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Related Content. Cistercian Architecture and Medieval Society. In Cistercian Architecture and Medieval Society Maximilian Sternberg offers an account of the social functions of the built environment in medieval monasticism. Few medieval monuments hold so privileged a place in the modern imagination as Cistercian abbeys, yet Sternberg suggests, it is precisely our own, peculiarly modern fascination with the idea of 'Cistercian aesthetics' that has hindered a full view of the complex social meanings of their architecture.
This book draws attention instead to the practical and symbolic means by which architecture helped the Cistercians to negotiate the dense web of relations that, in actuality, bound them to other spheres of medieval society. It explores the permeability of monastic boundaries, and considers their effectiveness in reconciling a simultaneous need for interaction and distance between monastic communities and these other social spheres.
Editors: Renana Bartal and Hanna Vorholt. The volume also demonstrates methodological shifts in the study of Jerusalem in Western art by mapping the diversity of concepts that underlie imaginations of the city as an earthly presence and a heavenly realization, as a physical and a mental space, and as a unique location which is multiplied and re-imagined in numerous copies elsewhere.
This volume contains the proceedings of a conference held in Oslo in late , which brought together scholars working in a wide variety of disciplines from Scandinavia, Great Britain and Ireland. The papers here began as those read at the conference, augmented by two written immediately after by attendees, but have been updated in light of the discussions in Oslo and more recent scholarship. Band Stripe Tee Blue Depths. Chino Navy. Rugby Polo Blue Depths.
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Laidlaw, p. Rychner et A. DDL t. La ligne? La couleur? As a result, his working materials and subject matter are to be found everywhere; his aim is to divert materials from their prescribed functions, inventing ways of making these things improper again and thus, inhabiting a new reality. THOMAS mainly works with sculpture although he also realizes performances, drawings and paintings, which are often incorporated in his installations. We are used to experience wood as a hard material; we know the feeling of walking across wooden floors, to touch a wooden tabletop or to feel the bark of a tree.
It looks and smells familiar but feels strange, as it is able to move and form in unexpected ways. The processes to transform wood into a flexible wooden surface is its deconstruction into pieces, which are then attached to a textile base. Depending on the geometry and size of the tiles each design shows a different behavior regarding flexibility and mobility.
There are various possible applications, for example as floorings, curtains, drapes, plaids, upholstery or parts of furniture. Wooden Textiles, The combination of wood and textile in an accordion-like folded surface generates a new experience of the material wood. Using this wooden textile allows a free and sculptural form.
After 3 years of development it is now time to give the first visual insight to the revolutionary design of Nuna. With Nuna, Neubau implemented for the first time a food-design that goes beyond the formal visual plane. To meet this proposal Stefan and Manu have organized and structured over a long period of time an international team of specialists to meet the requirements of producing such an influential product. Heiko Antoniewicz skills combined with Neubau design for Nuna will not only give a visual aesthetic, but is a guarantee that it will also have the taste buds of the consumer yearning for more.
The product design of Nuna was registered in nationally and internationally as an independent 3-D brand. Neubau Berlin is responsible for the overall product appearance, corporate image, logo and corporate typeface. Lola creates surreal and fragmented portraits, she uses multiple prints of the same image in different sizes that are combined in one piece. The collage work is handmade with paper, scissors and glue and the process takes a long time, 20 to 30 hours per image.
Clouds consists of textile pieces held together with elastic bands to make freestanding or hanging structures, which can be used to divide space and absorb sound. The Clouds system is available in two fabrics and seven colour combinations; components are sold in packs of eight or twenty-four pieces.
In an experimental process that concentrates more on the logical sequence of mutually conditional decisions than on preconceived planning, Beutler develops structures and forms from conventional building materials - such as wood, plaster or glass - that question standardization. His methods range from do-it-yourself strategies, the compilation of playful rules for action, to the fabrication of machines that contribute to deformations. His work recurrently centers around an interest in conceptualizing the properties of various fabrication processes and material structures so that a contentbased understanding of the materials and interventions takes precedence over a material-functional understanding.
