3,816 research outputs found
I remember playing Sunday sandlot baseball at Seabrook
No full textIn this "I remember" memoir, Rei Noguchi recalls playing baseball during the summer months at Seabrook. Some families provided the equipment for everyone to use. Players on one team would share their baseball gloves with the players on the other. Each team kept its own score, as well as designated an umpire. Rei found that it worked very well. Often, the adults would play against the kids, and Rei remembers the kids winning more games. The games were usually community events, and people would stop by to watch while doing errands around the town. The Seabrook Educational and Cultural Center has been soliciting current and past residents of Seabrook Farms for an "I remember" project. Residents are asked to create narratives regarding their experiences at Seabrook Farms. These memories help preserve the history and multi-cultural heritage of Seabrook Farms
Art as Contemplative Place, with Reference to Isamu Noguchi's Sited Works
No full textThe term contemplative place, a new concept that forms the core of this research is defined as "space where a meaningful sense of calm can be experienced." Contemplative place situates itself as a category of place. M. Auge defines place as that which is "relational, historical and/or concerned with identity" (1995). For the artwork to be meaningful, it needs to be expressive and significant through its response to its physical, cultural, historical and/or social identity.
With reference to Isamu Noguchi's sited works, three projects are seen as representatively defining his career. They are The UNESCO Garden in France - Noguchi's early attempt at using the landscape as an art form; the California Scenario in the USA -a corporate park where Noguchi successfully creates a meaningful sense of place; and the Domon Ken Museum of Photography in Japan -a simple reductive approach that addresses its context on several levels.
Through the analysis and contextual isation of Noguchi's works, I begin to explore the strategic processes and principles that he used to make his works contemplative places. In my practice, I review and test evolving processes that incorporate the notions of place as well as my practice of meditation. Three case studies of past and current works are presented, each with a summary of analysis and a completed (or anticipated) experience. Then, through post-reflective thoughts, I begin to consolidate my own strategic processes and principles, and study how they have evolved and in some instances been influenced by Noguchi. As a final chapter, an evaluation addresses the similarities and differences between Noguchi's works and mine in achieving contemplative place.
The intention of this research is that the term contemplative place can be understood and evolve over time with future research. The strategic processes and principles used by Noguchi and those newly developed through my own practice could prove as useful examples to inspire new frontiers for creating contemplative places as art forms
Bibliographical Review on the Academic Achievements of Dr. Hideyo Noguchi
No full textA complete list o farticles by Dr. Hideyo Noguchi was compiled by the author. The articles are classified and discussed. The quantity and range of the articles were impressive. The author expresses his great respect for Dr. Hideyo Noguchi, who was an excellent scientist and dedicated researcher
Bibliographical Review on the Academic Achievements of Dr. Hideyo Noguchi
No full textA complete list o farticles by Dr. Hideyo Noguchi was compiled by the author. The articles are classified and discussed. The quantity and range of the articles were impressive. The author expresses his great respect for Dr. Hideyo Noguchi, who was an excellent scientist and dedicated researcher
Topografías táctiles: Plazas y jardines de Isamu Noguchi
No full textEl ritmo frenético de la vida urbana, las dinámicas socioeconómicas y la cultura digital han convertido las calles y las plazas de nuestras ciudades occidentales en meros sitios de paso. Los espacios urbanos abiertos han perdido, en general, su carácter distintivo y representativo de lo público y lo colectivo. Desde el siglo pasado, los arquitectos y los artistas se han interesado en esta cuestión. Uno de los campos privilegiados para sus exploraciones fue el encuentro entre la arquitectura y la escultura en el paisaje urbano a partir de la década de 1950. Se trata de una zona gris que ensaya las posibilidades de una nueva monumentalidad basada en la creación de ambientes que intensifican la sensación de presencia de los sujetos. Y en esa tarea, Isamu Noguchi (1904-1988) ocupó una posición relevante.
La primera parte de este trabajo desarrolla un marco teórico que se adentra en esa zona gris entre arquitectura y escultura. El argumento advierte algunos conceptos que manejaron los artistas, diferencia las capas y escalas sensitivas que caracterizan a los ambientes de esa zona gris y, en base a ello, contextualiza el trabajo de Noguchi en plazas y jardines. La segunda parte del trabajo aborda el análisis de la espacialidad texturada de tres espacios significativos en la obra de Noguchi: Los jardines para la sede de IBM (1964), California Scenario (1980-1982) y la Plaza del JACCC (1980-1983). El análisis de textura se basa en una interpolación de los análisis individualizados de sus elementos, sus estructuras y sus superficies. Además, se han elaborado maquetas a modo de modelos táctiles con los que experimentar corporalmente la textura.
