904 resultados para Art History, Architecture
Resumo:
Lost in history, the ruin of Somapura Mahavihara was not recognized separated from its birthplace, i.e. nature, for more than 700 years. Yet, within its silent presence, the monument dominated the name of the region: Paharpur (land of hillock), according to its appearance surrounds by its flat land topography. Discovered in 1919, the single largest Buddhist Vihara (monastery) of ancient Bengal came into light, pronouncing the flourishing minute of Buddhist architecture, once dominant religious force of the subcontinent. The earliest historical monumental architecture of greater Asia, had long been deriving itself from the Buddhist monastic architecture as early as VI century BC. In line of history, the discovery of Somapura Mahavihara contributed attesting the sensitivities of a highly sophisticated architectonic typology of Vihara Architecture in the land of ancient Bengal. The recovery of Somapura Mahavihara was not only from its cradle of nature, but also from its remarkable existence imprinted in the reign of Pala dynasty (750 - 1155 AD) announcing the existential foothold of man in his nature. The existential foothold of Somapura Mahavihara comprises the factors, responsible in shaping the anchorage of the monument since the birth of Vihara architecture, as early as 530 BC. These factors not only denote the building technology in response to its environment but also the amalgamation of belief, upon which the dwellers transformed the site as a place announcing their existence on earth. This research paper aims at exploring the existential foothold of Somapura Mahavihara, in terms of its territorial, functional, structural, social, cultural, religious symbolic hierarchies of human achievement while clarifying the architectonic typology that shaped Somapura Mahavihara through evolution process of Vihara Architecture. This understanding intends to combine the archaeological knowledge with comparative architectural analysis of contemporary Viharas of ancient Bengal, to define the singularity of Somapura Mahavihara. In consequence, the glorious past of Somapura Mahavihara is intended to portray through identifying the relation of religious and functional rationalism with the connotation of art, architecture and belief moulded within natural forces, as one complete entity; RESUMO: Vihara Arquitetura: Definindo a posio existencial do sculo VIII Budista mosteiro Somapura Mahavihara de Bengala antiga. Perdidas na Histria, as runas de Somapura Mahavihara foram confundidas com uma montanha durante mais de setecentos anos. Contudo, no seu silncio presente, o monumento marcou a toponmia da regio; Paharpur significa a terra do outeiro, evidenciando a singularidade deste monumento numa regio dominada por uma extensa plancie. Em 1919, foi descoberto o maior mosteiro budista da antiga regio de Bengal, demonstrando a prosperidade da arquitectura budista. Temporalmente, a descoberta de Somapura Mahavihara contribuiu para atestar a evoluo e a sofisticao da tipologia arquitectnica denominada Arquitectura Vihara, existente na antiga regio de Bengal. A noo de pegada existencial de Somapura Mahavihara compreende os factores responsveis por moldar a ancoragem do monumento ao lugar em que se insere desde o incio da arquitectura Vihara, que remonta a 530 a.C. Estes factores evidenciam a tecnologia construtiva empregue para responder ao ambiente envolvente mas tambm a evoluo da religio, factores estes que os monges construtores consideraram ao transformar o lugar e anunciar a sua existncia na Terra. Esta investigao tem por objectivo explorar a noo de pegada existencial de Somapura Mahavihara, nas suas dimenses territoriais, funcionais, estruturais, sociais, culturais e nas hierarquias simblicas das realizaes humanas para clarificar a tipologia arquitectnica que deu forma a Somapura Mahavihara durante a evoluo da arquitectura Vihara. Este entendimento pretende combinar/cruzar o conhecimento arqueolgico com estudos arquitectnicos comparativos de Viharas na antiga regio de Bengal, com o objectivo de definir a singularidade de Somapura Mahavihara. Neste estudo estudar-se- tambm o confronto entre a dimenso religiosa e a artstica (divino vs. humano), integrados na arquitectura de Somapura Mahavihara em perfeita harmonia.
Resumo:
This is much more than a mere compilation of texts about Corbusian architecture. The articles gathered here focus on Le Corbusiers reflections about the public space of earlier times and its influence upon his own output, the relationship of his designs with the pre-existing city, and other subjects drawn from all periods of his career and training that clarify the affinity that he established with the past through urban design. They are very heterogeneous, pointing off in different directions and marking the most diverse interests. But at the same time they are interconnected, in that they seek to shed light on the affinity that Le Corbusier established with the past from the point of view of urban design, and open up new perspectives about the public space in his work and its controversial relationship with history. This special issue thus bears witness once again to Le Corbusiers inexhaustible legacy, but also to the usefulness of research on his work and thought a subject about which it seemed that everything had already been said when, paradoxically, we now know that there is still almost everything left to say.
