can't think up good action sequences?”
“BUH QUH-UDH! PUH DOHN YOH WUH-PUHNZ!”
“Fine...” I laid the chainsaw down and resigned myself to a life as a B-rated writer relegated to producing scripts for shows on the Disney Channel. I pinched my thumb and middle finger, preparing to end the standoff on a whim.
“BWLAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARRRGGHHHHHH!!!!!!!!!!!!!!!!”
Aidyl retched out a torrent of [CENSORED] and [CENSORED] juices, including a very sick-looking Frog. I gaped for a moment before reacting.
“Are you okay, Frog? What happened?”
“There's a...a punching bag...in the back of her throat...” he wheezed, still shaken.
The uvula. He had triggered her gag reflex! How fortuitous.
I turned toward our would-be attacker. The bounty hunter lay on the ground, paralyzed by the sudden void in her stomach. I quickly summoned a giant roll of duct tape and tied her up, sparing none of it. Besides effectively restraining her, the metallic cocoon looked super cool. That done, I shot a quick call to S.F.D.P. Headquarters as Triss finished counting the contents of the crate she had found; bills of various denominations.
“...forty thousand nine hundred, fifty thousand!
Done. Mission accomplished...I'M GOING TO [CENSORED] YOU, FROG!!!”
THE END
::FOURTH WALL COMMENTARY::
Anon1: Um...interesting...at least you included ghettoborgs...
Anon2: Yay! I got in the story! :D
Anon3: Not bad...I see you included [CENSORED] Daddy Bananas...But I like my story better:
A long time ago (probably about [CENSORED] minutes) in a Google+ [CENSORED] that my [CENSORED] laptop from [CENSORED] wants me to think is very far away, Aaron [CENSORED] [CENSORED] was making [CENSORED] [CENSORED] with UnknownBrick Films regarding [CENSORED] Brick's [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] sister.
Aaron said to UnknownBrick, "I really hate the Internet and [CENSORED] things. At any rate, if you [CENSORED] [CENSORED] Brick's sister, I can [CENSORED] a [CENSORED] with you."
"And that might be?" UnknownBrick replied.
"You see, I have had my [CENSORED] [CENSORED] of [CENSORED] in Gazzandlor before, and I've [CENSORED] many [CENSORED] successfully.
The only time I [CENSORED] it for free, that dastardly Lord Frittata [CENSORED] her and [CENSORED] her. I have a [CENSORED] that goes into detail about it.
Anyway, to ensure nothing like this happens again, I feel that [CENSORED] is a fair price to pay."
"[CENSORED]?!?!? WHERE AM I SUPPOSED TO GET [CENSORED]?!?!?" UnknownBrick replied, startled.
"Another thing to add to the [CENSORED]," Aaron said to himself, "UnknownBrick has less [CENSORED] than [CENSORED]."
"Your entire plan is [CENSORED], [CENSORED] her to [CENSORED], or [CENSORED] [CENSORED] [CENSORED] [CENSORED] a girl."
"That Frittata guy seems like he is [CENSORED] [CENSORED] [CENSORED] a girl after that Spanish [CENSORED] incident..."
"I [CENSORED] [CENSORED] HER!!!" I [CENSORED] from a distance.
"I CAN MAKE YOU A [CENSORED] LIKE I DID TO JUSTIN!!!" Aaron yelled back.
"[CENSORED] [CENSORED] IS ILLEGAL!!!"
"Fine," Aaron sighed, "I'll ask UnknownBrick if he [CENSORED] her [CENSORED]; all [CENSORED] are [CENSORED] by [CENSORED]!" he stated.
"Hi Aaron!" said Justin.
"Oh, Justin!" Aaron [CENSORED], startled.
"Question...is that [CENSORED] tied up in the back of your [CENSORED] [CENSORED] [CENSORED]?"
"[CENSORED]? No, that's Brick's [CENSORED]. By the way, how was the [CENSORED]?"
"It was nice, I guess...we went to some weird [CENSORED] dimension; lots of [CENSORED] and [CENSORED] [CENSORED]. "
"Where is she now?" Aaron asked.
"I was getting to that...some [CENSORED] from that dimension [CENSORED] [CENSORED] [CENSORED] her [CENSORED] to his [CENSORED] through the '[CENSORED] of [CENSORED]' and some 'Forbidden [CENSORED]'.
...they all sound like innuendos to me."
"[CENSORED], well [CENSORED].... how do you [CENSORED] [CENSORED] [CENSORED]?" Aaron asked, [CENSORED] very [CENSORED].
"A [CENSORED] she left on the [CENSORED] [CENSORED]-"
"Hold on, [CENSORED], how [CENSORED] are you, like [CENSORED]?!?!?" Aaron cried.
"Juice [CENSORED], anyway, it is really [CENSORED] [CENSORED] [CENSORED] [CENSORED] without her. The [CENSORED] feels so [CENSORED]," Justin told Aaron.
"But don't you guys [CENSORED] in [CENSORED] and [CENSORED] [CENSORED] [CENSORED]?
Because, you know, you're both [CENSORED]?"
"I'm not sure I get what you mean." Justin stated.
"I advised you to [CENSORED] in [CENSORED] and [CENSORED] [CENSORED], because when the [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] and [CENSORED], [CENSORED] [CENSORED] will lead to [CENSORED], and [CENSORED] [CENSORED]."
"WHOA MAN!!! Too much [CENSORED]; you might [CENSORED] Uni."
"Uni is a cat...."
"A very [CENSORED] cat," Justin replied.
"MMMMH MMMMH!!!!" Brick's sister said.
Then there was [CENSORED] in the bushes...MECHA-[CENSORED] and MECHA-CHUCK NORRIS' [CENSORED] by ME, all to the song [CENSORED], walked out.
"Does [CENSORED] require my [CENSORED]?" I asked.
"Go away, Drew!" Justin whined, "I'm an unmarried man and your [CENSORED] makes me think of my [CENSORED] girlfriends."
"In a [CENSORED] way? Not that there is anything wrong with that..." I said.
"NO, BECAUSE YOU [CENSORED] ONE OF THEM, YOU [CENSORED]!!!!!"
"Whoa, my friend, language," Aaron said.
"Now, who is this poor young lady?" I said, pulling the [CENSORED] tape off of the girl's wrists, ankles, mouth and [CENSORED].
"Justin...is that you?" she asked me.
"I can be if you want me to," UnknownBrick said in a deep, over-the-top, [CENSORED] voice.
"Wait...did she just say my name?" Justin asked.
"Uhhhh....." Aaron [CENSORED].
"Is this my sister?!?!?" Brick asked.
"HOLY [CENSORED] [CENSORED] BRICK, WHEN DID YOU GET HERE?!?!?" Justin yelled.
"I was [CENSORED] in the [CENSORED] of Aaron's Cyberpoc speeder the entire time."
"Why?" I asked.
"I live out here in the [CENSORED] parts of the Internet where nobody goes," he replied.
"What was Aaron doing out here?" Justin asked.
"Welllll....." Aaron began.
"I thought you [CENSORED] my sister! I was really hoping you did, because, you know, me trying to [CENSORED] [CENSORED] [CENSORED] [CENSORED], then if [CENSORED] got [CENSORED], I could [CENSORED] your [CENSORED]! [CENSORED] [CENSORED] [CENSORED] [CENSORED] Christmas [CENSORED] [CENSORED] [CENSORED]! [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED] [CENSORED ] [CENSORED] [CENSORED] twenty-seven kids..."
"Have you been having [CENSORED] again, Brick?" UnknownBrick asked.
"No, I [CENSORED]-"
"WAIT!!! I KNOW WHAT HAPPENED! Our [CENSORED] was a setup! Aaron [CENSORED]-
Admin (API): You know what, Fourth Wall Commentary was a bad idea. I'm shutting it down.
_____________________________________________________________________________
1.) Congratulations! You receive +9,000 patience points for reading the whole thing!
2.) Please excuse the blarg photos...I should have mentioned that Iphoneography only works well at a certain scale. -_-
There are several pictures of the modular and entire highly detailed MOC to compensate for this; I suggest looking through them. :)
3.) Too much box?
Designed to house my fifth SSC entry.
4.) Part one here. The rest of the Saga is here.
5.) I certainly hope you all enjoy this, it was a fun digression from my usual building style, that is, not Cyberpunk and not modular. XD
MINIMALIST CHAPEL Photos... Architecture Students craft an elegant and unlikely place of reflection.
The Field Chapel is a project designed and executed by the students of an Advanced Design/Build Studio at the Illinois Institute of Technology College of Architecture in Chicago for a ecumenical church co-operative in Boedigheim, Germany. Led by Professor Frank Flury, the project was assisted on a pro bono basis by the firm of Ecker Architekten (Buchen, Germany) with the craftsmen, volunteer workers and townspeople of the Odenwald/Bauland, a rural region in northern Baden-Württemberg.
Program
The task of the design was to create a place of spirituality. Professor Flury defined the project for the twelve students who come from Alabama, Alaska, California, Florida, Idaho, Illinois, Tennessee and China, as “an interdenominational chapel, a space for people who are in a search for God – a place for quiet reflection, but also one that welcomes hikers and cyclists who appreciate a rest stop that has a sense of beauty. ”
Background and Participants
In January of 2008, the Reverend Moser-Feesche contacted Ecker Architekten with the intent to build a chapel. He had no funding, held no property, and did not have the support of his congregation. He did however, have a specific idea about what this building should be and where it should be located.
Dea Ecker received her Master degree in Architecture at the Illinois Institute of Technology (IIT). Her long-time friend and former school colleague, Frank Flury, is a Professor at IIT, and teaches an Advanced Studio for Design-Build Projects at the College of Architecture in Chicago. After discussing the potential of a Design-Build project with the Reverend, Ms. Ecker contacted Prof. Flury. The project constellation seemed to fit. Flury’s studio has designed and built diverse projects in the U.S. that have had a positive social impact. This was the first viable possibility for the students at IIT to execute an international project.
In December of 2008, Prof. Flury visited Boedigheim to examine the site and to discuss the project with the Reverend. After this initial meeting project responsibilities were agreed upon: Flury would guide the design and construction of the building, Ecker Architekten would work with local officials and obtain necessary building permits, and Reverend Moser-Feesche would secure property rights and assemble the community for the volunteer work necessary to complete the project.
In January 2009 Flury introduced the project to the Design-Build curriculum and received an enthusiastic response. Over the next 3 months, 12 students developed three design alternatives. In March 2009, these projects were personally presented to the governing municipality of Buchen and the citizens of Boedigheim. A After lengthy discussions two projects were chosen for further development, with Prof. Flury ultimately responsible for the feasibility of a final proposal. Armed with a donation of lumber from the city of Buchen, the “Professor from Chicago” and the “Reverend with an idea” asked for the trust and help of the townspeople to realize the project. With commitments from the local blacksmith, carpenter, sawmill owner, and the farmer (whose field the chapel was to be built upon), the town of Boedigheim agreed to implement the project.
Tasks were subsequently delegated. Prof. Flury developed the design with his students to ensure completed construction in a single summer semester. From March through May, the Design-Build Studio and Ecker Architekten were in constant contact. E-mail, AutoCAD, and Skype teleconferencing were the tools used to translate a student project designed in an American university into a set of working documents that met or exceeded German construction standards. Dea Ecker contacted the local officials and prepared drawings to obtain the necessary permits in time for the groundbreaking scheduled for early June. The Reverend Moser-Feesche and the community were responsible for the acquisition of property rights and for the collection and coordination of accomodations for the students during the construction phase.
The student group arrived in Germany during the first week of June. Despite an unusually rainy summer, the project progressed smoothly. With the help of countless volunteers, the chapel was constructed in just 8 weeks. Over 400 people witnessed the official benediction on 25 July, 2009.
Design
The ecumenical chapel stands on a hill between the villages of Boedigheim, Seckach and Großeicholzheim.
The structure is visible from afar but can only reached by foot or by bicycle via a steep country lane. The students developed outdoor facilities and space as a logical consequence of interaction: when arriving at the site, a narrow footpath leads between an existing hedge and the blank tower facade to a small gravel forecourt, which is bounded on 2 sides with massive benches made of local limestone. This forecourt represents the secular realm. A brick platform rises from this forecourt, upon which visitors enter a closed patio and ultimately the sanctuary. This platform traverses the profane to the divine.
Surrounded by 4 closed walls, views are limited to the sky and the tower, which encloses the chapel sanctuary. “The courtyard and chapel are situated in a sea of faith,” according to the students. “The Secular and the Sacred touch each other, they are connected with one another.”
Fabrication
From the onset of the project development, assembly details were designed to ensure the chapel could be completed by students without construction skills.
The entire wooden structure was cut on a CNC machine according to the student’s drawings. The receiving slots in the four main columns of the tower for the louvers were subsequently hand routed. Not a single plank was sawn on site. The students developed the drawings in various CAD programs and produced the individual components with hand tools and computer-assisted machinery.
Aspects of Sustainability
The project is in the truest sense of the word sustainable:
The chapel design was based upon utilizing donated, renewable and local materials.
The wood comes from the municipal forests in Buchen and in Boedigheim and was dried and cut at the sawmill less than 2 km from the chapel site. The high sap content of Larch allowed a construction without any handling or weatherproofing of the wood surfaces. This surface will eventually weather to a silver-grey patina. Bricks used in paving the tower platform were left over from a nearby building site and donated to the project. The gravel used for the forecourt is dredged from the Main River, and Limestone blocks are quarried within walking distance from the chapel. All the components were either fabricated by the students in the carpenters’ shop or made by local craftsmen. With the exception of the steel used to in the fastening screws and column anchors, all materials come from locations within 40 km from the building site.
The Dematerialization of Traditional Construction
Apart from the architectural filigree of the tower enclosure, the building appears traditional in its construction. It has a simple shape, and is formally related to both the Biblical Temple of Solomon and to vernacular tobacco-drying barns still found in the region.
The entire wooden construction rests on 8 steel moment-frame anchors, which are sized to expose a thin gap between the massive brick platform and the timber structure. This articulated joint makes the heavy building appear to hover weightlessly above the ground plane. The 3-meter high building base seems monolithic, and the full-timber diagonal bracing that lends the structure its stiffness is hidden from view – initially by diagonal planking that is an integral part of the structural system, then ultimately by the 50 mm wood siding that clads the entire first level.
The base braces the entire construction, and allows the four main columns to cantilever vertically for the next six meters without additional bracing. Despite the massiveness of these columns, structural calculations indicate that the roof of the chapel could sway up to 5 cm in a 100-year storm.
The 9-meter high chapel tower, as seen from the exterior, appears diaphanous and permeable. Louvers cladding the upper portion of the tower are mounted incrementally further from one another as they rise in relation to the solid, enveloping base. This calibration of enclosure makes the tower appear to be expanding in height, and results in an remarkable play of light and shadow as one moves around the building. A parabolic geometry appears though a moiré effect the louvers make when the tower is seen diagonally. This openness, however, is not perceptible from the interior of the chapel. From inside, the distance between the louvers appears to be identical, collapsing the perspective space. The volume of the tower appears as a completely closed volume – an introverted space of reflection and silence, occupied only by an ever-changing body of light. The distortion of perspective transforms the volume into an abstract body that is simultaneously intimate and limitless.
Epilogue
In many U.S. universities, an apprenticeship is not required for a diploma in Architecture. The pedagogical approach of the IIT Advanced Design/Build Studio attempts to connect the head and hand. The confrontation with the entire architectural process – from the design sketch to the ribbon-cutting ceremony – provides students with a practical experience that both parallels and contrasts their acquired academic knowledge.
The project has found positive resonance in the all of the participating municipalities. It has also achieved all desired goals. Diverse groups have collaborated to create something not possible separately. Cultural and religious differences were bridged, new friendships were forged, and a chapel was built.
Architects: Students of the College of Architecture at the Illinois Institute of Technology, led by Professor Frank Flury
Local architect: Ecker Architekten
Location: Boedigheim, Germany
Client: Protestant Church of Bödigheim
Project year: 2009
Photographs: Robert Piotrowski, Dea Ecker, Klaus Hilger & John Ruffalo, Brigida Gonzalez
Website: Flurkapelle Buchen/Bödigheim
[via Arch Daily, photos courtesy Brigida Gonzalez]
[shameless plug: architectural wood trim? thousand of choices...online.]
Photo prise durant l'heure de lunch, alors que je travaille chez un client dans l'ouest de l'ile, il faut bien que je me dégourdisse les jambes.
Ce pont a une superbe structure, propice à des tonnes de photos. Il relie la pointe ouest de Montréal et Vaudreuil en passant par-dessus le lac Deux-Montagnes.
Pour cette photo j'ai fait l'essai du mode de fusion "Linear Burn" avec l'application IRIS sur iPhone, sur une très belle texture de Tanya Felsheim.
Je travaille sur plusieurs photos en mode texture, mais j'en publie peu. Je trouve que la ligne est mince dans le traitement, entre de bons résultats et du "ouash" mais je persévère.
Caméra iPhone
Texture: Tanya Felsheim
François Meehan
=========================
I took this picture on lunch break while working at a customer site on Montreal's West Island. Must get these legs moving from time to time.
This bridge has a superb structure, full of photographic opportunities. It links the Island of Montreal with the town of Vaudreuil.
For this image, I have fused a beautiful texture from Tanya Felsheim in "Linear Burn" mode.
I do a lot of work with textures but publish very little. I find the line between something sharp and something "berk" being very thin. But I keep on trying.
Camera iPhone
Texture: Tanya Felsheim
François Meehan
Architect: Foster + Partners
Built in: 1996-2000
Client:
Here The Millennium Bridge with Saint Paul's Cathedral in the background.
"The Millennium Bridge springs from a dynamic collaboration between engineering, art and architecture to provide the first new Thames crossing since Tower Bridge. A shallow suspension structure, it is designed to allow pedestrians unimpeded views up and down river. A thin ribbon of steel by day, it is illuminated to form a blade of light at night. Co-architects: Sir Anthony Caro and Ove Arup & Partners."
Source: Foster + Partners
Architect: Foster + Partners
Built in: 1996-2000
Client:
Here The Millennium Bridge with Saint Paul's Cathedral in the background.
"The Millennium Bridge springs from a dynamic collaboration between engineering, art and architecture to provide the first new Thames crossing since Tower Bridge. A shallow suspension structure, it is designed to allow pedestrians unimpeded views up and down river. A thin ribbon of steel by day, it is illuminated to form a blade of light at night. Co-architects: Sir Anthony Caro and Ove Arup & Partners."
Source: Foster + Partners
Oh God, I've done these photos back on january and only now I've made a post on my blog.
Check it out if you like! There are many many photos there... And a sweet little comment there would be greatly appreciated! :)
I have to organize my sharing queue ;P
~~~~~
Model: Rossana Niero
Make up artist: Lilian Morita
client: Psicodélika
Photography & edition: Anna Theodora
the long stair : an original zumthor. but could be also a böhm. Interesting: one time you have around 30 steps or even more in a row, how he did that? Peter is allowed to do, but others are not? beside this it's an amazing space here. wide just around 1 meter (think over, it's the main stair for the museum!!!). funny, everybody touch the handrail and is perhaps thinking how amazing this is. of course it's beautiful, but a lot of architects hopefully should design something like that.
above all: sometimes i do not understand why people are so facinanated about his work. don't get me wrong, he is doing great work, but is this so difficult when you can have a good client (like he almost every time has?).
when you go around every material is a luxury one, very expensive, every detail is well designed, which is not too difficult when the client gives you the time and money for that. Funny, that we already getting in ectasy by seeing all these details...................................
The Client was great here. that's for sure.
peter said in an interview a longer time ago, that this would be the opposite of the bilbao effect. i have to say, that he is wrong. He is doing in his way the same. the museum is not really a museum. in the whole space you see just a few exhibits, the space of the whole museum is much more important. and that's nice. but i see not a big difference between bilbao (which i don't like) and kolumba in some way. the space is more important as the exhibits i felt. yes, it's a space for meditation, i totally agree.
