Pablo Picasso, too, and his architectonic forms and bold exaggerations.
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"The Architect's Dream" (1840), composed like an operatic stage set, epitomizes Cole's architectonic imagination.
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But if viewed as distillations of the flat works' (sometimes covert) architectonic underpinnings, the sculptures suddenly make sense.
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Ryan Devoto's extravagant D&D models are filled with architectonic ships, forests, dungeons, and mazes, among other curiousities.
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The painting, echoing its title, is architectonic: dynamic but stable, anchored by a balanced set of strong verticals and horizontals.
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In 2008, visiting the Thyssen-Bornemisza Museum in Madrid, I was riveted by three brilliant Popovas from the "Painterly Architectonic" series (19233-18).
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Sometimes they are clustered together to form a dense weave, other times they are straight, delicate lines repeated to form a linear, architectonic structure.
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Taken as a whole, this architectonic tableau feels a bit like the bedroom interior in the ending of the film 2001: A Space Odyssey.
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One can visit a 1917 "Painterly Architectonic" painting in MoMA's permanent collection, hanging slyly next to a Malevich, both enhanced by zingy passages of pink.
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He doesn't have the architectonic obsessions of Daniel Barenboim, and doesn't seem to be concerned with any kind of tradition at all, unlike Christian Thielemann.
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This is not the first architectonic proposal for the moon, but it may be the first one creating a venue in regards to the display of art.
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"This project gave me the possibility to expand on my previous work, adding more architectonic dimension and completing my vision of mythical animals," San Miguel told Designboom.
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Each 603D multimedia show plays with the Palace's architectonic elements, using the building's structural outline as the foundation for dynamic optical illusions that incorporate color, sound, and shape.
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The translucent membrane between the non-objective and the figural conjures a kind of magic that propels the composition's architectonic solidity and graphic zip into an idealization of the ordinary.
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In "Nude (Judy)" (1965), she give us a cropped view of a female nude – her breasts and crotch – in shades of gray, with silver leaf functioning as an architectonic element.
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It's here you'll find, in the reconstructed Spanish chapel, the show's most famous ensemble: Balenciaga's 1967 wedding gown, made of silk the color of ice milk and topped with an architectonic hood in place of a veil.
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The result is a compact yet liberated primer of Bourgeois's implicitly feminist art, its fecund repeating forms, alternately architectonic and fleshy figures, intimations of pregnancy and birth and, most famously, giant spider sculptures in bronze or steel.
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The latter's compositions, the canonized precursors to Cubism, are architectonic, built up from sturdy, layered brushstrokes, while the colors in Degas' monotypes spill across the page in pools and smudges, the shapes more or less coalescing on their own.
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He certainly drew out the music's character: the curious mix of Wagnerian surging and symphonic rigor in the Allegro; the weighty, pummeling energy of the Scherzo; the throbbing, melting expressivity of the Adagio; the architectonic grandeur of the finale.
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Several cunning works of synthetic Cubism, such as a still life with a bottle of Pernod from 1912, have been paired here with later, purely abstract works by the Russian avant-garde, like Lyubov Popova's architectonic layerings of colored panes.
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Ms. Mehretu's early, architectonic paintings came at a high-water mark for globalization; her recent art, more anxious and more impressive, features thrumming, multilayered fields of color and ricky-tick calligraphic swoops that seethe with the contemporary volatility of states and climates.
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"This is one of the most illustrious architectonic works in the world," Tomás Hechavarría, Capitol administrator, standing in the main hall under the cupola with its gleaming inlaid marble floors and gilded lamps, dominated by the 57 feet (17.5-meter) tall bronze Statue of the Republic.
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But in Bilbao, along with the phantasmagoria of the landscape, there are also three exquisite little paintings by El Greco in the Fine Arts Museum, each of them presenting cloud constructions as abstract and powerfully architectonic as anything Gehry has conceived, and inspired, like the Guggenheim building, by the incomparable forms of nature, especially by those temperamental Spanish skies.
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There were incisive shows of the remarkable 1970s tape paintings by Merrill Wagner at Zürcher Gallery in the East Village; the architectonic abstractions in hot colors on a black ground by Jason Karolak at McKenzie Fine Art on the Lower East Side; and the minimal early paintings of the found-object sculptor Al Taylor at David Zwirner in Chelsea.
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In whatever way you considered the items that the new Balenciaga designer sent onto the runway — for an audience with Mr. Rubchinskiy in a front-row seat — the radical tailoring proposition, contrasting architectonic suits proportioned to exaggerate the body in an almost cartoon way with others tight enough to straitjacket it, was above all about control.
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Brett Littman, executive director of the Drawing Center in New York, who curated a 2010 Von Bruenchenhein show at the American Folk Art Museum, observes in the exhibition's catalogue that many of the artist's works may be seen as reflecting his interests in both botany — as a young man, Von Bruenchenhein had called himself a "horticulturist"; he kept greenhouses filled with cacti and succulents — and in architectonic forms.
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Glass cabinets show multiple examples: a 1961 lurid-green strapless evening gown formed from three tiers of gazar puffballs (known as "the caterpillar"); the 1967 "envelope" cocktail dress, a black architectonic sleeveless structure that completely abstracted the body; and a 1954 floor-length gown in vivid magenta, its cascading balloon hem (a Balenciaga signature) made possible by swaths of fabric supported by hoops, allowing the material to billow for dramatic effect.
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"Every day you go to an event or an opening or a friend's house for dinner, and you run into another artist who you lost touch with in New York," he said, "and you suddenly realize they're also in L.A." Artists are coming from all over — Chris Johanson, a muralist and illustrator, came from Portland; Tala Madani, a painter, from Iran; Oscar Tuazon, known for architectonic sculptures, from Paris; Tacita Dean, a Turner Prize nominee, and Thomas Demand, the photographer, from Berlin.
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Excavations have barely commenced, yet the site complex architectonic features are remarkable.
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Kant created an architectonic system in which there is a progression of phases from the most formal to the most empirical:For an explanation of the logical structure of this progression, see Stephen Palmquist, "The Architectonic Form of Kant's Copernican Logic", Metaphilosophy 17:4 (October 1986), pp. 266–288; revised and reprinted as Chapter III of Stephen Palmquist, Kant's System of Perspectives: An architectonic interpretation of the Critical philosophy (Lanham: University Press of America, 1993). Also see the third appendix, entitled "Common Objections to Architectonic Reasoning. "Kant develops his system of corporeal nature in the following way.
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Example of a silver ring with architectonic influence, particularly the use of texture and the kinetic element at the top of the item. Architectonic jewellery is a subset of Constructivist studio jewellery that makes use of architectural forms and ideas in the much smaller-scale format of jewellery. Some of the defining elements of architectonic jewellery are linearity, inclusion of geometric elements, undisguised structural elements, and use of varying depth to convey a sense of design in three dimensions rather than only two. Certain architectonic pieces include moving parts, which enables "extending or reconfiguring" the pieces by the wearer.
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Not only the church itself but also its surrounding – cloister with chapels – illustrates Santini's great architectonic and creative potency.
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Dallas Museum of Art. Dallas, TX :Sonic Architectonic. The University of Texas at Dallas. Richardson TX :Big and Bright.
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The book is divided in three parts: Climatic Interpretation, Interpretation according to architectonic principles and Application. Part 1: The "Climatic Interpretation" is a general introduction to a bio-climatic interpretation of climatic Elements. This first part is of great importance since it proposes his famous bio-climatic graph that is still in use today as a tool used by various bio-climatic architects world wide. Part 2: The "Interpretation According to Architectonic Principles" goes on from Chapter 5 to 10 focuses on various Architectonic Principles.
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Scherer's study emphasizes the architectonic and antinomic nature of reason in Kant, thereby stressing the necessarily resolutive function of judgment.
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Architectonic jewellery often incorporates materials more typically used in engineering such as stainless steel and niobium, reinforcing the association with architecture.
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It is an architectonic group with several structures (pyramid basement, sunken patio and platforms) which had different functions. An example is the asymmetry of the pyramidal basement (laid out Southwest), which has a room in the South side on the walls. This architectonic type is only documented in the Maya area (Yucatec Puuc) and Cañada de la Virgen.
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Within the boldly-wrought voluted architectonic framework prance symmetrical pairs of vivacious steeds to support the circular Garter containing the Earl's arms.
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The circle is a perfect geometric figure, has no beginning or end, therefore infinite, as the gods. due to its architectonic characteristics and elements.
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Gunnar Asplund, "Our architectonic concept of space", reproduced in "Swedish Grace: Modern classicism in Stockholm", International Architect, No. 8, vol. 1, Iss.8, 1982, pp. 40-41.
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The alfiz (, , perhaps from Andalusian Arabic alḥíz, from alḥáyyiz, from Classical Arabic ḥayyiz, meaning 'a container';Alfiz: "DRAE. Diccionario de la Lengua Española. Vigésima segunda edición", Espasa Calpe, S.A, 2003 ) is an architectonic adornment, consisting of a moulding, usually a rectangular panel, which encloses the outward side of an arch. It is an architectonic ornament of Etruscan origin, used in Visigothic, Asturian, Moorish, Mozarabic, Mudéjar and Isabelline Gothic architecture.
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Watteau's notion of ornamental grotesques—a frame of fanciful plants and architectonic motifs surrounds a scene showing trees and people undertaking rural pleasures—clearly often served as inspiration.
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Indigenous Canarian people often performed their religious practices in places marked by particular striking geographical features or types of vegetation. Certain sites containing architectonic remains and cave paintings have been identified as sanctuaries.
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Green jasper set in silver ring demonstrating visible structural elements. Architectonic jewellery is primarily concerned with exploring architectural principles such as scale and proportion in relation to the human body. Classical proportions such as the golden ratio may be employed, because these proportions look aesthetically pleasing when scaled up or down to be appropriate for architecture as well as for jewellery. Architectonic pieces often include linear or geometric elements, which can be scaled up or down to explore or demonstrate proportion.
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The great architectonic and urbanistic reconstructions began around 1633. The works concerning the ecclesiastic buildings that determined the present look of the churches in Anagni are very interesting. The new architectonic canons that, however, left the existing Gothic Roman elements untouched are reflected in the transformation of the buildings. Also the ancient noble mansions embellished by magnificent portals were restructured and, toward the end of the 19th century, also the cultural level of the city rose again, thanks to the growing welfare.
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At 22 years since its foundation, the school has developed architectonic spaces that teachers aptitudes of and student allow to the optimization of the creative generating suitable processes of learning to obtain the excellence.
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The University City, in its design and construction, has furthered acceptance of modern architectonic language and its condition of paradigm and is considered one of the ten most important works of the century, in Colombia.
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Horticultural Building Systems are defined as the instance where vegetation and an architectural/architectonic system exist in a mutually defined and intentionally designed relationship that supports plant growth and an architectonic concept. The most common form of these systems in contemporary vernacular is green wall, vertical garden, green roof, roof garden, building- integrated agriculture (BIA), yet the history of these systems may be traced back through greenhouse technology,Hix, John. 1974. The glass house. Cambridge, Massachusetts: MIT Press hydroponicums, horticultural growth chambers, and beyond.
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All the figures are inscribed into an architectonic scenario. Different influences on Tintoretto's art can be seen in the picture: while the anatomies are Michelangelo-like, the vivid and intense colors are typical of the Venetian School.
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This is a book where Victor Olgyay writes about the relationship between buildings and nature surrounds it. The book is separated into three parts concerning the climate and their relationship to human being, the interpretation of the effect on climate architectonic key and to its application in Architecture and Urbanism. Altogether "Architecture and Climate", develops into one complete theory of the architectonic design, supported by logical and theoretical justifications with coherent explanation of physical principles. Olgyay also relates methods and knowledge of other disciplines like Biology, Meteorology and Climatology, Engineering and Physics.
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La Quemada is made up of numerous different size masonry platforms built onto the hill, these were foundations for structures built over them. On the south and southeastern sides is a high concentration of ceremonial constructions, some of which are complexes made up of sunken patio platforms and altar-pyramid, a typical Mesoamerican architectonic attribute. On the west side is a series of platforms or terraces, apparently more residential structures than ceremonial. All architectonic elements of La Quemada were constructed with rhyolite (volcanic effusive rock of the granite family) slabs, extracted from the hill located northeast of the Votive Pyramid.
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Erik Gunnar Asplund (22 September 1885 - 20 October 1940) was a Swedish architect, mostly known as a key representative of Nordic Classicism of the 1920s, and during the last decade of his life as a major proponent of the modernist style which made its breakthrough in Sweden at the Stockholm International Exhibition (1930). Asplund was professor of architecture at the Royal Institute of Technology from 1931. His appointment was marked by a lecture, later published under the title "Our architectonic concept of space."Gunnar Asplund, "Our architectonic concept of space", reproduced in "Swedish Grace: Modern classicism in Stockholm", International Architect, No. 8, vol.
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31, No. 2 (Apr. 1981), pp. 179–191 Odin writes that Sri Aurobindo "has appropriated Hegel’s notion of an Absolute Spirit and employed it to radically restructure the architectonic framework of the ancient Hindu Vedanta system in contemporary terms."Odin, p.179.
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Letters of E.B. White. New York: Harper & Row. P 151 Stanley refined the vertical garden typology with his patent for the "vegetation-Bearing Architectonic Structure and System (1938)" in which he outlines the scope for a new field of vegetation-bearing architecture.
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In chapter III, the architectonic of pure reason, Kant defines metaphysics as the critique of pure reason in relation to pure a priori knowledge. Morals, analytics and dialectics for Kant constitute metaphysics, which is philosophy and the highest achievement of human reason.
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The north and south walls of the chancel had a frieze of the Apostles, while those of the nave have scenes from Christ's Passion within an architectonic framework of two stories. A grimacing jester can be seen just inside the south entrance to the church.
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The Model [Maqueta, ], according to archaeologists, belongs to the early postclassical (900 to 1200 CE), San Miguel Ixtapan continued to be occupied and its buildings were constantly modified. Is a three by four meter basaltic rock outgrowth, in which the ancient inhabitants of the place carved with great skills a series of architectonic elements such as: ballgame courts, platforms or foundations, stairways with sides, roofed temples, etc., depicting an exceptional scale ceremonial center. As a result of investigations of this site and neighboring areas, it has been possible to determine that this architectonic complex does not seem to make reference to any of the known sites to date.
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His research manifests in sound-based installations, architectonic interventions, performances, and CD and vinyl releases. He considers the presence of the audience as an integral part of his installations and performances. His art practice furthermore alludes to infrastructures around value, preconception and code in civil society.
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Villa Göth may make a severe, aloof impression, but it is at the same time a simple and carefully prepared building with great architectonic qualities. This well-preserved and culturally interesting house was listed as historically significant by the Uppsala county administrative board on March 3, 1995.
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His portraits and still-lifes of the decade reveal a firm linear outline, with a near-impasto use of thick color. One critic of the first Segantini-Bund exhibition described his works admiringly as depicting "architectonic fantasies"."Ausstellung des Künstlerbundes ‘Segantini’," Illustriertes Wiener Extrablatt, vol. 50, nr.
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Three small portable shrines were also discovered. The smaller shrines are boxes shaped with different decorations showing impressive architectonic and decorative styles. Garfinkel suggested the existence of a biblical parallel regarding the existence of such shrines (). One of the shrines is decorated with two pillars and a lion.
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The park is of great value because it includes two former water tanks going back to the 19th century, as well as architectonic elements, and uncommon flora and fauna.«Tesoros ocultos en la falda del monte Ulía». «Los antiguos depósitos de Ulia, un tesoro que ansía ser desenterrado».
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This proves reinforced overlay on the northeast corner, visible from the outside. The space of the sacristy is vaulted with two-bays of baroque vault . In this space is the niche that is compressed oval arched. The chimney with architectonic top is one of the original features of the sacristy.
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He stood out for his "strictness of line, firmness of form, simplicity of contour, and rigorously architectonic conception of detail"Sharp, Dennis (1991). The Illustrated Encyclopedia of Architects and Architecture, p. 145\. New York: Whitney Library of Design. . which contrasted sharply with the late Baroque and Rococo architecture of his contemporaries.
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Gyöngy Laky is an American sculptor living and working in San Francisco, California. Her work has been exhibited in the U.S., Europe, Asia and South America. She gained recognition early in her career for her linear sculptures constructed in the architectural methods of textile arts. “Laky’s art manifests architectonic sensibility.
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It has a large plaza which is considered to have been the main square for the city. Among the walls and other structures a semicircle dedicated to the Danza de Voladores has been discovered.Quintanar Hinajosa, pp. 23–24 Cañada de la Virgen contains a number of closely related architectonic complexes.
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Kovacevich et al. 2010. During the 2011 season, the project perform test pits in the plazas with the objective of collecting information to understand the ceramic sequence of the site. Also, the excavations pursued to understand the settlement pattern through the study of architectonic modifications in the plazas.Rivera Castillo, Ed. 2011.
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These William Bustard designed panels are very finely worked with figures housed in Gothic inspired architectonic forms. This stained glass, which is generally read over the coupled panels, depict various biblical stories, including Jesus welcoming the children; the birth of Jesus; and the visitation of the Archangel Gabriel to Mary.
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Due to great importance, architectonic-urbanistic qualities and age of foundation the saved objects from this complex are considered to be some of the most valuable monuments of Belgrade and Serbia. Among others, within this complex, the Building of Gallery of Frescos, Jewish historic museum, Elementary school " Mika Petrović Alas" and hotel "Royal".
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Consequently, the Wickham House is considered a watershed design by Parris, marking the shift from his earlier Adamesque period towards his later, more severe, monumental and architectonic period. In the War of 1812, he served in Plattsburgh, New York as a Captain of the Artificers (engineers), gaining knowledge of military requirements for engineering.
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Guzman works on research projects inspired by DNA, scientific research, migration, gravity and architectonic utopias. Guzman’s oeuvre features installations, photography, sculptures, interventions, documentaries, films, sounds, single- and multichannel videos and publications. His projects allow us to cross different time zones, unexplored worlds and realms; bringing us into what Guzman calls time travel perceptions.
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These consists of the election of location, the solar control, the wind drifts, models of air flow and the thermal effects of the materials. Part 3: The "Application" focus mainly on the application of architectonic principles on four regions, the temperate zone, the cold zone, the warm-barren zone and the warm humid zone.
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The architectonic and literary work of Bogdanović is characterised by an abundance of ornaments. It is influenced by Romanticism and Victorian architecture, surrealism, metaphysics, Jewish symbolism and Kabbalah. Bogdanović has opposed the architectural theories of Adolf Loos developed in the essay Ornament and Crime, and argued for the "semantic dignity of the ornamental sign".
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The Waldspirale Darmstadt has a rich tradition in modern architecture. After 1945 several "Meisterbauten" (Masterful Architectonic Creations) were built that set standards for modern architecture. These buildings still exist and are used for various public and private purposes. In the late 1990s the Waldspirale ('Forest Spiral') was built, a residential complex by Austrian Friedensreich Hundertwasser.
