5084 Results
Form:
articles
articles
Title:
Empire
Empire
Actions:
Issue:
Let us assure you
Let us assure you
Keyword(s):
power, empire, Desert Storm, Victory Day, jet aircraft, bomber, flight, stealth, Lockheed, Boeing, helicopter, Washington DC, Washington Monument, Pentagon, Mall, Lincoln Memorial, grassy knoll, White House, Fed, dome, Senate, Arlington Memorial Bridge, Capitol, Treasury Building, Jefferson Memorial, World War II Memorial, reflecting pool
power, empire, Desert Storm, Victory Day, jet aircraft, bomber, flight, stealth, Lockheed, Boeing, helicopter, Washington DC, Washington Monument, Pentagon, Mall, Lincoln Memorial, grassy knoll, White House, Fed, dome, Senate, Arlington Memorial Bridge, Capitol, Treasury Building, Jefferson Memorial, World War II Memorial, reflecting pool
Published:
23 July 2009
23 July 2009
Issue:
Let us assure you
Let us assure you
Form:
articles
articles
Actions:
Issue:
Let us assure you
Let us assure you
Keyword(s):
Vendôme, mound of Vendôme, Commune de Paris, Paris, revolution, landscape, dirt, column, Napoleon, destruction, urban symbols, urban imaginary
Vendôme, mound of Vendôme, Commune de Paris, Paris, revolution, landscape, dirt, column, Napoleon, destruction, urban symbols, urban imaginary
Published:
28 February 2016
28 February 2016
Issue:
Let us assure you
Let us assure you
Form:
events
events
Date:
16 March 2024, 7:30pm
16 March 2024, 7:30pm
Form:
events
events
Date:
16 March 2024
7:30pm
16 March 2024
7:30pm
Form:
events
events
Location:
Shaughnessy House
Shaughnessy House
Date:
15 August 2018 to 21 August 2018
15 August 2018 to 21 August 2018
Form:
events
events
Date:
15 August 2018 to
21 August 2018
15 August 2018 to
21 August 2018
Location:
Shaughnessy House
Shaughnessy House
Form:
events
events
Actions:
Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
6 October 2016, 6pm
6 October 2016, 6pm
Title:
Unravelling the Digital Landscape
Actions:
Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Unravelling the Digital Landscape
Actions:
Description:
In this lecture, Christophe Girot discusses digital landscape models: A quiet revolution has taken place in digital landscape design and analysis over the past decade, caused by the introduction of digital point-cloud models. The scope and precision of these digital landscape models, created with terrestrial laser scanners and mobile and airborne lidar, lead to new(...)
Form:
events
events
Date:
6 October 2016
6pm
6 October 2016
6pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
events
events
Title:
Talking Pictures, a Circuit
Talking Pictures, a Circuit
Actions:
Description:
In an nine-part circuit of installations and interventions travelling throughout the spaces of the CCA, Francesca Ammon, Davide Deriu, Reto Geiser, Sara Goldsmith, Catalina Mejía Moreno, Bas Princen, Mika Savela, and Peter Sealy invite us to reflect on photography’s critical and creative relationship with architecture. With funding from The Andrew W. Mellon Foundation,(...)
In an nine-part circuit of installations and interventions travelling throughout the spaces of the CCA, Francesca Ammon, Davide Deriu, Reto Geiser, Sara Goldsmith, Catalina Mejía Moreno, Bas Princen, Mika Savela, and Peter Sealy invite us to reflect on photography’s critical and creative relationship with architecture. With funding from The Andrew W. Mellon Foundation,(...)
Keyword(s):
Andrew W. Mellon Foundation, photography, photographs, Francesca Ammon, Davide Deriu, Reto Geiser, Sara Goldsmith, Catalina Mejía Moreno, Bas Princen, Mika Savela, Peter Sealy
Andrew W. Mellon Foundation, photography, photographs, Francesca Ammon, Davide Deriu, Reto Geiser, Sara Goldsmith, Catalina Mejía Moreno, Bas Princen, Mika Savela, Peter Sealy
Date:
14 October 2017, 4pm
14 October 2017, 4pm
Title:
Talking Pictures, a Circuit
Actions:
Description:
In an nine-part circuit of installations and interventions travelling throughout the spaces of the CCA, Francesca Ammon, Davide Deriu, Reto Geiser, Sara Goldsmith, Catalina Mejía Moreno, Bas Princen, Mika Savela, and Peter Sealy invite us to reflect on photography’s critical and creative relationship with architecture. With funding from The Andrew W. Mellon Foundation,(...)
Talking Pictures, a Circuit
Actions:
Description:
In an nine-part circuit of installations and interventions travelling throughout the spaces of the CCA, Francesca Ammon, Davide Deriu, Reto Geiser, Sara Goldsmith, Catalina Mejía Moreno, Bas Princen, Mika Savela, and Peter Sealy invite us to reflect on photography’s critical and creative relationship with architecture. With funding from The Andrew W. Mellon Foundation,(...)
