Arquitectura + juego : (los años pop 1956-1967)

En 1938 surge en la escena académica un nuevo hombre –el homo ludens–, que llega de la mano del historiador Johan Huizinga. Ante el inminente aumento del tiempo libre, a partir de la disminución de la jornada de trabajo por una creciente automatización de la industria, el homo ludens viene a complementar el tiempo de trabajo ocupado desde la Revolución Industrial por el homo faber. La validez y fuerza de la propuesta de Huizinga está basada en el Juego como generador de cultura y desde allí el estudio del comportamiento de la sociedad desde su aspecto lúdico. Aquí radica la fortaleza representativa del HOMO LUDENS para las vanguardias de posguerra, que se proponen incluirlo en sus debates culturales analíticos y propositivos. En la posguerra Europa vivía el triunfalismo de la guerra en medio de sociedades y ciudades ruinosas que necesitaban una urgente reconstrucción. Se oían otras realidades, tanto el ‘American way of life’ como “The Americans” (Robert Frank, 1958): la sociedad de la abundancia, el gusto popular, la inclusión de lo cotidiano y lo banal, la publicidad, los medios de comunicación de masas, el consumo, la reconversión de la industria bélica en doméstica, las telecomunicaciones, los robots, los nuevos materiales, la carrera espacial y la ciencia ficción. Inglaterra surge como natural vínculo social y cultural con Estados Unidos, convirtiéndose en catalizador de las ideas vanguardistas. Ese panorama efervescente, ‘los años pop’, surge como una realidad cultural que representaba la complejidad, el caos, y la fascinación de la imaginería de un futuro presente, ilustrado en las propuestas artísticas de la época. Surgían, tanto desde Estados Unidos como desde Europa, ideas novedosas sobre la utilización lúdica del tiempo libre, como forma de potenciar la naturaleza creativa del ser humano: el Independent Group, Charles y Ray Eames, el Black Mountain Collage, el Theatre of Action, The Factory, la Internacional Situacionista y la Generación Beat. Estos grupos de gran impacto cultural basaron sus acciones en la utilización del Juego en sus propuestas, esencialmente bajo la in¬ fluencia dadá y singularmente de Marcel Duchamp cuyas propuestas revolucionaron la historia del arte del siglo XX. Todos ellos exploraron permanentemente la unión del arte a la vida a través de experiencias lúdicas, sirviendo como motivadores de las propuestas arquitectónico-urbanísticas en estudio en esta investigación. Estas principales son: de Alison y Peter Smithson “Berlín Hauptstadt” (1957); de ARCHIGRAM “Plug-in city” (1963-1964) e Instant City (1968); de Yona Friedman “Arquitectura Móvil” (1957); de Cederic Price “Fun Palace” (1960-1961); y de Constant Nieuwenhuys “New Babylon” (1959-64). La investigación fue conducida por una búsqueda ‘flexible’ de conceptos, hechos, personajes y proyectos. Desde el análisis de los escritos, gráficos, estudios y trabajos realizados por los protagonistas de la vanguardia, así como de una lectura contextual de la época enriquecida e ilustrada con hechos significativos y anécdotas divertidas, se opera en simultaneidad con una multiplicidad de fuentes. Se maneja un gran volumen de información proveniente de áreas de conocimiento muy diferentes (filosofía, arte, arquitectura, antropología, sociología, sicología, etc.), trabajándose con un objeto de estudio ‘vivo’, abierto y en constante reorganización. Pretende además de comunicar sus dérives, como construcción de discursos históricos, estimular el planteamiento de nuevas derivas. A través de un proceso minucioso se buscaron las relaciones entre los conceptos de Juego teóricos elaborados por distintos pensadores a partir de Kant y Schiller, que tuvieran una clara relación con los procesos proyectuales de los Arquitectos de la vanguardia en estudio. Dos factores son claves: el carácter de seriedad del Juego y la decisión de situar la investigación en el lugar del juego-play (juego libre y sin reglas). Se concluye sobre la estrecha relación Arquitectura y Juego en la vanguardia estudiada, profundizando en: el acto creativo del proyectar como proceso lúdico –por parte del Arquitecto–; el desarrollo de un homo ludens destinatario/usuario; las nuevas herramientas disciplinares desarrolladas: soporte topológico, plug-in, fragmentación, flexibilidad, on-off, transportabilidad. Una nueva arquitectura lúdica desde la que se profundiza en los aportes disciplinares teóricos y prácticos bajo este enfoque: la Arquitectura desde el automovimiento, lo efímero, el fragmento, el azar e indeterminación, lo ficticio, el vacío.