It was constructed in by the engineer and architect John Kibble, and Michael Beutler visited it several times during his stay in Glasgow. The Kibble Palace has not only gone down in history as a masterpiece of glass and iron construction, but also still stands for a radicalization of standardization in industrial building production today. As in earlier works, the experimental construction process follows his interest in questioning processes of standardization, e.
Consequently, a pleasure in ornamentation is always also present in the sculptural spatial intervention at the same time. The glass sculpture is conceived as a work that encompasses the space, so that. The experience of different ways of building recalls historical attempts of alternative and utopian architecture and thus of forms of living, which the details turn into thematic components.
It was modeled on Chinese bridges between the mainland and temple islands, which were supposed to prevent evil spirits from entering the sacred places. In September this year, he developed a project for the offspace kjubh in Cologne in collaboration. My background as a cabinet maker led me to shaping the material with traditional wood working techniques.
Paper and PVA glue are rolled up and worked into these trestles. The process of turning the paper rolls reveals the different layers of colour on the paper and creates different patterns. What kind of crazy cyberdrugs are they putting in the water up there? The artist lives and works in Berlin. The values are shown on the three peaks of the five rows of polygons.
Thaddeus Wolfe b. His work has been exhibited in New York at E. Butler and Co. Thaddeus lives and works in Brooklyn. By doing so, she follows closely the blurry contours of our messy existence. Her work captures the attempts, transitions, changes, internal r evolutions. Desire, happiness, sex, love Dark blue crystals encrust the steel tubes of Midnight Scenes, a sculptural work whose tactility is a result of a process where light is used to alter the composition and appearance of materials. Macintyre uses cyanotype, a photographic technique requiring a photosensitive solution and exposure to sunlight.
At intervals, the blue appearing on its screen alters to another shade. Whilst pointing to the range of blue tones within the gallery space, its inclusion makes visible the contrasting production techniques, from a highly controlled digital format to one that reveals the effects of chance, light and time on materials, to create silhouettes of different intensities. His work is inspired by the sculptural possibilities of computers combined with industrial and craft making processes.
On returning to London in he worked for Pentagram and other design studios before teaching 3D modelling at the London College of Communication and starting to exhibit his own work. Trained as an industrial designer and with 10 years of consistent work experience designing, making and selling furniture. The concepts behind VAL furniture are functionality, aesthetics and surprise factor. What is unique about her work, is its originality, boldness, narrative and outstanding quality. Valentina offers furniture and accessories created in the line of emotional design: pieces made to last, to grow older with their owners, becoming into much more than just a material possession to them.
The designs are not based in disposable transit trends. This particular take in furniture and accessories invites the user to interact with it, to play, to question, to surprise, to enjoy. Not only VAL offers a fresh new approach to a typical designed product through its knowledge of materials, quality and experimental working methods, but also proposes a new look into the area of conceptual furniture: a combination of great design and contemporary approach without compromising true functionality.
Bibliography in: Cistercian Architecture and Medieval Society
The Ghost of a Chair is a sculptural free-form furniture piece, handmade out of a single 4mm transparent polyester sheet. Each chair is unique due to its unconventional manufacturing process, using a combination of high-end technology and craft, in a labour of love. Volatile and unpredictable, each Ghost chair is a One-off. The Ghost of a Chair embodies signature aesthetics with its originality and functionality in a statement furniture piece.
Its transparency enables the chair to exist in any environment. The material itself is a light conductor and can easily function as an outdoor fixture; its versatility goes as far as your imagination can take you.
Both with a weight allowance up to kls. Beginning with an initial fold, a single action causes a transfer of energy to subsequent folds, which ultimately manifest in drawings and three dimensional forms. I use my engineering skills to create kinetic sculpture which have lead to collaborations with scientists at the University of Michigan. We work on the nanoscale, translating paper structures to micro origami. Our investigations extend to visualizing cellular division and solar cell development. Researchers see paper engineering as a metaphor for scientific principals; I see their inquiry as basis for artistic inspiration.
In my studio I am a collaborator, explorer and inventor. I begin with a system of folding and at a particular moment the material takes over.
