50,631 research outputs found
Studio De Ferrari Architetti. Opere,works 2000-2006.
No full textLe opere/works dello Studio De Ferrari, nei diversi settori dell'architettura, design, spazio pubblico, mostre e allestimenti, rinnovano l'impegno nel considerare il contesto matrice funzionale ed espressiva del progetto. The works of Studio De Ferrari, in different areas of architecture, design, public space, shows and exhibitions, renew their commitment in considering the functional matrix and expressive context of the project
[Oldbury Farm, Berrima, New South Wales, November 2000] [picture] /
No full textTitle devised by cataloguer based on information supplied by vendor.; Part of Historic Australian homesteads and gardens, 1994-2000 collection.; Condition: good. 'Oldbury Farm stands at the foot of Mount Ginnenbullen near Berrima and was built in 1828 for James Atkinson, author of the 1826 book Account of the State of Agriculture & Grazing in New South Wales. ... Photographed November 2000 [Berrima, N.S.W.]'--Trisha Dixon
Expo Missio 2000
No full textCura scientifica e allestimento della mostra realizzata presso il complesso dell'Abbazia delle Tre Fontane in Roma da giugno a settembre 2000, committente il Comitato Grande Giubileo del 2000. Produzione Gruppo Bodino (To) e Euphon (To).
La mostra prevede un percorso allestito di 1,5 km lungo il quale diversi scenari evocano il cammino dell'umanità alla ricerca della Rivelazione, e vengono proposte diverse attività per conoscere e condividere le finalità delle Missioni nel mondo.
La profezia di Isaia: "Tutti i popoli vedranno la tua salvezza" (Is 52, 10) è ripresa e riletta in chiave missionaria: il viaggio, l’incontro, il camminare con le genti.
Il cammino allestito lungo i viali dell’abbazia conduce i visitatori attraverso l’Umanità e i Simboli (sagome in forex autoportanti in b/n di genti del mondo), i Libri dei Libri (enormi riproduzioni in PVC delle pagine più significative delle 5 grandi religioni del mondo), il Volto di Cristo (installazione multimediale), al il Porto delle Genti, il luogo d’incontro finale che si affaccia su un campo di grano. Qui un mosaico di 20m.x 3m composto di 2000 morbide tessere in gomma magnetica viene composto e ricomposto ogni giorno dai visitatori richiamati a partecipare alle attività delle missioni
Cloenda del curs 2000-2001 del Studio Isadora
No full textPrograma del Festival de fí de curs del Studio Isadora, celebrat el 16 de juny de 2001
Jimmy Swift and Ninky Prevost in formal attire
No full textThis photograph is from film that was brought to Sherrill’s Studio for developing, but the prints were never picked up. The name written on the unclaimed envelope is Mildred Medford. The couple pictured is Jimmy Swift (1932-2000) and Ninky Prevost who later married. George Dexter Sherrill (1879–1931) opened the first photography studio in Haywood County on Depot Street in downtown Waynesville in 1902. In 1906 his studio became the first Eastman Kodak franchise west of Asheville and the third in North Carolina. Sherrill’s photography roots began in Jackson County where he learned the art from his brother-in-law, A. L. Ensley. Beulah Eloise Ashe Ensley (1899-1991) apprenticed with Sherrill in 1917 and worked in the studio with her husband, Sherrill’s nephew, Ralph Ensley (1894-1975) until Ralph’s death. The Ensley’s demolished the original studio in 1943, dug the site to street level, and built an International style building
Stanford Massie, Linda Sloan, Jimmy Swift, and Ninky Prevost
No full textThis photograph is from film that was brought to Sherrill’s Studio for developing, but the prints were never picked up. The name written on the unclaimed envelope is Mildred Medford. Shown here (L to R) are Stanford Massie (Francis Stanford Massie Sr., 1935-2014), Linda Sloan, Jimmy Swift (1932-2000), and Ninky Prevost who later married. George Dexter Sherrill (1879–1931) opened the first photography studio in Haywood County on Depot Street in downtown Waynesville in 1902. In 1906 his studio became the first Eastman Kodak franchise west of Asheville and the third in North Carolina. Sherrill’s photography roots began in Jackson County where he learned the art from his brother-in-law, A. L. Ensley. Beulah Eloise Ashe Ensley (1899-1991) apprenticed with Sherrill in 1917 and worked in the studio with her husband, Sherrill’s nephew, Ralph Ensley (1894-1975) until Ralph’s death. The Ensley’s demolished the original studio in 1943, dug the site to street level, and built an International sty
Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies
No full textThis practice-based research investigates the potential applications of digital manufacturing technologies in the design and production of hand-made tableware at the Leach Pottery. The methodology for the research establishes an approach grounded in my previous experience as a maker that is informed by an open, experimental, emergent, and responsive framework based on Naturalistic Inquiry.
A critical contextual review describes the cultural heritage of Leach which, for the purposes of the research, is developed through the Leach Pottery as a significant site, the historical production of the iconic Leach Standard Ware and the contemporary production of Leach Tableware. This is followed by an examination of Potter’s Tools in the Leach production environment, and a review of makers’ digital ceramic practice.
The contextual review is followed by an explication of ‘standards’ presented through visual lineages of Standard Ware and Leach Tableware to define ‘standard’ at a design (macro) level, followed by an examination of how ‘standard’ operates at a making (micro level) level. This chapter presents new knowledge in relation to defining the visual field of Leach Pottery tableware production and its standards of design.