Letters from Thomas ap Catesby Jones to William Tudor,

Two letters in which Jones requests that Tudor relay his regrets to José de la Mar for missing the general’s installation as president of Peru, and mentions he is sending Tudor an ensign to be used "at the Palace."

Schlossgarten, Erlangen, Germany, ca. 1721 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Accurater Grundris und Prospect des Hoch-Fürstl. Brandenb. Bayreuthisch. Residenz-Schloss und Lustgarten in Christian-Erlang, edirt von Ioh. Baptist Homann, S. C. M. Geographo. It was published by Ioh. Baptist Homann, ca. 1721. Scale [ca. 1:1,300]. Covers Schlossgarten, Erlangen, Germany. Map in German.The image inside the map neatline is georeferenced to the surface of the earth and fit to the Deutsches Hauptdreiecksnetz (DHDN) 3-degree Gauss-Kruger Zone 4 coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as garden paths and roads, ground cover, palace buildings, garden monuments, and more. Includes also 8 city views.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

Chinese plan of the city of Peking

T.B. Jervis; the chinese characters and explanations rendered into English were furnished by Mr. Samuel Birch, from a comparison of the above documents and the notes appended to the original by the students in the Missionary College at Naples.

O tríptico da paixão de Cristo do Palácio Nacional da Ajuda: história, estudo material, iconografia e filiação estílistica

O objeto de estudo desta dissertação é um pequeno tríptico do Palácio Nacional da Ajuda, provavelmente dos finais do séc. XV, sobre o qual existe pouca informação. A obra pertence ao acervo de pintura antiga deste palácio/museu (inv. 3540) e encontra-se exposta no “Atelier de Pintura de D. Luís”. Trata-se de uma pintura sobre tábua de carvalho, em mau estado de conservação, representando cinco episódios relativos à Paixão de Cristo: a Flagelação, a Coroação de Espinhos, o Caminho do Calvário e duas cenas relativas à Ressurreição. Apresenta uma iconografia singular, mas as suas características gerais indicam tratar-se de uma pintura tardo-gótica do Norte da Europa, nomeadamente da Alemanha. O objetivo desta tese de mestrado em História da Arte, Património e Teoria do Restauro, consiste na investigação histórica e material desta obra, sobre a qual existe pouca informação. Por ser desconhecida a sua cronologia, autoria e local de produção, além de não haver qualquer documentação ou bibliografia sobre a mesma, iremos estudar esta obra a partir da sua materialidade, iconografia e estilo, na medida em que a obra é um “documento vivo”. Tendo sido agora encontrada a única e a mais antiga referência documental relativa a esta obra, nos arrolamentos de 1913 do palácio (Inventário Judicial), este tríptico consta na "Galeria de Quadros”, indicando ter pertencido à coleção de pintura de D. Luís I. Interessa, então, focar a política de aquisições de pintura antiga nórdica desenvolvida pelo monarca, tentando perceber porque é que o tríptico não consta nos catálogos das exposições (duas edições dos catálogos, 1869 e 1872) da “Galeria de Pintura no Real Paço da Ajuda”, aberta ao público em1869. Porque a interdisciplinaridade entre arte e ciência é fundamental para um conhecimento mais profundo da História da Arte, esta obra foi objeto de um estudo material que consistiu no levantamento in situ da pintura (exames de área e de ponto), na análise laboratorial (estratigrafia, pigmentos e aglutinantes) e na integração dos resultados, para compreender a técnica pictórica, que se articula com a análise iconográfica e de filiação estilística, contribuindo para a integração da obra no seu contexto histórico-cultural de origem, como pintura devocional germânica.

