55 research outputs found

    Bruk av farge i Arne Korsmos funksjonalistiske arkitektur

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    A diferència d'Alemanya o França, on la influència arquitectònica de Le Corbusier i Mies van der Rohe era prominent, els arquitectes moderns a Noruega eren més pragmàtics i menys formalistes. Arne Korsmo va ser un d'aquests arquitectes que va adoptar un enfocament modern "dur" a l'arquitectura domèstica, utilitzant la policromia com a element clau que ho va diferenciar dels seus contemporanis. A més, va incorporar mètodes innovadors de circulació als seus dissenys, amb formes de massa complexes que reflectien el seu interès en les idees funcionalistes que emergien a Europa. Korsme va introduir aquestes idees a Noruega, donant forma a l'arquitectura moderna del país de manera única. L'ús de la policromia de Korsmo no només va ser funcional, sinó que també va servir com a forma d'art, afegint profuncitat i interès visual als seus edificis. Aquest ús va ser acuradament considerat i va exercir un paper crucial en el disseny general, creant un caràcter i identitat únics per a cada edifici. Per tant, l'ús del color a l'arquitectura no és només un aspecte funcional, sinó també una obra dart en si mateixa. Les troballes del projecte contribuiran a una millor comprensió del paper del color a l'arquitectura i com es pot utilitzar per millorar la funcionalitat, simplicitat i harmonia dels edificis amb l'entorn.A diferencia de Alemania o Francia, donde la influencia arquitectónica de Le Corbusier y Mies van der Rohe era prominente, los arquitectos modernos en Noruega eran más pragmáticos y menos formalistas. Arne Korsmo fue uno de estos arquitectos que adoptó un enfoque moderno "duro" en la arquitectura doméstica, utilizando la policromía como elemento clave que lo diferenció de sus contemporáneos. Además, incorporó métodos innovadores de circulación en sus diseños, con formas de masa complejas que reflectaban su interés en las ideas funcionalistas que emergían en Europa. Korsmo introdujo estas ideas en Noruega, dando forma a la arquitectura moderna del país de manera única. El uso de la policromía de Korsmo no solo fue funcional, sino que también sirvió como forma de arte, agregando profuncidad e interés visual a sus edificios. Este uso fue cuidadosamente considerado y desempeñó un papel crucial en el diseño general, creando un carácter e identidad únicos para cada edificio. Por lo tanto, el uso del color en la arquitectura no es solo un aspecto funcional, sino también una obra de arte en sí misma. Los hallazgos del proyecto contribuirán a una mejor comprensión del papel del color en la arquitectura y cómo se puede utilizar para mejorar la funcionalidad, simplicidad y armonía de los edificios con el entorno.In contrast to Germany or France, where the architectural influence of Le Corbusier and Mies van der Rohe was prominent, modernist architects in Norway were more pragmatic and less formality. Arne Korsmo was one such architect who adopted a "hard" modernist approach to domestic architecture, using polychromy as a key element that set him apart from his contemporaries. In addition, he incorporated innovative circulation methods into his designs, with complex massing forms reflecting his interest in the functionalist ideas emerging in Europe. Korsmo later introduced these ideas to Norway, shaping the country's modernist architecture in unique ways. Korsmo's use of polychromy was not merely functional, but also served as an art form, adding depth and visual interest to his buildings. This use was carefully considered and played a crucial role in the overall design, creating a unique character and identity for each building. Thus, the use of colour in architecture is not only a functional aspect but also a piece of art in itself. The findings of the project will contribute to a better understanding of the role of colour in architecture and how it can be used to enhance the functionality, simplicity and harmony of the buildings with the surroundings

    The postmaster's porcelain : collecting European decorative art in middle America