Resumo:
This chapter explores the development of concepts of interactive environments by comparing two major projects that frame the period of this book. The Fun Palace of 1960 and the Generator of 1980 both proposed interactive environments responsive to the needs and behaviour of their users, but the contrast in terms of the available technology and what it enabled could not be more marked. The Fun Palace broke new architectural, organizational and social ground and was arguably the first proposition for cybernetic architecture; the Generator demonstrated how it could be achieved. Both projects are now acknowledged as seminal architectural propositions of the twentieth century, and both were designed by Cedric Price.
Resumo:
Jacques Ranciere's work on aesthetics has received a great deal of attention recently. Given his work has enormous range taking in art and literature, political theory, historiography, pedagogy and worker's history Andrew McNamara and Toni Ross (UNSW) seek to explore his wider project in this interview, while showing how it leads to his alternative insights into aesthetics. Rancire sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancire is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity or 'truth to the medium' was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the ethical and political ramifications of maintaining an a-disciplinary stance.
Resumo:
This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for printmaking.
Resumo:
The field was the curation of cross-cultural new media/ digital media practices within large-scale exhibition practices in China. The context was improved understandings of the intertwining of the natural and the artificial with respect to landscape and culture, and their consequent effect on our contemporary globalised society. The research highlighted new languages of media art with respect to landscape and their particular underpinning dialects. The methodology was principally practice-led. --------- The research brought together over 60 practitioners from both local and diasporic Asian, European and Australian cultures for the first time within a Chinese exhibition context. Through pursuing a strong response to both cultural displacement and re-identification the research forged and documented an enduring commonality within difference an agenda further concentrated through sensitivities surrounding that years Beijings Olympics. In contrast to the severe threats posed to the local dialects of many of the worlds spoken and written languages the Vernacular Terrain project evidenced that many local creative dialects of the environment-media art continuum had indeed survived and flourished. --------- The project was co-funded by the Beijing Film Academy, QUT Precincts, IDAProjects and Platform China Art Institute. A broad range of peer-reviewed grants was won including from the Australia China Council and the Australian Embassy in China. Through invitations from external curators much of the work then traveled to other venues including the Block Gallery at QUT and the outdoor screens at Federation Square, Melbourne. The Vernacular Terrain catalogue featured a comprehensive history of the IDA project from 2000 to 2008 alongside several major essays. Due to the reputation IDA Projects had established, the team were invited to curate a major exhibition showcasing fifty new media artists: The Vernacular Terrain, at the prestigious Songzhang Art Museum, Beijing in Dec 07-Jan 2008. The exhibition was designed for an extensive, newly opened gallery owned by one of China's most important art historians Li Xian Ting. This exhibition was not only this gallerys inaugural non-Chinese curated show but also the Gallerys first new media exhibition. It included important works by artists such as Peter Greenway, Michael Roulier, Maleonn and Cui Xuiwen. --------- Each artist was chosen both for a focus upon their own local environmental concerns as well as their specific forms of practice - that included virtual world design, interactive design, video art, real time and manipulated multiplayer gaming platforms and web 2.0 practices. This exhibition examined the interconnectivities of cultural dialogue on both a micro and macro scale; incorporating the local and the global, through display methods and design approaches that stitched these diverse practices into a spatial map of meanings and conversations. By examining the contexts of each artists practice in relationship to the specificity of their own local place and prevailing global contexts the exhibition sought to uncover a global vernacular. Through pursuing this concentrated anthropological direction the research identified key themes and concerns of a contextual language that was clearly underpinned by distinctive local dialects thereby contributing to a profound sense of cross-cultural association. Through augmentation of existing discourse the exhibition confirmed the enduring relevance and influence of both localized and globalised languages of the landscape-technology continuum.
Resumo:
A community history project must be relevant to each person within it so that they see themselves as part of the socio-cultural fabric of the area and feel a sense of ownership of their environment. The Mill Albion community history project is a diverse, multi-layered public history/art program that captures the social heritage of The Mill Albion and allows the community to contribute to their ongoing history. The Albion Flour Mill was built in 1930 at a time when Australia was feeling the effects of its worst economic depression and continued operations for more than 72 years. After ceasing operation in 2005 the site was left to deteriorate. The FKP Property Group purchased the land to undertake a new urban redevelopment project, drawing on the design principles of a traditional village, while valuing the importance of remembering the community that once included the Flour Mill. This paper reflects on the this project and showcases some of the culturally creative ways this communitys history was told, using methods such as digital stories, contemporary and historical photography and oral history.
Resumo:
Architecture for a Free Subjectivity reformulates the French philosopher Gilles Deleuze's model of subjectivity for architecture, by surveying the prolific effects of architectural encounter, and the spaces that figure in them. For Deleuze and his Lacanian collaborator Flix Guattari, subjectivity does not refer to a person, but to the potential for and event of matter becoming subject, and the myriad ways for this to take place. By extension, this book theorizes architecture as a self-actuating or creative agency for the liberation of purely "impersonal effects." Imagine a chemical reaction, a riot in the banlieues, indeed a walk through a city. Simone Brott declares that the architectural object does not merely take part in the production of subjectivity, but that it constitutes its own.
