:

DE sign:
(Deconstructing in-order to find new meanings)

A blogging space about my personal interests; was made during training in Stockholm #Young Leaders Visitors Program #Ylvp08 it developed into a social bookmarking blog.

I studied #Architecture; interested in #Design #Art #Education #Urban Design #Digital-media #social-media #Inhabited-Environments #Contemporary-Cultures #experimentation #networking #sustainability & more =)


Please Enjoy, feedback recommended.

p.s. sharing is usually out of interest not Blind praise.
This is neither sacred nor political.

Showing posts with label #Film. Show all posts
Showing posts with label #Film. Show all posts

Saturday, February 24

A Story of Healing

A Story of Healing

 
In 1997, a film crew accompanied an Interplast volunteer surgical team to An Giang province in Vietnam's Mekong Delta. A Story of Healing, earned the 1997 Academy Award for best documentary short subject. https://www.openculture.com/freemoviesonline

Wednesday, May 21

Positive Initiatives Anyone CAN do for Syrians

Positive Initiatives Anyone CAN do for Syrians
No matter where you stand politically (whether you want to engage in the discourse or not) there are plenty of things you could help make for Syrians; in return at your time of need we'll be there for you before you even know it =)
(Kindly note this story is in-progress, send me any action to add) 



Monday, March 24

Arab Women in Architecture

Whether i agree with this video on Arab Female Architects or not it's a good share, Enjoy =)

Published on Feb 23, 2014

"Arab Women in Architecture" is a documentary that has been produced as part of the activities of the 2013 sixth cycle of the Omrania | CSBE Student Award for Excellence in Architectural Design. It features stories on the experiences, challenges, and achievements of Arab women architects.

The full film was screened for the first time during the Award's sixth cycle ceremony, which took place on January 7, 2014 at the German Jordanian University's Othman Bdeir House for Architecture and Design in Amman, Jordan.

Additional information regarding the Award and the films produced through it is available at:

Websites:
www.csbe.org
www.omraniacsbeaward.org

Facebook:
www.facebook.com/csbe.org
www.facebook.com/Omrania.CSBE.Student.Aw­­ard

Twitter:
www.twitter.com/CSBE_Jordan
www.twitter.com/graduateaward

For inquiries, please contact us at 0096264615297 or send an email to info@omraniacsbeaward.org

Saturday, January 18

Friday, October 11

In the memory of ...

This post is dedicated to the 1977 film Powers of Ten by Charles and Ray Eames on their +24H Anniversary, the film is about the scale of things within our vast universe and it's a recommendation to anyone..
sure with Google-Earth most would be familiar with the concept still it's worth watching if you Haven't done so already... 


 
For a better experience Kindly Visit http://www.powersof10.com/

more on the film below by Marlow on
http://blog.powersof10.com/

Today is Powers of Ten Day! The iconic Eames film, Powers of Ten, is about “the relative size of things in the universe and the effect of adding another zero.” The film is technically ingenious while also beautiful and educational—adjectives that often describe Charles and Ray’s work, whether a house, chair, photograph, toy or exhibition.
The influences of Powers of Ten can be seen in movies such as Men in Black and television shows such as The Simpsons; it can also be considered a precursor to now common-place technologies and service applications like Google Maps. But how else does the film impact us today? How can contemplating the relative size of things in the universe pertain to our daily lives?
For me, personally, Powers of Ten serves as a reality check. Problems that seemed insurmountable before watching it suddenly feel less stressful. Long before I knew about Charles and Ray’s film, I could generate a similar effect by climbing to a higher altitude. Whether standing at the summit of Pikes Peak or peering down from the Eiffel Tower (10+03 feet), I was always struck by the emotional, even existential, impact of my new perspective. Trees were dwarfed, trucks crawled and people looked like specks of lint across a vast, textured blanket.
Everything appeared so small as to seem inconsequential, which seemed to indicate that—from a certain height, vantage point and powers of ten—my problems and I were too. Perhaps this thought should have been panic inducing, but I found it comforting. Regardless of the emotion conjured up, the point is that changing my view prompted questions about my place in the universe.
The beauty of watching Powers of Ten is that the film transports viewers well beyond 10+03 feet above ground. Within a span of nine minutes, it zooms out to the farthest edge of the known universe and reels in to the inner depths of a carbon atom. I consider the vast array of perspectives an elegant reminder to remove my blinders and view the world from more than one lens. This might mean taking a step forward or a step back, looking from behind or even flipping the problem on its metaphorical head. Charles and Ray’s film offers many lessons, but one of the biggest is that, in reframing the the problem, new solutions inevitably emerge.
As we celebrate Powers of Ten Day, let us know how Charles and Ray’s film has impacted you, and in what ways you employ powers-of-ten thinking in your own life.