For example he was designing some very high spaces, 7,50m to 7,50m so as a square and perhaps 10 meter or even more in height. inside it will be just 2 (!!!!) exponats, think over! of course this is nice, but if you would see much more exponats i will tell you it would be looking quite different.
at the time of the competition i was also involved with a design and now i was surprised about the few exponats......... The table construction in the first floor which is covering the archaeological walls of the old church to preserve them is on one hand very nice (that's for sure, especially the shiny thin columns), but this was for sure extremly expensive to build and obviously it's not THAT interesting to see here some stone on the ground (...), but it's also part of the whole design and i appreciate it a lot.
What i mean is: He is doing a lot for a bit to see to celebrate HIS space (and i would probably trying to do the same)
And one more thing: as perhaps everybodys knows he put the first masterwork from Gottfried Böhm (maria in den trümmern, a very small but very important church) just inside his design. honestly it looks quite pretty from the outside (like in a very old italian town), but he absolutly destroyed the incoming light which came so beautiful through the windows. now it's more dark inside.
I worked a long time for Gottfried Böhm and he was totally upset about that and i understand this.
Please go also inside this space, it's just beautiful. Even it's looking like another exponat from the museum now...................
However: We need more museums like this one. Or better to say: we need more public spaces like this one in a city to join the silence.
When examining advertising campaigns throughout history different political, economic, and social issues are very obvious. Advertising always seems to mirror not only what is occurring across mass society, but also the themes unique to a diverse group of sub cultures in society during a particular time period. After closely exploring fashion ads throughout history it was clear how the ideas about body image have changed over time. Gradually it has become acceptable to show more and more skin and advertising in general has become much more sexualized. In the book Adorned in Dreams, Elizabeth Wilson explained how people have used fashion as a way to represent themselves and their reactions to society across the decades. She says, “In all societies the body is ‘dressed’, and everywhere dress and adornment play symbolic, communicative and aesthetic roles. Dress is always ‘unspeakably meaningful’.” Wilson goes on to describe how in the twentieth century the integrity of dress has progressed to disassociate itself from the rigid behavioral codes that once sustained it. Fashion has been freed to become both an aesthetic vehicle for experiments in taste and political means of expression for dissidence, rebellion and social reform. In this book Elizabeth has set up an important foundation for further analysis into current fashion advertising. Many of the issues presented in contemporary advertising convey very similar messages about body images; however more distinctions can be made based on the market a particular ad is targeting.
As illustrated through the movie “Happiness Machines”, an important tool in advertising is the ability to create desire. The “desire”/ Consumer society was born after World War I as a response to the fears of the new industrial society that was a product in America from the war. Based on what Bernays had previously learned from his Uncle, Sigmund Freud, about the human mind and subconscious thinking, he realized this would require him to transform the way society thought about products and turn America from a needs based society into a desire culture. He had to create the new types of customers. Bernays began to create many of the techniques of mass consumer persuasion we still use today. He began to glamorize products by placing advertisements linking products with celebrities who used them. He used product placements in movies and dressed the stars for film premiers with the clothes and jewelry from other firms her represented. He told car companies they could sell cars as symbols of male sexuality. He also employed psychologists to claim a product was good for you and pretended they were independent studies. Finally he paid celebrities to repeat the new and essential message; you bought things not just out of need but to express your inner sense of yourself to others. “Wearing certain clothes will make you more attractive”. This caused a change in society called consumerism.
Today desire is still constructed through political, cultural, and economic conditions, but it is also invested with the power to authorize and normalize those conditions (Helstein, That’s Who I Want to be: The Politics and Production of Desire within Nike Advertising to Women). Susan Bordo described how ads play off of the female fear of food and desire to gain control. In Hunger as Ideology Susan Bordo explains the negative effects advertising has on womens’ body image. Throughout history advertising has played off of womens’ fear of food and desire to gain control and while doing so has embedded the idea that men are superior to women and food should be feared by women, as it is a sign of weakness. Marketers try to sell products by showing it as a tool to gain control over some aspect of their lives. Not only do advertisements play off of females’ struggle for control, they also must be considered as gender ideology- that is, as specifically servicing the cultural reproduction of gender differences and gender inequality, quite independent of marketing concerns. Although it is arguable, these desires seems to be an underlying theme in most advertisements. Different markets have unique desires that take precedence in their lives, thus the major distinctions between modern fashion ads lies in the specific market a brand is targeting.
One of the most dominant types of fashion advertising is that of high-end brands. The pages of fashion magazines are filled with ads for brands such as Gucci, Dolce and Gabbana, Fendi, Christian Dior, and Prada just to name a few. Although all the brands have unique ads with their distinct trademark on them, there is an eerie similarity between them all. Slender, blonde, Caucasian females seem to dominate the script for high-end fashion advertising. Although in the 21st century advertising seems to becoming more culturally diverse, even the “ethnic” models have very westernized features. The typical ad depicts this female adorned in the latest fashions by the designer and is preposterously posed in a glamorous setting. Often times sex appeal is created either from the way the model is posed or the ‘lack’ of clothing covering her body. Occasionally males are used in these ads as an accessory to the women. Although society in general has become immune to these imagines since they have become so common, the messages they enforce about body images are not acceptable.
According to The Beauty Myth, as found in the Naomi Wolf readings, a thin, white, blonde woman is considered the 'perfect woman' and the most beautiful woman to feature. The typical high-end fashion ad plays to that stereotype. In The Beauty Myth, Wolf argues that it is men that create this idea of what or whom is "beautiful". It is the men in society that deem white, thin, blonde woman as beautiful, not women. Men create these "beauties" so that culture can remain male and male dominated, as argued by Wolf. The idea of male dominance is very clear in the advertising industry. The readings from Fresh Lipstick by Scott support this idea of the male dominated gaze. Scott mentioned that a male point-of-view shot is just another way for men to continue to dominate society.
This first set of ads comes from the Fall/Winter 2007 fashion ad campaigns of some of the top high-end designers in the industry. Many of the models are either well known super models of famous celebrities. Ads like these are extremely common today in the fashion industry. They are neither innovative nor distinct and they only help to reinforce the body image crisis currently plaguing the general public.
The role the fashion industry plays on society is haunting. The westernized ideals and images of beauty are rapidly scattering through humanity. As discussed in Making the Body Beautiful by Gilman, aesthetic surgery is a growing industry. More and more people want to have western features and the age of the patients undergoing these surgeries keeps getting younger. Gilman said, “Patients seeking rhinoplasty…frequently show signs of guilt-tinged, second-generation rejection of their ethnic background masked by excuses, such as not photographing well.” When people are constantly bombarded with images of Caucasian females modeling the latest fashions and depicted as the “ideal beauty” it creates a desire to have those same features. “Happiness in our modern world is in part defined by the desire to vanish into the world beyond ourselves where there is no difference. We want to become happy like everyone else and thus be absolutely unique in our happiness. This contradiction is at the heart of the matter. The heart of the matter in aesthetic surgery is the common human desire to ‘pass’ (Gilman, 330).” By filling the fashion magazines with models that all share similar features it creates the idea that through plastic surgery one can achieve those same features and in doing so fit into society.
Another popular type of high-end fashion advertising is shock value. Certain brands choose to fulfill their consumer’s need for desire by use of shock value. These ads typically depict a fantasy world in which they illustrate deep desires that might not be considered proper to openly discuss. An example of this type of advertising is the Fall/Winter 2007 ad campaign by Dolce and Gabbana. According to Domenico Dolce the image is artistic and was meant to “recall an erotic dream, a sexual game.” Protesters complained that the ad depicted rape and was demeaning to women. Spain’s Labor and Social Affairs Ministry said in a statement, “One could infer from the advertisement that it is acceptable to use force as a way of imposing oneself on a woman, reinforced by the passive and complicit manner of the men looking on.”
This ad continues to be filled with Caucasian individuals all scantily clad and exposing extremely cut bodies. Naomi Wolf, in The Beauty Myth, explains how images such as this can have negative consequences on men as well as women. “So powerful is pornography, and so smoothly does it blend in with the advertising of products…that many women find their own fantasies and self-images distorted too…So rare is it to see sexual explicitness in the context of love and intimacy on screen that it seems our culture treats tender sexuality as if it were deviant or deprived, while embracing violent or degrading sex as right and healthy (Wolf, 140).” Men also face the stereotypic ideal of how they are supposed to look and act; men must be in shape, toned, tall, with good hair, teeth and eyes. Today, men make up one-third of all cosmetic surgeries. Images are damaging and may lead to inferiority and inadequacy, and can lead to cosmetic surgery. Men are finally understanding and feeling the affects that advertising and unrealistic expectations of beauty. However, women have been dealing with these issues throughout history.
Along with enforcing very negative messages about body images through the use of male positioning and facial expressions the ad creates a very negative message about male superiority. The men is this ad are holding the female down and forcing themselves upon her. She looks on with a very blank expression, implying that she is dazed and not enjoying herself. The men in the background are just looking on and not doing anything to help her or interfere with the act. In Fresh Lipstick Scott mentions the arguments Beauvior makes that women have an inbreed fear of being raped and becoming the sexual prey of men. Women learn to see themselves as an object viewed from the outside, thus she begins to dress in a way to attract a lover. This involves imagining how one might appear to the desired male (226). This ad perpetuates this fear and seems to allocate rape.
Although the ad campaigns for high-end fashion brands may seem innocent at first glance, upon further investigation it is obvious that they are enforcing negative messages about body image. If these brands clutter society with so many negative messages surrounding body images, how can they continue to remain so popular? It seems as though the designers of these ads knows that their main audience viewing their actual campaigns are not their actual clients purchasing the products. The majority of the people who wear these clothes have personal shoppers or stylists who buy their clothes for them. Rather, the images in these ads are designed to create a desire among a lower class of society to achieve this rich and luxurious lifestyle; however, the consequences resulting from the message of how to achieve this particular lifestyle is devastating.
In Self-Help, Inc. McGee describes how there is a growing interest in the self-help society. The movement can be traced all the way back to the Bible as the first example of a self-help book. Today there is a book to teach people how to help themselves succeed in just about every aspect of life. Advertising seems to foster self-anxieties and endless imperfections. It is important to acknowledge the growth of this trend in society since it seems to parallel a slow shift toward more conscious advertising. In the early 1990s sales of self help books went up 6% following the trends in society of unemployment and a bad economy. In the past ten years there has been a noticeable amount of ads produced in effort to portray positive messages about the body.
The ad campaign by the French brand Nolita is an attempt to create a more positive message about the body image. The author of the campaign is famous Italian photographer Oliviero Toscani. The campaign is designed toward young women who keep up with fashion and is called to draw public attention to such awful disease as anorexia. The ad billboards feature a 27 years old French woman named Isabella Caro who weighs a mere 68 pounds. She says that she has decided to show her body for people to know and to see how the disease impacts the body. It is common knowledge that there is a major problem with eating disorders in the fashion industry. As previously mentioned the typical model has an abnormally tall slender frame. Maintaining this body image is generally unnatural, but models will go to any length to ensure that they stay at a dangerously low body weight.
Women are continually bombarded with advertisements and commercials for weight-loss products and programs. This type of advertising has been around for a long time and continues to enforce negative views of food for women. The media starts targeting girls from a young age and over time the idea is cemented in girl’s heads that food is bad. Many of the advertisements show the power that food has over women. They illustrate how the female psyche is in a constant state of starvation through their efforts to sell products that can create a “cool” or casual relationship with food for women. The issues surrounding food are a lot deeper and more serious than advertisements are willing to admit. Most often women feel upset and depressed and unhappy when they discuss compulsive eating or over indulgence. Since the Victorian era it has been considered taboo to show women eating, particularly in sensuous surrender to rich, exciting food (Hunger as Ideology, Susan Bordo).
Naomi Wolf made a lot of important points about the gravity of eating disorders. She illustrated how it is a vicious cycle that can often lead to death. When people diet the body often feels as if it is starving and chemicals in the head get messed up. It is really hard to control and basically anyone who diets is at equal risk for becoming anorexic or bulimic. Female fat is a sign of sexuality and reproductive ability. There have never been any studies on females that indicate being over weight can lead to other health concerns or put them at higher risk for death. Every study that has been done on obesity has involved male subjects; yet, females are the ones put under constant pressure from society and the media to be thin. It is acceptable for men to be fat, and men should have hardy appetites. It is age old and universal that if there is ever a shortage of food the women are the first to do without. In reality women really need just about as many calories as men and women suffer more serious problems if they are malnourished. Eating disorders effect a significant population in society. It is really scary because it is such a psychological problem that is seems there is no real way to prevent any one person from getting it unless the entire mind set of basically the world is transformed (The Beauty Myth, 179-116).
This ad from Nolita is defiantly a step in the right direction; however it does not do enough. Rather than say how to help someone with an eating disorder it almost seems to criticize the individual with the problem. People with eating disorders already have very flawed and negative self-images. Although this image is not seen as sexualized at all, it is merely because of the condition the model is in. She is still naked and being shot from a male gaze. It seems like a more effective approach would be to illustrate ways to prevent the problem or find a path to recovery; however, it is nice to see the problem is finally being recognized in the fashion industry.
Although the fashion industry is filled with images that perpetuate negative body images in society there seems to be some hope for improvement in the new century. It is very difficult to find ads that do a really good job of portraying positive body images, but they do exist. Some brands do a really good job of producing campaigns that portray a positive body image. United Colors of Benetton has a really unique campaign. It is interesting to note that the photographer for this campaign is also Oliviero Toscani, who shot the pictures of Isabella Caro for the Nolita campaign. Benetton Group's advertising campaigns are not only a means of communication but an expression of our time. Through their universal impact, they have succeeded in attracting the attention of the public and in standing out amid the current clutter of images.
The latest campaign by the United Colors of Benetton depicts the faces of four different species of apes. The print reads, “If we don’t do anything to save them, in ten to 15 years the great apes could disappear from the majority of the areas where they now live.” There were about two million chimps in Africa one hundred years ago, now there are little more than 150,000. They are dying out as a result of the expanding human population, deforestation, the destruction of their habitat, hunting and traps. The situation of mountain gorillas and orang-utans is even worse. The number of wild apes is falling while the number of orphans in sanctuaries is rising. This campaign does a great job of bringing awareness to important social issues. Some of the other ads depict the problems with starvation, AIDS and heart disease to name a few. Several of the communication projects created by Fabrica, Benetton’s research center have also been developed in cooperation with prestigious associations (including FAO, UNV, WFP) obtaining important acknowledgements at an international level.
Although these ads do not show the clothes, it creates the desire to help fight these problems. Through the campaign people realize that United Colors of Benetton does a lot of work with different organizations and that through buying this brand they are helping to support a very good cause. In that sense it is effective in creating a desire and does not perpetuate the negative body images that the fashion industry has been continually associated with.
Another genre of fashion advertising that seems to do a good job of portraying positive body images is in campaigns for athletic apparel. Currently both Adidas and Nike are attempting to produce campaigns that generate positive body images and messages. Nike’s campaign is a good effort to demonstrate more positive messages about body image, but it has been causing a lot of controversy. Nike’s new ad campaign, “Big Butts, Thunder Thighs, and Tomboy Knees” has been criticized because they highlight the butt, thighs, and knees of women athletes who could hardly by any means be considered out of shape. The campaign seems to have back fired and while those butts, thighs and knees should be praised, the manner that the ad presents the body parts almost condemns them. As explained in The Beauty Myth by Naomi Wolf, in modern society women are expected to have split personalities and lifestyles. Women feel pulled in different directions, such as housewife, working women, athletic social, etc. It seemed that this would have been a great opportunity for Nike to reach the diverse desires of all women, but this campaign does not seem to be there quite yet.
While the campaign seems to have stayed away from the typical genre of fashion advertising, it is not very effective in creating a more positive body image. The images are black and white and shot in a way to eliminate the male gaze or cultural inequalities. However, the depiction of these well-oiled, muscle crunching body parts has sparked some questions. If the message is supposed to be about authenticity, hard work, and in-your-face reality, how about showing a little more sweat and a little less creatine? Furthermore, this ad seems to be appealing to current Nike customers while the whole point of advertising is to try and attract new consumers. Finally, the ad is a copy of the dove campaign which totally strips it of any creative or unique credit the campaign could have been given.
The Adidas campaign launches a new global basketball movement featuring NBA All-Stars Tracy McGrady, Kevin Garnett, Tim Duncan, Chauncey Billups and Gilbert Arenas. The movement of the “It Takes 5IVE” campaign is based on the idea of believing in something bigger than the individual-believing in five, believing in team. Adidas wanted to tap into the idea that there is more to the game then just individual achievement and focus on the value of being part of a team. That is the true spirit of the game of basketball. By bringing together five of the game’s most successful athletes and having them deliver the message that real success can only come from being part of a team, and that any individual achievements cannot measure to the success that five players on the court can achieve together shows that teamwork is the most essential aspect to a team sport.
This campaign seems to do a much better job of creating a positive message; however the message creates a desire for team work to help you succeed. While this is a good message, it is not a positive message about body image. Since this campaign stays away from assisting the fashion industry in creating negative body images and more importantly negative overall messages, it is a pretty good campaign.
Finally there are a few campaigns from popular designers that do a rather good job of staying away from continuing the negative body images being produced by the fashion industry. Both Tommy Hilfigure and Old Navy have ads that completely stay away from the body and in that sense they are not effective at creating a positive body image either, rather they are neutral. In the Tommy Hilfigure ad a herd of sheep are standing in front of an American Flag and the tag line reads “follow the flock.” This ad is cute and creates the desire to fit in and then eludes to the idea that through buying Tommy Hilfigure clothing you will be like everyone else; however, as previously stated, people in society today desire control over their destination and the idea of being like everyone else seems to distract from the notion of controlling one’s destiny. The Old Navy ad also uses animals by creating ads depicting images of their icon dog. These ads are effective at getting the name of the brand to the public, but it creates no desire and is therefore not as effective as the Tommy Hilfigure ad.
Overall, fashion advertising is dominated by ads that encourage negative body image through highly sexualized poses, a majority of male gazes, and unrealistic body types. There is not enough cultural diversity in today’s fashion advertising. The ads are effective at creating desire; however, the desire is to achieve unrealistic and unhealthy goals. In the past few years some very significant changes have been made, but it isn’t enough right now. It is a gradual process so it will probably take some time before any major noticeable differences appear on the pages of the top fashion magazines. Hopefully the steps that are taking place now will have a lasting positive impact on the body images created through future fashion advertising.
Scorchers are extremely rare and expensive type of weapons. Standing wave generated by the emitter, creates the virtual electrode on the way to the target, through which then pierces the high-temperature electric arc.
Moreover, this one is unique - it has been designed and created in a single copy by a man called the Alchemist, who also created the Glacier sword and the Grin Reaper scythe.
As I promised, here‘s the story. It’s also a spin-off to the [ECHO] storyline. Hope you’ll like it.
He went straight to the bar when came in. Pulled out a dark bottle of bourbon from a secret compartment, with a practiced movement poured a half of a glass, felt it, and drank in one gulp. The noise in the head, that persistently harassed him all day, retreated for a little.
Poured himself another glass, he went to the central room. Perfectly circular, with a lot of sofas, surrounded by glass walls, he loved to watch the sky of Mars through the windows
But now… something was wrong here. Anxiety ran through his spine as a cool wave. He put the glass on the nearest table and engaged all his feelings, trying to understand what bothers him.
And then he suddenly realized.
A man stood still in the middle of the room.
"He was here all the time? Why didn’t I noticed it?" Thoughts raced swiftly across his mind.
Split second later he recognized stranger’s garment. Light black robe of nanosilk that let you move quietly and silently. Only the members of the Assassin’s Guild dressed like that. And it seems like today he was their goal.
An Assassin’s Guild is a very powerful organization on Mars. Moreover, in one and a half a century of its existence, it have grown enough to build their own Dome city. Interestingly, no one tried to actively discourage activities of the Guild. In contrast, most of political organizations actively used its services, because if you need someone to get someone down, you can be sure for a hundred percent – nobody could do it better than the Guild. Mostly because the Guild always eliminated or absorbed all other organizations of mercenaries or assassins in advance. So – you pay – they play. And they always worked off their bounties. Another interesting fact is that the Guild has it’s own Code of honor, the violation of which is punishable by heavy fines, and, in particularly severe cases, even by death. However, there were only two such cases so far. Thus, the Code guaranteed to the client (as the Guild calls it’s victims) a comfortable withdrawal from life, as well as respectful attitude towards the body after client’s death. So if you suddenly died in your very own bed, you can be sure that the appropriate authorities already notified and all the taxes are paid already. But given the right circumstances, according to the Code, the client even has a right to know the amount of bounty for his head.