Bologna Process Bucharest Ministerial Conference Takes Place amid Political Crisis in Romania. EUMA Papers Series Vol. 12, No. 5, May 2012

During the last week in April the Ministers responsible for higher education from 47 countries convened in Bucharest, Romania for the Ministerial Conference of the Bologna Process. On April 26 and 27, 2012 the venue for the meeting was the Palace of the Parliament, which was constructed by the dictator Nicolae Ceauşescu in 1984 and completed the year before his death by execution on Christmas Day 1989. One of the largest civilian buildings in the world was location for the first ministerial conference to take place since the European Higher Education Area (EHEA) became effective in 2010. Originally the creation of the EHEA was envisaged by the Bologna Process Declaration in 1999 which had representatives from 29 countries as signatories. This essay will describe the proceedings of the Ministerial Conference, report on the negotiations among delegates in parallel sessions and plenary sessions, discuss the thematic sessions with emphasis on “Global academic mobility: Incentives and barriers, balances and imbalances” and review the adoption of the Bucharest Communiqué and the Bologna Policy Forum Statement.

The 2011 Constitutional reform in Morocco: more flaws than merits. Jean Monnet Occasional Paper No. 07/2014

Introduction. In the speech given to both Houses of Parliament on 11 October 2013 during the first parliamentary session, King Mohammed VI said that the “Moroccan democratic model” was “a precursor in the region as well as on the continental level.”1 Similarly, with the purpose of stressing the “democratic exceptionalism”2 of the country, the new government, led by Abdeilah Benkirane, emphasised that Morocco represents a “third way” compared to countries such as Tunisia, Libya or Egypt since it “…has not embarked on a limited process of reform from the top, driven and controlled by the King. Nor has it experienced a revolution brought a angry citizens rising up against the regime. Rather, it has chosen an alternate path based on a genuine partnership between the King and the PJD (Parti de la justice et du développement) that promises to bring about more far-reaching reform than palace alone would grant, without the disruption caused by uncontrolled popular upheaval.”4 It should not be at all surprising that the regime and the new Government consider Morocco a “democratic model” or a “third way.” After all, they are refe country. What is harder to understand is that when discussing the Arab uprisings, even prominent Western political leaders, representatives of the European Union institutions and the mainstream media (when they do not forget about Morocc to praise the process of democratic reform carried out by Mohammed VI. For example, on 12 September 2012, Hillary Clinton, former US Secretary of State, said, “in many ways, the United States looks to Morocco to be a leader and a model […] On political reform, we have all seen remarkable changes taking place across North Africa and the Middle East. I commend Morocco and your government for your efforts to stay ahead of these changes by holding free and fair elections, empowering the elected parliament, taking other steps to ensure that the government reflects the will of the people.”5 Similarly, former French President Nicolas Sarkozy sang the praises of the process that led to the adoption of the new 2011 Constitution: “King Mohammed VI has shown the path towards a profound, peaceful and modern transformation of Moroccan institutions and society […] France fully supports this exemplary process.” Interestingly enough, even at the European Union level the constitutional reform that took more far-reaching reform than palace alone would grant, without the disruption caused by uncontrolled popular upheaval.”4 It should not be at all surprising that the regime and the new Government consider Morocco a “democratic model” or a “third way.” After all, they are refe country. What is harder to understand is that when discussing the Arab uprisings, even prominent Western political leaders, representatives of the European Union institutions and the mainstream media (when they do not forget about Morocc to praise the process of democratic reform carried out by Mohammed VI. For example, on 12 September 2012, Hillary Clinton, former US Secretary of State, said, “in many ways, the United States looks to Morocco to be a leader and a model […] On political reform, we have all seen remarkable changes taking place across North Africa and the Middle East. I commend Morocco and your government for your efforts to stay ahead of these changes by holding free and fair elections, empowering the elected parliament, taking other steps to ensure that the government reflects the will of the people.”5 Similarly, former French President Nicolas Sarkozy sang the praises of the process that led to the adoption of the new 2011 Constitution: “King Mohammed VI has shown the path towards a profound, peaceful and modern transformation of Moroccan institutions and society […] France fully supports this exemplary process.” Interestingly enough, even at the European Union level the constitutional reform that took place in Morocco was considered an extremely positive step taken by the country, as well as a means to strengthen the cooperation between the EU and Morocco. Indeed, according to the High Representative Catherine Ashton, this reform “constitute[s] a significant response to the legitimate aspirations of the Moroccan people and [is] consistent with Morocco’s Advanced Status with the EU.”7 When it comes to the media, it is worth noting that following the ratification of the 2011 Constitution, The New York Times headlined: “All Hail the (Democratic) King.” Even sections of the academic literature have commended the constitutional reform carried out by the Moroccan Sovereign.9 In this paper I argue against the aforementioned idea, according to which Morocco should be considered a model in the region, and in particular I show that the constitution-making process, the 2011 Constitution and its subsequent implementation have more flaws than merits. Accordingly, this paper proceeds in five steps. First of all, I examine the reaction of the regime to the upheavals that broke out in the country after 20 February 2011. Secondly, I analyse the process of constitution showing its main strengths and weaknesses, and comparing it with other constituent processes that took place in the region following the Arab uprisings. In the third section, I highlight the most significant elements of continuity and discontinuity with the previous 1996 Constitution. The fourth section deals with the process of implementation: specifically process is proceeding quite slowly and that in some cases ordinary legislation is in contrast with the new Constitution and international human rights treaties. Moreover, I discuss the role that the judiciary and the Constitutional Court can play in the implementation and interpretation of the Constitution. Finally, I draw some concluding remarks.