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Main entrance of Manzana de la Rivera Located at Juan de Ayolas 129, Asunción, Paraguay, the architectonic complex is a group of nine restored houses as well as some new construction. It is located in front of the Government House. Its name comes from an old nearby street name, the Calle de la Rivera.
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Peter Krasnow (20 August 1886 – 30 October 1979), born Feivish Reisberg, was a modernist and colorist artist known for his abstract wood sculptures and architectonic hard-edge paintings and drawings which were often based on Hebrew calligraphy and other subjects related to his Jewish heritage. Krasnow lived in Los Angeles for most of his life.
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Totana supported Philip II of Spain during the War of the Spanish Succession. As Philip II got the crown, the town was awarded with the 'Noble' status in 1709. Two new hydraulic structures were constructed. There were several aesthetic architectonic works such as the facade of the Parish Church of Santiago and a fountain named Fuente Monumental.
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Peter Li's essay on the book, "The Dramatic Structure of Niehai hua", published in The Chinese Novel at the Turn of the Century.Hegel, pp. 190–191. argues that the "architectonic" construction and "incremental dramatic development" are the two principles within the novel's structure. Li discusses the protagonist, the setting, foreshadowing within the story, and the general plot.
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Her move to Chicago in 1979 inspired a shift to abstract, architectonic work that nonetheless suggested actual spaces. Often titled after mythological goddesses, the new paintings explored the spirit and psychological implications of austere interiors that symbolized the domain of women.Artner, Alan. "Artist's fresh look revitalizes familiar scenes," Chicago Tribune, Section 5, June 8, 1987, 9.
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They were built up for some ashlar masonries, an architectonic style reserved to the Israelite royal places during the Iron Age. One of them is 110 x 28 x 60 cm of dimension and also differs frm the canon for its ornamental details, showing a triangular shape in the centre as the point of juncture of the capital volutes.
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Ban was born in Tokyo Japan. He studied at the Southern California Institute of Architecture. Later he went to Cooper Union's School of Architecture, where he studied under John Hejduk and graduated in 1984. From Hejduk (who was a part of the New York Five), Ban gained an interest in "architectonic poetics" or the creation of "three-dimensional poetry".
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They may be decorated with a symbolic motif carved in relief, such as an hour glass, or a drooping flower. The Neo-Gothic style stones have tops that rise to pointed arches. Several such stones are carved with detailed Gothic tracery and other architectonic features. There are also a number of stones with steeply pointed "gables" and Gothic details.
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The rock church of Santa Margherita is completely dug out of volcanic tofa. Its architectonic structure and the style of its frescos are dated to the 13th century. It is the most beautiful and best preserved amongst the numerous frescoed caves found on the slopes of mt. Vulture, an evident result of an ancient and widespread monastic settlement.
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These two sects followed faithfully the Nanto Rokushū architectonic tradition in the plains, but in mountainous areas developed an original style. This development was facilitated by the syncretic fusion of foreign Buddhism with local mountain worship cults. Called to distinguish it from imported Chinese styles, it was characterized by simplicity, refrain from ornamentation, use of natural timber and in general plain materials.
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Creem magazine, looking back on it in 1984, said it's "the most difficult Gang album, because it's so damn hard to find the front door to the thing. The ugly emotions Entertainment! dredges up are almost freakish, and all the more unsettling for the way they poke unexpectedly through the record's detached, architectonic front." The album has also attracted praise from rock musicians.
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The sociology of technology offers approaches to a sociology of (architectonic) artifacts. Initially, this sociology is interested in technical matters. While buildings (as art and technic) are not in the core of this discipline. The perspective of architecture as artifact would be the question of 'interactions' between architecture and subject: how a very specific architecture suggests certain ways, movements, perceptions.
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Ross graduated from University of California, Berkeley, with a B.A. in mathematics and M.A. in Sculpture in 1962.Klaus OTTMANN (2013). "Lightness of Being: The Art of Charles Ross" in Substance of Light, Santa Fe: Radius Books, 13. Ross is creating - in New Mexico's "Chupinas Mesa" - an earthwork known as Star Axis, which is a naked eye observatory and architectonic sculpture.
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A sizable resident German population persists though most having been completely assimilated into the Guatemalan culture through intermarriage. Multiple German architectonic elements can still be appreciated throughout Cobán. The Germans also set up Ferrocarril Verapaz, a railway which connected Cobán with Lake Izabal, operated from 1895 until 1963 and was a symbol for the wealth in this coffee-growing region those days.
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De Cesare was born in Palermo, Italy in 1890.See Elaine Evans Dee, Architectonic harmonies: John de Cesare, FMR issue #103, April–May 2000, p.63-84. His parents emigrated to the US in 1895. He studied sculpture at the Cooper Union Art School, NY. During the 1920s, he worked as ornamental sculptor for architects like McKenzie, Vorrhees and Gemlin.
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Ikenga figures are common cultural artefacts ranging for six inches to 6 feet high and can be humanistic or highly stylised. There are anthropomorphic, architectonic, and abstract cylindrical Ikenga sculptures. Ikenga is a symbol of success and personal achievement. Ikenga is mostly maintained, kept or owned by men and occasionally by women of high reputation and integrity in the society.
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Vidler 1996, p. 57. As a radical utopian of architecture, teaching at the École des Beaux-Arts, he created a singular architectonic order, a new column formed of alternating cylindrical and cubic stones superimposed for their plastic effect. In this period, taste was returning to the antique, to the distinction and the examination, of the taste for the "rustic" style.
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There are apparently two main zones with many petroglyphs, one to the east of the ball game, near the Temazcal and another more important section to the north. The petroglyphs were engraved on the surface of igneous rock outgrowths, by natives, in high and low relief, holes, circles, dotted lines, continuous lines, spiral, concentric circles, zoomorphic figures, planes and isolated building models and complex sites. Plazuelas model, carved in rock, located at the edge of the western ravine The model outline Bajio architectonic elements, such as sunken patios and other features from gar away regions, such as Teuchitlán (Guachimontones), that confirms the multi-ethnicity hypothesis of these lands.Castañeda and Casimir, 1999 An important sample is the model, depicting details of the Casas Tapadas complex, the details of elements engraved such as accesses, stairways, walkways and structures architectonic lay out is remarkable.
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The remaining architectonic elements were made in a late Gothic style. The building was constructed on a squared floor plan with a central courtyard. The Diocese of Urgell also founded an Augustinian monastery, transformed into a secular collegiate church in the 15th century. On 12 June 1837, there was a battle near the town fought by Carlist forces against the Liberals during the First Carlist War.
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Flats in Litomyšl, block C10-C14. From 1973 to 1979 he studied at the Faculty of Architecture of the Czech Technical University in Prague.Koryčánek (2007), preface Already as a student he attended several architectonic competitions, and in 1975 he won the first prize in the Young Architects Competition. Following his studies he worked as a teacher at the same school (Department of the Architectural Theory and Development).
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Even in cases as that of Nikkō Tōshō-gū, where every available space is heavily decorated, ornamentation tends to follow, and therefore emphasize rather than hide, basic structures. Being shared by both sacred and profane architecture, these architectonic features made it easy converting a lay building into a temple. This happened for example at Hōryū-ji, where a noblewoman's mansion was transformed into a religious building.
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Comparing to the initial plan, the hotel rooms have been extended by originally planned balconies and gave rise to more spacious guestrooms. The concept of terrace was kept only on the top floor. The "ribbon" on the façade matches with the architectonic realisation of the hotel building. The hotel lobby has the largest crystal chandelier in Europe, which is made of 140 thousand small crystals.
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The most important sculpture is the equestrian monument of the General Emiliano Zapata. The most important architectonic work is the Chapel of San Pedro built in the sixteenth century. The gastronomy is based on corn, bean, fava bean, chili peppers and vegetables like potatoes, quelites, turnips, and chivatos. In addition food stuffs are extracted from the lagoon, like quintonil, watercress, water chestnuts, and chichamol.
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Liv Blåvarp contrasted hard and soft elements by stringing sculpted wood on flexible threads, permitting movement despite the hard surface of the wood. Architectonic pieces may also use varied depths to create a sense of the object as three-dimensional. For example, pieces created by Margaret de Patta, such as the brooch pictured, often include transparent elements that serve as "windows" to opaque structures lying beneath.
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As a subset of modernist jewellery, architectonic jewellery frequently makes use of materials and textures not traditionally employed in crafting jewellery. Stainless steel and niobium are reminiscent of industrial design. Designer Lisa Gralnick made use of black acrylic sheets to create pieces that suggested missiles or submarines. Other artists have incorporated rubber, wood, concrete, plastics, and various non-precious metals to simulate architectural forms.
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Backed by housing authorities in Amsterdam, young architects sought innovative solutions to housing and municipal commissions. Despite the individualistic approach, a recognisable identity managed to emerge in their architectonic design of entire neighbourhoods. Van Sitteren and Iversen’s friendship was likely sparked by the latter's growing interest with architectural styles - namely ‘Amsterdam School’. With their new found friendship, Iversen had the opportunity to learn about it first-hand.
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Aedicular door surrounds that are architecturally treated, with pilasters or columns flanking the doorway and an entablature even with a pediment over it came into use with the 16th century. In the neo-Palladian revival in Britain, architectonic aedicular or tabernacle frames, carved and gilded, are favourite schemes for English Palladian mirror frames of the late 1720s through the 1740s, by such designers as William Kent.
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In her 1983 exhibition at Susan Caldwell, she introduced an architectonic element to her work with a freestanding, screen- like painting and rectangular canvasses arranged in tau, lintel-like and other relationships, which related to the multiple panels in Greek and Russian icons, friezes, and early Italian narrative painting.Leib, Vered. "Joanna Pousette-Dart: Exploring the Possibilities of Dialogue," Arts, April 1988, p.74.Silverthorne, Jeanne.
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Colonial drew tiles from the Castelvi House. The constructive elements of Paraguayan architecture are a result of different architectonic influences: formals, functional, stylish and constructive. Escultura ubicada a la Entrada de la Manzana de la Rivera DOCUMENTS Among the most important documents that the Museum has, the maps stand out. The maps are from different periods and establish a reflection of the historic evolution of the region.
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Redrum (2003) is an architectonic installation in Anchorage Alaska by Finnish architects Casagrande & Rintala. The work is commissioned by Alaska Design Forum. 3 Alaska Railroad oil tanks cut into total 12 pieces and turned into a temple structure opposite the Federal Building of Anchorage in the crossing of C-Street and 7th Avenue. The interior is painted bright red in contrast to the rusty and brutal exterior.
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The cabinet was a copy of Hitler's room in the Reich Chancellery; the architectonic details of this room survived World War II and is often used in films. The Throne Room was also transformed into an audience hall. Under the castle, a bunker for 375 people was constructed. The rebuilding was stopped in 1943 due to the Germans' negativity from setbacks on the Eastern Front.
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All knowledge from pure reason is architectonic in that it is a systematic unity. The entire system of metaphysic consists of: (1.) Ontology—objects in general; (2.) Rational Physiology—given objects; (3.) Rational cosmology—the whole world; (4.) Rational Theology—God. Metaphysic supports religion and curbs the extravagant use of reason beyond possible experience. The components of metaphysic are criticism, metaphysic of nature, and metaphysic of morals.
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View of Serras de Aire and Candeeiros Natural Park. Serras de Aire e Candeeiros Natural Park is a natural park in Portugal. It is one of the 30 areas which are officially under protection in the country. It's protected area since 1979 and intends to protect the natural aspects and the architectonic heritage existing in the Serra de Aire and Serra dos Candeeiros; Comprises an area of 38 900 ha.
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The Church of Exaltation of the Holy Cross, the oldest monument from the 13th century, dominates the town. The renaissance Old Town Hall is the main building on the square and together with the Museum forms an architectonic unit. Chapel of St. Mark (1754) and the Little Church of St. Florian in Mezimostí (1718) are other notable buildings. Veselí nad Lužnicí is a popular summer resort, especially for canoers and hikers.
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Science must have architectonic unity. "For the schema of what we call science must contain the whole's outline (monogramma) and the whole's division into parts in conformity with the idea -- i.e., it must contain these a priori -- and must distinguish this whole from all others with certainty and according to principles."Critique of Pure Reason, A 834 This use of the concept of schema is similar to Kant's previous use.
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It is a superior and rare example of a commercial building with a decorative architectonic sheet metal facade, which is completely hand-made. It was designated a National Historic Site in 1995. Additionally, the building is an irreplaceable element in King Street's continuum of commercial architecture dating from the pre-Confederation era to the present and is likely one of the oldest surviving sheet metal facades in the country.
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The reredos is heavily architectonic with columns, niches, scrolls and pediments of different shapes which rise in stages to a plinth on which rests a Medieval statue of the Virgin Mary grieving over the body of Christ. On the level below this is a statue of the Lamb of God. In the niche beneath is a silver cross of Medieval design. Beneath this is a gilt metal sacrament cupboard.
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Blumenbach provided evidence for the actual existence of this formative force, to distinguish it from other, merely nominal terms. The way in which the Bildungstrieb differed, perhaps, from other such forces was in its comprehensive architectonic character: it directed the formation of anatomical structures and the operations of physiological processes of the organism so that various parts would come into existence and function interactively to achieve the ends of the species.
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Around 1500 the church gave the name to a gate of the town defensive walls, the so-called "Jesus' Gate". In 1507 the church was restored and widened, thanks to the financing by the governors of Alcamo Federico Enriquez and Anna I Cabrera (his wife). This date is interpreted by other sources as the date of completion of the architectonic work. In the same period they restored the monastery, too.
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In 1920 a committee for overseeing cemeteries and battlefields from World War I was formed, which became responsible for the development of the Brothers' Cemetery. The development of the memorial can thus be roughly divided into two periods. First was the period of landscape development, which lasted until 1923, when the landscaping was developed according to Zeidaks' ideas. Meanwhile, the architectonic and artistic development of the cemetery was being discussed.
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The first buildings to be built on campus were the vivarium, a space dedicated to animal farming, that used to be located in the area which nowadays the Department of Nutrition and the Center of Health Sciences are located. The campus architectonic project's conception was made by a Venezian architect named Mário Russo. In 1965, the University of Recife became the Federal University of Pernambuco (UFPE), authority tied to MEC.
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In 1995, Bacht introduced light as a design instrument. From 2000, a series of critical homages to key figures of classical modernism (Mondrian, Malewitsch) and the White Installations were added to the canon of work groups. Another work group is dedicated to objects and architectonic structures for an alternative sepulchral culture. All work groups are flanked by an encyclopaedia of satirical objects, assembled under the group title „Kein Wunder“.
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Just a week after the proclamation of the empire, the most influential architect in the regime, Marcello Piacentini, turned to Mussolini and proposed that he be hired to coordinate the necessary construction projects under one general plan. Never before in history had such an opportunity presented itself: to systematically control the architectonic aspects and urban development of a territory that had been, until this time, completely untouched by any previous “civilization initiatives”, Piacentini said.
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Between 1995 and 2009, Siza has been working on an architecture museum on Hombroich island, completed in collaboration with Rudolf Finsterwalder. Most recently, he started coordinating the rehabilitation of the monuments and architectonic heritage of Cidade Velha (Old Village) in Santiago, an island of Cape Verde. Commissioned after winning an international competition in 2010, Siza and Granada-based Juan Domingo Santos unveiled designs for a new entrance and visitors center at the Alhambra in 2014.
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The east wall contains six large windows on the lower zone and six small ones in the upper zone. The north and south walls each contain only one bay, while the west wall contains two. The treatment of the wall decoration is geometric and architectonic. The wall is not considered as a painted two-dimensional surface, but rather as a plastic, architectural structure in which imaginary and real space can expand and contract as one.
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After the creation of the complex Great Basilica, the function of these rooms was changed. By discovering the walls, architectonic plastic and floors were reconstructed electronically. Great Basilica, narthex mosaic - pomegranate tree The Great Basilica is a monumental building with a room of open porch colonnades, a room of exonarthex, one of narthex, two north annexes, and a room of three south annexes. The floors of these rooms have mosaics with geometric and floral designs.
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Tajima's practice materializes techniques developed to shape the physicality, productivity, and desires of the human body. Her work relates performance, control, and freedom to the embodied experience of architectonic and computational life. Her early installations and collaborative work explored performance in relation to the built environment. Using the music recording studio, film production set, industrial factory, data centers, and office work environment as production sites, Tajima examined how these spaces shape our activities and bodies.
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Street of the Old Bazaar Old Bazaar of Korçë is an Ottoman-era bazaar in Korçë, Albania. Established about 500 years ago, it is composed of old Ottoman and Roman architectonic style buildings which for centuries were used as shops, guesthouses or khans. It is said to be noted for selling goats and handbags. It was mostly rebuilt in 1879 following an extensive fire The old bazaar comprises 138 first category culture monuments.
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"Schema" comes from the Greek word schēmat or schēma, meaning "figure". Prior to its use in psychology, the term "schema" had primarily seen use in philosophy. For instance, "schemata" (especially "transcendental schemata") are crucial to the architectonic system devised by Immanuel Kant in his Critique of Pure Reason. Early developments of the idea in psychology emerged with the gestalt psychologists and Jean Piaget: the term "schema" was introduced by Piaget in 1923.
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Among his most important works are wooden sculptures of Saint Peter Martyr and a Dominican saint, created around 1511, and particularly the portal of the Old City Hall (1512). In 1512 Pilgram became a cathedral builder of the St Stephen's Cathedral in Vienna. There he concentrated mainly on smaller architectonic forms, such as the cathedral pulpit (built from 1514 to 1515) and various relief sculptures. Pilgram probably died in Vienna around 1516.
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Socialists, who preached class conflict were a danger to the reformed workers. He called for workers to accept their fates and be happy with a simple life because the afterlife would be much more satisfying and revolution would only lead to instability. At the same time, he argued that the system of unrestricted free enterprise was in need of "architectonic critique" and he urged government to adopt labour legislation and to inspect workplaces.
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As opposed to Arnold Schoenberg, Vermeulen did not choose to build a new regulatory system, but proceeded purely in terms of thematic information and its logical and psychological development. His symphonies and chamber works consequently differ greatly as far as construction is concerned. But he always succeeded in creating architectonic cohesion. The Third Symphony is in a large A-B-A form, in which A develops linearly and B is reminiscent of a Classical rondo.
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Steven Holl has described the Knut Hamsun Centre as "concretizing a Hamsun character in architectonic terms", and he continues: "The concept for the museum, 'Building as a Body:Battleground of invisible Forces,' is realized from inside and out."Holl, Steven. "Concept 1998" in Hamsun Holl Hamarøy, Lars Müller Publishers, 2009, p. 154. This concept is a quote from the 1974 translation of Hunger by Robert Bly.Knut Hamsun, Hunger, translation by Robert Bly, Duckworth, 1974, p.