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    Field of study: Art history and archaeology.Dr. Michael Yonan, Dissertation Supervisor.Includes vita."July 2018.""This dissertation provides a case study of a type of art collecting that has not received significant scholarly attention, one based on the collecting activity of middleclass Americans living in the Midwestern United States, but who nonetheless are interested in the appeal of European "high" art. I intend to show that collecting and the appreciation of art are not limited to those with the financial acumen of a Rockefeller, Guggenheim, or Saatchi. The following analysis centers on Philip and Mildred Strain, a postmaster and schoolteacher, and the obstacles they overcame to amass a collection that reflected their interest in eighteenth-century European aesthetics. Typically, collectors attract the attention of scholars when they have access to art and artists that become revered enough to be placed in the art historical canon. Access to the work of those artists necessitates the ability to connect with dealers, as well as the artists themselves, in global cultural centers like Paris, New York City, or London. In 1958, Aline B. Saarinen published a book titled The Proud Possessors, which is composed of fifteen biographical sketches of American art collectors. It established a canon of American collectors on which the scholarship of collecting is based. Saarinen, an art critic for The New York Times, narrates the lives of men who built the physical, economic, and political infrastructure of the United States, women whose names now adorn major American museums, and the world travelers who brought the work of modern artists like Picasso and Matisse to America. Saarinen writes that “the overpowering common denominator” that unites these collectors is that "collecting art was a primary means of expression" and that their "involvement with art collecting was passionate and urgent." Saarinen's comments about the motives of the socially prominent collectors, whose financial resources and connections allowed them access to the international art market, can also be applied to Mr. and Mrs. Strain. The Strains also used their collection to express an identity of their own making. However, the Strains could be categorized as "outsider collectors," a term that echoes the concept of the outsider artist, a recognized genre in the art-historical canon. Outsider artists operate separately from mainstream art establishments; they are often self-trained and labor for years in obscurity before being discovered by a dealer, curator, or scholar. The Strains built their store of connoisseurial knowledge through secondary sources such as auction catalogs and collecting guides. Their close relationship with Jack Drew, an art and antiques dealer in Omaha, mimicked the relationships between the canonical collectors and dealers, galleries, and auction houses with Drew serving as a consultant facilitating access to the art and antiques markets of metropolitan cultural centers. The Strains lacked the financial and social resources of Saarinen's canon of collectors, but they shared a passion that motivated their appreciation of the art to which they were most attracted. I approach the Strains' collecting activities as Saarinen approached wealthy collectors. This dissertation will examine the Strains' biography to locate the origin of their interest in the art they collected. It includes a detailed documentation of the methods they used to display their collection in their home, since that environment no longer exists. Their collection has been dispersed and their residence remodeled for future inhabitants. My discussion relies on interviews with individuals who knew the Strains in order to understand how they lived with their collection. My analysis provides another chapter to the story of art collectors in America, expanding our understanding of the human impulse to express ourselves through the objects we possess."--PrefaceIncludes bibliographical references

    Globalising a design heritage strategy : from Finland's Artek to Turkey's Grand Bazaar

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    This doctoral study argues that the historical assets of design, engraved in living forms of collective memory, can be effectively engaged in the service of the appropriation and promotion of slower modes of consumption as opposed to the dominant and systematic novelty mechanism of fast fashion. The hypothesis is that a sustainability strategy employing design heritage and encouraging durable consumption can be helpful to avoid conflicts of interest between the transforming business community and its customers. Therefore, a heritage management strategy is proposed that emphasises feasibility and taps into existing socio- and politico-economic networks while suggesting positive changes in consumer behaviour. Due to the commercial and cultural popularity of permanent valorisation in design, this special design phenomenon is chosen as a specific field of design heritage. The potentials of enduring artefacts are recognised, and the study proposes further that these artefacts may become vehicles to achieve the strategy identified. To this end, the study employs an interdisciplinary review of several relevant literatures, transferring concepts and categories into the context of design heritage management. The findings of this review are further engaged in the analysis of a real-world case: the 2nd Cycle project by the iconic Finnish housewares company Artek. The analysis illustrates how the long-established company’s cultural and historical products are reproduced and capitalised in conformity with emerging consumer aspirations and needs. Drawing links between permanent valorisation, product longevity, and ultimately sustainable consumption, Artek’s project provides inspiring results how design heritage may lead to enhanced social good while taking advantage of new economic opportunities, know-how, and human capacities. Subsequently, special attention is given to the potential cross-cultural transferability of the heritage management strategy represented by this Finnish case. For this purpose, Artek’s case is taken as a cultivation of new sensibilities capable of translating a diversity of historical capital possessed by different cultures into heritage. Considering the constant growth of economic capacities and alarming levels of consumer spending, developing countries, known as emerging markets, are chosen as adaptation areas. Turkey, for example, whose historical, social, and cultural structure is distinct from that of Finland, provides a favourably challenging test environment for the thesis’ applicability. Discussing the feasibility and necessity of the growing heritage-oriented ethos in Turkey, the country is presented as representative of large emerging market segments with a theoretical application case, that of Istanbul’s monumental Grand Bazaar. Inspired by the Finnish case and developed further with additional insight from cultural heritage management studies in tourism environments, a specific design heritage management strategy is outlined for the bazaar. Following in-depth interviews with a range of professionals who make their living in the bazaar, and responding to their insights, the hypothetical strategy is aimed to synthesise the various interests of the bazaar’s large network of stakeholders while promoting durable consumption. Finally, a list of guiding principles of cross-cultural adaptation are drawn for future adopters attempting to apply this study’s findings to different heritage contexts on a global scale