Friday, June 28

Defining #Architecture

Defining #Architecture

http://dasmonokel.blogspot.co.at/ tried to answer the Question : What is Architecture? through interviews with the following international architects additionally posted at http://www.world-architects.com/en/pages/what-is-architecture











Rem on Film




Directed, shot and edited by Tomas Koolhaas as part of his Documentary entitled 'Rem' about his father Rem Koolhaas. Music by Ike Yard.
For more information on 'Rem' use the following links:


Sunday, June 2

How Buildings Learn

How Buildings Learn

This six-part, three-hour, BBC TV series aired in 1997. I presented and co-wrote the series; it was directed by James Muncie, with music by Brian Eno.

The series was based on my 1994 book, HOW BUILDINGS LEARN: What Happens After They’re Built. The book is still selling well and is used as a text in some college courses. Most of the 27 reviews on Amazon treat it as a book about system and software design, which tells me that architects are not as alert as computer people. But I knew that; that’s part of why I wrote the book.

Anybody is welcome to use anything from this series in any way they like. Please don’t bug me with requests for permission. Hack away. Do credit the BBC, who put considerable time and talent into the project.

Historic note: this was one of the first television productions made entirely in digital--- shot digital, edited digital. The project wound up with not enough money, so digital was the workaround. The camera was so small that we seldom had to ask permission to shoot; everybody thought we were tourists. No film or sound crew. Everything technical on site was done by editors, writers, directors. That’s why the sound is a little sketchy, but there’s also some direct perception in the filming that is unusual.














BBC
Presenter/writer: Stewart Brand
Brian Eno, original music: James Runcie, Producer

Monday, April 1

The Sendaï Media Center


The Bilbao Guggenheim Museum


The Abby Sainte Foy de Conques

Architectural Film Series ::: 

Architecture 22 of 23 The Abby Sainte Foy de Conques



Introduction to Sainte Foy, Conques, France | https://www.bluffton.edu/~sullivanm/france/conques/stefoy/indexintro.html


"The abbey church, which has survived intact in its Romanesque form, is located in the town of Conques, from the Latin concha, meaning a shell (appropriate because the town is nestled in a gorge or hollow). This site was attractive as a retreat from the outside word to the early medieval founders of the abbey. Originally, in the 8th century there was a simple oratory at the site, but once the relics of Sainte Foy were in possession there (a Benedictine monk had stolen them from a monastery at Agen) in 866 and 883, the site was expanded. In the 11th century a new church was begun which was completed by the mid 12th century. This Romanesque pilgrimage church became a major stage on the Via Podiensis, the route between Le Puy and Moissac--one of the main pilgrimage roads to Santiago de Compostela.

The site became famous because it housed the relics of Sainte Foy, the daughter of a wealthy family in Agen who had converted to Christianity and thus refused to sacrifice to the pagan gods. In one of the last persecutions of Christians by the Romans, in 303 the proconsul Dacien condemned this 12-year old girl to be burned alive according to the imperial edict of Diocletian. Although the flames were "miraculously" extinguished, the young martyr was then beheaded. Her remains were saved and in later years miracles were attributed to their presence. Once the relics were situated at Conques, they attracted many pilgrims; stories of the blind seeing again or prisoners being freed are attributed to the saint's intercession. (The depiction of Sainte Foy on the tympanum of the church includes shackles hanging above her figure as a way of emphasizing these miracles.) Today in the Treasury of the church one can see some of the most fabulous golden religious objects in France, including the very famous gold and jewel-encrusted reliquary statue of St. Foy."