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It is meant to mark the traditional exact spot of St. Peter's martyrdom, and is an important precursor to Bramante's rebuilding of St. Peter's. Given all the transformations of Renaissance and Baroque Rome that were to follow, it is hard now to sense the impact this building had at the beginning of the 16th century. It is almost a piece of sculpture, for it has little architectonic use. The building greatly reflected Brunelleschi's style.
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Gentleman's Magazine 78, January 1808, pp. 4–5 It embodied 'new principles for a complete system of the perspective of Architecture, both as it relates to the true delineation of objects, and the doctrine of light and shadow'. The first part described the use of the Architectonic Sector, an instrument invented by the Earl of Bute, and the second, 'a new Method of drawing the Five Orders, elegant structures, etc., in Perspective'.
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The architrave protruding above the architectonic elements is adorned with the dedication inscription DEO.IN.HONOREM.S.PHILIPPI.NERII.DICATUM. Above it, there is a triangular protruding tympanum in a cartouche (from which garlands run down on both sides) containing the coat of arms of the compagnia. On the facade facing Via Giulia, on the building is embedded a marble property table with the motto of the compagnia: Plagis plaga curatur ("The plagues of the soul are cured with the calamities").
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The building was made of brick having the walls with a breadth over one meter, the architectonic style being the one of "Greek Cross". The architecture combines more style so that the experts can not, two on the front side with a 47 meters height, the most imposing one being that of the middle of the church, i.e. the cupola. The natives made many material sacrifice for the building of the church.
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Aduana building in 1917, still with two floors It was built in 1838 to accommodate and lodge distinguished visitors that reached the port of Mayagüez. In 1898 the building became a custom house. It originally had two floors but the second story was destroyed by the earthquake of 1918. Its present architectonic line is from the year 1924, being the work of engineers Huiguera and Besosa, being its architect Mr. Rafael Carmoega.
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The Church of the Visitation of the Virgin Mary () is a Roman Catholic church in Nitra, Slovakia. It was first built as a Gothic church in the 14th century. It was rebuilt in the Renaissance style in the first third of the 17th century and was then changed again to the Gothic style in the 18th century. In the interior there are Gothic architectonic details, Renaissance paintings (by Podmanicky), and a Baroque sculptural group from the cemetery chapel.
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Ivar Huitfeldt Column The Ivar Huitfeldt Column is a monument at Langelinie in Copenhagen, Denmark, built to commemorate the death of Admiral Ivar Huitfeldt and his men in a naval battle off Stevns during the Great Northern War. The monument was constructed in 1886 to a design by Vilhelm Dahlerup. Ferdinand Edvard Ring was responsible for the statue of the Roman goddess of victory, Victoria, and for the reliefs, while Carl Brummer undertook the monument's architectonic design.
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Brodmann initially believed there to be no distinct Area 43 in his map of the lower monkey, the guenon. However, study of the myeloarchitecture of the region, by Theodor Mauss, determined that monkeys possess a structurally distinct area corresponding to the human subcentral area. It was regarded as cytoarchitecturally homologous to area 30 of Mauss in 1908. However, research by Cécile and Oskar Vogt found no distinctive architectonic area of the corresponding location in the guenon.
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The 63-metre high pavilion, the tallest structure at the Expo, is dubbed "The Oriental Crown" because of its resemblance to an ancient Chinese crown. It was meticulously designed with profound meaning and symbolism. The architectonic feature of the building was inspired by the Chinese roof bracket known as the dougong as well as the Chinese ding vessel. The dougong is a traditional wooden bracket used to support large overhanging eaves which dates back nearly 2,000 years.
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In his discussion of the Architectonic of Pure Reason,Critique of Pure Reason, A 832 Kant utilized the concept of schema in a way that was similar to his discussion of the schemata of the Categories. A science's whole systematic organization consists of parts. The parts are various cognitions or units of knowledge. The parts are united under one idea which determines the relation of the parts to each other and also the purpose of the whole system.
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The current Loggetta is built with roughly fifty percent of the original architectonic and decorative material. The three surviving columns are located on either side of the doorway and in the second-to-the-last position on the right. Although badly damaged, the reliefs in the attic are original with the exception of the putto on the extreme right. The spandrel figures are also original as are most of the reliefs above and below the niches.
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Above the effigy and Madonna is a gilt-edged architectonic canopy decorated with patterned stemmed flowers, giving the conceit of being supported by the ribbed brass ring, an impossibility given its weight. McHam suggests that the canopy is based on the "Dome of Heaven", and thus the baldacchino of papal enthronement. However, LightbownLightbown, 1980, pp. 28–29. is emphatic that the double-summited canopy looped against the pillars is not a baldacchino, but rather a secular bed-canopy.
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Saint Michael's Church () is one of the oldest churches in Vienna, Austria, and also one of its few remaining Romanesque buildings. Dedicated to the Archangel Michael, St. Michael's Church is located at Michaelerplatz across from St. Michael's Gate at the Hofburg Palace. St. Michael's used to be the parish church of the Imperial Court, when it was called Zum heiligen Michael. Over its long history, spanning more than eight centuries, the church has incorporated a medley of architectonic styles.
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Visible structural elements such as settings and attachments are also an important part of the architectonic style. For example, in the silver ring with green jasper pictured, the setting holding the stone is attached to the main body of the ring in a way that visually emphasizes the attachment, rather than attempting to conceal it. This mimics certain architectural techniques where structural elements such as ceiling beams are left exposed. Brooch by Margaret De Patta showing transparent element.
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Internally the chapel has architectural features that bear similarity to the Sagrestia Vecchia by Filippo Brunelleschi. The interior spaces are defined by architectural orders, pilasters, architraves, mouldings, pendentives and a ribbed dome with all the details picked out in grey stone that contrasts with the flat plaster surfaces. These architectonic features are in places richly ornamented with formal motifs in relief. A number of the surfaces have been painted in fresco in the Lombardy manner by Vincenzo Foppa.
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London, Grafton Books, 1988 (p. 211-13) In Modern Fantasy: The 100 Best Novels, David Pringle described the book as ″a work of architectonic sublimity″ and ″the author plays with masterly skill on the emotional nerves of awe, rapture, mystery and enchantment″. Paul Di Filippo said, ″It is hard to imagine a more satisfying work, both on an artistic and an emotional level″.Paul Di Filippo, "Crowley, John (William)" in St. James Guide To Fantasy Writers, ed.
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Asterios Polyp grew out of a story idea that would have filled the entire fourth issue of Rubber Blanket. It was published as a hardcover, with an architectonic design that alluded to themes of form and function within the text, including a dust jacket shorter than the size of the book that revealed the structure underneath. Questioned about the impracticality of his design, Mazzucchelli joked that it was "the most frustrating package [I] could come up with".
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The church is reckoned as one of the most daring "modern" church buildings in Norway. The architect Odd Østbye created a building which breaks with all traditional church architecture. The architectonic idea behind the church is "Quartz in roses", meaning that the church is shining as a glowing quartz among the roses. The church was nominated as the representative from Møre og Romsdal county as the "Building of the Century 1905-2005" (Århundrets byggverk 1905–2005) for Norway.
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Located in the archaeological zone, its architectonic design was conceived such that it integrates to the surrounding landscape and the archaeological site by the use of material characteristic of the buildings constructed in the site (stone slabs, stucco and finishing). This museum offers a panorama of the region archaeological evolution through diverse informative elements, a site scale model and descriptive videos of the main prehispanic settlements in Zacatecas: Loma San Gabriel, Chalchihuites and of course La Quemada.
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They would also lay the foundation for his later experiments in architecture and exhibition design. While the paintings were artistic in their own right, their use as a staging ground for his early architectonic ideas was significant. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new and better world were developed.
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They were running away from the Hussite fury. Pulpit of the Basilica After the year 1705 when Václav Vejmluva became a head of the religious communities came the time when there was an architectonic and artistic flourish of the monastery. The masterpiece of this period is the altar of the Annunciation of the Virgin Mary whose concept was made by Jan Blažej Santini Aichel. The dominant of this is the dualistic picture of the Annunciation of the Virgin Mary.
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Mikeš house was rebuilt in the Neo-Renaissance style in 1879–1880, according to designs by Antonín Baum. This wing was destroyed in last days of World War II during the Prague uprising. Many architectural competitions were held during the 20th century, with the intention of finding the right architectonic design for the expansion and reconstruction of the Old Town Hall, but all of the competitions either failed to produce a winner, or the winning projects were not built.
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The Arriva Tower is a 128 m (418 ft) 34-storey high-rise condominium in Calgary, Alberta, Canada. Located in Victoria Park, a historic neighbourhood in Calgary's Beltline neighbourhood, north of the Stampede Grounds and Scotiabank Saddledome. The glass and steel skyscraper features brick and sandstone finish at the base, to reflect the architectonic style of the surrounding historic buildings of the Warehouse District. The Arriva Tower was envisioned as the first phase of the three tower residential complex.
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In 1921 and in 1922 two closed design contests took place. The sculptor Kārlis Zāle, who was visiting Riga to participate in the design contest for the Freedom Monument, was invited to take part in the second contest for the cemetery as well. He won, and the second phase of development began, which lasted until 1936. In this period the landscaping was supplemented by architectonic and sculptural elements to form a unified ensemble in accordance with Zāle's design.
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The entrance The citadel has a simple architectonic style, similar to the ordinary houses of the time and adapted to the fortification requirements. The peasants used stones and bricks for building the walls, and woods for making the gates and platforms. The towers and walls are covered with roof tiles for preventing the fires from besiegers. The walls are high and the widest part is constituted by the South wall which in some areas is thick.
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The delicate architectonic elements dominate the black panels and divide the upper area into fields in which single figures are depicted on a blue background. A girl with sacrificial equipment and a satyr playing an aulos can be seen. Above these, on large wall panels are painted still lifes with birds, poultry, wine-jars, fruit, flowers, baskets, and fish in a style similar to folk art. These depictions facilitate the identification of the building as a macellum.
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Many graves are covered by horizontal slabs. While most simply rest on the grave, several of these, such as that of the Tooth family are very large and cover an underground vault. There are also a number of horizontal coffin-shaped or hogs-back stones such as that of Isaac Nathan. Another horizontal form is the chest or altar-style monument which has Classical architectonic detailing, of which the tomb of Sir Thomas Mitchell is a typical example.
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The San Francisco church, expression of the spanish baroque in Lima. This architectonic complex was constructed in the 17th century and is made up by the church and the convent of San Francisco, as well as of the chapels of the Solitude and the Miracle. During your visit their claustros can be appreciated, their patios adorned with Sevillian tiles and the library. Here it is the headquarters of the Museum of Religious Art and the Zurbarán Room.
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In the case of the Santa Maria della Consolazione, the image has ended up in one of the semicircular apses, but it is this church that has the architectonic connections with the sanctuary of Macereto. Four main pillars that are connected by great arches, which are decorated identically, support the central dome. The arches are decorated with coffers with rosettes. Both churches have the same decorations and it is this style that links the Todi and Macereto sanctuaries, pointed out by most commentators.
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Susan Joy Share is an American book artist and performance artist, born in Syracuse, New York, who worked in New York City as an artist and conservator for more than twenty years before moving her studio to Anchorage, Alaska. She is known for her inventive moveable and morphing book art, architectonic paper structures, and wearable books used in her performances. In the late 1970s, she was part of the CETA-funded Cultural Council Foundation Artists Project in New York City.
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Tulve belongs to the younger generation of Estonian composers who, in contrast to the neo-classicist tradition of rhythm-centeredness, create music which focuses on sound and sonority. Tulve’s works give a fair idea of the richness and variety of her cultural experience: the French school of spectral music, IRCAM’s experimentalism, Kaija Saariaho and Giacinto Scelsi, echoes of Gregorian chant and Eastern musics. Deriving from her refined sound processing, Tulve’s approach to form is “fluid” – more process based than architectonic.
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It was finished in 1947. Santos designed the new city hall with a trapezoidal layout situated on a hill, so it became automatically the focal point of the Avenida D. Luis (today Samora Machel Avenue), which connects the Independence Square with the city's downtown area, (Baixa). The city hall has a façade of and is completely designed in the Neoclassical fashion and follows the architectonic beaux-art rules. Due to financial constraints, the city government chose artificial stone instead of dimension stone.
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A schema is needed to execute, carry out, or realize this unifying idea and put it into effect. This schema is a sketch or outline of the way that the parts of knowledge are organized into a whole system of science. A schema which is sketched, designed, or drafted in accordance with accidental, empirical purposes results in mere technical unity. But a schema that is drawn up from an a priori rational idea is the foundational outline of architectonic unity.
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These wall paintings counteracted the claustrophobic nature of the small, windowless rooms of Roman houses. Images and landscapes began to be introduced to the first style around 90 BC, and gained ground from 70 BC onwards, along with illusionistic and architectonic motives. Decoration had to give the greatest possible impression of depth. Imitations of images appeared, at first in the higher section, then (after 50 BC) in the background of landscapes which provided a stage for mythological stories, theatrical masks, or decorations.
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The Park of Nurseries of Ulia is at the beginning of the road going to Mount Ulia from Donostia. It is also named Park of Nurseries of Ulia since the nurseries situated inside the park were the provider of plants for the public gardens of Donostia-San Sebastián during all the 20th century and until 2008. The park is of great value because it includes two ancient water-tanks, because of its architectonic elements, and because of its flora and fauna.
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Summerson, 129–130, 134 distinguishes between this and the Venetian window, illustrating both. Here it appears in both storeys, which is less common when it has been copied. The building draws on Sansovino's Biblioteca Marciana, but is "more severely architectonic, less reliant on sculpture, and at the same time more flexible". In the Palazzo Chiericati, begun in 1551, there are again two storeys of loggias, but the facade is divided vertically into three parts by advancing the upper storey in the centre.
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Nuove effemeridi siciliane The old town was defended by a wall on three sides and was composed by unicellular houses (that is having a single room). Among the remains of the old town there is the “Funtanazza”, an ancient architectonic work which probably was a water reservoir; according to other people, it was, on the contrary, a thermal plant. The Funtanazza has a rectangular shape with pillars sustaining a barrel vault, similar to the moorish fountains on the northern coasts of Africa.
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The new school started with controversy given its innovative curriculum, different from the traditional, basing its focus of the architectonic object as a part of an urban process and creating results based on its consideration of the physical and cultural environment. Architects Jorge Bertheau, Rafael Ángel García, and Édgar Brenes implemented the teaching methodology based on integrated multidisciplinary studies, with emphasis on teamwork and real projects applied to specific communities. They obtained a scholarship to study the architecture in England.
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The concept of architectonic jewellery began to emerge around the 1960s. At the time, the majority of jewellery was produced by luxury brand names such as Cartier, Bulgari, and Tiffany; these pieces were intended to serve as status symbols or investments rather than as artistic expressions. They tended to use mostly traditional precious metals and gemstones, and shied away from modern styling. Individual artisan jewellers working from smaller studios began to move away from the traditional, formal styles produced by these luxury brands.
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It offers over 50 higher educations, taught in Danish or sometimes in English, with vocational education and it participates in various research and development projects. Aarhus School of Architecture (Arkitektskolen Aarhus) was founded in 1965. Along with the Royal Danish Academy of Fine Arts of Copenhagen, it is responsible for the education of architects in Denmark. With an enrolment of approximately 900 students, it teaches in five main departments: architecture and aesthetics, urban and landscape, architectonic heritage, design and architectural design.
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It is sculptured with architectonic details in the Gothic style and rests on feet in the shape of small lions. It has nine sculptured niches on each side and three at the ends in which stand small statues of the martyrs and patron saints. While there are a number of semi precious stones in the apex of each niche, the richness of the object comes from the delicate and elaborate quality of the metalwork demonstrating many techniques such as filigree, engraving and embossing.
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The historic Kursaal casino, next to the river's mouth The Great Kursaal was an elegant palace built in 1921, incorporating a casino, a restaurant, a cinema theater, complementary rooms and an 859-seat theater, placed in front of the Gros beach, and next to the mouth of the Urumea river, but it was pulled down in 1973. An empty plot (later called K Plot) was freed. The absence of any architectonic structure in such a privileged site for so many years was remarkable.
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His increasing adeptness at this method is apparent in the paintings completed for the Chapel. With an absence of figurative representation, what drama there is to be found in a late Rothko is in the contrast of colors, radiating against one another. His paintings can then be likened to a sort of fugue-like arrangement: each variation counterpoised against one another, yet all existing within one architectonic structure. Rothko used several original techniques that he tried to keep secret even from his assistants.
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In 1993, Mockbee was awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts to work toward the publication of his book, The Nurturing of Culture in the Rural South An Architectonic Documentary. In 1998, Mockbee was diagnosed with leukemia. After a strong recovery, he went on to receive awards and recognition for his work, including the MacArthur Foundation fellowship, informally known as the "Genius Grant". He died three years later when the disease came out of remission.
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The place is believed to have worshiped gods representing water, earth, fire and wind. This worship is depicted in the architectonic manifestations, sculptures and ornamental articles found. Rays, clouds, serpents, snails and spirals are symbols represented in stone glyphs, and structures. Plazuelas was built over three hill sides, divided by two ravines, overlooking a large valley to the south. The eastern ravine has a water spring, considered the main water source, while western ravine, known as “Los Cuijes” only has seasonal rain water.
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The structure has rather rare elements in Guanajuato. The architectonic layout is T shaped and unfortunately was found in bad conditions; apparently was destroyed towards its decline (900 CE). The profile of its perimeter wall also has the northern structure monolithic stones and among the remains are large engraved stones depicting cut spirals that most have been part of the structure. Inside are traces of a wall that possibly divided the space, covered with a clay floor, probably remains of two small patios.
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Current name of the square is derived from extinct Church of Virgin Mary Na louži, which was placed next to the current Clam-Gallas Palace. In 20th century, the square began to be used as a big car parking space. In 2019, Prague City Council decided that the square will be turned into a pedestrian zone. Prague Institute of Planning and Development decided that Czech architectonic studio Xtopic will create a study about how the square should look like in the future.
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Filarete completed his substantial book on architecture sometime around 1464, which he referred to as his Libro architettonico ("Architectonic book"). Neither he nor his immediate contemporaries ever referred to it as a Trattato ("Treatise"), though it is usually now called such. The Libro, which comprises twenty-five volumes, enjoyed a fairly wide circulation in manuscript form during the Renaissance. The most well known and best preserved copy of the Libro is a profusely illustrated manuscript known as the Codex Magliabechiano (probably drafted c.
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Artificial stone columns which support the Great Dome, made on site During 1925 the competition, winners made the implementation plan of their project. One of the most important factors was the guarantee of development of the work in a given timeframe. A mechanism to bring the construction time forward was found in the rationalization of architectonic elements; searching for repetition that would serve to save time during the building process. Three materials served to be most important during the construction; concrete, artificial stone and iron.