    Proceedings of the 2nd MoMoWo International Conference-Workshop.Research Centre of Slovenian Academy of Sciences and Arts, France Stele Institute of Art History, 3–5 October 2016, Ljubljana

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    Il volume raccoglie 27 saggi esiti dal secondo convegno-workshop internazionale "Women Designers, Architects, Engineers between 1946 and 1968" organizzato dal progetto europeo “MoMoWo - Women's creativity since the Modern Movement” co-finanziato dal programma Europa Creativa dell’Unione Eurropea e capofilato dal Politecnico di Torino

    Cities' Identity Through Architecture and Art

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    Intended to be a guide for academics, scholars, and interested leaders, this book was designed to critically assess issues related to architectural identity, the city as a scene, the city as an organism, the city as a subject, and the planning or rather approaching of one. A pressing issue for many researchers in the field, the book discusses the negative repercussions resulting from globalization. Studies have indicated that globalization, despite all the positive effects, has resulted in a loss of identity within a city. As a city develops over time, its identity is evolving as well and may even be lost due to rapid and constant changes it is subjected to. Discussed as well are examples and tendencies in dealing with urban identities as well as the transformation of cities and urban cultures mentioned in terms of form, identity, and art. This book is a combination of innovative research submitted to a conference on Cities’ Identity Through Architecture and Arts (CITAA) whereas scholars from all over the world gather in one venue to discuss cultural, historical, and economic issues of the city. Thus, the book offers a collective and global solution that is applicable on a universal level. The research presented in this book was conducted by authors, or rather participants of the conference from, three different continents of the world and organized by IEREK. It was a distinct opportunity for them to share their thoughts with leading scholars and professionals in the field of Architecture, Arts, and Planning. The research and materials in this book are directed at those who are actively engaged in the decision-making processes and to a heterogeneous audience who has an interest to critically examine all the new literature available in the field. A special word of thanks should be made to the editors of this book and to all the authors and co-authors of the chapters who collectively provided the academic community with unique and increasingly valuable literature

    The Second World War in the Twenty-First-Century Museum: From Narrative, Memory, and Experience to Experientiality

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    The Second World War is omnipresent in contemporary memory debates. As the war fades from living memory, this study is the first to systematically analyze how Second World War museums allow prototypical visitors to comprehend and experience the past. It analyzes twelve permanent exhibitions in Europe and North America - including the Bundeswehr Military History Museum in Dresden, the Museum of the Second World War in Gdańsk, the House of European History in Brussels, the Imperial War Museums in London and Manchester, and the National WWII Museum in New Orleans - in order to show how museums reflect and shape cultural memory, as well as their cognitive, ethical, emotional, and aesthetic potential and effects. This includes a discussion of representations of events such as the Holocaust and air warfare. In relation to narrative, memory, and experience, the study develops the concept of experientiality (on a sliding scale between mimetic and structural forms), which provides a new textual-spatial method for reading exhibitions and understanding the experiences of historical individuals and collectives. It is supplemented by concepts like transnational memory, empathy, and encouraging critical thinking through difficult knowledge