And he knew it.
Black figure drew a pistol from the folds of garments with a honed movement and directed it in his head. All this happened with no sound at all.
- According to your Code, I have a right to know the amount of the bounty, - he uttered hardly.
All time figure was slipping as out not only of his sight, but out of his mind. Somehow, his brain kept forgetting that someone standing in front of him, so he had to re-focus on the night visitor again and again.
After a half second soft, insinuating, and – that was unusual for the Guild – a woman's voice said:
- Three billion credits.
Not bad, but they could ask for more, he thought. After all, to get here, she probably had to kill all the guards, which was more than three hundreds in this five-storey building, and get through the most perfect security system.
- Gold, palladium, iridium? - He specified.
- All of it. - the response came from somewhere in the boundaries of consciousness. He concentrated on the soft glow of the pistol’s body. And suddenly he recognized it.
- Isn’t it an Alchemist scorcher, by the way? - He asked.
- Yes. – She answered somehow very quitly.
- Is this old madman still alive? - He asked again.
- No. - She said stonily. – For how long you planning to ask questions?
- Last one. - He said - I know, the Guild doesn’t accept ransoms, but you should studied me when you took the contract, you should know that I have a lot more. Moreover, I have some power, I still a prominent people in politics. Maybe I can do something for you, personally? - He asked cautiously, continuing to focus on the deliquescent guest.
In the darkness of assassin’s hood for no reason at all two bright copper colored eyes flashed suddenly.
- I need to get on Nibiru. – Her every word fell like blades on a soft pillow. He realized that there is no way out for him anymore. Everyone dreamed about Nibiru, but for two centuries only a one and a half of a dozen of martians was counted worthy by niberians to pass on their planet. He shook his head.
- I'm sorry, but no one on this planet has such power. You should know by yourself – each immigrant must have been unanimously approved by the niberian Council. And there, they say, if no gods sit there, but the local Buddhas for sure. They cannot be blackmailed, and they catching all the illegal immigrants and send them back to Mars in the ultrafast capsule. Not the most pleasant way to travel, I must say.
The girl nodded. She had a chance to meet with such "illegal." He almost get crazy after this flight, but he constantly told to the everyone whom he met the stories about the impassable jungles, azure seas and kilometer-high trees. Later he became to known as an Alchemist. But this is not important. These stories captured her mind in the childhood. But not only the stories.
He took off the table a glass of bourbon and overturned it in himself, but didn’t felt any taste or smell. Then he turned to his guest.
- Do what you must, assassin. – He said absently.
Thin blue lightning pierced the room with a quiet rustle and thrust in his head. Instant death. The girl picked up his falling body and sat him on a chair. Her fingers closed his eyes gently.
She slowly approached the window and opened it. Fifth floor – not a problem for a member of the Guild. Nor the hundredth, though.
A minute later she was near the gateway of the Dome city. She got through the one of the loopholes only known by her and finally climbed out and breathed in the cool night air of Mars. This was made possible by the partial terraforming, now there is +30 by celsium in the day and -10 at night. But still not all the humans were able to breath martian air. But she could, and the rest wasn't important for her.
Deimos raised over the horizon. An assassin took the course quickly and easily ran across the red dunes, that almost haven't crumbled under her steps.
And during the run she allowed her thoughts to go back to dreaming about Nibiru.
She remembered when the niberians flew here. And she remembered the girl with fiery red hair and golden eyes. She remembered a radiant halo around her head, which only she was able to see, as it turned out later. And she remembered as the girl just touched the ground, grabbed her head, fell to the ground and screamed. Screaming, she repeated the two words in an unknown language. These words, the horror in wide opened eyes of the redhead girl... All this firmly etched in her mind.
Later she learned the meaning of this words.
Dead planet. Dead planet. Dead planet.
She never saw this niberian girl again. But the desire to meet again the shining goddess from another planet forever settled in her mind tightly.
"By all means"
She was running toward the horizon.
"I'll get on Nibiru"
Credits to SPW.
If you read the story, please, leave a comment :) And thank you!
Apparently some people are so crazy about the Wyse thin client solutions that they are willing to spray paint it on a wall. Could it be some citrix/vm admins going wild or totally random?
salisbury cathedral 1220-1258.
vertical panorama from trinity chapel, completed 1225.
we have forgotten what religion was. that people came to salisbury believing they were in the presence of the divine, whether in the shape of local saints, the mother mary or the lord himself, called upon by elaborate, processional rituals.
without religion, we have no other word than magic for what this building offered. its magic was supported by the architecture which along the great length of the church changed from the grand spaces of the nave and choir into the much more intimate trinity chapel from where this photo was taken. and as such, any notion that this was the result of some great collaborative, collective effort must go. it was the work of an elite who knew how their work would affect people - master masons and carpenters acting as architects and structural engineers for a wildly ambitious client.
once, in architectural history, the idea was held that english gothic peaked at one time and fell into a decline as if almost necessitating the advent of renaissance architecture. we didn't see that on our trip, neither the peak nor the decline. english gothic went from strength to strength with only priorities changing and hard-won technical advances, achieved through trial and error. there was nothing to suggest this could not have gone on, had it not been stopped by politics - that massive redistribution of wealth and power known as the reformation.
every stone and every line here meant something we have since lost the ability to see. to us the stone is more stone than before, as a clever man once said. yet here in the trinity chapel, the illusionism is still striking; its vaults are no longer held up by solid piers, but rather appear to be floating on air, only held down by marble shafts, thin as rope.
the elite behind such a design were the NASA of their day, with preposterous budgets and ambitions to match. had they been given another century, they would have gone to the moon in a spiky stone vessel.
more words, yada, yada, yada.
Cappadocia lies in eastern Anatolia, in the center of what is now Turkey. The relief consists of a high plateau over 1000 m in altitude that is pierced by volcanic peaks, with Mount Erciyes (ancient Argaeus) near Kayseri (ancient Caesarea) being the tallest at 3916 m. The boundaries of historical Cappadocia are vague, particularly towards the west. To the south, the Taurus Mountains form the boundary with Cilicia and separate Cappadocia from the Mediterranean Sea. To the west, Cappadocia is bounded by the historical regions of Lycaonia to the southwest, and Galatia to the northwest. The Black Sea coastal ranges separate Cappadocia from Pontus and the Black Sea, while to the east Cappadocia is bounded by the upper Euphrates, before that river bends to the southeast to flow into Mesopotamia, and the Armenian Highland.This results in an area approximately 400 km (250 mi) east–west and 250 km (160 mi) north–south. Due to its inland location and high altitude, Cappadocia has a markedly continental climate, with hot dry summers and cold snowy winters. Rainfall is sparse and the region is largely semi-arid.
Cappadocia was known as Hatti in the late Bronze Age, and was the homeland of the Hittite power centred at Hattusa. After the fall of the Hittite Empire, with the decline of the Syro-Cappadocians (Mushki) after their defeat by the Lydian king Croesus in the 6th century, Cappadocia was ruled by a sort of feudal aristocracy, dwelling in strong castles and keeping the peasants in a servile condition, which later made them apt for foreign slavery. It was included in the third Persian satrapy in the division established by Darius, but continued to be governed by rulers of its own, none apparently supreme over the whole country and all more or less tributaries of the Great King.
After bringing the Persian Empire to an end, Alexander the Great tried to rule the area through one of his military commanders. But Ariarathes, a Persian aristocrat, somehow became king of the Cappadocians. Ariarathes I (332—322 BC) was a successful ruler, and he extended the borders of the Cappadocian Kingdom as far as to the Black Sea. The kingdom of Cappadocia lived in peace until the death of Alexander. The previous empire was then divided into many parts, and Cappadocia fell to Eumenes. His claims were made good in 322 BC by the regent Perdiccas, who crucified Ariarathes; but in the dissensions which brought about Eumenes's death, the son of Ariarathes recovered his inheritance and left it to a line of successors, who mostly bore the name of the founder of the dynasty.
16th-century map of Anatolia from Münster's Cosmographia showing "Capadocia"
Under Ariarathes IV, Cappadocia came into relations with Rome, first as a foe espousing the cause of Antiochus the Great, then as an ally against Perseus of Macedon. The kings henceforward threw in their lot with the Republic as against the Seleucids, to whom they had been from time to time tributary. Ariarathes V marched with the Roman proconsul Publius Licinius Crassus Dives Mucianus against Aristonicus, a claimant to the throne of Pergamon, and their forces were annihilated (130 BC). The imbroglio which followed his death ultimately led to interference by the rising power of Pontus and the intrigues and wars which ended in the failure of the dynasty
The Cappadocians, supported by Rome against Mithridates VI of Pontus, elected a native lord, Ariobarzanes, to succeed (93 BC); but in the same year Armenian troops under Tigranes the Great entered Cappadocia, dethroned king Ariobarzanes and crowned Gordios as the new client-king of Cappadocia, thus creating a buffer zone against the encroaching Romans. It was not until Rome had deposed the Pontic and Armenian kings that the rule of Ariobarzanes was established (63 BC). In the civil wars Cappadocia was first for Pompey, then for Caesar, then for Antony, and finally, Octavian. The Ariobarzanes dynasty came to an end, a Cappadocian nobleman Archelaus was given the throne, by favour first of Antony and then of Octavian, and maintained tributary independence until AD 17, when the emperor Tiberius, who he had angered, summoned him to Rome and reduced Cappadocia to a Roman province.
A house in Cappadocia
Cappadocia contains several underground cities (see Kaymaklı Underground City), largely used by early Christians as hiding places before Christianity became an accepted religion. The underground cities have vast defence networks of traps throughout their many levels. These traps are very creative, including such devices as large round stones to block doors and holes in the ceiling through which the defenders may drop spears. These defense systems were mainly used against the Romans. The tunnel system also was made to have thin corridors for the Roman fighting strategy was to move in groups which was not possible to do in the thin corridors making it easy to pick them off. The Cappadocian Fathers of the 4th century were integral to much of early Christian philosophy. It also produced, among other people, another Patriarch of Constantinople, John of Cappadocia, who held office 517—520. For most of the Byzantine era it remained relatively undisturbed by the conflicts in the area with the Sassanid Empire, but was a vital frontier zone later against the Muslim conquests. From the 7th century, Cappadocia was divided between the Anatolic and Armeniac themes. In the 9th–11th centuries, the region comprised the themes of Charsianon and Cappadocia.
Cappadocian Greeks in traditional clothing.
Göreme in winter.
Cappadocia shared an always-changing relationship with neighbouring Armenia, by that time a region of the Empire. The Arab historian Abu Al Faraj asserts the following about Armenian settlers in Sivas, during the 10th century: "Sivas, in Cappadocia, was dominated by the Armenians and their numbers became so many that they became vital members of the imperial armies. These Armenians were used as watch-posts in strong fortresses, taken from the Arabs. They distinguished themselves as experienced infantry soldiers in the imperial army and were constantly fighting with outstanding courage and success by the side of the Romans in other words Byzantine". As a result of the Byzantine military campaigns and the Seljuk invasion of Armenia, the Armenians spread into Cappadocia and eastward from Cilicia into the mountainous areas of northern Syria and Mesopotamia, and the Armenian Kingdom of Cilicia was eventually formed. This immigration was increased further after the decline of the local imperial power and the establishment of the Crusader States following the Fourth Crusade. To the crusaders, Cappadocia was "terra Hermeniorum," the land of the Armenians, due to the large number of Armenians settled there
Following the Battle of Manzikert in 1071, various Turkish clans under the leadership of the Seljuks began settling in Anatolia. With the rise of Turkish power in Anatolia, Cappadocia slowly became a tributary to the Turkish states that were established to the east and to the west; some of the population converted to Islam but the main Greek-Byzantine population moved to the Ionian coast. By the end of the early 12th century, Anatolian Seljuks had established their sole dominance over the region. With the decline and the fall of the Konya-based Seljuks in the second half of the 13th century, they were gradually replaced by the Karaman-based Beylik of Karaman, who themselves were gradually succeeded by the Ottoman Empire over the course of the 15th century. Cappadocia remained part of the Ottoman Empire for the centuries to come, and remains now part of the modern state of Turkey. A fundamental change occurred in between when a new urban center, Nevşehir, was founded in the early 18th century by a grand vizier who was a native of the locality (Nevşehirli Damat İbrahim Pasha), to serve as regional capital, a role the city continues to assume to this day.
In the meantime many former Cappadocians had shifted to a Turkish dialect (written in Greek alphabet, Karamanlıca), and where the Greek language was maintained (Sille, villages near Kayseri, Pharasa town and other nearby villages), it became heavily influenced by the surrounding Turkish. This dialect of Greek is known as Cappadocian Greek. Following the 1923 population exchange between Greece and Turkey, the language is now only spoken by a handful of the former population's descendants in modern Greece.
The area is a popular tourist destination, as it has many areas with unique geological, historic, and cultural features.
The region is located southwest of the major city Kayseri, which has airline and railway service to Ankara and Istanbul.
The most important towns and destinations in Cappadocia are Urgup, Goreme, Ihlara Valley, Selime, Guzelyurt, Uchisar, Avanos and Zelve. Among the underground cities worth seeing are Derinkuyu, Kaymakli, Gaziemir and Ozkanak. The best historic mansions and cave houses for tourist stays are in Urgup, Goreme, Guzelyurt and Uchisar.
Hot-air ballooning is very popular in Cappadocia and is available in Goreme. Trekking is enjoyed in Ihlara Valley, Monastery Valley (Guzelyurt), Urgup and Goreme.
Sedimentary rocks formed in lakes and streams and ignimbrite deposits that erupted from ancient volcanoes approximately 9 to 3 million years ago, during the late Miocene to Pliocene epochs, underlie the Cappadocia region. The rocks of Cappadocia near Göreme eroded into hundreds of spectacular pillars and minaret-like forms. People of the villages at the heart of the Cappadocia Region carved out houses, churches and monasteries from the soft rocks of volcanic deposits. Göreme became a monastic centre in 300—1200 AD.
The first period of settlement in Göreme goes back to the Roman period. The Yusuf Koç, Ortahane, Durmus Kadir and Bezirhane churches in Göreme, and houses and churches carved into rocks in the Uzundere, Bağıldere and Zemi Valleys all illustrate history and can be seen today. The Göreme Open Air Museum is the most visited site of the monastic communities in Cappadocia (see Churches of Göreme, Turkey) and is one of the most famous sites in central Turkey. The complex contains more than 30 carved-from-rock churches and chapels, some having superb frescoes inside, dating from the 9th century to the 11th century. (Wikipedia quote)
I've burned myself while capturing fire. Choked on smoke, inhaled dirt and spend hours cleaning up a mountain of baby powder all for the sake of atmosphere shots. I've chased birds up and down cliffs in Maine because I just "had" to have birds in the shot. This project has definitely taken me to places I've never been and even more so, proved that I have a very strong addiction to the art of photography and digital compositing.
The people around me have come to know what certain types of shots will take in terms of frustration and time. Tonights shot was no different! I had been browsing the internet on one of my many short tangents and came across one of my "virtual" Acquaintances most recent work and instantly felt the need to compete. Not with the same type of image, just a photo that rivaled the "wow" factor and work involved.
From the second I had mentioned to Joyce that I was going to go "epic" she knew that any plans to relax early were out the window. She likes to predict just how long a photo will take based solely on a few key points. What element I am playing with, what will I be creating from thin air and who's in the shot. Shots with Shawn are always a little bit more time consuming as the first 10 minutes are spent trying to both persuade him to do the shot and then calm him down. He's like a child on a sugar high. He has a hard time being serious for more than a second. However, he is nearly always able to pull it together and give me the emotion or action I'm looking for.
Well, after Joyce had the necessary information she made a prediction of around 3am for the finish time. I of course always tell her she's crazy and that it wont be that long. She just laughs and says "we'll see".
So what does it take to make someone explosively turn to water. I honestly had no idea! I had never attempted a composite with the use of water like this. I searched the internet and found a few crappy tutorials and a hand full of less than amazing images. The only images that were close to being what I was looking for were a few from old Gatorade ads. I knew I was going to have to wing the shit out o this one… But where to start?
Well, anytime I get to freeze action of moving things, I always smile. I love to freeze a single moment in time. Water unfortunately moves a slight bit faster than 1/250 of second and I was just not able to freeze water with the sharpness I have come to demand out of my photography. I'm not sure that I'd be able to achieve sharpness even with the Paul C. Buff Einstein Lights sync speed of 1/320. If I had powerful enough speed lights I would have opted for a different approach. I would have used the bulb setting and just used the speed lights super short flash duration to expose the shot rather than the shutter speed. This has worked in the past for freezing extremely fast moving objects like the rubber breaking from around a balloon falling in mid air, showing a ballon shaped blob of water. An event that is too fast for the human eye to see.
I had setup for the water shot by placing AB800s with Gridded soft boxes at both 9:00 & 3:00. My ability to composite the water was resting solely on getting a completely black background. Using a front light like the beauty dish would have illuminated the background and making the water useless. I had setup a black backdrop on what was officially the longest boom I've ever used. I had attached a c-stand arm to the end of my Avenger boom bringing the total length to just under 12 feet. After sandbagging the shit out of both the boom and stand I was able to stretch the full width of a Walmart black bed sheet on it, swing the whole wobbly rig over the pool all of that just to get a solid black backdrop!
I would pre focus then lock the camera in manual focus. Joyce would get water amounts varying from a cup to a bucket and we'd count down 3…2…1… She'd throw the water as I clicked the shutter. Capturing the water was simple yet not totally sharp. I knew I could do no better with the gear I had so I opted to except what I had and move on.
Shawn's shot was lit with the standard 3 point lighting. I had him put practice the pose and just as he got it I said "ok, now get in the pool" he looked confused and asked if I was serious. "of course, you're going to be turning to water, if you're not wet it just wouldn't look right" He reluctantly got in the pool and after 2 minutes of bitching about it being cold, Joyce decided to help him and splash him with water. After shawn was thoroughly wet, we got back to shooting. A process that took all of 10 minutes, 2 mintues if you subtract Shawn's theatrics!
It was now off to the digital world!
Post Production:
This is obviously where the magic happened. I masked shawn out in record time using the quick selection tool in Photoshop. This was the first time I'd ever used this tool and I don't know why I've never used it before! Its quick and pretty damn accurate. It's a secondary tool coupled with the magic wand. I suggest you try it.
After masking, I simply yet time consumingly overlaid selections from the best water shots. Using the natural highlights on his skin I essentially recreated his silhouette with water spray. I was then able to paint away areas of this head and body to give the impression that he was turning to water. This has to be the most abridged version of a post production process ever. This wasn't all together difficult just very time consuming. There is over 60 layers of water. Every area of his skin that is being "liquified" has an actual overlay of water as an edge. This gives a more realistic appearance and helps sell the overall effect. I wasn't sure about the background but knew that solid black was just not right. I played with a few different types of gradients and settled on my good friend mr. circular gradient.
So this was definitely one of those images where I had to force myself to say "I'm done" I knew I could have gone on for ever. I'm sure I could have replaced the background with some crazy image of a city turning to water or some shit like that. I instead opted to call it a night and watch a bit of Vanilla Sky.
The time was now 4 minutes past 3am and once again…. Joyce was right! I will now use her strange ability as a tool in developing more accurate client bids. She can sit in on meeting and at the end she'll be able to tell how long the shoot and edit will take like some sort of strange human calculator. Its brilliant!
Lighting:
Model:
AB800 Med Softbox at both 10:00 & 2:00. Full Power
AB800 Beauty Dish Boomed overhead. 1/4 power
Water:
AB800 Gridded Med Softbox at both 9:00 and 3:00. 3/4 Power
- Ralph Waldo Emerson
This is a sneak peek from a client shoot I did yesterday. Had a blast working with dramatic light and extreme posture. Love how curvy she looks in this picture, despite the fact that she was a super thin (and gorgeous!) woman.