Como resultado del análisis, este trabajo quiere entender ciertos aspectos arquitectónicos de los paisajes escultóricos de Noguchi. Especialmente, cómo generan un ambiente capaz de integrar y tocar al individuo que lo recorre, convirtiendo su propia presencia en un elemento esencial del espacio. Este tipo de ambientes son, a su vez, el camino para una reflexión preliminar sobre la necesidad de repensar nuestras calles y plazas como verdaderos ambientes significantes
I remember Seabrook: The bookmobile and other memories
No full textIn this "I remember" memoir, Emiko Noguchi Herold recalls her childhood years at Seabook. She remembers the bookmobile that would arrive every 2 weeks with library books. Emiko's mother worked in the frozen-food factory at Seabrook, while her Auntie Ellen and Uncle Kiyomi moved to a farm in nearby Elmer. Emiko remembers the Thanksgiving celebrations on their farm. The Seabrook Educational and Cultural Center has been soliciting current and past residents of Seabrook Farms for an "I remember" project. Residents are asked to create narratives regarding their experiences at Seabrook Farms. These memories help preserve the history and multi-cultural heritage of Seabrook Farms
Gestión de enfermería en el hospital Hermilio Valdizán y hospital Honorio Delgado Hideyo Noguchi. Lima 2016
No full textLa investigación que tiene como título “Gestión de enfermería en el hospital Hermilio
Valdizán y hospital Honorio Delgado Hideyo Noguchi. Lima 2016”, partió del problema
general ¿Cuál es la diferencia entre la gestión de enfermería en el hospital Hermilio
Valdizán y hospital Honorio Delgado Hideyo Noguchi. Lima 2016?. Cuyo objetivo general
fue comparar la gestión de enfermería en el hospital Hermilio Valdizán y hospital Honorio
Delgado Hideyo Noguchi. Lima 2016.
La investigación fue de tipo básica, con un diseño no experimental, de corte
transversal. La muestra estuvo constituida por licenciadas en enfermería (60) del hospital
Hermilio Valdizán y licenciadas en enfermería (60) del hospital Honorio Delgado Hideyo
Noguchi. El muestreo realizado fue no probabilístico intencional. Se aplicó el cuestionario
de gestión de enfermería a las licenciadas en enfermería.
Se utilizó el estadístico no paramétrico de U de Mann Whitney que permitió
comprobar la hipótesis planteada, existe diferencias significativas entre la gestión de
enfermería en el hospital Hermilio Valdizán y hospital Honorio Delgado Hideyo Noguchi,
siendo mayor rango promedio en el hospital Hermilio Valdizán.
Los resultados concluyeron que ambos hospitales poseen una gestión de enfermería
de formas diferentes, no llegando hacer excelente gestión de enfermería
El espacio entre las rocas: paisaje, escultura y arquitectura en la obra de Isamu Noguchi
No full textIsamu Noguchi, marcado por una fuerte dualidad personal entre su
ascendencia estadounidense y japonesa, es para muchos, un artista
inclasificable. Aún así, marcó las bases para los artistas del landart a
través de sus paisajes escultóricos. Aunque su obra fluya entre el paisaje,
la escultura y la arquitectura, Noguchi trabaja con una serie de conceptos
clave con los que logra configurar nuevas naturalezas.
Con elementos primarios del jardín japonés, como son la tierra, el agua y
las rocas, elabora espacios configurados a partir de materia y de vacío.
Estos se diseñan a escala del usuario, donde el hombre es el protagonista
a través del recorrido, provocando espacios activos.
Una serie de conceptos, que nacen desde el entendimiento de sus
referencias y raíces, se suceden en su obra, provocando la aparición de
ciertos símbolos. Para entender la obra de Noguchi no hace falta más
que escucharla.Isamu Noguchi, marked by a strong personal duality between his American
and Japanese descent, is for many, an unclassified artist. Nevertheless, he
laid the foundations for landart artists through his sculptural landscapes.
Although his work flows between landscape, sculpture and architecture,
Noguchi works with a series of key concepts with which he shapes new
natures.
Using primary elements of the Japanese garden, such as earth, water,
and rocks, he creates spaces configured from matter and emptiness.
These are designed on a human scale, where man is the main character
through the journey, creating active spaces.
A series of concepts, arising from an understanding of his references and
roots, follow in his work, giving rise to certain symbols. To understand
Noguchi’s work, one only needs to listen to it.Departamento de Teoría de la Arquitectura y Proyectos ArquitectónicosGrado en Fundamentos de la Arquitectur
Remembrances of Seabrook Village of the 1950s: A newspaper boy's view
No full textIn this "I remember" memoir, Rei R. Noguchi outlines in detail the paper route he used to take to deliver newspapers throughout Seabrook Village. Every building, neighborhood, and field he remembers passing reminds him of how they were significant in his life at Seabrook. Noguchi's memoir is a geographical tour guide that also illustrates the social, ethnic, family, and work lives of the diverse members of the Seabrook community. The Seabrook Educational and Cultural Center has been soliciting current and past residents of Seabrook Farms for an "I remember" project. Residents are asked to create narratives regarding their experiences at Seabrook Farms. These memories help preserve the history and multi-cultural heritage of Seabrook Farms
Campos de juego de Noguchi y Van Eyck. El plano horizontal
No full textCampos de juego de Noguchi y Van Eyck. El plano horizonta
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