New description of Blenheim, the seat of His Grace the Duke of Marlborough: : containing a full and accurate account of the paintings, tapestry, and furniture; a picturesque tour of the gardens and park; and a general description of the China Gallery, &c., with a preliminary essay on landscape gardening. ...

Author identified in Halkett and Laing (2nd ed.).

Monumens de l'histoire de France, en estampes et dessins ...

The present 30 volumes seem to have remained with the Dukes of Leuchtenberg, until the ducal library was acquired for sale in 1935 by the dealers Ulrich Hoepli (Milan) and Braus-Riggenbach (Basel). The volumes are not complete, as leaves have been wholly or partly removed throughout; this is particularly evident in preliminary volumes 2 and 10 and volume 75. Prints and the relatively small number of drawings are mostly French, with some German, Dutch and English, and are mostly of the 17th or 18th centuries. They are mounted generally on rectos of leaves, often with hand-written captions. Large prints are occasionally bound in directly; these are often folded. The engraved general title page (bearing the date 1788) appears at the beginning of each volume; below the printed title a hand-written volume number and brief title describing the volume's contents usually appear. In many volumes the title leaf is followed by a hand-written contents leaf listing the section titles, which are also written individually throughout the volume on leaves with etched decorative frames. Sections are numbered continuously throughout the work as a whole. Numbering of the leaves, when present, appears in black ink within each volume at top center recto. Printmakers include B. & J. Audran, Francesco Bartolozzi, Abraham Bosse, Stefano della Bella, Jacques Callot, François Chéreau, Wenceslaus Hollar, Romeyn de Hooghe, Raymond La Fage, Sébastien Le Clerc, Pierre Lepautre, Claude Mellan, Bernard Picart, and Simon Thomassin. There are also early color prints by Gautier-Dagoty and Jean-Baptiste Morret.

Guide to the Vatican museum of sculpture.

Mode of access: Internet.