Raffaello Sanzio. Dit Raphaël. 1483-1520. Urbino Florence et Rome. La Madone de Meadow. KHM Vienne
Raffaello Sanzio. Said Raphael. From 1483 to 1520. Urbino Florence and Rome. Madonna Meadow. KHM Vienna
LA FEMME DANS LA PEINTURE EUROPEENNE 1
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique, la Crète minoenne, et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture témoigne de l'importance de la femme comme thème de l'art..
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent. Mais les Saintes sont innombrables, et la Vierge est omniprésente. La Vierge est, aussi et surtout, la Mère de l'Enfant. Quel art dans le monde a fait autant de place à la mère et à l'enfant ?
Mais il existe un espace non négligeable pour le Nu dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe.
Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent, avec le Christ, Adam et quelques saints, Jérôme, et surtout Saint Sébastien, dont les représentations sont toujours très orientées.
A la " Renaissance" la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et de nus masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans leur reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît presque totalement, mais dans la peinture profane, la représentation du nu féminin disparaît aussi. Sauf quelques exceptions dans l'art religieux de Rembrandt qui constitue ainsi une double exception dans le monde protestant (peinture religieuse et nu féminin)
La femme est très présente dans la peinture protestante, profane, des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois polissons ( Fragonard). L'érotisme est plus affiché dans la représentation du nu féminin.
Au 19è et 20 siècle, à l'époque de l'Art Moderne, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Il n'est pas toujours certain que la femme y gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle soit toujours là.
Avez vous observé que la femme, habillée ou nue, a disparu dans l'Art Contemporain des Musées ?
Les exceptions sont rarissimes.
Il est vrai qu'on voit beaucoup la femme dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée.
C'est dans notre société occidentale, éclairée par les "Lumières", une remarquable libération des obscurantismes du passé ?
L'Art est, à toutes les époques, un excellent révélateur des valeurs qui animent une société.
WOMEN IN EUROPEAN PAINTING 1
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting, the legacy is thin (mainly ceramics), but the sculpture reflects the importance of women as a theme of art.
With Christian Europe, or more precisely, Catholic and Orthodox, the woman disappears not from the sculpture or painting. She dresses. The art of Catholic Europe in particular made a great place to women. Venus, Diana, the Nymphs disappear. But the holy women are innumerable, and the Virgin is everywhere. The Virgin is also and above all, the Mother of the Child. What art in the world has done as much space to the mother and the child?
But there is an important space for the Nude in Catholic painting, in the west of Europe. Not in the East, in the Orthodox art.
Some themes of the Old Testament allowed the painters of not losing hand in representation of the female nude, and meet with discretion the libido of their aristocratic clients. Adam and Eve, Bathsheba Bathing, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also represented very frequently with Christ but also with Adam and few saints, Jerome, for example, but especially with Saint Sebastian, whose representations are always very focused.
In the "Renaissance", the representation of the female nude increases considerably, along with the themes from mythology and Greek and Roman history. The painters we can now add to the themes of the Old Testament those of antiquity. All over Europe, in the North (Cranach) as in the South, it is an explosion of female nudes. And male nudes too, because the nude was a favorite subject of painters of the late 15th and 16th century in their technical reconquest of the realistic rendering of the human figures.
With the Reformation, religious painting disappears almost totally, but in secular painting the representation of the female nude disappears also. With some exceptions in religious art by Rembrandt, which thus constitutes a double exception in the Protestant world (religious painting and female nude). The woman is very present in the Protestant painting, secular, from the Northern low countries, but the woman is quite dressed. Ended, Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. Shades. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become ragamuffins (Fragonard). Eroticism is displayed in the representation of the female nude.
In the 19th and 20 century, in the era of Modern Art, the woman continues to be a favorite subject for painters (and sculptors), and its representations are extremely diverse. It is not always certain that the woman gains in beauty when it ends up looking like a guitar, when it flattened himself until to pass unders the doors or on the contrary, when his legs and his trunk look like stove pipes. But the essentials are the woman is still there.
Have you noticed that the woman, dressed or naked, disappeared in the Contemporary Art Museum?
It's true that we see many women in advertisements. The woman is no longer a virgin, nor mother, she is no longer admired, she is consumed.
It's in our Western society, illuminated by the "Enlightenment", a remarkable liberation of the obscurantism of the past ? Art is, at all times, an excellent indicator of the values that drive a société.
Hydrangeas are abound on flickr (sunmaid1 has some beautiful ones). That's of course beause they are just gorgeous.
I've wanted to learn the hydrangea for a long time. Two weeks ago at the CDO convention when folding Jakob's Star I learned how to do the first collapse of the hydrangea. Folding the hydrangea itself was only a small step from there. John Smith's tutorial is really great.
Of course I wanted to tesselate the hydrangea, too. That was a bit harder than I'd imagined. I think the initial collapse of the 9 hydrangeas took me about one hour : )
While folding the hydrangeas I've fallen back into love with my sandwich paper. It's really thin and thus allows my not-so-nimble fingers to fold a 9-level hydrangea as well as the smaller ones on the tesselation. The paper needs a bit of taking care but then folds quite well and holds to creases rather faithfully. I wish I had larger sheets of it.
Sandro Botticelli. (Alessandro di Mariano di Vanni Filipepi) 1444-1510. Florence. La Naissance de Vénus. Florence. Le Printemps. 1480. Florence. Musée des Offices.
Sandro Botticelli. (Alessandro di Mariano di Vanni Filipepi) 1444-1510.Florence. The Birth of Venus. Florence. Printemps. 1480. Florence. Uffizi Museum.
Mythologie Grecque. Aphrodite (Vénus), déesse de l'Amour, naît de la mer, fécondée par le sexe d'Ouranos, tranché par Cronos : « tout autour, une blanche écume sortait du membre divin. De cette écume une fille se forma" La Théogonie d'Hésiode. A gauche Zéphyr (le vent chaud et doux) et sa femme Chloris ( Flore en latin, déesse des fleurs) couple qui figure aussi dans le Printemps. A droite une des Heures va revêtir Vénus (Aphrodite) d'un voile rouge. Les Heures, filles de Zeus et de Themis sont au nombre de douze. Du ciel tombent des feuilles de myrte, plante méditerranéenne qui est un symbole de Vénus. Le modèle de la Vénus, Simonetta Vespucci, était la femme de Marco Vespucci et la maîtresse de Julien de Médicis, considérée comme la plus belle femme de son époque. Morte de pneumonie à l'âge de 23 ans en 1476.
Greek Mythology. Aphrodite (Venus), the goddess of love, born of the sea, fertilized by the sex of Uranus, decided by Cronos "surrounding a white foam coming out of the divine member. This scum formed a girl "Hesiod's Theogony. Left Zephyr (hot and sweet wind) and his wife Chloris (Flora in Latin, goddess of flowers) couple who also appeared in the Spring. Right one of Hours will take Venus (Aphrodite) with a red veil. the Hours, daughters of Zeus and Themis are twelve in number. from the sky fall myrtle leaves, Mediterranean plant that is a symbol of Venus. the pattern of Venus, Simonetta Vespucci, was the wife of Marco Vespucci and mistress of Giuliano de 'Medici, considered the most beautiful woman of her time. Dead of pneumonia at the age of 23 in 1476.
"Tout l’art florentin depuis Giotto et tout au long du Quattrocento, possède cette stupéfiante qualité de vérité absolue, reconnue. L’effet immédiat d’un grand Giotto ou d’un Masaccio est de laisser le spectateur sans voix. Cela s’appelait autrefois la Beauté."
MARIE MAC CARTHY "Les Pierres de Florence" 1956.
"Everything Florentine art from Giotto and throughout the Quattrocento has this amazing quality of absolute truth recognized. The immediate effect of a large Giotto or Masaccio is to let the audience speechless. It s' once called Beauty. "
MARY MAC CARTHY "The Stones of Florence" 1956.
LA FEMME DANS LA PEINTURE EUROPEENNE 1
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique, la Crète minoenne, et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture témoigne de l'importance de la femme comme thème de l'art..
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent. Mais les Saintes sont innombrables, et la Vierge est omniprésente. La Vierge est, aussi et surtout, la Mère de l'Enfant. Quel art dans le monde a fait autant de place à la mère et à l'enfant ?
Mais il existe un espace non négligeable pour le Nu dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe.
Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent, avec le Christ, Adam et quelques saints, Jérôme, et surtout Saint Sébastien, dont les représentations sont toujours très orientées.
A la " Renaissance" la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et de nus masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans leur reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît presque totalement, mais dans la peinture profane, la représentation du nu féminin disparaît aussi. Sauf quelques exceptions dans l'art religieux de Rembrandt qui constitue ainsi une double exception dans le monde protestant (peinture religieuse et nu féminin)
La femme est très présente dans la peinture protestante, profane, des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois polissons ( Fragonard). L'érotisme est plus affiché dans la représentation du nu féminin.
Au 19è et 20 siècle, à l'époque de l'Art Moderne, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Il n'est pas toujours certain que la femme y gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle soit toujours là.
Avez vous observé que la femme, habillée ou nue, a disparu dans l'Art Contemporain des Musées ?
Les exceptions sont rarissimes.
Il est vrai qu'on voit beaucoup la femme dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée.
C'est dans notre société occidentale, éclairée par les "Lumières", une remarquable libération des obscurantismes du passé ?
L'Art est, à toutes les époques, un excellent révélateur des valeurs qui animent une société.
WOMEN IN EUROPEAN PAINTING 1
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting, the legacy is thin (mainly ceramics), but the sculpture reflects the importance of women as a theme of art.
With Christian Europe, or more precisely, Catholic and Orthodox, the woman disappears not from the sculpture or painting. She dresses. The art of Catholic Europe in particular made a great place to women. Venus, Diana, the Nymphs disappear. But the holy women are innumerable, and the Virgin is everywhere. The Virgin is also and above all, the Mother of the Child. What art in the world has done as much space to the mother and the child?
But there is an important space for the Nude in Catholic painting, in the west of Europe. Not in the East, in the Orthodox art.
Some themes of the Old Testament allowed the painters of not losing hand in representation of the female nude, and meet with discretion the libido of their aristocratic clients. Adam and Eve, Bathsheba Bathing, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also represented very frequently with Christ but also with Adam and few saints, Jerome, for example, but especially with Saint Sebastian, whose representations are always very focused.
In the "Renaissance", the representation of the female nude increases considerably, along with the themes from mythology and Greek and Roman history. The painters we can now add to the themes of the Old Testament those of antiquity. All over Europe, in the North (Cranach) as in the South, it is an explosion of female nudes. And male nudes too, because the nude was a favorite subject of painters of the late 15th and 16th century in their technical reconquest of the realistic rendering of the human figures.
With the Reformation, religious painting disappears almost totally, but in secular painting the representation of the female nude disappears also. With some exceptions in religious art by Rembrandt, which thus constitutes a double exception in the Protestant world (religious painting and female nude). The woman is very present in the Protestant painting, secular, from the Northern low countries, but the woman is quite dressed. Ended, Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. Shades. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become ragamuffins (Fragonard). Eroticism is displayed in the representation of the female nude.
In the 19th and 20 century, in the era of Modern Art, the woman continues to be a favorite subject for painters (and sculptors), and its representations are extremely diverse. It is not always certain that the woman gains in beauty when it ends up looking like a guitar, when it flattened himself until to pass unders the doors or on the contrary, when his legs and his trunk look like stove pipes. But the essentials are the woman is still there.
Have you noticed that the woman, dressed or naked, disappeared in the Contemporary Art Museum?
It's true that we see many women in advertisements. The woman is no longer a virgin, nor mother, she is no longer admired, she is consumed.
It's in our Western society, illuminated by the "Enlightenment", a remarkable liberation of the obscurantism of the past ? Art is, at all times, an excellent indicator of the values that drive a société.
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Standing Tall.
This photo has been purchased and published by Packt Publishing, for a book titled Linux Thin Client.
Cappadocia lies in eastern Anatolia, in the center of what is now Turkey. The relief consists of a high plateau over 1000 m in altitude that is pierced by volcanic peaks, with Mount Erciyes (ancient Argaeus) near Kayseri (ancient Caesarea) being the tallest at 3916 m. The boundaries of historical Cappadocia are vague, particularly towards the west. To the south, the Taurus Mountains form the boundary with Cilicia and separate Cappadocia from the Mediterranean Sea. To the west, Cappadocia is bounded by the historical regions of Lycaonia to the southwest, and Galatia to the northwest. The Black Sea coastal ranges separate Cappadocia from Pontus and the Black Sea, while to the east Cappadocia is bounded by the upper Euphrates, before that river bends to the southeast to flow into Mesopotamia, and the Armenian Highland.This results in an area approximately 400 km (250 mi) east–west and 250 km (160 mi) north–south. Due to its inland location and high altitude, Cappadocia has a markedly continental climate, with hot dry summers and cold snowy winters. Rainfall is sparse and the region is largely semi-arid.
Cappadocia was known as Hatti in the late Bronze Age, and was the homeland of the Hittite power centred at Hattusa. After the fall of the Hittite Empire, with the decline of the Syro-Cappadocians (Mushki) after their defeat by the Lydian king Croesus in the 6th century, Cappadocia was ruled by a sort of feudal aristocracy, dwelling in strong castles and keeping the peasants in a servile condition, which later made them apt for foreign slavery. It was included in the third Persian satrapy in the division established by Darius, but continued to be governed by rulers of its own, none apparently supreme over the whole country and all more or less tributaries of the Great King.
After bringing the Persian Empire to an end, Alexander the Great tried to rule the area through one of his military commanders. But Ariarathes, a Persian aristocrat, somehow became king of the Cappadocians. Ariarathes I (332—322 BC) was a successful ruler, and he extended the borders of the Cappadocian Kingdom as far as to the Black Sea. The kingdom of Cappadocia lived in peace until the death of Alexander. The previous empire was then divided into many parts, and Cappadocia fell to Eumenes. His claims were made good in 322 BC by the regent Perdiccas, who crucified Ariarathes; but in the dissensions which brought about Eumenes's death, the son of Ariarathes recovered his inheritance and left it to a line of successors, who mostly bore the name of the founder of the dynasty.
16th-century map of Anatolia from Münster's Cosmographia showing "Capadocia"
Under Ariarathes IV, Cappadocia came into relations with Rome, first as a foe espousing the cause of Antiochus the Great, then as an ally against Perseus of Macedon. The kings henceforward threw in their lot with the Republic as against the Seleucids, to whom they had been from time to time tributary. Ariarathes V marched with the Roman proconsul Publius Licinius Crassus Dives Mucianus against Aristonicus, a claimant to the throne of Pergamon, and their forces were annihilated (130 BC). The imbroglio which followed his death ultimately led to interference by the rising power of Pontus and the intrigues and wars which ended in the failure of the dynasty
The Cappadocians, supported by Rome against Mithridates VI of Pontus, elected a native lord, Ariobarzanes, to succeed (93 BC); but in the same year Armenian troops under Tigranes the Great entered Cappadocia, dethroned king Ariobarzanes and crowned Gordios as the new client-king of Cappadocia, thus creating a buffer zone against the encroaching Romans. It was not until Rome had deposed the Pontic and Armenian kings that the rule of Ariobarzanes was established (63 BC). In the civil wars Cappadocia was first for Pompey, then for Caesar, then for Antony, and finally, Octavian. The Ariobarzanes dynasty came to an end, a Cappadocian nobleman Archelaus was given the throne, by favour first of Antony and then of Octavian, and maintained tributary independence until AD 17, when the emperor Tiberius, who he had angered, summoned him to Rome and reduced Cappadocia to a Roman province.
A house in Cappadocia
Cappadocia contains several underground cities (see Kaymaklı Underground City), largely used by early Christians as hiding places before Christianity became an accepted religion. The underground cities have vast defence networks of traps throughout their many levels. These traps are very creative, including such devices as large round stones to block doors and holes in the ceiling through which the defenders may drop spears. These defense systems were mainly used against the Romans. The tunnel system also was made to have thin corridors for the Roman fighting strategy was to move in groups which was not possible to do in the thin corridors making it easy to pick them off. The Cappadocian Fathers of the 4th century were integral to much of early Christian philosophy. It also produced, among other people, another Patriarch of Constantinople, John of Cappadocia, who held office 517—520. For most of the Byzantine era it remained relatively undisturbed by the conflicts in the area with the Sassanid Empire, but was a vital frontier zone later against the Muslim conquests. From the 7th century, Cappadocia was divided between the Anatolic and Armeniac themes. In the 9th–11th centuries, the region comprised the themes of Charsianon and Cappadocia.
Cappadocian Greeks in traditional clothing.
Göreme in winter.
Cappadocia shared an always-changing relationship with neighbouring Armenia, by that time a region of the Empire. The Arab historian Abu Al Faraj asserts the following about Armenian settlers in Sivas, during the 10th century: "Sivas, in Cappadocia, was dominated by the Armenians and their numbers became so many that they became vital members of the imperial armies. These Armenians were used as watch-posts in strong fortresses, taken from the Arabs. They distinguished themselves as experienced infantry soldiers in the imperial army and were constantly fighting with outstanding courage and success by the side of the Romans in other words Byzantine". As a result of the Byzantine military campaigns and the Seljuk invasion of Armenia, the Armenians spread into Cappadocia and eastward from Cilicia into the mountainous areas of northern Syria and Mesopotamia, and the Armenian Kingdom of Cilicia was eventually formed. This immigration was increased further after the decline of the local imperial power and the establishment of the Crusader States following the Fourth Crusade. To the crusaders, Cappadocia was "terra Hermeniorum," the land of the Armenians, due to the large number of Armenians settled there
Following the Battle of Manzikert in 1071, various Turkish clans under the leadership of the Seljuks began settling in Anatolia. With the rise of Turkish power in Anatolia, Cappadocia slowly became a tributary to the Turkish states that were established to the east and to the west; some of the population converted to Islam but the main Greek-Byzantine population moved to the Ionian coast. By the end of the early 12th century, Anatolian Seljuks had established their sole dominance over the region. With the decline and the fall of the Konya-based Seljuks in the second half of the 13th century, they were gradually replaced by the Karaman-based Beylik of Karaman, who themselves were gradually succeeded by the Ottoman Empire over the course of the 15th century. Cappadocia remained part of the Ottoman Empire for the centuries to come, and remains now part of the modern state of Turkey. A fundamental change occurred in between when a new urban center, Nevşehir, was founded in the early 18th century by a grand vizier who was a native of the locality (Nevşehirli Damat İbrahim Pasha), to serve as regional capital, a role the city continues to assume to this day.
In the meantime many former Cappadocians had shifted to a Turkish dialect (written in Greek alphabet, Karamanlıca), and where the Greek language was maintained (Sille, villages near Kayseri, Pharasa town and other nearby villages), it became heavily influenced by the surrounding Turkish. This dialect of Greek is known as Cappadocian Greek. Following the 1923 population exchange between Greece and Turkey, the language is now only spoken by a handful of the former population's descendants in modern Greece.
The area is a popular tourist destination, as it has many areas with unique geological, historic, and cultural features.
The region is located southwest of the major city Kayseri, which has airline and railway service to Ankara and Istanbul.
The most important towns and destinations in Cappadocia are Urgup, Goreme, Ihlara Valley, Selime, Guzelyurt, Uchisar, Avanos and Zelve. Among the underground cities worth seeing are Derinkuyu, Kaymakli, Gaziemir and Ozkanak. The best historic mansions and cave houses for tourist stays are in Urgup, Goreme, Guzelyurt and Uchisar.
Hot-air ballooning is very popular in Cappadocia and is available in Goreme. Trekking is enjoyed in Ihlara Valley, Monastery Valley (Guzelyurt), Urgup and Goreme.
Sedimentary rocks formed in lakes and streams and ignimbrite deposits that erupted from ancient volcanoes approximately 9 to 3 million years ago, during the late Miocene to Pliocene epochs, underlie the Cappadocia region. The rocks of Cappadocia near Göreme eroded into hundreds of spectacular pillars and minaret-like forms. People of the villages at the heart of the Cappadocia Region carved out houses, churches and monasteries from the soft rocks of volcanic deposits. Göreme became a monastic centre in 300—1200 AD.