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The other objects also have a symbolic meaning: the pomegranate is a symbol of royalty, fertility, resurrection and unity of the Church; the apple is a symbol of original sin; the wine refers to the Eucharist sacrament. The finely wrought platter is perhaps an autobiographic element, as Ghirlandaio's father was a goldsmith, and the artist had also received training in that art. The elaborate architectonic elements which frame the scene became a feature in numerous later works by Ghirlandaio. The Funeral of Saint Fina.
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Despite Genzken's diverse work, much of her practice still maintains conventions of traditional sculpture. Using plaster, cement, building samples, photographs, and bric-a-brac, Genzken creates architectonic structures that have been described as contemporary ruins. She further incorporates mirrors and other reflective surfaces to literally draw the viewer into her work. Genzken also uses location placement methods to inflict emotions into her sculptor viewers by making her viewers physically move out of the way of Genzken's sculptor due to the placement of the sculptor.
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She also started to build a video collection for the Academy. When the Jan van Eyck Academie celebrated its 40th anniversary in 1988, architects Wiel Arets and Wim van den Bergh were asked by Mr Graatsma to translate the policy plan of the academy into architectural terms. 'Macchina Arte' was the name for the architectonic concept that was about a complex set of thoughts that converged in the concept of 'machine'. By this time, the Jan van Eyck Academie had truly become an international platform for art.
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The local population strongly opposed this decision; in fact, as the church is so small, it could be preserved by enclosing it in the traffic island separating the two lanes of Lorenteggio. Although of little architectonic value, the church is very ancient (dating back at least to the 11th century), has some interesting (although badly preserved) frescos, and is strongly connected to the Milanese tradition. According to a well known legend, for example, Frederick I Barbarossa prayed in this church before the siege of Milan.
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In 1989 she published her early line drawings in the retrospective book Drawings of Old Boston Houses.Abt Books, Boston, 1989—a quintessentially architectonic work focused on her youth in New England. Her prints, drawings, and paintings have been purchased for the permanent collections of the Wadsworth Atheneum, the Boston Museum of Fine Arts, and the Saudi Arabian Royal Commission for Jubail and Yanbu. (She lived in the Middle East for a number of years and painted there.) She is well represented in private collections around the world.
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Via Lewandowsky works in diverse artistic media. He is most familiar for his sculptural-installation works and exhibition scenographies with architectonic influences such as Gehirn und Denken: Kosmos im Kopf [Brain and Thinking: Cosmos in Mind: 2000] displayed at the German Hygiene Museum in Dresden. By the 1990s his work had already begun to incorporate elements of Sound Art; this has since become an important and integral part of much of his performance work. Content, not form, is the unifying theme in Via Lewandowsky's body of work.
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This church counts with a main nave, a chorus and two lateral naves in each side with tribunes in height. The church shows a rich history, which is visible in the different elements and architectonic styles used. Two small windows between the choir and the tower are the oldest parts preserved, which date to thirteenth century. The church was reconstructed and extended during the sixteenth (expansion of the nave) and seventeenth centuries (construction of tribunes), after the destruction caused by the Thirty Years’ War (1618-1648).
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The Fatarella has irregular and winding streets that present an architectonic element locally known as perxes, which are sections of a street being covered by envigats, or stone arcs, that unite several houses. The origins of the Fatarella present town is medieval, as the facades of many houses show, having porticoes of stone with thresholds carved with different symbols and inscriptions. During the Middle Ages the town was walled to offer protection for its inhabitants, mainly from brigands and wolves. The walls are between in width.
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Located in a small plain of Oaxaca's Sierra Mixteca, Yucuita is some northeast of the city of Oaxaca, the capital of the state. Although the precolumbian Mixtecs were not characterized by monumental architecture, in Yucuita there are two architectonic complexes that have been the object of numerous investigations since the 1930s, when Esteban Avendaño explored the zone (1933).Vela and Solanes (2001, p.40) The most recent excavations at the site were in 1976-80 by the National Institute of Anthropology and History (INAH).
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Padovan became fascinated with the works of Hans van der Laan after being sent van der Laan's book De architectonische ruimte to review because of his knowledge of the Dutch language. He visited van der Laan beginning in 1980, and continued to correspond with him afterward. He became the translator of the book into English as Architectonic Space: Fifteen Lessons on the Disposition of the Human Habitat (1983), and wrote the book Dom Hans van der Laan: modern primitive (1989) about van der Laan.
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As soon as Kocher became professor, he wanted to modernize the practices at the Bernese Inselspital. He noticed that the old building did not suffice the modern standards and was too small – half of the patients seeking medical attention had to be turned away. In spring 1878, he visited several institutions around Europe to evaluate novel innovations for hospitals and implement them if possible in Bern. He wrote down his observations in a lengthy report for the Bernese government, giving instructions even for architectonic details.
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The church rises superficially on a parapet, constructed with stone of ashlar masonry and, the tower of the present bell tower, whose first stage could be related to the fortified tower of the 11th century. In the 13th century to the second body of the tower and the porch of the church would rise. In the construction different architectonic styles are mixed that they go from Romanesque the delayed one (porch), happening through gothic (large windows) and the Renaissance one (greater altar), until practically our days.
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These included the stone that Edmund Blacket designed for his wife Sarah. The stones of a Classicising style form an interesting group, because while some are carved with elaborate Italianate scrolls and pediments, many are blank templates, with the outlined forms of scrolled shoulders, but with no finished architectonic details. The crosses form a smaller group. In nearly every instance they take the form of a Celtic cross, the addition of a circle giving much greater strength to the form when carved in sandstone.
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This place was used as a prison for the rebels, and as a protection for the estuary of Avilés against the attacks of the Normans. According to tradition and written legend, the Cruz de la Victoria (Victory Cross) was forged there. Under the protection of the castle, there was a monastery that gave shelter to the orders of Santiago, San Francisco and La Merced. The inhabitants still use the bulrush and some architectonic elements in the houses built in the lands where the old monastery was.
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Vicente has a museum devoted to him in Segovia, Spain, the Museo de Arte Contemporáneo Esteban Vicente, and a street named after him in Turégano. In March 2011 the Grey Art Gallery at New York University exhibited Concrete Improvisations: Collages and Sculpture by Esteban Vicente. In addition to 60 paper collages, the exhibit included 20 of Vicente's small-scale assemblages called divertimentos (toys), composed from pieces of found wood and covered with white plaster, with others composed of plastic and wood with architectonic elements.
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During the Early Bronze Age the "epicampaniform style", a late expression of the Bell- Beaker culture, became spread both in Sardinia and Corsica. From this cultural period the Nuragic civilization would arise, paralleling similar architectural developments in southern Corsica, in such a way that the Gallura Nuragic facies shows a synchronic evolution with the Nuragic torrean civilization.Giovanni Ugas, L'alba dei Nuraghi, p. 196. Fabula Ed, Cagliari, 2005 However, while common architectonic traditions of Central-Western Mediterranean evidence the close relationships between islands, it is exactly the sculpture tradition that begins to diversify.
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Abelard showed humility in acknowledging his errors, and Bernard exercised great benevolence. The Pope emphasized, in the field of theology, there should be a balance between architectonic principles, which are given through Revelation and which always maintain their primary importance, and the interpretative principles proposed by philosophy (that is, by reason), which have an important function, but only as a tool. When the balance breaks down, theological reflection runs the risk of becoming marred by error; it is then up to the magisterium to exercise the needed service to truth, for which it is responsible.
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On the right there is the Turnul de Strajă (the Watch Tower), reminiscence of the old Princely Court of Iași, along with the galleries underneath the court of the palace. On the left there is a collection of capitals and other stone architectonic elements grouped in a lapidarium. The hall is superposed by a glass ceiling room, where initially a greenhouse was arranged. In front of the palace there is the equestrian statue of Stephen the Great, framed by two Krupp cannons, trophies from the Romanian War of Independence.
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Archaeological collections of BALSA are scattered by several museums and private collections. The best preserved objects are from funerary spoils (good collections of sigillata, glassware, lucernes and personal objects such a complete surgeon kit), a female bust from the Antonine epoch, 17 civic and funerary epigraphed stones, statuettes, coins, architectonic elements, etc. In the present day there is practically nothing to be seen of BALSA. Almost all land became fenced private property, cutting most accesses to the public lagoon-shore, and the few known and visible archaeological remains are kept more or less hidden.
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Boerman studied at the Royal Conservatory of Music in his home town, with Léon Orthel (piano) and, from 1945, with Hendrik Andriessen (composition). From 1956 onwards, Boerman worked in the electronic studios of Delft Polytechnic, Utrecht State University and of The Hague Royal Conservatory of Music, where he has also taught electronic composition (after 1974) and piano. Since the 1970s, he has integrated live electronic music with instrumental and vocal music. Boerman has also composed theatre and ballet music, "music for the listening museum" and, in collaboration with architect Jan Hoogstad, "music as architectonic space".
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Strauss, Cindi, "A brief history of contemporary jewelry, 1960-2006", in Cindi Strauss (ed.), Ornament As Art: Avant-Garde Jewelry From the Helen William Drutt Collection, Museum of Fine Arts, Houston, 2007, p 17 Architectonic jewellery was being developed around the same time. In the 1960s—1970s, the German government and commercial jewelry industry fostered and heavily supported modern jewelry designers, thus creating a new marketplace. They combined contemporary design with traditional goldsmithing and jewelry making. Orfevre, the first gallery for art jewelry, opened in Duesseldorf, Germany, in 1965.
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The artist tended towards a treatment of architectonic themes such as the facades or roofs of houses and, as strange as this may seem in light of the ideology of the group, his paintings became increasingly stylized and abstract. One influence in evidence here is Gat's architectural background. Another is that of the French painter Souverbie under whom he studied. The transformation apparent in Gat's work during these years is better understood against the background of the shift in the attitude to abstractionism and modernism in the mid-1950s.
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The residence is located on the grounds of the chancery. It was constructed in 1994 from a design by O.M. Ungers, who aimed to "find an architectonic expression for the residence of the German ambassador that would be associative of the characteristics" of Germany. The Washington Post has called the residence "one of the most conspicuous diplomatic pads in town" and, in 2015, described it as "a Bauhaus-inspired take on classical Washington" that did not appear dated, even more than two decades after it was built. The residence, pictured in 2008.
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In the 1950s Holzmeister returned to stage design and again worked for the Salzburg Festival (Don Giovanni) as well as the Vienna State Opera (Fidelio, 1955, for the opening of the renovated State Opera) and the Burgtheater. Holzmeister's stage designs always respected the requirements of stage productions but never concealed the architectonic background of their creator. Grave of Clemens Holzmeister in Petersfriedhof Salzburg He is buried in St. Peter's Cemetery in Salzburg. The third and current Grand National Assembly of Turkey building in Ankara was designed by Clemens Holzmeister in 1938.
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Despite its current difficult access, it used to be the main entry to the castle. It is known as Puerta Falsa, due to the fact that at the present time it does not play that role, since a quarry was placed before it. The door had a semicircular arch and it was built with reddish limestone ashlars. The door is framed by an asymmetrical stone coving in the shape of the architectonic adornment called alfiz, above which was supposedly the coat of arms of the owners of the castle.
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In 1970, between the North and Central Basilica and in the western necropolis 55 graves were discovered. In 1955 in the southern part of the North Basilica 23 Slavic graves dating from the 9th to 12th centuries were discovered. Bronze statues from the archaic and classical periods as well as ceramic objects from the Neolithic era were discovered in the two parts of the civil basilica. An older part of the second synagogue was discovered in the Central Basilica, as well as architectonic structures and 23 Slavic graves in the North Basilica.
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The presence of a sunken patio, as well as a construction of mixed plant (rectangular and circular) is an indication of a "yácata" (Tzintzuntzan); both constructions are samples of two different architectonic traditions, two cultural groups and two different time and space distributions. Remains of ancient housing units are underneath present day houses. This item needs to be confirmed. Structures identified are the sunken plaza, Mound 1 and 2 in the Temple and the "tomb patio" are well-known; by their respective locations within the site, as for the constructive systems used to build them.
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His plantings and park designs were disciplined and architectonic. Yet his characteristic use of the Trampelpfade (paths trampled randomly over time by users) in his parks belies the rigidity of many of his designs. He also emphasized the relation of plant material to technology—the “Wesen der Pflanze” (the character of plants) over their purely aesthetic use. Later in the 1920s, Migge’s designs moved from individual productive garden plots (based on the Kleingarten and Schrebergarten model) to the Kolonial Parks, grouping smaller plots around a communal park area.
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During the procession, there is a fireworks show, sponsored by the Stevedores' Union, marking the passage of the Saint until its arrival at the Cathedral. At daybreak of the next day, the faithful start to gather at the Old City, believing that this will bring them closer to the Virgin. At 7 o'clock, the archbishop conducts the image to the carriage as bells toll and fireworks explode. The main procession then goes through the streets of the city to the Architectonic Centre of Nazareth, known for its Sanctuary Square.
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He also designed the headquarters of the Commerzbank Berlin (1969–1974). The largely underground German Pavilion at Expo '70 (the spherical auditorium is out of view to the right)) He designed the German Pavilion for the 1970 World's Fair in Osaka (Japan). With this building Bornemann decisively renounced the large architectonic gesture by burying the exhibition area below ground; a spherical auditorium served for multimedia presentations of current trends in electronic music. University Library in Bonn Later there appeared, amongst others, the extension of the Rathaus of Berlin-Wedding and the University Library in Bonn.
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AFK and by the Mondriaan Fonds. The Piertopolis exhibition at Gemak in January 2012 converted the entire museum into a Buckminster Fuller / New Babylon (Constant Nieuwenhuys) idealistic Utopian architectonic landscape for a future society."Guzman's Piertopolis in Gemak" , Mister Montley, 3 February 2012."Piertopolis in Gemak", Gemak, January 2012. His film the 'Legend of Billy Maclean' premièred in the National Centre for Performing Arts (NCPA), Mumbai, India’s premier cultural institution and his project DATED performed at the Divan Du Monde and Petit Ban in Paris (invited by Dimanche Rouge).
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Major excavations were undertaken in the early 20th century. Thus far, the main residence of the estate has been identified, covering, in the imperial period, some 40 x 110 meters of built space and gardens. Black and white mosaics (formerly dated to Horace's lifespan, but now known to be from the Flavian dynasty), marble wall revetment and architectonic elements, an elaborate water system, and artistic and utilitarian remains have been found. A selection of the material is on display in the local museum in the town of Licenza.
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Interior of Luz Station The station is a remnant from the period when the coffee was a major source of income to the city. For decades, the station tower dominated the city's skyline and its clock was the reference to the other clocks in São Paulo. At its height, in the early 20th century, when the Luz neighbourhood was an important part of the city, the station was part of an architectonic block that was a major reference inside the city. The station helped to build the city's image.
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His early style was strongly influenced by his teachers Kenneth Leighton and James MacMillan, along with a number of American composers among them John Adams and William Schuman. His more recent work has crossed disciplines and has been permeated by influences spanning contemporary architecture, theatre and traditional diatonic elements. His "Visions and Interludes", premiered in Chicago in 1997, demonstrates architectonic elements as represented by sonic structures. His many compositions include his 2008 Alba Song for Panpipes and Orchestra, which has been performed by the Volgograd Philharmonic Orchestra (VDE Gallo).
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Trei Ierarhi Church inscription and exterior details The church became renowned for the extraordinary lacery in stone which adorns the facades, from bottom to the top of the derricks. One can count over 30 non-repeating registers of decorative motives. Western architectural elements (Gothic, Renaissance) combine with the Eastern style, of Armenian (Khachkar), Georgian, Persian, Arabian or Ottoman inspiration, in a totally bold conception, whose result is a harmonious ensemble. The effusive scenery makes the church resemble a shrine of architectonic proportions, especially conceived to protect the Sfanta Cuvioasa Parascheva's relics (1641).
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On site are seven enormous architectonic structures (pyramidal structures) of different sizes and styles, that form sunken patios, squares, a game of ball, esplanades, and a road. Ceramic superficial vestiges found suggest that the last occupation would be tied chronologically to the Toltec expansion. This prehispanic settlement is located on the northern Mesoamerican border, its main monuments were sky observatories. Its urban design reflects cosmic cycles linked with farmers’ groups’ life that also were hunter-gatherer in the surrounding semi-desert regions, and traded with other Mesoamerican regions artifacts used in ritual activities.
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Stone craft detail Stained glass detail Alfons Juyol i Bach was a Catalan sculptor specialized in the decoration of architectonic elements. He studied at la Llotja, where he was awarded a prize in drawing. When he finished his education, in late April 1900 together with his brother Josep he opened a workshop of stone cutting and sculpture on the street of Muntaner, 31, Barcelona, called Hermanos Juyol that would soon acquire a deserved prestige. He was a versatile artist who collaborated with architects, sculptors, smelters, blacksmiths and carpenters.
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Part of the changes included large murals on mortar within the structure, and attributable to this period. The coat-of-arms of the Tavora decorated many parts of the building, but were later destroyed by the Marquis of Pombal, following the attempted Regicide of King D. Joseph. The gardens, a Nasonian inspiration, were divided by architectonic alleys of with balustrades and small villages of allegorical sculptures, while along the river there ran a balcony. In the 20th century, an industrial purchased the building, installing in the gardens a milling factory, and later a silo.
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Endre Rozsda and Péter Esterházy at an opening in Várfok Gallery From the start of the 1960s, Rozsda's work underwent another change: the tensions and harmonies of architectonic structures and swirling colors created a richly detailed microcosm. In his effort "to control time" and dissolve reality in his imagination he continued to rely on Surrealism, although his means of expression became increasingly characterized by lyrical abstraction. In 1970 he became a French citizen. In 1979 he set up a studio in Le Bateau-Lavoir and continued to work there until the end of his life.
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Casagrande & Rintala - Marco Casagrande and Sami Rintala - is a Finnish architect and artist group producing architectonic installations 1998-2003 for international venues of contemporary architecture and art. Their works are moving in-between architecture and environmental art. \- World Architecture Community Contemporary -magazine 2003 For their landscape installation 1000 White Flags (summer 2002), for example, the artists speckled a downhill-skiing range in Koli Nature Park, Finland, with flags made of used sheets from mental hospitals. Casagrande & Rintala here drew attention to the madness of businessmen who cut down ancient forests.
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The lecture "Our architectonic concept of space" was delivered in 1931 on the occasion of Asplund being appointed professor of architecture at the Royal Institute of Technology in Stockholm. Asplund published few theoretical texts. The lecture was later regarded as an important contribution to the attitudes of Asplund, as well as others of his generation, towards the architectural problems of the time. The lecture has its background in the then well known 2-volume book by German philosopher Oswald Spengler "The decline of the West" (1918 and 1922).
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The manor house was built at the turn of the 17th and 18th century and, undoubtedly, it is one of the most important monuments in the Sierpc area and the oldest architectonic laic object in the town. It is a timber house with a thatched roof. There are plenty of mysterious legends and stories about "Kasztelanka" and the adjoining Benedictine monastery which is connected to it via a corridor. The monastery is more massive and solid, indicating it may have had a defensive purpose, perhaps against a Swedish attack.