I profeti e le sibille : dipinte nella Cappella Sistina da Michelangelo Buonarroti /

Cover title.

The book of Elizabethan verse,

Issued also as the first in a series of four volumes to cover British poetry from the publication of Tottel's miscellany, 1557; the other volumes being The book of restoration verse, The book of Georgian verse, and The book of Victorian verse (not yet published?)

Narrazione delle solenni reali feste : fatte celebrare in Napoli da Sua Maestà il re delle Due Sicilie Carlo infante di Spagna, duca di Parma, Piacenza &c. &c. per la nascita del suo primogenito Filippo real principe delle Due Sicilie.

The plates depict floor plans of the Palazzo reale and of the Teatro di San Carlo in Naples, a vertical cross section of the Palazzo reale; interior decoration of the Teatro di San Carlo; most plates depict festivities taking place in the decorated interiors of the theater and the royal palace, including a masquerade at the royal palace, the stage scenery and a scene from the opera "Il sogno di Olimpia" by Ranieri de Calzabigi, which was performed at the Teatro di San Carlo; a view of the illuminated Castello Nuovo in Naples, the fireworks installation at the Piazza del Castello Nuovo, and a floorplan of the fire works installation. Plate XI depicts the mythical land of plenty "Cuccagna", arranged as a landscaped hill with an architectural grotto, richly decorated with food and drink, which was offered as part of the festivities to the common people. Most plates have a detailed legend in the lower margin.

Photographs.

Lawrence J. Gutter Collection of Chicagoana.

Pieces that have won prizes; also many encore pieces.

Encore pieces: An old man's soliloquy / Roswell Field -- A n old sweetheart of mine / James Whitcomb Riley -- And the band played / Maurice E. McLaoughlin -- The ballad of the colors ; Ben Bolt / Thomas Dunn English -- A brave little girl ; Casey at the bat / Anon -- The cataract of Lodore / Robert Southey -- The countersign was Mary / Margaret Eytinge -- Dinnis Kilboo's sanatarium / Chas. T. Catlin -- A dude in a horse-car / G.W. Kyle -- Elsinore / Lucy H. Hooper -- Entertaining sister's beau / Bret Harte -- Family financiering ; Farmer John ; Father's voice ; A fly's cogitations / Anon -- Foreign views of the statue / Fred. Emerson Brooks -- Going to school / Anon -- Grandma -- The granger and the gambler / W.H. -- A great tune / John Habberton -- Hail fellow, well met / Albert Hardy -- Hans and Fritz -- How girls study / Belle McDonald -- Jack the evangelist / N.Y. Evangelist -- The kitchen clock / J.V. Cheney -- Life's magnet / Ella Wheeler Wilcox -- The little boy's prayer / S.M. Talbot -- Little Nan -- Little orphant Annie / James Whitcomb Riley -- A little woman / Eugene Field -- Maud Rosihue's choice / T. Edwin Leary -- The mischievous misses / James G. Small -- Miss Maloney on the Chinese question / Mary M. Dodge -- Mrs. Stuart learns how to skate / Clara Augusta -- My lover / Emma Mortimer White -- My garden / Anon -- Nancy / Arty Brace -- Now and then / Anon -- O captain, my captain / Walt Whitman -- The old man in a palace car / John H. Yates -- The orthod-ox team / Fred Emerson Brooks -- The porter's story / Maurice Edmunds -- The proposal -- Romeo and Juliet / The Poet-Scout -- Room enough for all / Anon -- The saint and the sinner / Madeline Bridges -- Sam / Albert Hardy -- A schoolroom idyl / Charles B. Going -- A telephone message -- The countersign / J. Hooker Hamersley -- Uncle Ned's defense / Anon -- Unforgiven / Frank McHale -- The valentine / Mary D. Brine -- Wash dolly up like that / Eleanor Kirk Ames -- What is a gentleman / N.L. O'D -- The witness / Anon -- Yellow roses / J. Hooker Hamersley.