The first period of settlement in Göreme goes back to the Roman period. The Yusuf Koç, Ortahane, Durmus Kadir and Bezirhane churches in Göreme, and houses and churches carved into rocks in the Uzundere, Bağıldere and Zemi Valleys all illustrate history and can be seen today. The Göreme Open Air Museum is the most visited site of the monastic communities in Cappadocia (see Churches of Göreme, Turkey) and is one of the most famous sites in central Turkey. The complex contains more than 30 carved-from-rock churches and chapels, some having superb frescoes inside, dating from the 9th century to the 11th century. (Wikipedia quote)
Cappadocia lies in eastern Anatolia, in the center of what is now Turkey. The relief consists of a high plateau over 1000 m in altitude that is pierced by volcanic peaks, with Mount Erciyes (ancient Argaeus) near Kayseri (ancient Caesarea) being the tallest at 3916 m. The boundaries of historical Cappadocia are vague, particularly towards the west. To the south, the Taurus Mountains form the boundary with Cilicia and separate Cappadocia from the Mediterranean Sea. To the west, Cappadocia is bounded by the historical regions of Lycaonia to the southwest, and Galatia to the northwest. The Black Sea coastal ranges separate Cappadocia from Pontus and the Black Sea, while to the east Cappadocia is bounded by the upper Euphrates, before that river bends to the southeast to flow into Mesopotamia, and the Armenian Highland.This results in an area approximately 400 km (250 mi) east–west and 250 km (160 mi) north–south. Due to its inland location and high altitude, Cappadocia has a markedly continental climate, with hot dry summers and cold snowy winters. Rainfall is sparse and the region is largely semi-arid.
Cappadocia was known as Hatti in the late Bronze Age, and was the homeland of the Hittite power centred at Hattusa. After the fall of the Hittite Empire, with the decline of the Syro-Cappadocians (Mushki) after their defeat by the Lydian king Croesus in the 6th century, Cappadocia was ruled by a sort of feudal aristocracy, dwelling in strong castles and keeping the peasants in a servile condition, which later made them apt for foreign slavery. It was included in the third Persian satrapy in the division established by Darius, but continued to be governed by rulers of its own, none apparently supreme over the whole country and all more or less tributaries of the Great King.
After bringing the Persian Empire to an end, Alexander the Great tried to rule the area through one of his military commanders. But Ariarathes, a Persian aristocrat, somehow became king of the Cappadocians. Ariarathes I (332—322 BC) was a successful ruler, and he extended the borders of the Cappadocian Kingdom as far as to the Black Sea. The kingdom of Cappadocia lived in peace until the death of Alexander. The previous empire was then divided into many parts, and Cappadocia fell to Eumenes. His claims were made good in 322 BC by the regent Perdiccas, who crucified Ariarathes; but in the dissensions which brought about Eumenes's death, the son of Ariarathes recovered his inheritance and left it to a line of successors, who mostly bore the name of the founder of the dynasty.
16th-century map of Anatolia from Münster's Cosmographia showing "Capadocia"
Under Ariarathes IV, Cappadocia came into relations with Rome, first as a foe espousing the cause of Antiochus the Great, then as an ally against Perseus of Macedon. The kings henceforward threw in their lot with the Republic as against the Seleucids, to whom they had been from time to time tributary. Ariarathes V marched with the Roman proconsul Publius Licinius Crassus Dives Mucianus against Aristonicus, a claimant to the throne of Pergamon, and their forces were annihilated (130 BC). The imbroglio which followed his death ultimately led to interference by the rising power of Pontus and the intrigues and wars which ended in the failure of the dynasty
The Cappadocians, supported by Rome against Mithridates VI of Pontus, elected a native lord, Ariobarzanes, to succeed (93 BC); but in the same year Armenian troops under Tigranes the Great entered Cappadocia, dethroned king Ariobarzanes and crowned Gordios as the new client-king of Cappadocia, thus creating a buffer zone against the encroaching Romans. It was not until Rome had deposed the Pontic and Armenian kings that the rule of Ariobarzanes was established (63 BC). In the civil wars Cappadocia was first for Pompey, then for Caesar, then for Antony, and finally, Octavian. The Ariobarzanes dynasty came to an end, a Cappadocian nobleman Archelaus was given the throne, by favour first of Antony and then of Octavian, and maintained tributary independence until AD 17, when the emperor Tiberius, who he had angered, summoned him to Rome and reduced Cappadocia to a Roman province.
A house in Cappadocia
Cappadocia contains several underground cities (see Kaymaklı Underground City), largely used by early Christians as hiding places before Christianity became an accepted religion. The underground cities have vast defence networks of traps throughout their many levels. These traps are very creative, including such devices as large round stones to block doors and holes in the ceiling through which the defenders may drop spears. These defense systems were mainly used against the Romans. The tunnel system also was made to have thin corridors for the Roman fighting strategy was to move in groups which was not possible to do in the thin corridors making it easy to pick them off. The Cappadocian Fathers of the 4th century were integral to much of early Christian philosophy. It also produced, among other people, another Patriarch of Constantinople, John of Cappadocia, who held office 517—520. For most of the Byzantine era it remained relatively undisturbed by the conflicts in the area with the Sassanid Empire, but was a vital frontier zone later against the Muslim conquests. From the 7th century, Cappadocia was divided between the Anatolic and Armeniac themes. In the 9th–11th centuries, the region comprised the themes of Charsianon and Cappadocia.
Cappadocian Greeks in traditional clothing.
Göreme in winter.
Cappadocia shared an always-changing relationship with neighbouring Armenia, by that time a region of the Empire. The Arab historian Abu Al Faraj asserts the following about Armenian settlers in Sivas, during the 10th century: "Sivas, in Cappadocia, was dominated by the Armenians and their numbers became so many that they became vital members of the imperial armies. These Armenians were used as watch-posts in strong fortresses, taken from the Arabs. They distinguished themselves as experienced infantry soldiers in the imperial army and were constantly fighting with outstanding courage and success by the side of the Romans in other words Byzantine". As a result of the Byzantine military campaigns and the Seljuk invasion of Armenia, the Armenians spread into Cappadocia and eastward from Cilicia into the mountainous areas of northern Syria and Mesopotamia, and the Armenian Kingdom of Cilicia was eventually formed. This immigration was increased further after the decline of the local imperial power and the establishment of the Crusader States following the Fourth Crusade. To the crusaders, Cappadocia was "terra Hermeniorum," the land of the Armenians, due to the large number of Armenians settled there
Following the Battle of Manzikert in 1071, various Turkish clans under the leadership of the Seljuks began settling in Anatolia. With the rise of Turkish power in Anatolia, Cappadocia slowly became a tributary to the Turkish states that were established to the east and to the west; some of the population converted to Islam but the main Greek-Byzantine population moved to the Ionian coast. By the end of the early 12th century, Anatolian Seljuks had established their sole dominance over the region. With the decline and the fall of the Konya-based Seljuks in the second half of the 13th century, they were gradually replaced by the Karaman-based Beylik of Karaman, who themselves were gradually succeeded by the Ottoman Empire over the course of the 15th century. Cappadocia remained part of the Ottoman Empire for the centuries to come, and remains now part of the modern state of Turkey. A fundamental change occurred in between when a new urban center, Nevşehir, was founded in the early 18th century by a grand vizier who was a native of the locality (Nevşehirli Damat İbrahim Pasha), to serve as regional capital, a role the city continues to assume to this day.
In the meantime many former Cappadocians had shifted to a Turkish dialect (written in Greek alphabet, Karamanlıca), and where the Greek language was maintained (Sille, villages near Kayseri, Pharasa town and other nearby villages), it became heavily influenced by the surrounding Turkish. This dialect of Greek is known as Cappadocian Greek. Following the 1923 population exchange between Greece and Turkey, the language is now only spoken by a handful of the former population's descendants in modern Greece.
The area is a popular tourist destination, as it has many areas with unique geological, historic, and cultural features.
The region is located southwest of the major city Kayseri, which has airline and railway service to Ankara and Istanbul.
The most important towns and destinations in Cappadocia are Urgup, Goreme, Ihlara Valley, Selime, Guzelyurt, Uchisar, Avanos and Zelve. Among the underground cities worth seeing are Derinkuyu, Kaymakli, Gaziemir and Ozkanak. The best historic mansions and cave houses for tourist stays are in Urgup, Goreme, Guzelyurt and Uchisar.
Hot-air ballooning is very popular in Cappadocia and is available in Goreme. Trekking is enjoyed in Ihlara Valley, Monastery Valley (Guzelyurt), Urgup and Goreme.
Sedimentary rocks formed in lakes and streams and ignimbrite deposits that erupted from ancient volcanoes approximately 9 to 3 million years ago, during the late Miocene to Pliocene epochs, underlie the Cappadocia region. The rocks of Cappadocia near Göreme eroded into hundreds of spectacular pillars and minaret-like forms. People of the villages at the heart of the Cappadocia Region carved out houses, churches and monasteries from the soft rocks of volcanic deposits. Göreme became a monastic centre in 300—1200 AD.
The first period of settlement in Göreme goes back to the Roman period. The Yusuf Koç, Ortahane, Durmus Kadir and Bezirhane churches in Göreme, and houses and churches carved into rocks in the Uzundere, Bağıldere and Zemi Valleys all illustrate history and can be seen today. The Göreme Open Air Museum is the most visited site of the monastic communities in Cappadocia (see Churches of Göreme, Turkey) and is one of the most famous sites in central Turkey. The complex contains more than 30 carved-from-rock churches and chapels, some having superb frescoes inside, dating from the 9th century to the 11th century. (Wikipedia quote)
TUMBLR /// TO BUY PRINTS // INSTAGRAM
Soo… took this yesterday because today I am bedridden today.
Its funny how client work and personal work seem to always be on a teeter todder-ing balancing act. Whenever I am happy with my personal work, my client work suffers… and vice versa. I’ve been doing a lot of second shooting jobs, so its not terribly consequential. And yet, its still stressful. I have completely messed up some relationships with clients strictly from miscommunication and my failure to do something. It’s… bad. And I wish I could have made those mistakes in the classroom instead of in the real world, with real clients… but… I have to keep reminding myself that I am only 18, I am taking 19 units in college, I run my own business, and I’m handling my personal life. I wish so much that I could make everything work, but life is a balancing act right? I’ve got to figure out a way to not spread myself too thin.
Also… my photos have turned into some sort of a diary for me. Anybody who reads this… is learning quite a lot about me (: SO thank you all you wonderful wonderful followers!
And, as always... website: www.MeganLPhoto.com
Tumblr: comicalscam.tumblr.com
A watery oasis in the desert, the Devil's River cuts a thin ribbon of green through southwest Texas before meeting up with the Rio Grande a few dozen miles to the south. In the 1840's a rough trail was forged between present-day Comstock and Ozona for prospectors heading west, and it quickly earned the name of Dead Man's Pass. It was such a hazardous route that the US government established Camp Hudson to protect travelers from Indian raids - the military post was located on the bluffs overlooking the Devil's River about a mile to the south. However, travel over Dead Man's Pass remained dangerous through the 1880's - this small corner of the state was one of the last to be 'tamed'. This winding trail later became the Comstock-Ozona Stage Road, and then later still Texas Highway 163. The highway crosses the Devil's River at several points, Baker's Crossing is the most southerly one. Due to its isolation, the Devil's River remains the most pristine of Texas rivers, barely touched by civilization. At four hours west of San Antonio, you really have to go out of your way to reach this spot - yet there are still a handful of campers, fishermen and kayakers who travel out to the uncrowded waters. Google Maps Streetview of the location Here. Picture taken early evening May 2009.
You can view more photos from my 2009 'Picture a Day' set at: www.flickr.com/photos/matthigh/sets/72157625855768121/
And the fun continues with a Picture a Day through 2010 at: www.flickr.com/photos/matthigh/sets/72157620610035860/
The Mountain Dwellings are the 2nd generation of the VM Houses – same client, same size and same street. The program, however, is 2/3 parking and 1/3 living. What if the parking area became the base upon which to place terraced housing – like a concrete hillside covered by a thin layer of housing, cascading from the 11th floor to the street edge? Rather than doing two separate buildings next to each other – a parking and a housing block – we decided to merge the two functions into a symbiotic relationship. The parking area needs to be connected to the street, and the homes require sunlight, fresh air and views, thus all apartments have roof gardens facing the sun, amazing views and parking on the 10th floor. The Mountain Dwellings appear as a suburban neighbourhood of garden homes flowing over a 10-storey building – suburban living with urban density.
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thank you for your visit and comments ...
dziekuje za wizyte i komentarz... (Polish)
gracias por su visita y comentarios ... (Spanish)
obrigado por sua visita e comentários... (Portugese)
la ringrazio per la vostra visita e commenti ... (Italian)
je vous remercie de votre visite et commentaires ...(French)
ich danke Ihnen für Ihren Besuch und Kommentare ...(German)
поблагодарить Вас за Ваш визит и комментарии ... (Russian)
訪問とコメントをお寄せいただきありがとうございます... (Japanese)
여러분의 방문이나 의견 주셔서 감사합니다 ... (Korean)
谢谢您的访问和评论... (Chinese)
شكرا لك على الزيارة والتعليقات... (Arabic)
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photo by: Roman Kajzer @FotoManiacNYC
MODEL
A model (from Middle French modelle) is a person with a role either to promote, display, or advertise commercial products (notably fashion clothing) or to serve as a visual aide for people who are creating works of art or to pose for photography.
Modelling ("modeling" in American English) is considered to be different from other types of public performance, such as acting or dancing. Although the difference between modelling and performing is not always clear, appearing in a film or a play is not generally considered to be "modelling".
Types of modelling include: fashion, glamour, fitness, bikini, fine art, body-part, promotional and commercial print models. Models are featured in a variety of media formats including: books, magazines, films, newspapers, internet and TV. Fashion models are sometimes featured in films: (Looker), reality TV shows (America's Next Top Model, The Janice Dickinson Modeling Agency), and music videos: ("Freedom! '90", "Wicked Game", "Daughters", and "Blurred Lines").
Celebrities, including actors, singers, sports personalities and reality TV stars, frequently take modelling contracts in addition to their regular work.
HISTORY OF MODELING
Early years
Modelling as a profession was first established in 1853 by Charles Frederick Worth, the "father of haute couture", when he asked his wife, Marie Vernet Worth, to model the clothes he designed. The term "house model" was coined to describe this type of work. Eventually, this became common practice for Parisian fashion houses. There were no standard physical measurement requirements for a model, and most designers would use women of varying sizes to demonstrate variety in their designs.
With the development of fashion photography, the modelling profession expanded to photo modelling. Models remained fairly anonymous, and relatively poorly paid, until the late 1950's. One of the first well-known models was Lisa Fonssagrives, who was very popular in the 1930's. Fonssagrives appeared on over 200 Vogue covers, and her name recognition led to the importance of Vogue in shaping the careers of fashion models. In 1946, Ford Models was established by Eileen and Gerard Ford in New York; it is one of the oldest model agencies in the world. One of the most popular models during the 1940's was Jinx Falkenburg who was paid $25 per hour, a large sum at the time. During the 1940's and 1950's, Wilhelmina Cooper, Jean Patchett, Dovima, Dorian Leigh, Suzy Parker, Evelyn Tripp, Carmen Dell'Orefice, and Lisa Fonssagrives dominated fashion. Dorothea Church was among the first black models in the industry to gain notoriety in Paris. However, these models were unknown outside the fashion community. Compared to today's models, the models of the 1950's were more voluptuous. Wilhelmina Cooper's measurements were 38"-24"-36" whereas Chanel Iman's measurements are 32"-23"-33".
The 1960s and the beginning of the industry
In the 1960's, the modelling world began to establish modelling agencies. Throughout Europe, secretarial services acted as models' agents charging them weekly rates for their messages and bookings. For the most part, models were responsible for their own billing. In Germany, agents were not allowed to work for a percentage of a person's earnings, so referred to themselves as secretaries. With the exception of a few models travelling to Paris or New York, travelling was relatively unheard of for a model. Most models only worked in one market due to different labor laws governing modelling in various countries. In the 1960's, Italy had many fashion houses and fashion magazines but was in dire need of models. Italian agencies would often coerce models to return to Italy without work visas by withholding their pay. They would also pay their models in cash, which models would have to hide from customs agents. It was not uncommon for models staying in hotels such as La Louisiana in Paris or the Arena in Milan to have their hotel rooms raided by the police looking for their work visas. It was rumored that competing agencies were behind the raids. This led many agencies to form worldwide chains; for example, the Marilyn Agency has branches in Paris and New York.
By the late 1960's, London was considered the best market in Europe due to its more organised and innovative approach to modelling. It was during this period that models began to become household names. Models like: Jean Shrimpton, Joanna Lumley, Tania Mallet, Celia Hammond, Twiggy, Penelope Tree, and Pauline Stone dominated the London fashion scene and were well paid, unlike their predecessors. Twiggy became The Face of '66 at the age of 16. At this time, model agencies were not as restrictive about the models they represented, although it was uncommon for them to sign shorter models. Twiggy, who stood at 5 feet 6 inches (168 cm) with a 32" bust and had a boy's haircut, is credited with changing model ideals. At that time, she earned £80 an hour, while the average wage was £15 a week.
In 1967, seven of the top model agents in London formed the Association of London Model Agents. The formation of this association helped legitimize modelling and changed the fashion industry. Even with a more professional attitude towards modelling, models were still expected to have their hair and makeup done before they arrived at a shoot. Meanwhile, agencies took responsibility for a model's promotional materials and branding. That same year, former top fashion model Wilhelmina Cooper opened up her own fashion agency with her husband called Wilhelmina Models. By 1968, FM Agency and Models 1 were established and represented models in a similar way that agencies do today. By the late 1960's, models were treated better and were making better wages. One of the innovators, Ford Models, was the first agency to advance models money they were owed and would often allow teen models, who did not live locally, to reside in their house, a precursor to model housing.
The 1970's and 1980's
The innovations of the 1960's flowed into the 1970's fashion scene. As a result of model industry associations and standards, model agencies became more business minded, and more thought went into a model's promotional materials. By this time, agencies were starting to pay for a model's publicity. In the early 1970's, Scandinavia had many tall, leggy, blonde-haired, blue-eyed models and not enough clients. It was during this time that Ford Models pioneered scouting. They would spend time working with agencies holding modelling contests. This was the precursor to the Ford Models Supermodel of the World competition which was established in 1980. Ford also focused their attentions on Brazil which had a wide array of seemingly "exotic" models, which eventually led to establishment of Ford Models Brazil. It was also during this time that the Sports Illustrated Swimsuit Issue debuted. The magazine set a trend by photographing "bigger and healthier" California models, and printing their names by their photos, thus turning many of them into household names and establishing the issue as a hallmark of supermodel status.
The 1970's marked numerous milestones in fashion. Beverly Johnson was the first African American to appear on the cover of U.S. Vogue in 1974. Models, including Grace Jones, Donyale Luna, Minah Bird, Naomi Sims, and Toukie Smith were some of the top black fashion models who paved the way for black women in fashion. In 1975, Margaux Hemingway landed a then-unprecedented million-dollar contract as the face of Fabergé's Babe perfume and the same year appeared on the cover of Time magazine, labelled one of the "New Beauties," giving further name recognition to fashion models.
Many of the world's most prominent modelling agencies were established in the 1970's and early 1980's. These agencies created the standard by which agencies now run. In 1974, Nevs Models was established in London with only a men's board, the first of its kind. Elite Models was founded in Paris in 1975 as well as Friday's Models in Japan. The next year Cal-Carries was established in Singapore, the first of a chain of agencies in Asia. In 1977, Select Model Management opened its doors as well as Why Not Models in Milan. By the 1980's, agencies such as Premier Model Management, Storm Models, Mikas, Marilyn, and Metropolitan Models had been established.