    Old Yankee Women: Life Histories and Cultural Significance

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    Responding to the notion that old age is like a foreign country, this study explores a small portion of this understudied terrain by examining the lives of eight old New England women (four primary subjects and four supplemental participants). In keeping with current ethnographic and life history practice, this cultural study of these American women in late life uses a journey format with the researcher engaged in exploration along with the other project participants. After a comprehensive review of the various literatures on aging women, this study provides detailed cultural portraits of the project participants who ranged in age from 60 to 92 when their participation in this ten year study began. By a close reading of their writings, by in depth life history conversations, and by participant observation, including living with each participant for a brief period of time, this study illuminates how these women in old age see themselves, the choices they have made or resisted in late life and what gives their lives meaning. This study is intended to illustrate the usefulness of the person centered life history method as a lens through which to examine the complex ways in which women negotiate aging. Old age, as this study shows, is experienced quite differently by each of these individual women; the old are far from a homogenous group. Even within this small group of white New England women of similar class backgrounds, many factors differentiate their experiences. One key factor has to do with their different cultural meaning systems. Using a "cultural traditions" model in conjunction with contemporary life history methods and ethnographic participant observation techniques, and informed by nascent age studies perspectives, this research examines how and to what extent the old age experiences of these women are affected and influenced by the particular cultural orientations of key cultural traditions these New England women bring with them into old age and how the aging process affects the ways they work with these traditions

    Life behind ruins : constructing documenta

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    Thesis (S.M. in Architecture Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.Cataloged from PDF version of thesis. Page 121 blank.Includes bibliographical references (p. 113-120).A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show. This thesis focuses on the architectural condition of the first documenta in 1955, which I argue has ultimately shaped the nomadic and parceled form of documenta as it evolved. In a liminal space between a violent, isolated history and a hopeful, democratic future, the organizers of documenta appropriated the damaged, but centrally located Museum Fridericianum as shelter for an exhibition of modern art. I trace the early history of the siting and architecture of the Museum Fridericianum and central urban plaza, the Friedrichsplatz, to unfold the urban planning schemes and controversies of the 1940s and 50s. In the midst of re-planning, the national Garden Show- the Bundesgartenschau, a catalyst for economic regeneration as a tourist attraction and proponent of urban parks, offered the support needed for the germinating plans for an art show that would be called documenta. Arnold Bode, a designer, painter and professor at the Art Academy in Kassel took advantage of the Bundesgartenschau exposure and funding to install an exhibition of modern art in the damaged neoclassical Museum Fridericianum. Although the details of the building's restoration are often overlooked, the thesis examines the built conditions of Bode's Fridericianum in an attempt to reposition documenta in the history of architecture. I argue for the influence of Kassel's urban and landscape history on the staging of documenta, and in turn, the exhibition's dialogue with the form and ideology of the Bundesgartenschau. In displaying the architecture as part of the exhibition, Bode resurrected the Enlightenment ideology that birthed the building and reinterpreted it for a postwar message. Now one among many biennial format global exhibitions, documenta offers a unique and compelling confluence between the subject's relationship with landscape, urban design, architecture, exhibition design and art, based on its inception in 1955 in the Museum Fridericianum.by Mariel A. Villeré.S.M.in Architecture Studie

    Representing the city: Glasgow City of Architecture and Design 1999 in context

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    The sociological issue addressed in this thesis is the assessment of recent work carried out in relation to questions of architectural and urban transitions. Glasgow’s City of Architecture and Design festival is used as a test case to illustrate and apply the emerging concerns with the role of architecture and design culture in managing and driving urban change. It confirms the current applicability of some distinct theoretical positions drawn from studies of a range of cities. It suggests sociologists ought to be paying more attention to Glasgow as it exemplifies some main tendencies identifying it as a vanguard culture city developing a three dimensional culture of urban space. Writing with a theoretical and empirical focus on the experience of the ‘city of culture’, the thesis works through principal themes to clarify the range of factors driving change in the city of Glasgow. I compare the city’s international exhibitions and modern architectural character to illustrate how centralised and flamboyant observations at festival sites, and a study of some exemplary productions of the festival in relation to the ongoing transformations of urban experience in the central city. The thesis provides a sustained sociological portrait of the city’s architectural and design culture and points to specific questions concerned with the nature of the recolonisation of the valorised central city
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