Kindly follow link for more views and stills >> https://www.bluffton.edu/~sullivanm/france/conques/stefoy/indexintro.html


"At the center of the bottom row there are two doors, one to the left (Christ's right) to Heaven and one to Hell. (See far right image below for the door to Heaven.) Flanking this center scene are views of Heaven and Hell, each with a presiding figure--Abraham in Heaven and Lucifer in Hell. (See next page for Lucifer.) Abraham, depicted in the center, seems to be embracing two of the Elect, each carrying scepters with flowers. On Abraham's left are figures representing the Old Law--two prophets with scrolls and at the outer arch, female prophets, while on his right are New Testament figures..."


Maison de Verre

Architectural Film Series ::: 

Architecture 19 of 23 Pierre Chareu Maison de Verre




AD Classics: Maison de Verre / Pierre Chareau + Bernard Bijvoet | http://www.archdaily.com/248077/ad-classics-maison-de-verre-pierre-chareau-bernard-bijvoet

"Built in 1932, the house uses various industrial and mechanical fixtures juxtaposed with a traditional style of home furnishings all under the transparency and lightness of the façade.

An interesting aspect of this house is the ubiquitous mechanical fixtures. On the ground floor was a medical suite for Dr. Jean Dalsace. 
This unusual circulation arrangement was resolved by a rotating screen which hid the private stairs from patients during the day, but framed the stairs at night."
Brian Pagnotta. "AD Classics: Maison de Verre / Pierre Chareau + Bernard Bijvoet" 27 Jun 2012. ArchDaily. Accessed 10 Dec 2015.
Maison de Verre | http://architectuul.com/architecture/maison-de-verre
The Maison de Verre (House of Glass) is a collaboration of the interior and furniture designer Pierre Chareau, the Dutch architect Bernard Bijvoet and The French metal craftsman Louis Dalbet. It was built between 1928 and 1932 and is a stunning example of modern architecture in the beginning of the twentieth century.

The Maison de Verre was commissioned by Dr. Jean Dalsace and his wife, Annie, who had bought the site, a 18th-century hôtel particulier next to the Latin Quarter in Paris. Much to their chagrin, the elderly tenant on the top floor of the building absolutely refused to sell, and the Dalsaces were obliged to demolish the bottom three floors of the building and construct the Maison de Verre underneath, without disturbing the original top floor. Viewed from the courtyard the house which cannot be seen from the street looks, the house looks like a glowing translucent box, its great glass-block facade embedded in the 18th-century fabric and capped by the old one-story apartment level above.

The Maison de Verre’s glass façade is made up of glass blocks supported by a steel frame structure. In the interior, spaces are separated by movable, sliding, folding or rotating screens in glass, sheet or perforated metal. Other mechanical components include an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings. The whole steel structure with bare beams, the canalisation and conduits remain visible from the outside and contribute to the architecture thus transforming utilities into decorative elements. The glass block wall itself, is able to stand alone without the heavy frame. Ventilation through the glass block wall is provided by a series of movable traps. A weight and pulley system opens the window panels, allowing for natural ventilation. This unique system causes a minimum of visual impact on the glass facade of the structure.

The house which was used as a residency also comprised Dr. Dalsace’s gynecological practice which was located on the ground floor. A rotating screen hid the stairs leading to the private apartment in the upper floors from patients during the day, but framed the stairs at night. Pierre Chareau who was a distinguished furniture designer in Paris at the time gave enormous attention to detail, so much that the house itself was sometimes half-mockingly described as an elaborate piece of furniture.

In the mid-1930s, the Maison de Verre's double-height "salle de séjour" on the first floor was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. When the Nazis arrived in France, The Dalsaces had to flee the country. In 2006, Robert Rubin, an American collector, bought the house from the Dalsace family and carefully restored it. Today it is still in use as a private house.