A chapter focussed on practice presents the outcomes and analysis of my engagement with digital manufacturing technologies which resulted in the development of new tools to support Leach Tableware production and the interrogation of Leach forms, in different mediums, which led to the creation of Digital-Analogue Leach forms. The practice culminated in the design and development of new 21st century Standard Ware: a range of 9 forms, called Echo of Leach, that were developed by myself using digital and analogue methods: the designs were realised by myself, the Leach Studio, and a further four makers. The outcomes of the research were presented in a three month exhibition at the Leach Pottery in 2013.
The conclusions of the research draw on the key points raised in the analysis of the practice and relate these to the approaches to making pottery that are highlighted in the cultural heritage of Leach in the contextual review. These are also discussed in relation to ways in which these findings could be taken forward into development of knowledge about Standard Ware, especially in a broader studio pottery context
My Physical Approach to Musique Concrete Composition Portfolio of Studio Works
No full textMy recent practice-based research explores the creative potential of physical manipulation of sound in the composition of sound-based electronic music. Focusing on the poietic aspect of my music making, this commentary discusses the composition process of three musical works: Comme si la foudre pouvait durer, Igaluk - To Scare the Moon with its own Shadow and desert. It also examines the development of a software instrument, fXfD, along with its resulting musical production. Finally, it discusses the recent musical production of an improvisation duet in which I take part, Tout Croche.
In the creative process of this portfolio, the appreciation for sound is the catalyst of the musical decisions. In other words, the term \musique concrete" applies to my practice, as sound is the central concern that triggers the composition act. In addition to anecdotal, typo-morphological and functional concerns, the presence of a \trace of physicality" in a sound is, more than ever, what convinces me of its musical potential. In order to compose such sounds, a back-and-forth process between theoretical knowledge and sound manipulations will be defined and developed under the concept of \sonic empiricism."
In a desire to break with the cumbersome nature of studio-based composition work, approaches to sound-based electronic music playing were researched. Through the diferent musical projects, various digital instruments were conceived. In a case study, the text reviews them through their sound generation, gestural control and mapping components. I will also state personal preferences in the ways sound manipulations are performed. In the light of the observations made, the studio emerges as the central instrument upon which my research focuses. The variety of resources it provides for the production and control of sound confers the status of polymorphic instrument on the studio.
The text concludes by reflecting on the possibilities of improvisation and performance that the studio offers when it is considered as an embodied polymorphic instrument. A concluding statement on the specific ear training needed for such a studio practice bridges the concepts of sound selection and digital instruments herein exposed
Community design studio: a collaboration of architects and psychologists
No full textThe 'Community Design Studio' was a programme of collaboration between two courses, one in architecture and the other in environmental psychology. It aimed to generate a creative dialogue identifying responsible and professionally informed plans for the renewal of an inner city area in Glasgow (Govanhill) in which community participation was an essentialingredient. The collaboration took the form of architecture students, as designers and environmental psychology students as consultants, communicating electronically between Guildford (University of Surrey) and Glasgow (University of Strathclyde) and then meeting for on-site project work in London and Glasgow. The local community in Glasgow was the client for the architecture students, as the commissioner of ideas for neighbourhood regeneration. This interdisciplinary collaboration took place over nine months and generated educational, social and professional capital and challenges for both groups of young professionals. It involved long-distance collaboration through a virtual-studio with limited direct contacts; the responsibility of dealing with a 'real' client; and the cultural diversity of the two disciplines with different curricula, philosophy, teaching styles and learning outcomes. This experience also suggests potential ways to overcome the obstacles encountered in professional/community as well as inter-disciplinary collaboration and cooperation, and advocates the educational and social utility of such collaboration
Russia's Chechen wars 1994-2000 : lessons from urban combat /
No full textAn examination of the difficulties faced by the Russian military in planning and carrying out urban operations in Chechnya. Russian and rebel military forces fought to control the Chechen city of Grozny in the winters of 1994-1995 and 1999-2000, as well as clashing in smaller towns and villages. The author examines both Russian and rebel tactics and operations in those battles, focusing on how and why the combatants' approaches changed over time. The study concludes that while the Russian military was able to significantly improve its ability to carry out a number of key tasks in the five-year interval between the wars, other important missions--particularly in the urban realm--were ignored, largely in the belief that the urban mission could be avoided. This conscious decision not to prepare for a most stressful battlefield met with devastating results, a lesson the United States would be well served to study."Prepared for the United States Army. Approved for public release; distribution unlimited."Includes bibliographical references (pages 87-102).Introduction -- Grozny I: 1994-1995 -- Return to Grozny: 1999-2000 -- Conclusions.An examination of the difficulties faced by the Russian military in planning and carrying out urban operations in Chechnya. Russian and rebel military forces fought to control the Chechen city of Grozny in the winters of 1994-1995 and 1999-2000, as well as clashing in smaller towns and villages. The author examines both Russian and rebel tactics and operations in those battles, focusing on how and why the combatants' approaches changed over time. The study concludes that while the Russian military was able to significantly improve its ability to carry out a number of key tasks in the five-year interval between the wars, other important missions--particularly in the urban realm--were ignored, largely in the belief that the urban mission could be avoided. This conscious decision not to prepare for a most stressful battlefield met with devastating results, a lesson the United States would be well served to study.Electronic reproduction.Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.digitizedPrint version record.JSTO
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