1,720,975 research outputs found
Fotografías de la Villa Voka: Bas Princen
No full textProducto de una colaboración sostenida, las fotografías de Princen sobre la obra de Office KGDVS dejan en evidencia la agenda del proyecto de arquitectura y la potencia de la relación entre discurso e imagen.Princen's long-term collaboration with Office KGDVS has produced a series of photographs that revealed both the architectural agenda of the studio and the potential that a crossing between image and discourse contain
OFFICE Kersten Geers David Van Severen, Volume 1: 2 – 56
No full textBowery Savings Computer Shop – Pier Paolo Tamburelli
Bowery Savings Bank is a building by McKim, Mead & White. Completed in 1895, it stands in Lower Manhattan, between Little Italy and Chinatown, with facades onto both Bowery and Grand. For McKim, Mead & White the construction was an occasion to carefully measure the distorted geometry of the plot – an irregular L-shape. A square and a rectangle are inserted into this area to provide the two main spaces (the banking room and the waiting area), expressed in the Roman Revival style.
The remaining spaces, in between these two rooms and the borders of the plot, form a series of leftovers that are not wasted. On the contrary, the architects devote the utmost attention – far more than they do to the main rooms – to the patient scrutiny and re-composition of the accidents of the cadastral map. The borders of the property are mapped and annotated by means of different types
of columns and pilasters, and by subtle variations in the distance separating columns from walls.
This silent game of variations emerges politely on the facades: while the portico with four columns on Grand rests perpendicular to the wall of the banking hall, the entrance with the two freestanding Corinthian columns on Bowery follows the orientation of the street, thus diverging some ten degrees from the orientation of the waiting room. This faint misalignment (a surprising Lewerentz or Siza moment in the otherwise rather robust production of McKim, Mead & White) arises because the arch framed by the two columns is extruded following the internal geometry, thus exposing one side of
the bank vault on the Bowery facade. This light, bleak cut in the impeccable classical pattern of the facade appears as a promise of imperfection. The masterful organisation of the plan seems to be entirely devoted to preserving the random nature of the subdivision of the land. Before the architects came along, there was a project here, even if only in the form of an abstract property line on a piece of paper signed by a notary. The city was already here. The city always comes first. In the one account that we have of a ‘debate’ among Roman architects (Cassius Dio, Historiae romanae, LXIX, 4, 3),
we hear Apollodorus of Damascus criticise the emperor Hadrian on the grounds that he had neglected the possibility of using the basement of his Temple of Venus and Rome as a scenery store for the nearby Colosseum. This criticism (which according to Cassius Dio spelled first exile and later death for Apollodorus) is surprising and telling: the only discussion among Roman architects that has come down to us is about storage space! And yet this debate about storage space could also be seen, quite simply, as an enthusiastic eulogy for space. Architecture is about space, all space. And so storage
has to be treated as an intellectual problem. To Apollodorus space is always precious. The Computer Shop in Tielt uses the same trick as the Bowery Savings Bank. The upper part of the facade follows the street while the lower part discovers the different geometry of the new blocks. The two regular volumes are placed into the plot to generate a figure of leftover space. Some bushes and a blind wall – this is what matters and what we love
About the book of Valerio Olgiati - Bas Princen: A talk on architecture in photography
Full text linkAs editor of scopio Editions it is a great honour to be writing this closing text about the upcoming book which communicates our last Duelo/Dueto session of Architecture, Art and Image (AAI) series that had as invited authors Valerio Olgiati and Bas Princen. I will start by talking about the book as a privileged medium for Architecture, Art and Image and then go on focusing on this book in particular and its authors.
This conference series had from the start planned a publication for each session with the contribution of the invited speakers and the organization because we believe that the physical book, without prejudice towards the potential of digital publications, is still a tool of paramount importance for preserving and building knowledge, not just for students and academics, but also for all professionals and non-scholars.
The physical book somehow allows the understanding of what was discussed and debated in Duelo/Dueto sessions in a different manner, encouraging and giving the right time to each viewer for a deeper thinking. The reading of these sessions also means that these events of rich exchange of ideas and personal experience between significant authors coming from AAI universe are preserved for future studies. In this way, they can be shared with a larger audience, opening the mind of many to these events and encouraging critical thinking toward a vast horizon of issues related to AAI universe.
It is worth referring also that the specific potential of the physical book as a unique medium to communicate Architecture, Art and Image1 was explored in this publication, which adds to its uniqueness and makes it more an author´s book than the customary conference or roundtable publication.
It was possible to create a visual narrative where the sum is greater than the parts, which we believe has as a result an innovative reading and a more insightful understanding about the thoughts, work and artistic strategies of both authors. Thus, we believe that this book, the second of this series of four publications focused on each session, will foster a significant critical debate related to Architecture, Art and Image, as already happened with our first published book on this series.
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Utopian debris: A conversation between Bas Princen and Marc Pimlott
No full textArchitectureArchitectur
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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