Resumo:
The Oxford Companion to Australian Gardens is the first comprehensive reference book to cover all aspects of Australian gardens, and the history of gardening and garden design in Australia. The book is comprised of over 400 thematic, bibliographic and place based entries, and is extensively illustrated and cross referenced to ensure ease of use and thorough coverage of the field. The Companion contributes to the understanding of gardens and gardening by including entries on designed landscapes, agriculture, architecture, art, botany, ecology, forestry, horticulture, landscape architecture, town planning and viticulture and will become the standard reference on the subject. Herbert,
Resumo:
Organ printing techniques offer the potential to produce living 3D tissue constructs to repair or replace damaged or diseased human tissues and organs. Using these techniques, spatial variations along multiple axes with high geometric complexity can be obtained.. The level of control offered by these technologies to develop printed tissues will allow tissue engineers to better study factors that modulate tissue formation and function, and provide a valuable tool to study the effect of anatomy on graft performance. In this chapter we discuss the history behind substrate patterning and cell and organ printing, and the rationale for developing organ printing techniques with respect to limitations of current clinical tissue engineering strategies to effectively repair damaged tissues. We discuss current 2-dimensional and 3-dimesional strategies for assembling cells as well as the necessary support materials such as hydrogels, bioinks and natural and synthetic polymers adopted for organ printing research. Furthermore, given the current state-of-the-art in organ printing technologies, we discuss some of their limitations and provide recommendations for future developments in this rapidly growing field.
Resumo:
The State Library of Queensland is delighted to present Lumia: art/light/motion, a culmination of many years of collaboration by the Kuuki collective led by Priscilla Bracks and Gavin Sade. This extraordinary exhibition not only showcases the unique talent of these Queenslanders, it also opens up a world of future possibilities while re-presenting the past and present. These contemporary new media installations sit comfortably within the walls of the library as they are the distinctive products of inquisitive and philosophical minds. In a sense the exhibition highlights the longevity and purposefulness of a cultural learning institution, through the non-traditional use of data, information, research and collection interpretation. The exhibition simultaneously articulates one of our key objectives to progress the states digital agenda. Two academic essays have been commissioned for this joint Kuuki and State Library of Queensland publication. The first is by artist and writer Paul Brown, who has specialised in art, science and technology since the late 1960s and in computational and generative art since the mid 1970s. Brown investigates the history of new media, which is celebrating its 60th anniversary, and clearly places Sade and Bracks at the forefront of this genre nationally. The second essay is by arts writer Linda Carroli, who has delved deeply into the thoughts and processes of the artists to bring to light the complex workings of the artists minds. The publication also features an interview Carroli conducted with the artists. This exhibition is playful, informative and contemplative. The audience is invited to play, and consequently to ponder the way we live and the environmental and social implications of our choices. The exhibition tempts us to travel deep into the Antarctic, plunge into the Great Barrier Reef, be swamped by an orchestra of crickets, enter the Charmed world and travel back in time to a Victorian parlour where you can interact with a new-world lyrebird and consider a brave new world where our only link to the animal world is with robotic representations. In essence this exhibition is about ideas and knowledge and what better institution than the State Library of Queensland to partner such a project?. State Library is committed to preserving culture, exploring new media and creating new content as a lasting legacy of Queensland for all Queenslanders.
Resumo:
This paper proposes a novel approach for identifying risks in executable business processes and detecting them at run time. The approach considers risks in all phases of the business process management lifecycle, and is realized via a distributed, sensor-based architecture. At design-time, sensors are defined to specify risk conditions which when fulfilled, are a likely indicator of faults to occur. Both historical and current execution data can be used to compose such conditions. At run-time, each sensor independently notifies a sensor manager when a risk is detected. In turn, the sensor manager interacts with the monitoring component of a process automation suite to prompt the results to the user who may take remedial actions. The proposed architecture has been implemented in the YAWL system and its performance has been evaluated in practice.
Resumo:
The ability to play freely in our cities is essential for sustainable wellbeing. When integrated successfully into our cities, Urban Play performs an important role; physically, socially and culturally contributing to the image of the city. While Urban Play is essential, it also finds itself in conflict with the city. Under modernist urban approaches play activities have become progressively segregated from the urban context through a tripartite of design, procurement and management practices. Despite these restrictions, emergent underground play forms overcome the isolation of play within urban space. One of these activities (parkour) is used as an evocative case study to reveal the hidden urban terrains of desire and fear as it re-interprets the fabric of the city, eliciting practice based discussions about procurement, design and management practice along its route.