The Saline of Arc et Senans

Architectural Film Series ::: 

Architecture 18 of 23 Claude Nicolas Ledoux The Saline of Arc et Senans




From the Great Saltworks of Salins-les-Bains to the Royal Saltworks of Arc-et-Senans, the Production of Open-pan Salt | http://whc.unesco.org/en/list/203

The Royal Saltworks of Arc-et-Senans, near Besançon, was built by Claude Nicolas Ledoux. Its construction, begun in 1775 during the reign of Louis XVI, was the first major achievement of industrial architecture, reflecting the ideal of progress of the Enlightenment. The vast, semicircular complex was designed to permit a rational and hierarchical organization of work and was to have been followed by the building of an ideal city, a project that was never realized.
The Great Saltworks of Salins-les-Bains was active for at least 1200 years until stopping activity in 1962. From 1780 to 1895, its salt water travelled through 21 km of wood pipes to the Royal Saltworks of Arc-et-Senans. It was built near the immense Chaux Forest to ensure its supply of wood for fuel. The Saltworks of Salins shelters an underground gallery from the 13th century including a hydraulic pump from the 19th century that still functions. The boiler house demonstrates the difficulty of the saltworkers’ labour to collect the “White Gold”.
Outstanding Universal Value
Brief synthesis
The saltworks in Salins-les-Bains and Arc-et-Senans demonstrate outstanding universal value in terms of the extent of the chronological timeframe during which the extraction of salt continued in Salins, certainly from the Middle Ages, and probably from prehistoric times, through to the 20th century. Spa activity has extended its use until nowadays. The saltworks also demonstrate outstanding universal value in terms of the specific nature of salt production in Salins-les-Bains and Arc-et-Senans, based on a technique of tapping sources of salt deep underground, the use of fire to evaporate the brine, and the 18th century innovation of the creation of a 21km pipeline to carry the brine between the two sites. The saltworks express their value as well for the exceptional architectural quality of the Royal Saltworks of Arc-et-Senans and its participation in the movement of ideas in the Age of Enlightenment. It is testimony to a visionary architectural project of a ‘model factory.’ Developed and built by the architect and supervisor of saltworks in Franche-Comté and Lorraine, Claude-Nicolas Ledoux (1736–1806), Arc-et-Senans is the modern and Utopian extension of the Great Saltworks of Salins-les-Bains.
Criterion (i): The Royal Saltworks at Arc-et-Senans is the first architectural complex on this scale and of this standard designed as a place of work. This is the first instance of a factory being built with the same care and concern for architectural quality as a palace or an important religious building. It is one of the rare examples of visionary architecture. The Saltworks was the heart of an Ideal City which Claude-Nicolas Ledoux imagined and designed encircling the factory. The unfinished Utopian architecture of the Saltworks still carries the full impact of its futuristic message.
Criterion (ii): The Royal Saltworks of Arc-et-Senans bears witness to a fundamental cultural change in Europe at the end of the 18th century: the birth of industrial society. Besides being a perfect illustration of an entire philosophical current that swept Europe during the Age of Enlightenment, the Royal Saltworks heralded the industrial architecture that was to develop half a century later.
Criterion (iv): The saltworks of Salins-les-Bains and Arc-et-Senans provide an outstanding technical ensemble for the extraction and production of salt by pumping underground brine and the use of fire for its crystallisation, since at least the Middle Ages through to the 20th century.

"Claude Nicolas Ledoux

On September 20, 1771, Louis XV appointed Ledoux Commissioner of the Salt Works of Lorraine and Franché-Comté. As Commissioner, Ledoux was responsible for inspecting the different saltworks in eastern France. This gave him an opportunity to see many different saltworks, including those at Salins-les-Bains and Lons-le-Saunier, and to learn from them what one might want if designing a factory from scratch.

