Book
Cuidad, Architecture y Patrimpnio
The increasing influence of international starchitects on the urbanscapes worldwide has been the subject of academic research from perspectives of urban economies (Nueno and Reutskaya, 2009), globalization process Adam (2008) and urban identity (Ponzini, 2012; Klingman, 2007). The long-lasting legacy and positive impact of the Guggenheim museum or the Sidney Opera on their hosting cities continue to fuel academic discussions on the strategic use of architecture as an urban catalyst for social and economic transformation.
Japanese architects usually play a starring role in creating singular landmarks in world cities, stating a disruptive approach to urban architecture combining their unique simplicity and futuristic style. Their unorthodox attitude to deal with form, scape, and technology attracts worldwide attraction and never goes unnoticed rating from ‘mesmerizing’ to ‘ridiculous’. Working in non-Japan cities they deal not only with other construction culture but with a different climate, cityscape, history, even with a different attitude to color, form or sound. Otherwise, they inevitably interpolate their Japanese attitude into this different context.
While most European cities have singular buildings of Japanese artists, there are just a few examples of the Japanese architecture in Madrid. These projects were developed in three different fields: commercial, cultural and social. A thematic floor of the Madrid 5 star hotel by Arata Isozaki (2004), a public garden project by Toyo Ito (2004) and a conference venue by Shigeru Ban (2013) are examples covered by the research. Besides, an unbuilt project for 'Expansion and re-planning of Prado Museum Competition’ made by Arata Isozaki in 1995 is also to be reviewed. Qualitative research methods are used for gathering information and relevant insights.
This paper focuses on the analysis of the initial purpose, real evolution, perceptions and implications of these unique samples of Japanese architectural and design thinking on the Madrid urbanscape.
By analogy with contemporary business practices, nowadays, city managers need to become “residents’ – centric”, as competition for residents and resources increases. The ultimate goal of such an approach is to boost the level of satisfaction with the city. Several researches raised the problem of city satisfaction conceptualization and measurement. To contribute to this discussion, we develop an assessment method, which takes into consideration subjective and situational nature of satisfaction. To test the method we have carried out an empirical research, employing the representative sample of the residents for a large Russian city, Perm. The results allow for the illustration of the cumulative and hierarchical nature of city satisfaction, and, hopefully, contribute both to the theoretical aspects and practicalities of place management.
Interactions of architecture with social sciences during the Soviet period (from 1920th on) are analyzed including impact of social knowledge upon architecture and planning decisions. The study is based on review of relevant periodicals, collections of texts and monographs on architecture and urban sociology.
The publication is devoted to various aspects of the history of Paris XVI-XVIII centuries. Particular attention is paid to the functioning of the municipal administration, the forms of social control, reconstruction projects and decorating the city in accordance with the requirements of the era.
According to interdisciplinary theory of architecture and sociology by A. Amin and N. Thrift, presented in their book Cities. Reimagining the Urban, the light sociality is the main way of individuals interaction in city space. In this context, consumption appears to be one of the basic forms of individuals self-expression on one hand, and on the other hand - one of the basic forms of urban communication. We deal with consumption in its general meaning - as a complex of all individuals consumption-related practices that are transparent in space of light sociality. Consumption practices become agents of light sociality, producing ambivalent encounters that emotionally affect individuals realizing those practices, and those who observe them. In this way consumption takes part in governmentality of the city spaces.
Textbook "Introduction to the basics of the art of ancient Greece" helps to form the main idea of the periods and stylistic features of ancient Greek art, show and explain the most important laws of artistic processes in the culture of ancient Greece, as well as to identify the relationship between the formal-shaped structure of the work and the priority value orientations created its culture. A summary of the main stages of Ancient Greek art is accompanied by a representative of extortion illustrations (more than 1900 images), allowing you to acquaint the reader with the paramount ideas about the historical development of the art of ancient Greece, to identify the stylistic features of the main types of ancient Greek art, as well as to reveal and explain the most important laws of artistic processes in culture of ancient Greece. The purpose of this guide - to teach students to work with information, primarily visual, to help develop the ability to determine the stylistic features of each of the sites studied stages of ancient Greek art. The manual is intended for students - art historians, students of the history and culture of the ancient world and a wide range of readers
This about barrier technologies in urban spaces.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
Abstract
English
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.