By the 1980's, most models were able to make modelling a full-time career. It was common for models to travel abroad and work throughout Europe. As modelling became global, numerous agencies began to think globally. In 1980, Ford Models, the innovator of scouting, introduced the Ford Models Supermodel of the World contest. That same year, John Casablancas opened Elite Models in New York. In 1981, cosmetics companies began contracting top models to lucrative endorsement deals. By 1983, Elite developed its own contest titled the Elite Model Look competition. In New York during the 1980's there were so-called "model wars" in which the Ford and Elite agencies fought over models and campaigns. Models were jumping back and forth between agencies such Elite, Wilhelmina, and Ford. In New York, the late 1980's trend was the boyish look in which models had short cropped hair and looked androgynous. In Europe, the trend was the exact opposite. During this time, a lot of American models who were considered more feminine looking moved abroad. By the mid-1980's, big hair was made popular by some musical groups, and the boyish look was out. The curvaceous models who had been popular in the 1950's and early 1970's were in style again. Models like Patti Hansen earned $200 an hour for print and $2,000 for television plus residuals. It was estimated that Hansen earned about $300,000 a year during the 1980's.
The 1990's to present
The early 1990's were dominated by the high fashion models of the late 1980's. In 1990, Linda Evangelista famously said to Vogue, "we don't wake up for less than $10,000 a day". Evangelista and her contemporaries, Naomi Campbell, Cindy Crawford, Christy Turlington, Tatjana Patitz and Stephanie Seymour, became arguably the most recognizable models in the world, earning the moniker of "supermodel", and were boosted to global recognition and new heights of wealth for the industry. In 1991, Turlington signed a contract with Maybelline that paid her $800,000 for twelve days' work each year.
By the mid‑1990's, the new "heroin chic" movement became popular amongst New York and London editorial clients. While the heroin chic movement was inspired by model Jaime King, who suffered from a heroin addiction, it was Kate Moss who became its poster child through her ads for Calvin Klein. In spite of the heroin chic movement, model Claudia Schiffer earned $12 million. With the popularity of lingerie retailer Victoria's Secret, and the Sports Illustrated Swimsuit Issue, there was a need for healthier-looking supermodels such as Tyra Banks and Heidi Klum to meet commercial modelling demand. The mid‑1990's also saw many Asian countries establishing modelling agencies.
By the late 1990's, the heroin chic era had run its course. Teen-inspired clothing infiltrated mainstream fashion, teen pop music was on the rise, and artists such as Britney Spears and Christina Aguilera popularized pleather and bare midriffs. As fashion changed to a more youthful demographic, the models who rose to fame had to be sexier for the digital age. Following Gisele Bundchen's breakthrough, a wave of Brazilian models including Adriana Lima, Alessandra Ambrosio, and Ana Beatriz Barros rose to fame on runways and became popular in commercial modelling throughout the 2000's. Some attribute this to decisions by magazines to replace models with celebrities their covers.
In the late 2000's, the Brazilians fell out of favor on the runways. Editorial clients were favoring models with a china-doll or alien look to them, such as Gemma Ward and Lily Cole. During the 2000's, Ford Models and NEXT Model Management were engaged in a legal battle, with each agency alleging that the other was stealing its models.
However, the biggest controversy of the 2000's was the health of high-fashion models participating in fashion week. While the health of models had been a concern since the 1970's, there were several high-profile news stories surrounding the deaths of young fashion models due to eating disorders and drug abuse. The British Fashion Council subsequently asked designers to sign a contract stating they would not use models under the age of sixteen. On March 3, 2012, Vogue banned models under the age of sixteen as well as models who appeared to have an eating disorder. Similarly, other countries placed bans on unhealthy, and underage models, including Spain, Italy, and Israel, which all enacted a minimum body mass index (BMI) requirement.
The often thin shape of many fashion models has been criticized for warping girls' body image and encouraging eating disorders. Organizers of a fashion show in Madrid in September 2006 turned away models who were judged to be underweight by medical personnel who were on hand. In February 2007, six months after her sister, Luisel Ramos, also a model, died, Uruguayan model Eliana Ramos became the third fashion model to die of malnutrition in six months. The second victim was Ana Carolina Reston. Luisel Ramos died of heart failure caused by anorexia nervosa just after stepping off the catwalk. In 2015, France passed a law requiring models to be declared healthy by a doctor in order to participate in fashion shows. The law also requires re-touched images to be marked as such in magazines.
In 2013, New York toughened its child labor law protections for models under the age of eighteen by passing New York Senate Bill No. 5486, which gives underage models the same labor protections afforded to child actors. Key new protections included the following: underage models are not to work before 5:00 pm or after 10:00 pm on school nights, nor were they to work later than 12:30 am on non-school nights; the models may not return to work less than twelve hours after they leave; a pediatric nurse must be on site; models under sixteen must be accompanied by an adult chaperone; parents or guardians of underage models must create a trust fund account into which employers will transfer a minimum of 15% of the child model's gross earnings; and employers must set aside time and a dedicated space for educational instruction.
TYPES OF MODELING
Runway modelling
Runway models showcase clothes from fashion designers, fashion media, and consumers. They are also called "live models" and are self-employed. They are wanted to be over the height of 5'8" for men and 5'6" for women. Runway models work in different locations, constantly travelling between those cities where fashion is well known—London, Milan, New York City, and Paris. Second-tier international fashion center cities include: Rome, Florence, Venice, Brescia, Barcelona, Los Angeles, Tokyo, and Moscow. Cities where catalog work comprises the bulk of fashion packaging, merchandising and marketing work are: Miami, San Francisco, Sydney, Chicago, Toronto, Mexico City, Tokyo, Hamburg, London, and Beijing.
The criteria for runway models include certain height and weight requirements. During runway shows, models have to constantly change clothes and makeup. Models walk, turn, and stand in order to demonstrate a garment's key features. Models also go to interviews (called "go and sees") to present their portfolios. The more experience a model has, the more likely she/he is to be hired for a fashion show. A runway model can also work in other areas, such as department store fashion shows, and the most successful models sometimes create their own product lines or go into acting.
The British Association of Model Agents (AMA) says that female models should be around 34"-24"-34" and between 5 ft 8 in (173 cm) and 5 ft 11 in (180 cm) tall. The average model is very slender. Those who do not meet the size requirement may try to become a plus-size model. According to the New York Better Business Career Services website, the preferred dimensions for a male model are a height of 5 ft 11 in (180 cm) to 6 ft 2 in (189 cm), a waist of 29–32 in (73.66–81.28 cm) and a chest measurement of 39–40 in (99.06–101.60 cm). Male runway models are notably skinny and well toned.
Male and female models must also possess clear skin, healthy hair, and attractive facial features. Stringent weight and body proportion guidelines form the selection criteria by which established, and would‑be, models are judged for their placement suitability, on an ongoing basis. There can be some variation regionally, and by market tier, subject to current prevailing trends at any point, in any era, by agents, agencies and end-clients.
Formerly, the required measurements for models were 35"-23.5"-35" in (90-60-90 cm), the alleged measurements of Marilyn Monroe. Today's fashion models tend to have measurements closer to the AMA-recommended shape, but some - such as Afghan model Zohre Esmaeli - still have 35"-23.5"-35" measurements. Although in some fashion centers, a size 00 is more ideal than a size 0.
Plus-size models
Plus-size models are models who generally have larger measurements than editorial fashion models. The primary use of plus-size models is to appear in advertising and runway shows for plus-size labels. Plus-size models are also engaged in work that is not strictly related to selling large-sized clothing, e.g., stock photography and advertising photography for cosmetics, household and pharmaceutical products and sunglasses, footwear and watches. Therefore, plus-size models do not exclusively wear garments marketed as plus-size clothing. This is especially true when participating in fashion editorials for mainstream fashion magazines. Some plus-size models have appeared in runway shows and campaigns for mainstream retailers and designers such as Gucci, Guess, Jean-Paul Gaultier, Levi's and Versace Jeans.
Fit models
A fit model works as a sort of live mannequin to give designers and pattern makers feedback on the fit, feel, movement, and drape of a garment to be produced in a given size.
Glamour models
Glamour modelling focuses on sexuality and thus general requirements are often unclear, being dependent more on each individual case. Glamour models can be any size or shape. There is no industry standard for glamour modelling and it varies greatly by country. For the most part, glamour models are limited to modelling in calendars, men's magazines, such as Playboy, bikini modelling, lingerie modelling, fetish modelling, music videos, and extra work in films. However, some extremely popular glamour models transition into commercial print modelling, appearing in swimwear, bikini and lingerie campaigns.
It is widely considered that England created the market for glamour modelling when The Sun established Page 3 in 1969, a section in their newspaper which now features topless models. In the beginning, the newspaper featured sexually suggestive images of Penthouse and Playboy models. It was not until 1970 that models appeared topless. In the 1980's, The Sun's competitors followed suit and produced their own Page 3 sections. It was during this time that glamour models first came to prominence with the likes of Samantha Fox. As a result, the United Kingdom has a very large glamour market and has numerous glamour modelling agencies to this day.
It was not until the 1990's that modern glamour modelling was established. During this time, the fashion industry was promoting models with waif bodies and androgynous looking women, which left a void. Several fashion models, who were deemed too commercial, and too curvaceous, were frustrated with industry standards, and took a different approach. Models such as Victoria Silvstedt left the fashion world and began modelling for men's magazines. In the previous decades, posing nude for Playboy resulted in models losing their agencies and endorsements. Playboy was a stepping stone which catapulted the careers of Victoria Silvstedt, Pamela Anderson, and Anna Nicole Smith. Pamela Anderson became so popular from her Playboy spreads that she was able to land roles on Home Improvement and Baywatch.
In the mid-1990's, a series of men's magazines were established such as Maxim, FHM, and Stuff. At the same time, magazines including Sweden's Slitz re-branded themselves as men's magazines. Pre-internet, these magazines were popular among men in their late teens and early twenties because they were considered to be more tasteful than their predecessors. With the glamour market growing, fashion moved away from the waifs and onto Brazilian bombshells. The glamour market, which consisted mostly of commercial fashion models and commercial print models, became its own genre due to its popularity. Even in a large market like the United Kingdom, however, glamour models are not usually signed exclusively to one agency as they can not rely financially on one agency to provide them with enough work. It was, and still is, a common practice for glamour models to partake in kiss-and-tell interviews about their dalliances with famous men. The notoriety of their alleged bed-hopping often propels their popularity and they are often promoted by their current or former fling. With Page 3 models becoming fixtures in the British tabloids, glamour models such as Jordan, now known as Katie Price, became household names. By 2004, Page 3 regulars earned anywhere from £30,000 to 40,000, where the average salary of a non-Page 3 model, as of 2011, was between £10,000 and 20,000. In the early 2000's, glamour models, and aspiring glamour models, appeared on reality television shows such as Big Brother to gain fame. Several Big Brother alumni parlayed their fifteen minutes of fame into successful glamour modelling careers. However, the glamour market became saturated by the mid-2000's, and numerous men's magazines including Arena, Stuff and FHM in the United States went under. During this time, there was a growing trend of glamour models, including Kellie Acreman and Lauren Pope, becoming DJs to supplement their income. In a 2012 interview, Keeley Hazell said that going topless is not the best way to achieve success and that "[she] was lucky to be in that 1% of people that get that, and become really successful."
Alternative models
An alternative model is any model who does not fit into the conventional model types and may include punk, goth, fetish, and tattooed models or models with distinctive attributes. This type of modeling is usually a cross between glamour modeling and art modeling. Publishers such as Goliath Books in Germany introduced alternative models and punk photography to larger audiences. Billi Gordon, then known as Wilbert Anthony Gordon, was the top greeting card model in the world and inspired a cottage industry including greeting cards, T-shirts, fans, stationery, gift bags, etc.
Parts models
Some models are employed for their body parts. For example, hand models may be used to promote products held in the hand and nail-related products. (e.g. rings, other jewelry or nail polish). They are frequently part of television commercials. Many parts models have exceptionally attractive body parts, but there is also demand for unattractive or unusual looking body parts for particular campaigns.
Hands are the most in-demand body parts. Feet models are also in high demand, particularly those who fit sample size shoes. Models are also successful modelling other specific parts including abs, arms, back, bust or chest, legs, and lips. Some petite models (females who are under 5 ft 6 in (1.68 m) and do not qualify as fashion models) have found success in women's body part modelling.
Parts model divisions can be found at agencies worldwide. Several agencies solely represent parts models, including Hired Hands in London, Body Parts Models in Los Angeles, Carmen Hand Model Management in New York and Parts Models in New York. Parts Models is the largest parts agency, representing over 300 parts models.
Fitness models
Fitness modelling focuses on displaying a healthy, toned physique. Fitness models usually have defined muscle groups. The model's body weight is heavier due to muscle weighing more than fat; however, they have a lower body fat percentage because the muscles are toned and sculpted. Fitness models are often used in magazine advertising. Sometimes they are certified personal fitness trainers. However, other fitness models are also athletes and compete as professionals in fitness and figure competitions. There are several agencies in large markets such as New York, London, Germany that have fitness modelling agencies. While there is a large market for these models, most of these agencies are a secondary agency promoting models who typically earn their primary income as commercial models. Plus there are also magazines that gear towards specifically fitness modeling or getting fit and in shape. Fitness Models showcase their fitter side of their bodies on the covers gearing towards specific competitions in fitness and figure competitions.
Gravure idols
A gravure idol, often abbreviated to gradol, is a Japanese female model who primarily models on magazines, especially men's magazines, photobooks or DVDs.
"Gravure" (グラビア) is a Wasei-eigo term derived from "rotogravure", which is a type of intaglio printing process that was once a staple of newspaper photo features. The rotogravure process is still used for commercial printing of magazines, postcards, and cardboard product packaging.
Gravure idols appear in a wide range of photography styles and genres. Their photos are largely aimed at male audiences with poses or activities intended to be provocative or suggestive, generally accentuated by an air of playfulness and innocence rather than aggressive sexuality. Although gravure models may sometimes wear clothing that exposes most of their body, they seldom appear fully nude. Gravure models may be as young as pre-teen age up to early thirties. In addition to appearing in mainstream magazines, gravure idols often release their own professional photobooks and DVDs for their fans. Many popular female idols in Japan launched their careers by starting out as gravure idols.
Commercial print and on-camera models
Commercial print models generally appear in print ads for non-fashion products, and in television commercials. Commercial print models can earn up to $250 an hour. Commercial print models are usually non-exclusive, and primarily work in one location.
There are several large fashion agencies that have commercial print divisions, including Ford Models in the United States.
Promotional models
A promotional model is a model hired to drive consumer demand for a product, service, brand, or concept by directly interacting with potential consumers. The vast majority of promotional models tend to be attractive in physical appearance. They serve to provide information about the product or service and make it appealing to consumers. While the length of interaction may be short, the promotional model delivers a live experience that reflects on the product or service he or she is representing. This form of marketing touches fewer consumers for the cost than traditional advertising media (such as print, radio, and television); however, the consumer's perception of a brand, product, service, or company is often more profoundly affected by a live person-to-person experience.
Marketing campaigns that make use of promotional models may take place in stores or shopping malls, at tradeshows, special promotional events, clubs, or even at outdoor public spaces. They are often held at high traffic locations to reach as many consumers as possible, or at venues at which a particular type of target consumer is expected to be present.
Spokesmodels
"Spokesmodel" is a term used for a model who is employed to be associated with a specific brand in advertisements. A spokesmodel may be a celebrity used only in advertisements (in contrast to a brand ambassador who is also expected to represent the company at various events), but more often the term refers to a model who is not a celebrity in their own right. A classic example of the spokesmodel are the models hired to be the Marlboro Man between 1954 and 1999.
Trade show models
Trade show models work a trade show floor-space or booth, and represent a company to attendees. Trade show models are typically not regular employees of the company, but are freelancers hired by the company renting the booth space. They are hired for several reasons: trade show models can make a company's booth more visibly distinguishable from the hundreds of other booths with which it competes for attendee attention. They are articulate and quickly learn and explain or disseminate information on the company and its product(s) and service(s). And they can assist a company in handling a large number of attendees which the company might otherwise not have enough employees to accommodate, possibly increasing the number of sales or leads resulting from participation in the show.
Atmosphere models
Atmosphere models are hired by the producers of themed events to enhance the atmosphere or ambience of their event. They are usually dressed in costumes exemplifying the theme of the event and are often placed strategically in various locations around the venue. It is common for event guests to have their picture taken with atmosphere models. For example, if someone is throwing a "Brazilian Day" celebration, they would hire models dressed in samba costumes and headdresses to stand or walk around the party.
Podium models
Podium models differ from runway models in that they don't walk down a runway, but rather just stand on an elevated platform during fashion presentation. They are kind of like live mannequins placed in various places throughout an event. Attendees can walk up to the models and inspect and even feel the clothing. Podium Modeling is a practical alternative way of presenting fashion when space is too limited to have a full runway fashion show.
Art models
Art models pose for any visual artist as part of the creative process. Art models are often paid professionals who provide a reference or inspiration for a work of art that includes the human figure. The most common types of art created using models are figure drawing, figure painting, sculpture and photography, but almost any medium may be used. Although commercial motives dominate over aesthetics in illustration, its artwork commonly employs models. Models are most frequently employed for art classes or by informal groups of experienced artists that gather to share the expense of a model.
Instagram models
Instagram models are a recent phenomenon due to the rise of social media. These models gain their popularity due to how many followers they have on social media. Some Instagram models gain high-profile modeling gigs and become household names. High-profile model, Jen Selter, kicked off the Instagram model craze. Recently, Anna Faith and Caitlin O'Connor among many others, have had great success as Instagram Models.
LINKS:
en.wikipedia.org/wiki/Model_(person)
en.wikipedia.org/wiki/Modeling_agency
en.wikipedia.org/wiki/Ring_girl
en.wikipedia.org/wiki/Time_for_print
en.wikipedia.org/wiki/Model_(art)
en.wikipedia.org/wiki/Size_zero
en.wikipedia.org/wiki/Plus-size_model
en.wikipedia.org/wiki/Fit_model
en.wikipedia.org/wiki/Fitness_and_figure_competition
en.wikipedia.org/wiki/Cheerleading
en.wikipedia.org/wiki/Promotional_model
en.wikipedia.org/wiki/Sex_in_advertising
en.wikipedia.org/wiki/Podium_girl
en.wikipedia.org/wiki/Glamour_photography
en.wikipedia.org/wiki/Female_body_shape
en.wikipedia.org/wiki/Junior_idol
en.wikipedia.org/wiki/Korean_pop_idol
en.wikipedia.org/wiki/Japanese_idol
en.wikipedia.org/wiki/List_of_Japanese_gravure_idols
en.wikipedia.org/wiki/Sex_symbol
I love Pano! So much nicer to have this pretty silver sculpture looking thing on my desk for a computer, then what I had before (Sun Ray thin client yuck!) No fan, no processor, no operating system, just my perfect little virtual machine end client device, with a cool blue light. Too cool! (if you like the form factors from Apple, you'll love this form factor!) www.prosync.com
Sandro Botticelli. (Alessandro di Mariano di Vanni Filipepi) 1444-1510.Florence. La Naissance de Vénus. Florence. Le Printemps. 1480. Florence. Musée des Offices.
Sandro Botticelli. (Alessandro di Mariano di Vanni Filipepi) 1444-1510.Florence. The Birth of Venus. Florence. Printemps. 1480. Florence. Uffizi Museum.
Mythologie Grecque. Aphrodite (Vénus), déesse de l'Amour, naît de la mer, fécondée par le sexe d'Ouranos, tranché par Cronos : « tout autour, une blanche écume sortait du membre divin. De cette écume une fille se forma" La Théogonie d'Hésiode. A gauche Zéphyr (le vent chaud et doux) et sa femme Chloris ( Flore en latin, déesse des fleurs) couple qui figure aussi dans le Printemps. A droite une des Heures va revêtir Vénus (Aphrodite) d'un voile rouge. Les Heures, filles de Zeus et de Themis sont au nombre de douze. Du ciel tombent des feuilles de myrte, plante méditerranéenne qui est un symbole de Vénus. Le modèle de la Vénus, Simonetta Vespucci, était la femme de Marco Vespucci et la maîtresse de Julien de Médicis, considérée comme la plus belle femme de son époque. Morte de pneumonie à l'âge de 23 ans en 1476.