Guided by wonder, my work is made because I cannot visualize its final realization; in this way I come to understanding through curiosity. Anne always enjoyed to perform handicraft work and when she gave a mixtape to a friend as a birthday present it always came in a home made cover. During her studies of product design at Potsdam University, she learned, additionally to her work with all types of wood, to work with other materials, like plastics or metal. She made her first product designs, while attending different workshops and explored how to work with various materials as well as developing new avenues of approach.
Today Anne translates her ideas into functional products like lamps, kitchen accessories, sideboards or a wardrobe. Her inspiration often comes by self-interest, she explains. Thus she is currently working on a bathroom furniture, because she was lacking one in her own appartment. For example, is the lampshade really destined to disappear along with the incandescent light bulb? Or will designers like Daniel Michel surprise us? It would indeed appear so. At the end of , German designer Daniel Michel introduced a number of new pieces to his repertoire. His mission is to explore stereotypes in design through new processes able to renew shapes, practices and functions.
I was inspired by curtains, fabric pleats, plastic bags, fabrics that happened to be spread on the floor, wrapped objects and creased blankets. The sheer fascination that fabric drapery can evoke! I was equally absorbed by mass production of clothes, their usage consumption and wastage. First I produced installations using plain coloured fabrics. The guidelines for my formations were the above mentioned pleats and colour moods ranges. I printed these onto fabric. This lead to a new perception point of view of the different composed pieces of fabric.
Working on these installations an idea struck me. To new shapes, away from rolls of fabric! The fashion designer receives fabric objects and not just rolled up fabric! No yard goods! The new building should accommodate people and provide many secondary spaces. The new building designed by Studio DMTW is to be placed next to the ruins of the old burned down church. In general, compared to the design of a secular building, where the focus primarily lies on the programmatically and functional aspects, a church has additive characteristics which need to be considered.
First, the classical Christian symbolism plays a large role in the shape. Secondly, the atmosphere within the church should be designed for a place of rest, worship and communal gathering. The deliberate use of openings, to separate from the outside and the play of natural light are of great importance. The basic elements of Christian symbolism, the circle, the square and the cross, are reflected in this draft. So in term of forms, the perimeter of the church in the spatial as well as in the lyrical sense is a circle. The circle symbolizes unity, the absolute, the perfect and the divine order.
It is a symbol of heaven and the All-One. Each point has an equal distance from the centre. For humans, the circle acts as something warm and comforting. We look forward to our circle of family and community. We have a circle of friends. The shape of the circle is underscored by the realization of a ring of equal sized elements. Depending on the internal use and its contact with the outside space, the elements consist of precast concrete, U-shaped glass or U-shaped translucent glass.
Within this circumscribed circle and in the middle of the secondary functions is the church room. Its outline is described by a square.
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Unlike the circle, the square stands for the earthly existence, points to static perfection and consequent immutability. It is the human cosmos, with its limitations and the epitome of order and.
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It curbs the chaos. Its absolutely uniform structure speaks of justice. With the square as a projection on the ground, the space transforms its outline to the roof surface which forms a cross. The vertical beam of the cross symbolizes the relationship between God and man.
The horizontal beam of the cross links the relationship between people. Its outer walls extended well beyond the ring, are made of narrow wooden elements. They fold like a cape around the sculpture. We are talking about him to amplify the faint voice of his works.
An internal chanting, albeit a powerful one if you know how to listen. Come closer and enjoy the music of these forms. Mihara Ken is one of the most creative Japanese ceramic artists. Elegant and simple lines, a blend of purple, grey and blue: it is an explicit visual ode to his native land, Izumo, which is also called the capital of the gods, a land steeped in ancient myths and Japanese legends.
The ability to meet the needs of touch and texture, which are typically contemporary, with revisited ancient forms. An art of archaeological rediscovery. Martin Schoeller is a New York based photographer whose style is distinguished by similar treatment of all subjects whether they are celebrities or unknown.
His most recognizable work are his portraits, shot with similar lighting, backdrop, and tone. It is a project combining modern technology ink-jet printer and a very well known and accessible material paper. Hydro-Fold is a project that aims to explore the properties of paper or how a liquid may bend its structure.