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However, when the order reached Manuel, he was greatly relieved as the order made Manuel the heir to John II's throne. John II died on 25 October 1495 and Manuel became monarch of Portugal. During his reign, Manuel expanded the Portuguese Empire, making it the most formidable power in all of Europe at the time. From his countless riches from India, after Vasco da Gama discovered the maritime passage to there, Manuel created the most luxurious court in all Europe and founded countless architectonic wonders throughout Portugal in the Manueline style, named for the king.
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Los antiguos hoteles de inmigrantes. Buenos Aires, Colección Arte y Memoria Audiovisual. Solar de Arte y Memoria Audiovisual [Solar of Audiovisual Memory and Art]: El Solar de Arte y Memoria Audiovisual was designed and architectonically made by the author. Along with his audiovisual work and with the theory related to it, the Solar is the material expression he has taken advantage of also to enter into the architectonic field the set of philosophical concepts which provide for all his creation; these themes are also materialized in his literary works.
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The non-homogeneous division of the façade, the varied architectonic elements such as asymmetric wings, porches, balconies and bays, generally corresponded to the principles of the Art Nouveau style, although the building was not free from the motifs of Neo-Gothic. One of the rooms in the mansion was decorated with wall paintings in the Polish Secession style by the Polish painter K. Stabrowski. The building was erected in bricks and stone. The owner of the new manor building was Eugenia Kierbedź (1855-1946), known as big devotee of Polish modern art and patroness.
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Designed by the Moscow office SPEECH Tchoban & Kuznetsov, the Museum for Architectural Drawing, completed in 2013, is a four-storey solid corpus with a glass floor stacked on top. The profile of the four floors is reminiscent of casually piled up blocks. Its closed surface is detailed with strong magnified fragments of architectonic sketches in relief form. The line drawings (original drawings by Pietro Gonzaga and Angelo Toselli were usedMuseum // Architectural Drawing in Form & Function, BerlinArtLink) and the colour of the cast concrete refer to the purpose of the building as a place for exhibiting architectural drawings.
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Born in Langenstein, Hesse, Germany, Pabst immigrated to the U.S. in 1849 and settled in Philadelphia, Pennsylvania, where he would make his professional career. The excellence of his craftsmanship elevated him above his peers, as did the strongly architectonic (building-like) quality of his furniture designs—often massively scaled, with columns, pilasters, rounded and Gothic arches, bold carving and polychromatic decoration. He was a master at cameo-carving (intaglio) in wood - veneering a light-colored wood over a darker, then carving through to create a vivid contrast. Some pieces were adorned with decorative tiles, others with painted glass panels backed with reflective foil.
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64; New York Times (10 January 1943), p. 45 The recital was reviewed by Virgil Thomson in the New York Herald Tribune who wrote: > The beauty and variety of tone, the impeccable mechanism, and the noble, > architectonic conception were great pianism and great musicianship. It is > not customary to compare the work of local artists favorably with that of > the foreign-born great, but I cannot refrain from doing so in this case, > because it seemed to me that Mr. Kirkpatrick was playing the piano as it is > not often played by anybody.Quoted in Princeton Alumni Weekly (12 February > 1943), p.
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Located west of complex A. Comprises a huge structure with a set of large walls rooms and beautiful stairways and patios that provide access to their different parts and correspond to different constructive times. It has six architectonic overlays, corresponding to different periods; the building has an important tomb with a jaguar bas- relief on a monolithic rock that forms the entrance. The head of the jaguar is engraved in the lintel with the forelegs flanking the entrance. The constructions simplicity and generosity of open spaces in plazas or patios, lead to imagine civic or popular activities.
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John Ghelfi He went to Paris on his own for six months, studying and attending painting classes. After returning to Curitiba, he transformed his studio into a meeting place for artists and writers. There, according to Lange de Morretes, Ghelfi imagined a Paranaense architectonic style, developed later on by Turin and Lange as part of the Paranista Movement proposals. His premature demise, in his home town of Curitiba, aged 34, and the possible destruction of part of his paintings explain the small number of works left by Ghelfi, in spite of which he has an outstanding place in the Paranaense art history.
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Surveys were undertaken at the beginning of the following decade, resulting in the identification of various structures, including impermeable mortar tank plastered with lime, sand and tile. The work in the locale was discontinued, owing to various reasons, but resulted in the collection of architectonic elements, such as tegulae (rectangular roof tiles) and imbrices (overlapping roof tile). There were also artefacts exhumed that constituted the residential area, as opposed to the mainly agricultural area around the complex. This interpretation was reinforced by the stucco walls, and quality of excavated materials (such as glasses, bowls and ceramics, like the pots and pans discovered).
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In 1999, the Sangro Valley Project uncovered the precinct of a sanctuary of unexpected wealth and sophistication adjacent to this complex. The existence of a late-Hellenistic sacred buildings was demonstrated by the large amount of architectonic debris made part of the second-phase terrace, which was supported by a large, late second century B.C. terrace wall of substantial polygonal masonry. The area appears to have been rebuilt in the Augustan period with another phase of terracing wall, and there were further later phases of rebuilding. In 2003, the recovery of a complete stratigraphic section across the site was completed.
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They also added objects that are commonly seen in real life such as vases and shelves along with items that appeared to be sticking out of the wall. This style was intended for viewers to feel as though the actions in the painting were taking place around them. It is characterized by use of relative perspective (not precise linear perspective because this style involves mathematical concepts and scientific proportions like that of the Renaissance) to create trompe l'oeil in wall paintings. The picture plane was pushed farther back into the wall by painted architectonic features such as Ionic columns or stage platforms.
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In the last issue, Jeanneret, under the pseudonym Paul Boulard, writes of how the laws of nature were manifested in the shape of crystals; the properties of which were hermetically coherent, both interiorly and exteriorly. In La peinture moderne, under the title Vers le crystal, Ozenfant and Jeanneret liken the properties of crystals with the true Cubist, whose œuvre tends toward the crystal.Jan de Heer, The Architectonic Colour: Polychromy in the Purist Architecture of Le Corbusier 010 Publishers, 2009, p. 139, > Certain Cubists have created paintings that can be said to tend toward the > perfection of the crystal.
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Victoria Hall was designated a National Historic Site in 1995 as a superior and rare example of a commercial building with a decorative, hand-made architectonic sheet metal facade. Victoria Hall's well- designed and well-crafted three-story metal facade, made up of high-relief architectural elements, was, at the time of designation, largely intact. While this building was designated in 1995, a bilingual bronze plaque (which is the standard form of commemoration) has not been yet placed. Discussions about plaques are held between the owners of National Historic Sites and the appropriate Parks Canada Field Unit.
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Many architectonic pieces include flexible or moving elements, the better to reflect the physicality of the larger objects they are drawing inspiration from. Schocken described her pieces as "linear machines," further explaining that "movement plays an important part...[it] gives the brooch a life of its own even when not being worn...but when being held." In 1989, Gralnick released a series of necklaces that incorporated spools, pulleys, and cranks, highlighting the physics and mechanics of movement. The architect Eva Eisler created a series of jewellery pieces in the 1990s which used only tension to hold the parts together.
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Bakhtin further states: "It is in relation to the whole actual unity that my unique thought arises from my unique place in Being."Bakhtin 41 Bakhtin deals with the concept of morality whereby he attributes the predominating legalistic notion of morality to human moral action. According to Bakhtin, the I cannot maintain neutrality toward moral and ethical demands which manifest themselves as one's voice of consciousness.Hirschkop 12-14 It is here also that Bakhtin introduces an "architectonic" or schematic model of the human psyche which consists of three components: "I-for-myself", "I-for- the-other", and "other-for-me".
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Ken Johnson has described Pousette-Dart's early artwork as focused on a dualistic tension "between the architectonic, rectilinear structure of the panel and grid and the freely expressive, space-evoking possibilities of painting."Johnson, Ken. "Joanna Pousette-Dart at Scott Hanson," Art in America, December 1988, p. 157. Her large-scale, mid-1970s paintings employ expressive paint handling, velvety sand-textured surfaces, and soft-edged, interwoven rectangular areas of dark, close-valued grays, purples and dark reds; Roberta Smith and Hilton Kramer likened their atmospheres to the work of artists such as Klee, Rothko and Braque.
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Only with the election of Francesco II of the House of Gonzaga did artistic commissions in Mantua recommence. He built a stately house in the area of the church of San Sebastiano, and adorned it with a multitude of paintings. The house can still be seen today, although the pictures no longer survive. In this period he began to collect some ancient Roman busts (which were given to Lorenzo de Medici when the Florentine leader visited Mantua in 1483), painted some architectonic and decorative fragments, and finished the intense St. Sebastian now in the Louvre (box at top).
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In the next few years the psychedelic swirling of motifs regularly morphed into architectonic structures in his paintings. While these structures were not geometric or systematic, they pointed in the direction of some kind of order. Rozsda's intention may have been to rearrange a shattered world into a system – built on the tensions and harmonies of color and form – where the rules of the conventional three-dimensional space no longer apply and where, as a result, the horizon of time may be represented as well. Examples include Headlong into a dream (1960), The Tower of Babel (1958–1961) and Saphirogramme (1969).
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An example of the ornamental ruins. Many remains of the ancient acropolis are still standing, consisting probably of the remains of the temples of a highly ornamental character and of which Sozomen speaks;vii. 15 it is now enclosed in ancient castle walls called Kalat el-Mudik (Kŭlat el-Mudîk); the remainder of the ancient city is to be found in the plain. Museum, view of the courtyard, Apamea in 2002 The most significant collection of objects from the site, including many significant architectonic and artistic objects, that can be seen outside of Syria are in Brussels at the Cinquantenaire Museum.
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The windows of Percy Bacon Brothers were inspired by those of the 15th century, with the central figures generally framed by architectonic canopies of Late Gothic or Early Northern Renaissance form. The windows are opulent in style, generally depicting Biblical figures and historical figures of the Church richly attired in heavy robes, often decorated at the borders with pearls. The lower section of the window often contains a scroll bearing the relevant inscription, and supported by two angels. Because their period of operation spanned the First World War, the firm was called upon to produce a great many memorial windows.
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Berlin Opera House and St. Hedwig's Cathedral in 1850 Knobelsdorff was involved in the construction of St. Hedwig's Cathedral, but it is uncertain to what extent. Frederick II presented the Catholic community with complete building plans, which were probably primarily his ideas which were then realized by Knobelsdorff. The opera house, by contrast, was completely designed by Knobelsdorff and is considered to be one of his most important works. For the frontage of the externally modestly structured building the architect followed the model of two views from Colin Campbell's "Vitruvius Britannicus", one of the most important collections of architectonic engravings, which included works of English Palladian architecture.
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Shikasta has been called an "anti-novel", and an "architectonic novel". It is the story of the planet Shikasta from the perspective of Canopus and is presented as a case study for "first-year students of Canopean Colonial Rule". It contains a series of reports by Canopean emissaries to the planet, extracts from the Canopean reference, History of Shikasta, and copies of letters and journals written by selected Shikastans. The history of Shikasta is monitored by the virtually immortal Canopeans, from Rohanda's prehistory, through to Shikasta's "Century of Destruction" (Earth's 20th century), and into Earth's future when the Chinese occupy Europe and World War III breaks out.
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The surrounding area is largely forested and provides opportunities for bird and butterfly watching, and other nature observation. It is a community organization that conserves and transmits local history, and strengthens the identity of the towns. In 2001, it was declared a Historical Architectonic Patrimony. The Ecomuseum is in an area that holds evidence of the biggest scale of gold mining in Costa Rica, where the Company “Abangares Gold Fields of Costa Rica” operated. It contains an outdoor exhibition of mining machinery, paths that lead to the ruins of an old stamp mill house, “Edificio de los Mazos,” “Casa de la Pólvora,” and great natural scenery.
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Ethnographic Museum of Kavajë The Ethnographic Museum of Kavajë (completed in 1971) was built on a restored building with a hajat or gallery, the type of which was widespread throughout 18th century Albania. Its architectonic origin however dates back to the late antiquity in the typology of a "villa rustica", commonly present in the region. After the full restoration of the building, the newly formed museum would be given the status of a cultural monument. The managing group which programmed the conceptual orientation and realisation of the museum was made up of the most reputable authorities of the time in the studies of ethnography.
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Roman Period sites in Kosovo Part of a series of articles upon Archaeology of Kosovo The Roman site of Çifllak in Kosovo is situated on the left side of the Drin river, not far from the shore. Archaeological researches carried out at the Çifllak area during the first decade of the first millennium, resulted with the discovery of the remains of a Roman bath complex, with wide dimensions, and where a pool has been unearthed and documented. Archaeological material discovered at this site show local earthenware production and imported terra sigillata. Besides metal tools, coins, glass jars and architectonic structures, various artifacts for everyday use have been unearthed at this site.
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Belcourt shifts in a geometric direction, replacing formerly sweeping vistas with dense, fractured configurations of stacked brick- or box-like, modular forms that press against the picture plane and defy spatial logic. The imagery of these paintings ranges from clearly referenced landforms—sometimes wrapped around architectonic, gate-like shapes or monoliths—to almost purely abstract, fluid configurations of soft-edged, rectangular shapes that resemble the compressed stacking of form in a cityscape. Belcourt's portrayal of light through the interplay of lighter façades and shadowed edges is a key component of her later work, creating a convincing sense of three-dimensionality and space beyond the canvas in essentially flat, two-dimensional paintings.
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Rozenman's sculptures remind patrons of small architectonic structures, residues of an industrial building in decay; motors and machines rusted through the passing of endless time, or prehistoric creatures fossilized in a piece of amber; the remains of a world that ceased to exist thousands of years ago. The sculptures make a robust impression, threatening, but at the same time they are ambivalent, because decay, and the object's transitory nature are themes that are recurring in his work. Rozenman's sculptures are objects whose essences existed in the past, but seem that they have no present function. What remains is purity and beauty in an unconventional way.
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Towers of churches Na Trávníčku, st. Apollinaire, Catherine's stand in one line and they have the same architectonic characteristic. This hypothesis leads to speculations that location of these churches was planned in the original project of the city, although those individual church buildings were built in this part of New Town one by one (Slovany 1347, Karlov 1352, Catherine 1355, Travnicek 1360, Apollinaire 1362). The cross of those buildings meant an unusual blessing to the town. There is a modern legend about the origin of the chapter: „Borivoj II. who had a conflict with his brother Vladislaus was arrested by the emperor Henry and taken to Germany.
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Fortuitously timed with a renaissance in interest in traditional crafts during the sixties, the book further spurred interest in Janet Doub Erickson's art, which at times was abstract and Modernist in style, but more often representational and often focused on the architectonic aspects of landscape. A deep interest in New England and its history pervades much of her work throughout her life. Despite creative forays into different styles, her painted work has been at times more traditional and occasionally rather whimsical in its outlook and execution. This contrasts rather dramatically with her textile design and execution, which is often considerably more innovative and Modernist.
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In this first painting of the series, juxtaposed arabesques and distinctive diagonals interconnect dynamically, suggesting the bridge's complex architectonic engineering.Albert Gleizes, On Brooklyn Bridge (Sur Brooklyn Bridge), Guggenheim Museum, New York As in earlier works by Gleizes, this canvas is directly engaged with the environment. While highly abstract, Brooklyn Bridge maintains an evident visual basis. From 1914 to the end of the New York period, however nonrepresentational, works by the artist continued to be shaped by his personal experience, by the conviction that art was a social function, susceptible to theoretical formulation, and imbued with optimism.Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition.
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The Cueva del Tajo de las Figuras, located near the town of Benalup-Casas Viejas, belongs to the group of paleolithic and neolithic sites in southern Spain that have examples of rock art that the Spanish call "art sureño" (southern art). In 1913, Juan Cabré and Eduardo Hernández-Pacheco began the first systematic studies of "art sureño" at this cave. The paintings are mostly representations of birds and odd four-footed man-like figures dating from neolithic times. Cave painting of deer at Tajo de las Figuras In 1924 the Cueva del Tajo de las Figuras was declared an Artistic Architectonic Monument by the Spanish state.
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They allude, occasionally, to the structure of the human body or modern machines, but the semblance functions only as "elements" (Reverdy) and are deprived of descriptive narrative. Csaky's polychrome reliefs of the early 1920s display an affinity with Purism—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures. With this intense flurry of activity, Csaky was taken on by Léonce Rosenberg, owner of the Galerie de l'Effort Moderne, 19, rue de la Baume, Paris. By 1920 Rosenberg was the sponsor, dealer and publisher of Piet Mondrian, Léger, Lipchitz and Csaky.
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Though apparently not skyscrapers in an international context, the 19 storey buildings stand out on the Stockholm skyline and so are called "scrapers". Built 1952-1966, they were labelled the architectonic five "trumpet-blasts" (trumpetstötar) of the renewed city centre by the Municipal commissioner (Borgarråd) Yngve Larsson. The buildings are designed by different architects (from Hötorget and south: David Helldén, Sven Markelius, Anders Tengbom, Lars-Erik Lallerstedt, and Backström and Reinius) and there is thus a slight variation in the curtain wall façades. Curtain walls are rare in Sweden and were here directly inspired by the Lever House by Skidmore, Owings and Merrill in New York City built in 1951-52.
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Warren Carther's interest in glass as an art form began with blown glass. In 1977, while a student at the California College of the Arts, in Oakland California, Carther began to envision creating enormous walls of sculpted glass. He soon realized that the architectonic scale he was seeking was not possible at the end of a blowpipe, therefore in order to achieve the scale he desired, he would have to push glass in new ways, beyond what had been considered in the past. Thus began a long process of experimentation and discovery in technique and structure, which led to the work he currently creates.
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The Museum of the Memory of the City (Museo Memoria de la Ciudad) is located in the Viola House (Casa Viola), one of the nine buildings that make up the architectonic complex Manzana de la Rivera, in front the Government house, in Asunción, capital of Paraguay. This Museum was an idea of the architect Carlos Colombino, and was inaugurated on 14 August 1996. a journey through its different spaces will allow to make a reading of Asuncion's history, in its different phases of development. The objects that it treasures had been collected in the country, as well as in the cities of New York City, Madrid, Paris, Montevideo and Buenos Aires.
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The codex is one of the most famous manuscripts belonging to the Bosnian Church in which there are some iconographic elements which are not in concordance with the supposed theological doctrine of Christians (Annunciation, Crucifixion and Ascension). All of the important Bosnian Church books (Nikoljsko evandjelje, Sreckovicevo evandelje, the Manuscript of Hval, the Manuscript of Krstyanin Radosav) are based on Glagolitic Church books. New analyses of style and painting techniques show that they were inscribed by at least two miniaturists. One painter was painting on the blue background, and the other was painting on the gold background in which the miniatures are situated in a rich architectonic frame.