Greek Mythology. Aphrodite (Venus), the goddess of love, born of the sea, fertilized by the sex of Uranus, decided by Cronos "surrounding a white foam coming out of the divine member. This scum formed a girl "Hesiod's Theogony. Left Zephyr (hot and sweet wind) and his wife Chloris (Flora in Latin, goddess of flowers) couple who also appeared in the Spring. Right one of Hours will take Venus (Aphrodite) with a red veil. the Hours, daughters of Zeus and Themis are twelve in number. from the sky fall myrtle leaves, Mediterranean plant that is a symbol of Venus. the pattern of Venus, Simonetta Vespucci, was the wife of Marco Vespucci and mistress of Giuliano de 'Medici, considered the most beautiful woman of her time. Dead of pneumonia at the age of 23 in 1476.
LA FEMME DANS LA PEINTURE EUROPEENNE 1
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique, la Crète minoenne, et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture témoigne de l'importance de la femme comme thème de l'art..
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent. Mais les Saintes sont innombrables, et la Vierge est omniprésente. La Vierge est, aussi et surtout, la Mère de l'Enfant. Quel art dans le monde a fait autant de place à la mère et à l'enfant ?
Mais il existe un espace non négligeable pour le Nu dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe.
Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent, avec le Christ, Adam et quelques saints, Jérôme, et surtout Saint Sébastien, dont les représentations sont toujours très orientées.
A la " Renaissance" la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et de nus masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans leur reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît presque totalement, mais dans la peinture profane, la représentation du nu féminin disparaît aussi. Sauf quelques exceptions dans l'art religieux de Rembrandt qui constitue ainsi une double exception dans le monde protestant (peinture religieuse et nu féminin)
La femme est très présente dans la peinture protestante, profane, des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois polissons ( Fragonard). L'érotisme est plus affiché dans la représentation du nu féminin.
Au 19è et 20 siècle, à l'époque de l'Art Moderne, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Il n'est pas toujours certain que la femme y gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle soit toujours là.
Avez vous observé que la femme, habillée ou nue, a disparu dans l'Art Contemporain des Musées ?
Les exceptions sont rarissimes.
Il est vrai qu'on voit beaucoup la femme dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée.
C'est dans notre société occidentale, éclairée par les "Lumières", une remarquable libération des obscurantismes du passé ?
L'Art est, à toutes les époques, un excellent révélateur des valeurs qui animent une société.
WOMEN IN EUROPEAN PAINTING 1
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting, the legacy is thin (mainly ceramics), but the sculpture reflects the importance of women as a theme of art.
With Christian Europe, or more precisely, Catholic and Orthodox, the woman disappears not from the sculpture or painting. She dresses. The art of Catholic Europe in particular made a great place to women. Venus, Diana, the Nymphs disappear. But the holy women are innumerable, and the Virgin is everywhere. The Virgin is also and above all, the Mother of the Child. What art in the world has done as much space to the mother and the child?
But there is an important space for the Nude in Catholic painting, in the west of Europe. Not in the East, in the Orthodox art.
Some themes of the Old Testament allowed the painters of not losing hand in representation of the female nude, and meet with discretion the libido of their aristocratic clients. Adam and Eve, Bathsheba Bathing, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also represented very frequently with Christ but also with Adam and few saints, Jerome, for example, but especially with Saint Sebastian, whose representations are always very focused.
In the "Renaissance", the representation of the female nude increases considerably, along with the themes from mythology and Greek and Roman history. The painters we can now add to the themes of the Old Testament those of antiquity. All over Europe, in the North (Cranach) as in the South, it is an explosion of female nudes. And male nudes too, because the nude was a favorite subject of painters of the late 15th and 16th century in their technical reconquest of the realistic rendering of the human figures.
With the Reformation, religious painting disappears almost totally, but in secular painting the representation of the female nude disappears also. With some exceptions in religious art by Rembrandt, which thus constitutes a double exception in the Protestant world (religious painting and female nude). The woman is very present in the Protestant painting, secular, from the Northern low countries, but the woman is quite dressed. Ended, Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. Shades. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become ragamuffins (Fragonard). Eroticism is displayed in the representation of the female nude.
In the 19th and 20 century, in the era of Modern Art, the woman continues to be a favorite subject for painters (and sculptors), and its representations are extremely diverse. It is not always certain that the woman gains in beauty when it ends up looking like a guitar, when it flattened himself until to pass unders the doors or on the contrary, when his legs and his trunk look like stove pipes. But the essentials are the woman is still there.
Have you noticed that the woman, dressed or naked, disappeared in the Contemporary Art Museum?
It's true that we see many women in advertisements. The woman is no longer a virgin, nor mother, she is no longer admired, she is consumed.
It's in our Western society, illuminated by the "Enlightenment", a remarkable liberation of the obscurantism of the past ? Art is, at all times, an excellent indicator of the values that drive a société.
Sandro Botticelli. (Alessandro di Mariano di Vanni Filipepi) 1444-1510.Florence. La Naissance de Vénus. Florence. Le Printemps. 1480. Florence. Musée des Offices.
Sandro Botticelli. (Alessandro di Mariano di Vanni Filipepi) 1444-1510.Florence. The Birth of Venus. Florence. Printemps. 1480. Florence. Uffizi Museum.
Mythologie Grecque. Aphrodite (Vénus), déesse de l'Amour, naît de la mer, fécondée par le sexe d'Ouranos, tranché par Cronos : « tout autour, une blanche écume sortait du membre divin. De cette écume une fille se forma" La Théogonie d'Hésiode. A gauche Zéphyr (le vent chaud et doux) et sa femme Chloris ( Flore en latin, déesse des fleurs) couple qui figure aussi dans le Printemps. A droite une des Heures va revêtir Vénus (Aphrodite) d'un voile rouge. Les Heures, filles de Zeus et de Themis sont au nombre de douze. Du ciel tombent des feuilles de myrte, plante méditerranéenne qui est un symbole de Vénus. Le modèle de la Vénus, Simonetta Vespucci, était la femme de Marco Vespucci et la maîtresse de Julien de Médicis, considérée comme la plus belle femme de son époque. Morte de pneumonie à l'âge de 23 ans en 1476.
Greek Mythology. Aphrodite (Venus), the goddess of love, born of the sea, fertilized by the sex of Uranus, decided by Cronos "surrounding a white foam coming out of the divine member. This scum formed a girl "Hesiod's Theogony. Left Zephyr (hot and sweet wind) and his wife Chloris (Flora in Latin, goddess of flowers) couple who also appeared in the Spring. Right one of Hours will take Venus (Aphrodite) with a red veil. the Hours, daughters of Zeus and Themis are twelve in number. from the sky fall myrtle leaves, Mediterranean plant that is a symbol of Venus. the pattern of Venus, Simonetta Vespucci, was the wife of Marco Vespucci and mistress of Giuliano de 'Medici, considered the most beautiful woman of her time. Dead of pneumonia at the age of 23 in 1476.
LA FEMME DANS LA PEINTURE EUROPEENNE 1
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique, la Crète minoenne, et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture témoigne de l'importance de la femme comme thème de l'art..
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent. Mais les Saintes sont innombrables, et la Vierge est omniprésente. La Vierge est, aussi et surtout, la Mère de l'Enfant. Quel art dans le monde a fait autant de place à la mère et à l'enfant ?
Mais il existe un espace non négligeable pour le Nu dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe.
Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent, avec le Christ, Adam et quelques saints, Jérôme, et surtout Saint Sébastien, dont les représentations sont toujours très orientées.
A la " Renaissance" la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et de nus masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans leur reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît presque totalement, mais dans la peinture profane, la représentation du nu féminin disparaît aussi. Sauf quelques exceptions dans l'art religieux de Rembrandt qui constitue ainsi une double exception dans le monde protestant (peinture religieuse et nu féminin)
La femme est très présente dans la peinture protestante, profane, des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois polissons ( Fragonard). L'érotisme est plus affiché dans la représentation du nu féminin.
Au 19è et 20 siècle, à l'époque de l'Art Moderne, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Il n'est pas toujours certain que la femme y gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle soit toujours là.
Avez vous observé que la femme, habillée ou nue, a disparu dans l'Art Contemporain des Musées ?
Les exceptions sont rarissimes.
Il est vrai qu'on voit beaucoup la femme dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée.
C'est dans notre société occidentale, éclairée par les "Lumières", une remarquable libération des obscurantismes du passé ?
L'Art est, à toutes les époques, un excellent révélateur des valeurs qui animent une société.
WOMEN IN EUROPEAN PAINTING 1
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting, the legacy is thin (mainly ceramics), but the sculpture reflects the importance of women as a theme of art.
With Christian Europe, or more precisely, Catholic and Orthodox, the woman disappears not from the sculpture or painting. She dresses. The art of Catholic Europe in particular made a great place to women. Venus, Diana, the Nymphs disappear. But the holy women are innumerable, and the Virgin is everywhere. The Virgin is also and above all, the Mother of the Child. What art in the world has done as much space to the mother and the child?
But there is an important space for the Nude in Catholic painting, in the west of Europe. Not in the East, in the Orthodox art.
Some themes of the Old Testament allowed the painters of not losing hand in representation of the female nude, and meet with discretion the libido of their aristocratic clients. Adam and Eve, Bathsheba Bathing, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also represented very frequently with Christ but also with Adam and few saints, Jerome, for example, but especially with Saint Sebastian, whose representations are always very focused.
In the "Renaissance", the representation of the female nude increases considerably, along with the themes from mythology and Greek and Roman history. The painters we can now add to the themes of the Old Testament those of antiquity. All over Europe, in the North (Cranach) as in the South, it is an explosion of female nudes. And male nudes too, because the nude was a favorite subject of painters of the late 15th and 16th century in their technical reconquest of the realistic rendering of the human figures.
With the Reformation, religious painting disappears almost totally, but in secular painting the representation of the female nude disappears also. With some exceptions in religious art by Rembrandt, which thus constitutes a double exception in the Protestant world (religious painting and female nude). The woman is very present in the Protestant painting, secular, from the Northern low countries, but the woman is quite dressed. Ended, Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. Shades. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become ragamuffins (Fragonard). Eroticism is displayed in the representation of the female nude.
In the 19th and 20 century, in the era of Modern Art, the woman continues to be a favorite subject for painters (and sculptors), and its representations are extremely diverse. It is not always certain that the woman gains in beauty when it ends up looking like a guitar, when it flattened himself until to pass unders the doors or on the contrary, when his legs and his trunk look like stove pipes. But the essentials are the woman is still there.
Have you noticed that the woman, dressed or naked, disappeared in the Contemporary Art Museum?
It's true that we see many women in advertisements. The woman is no longer a virgin, nor mother, she is no longer admired, she is consumed.
It's in our Western society, illuminated by the "Enlightenment", a remarkable liberation of the obscurantism of the past ? Art is, at all times, an excellent indicator of the values that drive a société.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
All the time my clients tell me, “I don’t want any cliché, posed shots…” But then I shoot them anyway (like this) and show them and they say, “Ohhh, but I like THIS!”. There’s a reason they work. And every photographer has their own interpretation on the standard. Sure helps when you’re surrounded in beauty like this however.
(I’ll give you a hint – the best thing to use for making things like this in the sand is your car key, or anything super thin)
This weekend I have a Charity Car show in Oxnard on Saturday morning. Drop by and say hello.
Chanel. Still Life. Romanticism
Nellie Vin ©Photography
Chanel©
Chanel envisioned a design that would be an antidote for the over-elaborate, precious fussiness of the crystal fragrance bottles then in fashion popularized by Lalique and Baccarat. Her bottle would be "pure transparency ...an invisible bottle." It is generally considered that the bottle design was inspired by the rectangular beveled lines of the Charvet toiletry bottles, which, outfitted in a leather traveling case, were favored by her lover, Arthur "Boy" Capel.
Some say it was the whiskey decanter he used that she admired and wished to reproduce in "exquisite, expensive, delicate glass.
The first bottle produced in 1919 is not the Chanel No.5 bottle known today. The original container had small, delicate, rounded shoulders and was sold only in Chanel boutiques to select clients. In 1924, when "Parfums Chanel" incorporated, the glass proved too thin to sustain shipping and distribution. This is the point in time when the only significant design change took place. The bottle was modified with square, faceted corners.
In a marketing brochure issued in 1924, "Parfums Chanel" described the vessel, which contained the fragrance: "the perfection of the product forbids dressing it in the customary artifices. Why rely on the art of the glassmaker ...Mademoiselle is proud to present simple bottles adorned only by ...precious teardrops of perfume of incomparable quality, unique in composition, revealing the artistic personality of their creator."
François Boucher. 1703-1770. Paris. Jeune femme nue. Naked young woman. (Louise O'Murphy) Cologne. Wallraf Richartz Museum.
La jeune femme fut un des modèles du peintre et une des maîtresses de Louis XV. The young woman was one of the painter's models and mistresses of Louis XV.
LA FEMME DANS LA PEINTURE EUROPEENNE
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture porte témoignage.
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent. Mais on ne compte pas les Saintes et la Vierge. La Vierge est aussi et surtout la Mère, et avec elle l'Enfant. Quelle art dans le monde a fait autant de place à la mère et à l'enfant ?
Mais il existe un espace non négligeable pour le Nu dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe.
Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent avec le Christ mais aussi avec Adam et quelques saints, Jérôme par exemple, mais surtout avec Saint Sébastien dont les représentations sont toujours très orientées.
A la " Renaissance" la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans la reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît, mais dans la peinture profane, la représentation du nu féminin disparaît aussi. Sauf quelques exceptions dans l'art religieux de Rembrandt. La femme est très présente dans la peinture protestante des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois polissons ( Fragonard, Boucher). L'érotisme est plus affiché dans la représentation du nu féminin.
Au 19è et 20 siècle, à l'époque de l'Art Moderne, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Il n'est pas toujours certain que la femme y gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle soit toujours là.
Avez vous observé que la femme, habillée ou nue, a disparu dans l'Art Contemporain des Musées ?
C'est vrai qu'on voit beaucoup la femme dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée. Une remarquable libération des obscurantismes du passé.
WOMEN IN EUROPEAN PAINTING
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting the inheritance is thin (mainly ceramics), but the sculpture bears testimony.
With Christian Europe, or more precisely, Catholic and Orthodox, the woman disappears not from the sculpture or painting. She dresses. The art of Catholic Europe in particular made a great place to women. Venus, Diana, the Nymphs disappear. But you do not count the Holy Women and the Virgin. The Virgin is also and especially the Mother, and with her Child. What art in the world has done as much space to the mother and the child?
But there is an important space for the Nude in Catholic painting, in the west of Europe. Not in the East, in the Orthodox art.
Some themes of the Old Testament allowed the painters of not losing hand in representation of the female nude, and meet with discretion the libido of their aristocratic clients. Adam and Eve, Bathsheba Bathing, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also represented very frequently with Christ but also with Adam and few saints, Jerome, for example, but especially with Saint Sebastian, whose representations are always very focused.
In the "Renaissance", the representation of the female nude increases considerably, along with the themes from mythology and Greek and Roman history. The painters we can now add to the themes of the Old Testament those of antiquity. All over Europe, in the North (Cranach) as in the South, it is an explosion of female nudes. Male and also because the nude was a favorite subject of painters of the late 15th and 16th century in the technical reconquest of the realistic rendering of human figures.
With the Reformation, religious painting disappears, but in secular paintingthe representation of the female nude disappears also. With some exceptions in the religious art of Rembrandt. The woman is very present in the Protestant painting from the Northern low countries, but it is quite dressed. Ended, Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. Shades. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become ragamuffins (Fragonard Boucher). Eroticism is displayed in the representation of the female nude.
In the 19th and 20 century, in the era of Modern Art, the woman continues to be a favorite subject for painters (and sculptors), and its representations are extremely diverse. It is not always certain that the woman gains in beauty when it ends up looking like a guitar, when it flattened himself until to pass unders the doors or on the contrary, when his legs and his trunk look like stove pipes. But the essentials are the woman is still there.
Have you noticed that the woman, dressed or naked, disappeared in the Contemporary Art Museum?
It's true that we see many women in advertisements. The woman is no longer a virgin, nor mother, she is no longer admired, she is consumed. A remarkable release of obscurantism of the past!
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
"The Milkmaid" (1663)
"By Johannes Vermeer, from Delft, Netherlands (1632 - 1675)
- oil on canvas; 45.5 x 41 cm -
[Baroque]
© Rijksmuseum, Amsterdam, Netherlands Purchased with the support of the Vereniging RembrandtAankoop met steun van de Vereniging Rembrandt, 1908
The extraordinary effect of three-dimensionality of this picture is particularly evident in the modeling of the woman's head and body. Small touches of paint - white, light ocher, reddish brown, brown, greenish gray - join together to build the form of her face. Brushstrokes, albeit tiny, are boldly juxtaposed with little or no effort to blend them and achieve continuous modeling. The buildup of paint is so pronounced that one has the impression that Vermeer was attempting to sculpt rather than paint the head.
Critics have frequently speculated that the sitter for this painting was Tanneke Everpoel, Vermeer's family maid. Through archival documents of 1663 we know something of her temperament. She had once defended Vermeer's wife Catharina from an attack by her lone and wild tempered brother, Willem Bolnes, which had occurred some years earlier.
The events were recorded in a notary public deposition of several people, Willem de Coorde, Gerrit Cornelisz., stone carver and Tanneke herself who testified concerning Willem's abusive character. Tanneke and Gerrit the stone carver testified: "That on various occasions Willem Bolnes had created a violent commotion in the house — to such an extent that many people gathered before the door — as he swore at his mother, calling her an old popish swine, a she-devil, and other such ugly swear words that, for the sake of decency, must be passed over. She, Tanneke, also saw them Bolnes had pulled a knife and tried to wound his mother with it. She declared further that Maria Thins had suffered so much violence from her son that she dared not go out of her room and was forced to have her food and drink brought the. Also that Bolnes committed similar violence from time to time against the daughter of Maria's, the wife of Johannes Vermeer, threatening to beat her on diverse occasions with a stick, notwithstanding the fact that she was pregnant to the last degree."
Luckily, on this occasion Tanneke was able to prevent some of this violence herself. Moreover, De Coorde declared that on several occasions, warned by Tanneke, Willem had blocked Bolnes from entering the house: "He also had seen Willem several times thrust at his sister with a stick at the end of which there was an iron pin."
Vermeer's mother-in-law, Maria Thins, eventually succeeded in having Willem committed to a house of correction. Many specialists had drawn attention to the fact that the crude domestic violence which plagued the Vermeer household never once found its way into the artist's peaceful compositions.
The dark blue apron worn has a luster and depth that cannot be captured in reproduction. Vermeer applied a thick transparent layer of the costly natural ultramarine made of crushed lapis lazuli) over a vigorously defined monochrome underpainting to achieve this effect.
This transparent layer of paint, called a glaze, produces an effect analogous to that of stained glass. Contemporary painters usually employed the cheaper azurite which does not possess the depth or the prized reddish undertone of true ultramarine. Some scholars have speculated that it was Vermeer's rich Delft patron Pieter van Ruijven who supplied the artist with such costly materials since the artist himself did not have enough money to pay in full the entrance fee to the Saint Luke Guild, the trade organization of Delft's artists and artisans.
Whatever poetic, iconographic or practical meaning Vermeer had wished to assign to the milk which falls into the stoneware receptacle below, this detail is the focal point of the painting as well as the maid's attention. Vermeer has transformed a seemingly insignificant moment in the daily life of a humble servant into deeply poetic statement suspended in time.
The vessel in which the milkmaid pours her milk is a stoneware Dutch oven which served for prolonged cooking. Stoneware was made of clay that produces a grey or brown color when it is fired at a temperature of around 1250 degrees Celsius. It is exceptionally hard and only slightly porous. Moreover, stoneware does not acquire a taste and is easy to clean. It is an ideal material in which to preserve liquids and from which to drink. Around 1300, stoneware acquired something of a mass market and remained popular until glass and Delftware took its place in the 17th century.
More ink has flowed to describe the poetic and optical qualities of this still life than perhaps for any other detail in Vermeer's oeuvre. The bread, the basket, the pitcher and the bowl have such vibrancy that they vie with the woman as the focus of the painting.