Two years later, Madame du Barry supported Ledoux's nomination to membership in the Royal Academie of Architecture. This permitted him to style himself as Royal Architect. (He was already the architect for the Ferme générale, the private customs and excise operation that collected many taxes on behalf of the king, under 6-year contracts.) It was on the basis of his positions as Inspector of the Saltworks and as Royal Architect that he received the commission to design the Royal Saltworks at Arc-et-Senans."
Royal Saltworks at Arc-et-Senans | 




The Community Center of Säynätsalo Finland


Auditorium Building Chicago

Architectural Film Series ::: 

Architecture 16 of 23 Sullivan & Adler Auditorium Building Chicago




Auditorium Building | http://www.encyclopedia.chicagohistory.org/pages/89.htmlThe Auditorium is one of Chicago's architectural masterpieces. Built in 1888 on the northwest corner of Congress and Michigan, it combines Dankmar Adler's engineering ingenuity with Louis Sullivan's architectural virtuosity. It was the brainchild of Ferdinand Peck, a Chicago impresario devoted to bringing the city a world-class opera house and theater. A hotel and office block were added in 1890 to ensure the theater's economic viability.
Adler and Sullivan received the commission based on Adler's expertise in acoustics and engineering. After preliminary, ornate designs, Peck accepted Sullivan's final scheme, which derived much of its character from H. H. Richardson's recently completed Marshall Field Wholesale Store, also in Chicago. Richardson's building was a warehouse that employed strong, solid massing without excessive ornament. The beauty of Sullivan's design (built 1887–1889) comes from his focus on the structure's overall mass and repetition of streamlined patterns to give this large building (63,350 square feet) with many uses a unified look. Sullivan's muted exterior stands in contrast to his elaborate interior designs, based on organic motifs.
The Auditorium demonstrates Adler's technical ability to accommodate a variety of uses, from political conventions to grand opera, under one roof. Innovations in foundation technology allowed the large, heavy building to be constructed on notoriously marshy land, and the latest techniques were employed to give the building uninterrupted spans.



https://www.wikiwand.com/en/Auditorium_Building,_Chicago | Auditorium Building, Chicago

Later uses

On October 5, 1887, President Grover Cleveland laid the cornerstone for the Auditorium Building. The 1888 Republican National Convention was held in a partially finished building where Benjamin Harrison was nominated as a presidential candidate. On December 9, 1889, President Benjamin Harrison dedicated the building and opera star Adelina Patti sang "Home Sweet Home" to thunderous applause.[citation needed] Sullivan had also opened his offices on the 16th and 17th floors of the Auditorium tower.
The Chicago Symphony Orchestra debuted on October 16, 1891, and made its home in the Auditorium Theatre until moving toOrchestra Hall in 1904.[8]
The opera company renting the accommodation moved to the Civic Opera House in 1929, and the Auditorium Theatre closed during the Great Depression. In 1941, it was taken over by the city of Chicago to be used as a World War II servicemen's center. By 1946,Roosevelt University moved into the Auditorium Building,[8] but the theater was not restored to its former splendor.
In 1952, Congress Parkway was widened, bringing the curb to the southern edge of the building. To make room for a sidewalk, some ground-floor rooms and part of the theater lobby were removed and a sidewalk arcade created.[10]
On October 31, 1967, the Auditorium Theatre reopened and through 1975, the Auditorium served as a rock venue. Among other notable acts, the Grateful Dead played there ten times from 1971 through 1977.
It was declared a National Historic Landmark by the U.S. Department of the Interior in 1975.
The building was equipped with the first central air conditioning system and the theater was the first to be entirely lit by incandescentlight bulbs.[8] In 2001, a major restoration of the Auditorium Theatre was begun by Daniel P. Coffey and Associates in conjunction withEverGreene Architectural Arts to return the theater to its original colors and finishes.
On April 30, 2015, the National Football League held its 2015 NFL Draft in the Auditorium Theatre, the first time the league has held its annual draft in Chicago in more than 50 years.
>> https://www.wikiwand.com/en/Auditorium_Building,_Chicago

The Casa Mila


The Cloister


The Opera Garnier

Jewish Museum Berlin