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The camp was discovered in 1985 by the Aerial archaeologist Otto Braasch. Sondages and especially magnetometer research during the investigations in the period 1986 to 1993 by the Landesamt für Denkmalpflege in Würzburg revealed an older, smaller camp, roughly nine hectares in area, and a larger, more recent camp, roughly 37 hectares in size. Of the smaller camp, only the ditch has survived; of the larger one there is a 2.8-metre-wide earth and wood wall and remains of the interior buildings. Map of the Roman province of Germania showing Marktbreit An important architectonic feature is a Praetorium (commandant's residence) oriented axially and joined to the huge Principia (staff building).
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Rituals was a turning-point in Ching's compositional evolution, and marked the first time that his diverse cultural background and historical training were allied to his mastery of counterpoint and of large- scale forms. Something of this achievement was recognised by local critics: > Strangely, while the music took us to era after era, we had a feeling that > time was standing still. With its layering upon layering, its piling upon > piling on of density upon density of sound, it amounted to an architectonic > marvel, a milestone... In brief...it is highly intellectual, singularly > refined, yet to the point—very erudite, very Ching: the work of a creative > genius.Goquingco, Leonor Orosa.
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Alexander Benois, vocal anti-modernist activist of Mir Iskusstva group, defended the classical tradition of Saint Petersburg, rejecting both Art Nouveau and "official" Russian Revival, arguing that the classical city must return to its roots. In the same year, Evgeny Baumgarner specifically criticized Otto Wagner: "In leaning toward the utilitarian, he falls into an obvious absurdity. Proposing that the contemporary architect "come to terms" with the statement nothing that is not practical can be beautiful, he lowers the architectural art, praised with such feeling, to the level of an applied craft... the theory of Professor Wagner proposes aesthetic suicide. The human soul requires architectonic beauty just as human vision requires good illumination.".
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Palazzo Cesi in its original form with 12 windows and the angular tower, still along the Borgo Vecchio road, around 1900 Despite its 20th century reduction, the palace has retained its late Renaissance character, and together with the palazzi Torlonia, dei Penitenzieri, and Serristori, is one of the four Renaissance palaces in Borgo which survived the destruction of the spina between 1937 and 1950. The brick façade, which on the ground floor has a rusticated render, contains several shopfronts.Gigli (1992) p. 118 The main portal, which was moved during the reduction of the façade from 12 to 8 bays, is flanked by two Doric pillars, and bears an entablature with metopes composed with architectonic elements of the Cesi family.
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Founded two years after Amfiteatrof's death, Amfiteatrof Music Festival offers every summer, from july to september, a considerable number of concerts and music performances. The festival is well known for the architectonic, historic and geographic hallmarks of the sites where they are held: old churches, castles, noble houses, small scenic squares (the so-called "piazzettes"), old towns and convents, gardens, parks and amazing heights and cliffs overlooking the Ligurian sea. Partly due to these features, a large number of tourists, including foreigners, regularly attend the concerts during the summer season in the Levanto area, near to the Cinque Terre towns. Bell tower of St. Andrew's Church (Chiesa di S. Andrea) in Levanto, the main location of the Festival.
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Albert Lilienberg was appointed city-planning superintendent in 1927, and a year later he produced the first proposal for a public square on the location in his general plan of 1928. In his proposal he envisioned a square whose north-south oriented axis would line-up with Sveavägen intended to be extended south across the square down to the waterfront with widened Hamngatan and Klarabergsgatan joining in from west and east. After this first proposal, the square is featured on every subsequent city plan produced for the area, with alternations in width and length. Notwithstanding the considerable number of revised proposals produced, surprisingly few were preoccupied by architectonic considerations, instead focusing on optimization of traffic flow.
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He adopts a subdued tone from a sense of decorative > fitness, his aim being to ensure the flat effect and the subordination > proper to mural backgrounds, as distinct from the meretricious illusion of > prominent relief and receding distances, which disqualifies the average > easel- picture from a place in any broad architectonic scheme. Mr. > Frampton's compositions, on the contrary, are instinct with a restful and > dignified serenity, no less satisfying than transcendental. As typical of > this phase of his work may be mentioned a large panel depicting a scene from > the legend of St. Brendan. The incident is one with which all readers of > Matthew Arnold's poems must be familiar—to wit, St. Brendan encountering > Judas Iscariot on the iceberg.
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Carlos Arroyo was born on June 14, 1964. In 1990, after graduating in Linguistics at the Institute of Linguistics in London, he went back to Madrid where he studied Architecture at ETSAM and received ISOVER award for best PFC (Master Thesis Project) of the school in the year he graduated, 1997. From 2000 to 2008 Arroyo was professor of Architectonic Projects at Universidad de AlcaláDepartament of Architecture - Universidad de Alcalá and since 2005 at Universidad Europea de MadridUniversidad Europea de Madrid where he currently leads a Master Thesis Unit. He is honorary member of Europan Spain National CommitteeMinutes of Europan España Meetings of July 24th-27th 2003 (English) and member of Europan Europe Scientific CommitteeEuropan Europe - Scientific Committee.
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Some local sources of inspiration for Adcote are thought to be Benthall Hall in Broseley and Madeley Court, the former home of the Darby family. It is thought that "Shaw himself regarded Adcote as his best house"Journal of the Royal Society of Arts. p166. Published for the Society by George Bell and Sons, 1981 It is also considered that the house is "perhaps the best example of the country houses built (by Shaw) between 1870 and 1880". Adcote House "has become famous mainly due to Shaw's autograph drawing A masterpiece of Architectonic drawing, it now adorns the Diploma Gallery, Royal Academy of Arts, London."The English House By Hermann Muthesius, Dennis Sharp. p128.
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Olympia of Hawaii, in the collection of the Honolulu Museum of Art, exemplifies Tennent's enchantment with color and use of the bright, warm hues endemic to Hawaiʻi. She adapted line and form to the appropriately vivid medium of oil. The majestic, explicitly Polynesian women that would figure in Madge Tennent's iconic imagery surfaced in works such as Reclining Girl (1929) and Three Filipino Ladies (1930), each a synthesis of European modernism's languid, architectonic femininity with Tennent's own racial fixation. Generously applying paint with a palette knife, she avoided sensuousness in the representation of skin texture, instead imbuing the trademark sense of strength and grandeur tinged with fragility apparent in Holoku Ball and Hawaiian Singer (early 1930s).
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After Skinner completed his excavations only a few minor archaeological investigations were conducted at Las Mercedes until 2005. During May and June 2005 Ricardo Vásquez, an archaeologist from the Museo Nacional de Costa Rica, and Dr. Claude Chapdelaine with a group of his students from the University of Montréal, Canada conducted an archaeological field-school. Their work focused on a area of the central sector of Las Mercedes. By the end of the field- school, the team's stratigraphic excavations and mapping labors resulted in drawing of a general site plan, digital mapping of the most outstanding architectonic features, dating the site's earliest occupation to around 3,000 years ago, and the beginnings of carbon 14 based chronology for the site.
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Partly reconstructed from Schorske's articles published in the American Historical Review, the book is structured into seven thematically interlocking chapters. Each chapter considers the interrelationships between key artists with the development of psychoanalysis and what was -- at the time -- viewed as an end of history. In the 'Introduction' the author claims that the text was born from his desire 'to construct a course in European intellectual history, designed to help students to understand the large, architectonic correlations between high culture and socio-political change' (p. XVIII). In his view, Vienna was a peculiar cultural environment due to the late ascendancy and early crisis of its liberal middle class between the 1860s and the 1890s.
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The theme of the architectonic group of figures to the left in Doux Pays is echoed by Seurat; where Puvis shows a half-pedimental group in one plane, Seurat uses recession, and suggests association by means of repetition. The two paintings also share the technique of dividing their large canvases into areas of predominant colours—of blue and gold in Doux Pays, to rather cool effect, and of blue and green in the Bathers with a warmer result. In both paintings a prominent figure breaks into the horizon just off-centre, a curved sail appears in almost the same spot to the right, and triangular poses are observed, as are boys in varying degrees of rest.
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View towards the high altar The white interior combines elements of St. Peter's Basilica and St. John Lateran in Rome. The magnificent decoration shows the influence of Roman Baroque. The overall effect is dominated by the contrast between the white of the walls and of the stucco on the one hand and the black and gold of the architectonic elements and of the fittings on the other. Giovanni Battista Artari, a stuccoist, decorative artist and sculptor, created the stucco work of the interior as well as the larger than life-size stucco figures of the Apostles, who are represented in accordance with their description by the Apostle Paul in Galatians 2.9 as "pillars" of the church.
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Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premises. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia). Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch.
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This set can be called the regular and semiregular honeycombs. It has been called the Archimedean honeycombs by analogy with the convex uniform (non- regular) polyhedra, commonly called Archimedean solids. Recently Conway has suggested naming the set as the Architectonic tessellations and the dual honeycombs as the Catoptric tessellations. The individual honeycombs are listed with names given to them by Norman Johnson. (Some of the terms used below are defined in Uniform 4-polytope#Geometric derivations for 46 nonprismatic Wythoffian uniform 4-polytopes) For cross-referencing, they are given with list indices from Andreini (1-22), Williams(1-2,9-19), Johnson (11-19, 21–25, 31–34, 41–49, 51–52, 61-65), and Grünbaum(1-28).
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The superior body is decorated with half columns finished off with pinnacles and an arch of half point with two couples of columns of Tuscan style, which is in turn finished off with two pinnacles and kind of a bowl showing a cross. The tower of the steeple is embedded to the facade and it has as ornamental elements rough columns, arches of half point, entablatures, and pinnacles, following the architectonic style of the temple. The high of the tower ends with a pointed dome. The church possesses colonial images and parochial documents of the 18th century. This antique population, in remote ages, gives birth to an oriental region of the country called “hueytlato” or primitive Tula.
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He skillfully emphasizes this by subordinating the lateral risolites to the central, imposing group of columns of purely decorative, not architectonic, function, deliberately building up tension toward the center of the sculpted front. Increasing plastic expression toward the center is a favorite method of the architect’s for producing strong concentration in a building. Rastrelli uses the giant order, the method of visual fusion of the second and third floor windows, typical for the Baroque, and the differentiated arrangement of columns closely adjacent to the wall in order to create a masterful effect and an impressive Baroque façade facing St. Petersburg's main thoroughfare. There is no doubt that Italian architect Guarino Guarini’s heritage is reflected in the Russian architect's work.
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Screen City Festival 2015 was curated by Daniela Arriado (Norway/Chile) and guest curators Marin Mazanec (Czech Republic) and Eliška Děcká (Czech Republic). The 2015 Festival took a thematic point of departure in the Europe’s post-industria climate as affecting Stavanger city’s architectonic and social spaces. Artists 2015: Harun Farocki (Germany) / Antje Ehmann (Germany) / Katharina Gruzei (Austria) / Rosa Barba (Italy) / Beathe C Rønning (Norway) / Matěj Al Ali (Czech Republic) / Tomáš Moravec (Czech Republic) / Dan Gregor (Czech Republic) / Michal Pustějovský (Czech Republic/United Kingdom) / Pjoni (Slovakia) / Ján Šicko (Slovakia) / Nils Henrik Asheim (Norway) / Knut Åsdam (Norway) / Martin Blažíček (Czech Republic) / Greg Pope (United Kingdom) / Veronika Vlková (Czech Republic) / Kateřina Koutná (Czech Republic) / Ane Hjort Guttu (Norway) / AniScreen (Czech Republic).
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Village of Čista above Gradac Image of Gradac The remnants of the old tower from the 16th century can be found in the abandoned village of Čista above Gradac, the seat of the ancient Fragostin's district. Surrounding it are still the remnants of rows of abandoned houses with typical architectonic features of the region. One of the oldest existing edifices in the territory of Gradac is the chapel of St. Pasquale on the Mt. Plana, with a barrel shaped vault, and a saddle roof. Next to the old parish church of St. Antonio there is a local cemetery and the new parish church of St. Michael built in 1852, precisely in the zone of Gradina, the ancient Roman locality.
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Lipchitz' Baigneuse Assise (70.5 cm) of 1916 is clearly reminiscent of Csaky's 1913 Figure de Femme Debout, 1913 (Figure Habillée) (80 cm), exhibited in Paris at the Salon des Indépendants in the spring of 1913, with the same architectonic rendering of the shoulders, head, torso, and lower body, both with an angular pyramidal, cylindrical and spherical geometric armature. Just as some of the works of Picasso and Braque of the period are virtually indistinguishable, so too are Csaky's and Lipchitz sculptures, only Csaky's predates that of Lipchitz by three years.Joseph Csaky, 1913, Figure de Femme Debout (Figure Habillée), vs. Jacques Lipchitz, 1916, Baigneuse Assise Like Archipenko and Csaky, both Lipchitz and Henri Laurens were aware of primitive African art, though hardly evident in their works.
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Strasbourg Cathedral or the Cathedral of Our Lady of Strasbourg (, or Cathédrale de Strasbourg, or Straßburger Münster), also known as Strasbourg Minster, is a Catholic cathedral in Strasbourg, Alsace, France. Although considerable parts of it are still in Romanesque architecture, it is widely consideredSusan Bernstein: Goethe's Architectonic Bildung and Buildings in Classical Weimar, The Johns Hopkins University Press"Strasbourg Cathedral Hangs On", The Christian Science Monitor, 13 October 1991"Art: France's 25", Time, 2 April 1945 to be among the finest examples of Rayonnant Gothic architecture. Erwin von Steinbach is credited for major contributions from 1277 to his death in 1318. At 142 metres (466 feet), it was the world's tallest building from 1647 to 1874 (227 years), when it was surpassed by St. Nikolai's Church, Hamburg.
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The appearance from 1928 It comprises five blocks of Municipality Stari Grad, between the Kralja Petra, Gospodar Jovanova, Kapetan Misina, Simina, Kneginje Ljubice, Brace Jugovića, Studentski Trg and Zmaja od Nocaja Streets. In this area protected by Law, first regulation directions and objects of great urban, architectonic and cultural- historical value have been saved until nowadays. Foundation and activities of some of the most important institutions in Serbia during the time of the First Serbian Uprising, Council during the Uprising, as well as the first insurrection government and The Great School, and the first Higher education institution are closely connected to some of them. Names of the eminent persons from Serbian history and culture, educator Dositej Obradović and Vuk Karadžić are brought into relation with theses objects.
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During the composition of "Strophes" (2003), in which the architectonic features of a high-tech factory influenced various parameters of the work such as the production of sounds, Marios Joannou Elia developed the concept of polymediality. This involved two dimensions: the work-immanent compositional dimension and polymediality in the process of staging. The prefix poly denotes a qualitative paradigm shift; not a quantitative much, but a qualitative, polyaesthetic more. Written between 2007 and 2010 as a commentary focused on his opera "Die Jagd" (2008) and the orchestral piece "Akanthai" (2009), his book "The Concept of Polymediality" - published by Schott Music (2017) - illuminates Elia's concept of polymediality and, by providing a wealth of examples, how literary sources become an inherent polymedial element of his music.
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The archeological site preserves an enigmatic set of battlement walls built between the San Bernardino and Chapingo rivers; the better-preserved section is west of the former convent. Towards the east two plinths can be visited, on top of the “La Comunidad” section are remains of rooms with tlecuiles or braziers. Over the San Bernardino river are several pre-Hispanic architectonic sets, two are especially interesting; the circular basement is a sample of temples dedicated to Ehécatl, “Wind God” (invocation of Quetzalcoatl), next to it is a small foundation, probably from a previous or contemporary to the first circular stage construction. At the location of structures 1 and 2, is an INAH office, with an attentive keeper, that readily provides site information and literature.
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Once the first wall was found, it was named Structure A, excavations were extended following in both directions, removing dirt and rubbish. Western side of Temple on main structure, the lake on the background to the south In addition to Structure A, other structures were found around the site. It is important to point out that according to Purépecha architectonic tradition, temples and their foundations always were built on top of natural hills, over an artificial platform, or, as in the Huandacareo case, over platforms and plazas, for this purpose they built retention walls embedded to the mountain slopes. The site has been reconstructed, to differentiate original sections from those reconstructed; new sections are recessed five centimeter in average from the original sections.
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Vasa gives an idea of the era. In Swedish history, the first half of the 17th century was a period of awakening. As a leading European power, a role which the country was to impose itself following the Thirty Years' War (1618–1648), required the capital to be refurnished with a worthy architectonic rob—the nation was determined never to repeat the embarrassment experienced following the death of Gustavus II Adolphus (1594–1632) when the city, still medieval in character, caused hesitation on whether to invite foreign statesmen for fear the lamentable appearance might undermine the nation's authority. Therefore, Stockholm saw many ambitious city plans during the era, of which those for the ridges surrounding today's old town still stands.
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This situation lasted for almost 30 years, until the Leopoldina station was transferred to the city center, and its inauguration took place on August 21, 1914, when the local population had already reached two thousand inhabitants. From there the city was finally linked to the capital of the country, Rio de Janeiro. With the construction of the railway station near the central part of the city, consolidated by the construction of the new Mother Church of Santa Rita, the center expanded its scope and in the surroundings of the same began to establish commerce, hotels and new residences, mainly of architectonic style eclectic. The growth around the railway station is a common reference between the cities of Zona da Mata, Minas Gerais.
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Such work was attempted by the National Taiwan University of Science and Technology in 2009. Their goal was “to build as-built 3D computer models of a historical building, the Don Nan- Kuan House, to fulfill the need of digital preservation.” To rather great success, they were capable of scanning the Don Nan-Kuan House with bulky 10kg (22 lbs.) cameras and with only minor touch-ups where the scanners were not detailed enough. More recently in 2018 in Calw, Germany, a team conducted a scanning of the historic Church of St. Peter and Paul by collecting data via laser scanning and photogrammetry. “The current church’s tower is about 64 m high, and its architectonic style is neo-gothic of the late nineteenth century.
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Henri de Saussure claimed to have discovered Cantona in 1855 after a lengthy and prolonged search, Nicolás León, based on a Saussure publication, visited the zone in the early 1900s and explored the site, he left a full and comprehensive description of structures and surface objects at that time. Cantona is derived from the Nahuatl word Caltonal which means "House of the Sun". In 1938, Paul Gendrop mentions that Cantona occupies an area of almost 20 km long by 12 kilometers wide. As for the site's architectonic elements distribution, he noted that it is formed by numerous rectangular rooms 20 to 30 meters long by 12 to 20 meters wide, delimited by thick stone walls, fairly straight and well preserved.
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A special clause was added, dictating that this minimum share is unchangeable, so as to prevent hypothetical attempts at privatization. The bank's mission focuses on the management of the finances of the municipal state and the support of the region's small and medium enterprises. At present, it offers loans for a variety of purposes, such as international trade, real estate operations, automobile purchases, and the installation of domestic natural gas lines; it finances the preservation of the architectonic heritage of the city through special loans devoted to the restoration of historical facades; and it offers several forms of insurance, credit cards, and other services. The bank also emits and sells the magnetic stripe cards used as pre-paid tickets for Rosario's urban bus system.