In order to achieve the extraordinary luminosity, Vermeer recreates, rather than represents, the texture, the forms and the activity of light with a complex paint structure. The famous "pointillés", or spherical dabs of thick opaque paint clearly evident in this detail, suggest that the artist used a camera obscura as an aid for the painting process. The diffused highlights seen through this primitive but suggestive optical device are comparable to effects in Vermeer's still life even though they are normally produced when viewing highly reflective surfaces and not on soft matte surfaces such as clothe or bread.
The two pieces of earthenware are most likely called redware, which was mainly produced in Oosterhout in North Brabant. The pottery was made of local clay with a high content of iron that burned rose-red to orange. The Studded beer jug with a pewter lid was was most likely manufactured in the Westerwald region of Rhineland in the southeast part the Netherlands.
Pottery production in the Westerwald region is known from the beginning of the 15th century, but an influx of migrant potters from Siegburg and Raeren helped establish the stoneware industry towards the end of the 16th century. The industry grew in the 17th century and remained strong well into the 18th and 19th centuries, with exports not only to Britain, but also Australasia, Africa and America. Westerwald stoneware displays colors which range from light to mid-grey with their surfaces usually treated with a salt glaze, giving the characteristic 'orange peel' effect, with the addition of cobalt blue and manganese purple painted details. These two colors were the only ones capable of withstanding the high-firing temperatures of the stoneware kilns.
Although it cannot be observed in many reproductions, the table covered with a simple green tablecloth is not rectangular in shape. The vibrant green, which literally glows in the original, mediates between the lustrous blue of the maid's wrap and the yellow warmth of the basket and bread.
This rustic window (a similar one appears in the preceding Officer and Laughing Girl) differs in both technique and in structure from the ones which populate Vermeer's later pictures. Minor incidents of light and texture, such as a broken piece of one of the panes, are registered with utmost precision and pictorial vigor. In Vermeer's later works, the windows become so geometrically stylized that in some cases they seem abstract works of art in themselves.
Critics have always noted that every compositional element in Vermeer's works is determined with the utmost care. The cascade of the black frame, the basket and brass marketing pail all lead the eye towards the thematic center of the painting: the pouring milk. At the same time each of these three objects preserves its own distinct form and texture which are immediately distinguishable. One critic noticed how he seems to delight contrasting open and closed objects of the composition. As with still life painting, the items depicted in this work have been chosen to provide a wide range of complementary and contrasting colors and textures. In any case, even though there are many different objects in the painting, a sense of benign order reigns throughout.
The basket, presumably, held bread, the lifeline of any Dutch family. Curiously, when Vermeer died he owed the considerable sum of 617 guilders to the baker and occasional painting client, Hendrick van Buyten. We must assume that for some reason no bread was made in Vermeer's family. Vermeer's widow, Catharina Bolnes, turned over two paintings as collateral, a rather generous gesture on the part of the baker.
The copper pail, called a marktemmer, had a long handle so it could be conformably slung of the shoulder when shopping at the outdoor market. Similar pails are seem in a number of Dutch interior paintings of the time although Vermeer's is smaller and more finely decorated than most. Above, the two kitchen utensils, is a small ebony frame.
In nearly every Dutch home one would have stumbled across a foot warmer or foot stove, a little wooden box with a perforated top and sometimes perforated sides. These curious objects held a receptacle filled with hot coals and served to keep one's lower parts warm during the long, gelid Dutch winter. They appear an infinite number of times in Dutch interior paintings.
Although it is entirely possible that Vermeer depicted the foot warmer as an incidental slice of daily life, he may have intended it to convey some symbolic meaning. In emblematic literature of the day footwarmers were sometimes associated with a lover's desire for constancy and caring, an idea reinforced by the cupid images on the tiles directly behind it. It may allude to the maid's inner warmth or even have a sexual implication since the warmth of the coals moved upwards under the skirt towards the lady's private parts.
The foot warmer motif appears in the famous emblem book (see left) Sinnepoppen by Roemer Visscher in which a stove with a firepan is called a Mignon des Dames: "Love of the Ladies." In winter, reads the text, women love their warm stoves more than anything else. And if a man comes along, though he may do his utmost, he can at best take second place.
Emblem books were a favorite genre in the 16th an 17th centuries. They displayed an illustration, an aphorism, and an explanation (usually in rhyme) on every page. No single element of this triad could be understood without the other two. In 1612, a number of Visscher's poems were printed in Leiden without his knowledge. In reply he commissioned the Amsterdam publisher Willem Jansz Blaeu, especially famous for his atlases, to publish his Sinnepoppen.
In the first two decades of the 17th century the house of Visscher on Geldersekade, Amsterdam, was a meeting-point for the Amsterdam cultural elite. The Dutch poet Vondel referred to the" 'blessed Roemer's house" as a place:
"Whose floor is daily trod, whose threshold e'en worn bare By painters, artists, poets, by singers everywhere."
Photographer Kozics Ede, Pressburg (Pozsony)
(1904. X/30. To Sándor from Mici)
Ede Kozics was born in 1829 in Dubnica nad Váhom, Kingdom of Hungary (today Slovakia) to a poor family. His thin and weak body was not suited to do heavier work.
In 1847, he first encountered daguerreotype and found his lifelong passion. He received training from traveling photographer Johann Bubenik who also sold him the equipment (Bubenik was making daguerreotypes in Bratislava in 1847.
Soon he also learnt calotype (talbotype) technique and collodion process from Andreas Groll in Vienna between 1847–50, as well as coloring technique.
In 1850 he opened his first studio in the garden pavillion of Slubek's house in Gaisgasse (today Kozia street 33) in Bratislava.
This studio is considered to be the first out of ten studios operating in Bratislava in the 1850s.
In 1856 he moved to a more populated location on Promenade 34 (today Hviezdoslavovo námestie) nearby Carlton hotel.
After temporary relocation (on 1 June 1868 to the house of Baron Sina on Promenade 33), Kozics studio opened on 1 October 1868 in a newly built house on Promenade 2 (later renamed to Sétatér 9, Kossuth Lajos tér 9, today Hviezdoslavovo námestie 4) next to the Hotel zum grünen Baum.
The house served as home to him and his family and also functioned as a museum, gallery, free mason lodge and salon, which was known for its lively social happenings. Kozics hosted several concerts of his close friend Franz Liszt and made a number of his portraits. Photo studio was located on the ground floor together with permanent exhibition of Kozics' collection of a wide range of photo apparatuses.
Portraits were Kozics specialty, among his clients were Bratislava's most prominent figures. He also photographed city sights and suburbs, from the 1860s particularly in then popular CDV format (cards). Just before its demolition, in 1870 he made series of photographs of so called coronisation hill on Danube river bank and collected them in the artistic photo album Vitam et sanquinem, which was given as a gift to the court in Vienna.
Kozics also ran a private school of photography and was influential for the whole generation of photographers.
Kozics had significant technical skills. He was fast in adopting cutting-edge photo techniques of his day including calotype (c1850), panotype (c1856), and chromotype (late 1870s). He developed his own method of color photography; was among the first to make lifesize photographs; invented and patented a way to expose photographs on canvas, elephant bone, porcelain, wood, glass and email.
He died of a sudden heart attack in 1874. Since the 1990s Bratislava has a street named after him.
After his death, the studio continued to be operated by his wife Karolina Kozics-Helle (1838–1899, they married in 1855) who expanded the studio ouvre to postcard production and service for artists. Her specialisation was photomontage.
They had three children: Karolína Eleonóra Ema (3.10.1856–?), Pavlina Jozefina (27.6.1859–?) and Eduard František Xaver (2.1.1864–1900), all born in Bratislava.
Karolína and František were both photographers and painters, Karolína focused mostly on photo reportage (eg. Požiar Podhradia 1913 series).
She operated the family studio until 1926 when it was taken over by the firm Boceky and Valentik.
Kozics Ede (Eduard Nepomuk Kozič) (1829, Dubnica nad Váhom - 1874, Pozsony/Pressburg). 1850-ben nyitotta meg az első műtermét Pozsonyban (az első tíz között) a Gaisgasséban, azután 1856-ban elegánsabb környékre, a Promenade 34-be költözött. 1868 júniusában egy rövid ideig Sinai báró házában bérelt műtermet a Promenade 33-ban, majd ugyanebben az évben, 1868-ban a Promenade 2-be (a későbbi Sétatér 9.) vadonatúj épületébe költözött a Zöldfa Szálló mellé. A ház a földszinti műterem mellett az ő és családja otthonául szolgált, múzeum, kiállítóterem (Kozics portréival, városképeivel), szabadkőműves-páholy és a pozsonyi társaság kedvelt szalonja is volt egyben. Liszt Ferenc, Kozics közeli barátja, többször adott koncertet a szalonban, Kozics jó néhány portrét készített róla. Általában szinte mind lefényképezte a kor Pozsonyban élő vagy oda látogató jelentős szereplőit.
Szívrohamban halt meg 1874-ben. A műtermet átvette felesége, Karolina Kozics-Helle (1838–1899, 1855-ben házasodtak össze), aki a műterem tevékenységét bővítette képeslapfotókkal, specialitása pedig a fotómontázs volt. Halála után gyermeke vette át az üzletet.
Gyermekeik: Karolina Eleonóra Emma (3.10.1856–?), Paulina Jozefina (27.6.1859–?) és Eduard František Xaver (2.1.1864–1900). Karolina és František mindketten festők és fényképészek voltak Karolina vezette a műtermet 1926-ig, amikor a Boceky és Valentik cég átvette.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
Wisma Atria, 435 Orchard Road, Singapore.
Wisma Atria, a five-story retail podium at the base of a 22-storey office tower, was first designed by DP Architects in 1986. The firm designed the mall’s alterations in 2004, in addition to a third incarnation planned for completion in 2012. The architectural progression, like many retail developments on Orchard Road, continues to take place within the contours of the building’s original structure.
The 2004 transformation of Wisma Atria can be considered the transition project for DP Architects towards a new extroverted mall type on Orchard Road. A façade expansion creates visual and functional links between the interior retail space and the exterior promenade: opaque cladding is replaced by glass to achieve full retail transparency; a structural framing system projects the mall outward, closer to the pedestrian streetscape; and upper retail floors have been directly connected to the promenade by means of external escalators to maximise accessibility to every floor and improve the commercial value of upper levels. This series of design moves comprehensively re-situates a 1980s mall as a street-integrated shopping centre.
The four-metre-deep structural frame exploits a 2002 Orchard Road ordinance allowing façade extensions to engage with pedestrians and facilitate alfresco dining spaces. The frame dismantles the building’s shell, operating as a moment of transition to rework sidewalk circulation and the surrounding urban context. By using the otherwise empty grid to support an outdoor landing at the second floor and glass-enclosed spaces at the third floor, the façade is endowed with a sectional layering that effectually blurs the line between the interior commercial space and the public space of the promenade. By integrating external escalators, multiple retail levels are connected with the sidewalk to functionally transform upper storeys into street-accessible spaces.
The designers have integrated a blue grid paneling to clad the building’s upper levels and perform as a unifying backdrop to the façade. This material supplements the coloured structural grid as a reference to the original building’s signature blue-tile cladding, establishing the new frontage as an architectural continuum.
New Wisma Atria Makeover, 2012
The continuing transformation of Orchard Road is in many ways driven by the competitive nature of its retail spaces. The prospective design for Wisma Atria is designed to further augment street visibility and respond to patterns of human movement through the site.
A prospective high-visibility glass wrapping will perform as a common dynamic envelope, a three storey glazed shopfront articulated to extend even further into the space of the pedestrian promenade. In an effort to impart maximum transparency and fulfill the client’s desire for an all-glass building, the design will remove the façade’s current grid, retaining only those parts structurally supporting an extended food court above. The new structure underlying the triangulated glazed skin is being designed using thinnest-possible members, and structural retainers are designed to enhance a sheen glazed finish. The façade materiality will become a dialogue between glass and an aluminium matte cladding affixed to structural and mechanical elements. An articulated backdrop façade on the upper levels will be clad in blue horizontal strips of hollow channel, once again maintaining aspects of the mall’s earliest character.
I was so pleased with testing out the grey colored, 3M stylus and so was my next door neighbor that I decided to buy her one as a gift. This black stylus matches her iPhone and works identically to its gray colored sibling. A review of how the 3M Stylus works... The thing that you should know first about this stylus is that it is one of the better "all around" stylus. That is to say, if you need this stylus for many different uses, equally, this stylus comes highly recommended. *****Inspection and Packaging********* I have a couple of minor concerns but nothing even close to a dealbreaker. Ive been using this stylus for about a month now give or take a week. One of the annoying things that struck me is the fact that 3M chose to package this beautiful instrument in that sealed "clamshell" casing. Cutting and prying the case open left hairline cuts to my hands. I know that the company would say that its costefficient and uses less paper and less waste, but the truth is, this kind of manufacturing is actually more expensive. Sure, youll save shelf space, but the packaging is totally destroyed upon opening. So, if one needs to return the item, the customer has to find an alternative method of wrapping it. This is one of the ecological changes that WalMart instituted just a couple of years ago. *****Construction******** The pen is equally balanced and has the look and feel of the old "Cross Pens" of a couple of decade ago. The tip is encased by a foam cushion and a thin garment material. If there a concern, it would be that someone who is heavyhanded can easily break the tip. (But, most of the stylus tips are similarly made.) *****iPhone 4******** My next door neighbor, Ms. Dania Hernandez, uses the iPhone for her work at a Christian radio station where shes a program director. Although she loves her iPhone, shes always had problems typing on the Touchscreen. One of the things that she immediately liked was the fact that the stylus freed her of her habit of touching two keys at the same time or the phone recognizing the wrong letter. Typing, she said, is now very simple (See her typing in the video) as well as using the GPS in Google Maps. ***** Android****** I recently upgrade to the EVO 3D and using the stylus with many programs was much better than using my fingers. Typing and TextingExcellent. Scrolling and engaging the Internet Excellent. (The webpages response to the stylus was remarkable.) Games.Very good. I spend a considerable amount of time using it on Angry Birds and while it does the job, theres something missing when you replace that tactile connection with the instrument. So, when it comes to certain games, no stylus can replace the feel of the fingertips. Art and Sketching programsGood, but not great. This is where a distinction has to be made with this stylus and some of the styluses geared toward artists. I have a couple of artbased programs. The one Im most pleased with is Sketchbook Express (and Sketchbook Mobile.) The stylus gave me the ability to do a rough sketch but it wasnt exact. Now, this is not a bad thing because this stylus3M Styluswas not marketed specifically for drawing and painting apps. If it were, then that would be a different story. Id rather have a good allaround stylus to do the many different things I use my phone for than to just have an artist stylus that doesnt work that well with other programs. ****Computer Touchscreen******* I went to visit one of my companys clients and they are using a Dell Touchscreen with Windows XP Professional and the stylus worked but I felt myself applying more pressure to the screen for it to recognize the stylus, but I dont know if thats a problem with the stylus or is it with the hardware ****Conclusion***** Pros Worked well with the iPhone and its many applications, especially typing apps. And, people with average size hands (not me, my long boney fingers reminds me of Gollum) will find the problem of hitting multiple keys a thing of the past. Worked equally well with Android phones. Writing, Internet, games, scrolling etc.worked exceptionally, the drawing apps werent always precise but passable. Works with a regular computers Touchscreen, although the connection is sometimes a bit strenuous on the hands after awhile. Competitively priced. Handsome and balanced, weightwise. Cons Packaging is horrendous. 4.5 stars.
Custom Knife, final product for Irish Warrior. I hope you like it, I have my logo on it, but feel free to use it as your own, Irish Warrior. Pastie: pastebin.com/6Kayp0GY
Sincerely, AJ "Knifester"
As for everyone else, if you want me to make a custom knife for you, just message me with a referance picture of the knife, and I'll accept your challenge (As long as you ask nicely!).
Cabinet card, 1898
Photographer: Kozics Ede (Eduard Kozics)
Pozsony (Pressburg), Sétatér 9. (Később Kossuth Lajos tér 9./Promenade No. 9. )
Hungary (Bratislava, now Slovakia)
www.flickr.com/photos/37578663@N02/sets/72157639797389843 ------------------
Eduard Nepomuk Kozics (Kozič) was born in 1829 in Máriatölgyes (Dubnica nad Váhom, Dubnitz an der Waag), Kingdom of Hungary (today Slovakia) to a poor family. His thin and weak body was not suited to do heavier work.
In 1847, he first encountered daguerreotype and found his lifelong passion. He received training from traveling photographer Johann Bubenik who also sold him the equipment (Bubenik was making daguerreotypes in Bratislava in 1847.
Soon he also learnt calotype (talbotype) technique and collodion process from Andreas Groll in Vienna between 1847–50, as well as coloring technique.
In 1850 he opened his first studio in the garden pavillion of Slubek's house in Gaisgasse (today Kozia street 33) in Bratislava.
This studio is considered to be the first out of ten studios operating in Bratislava in the 1850s.
In 1856 he moved to a more populated location on Promenade 34 (today Hviezdoslavovo námestie) nearby Carlton hotel.
After temporary relocation (on 1 June 1868 to the house of Baron Sina on Promenade 33), Kozics studio opened on 1 October 1868 in a newly built house on Promenade 2 (later renamed to Sétatér 9, Kossuth Lajos tér 9, today Hviezdoslavovo námestie 4) next to the Hotel zum grünen Baum.
The house served as home to him and his family and also functioned as a museum, gallery, free mason lodge and salon, which was known for its lively social happenings. Kozics hosted several concerts of his close friend Franz Liszt and made a number of his portraits. Photo studio was located on the ground floor together with permanent exhibition of Kozics' collection of a wide range of photo apparatuses.
Portraits were Kozics specialty, among his clients were Bratislava's most prominent figures. He also photographed city sights and suburbs, from the 1860s particularly in then popular CDV format (cards). Just before its demolition, in 1870 he made series of photographs of so called coronisation hill on Danube river bank and collected them in the artistic photo album Vitam et sanquinem, which was given as a gift to the court in Vienna.
Kozics also ran a private school of photography and was influential for the whole generation of photographers.
Kozics had significant technical skills. He was fast in adopting cutting-edge photo techniques of his day including calotype (c1850), panotype (c1856), and chromotype (late 1870s). He developed his own method of color photography; was among the first to make lifesize photographs; invented and patented a way to expose photographs on canvas, elephant bone, porcelain, wood, glass and email.
He died of a sudden heart attack in 1874. Since the 1990s Bratislava has a street named after him.
After his death, the studio continued to be operated by his wife Karolina Kozics-Helle (1838–1899, they married in 1855) who expanded the studio ouvre to postcard production and service for artists. Her specialisation was photomontage.
They had three children: Karolína Eleonóra Ema (3.10.1856–?), Pavlina Jozefina (27.6.1859–?) and Eduard František Xaver (2.1.1864–1900), all born in Bratislava.
Karolína and František were both photographers and painters, Karolína focused mostly on photo reportage (eg. Požiar Podhradia 1913 series).
She operated the family studio until 1926 when it was taken over by the firm Boceky and Valentik.
monoskop.org/Ede_Kozics#Works-------------
Kozics Ede (Eduard Nepomuk Kozič) (1829, Máriatölgyes/Dubnitz an der Waag/Dubnica nad Váhom - 1874, Pozsony/Bratislava).
1850-ben nyitotta meg az első műtermét Pozsonyban (az első tíz között) a Gaisgasséban, azután 1856-ban elegánsabb környékre, a Promenade 34-be költözött. 1868 júniusában egy rövid ideig Sinai báró házában bérelt műtermet a Promenade 33-ban, majd ugyanebben az évben, 1868-ban a Promenade 2-be (a későbbi Sétatér 9., majd Kossuth Lajos tér 9., ma Hviezdoslavovo námestie 4.), vadonatúj épületbe költözött a Zöldfa Szálló mellé. A ház a földszinti műterem mellett az ő és családja otthonául szolgált, múzeum, kiállítóterem (Kozics portréival, városképeivel), szabadkőműves-páholy és a pozsonyi társaság kedvelt szalonja is volt egyben. Liszt Ferenc, Kozics közeli barátja, többször adott koncertet a szalonban, Kozics jó néhány portrét készített róla. Általában a kor Pozsonyban élő vagy oda látogató jelentős szereplőit szinte mind lefényképezte.