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The project consists on bringing modifications on a simple contemporary desktop ink-jet printer by replacing the regular ink contained in the cartridge by a very specific mixture of ink and water. Different patterns, grids and shapes can be printed on paper using this specific liquid. While drying, the paper contorts, folds and retracts around the printed and humid areas, transforming it self from a 2-dimensional paper sheet to a 3-dimensional structure where lines become edges and surfaces become volumes.
It combines computational design techniques with ancient paper folding techniques, resulting in a cubic-meter suspended structure which acoustically amplifies sound. The idea of modulation and systems for actual construction was developed into combinations of basic geometry, with a specific visual and acoustic impact on the immediate surroundings. The form itself was inspired by mathematician and origami expert Taketoshi Nojima, especially his work reproducing organic forms from folded paper.
It acoustically amplifies the sound form a single speaker-driver in order to create an enclosed space that overflows the listener in its center. The collars required several yards worth of linen, and had to be starched and ironed into pleats, or even supported on wires, in order to achieve their voluminous appearance. Inspired by the way Flemish baroque painter Cornelis de Vos illuminated these items, Andrew Saunders created the similarly shaped Luminescent Limacon.
The design integrates historical referencing to the contemporary fabrication techniques, transforming the traditional piece of garment into a vehicle for manipulating light. This occurs at two levels, both as an ephemeral reflective source and as a figural volume with a material presence. This dense accumulation of light is achieved through a combination of the chiaroscuro painting technique, which uses dramatic contrast of light to build volume, and by trapping light through a process of periodic folding that creates a deep translucent ruffle.
The geometry of the structure is determined through use of the polar equation-based Limacon curve. Rolling of the curve at different speeds generates self-similar profiles.
410 réponses sur “y’a comme un(e) Malaise dans les dictionnaires”
Two levels of geometry appear simultaneously: the primary one is combined vertically, while the secondary, following similar geometric progression, creates folds that are nested diagonally and can be interconnected when they meet flush. For fabrication and assembly, these surfaces are embedded with a number of parameters including placement of apertures for connection points, material thickness, tabbing and indexing.
Each individual unrolled developable surface contains a unique and specific location and assembly instruction. A fractal is a kind of geometric shape which can de divided into parts, each at least approximately a reduced-size semblance of the whole, or a self-similar shape. According to the theory, there is a hierarchical organization or nesting of matter - from the elementary particles to the clusters off galaxies, with three main levels: atomic, astral and galactic. Models of the collection represent a variety of matter levels in the universe. She went onto study an MA to develop her skills as a creative pattern cutter with focus on tailoring and experimental methods of cutting.
Exploring the region between art and mathematics and finding beauty in geometry. She used computer technology for a new approach to design. The flat 2D patterns transferred to paper and fabric for further manipulation and experimentation in relation to the body. This design process changes the design methodology; going from 3D surface to 2D and then back to 3D.
This collection is a true celebration of creative pattern cutting and was produced solely by the designer, in its entirety, from start to finish.. Before opening his studio he has worked freelance at various design studios including Tord Boontje. When a piece of fabric is going through the process of lamination, it is expected to be flat, smooth and creaseless.
But what happens when the fabric is all crumbled up? An industrial process has been altered into a hands-on approach: a flat sheet of resin-filled fabric is creased by hand into a table or any form one could make out of a piece of cloth. The shape of the object is defined by the interaction between the material and the maker Henny , where a constant negotiation between his control over the material and the nature of the material itself presses on until the final product is achieved.
In each piece two lined frames, representing the humble integrity inherent to the craft, are visually merged to create a moment that deviates from the conventional Tategu aesthetic, and introduces angles and shapes that are not commonly used in the craft. Each piece is made from Hinoki Japanese Cypress , an elegant and pleasantly scented wood that is highly rot-resistance and does not require any additional oils or waxes.
Hinoki is the most luxurious wood used in the craft of Tategu. The three screens in the Join series are available in a limited edition of 8 pieces each and are all handcrafted by Mr.