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In the early years of the 20th century, other artists who lived there for a time included Guillaume Apollinaire, Ossip Zadkine, Moise Kisling, Marc Chagall, Max Pechstein, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, Robert Delaunay, Amedeo Modigliani, Constantin Brâncuși, and Diego Rivera, attracted to Paris from across Europe and Mexico. With his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, Csaky's work in stone carving would evolve. Csaky's work of this time is already distinguished by a Cubist understanding of volumetric and spatial relationships, with the integration of armature and open space, and the rhythmic use of geometry. Planes are faceted into abstract architectonic forms.
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As early as 1917 in parallel with her Suprematist work, she had made fabric designs and worked on Agitprop books and posters, In the Tenth State Exhibition: Non Objective Creativity and Suprematism, 1918, she contributed the architectonic series of paintings. She continued painting advanced abstract works until 1921. In the 5x5=25 Exhibition of 1921,Gray, Camilla, The Russian Experiment in Art, Thames and Hudson, 1965 Popova and her four fellow Constructivists declared that easel painting was to be abandoned and all creative work was to be for the people and the making of the new society. Popova worked in a broad range of mediums and disciplines, including painting, relief, works on paper, and designs for the theater, textiles, and typography.
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The Sad Janka Kráľa, Bratislava's most famous park Bratislava Forest Park at the foothills of the Small Carpathians The parks and gardens in Bratislava have formed a part of the landscape of the capital of Slovakia since the Middle Ages. Some of the historical gardens of Bratislava had such architectonic value that they were widely known outside of the city and well beyond the borders of the Kingdom of Hungary. Perhaps the best known garden in the city's history was the renaissance Pálffy Garden, with its famous landmark, a centuries-old linden tree encased in a wooden terrace frame, seven floors in height. Today, Bratislava's most famous park is Sad Janka Kráľa, established in 1774-1776 it is the oldest public park in Central Europe.
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In 1556, Anagni became a battlefield in the conflict between Pope Paul IV and King Philip II of Spain, when it was besieged by the Spanish army under the Duke of Alba. After a bombardment by the Spanish, the papal troops abandoned their positions and the Spanish put the town to the sack on 15 September. The damage suffered by the town, in particular by the town walls, were accentuated by the fortifying works carried out in 1564 under Pope Pius IV. Around 1579 a short period of refluorishing began, thanks to Cardinal Benedetto Lomellino, bishop and governor of the city. The planned works are made under the sign of a recovery of the architectonic structures and the medieval constructive and decorative style.
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Based on this, the synagogue was built by January 1924. Built to accommodate 1,700 people, it was handled by the Pest Jewish Community. On April 17, 1926, the Equality Magazine presented the interior of the new synagogue to a wider audience: “In addition to the rich and yet decent gold plating, the three traditional Jewish colors are rich in architectonic painting: blue, white, yellow. The style of painting is novel: curtain drapes, often used in medieval painting, have a beautiful effect on the apse of the sanctuary with the motifs on the walls; on the parapet of the female gallery, the outlined fields are scattered with maccabe lilies, and the blue pillar flanking the shrine apse represents two columns of the Solomon's Temple, traditionally Hebrew.
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On May 14, 1867, the 27-year-old Peirce presented a paper entitled "On a New List of Categories" to the American Academy of Arts and Sciences, which published it the following year. The paper outlined a theory of predication, involving three universal categories that Peirce developed in response to reading Aristotle, Immanuel Kant, and G. W. F. Hegel, categories that Peirce applied throughout his work for the rest of his life. Peirce scholars generally regard the "New List" as foundational or breaking the ground for Peirce's "architectonic", his blueprint for a pragmatic philosophy. In the categories one will discern, concentrated, the pattern that one finds formed by the three grades of clearness in "How To Make Our Ideas Clear" (1878 paper foundational to pragmatism), and in numerous other trichotomies in his work.
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In Stuttgart they could conclude that having pedestrians on a lower level required escalators, and in Vienna the pedestrians hall Opernpassage gave them the inspiration to replace the central open space at Sveaplatsen with a round restaurant with glass walls, an aesthetic device intended to give the square an architectonic dignity. This newly introduced centre-piece resulted in a proposal for a fountain with a monument above it. For the shape of this fountain, Helldén consulted his friend, the mathematician and artist Piet Hein, who in less than in minute found a curve with a "continuously varying bending" and immediately named it the superellipse. Before presenting his final proposal in 1960, Helldén added the triangular pattern to the pedestrian plaza and the wide stairs on its western side.
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Anecdotally, the Viscount once explained that one day a urchin child had come to the garden, from the open gate. Once interrogated, the humble child, looking poorly dressed, had informed the Viscount that he was a descendant of the old seigneurs, referring to Dr. Sarmento. Sometime in the 20th century, the abandoned structure was engulfed in flames, and the remainder of its floors were destroyed; there are still obvious remnants of the fire that burned down the two-storey building, leaving behind charred walls, flaked plaster and burnt beams. The Palacete, along with the nearby Hermitage of Pilar were designated as components of a group of architectonic features whose preservation was important to the city of Horta, by the Regional Government of the Azores on 16 April 2010, as part of the Urbanization plan.
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These features include the use of structural steel frame clad in metal sheet split face concrete block, projecting blade walls and precast concrete window frames with integrated sun shading. The Torin building is an aesthetically distinctive as a fine example of Late Twentieth Century Modernist industrial architecture The design demonstrates an economy in plan form, bold architectonic expression and the repetition of industrial elements either as extruded sections or precast elements. The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. The former Torin building has heritage significance at a State level as a resource for understanding the design intent, detailing, the choice of construction materials and techniques of this important international architect in the Australian context.
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While Boy was abroad, Eric had devoted himself to various architectonic projects; he had the Franciscan monastery in Stockholm (today Riddarholmskyrkan) rebuilt; he appointed Arendt de Roy to repair and enlarge Vadstena Castle; and he employed the Paar brothers at the Castles in Uppsala and Kalmar. However, the king's main undertaking was undoubtedly the castle in Stockholm where Boy was to spend the remaining 16 years of his life. The king had employed an artist called Anders Målare to lead the works at the castles in Stockholm and at Svartsjö, but in letters in 1573 the king complained Målare failed to accomplish his duties due to age and poor health. Having no one else to choose from, he appointed his chamberlain Phillipe Kern to replace the Swedish artist.
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The ethical concept of conservation of metal objects in principle is the same as those in other fields of conservation-restoration of cultural heritage. However, there are several specific problems that can only be found in the conservation of metals; problems of heat treatment of archaeological objects, and the problem of radical restoration of historic, technical, and architectonic objects too. While the first case problem is primarily in the destruction of valuable scientific data, the problems in the case of technical, architectural, and historical objects are that radically restored items only simulate the original appearance of the object, thus that object can be considered more or less fake, which only superficially simulate long-lost or the never existing state of an object. Whenever possible the preservation of real historical substance is preferred.
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This idea is supported by some architectonic details, for example the axial placing of the buttress which recalls Petr Parléř's construction at the Southern hall in Saint Vitus cathedral in Prague and in the presbytery of Saint Bartholomew's in Kolín upon Elbe. Also the structure of the wall profile between the windows and the shape of the window tracery repeats some of Parléř's characteristic motifs and possibly floral ornaments and beautiful gargoyles at the top of the buttresses which are close to work from Parléř's area. It could be hardly made as special kind of historicism in the half of the 15th century. It is possible to consider the origin of the presbytery and so the project of the new church at the end of the 14th century.
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It starts with the audiovisual work "Solar de Arte y Memoria Audiovisual (Solar of Audiovisual Art and Memory)" which, accompanied by a literary essay with the same name, reflects in a documentary way the architectonic work that also belongs to the author, made according to the same aesthetic and philosophical principles which inspire the audiovisual work. The Solar, after long years of being designed and executed, became a Museum and Library. From the beginning, this period is characterized by the aesthetic features of the previous one, but this time highlighted by the inevitable technological conversion to the digital media, including the reprography of the works from the previous periods. The new digital works use aspect relationships that, although they do not exclude the prior classical one, admit other new ones such as the 16:9.
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The construction of skyscrapers proliferated in Buenos Aires after 1950, though a new generation started rejecting their "brutality," and tried to find an architectonic identity. This search for identity is reflected in the Banco de Londres building finished in 1967 by Clorindo Testa with Diego Peralta Ramos, Alfredo Agostini, and Santiago Sánchez Elía. In the following decades, the new generations of architects incorporate, as always, European vanguardist styles, and new techniques. Curutchet House, World Heritage Site in La Plata Since the latter part of the 20th century, Argentine architects have become more prominent in the design of prime real estate projects in the country, such as the Le Parc tower and Torre Aqualina, by Mario Roberto Álvarez, and the Torre Fortabat by Sánchez Elía, as well as around the world, most notably the Norwest Center and the Petronas Towers, both by César Pelli.
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Bassin de Latone – Latona Fountain with the tapis vert and the Grand Canal in the background Modifications in the gardens during the third building campaign were distinguished by a stylistic change from the natural esthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart. The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert – the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain – achieved its final size and definition under the direction of André Le Nôtre. (Nolhac 1901; Thompson 2006) Beginning in 1684, the Parterre d'Eau was remodeled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
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Even now, around the palace can be noted the remains of a large garden with a circular pool and still with some secular palm trees. It is not known when the edifice was built, but it is supposed to go back to the XVIII century, conjecturing from the style of the principal façade and architectonic elements that characterizes it (doors, windows, balconies....) The palace consists of three buildings built in different periods; the construction plan is in the form of "L" articulating on two stories. The ground floor of the South-East zone embodied a colonnade that was used as summer lounge and had another room annexed. The central zone was employed as depository, whilst the North-East zone was used as premises where the olives were being pressed "trappito" with a tree-stone-mill powered by animals.
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Villa described his use of commas after every word as similar to "Seurat's architectonic and measured pointillism—where the points of color are themselves the medium as well as the technique of statement". This unusual style forces the reader to pause after every word, slowing the pace of the poem and resulting in what Villa calls "a lineal pace of dignity and movement". An example of Villa's "comma poems" can be found in an excerpt of his work #114: Villa also created verses out of already-published proses and forming what he liked to call "Collages". This excerpt from his poem #205 was adapted from Letters of Rainer Maria Rilke, volume 1: While Villa agreed with William Carlos Williams that "prose can be a laboratory for metrics", he tried to make the adapted words his own.
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Stanley Hart White was a professor of Landscape Architecture at the University of Illinois from 1922 until 1959 and the inventor of the green wall.Richard L. Hindle (2012): A vertical garden: origins of the Vegetation-Bearing Architectonic Structure and System (1938), Studies in the History of Gardens & Designed Landscapes: An International Quarterly, 32:2, 99-110 White called his invention "Botanical Bricks" and developed prototypes in his backyard in Urbana, Illinois. Stanley's brother E.B. White documents the invention in his 1937 letter to Katherine S. White: “I guess everyone has crazy brothers and sisters. I know I have. Stan, by the way, has taken out a patent on an invention of his called ‘Botanical Bricks,’ which are simply plant units capable of being built up to any height, for quick landscape effects, the vertical surfaces covered with flowering vines, or the like.
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The expression of belles-lettres in architecture demands a more > purely classic character than that of scientific studies. Such a building as > a library, for instance, may without inconsistency rejoice in all the > sumptuous glories of Roman architecture or the Renaissance; the tradition of > the world leads on naturally enough in this direction. But ... such delicate > and highly organized motives find little place in a Mining Building, which > demands a treatment, while no less beautiful, much more primitive, less > elaborately developed in the matter of detail, less influenced by the > extreme classic tradition either as a canon of proportion or as an > architectonic schema. The profession of mining has to do with the very body > and bone of the earth; its process is a ruthless assault upon the bowels of > the world, a contest with the crudest and most rudimentary forces.
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The Vittoriano at sunset showing the propylaea and the quadrigas Continuing to climb the stairway beyond the equestrian statue of Victor Emmnauel II, is the most imposing and striking architectonic element—the large portico with Corinthian-style columns, slightly curved, located on the top of the monument, and inserted between two temple propylaea called "sommoportico" due to its elevated position. The propylaea are the two small porticos projecting with respect to the portico which are located at its lateral ends that constitute the entrances. The portico is long and is centrally supported by 16 tall columns surmounted by Corinthian capitals, embellished by the face of the Italia turrita (located in the centre) and acanthus leaves. The cornice above the colonnade is instead decorated with statues representing the 16 allegorical personifications of the Italian regions where each statue corresponds to a column.
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Cuyuxquihui Building Cuyuxquihui Archaeological Site This settlement would seem to have been a fortress, due to some architectonic characteristics; the existence of retaining walls that run throughout the esplanade north to south has been confirmed; its height makes it relatively inaccessible from the west, as well as by the cliff that borders it to the east. It is believed it was required due to the large social mobility that ensued after the fall of Tajín. Material remains on the various regional settlements, leads to believe that a good part of them were El Tajín contemporaries and that some developed after its gradual abandonment. Evidence seem to indicate that the Cuyuxquihui settlement was founded in 1250 CE. Cuyuxquihui developed, after the El Tajín decline, as an important ceremonial activities center. Diverse structures were constructed by means of ground surface leveling, construction element characteristic of the “Tajín Chico” site.
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Professor Barbora Příhodová summarized Rychtarik's work: > By adapting the work of European scenic artists such as Adolphe Appia, Max > Reinhardt and Vlastislav Hofman, Rychtarik embraced modernist thinking about > staging and applied it in his work for opera. As a scenographer, he combined > architectonic forms, distinctive colors, and conceptual work with light to > transform the stage into a multifunctional dramatic space. With his > scenographic designs and realizations he helped to disseminate and push > through the vision of opera-theatre with a strong visual component, as > practiced by Joseph Urban during his years on North-American stages, and so > contributed to carving out a space for the designer as both the artist and > the artisan, and one of the important agents in the process of opera- > making.Barbora Příhodová, "Transatlantic transmissions in opera: the > forgotten work of Czech-American Designer Richard Rychtarik," Theatre and > Performance Design 4 no.
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In 1968 Ferchiou earned a laurea at the University of Tunisia with a thesis on the mausolea of the region of Maktar. In 1972 she received her doctorate at the Sorbonne with a dissertation entitled L'architecture romaine du Haut-Tell tunisien: recherches sur le rythme modulaire sur les thèmes décoratifs (Roman architecture of the Tunisian High Tell: research on the modular rhythm of decorative themes), under the supervision of Gilbert Charles-Picard, Roland Martin, and René Ginouvès. She finished her academic work with a State Doctorate in 1985 at the University of Aix-Marseille, with a thesis entitled L'évolution du décor architectonique en Afrique proconsulaire des derniers temps de Carthage aux Antonins (The Evolution of architectonic décor in Proconsular Africa from the late Carthaginian through the Antonine periods) under the direction of Pierre Gros and with Paul Albert Février, René Ginouvès, Gilbert Charles-Picard and Friedrich Rakob on the committee.
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The project completed in 1985 by the international team Ricardo Bofill "Encyclopedia of contemporary Spanish culture" written by Eamonn J. Rodgers Taller de Arquitectura was part of a renovation program in Paris 14th arrondissement, near Montparnasse train station. Within this sensitive context the respect to the configuration of the existing urban tissue demanded a specific architectonic vocabulary. By applying the essence of baroque architecture Book: "An Introduction to Architectural Theory: 1968 to the Present" written by Harry Francis Mallgrave,David Goodman the façade is not a mere wall, it breaks the established rigidity imposed by the industrial building system and becomes a décor for the city. In designing the buildings the team confronted two imperatives: to respect the urban Book: "Emerging concepts in urban space design" written by Geoffrey Broadbent context and to obtain a formal relationship with the interior spaces of the project.
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The architecture encompasses a number of styles, including the Puuc and Chenes styles of the northern Yucatán Peninsula. The buildings of Chichen Itza are grouped in a series of architectonic sets, and each set was at one time separated from the other by a series of low walls. The three best known of these complexes are the Great North Platform, which includes the monuments of the Temple of Kukulcán (El Castillo), Temple of Warriors and the Great Ball Court; The Osario Group, which includes the pyramid of the same name as well as the Temple of Xtoloc; and the Central Group, which includes the Caracol, Las Monjas, and Akab Dzib. South of Las Monjas, in an area known as Chichén Viejo (Old Chichén) and only open to archaeologists, are several other complexes, such as the Group of the Initial Series, Group of the Lintels, and Group of the Old Castle.
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She is the creator of indoor ceramic compositions (1972-1973 Vegetation, Water and Land Reclamation Ministry of Vilnius, the company now, "Lithuanian land reclamation), decorative plates (Mathias Casimir Sarbievius" 1980), installations ("Celebration" 1996-1998 "Legacy" 1996, "Desire" in 2001) Nulipdė zoomorfinių shapes, their compositions ("Longing" 1983, "Three of the beast," "Lone Wolf", "Night", all in 1984, "Pastoral "1986," Dinner "in 1995) ceramics is characterized by the idea and the form of unity, associativity, expression, expressive texture and grotesque elements, sculptural plastics (" City "," ancient, "" Fate, "all in 1986" Requiem, "" Sacrifice ", both 1988 - architectonic, constructive. Since 1970, she has participated in exhibitions, individual exhibitions held in Vilnius in 1993, 1997, 1998. She has shown in more than 30 international exhibitions in Lithuania and abroad (International Ceramics Exhibition in Faenza in 1987), Art Gallery "Dalia", and works in Lithuanian Art Museum, the National Čiurlionis Museum of Art, National Museum of Lithuania.Nijolė Žilinskienė.
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Plan of the project of Eugénio dos Santos - Palacio do Grilo Murals painting of Academia room by Cyrillo Volkmar Machado The construction structures that integrate the current architectonic complex of Grilo Palace are constituted by the sum of the interventions made throughout the years. The architecture is attributed to Eugénio dos Santos. The interior is synonymous of decorative programs around cultural diversity and erudition, there are sets of murals painting by Cyrillo Volkmar Machado and canvases from the eighteenth and nineteenth centuries, they integrate theme lounges in the palace, such as the hall of the academy, the hall of Venus or the Chinese room. The structure was arranged in L shape, having its major compound oriented in the north–south direction, being thus vertical to Tejo River whilst the structure's minor compound was in turn facing towards the river, as well as the public avenue.
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Talayot Up until the end of the 20th century, it was theorized that the Talaiotic Culture arose out of interaction between new peoples from the eastern Mediterranean and local island culture, in the form of an aggressive invasion, or perhaps as a peaceful assimilation. The Talaiotic Culture arose at the same time that the crisis caused by the Sea Peoples was occurring, which had revolutionized societies in this part of the Mediterranean until the 13th century BC. These theories were based mainly on architectonic remains that exist in abundance on Majorca and Menorca. The Talaiotic people were considered a warlike race due to the abundance of talaiots or defensive towers and the existence of walled towns. In addition, the talaiots were similar in many respects to the nuraghes of Sardinia, which lends credence to the theory that the Talaiotic people were of Sardinian origin.
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Del Alcázar recently completed a 12-year restoration of Palacio de Tabladillo, a noble palace in northern Spain, which won the Special Mention Award, in the category of Conservation of Architectural Heritage, of Nostra, a European Union Prize for Cultural Heritage / Europa Nostra Awards in 2006. The earliest references on record to the “place” and tower and municipality and inheritance of the Palace appear in the 8th century. From the late Middle Ages to the mid 15th century, the site’s overriding priority was that of protection and defence as evidenced by the “tower-fortress”, architectonic style, complemented with an additional storey. During the 16th century, the influence of the renaissance movement that had taken place in Italy during the previous century began to spread throughout Europe, fuelling the renovation of Spain’s older civil buildings to bring them into line with the new style, and equipping them with the courtyards and façades that are so characteristic of 16th-century Spanish renaissance palaces.
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The documents used in this trial demonstrate the extent to which discrimination was alive and had deep ideological roots; conversely, they are also a proof of the perseverance of the Xuetes in their demands for equality. In October 1782, the prosecutor of the Real Audiencia de Mallorca, despite being aware of the result of these deliberations favorable to the Xuetes, raised a memorandum including highly racist reasoning, proposing the suspension of the accord and the exile of the Xuetes to Menorca and to Cabrera, where they would be confined with strong restrictions on their liberty. First of the three Royal decree signed for Charles III (1782). Finally, the king inclined, timidly, in favor of the Xuetes: on 29 November 1782 he signed the Real Cédula (Royal Decree) that decreed liberty of movement and residency, the elimination of all architectonic elements that distinguished the Segell district, and the prohibition of insults, mistreatment, and the use of denigrating expressions.
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Primitive Period She began her career in the late 1960s in what is known in Spanish as her "Epoca Primitiva", which roughly translates to "Primitive Period" which began after she participated in a clay modeling course sponsored by the French embassy in San Salvador (1967–1968), where she made casts and polychrome pourings using many techniques including encaustics, which she would later use in paintings, combined with other contemporary techniques and materials. It was during this time that Ana Maria, inspired by Mayan and Colonial art, began the search for a style of her own where she could begin to express her message of "Spiritual peace and the joy of living". She focuses on regional landscapes and the traditions of Salvadoran folklore and its surroundings—fields of flowers and scenes with great architectonic ideas—all executed with great precision. In this period, carrying on until around 1982, she evolves very quickly, blending colors with the magic of the artist.
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Period of Walls In the next, albeit brief, period (1983–1984), known in Spanish as the "Epoca de Muros" (Roughly translating into "Period of Walls") Ana Maria seeks to evolve with other concepts and paints works which always contain walls—with which she expresses the technical difficulties that she needed to overcome. Her brush lands on a stage where the focus is this architectonic element of a wall that needs to be surpassed—becoming like a quintessential window that needs to be opened to let in the floral nature of its surroundings. She uses many animals during this time, mainly bees, which in an ironic play of events in life foreshadows a tragic event she would endure next to her husband. Romantic Period The "Romantic Period" (1986–1989), known as the "Epoca Romantica" in Spanish follows, where Ana Maria lets go of her casual primitivism and ventures inside the creation of harmonious and sophisticated shapes and forms.
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I Borghi più belli d'Italia is an association of small Italian towns of historical interest, that was founded in March 2001 on the initiative of the Tourism Council of the , with the aim of preserving and maintaining villages of quality heritage. The association holds initiatives such as festivals, exhibitions, fetes, conferences and concerts that highlight the cultural, historical, gastronomic and linguistic heritage, involving residents, schools, and local artists. It was inspired by its older French counterpart, Les Plus Beaux Villages de France, and is part of the international organization "Les Plus Beaux Villages de la Terre". The admission of any village or town to the club requires of the same the meeting of a number of prerequisites, both structural—such as the architectonic harmony of the urban fabric and the quality of the public and private building heritage—and general, regarding the quality of life in the village itself, in terms of activities and services for the people.
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Though almost entirely abstract, they allude, occasionally, to the structure of the human body or modern machines, but the semblance functions only as "elements" (Reverdy) and are deprived of descriptive narrative. Csaky's polychrome reliefs of the early 1920s display an affinity with Purism—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures. Csaky's Deux figures, 1920, Kröller-Müller Museum, employs broad planar surfaces accented by descriptive linear elements comparable to Georges Valmier's work of the following year (Figure 1921).Georges Valmier, Figure, 1921, oil on canvas, 97.1 x 74.9 cm Csaky's influences were drawn more from the art of ancient Egypt rather than from French Neoclassicism. Jacques Lipchitz, 1918, Le Guitariste (The Guitar Player) With this intense flurry of activity, Csaky was taken on by Léonce Rosenberg, and exhibited regularly at the Galerie l'Effort Moderne. By 1920 Rosenberg was the sponsor, dealer and publisher of Piet Mondrian, Léger, Lipchitz and Csaky.
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San Gabriel Civic Auditorium, an example of Mission Revival Style architecture Apart from the architecture of the California missions and other colonial buildings, there are still many architectonic reminiscences of the Spanish period, especially in Southern California, where white stucco walls, red roof tiles, curvilinear gables, arched windows, balconies or even bell towers are incorporated into modern building styles in what is known as the Spanish Colonial Revival architecture, a United States architectural stylistic movement that came about in the early 20th century. While Spanish architectural styles appear statewide, Northern Californian cities more prominently feature historic Victorian architecture, for which San Francisco is renowned, but which dominates the central historic districts of most Northern California towns. The towns of Eureka and Ferndale, in Humboldt County, are particularly noteworthy for their well-preserved Victorian building stock. Today's architecture in California is a mixture of many other cultural influences that has resulted in groundbreaking modernist styles that have generated many other interesting and unusual building types.
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Her works around the Naualli (Nagual), the feminine figure of the shaman, are characterized by vaginal indents and forms of the vulva that serve as symbols of magic and the curative powers of the female warrior, the witch, or the priestess. The materials she uses in this group of works, vegetable fibers, leaves and dry branches, have been interpreted as a link to the natural and sacred world. For González Mello, in Recinto de Shamanes (Shaman's enclosure) (which in the words of the artist "is like a great vagina representing fertility"), the work problematizes the relationship between "the outside and the inside", dislocating and incommoding the spectator, as in her Ambientación Alquímica - that for certain contains symbols referring to the masculine and the feminine. In the latter work, a structure with a particular "inside" bursts into the architectonic space of the museum and plants a familiar nature, interior and distinct, from the menacing nature that opposes masculine reason.
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Sandra Peters makes art that engages the architecture of the specific exhibition site in a contrapuntal dialogue, unlocking experiences that call in question preconceived beliefs and entrenched habits of seeing, hearing, and being and moving in a space. Her sculptures pick up on historic sculptural and architectonic paradigms, which she modifies and places in constellations such that the presence of the works is interwoven with glimpses of past cultural formations. Addressing the beholder's bodily reality, her art sustains a situated experience, while also charting fields of associations that have bearing on his or her position, actual as much as imagined, in the world. Peters pursues these concerns both in sculpture strictly conceived and in a range of other media, exploring a variety of formats (sound installation, moving image, film, performance). In 2009–2012, Peters undertook extensive studies into the oeuvre of Rudolph Schindler, an endeavor that bore fruit in a number of works that take inspiration from the architect’s buildings.
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The University City in Bogotá of National University of Colombia may be viewed as an example of the architectonic expression of the modernization of the State from 1930 to the present time. School of Beaux Arts, University City, Bogotá By virtue of law 68, enacted in 1935, it was made the National University of Colombia, an independent organization which opened education to a wider cross section of the population. This new broader view of education, the educational and administrative structure of the University City of Bogotá, its place in the state and its architecture had to reflect, in their respective scopes, the spirit of modernization on which the country was based. The state granted lands to the future university which were west of the city at the time, intending to stimulate the urban development of that zone. This plan succeeded to the point that, in 2006, the National University in its campus of Bogotá is considered both central and easily accessible.
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According to archeological information, the nearby area of the Baru Volcano was the place of the first chiefdoms and agricultural societies on what is now the Panama–Costa Rica border, with man-made pottery carbon dated by archaeologists at the Barriles Site Barriles to 300 BC. In Caldera there are also petroglyphs that witness the presence of Isthmo-Colombian villages in this region. During the Spanish Colonization of the Americas, the district of Boquete, along with the rest of the Talamanca highlands, were isolated due to the topographical character of the area, serving as a refuge for the Ngöbe Buglé peoples. It is not until the 19th century, when colonization of the Boquete region began, with population from Gualaca, Bugaba, David and a community of foreigners (mostly French and Germans) and some north Americans who started the growing of coffee, vegetables and the cattle raising. This immigration influenced the architectonic esthetic of the houses in Boquete and its town too.
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The Fortress of Piruro II can be found in the right side of the river Tantamayo over 3.8 km over the sea level, the first archaeological inspections of the fortress happened during the explorations of Bertrand Flornov around the years 1957 and 1975 and excavations are attributed to Lois Girault between the years 1968 and 1970, the carbon dating from those examinations give a date between 1930 and 2100 years B.C. meaning this fortress was built in the pre-ceramic period, Girault found architectonic remnants of hewn stones that seem similar to those found in Kotosh and certain walls located in Chavin. The fortress is composed of walls build with stones hewn in squared shape and uniform size. The building is composed of 5 floors, where the front of it has rectangular doors and windows. In the front of the building there is a large-scale clearance that shapes a park because in the center of it there are remnants of a stone and mud structure covered by the ground.
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Improving the conditions of the streets of London is not just a question of how to prevent crime or to apprehend robbers, Moreton actually recognises how the architectonic structure of roads, lanes, and avenues might make a difference, otherwise "all by-turnings, courts, alleys, lanes, &c.;, which may favour a street-robber's escape, and make our project ineffectual". London criminals had endless opportunities to escape from a pursuer, and as Henry Fielding wrote in 1751 in his essay An Enquiry into the Causes of the Late Increase of Robbers: > Whoever indeed considers the Cities of London and Westminster, with the late > vast Addition of their Suburbs; the great irregularity of their Buildings, > the immense Number of Lanes, Alleys, Courts and Bye-places; must think, > that, had they intended for the very purpose of Concealment, they could > scarce have been contrived. Upon such a view, the whole appears as a vast > Wood or Forest, in which a Thief may harbour with as great Security, as wild > Beasts do in the Deserts of Africa or Arabia.
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By its natural and historic-cultural attractions, Bahia presents an enormous potential for the development of the tourist activity. Owner of the biggest portion of seacoast of the country and of singular views in its interior, Bahia possesses specific cultural, folklore and religious characteristics, manifest in its extensive calendar of popular festivities, in its architectonic patrimony and in its typical food. Salvador, with its Historical Center registered by UNESCO as a World Heritage Site and with its coast clipped into many beaches and dozens of islands, has a varied receptive infrastructure, composed of 170 hostelry units (of which 20 are of international standard hotels) and 25 thousand beds, further to restaurants, bars, nightclubs, shopping malls, theaters, crafts centers, Convention and Fairs Center, rental agencies, tourist agencies, and other equipment and services. In the last few years, the State Government promoted the total restoration of the Pelourinho, the largest group of colonial Iberian baroque style buildings in Latin America, today transformed into an important point for visitation by tourists.
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By beginning of the 1990s the school had managed to certify their students with English as a second language providing Cambridge certification, provide an ubiquitously environmental education and to be the first school in Acapulco with a computerized multimedia hall. In the year of 1995 the school made an agreement with Lions Clubs International to buy their facilities and transform it from a social club into a school campus. The school has maintained the leadership in each of this matters, specially that of technological culture, being the first school in Acapulco in obtaining the service that allows the parents of our lower school students to see their children work in the classroom via Internet and being again the first school in Acapulco to have a technological partnership with Apple Inc. In 2008 the school designed new architectonic facilities to provide the students with the latest technological advances that go from interactive blackboards to promoting the use of laptops or iPad amongst the students instead of the traditional books and notebooks.
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He also continued another trend—towards larger orchestras—that moved the centre of the sound downwards in the orchestra, to the violas and the lower register of the violins and cellos, giving his music a heavier and darker feel than Haydn or Mozart. Gustav Mahler modified the orchestration of some of Beethoven's music—most notably the 3rd and 9th symphonies—with the idea of more accurately expressing Beethoven's intent in an orchestra that had grown so much larger than the one Beethoven used: for example, doubling woodwind parts to compensate for the fact that a modern orchestra has so many more strings than Beethoven's orchestra did. Needless to say, these efforts remain controversial. Above all, his works distinguish themselves from those of any prior composer through his creation of large, extended architectonic structures characterised by the extensive development of musical material, themes, and motifs, usually by means of "modulation", that is, a change in the feeling of the home key, through a variety of keys or harmonic regions.
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During this time, he completed a series of large still-life paintings which extended the imagery of Giorgio Morandi by elongating vessels and vases, transforming them into "architectonic towers". The direct quality of the collage textures led him to abandon these paintings altogether and turn to collage as his next form of expression.(1985) The Collage Handbook, John & Joan Digby The Holocaust was a prevalent theme in Case’s early pieces – in these modest but masterfully executed and consistent works, Case has been compared to something of a graphic Edgar Allan Poe or Pier Paulo Pasolini by Ronald A. Kuchta, Director of the Everson Museum of Art in Syracuse, NY. 1978) Exhibition Catalog Statement, "Reginald Case Collages", Ronald Kuchta, Director, Everson Museum of Art, Syracuse, NY Case's 1980's-90's work in assemblage, collage and construction fused early influences in film, photography, and architecture.(1993) American Artist, Brett Busang Beginning with Rudolph Valentino from the 1920s through the 1930s with Fred Astaire, Ginger Rogers and Buck Rogers, and into the 1940s with Betty Grable and Humphrey Bogart, Case culminated this body of work with a series of objects that focused on Marilyn Monroe.
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The matroneum of Pisa Cathedral protected by triforia and bifora A matroneum (plural: matronea; earlier also matronaeum, plural matronaea) in architecture is a gallery on the interior of a building, originally intended to accommodate women (whence the derivation from "matron").According to Valerio Ascani, professor of the history of medieval art at the University of Pisa, this definition is inaccurate: matronea were in fact intended for all persons who could not, or did not want to, enter the main body of the church below, including men as well as women, although the sexes were always separated to left and right: Valerio Ascani, Il trecento disegnato - Le basi progettuali dell'architettura gotica in Italia In medieval churches, matronea lost their function of accommodation and became purely architectonic elements, placed over the side aisles with the structural purpose of containing the thrust of the central nave, and came to consist solely of bays so placed. In Early Gothic churches, the matronea were one of the four elements which constituted the interior walls (arch, matroneum, triforium and clerestory), but they grew rare in the succeeding period of full-blown Gothic architecture.
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This highly visualized language of symbols appears persistently throughout her work across all mediums, encouraging a sense of interconnectedness within and between each. The evolution of that iconography can clearly be seen in her early portrait work, which includes the postmodern series “Bad Boys” (1997-2004), and plays out prominently in her constructed objects and installations, such as FF (for S. H.; 2004) and POP (Preliminary Orientation in the Problem; 1999). Her work was most recently featured in Vienna for Art’s Sake (Feb. 2015), a group show with contributions from more than 100 visual artists, including Christo, Frank Gheary and Zaha Hadid, which will tour Europe and the U.S. as the “Luciano Benetton Collection 10 x 12.” Her most recent series’ have focused more on painting, specifically large- scale canvases filled with geometric objects that merge with and collide into 3-D relief elements, an implicit commentary on the tension between philosophy and psychology, spiritualism and mathematics. Furthermore, Drahotova has created a new system of painting she refers to as ‘architectonic.’ This approach utilizes two or more canvases in a single painting, allowing the pieces to be arranged in several predetermined ways to reveal different compositions.
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The last phase dated to 1st–2nd century CE, featured an extensive structure which features four centered pointed arches which were used to span narrow passageways and segmental arches for wider areas. Pointed arches as load bearing function were also employed in Gandhara. Two pointed arch vault system was built inside the Bhitargaon temple as noted by Alexander Cunningham, which is dated to early Gupta period of 4th–5th century CE. Pointed arches also appeared in Mahabodhi temple with relieving arches and vaults between 6–7th century CE. The pointed arch as an architectonic principle in the Middle East, is said by several scholars to have first been established in Islamic architecture during the Abbasid Caliphate in the middle of the 8th century CE, and in Gothic architecture in the 11th century CE. Some scholars have refused to accept Indian origin of pointed arch including Hill (1993), some scholars have argued that pointed arches were used in the Near East in pre-Islamic architecture, but others have stated that these arches were, in fact, parabolic and not pointed arches. In Gothic architecture, ogives are the intersecting transverse ribs of arches which establish the surface of a Gothic vault.
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The distinctive twist-turned designs of balusters in oak and walnut English and DutchTwist-turned legs on a backstool feature prominently in a conversation piece of a couple in an elaborately fashionable Dutch interior, painted by Eglon van der Neer (1678): illustration. seventeenth-century furniture, which took as their prototype the Solomonic column that was given prominence by Bernini, fell out of style after the 1710s. Once it had been taken from the lathe, a turned wood baluster could be split and applied to an architectural surface, or to one in which architectonic themes were more freely treated, as on cabinets made in Italy, Spain and Northern Europe from the sixteenth through the seventeenth centuries.The architectural invention of the applied half-baluster, with a caveat concerning "the fallacy of first recorded appearances", by Filippino Lippi in the painted architecture all'antica of his St. Philip revealing the Demon in the Strozzi Chapel, Santa Maria Novella, Florence, and in Michelangelo's planned use in the Medici Chapel, is explored by Paul Joannides, "Michelangelo, Filippino Lippi and the Half-Baluster", The Burlington Magazine 123 No. 936 (March 1981:152–154).
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The western end of Melbourne's central business district was seen at the time by the architects to be the "gritty underbelly" of Melbourne's central business district, and the perforated, aluminum, eastern facade of the tower was made to represent that. The dressed eastern facade is one which was designed to clearly define the separation between the central business district of Melbourne and the rougher western suburbs at the time the design was taking shape. As Liberty Tower retreats into the central business district that its own facade defines as a "city-state" the need for the dividing border defined by the aluminum facade is lost and thus the modernist, architectonic skeleton behind the western facade is revealed in the north and south facades. the horizontal striated motif defined by the perforated aluminum skin is continued around the corner to the north and south by the exposed, projected floor plates but the horizontality is broken by the three distinct sections of verticality representing the apartments on the western half, a central hallway typical of "H-tower block form"Architecture Australia, Volume 92, Issue 3, 5/1/2003, Karen Burns Article and the balconies of the apartments on the eastern half of the tower.
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