Form:
events
events
Date:
14 October 2017
4pm
14 October 2017
4pm
Form:
works of art
works of art
Reference number:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
People:
Subject:
architecture
architecture
Date:
ca. 1741
ca. 1741
Title:
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Magnificentiores Selectioresque Urbis Venetiarum Prospectus
Actions:
DR1986:0442:001-022
Description:
- Michele Marieschi was a short-lived Venetian vedutista whose small graphic output was limited almost exclusively to this group of twenty-one etchings. The album is a modern-bound collection of the first edition (before the addition of plate numbers) of Marieschi's prints. The prints were all designed and etched by Marieschi himself, with only two exceptions. The frontpiece, with its portrait of Marieschi (and proud proclamation of his status as painter and architect) was drawn by Anzolo Trivisan (Angelo Trevisani, 1669-after 1753) and engraved by Carlo Orsolini (1710-1780). The dedication to the Prince of Beauvau-Craon and the prince's coat of arms, which appear below Marieschi's view of the Piazzetta and Ducal Palace, were also engraved by Orsolini. RH - Marieschi was probably called an architect in the frontispiece to this volume of etchings (folio 1) in reference to his activity as a stage designer. Folio 21 gives us an indication of Marieschi's activity as a stage designer. According to Fabio Mauroner (Print Collector's Quarterly, vol. 27), the painted façade shown on the Church of San Rocco on the first state of folio 21 was designed by Marieschi. Here Marieschi is probably illustrating a festival which took place on the saint's feast day, since easel paintings are also shown placed against the façades of the buildings to the right in the square. It is interesting that in the second state of the same folio, another façade is shown, the one added to the church by the architect Macarazzi in 1768. According to the text on the first state of the same folio, the original façade on San Rocco was constructed in marble according to a design by Sebastiano Serlio (Mauroner, pl. 16). In addition, the exaggerated two-point and multi-point perspectives which Marieschi uses in many of his views of Venice, also reveal the influence of the principles of stage set design as illustrated in the contemporary drawings of the Bibiera family. MNR
Form:
works of art
works of art
Date:
ca. 1741
ca. 1741
People:
Subject:
architecture
architecture
Form:
events
events
Description:
In this lecture, Amy Kulper locates architecture’s “digital turn” in 1988, when Thomas Knoll invented Photoshop. Originally developed as an image-editing software, Photoshop fit neatly within the long history of optical correction in the discipline. Yet its ubiquity today also prompts new questions. Does Photoshop simply introduce logics of adjustment, correction, and(...)
In this lecture, Amy Kulper locates architecture’s “digital turn” in 1988, when Thomas Knoll invented Photoshop. Originally developed as an image-editing software, Photoshop fit neatly within the long history of optical correction in the discipline. Yet its ubiquity today also prompts new questions. Does Photoshop simply introduce logics of adjustment, correction, and(...)
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Date:
9 June 2016, 6pm
9 June 2016, 6pm
Title:
Amy Kulper: Architecture’s Digital Turn and the Advent of Photoshop
Actions:
Description:
In this lecture, Amy Kulper locates architecture’s “digital turn” in 1988, when Thomas Knoll invented Photoshop. Originally developed as an image-editing software, Photoshop fit neatly within the long history of optical correction in the discipline. Yet its ubiquity today also prompts new questions. Does Photoshop simply introduce logics of adjustment, correction, and(...)
Amy Kulper: Architecture’s Digital Turn and the Advent of Photoshop
Actions:
Description:
In this lecture, Amy Kulper locates architecture’s “digital turn” in 1988, when Thomas Knoll invented Photoshop. Originally developed as an image-editing software, Photoshop fit neatly within the long history of optical correction in the discipline. Yet its ubiquity today also prompts new questions. Does Photoshop simply introduce logics of adjustment, correction, and(...)
Form:
events
events
Date:
9 June 2016
6pm
9 June 2016
6pm
Location:
Paul Desmarais Theatre
Paul Desmarais Theatre
Form:
events
events
Description:
Join us in Madrid for a conversation with Iñaki Ábalos and Juan Herreros, with the participation of Ángel Borrego, Enrique Encabo, Albert Ferré (Associate Director, CCA Publications), María Auxiliadora Gálvez, and Moisés Puente. “Is there such a thing as an architecture of conversation?” ask Iñaki Ábalos and Juan Herreros in their text “A Conversation,” published in CIRCO(...)
Join us in Madrid for a conversation with Iñaki Ábalos and Juan Herreros, with the participation of Ángel Borrego, Enrique Encabo, Albert Ferré (Associate Director, CCA Publications), María Auxiliadora Gálvez, and Moisés Puente. “Is there such a thing as an architecture of conversation?” ask Iñaki Ábalos and Juan Herreros in their text “A Conversation,” published in CIRCO(...)
Date:
7 February 2017, 7pm
7 February 2017, 7pm
Title:
AP164: A Conversation with Iñaki Ábalos and Juan Herreros
Actions:
Description:
Join us in Madrid for a conversation with Iñaki Ábalos and Juan Herreros, with the participation of Ángel Borrego, Enrique Encabo, Albert Ferré (Associate Director, CCA Publications), María Auxiliadora Gálvez, and Moisés Puente. “Is there such a thing as an architecture of conversation?” ask Iñaki Ábalos and Juan Herreros in their text “A Conversation,” published in CIRCO(...)
AP164: A Conversation with Iñaki Ábalos and Juan Herreros
Actions:
Description:
Join us in Madrid for a conversation with Iñaki Ábalos and Juan Herreros, with the participation of Ángel Borrego, Enrique Encabo, Albert Ferré (Associate Director, CCA Publications), María Auxiliadora Gálvez, and Moisés Puente. “Is there such a thing as an architecture of conversation?” ask Iñaki Ábalos and Juan Herreros in their text “A Conversation,” published in CIRCO(...)
Form:
events
events
Date:
7 February 2017
7pm
7 February 2017
7pm
Form:
events
events
Actions:
Description:
Territories are the complex set of relations to things that keep us alive. They are bound spaces, where intersecting borders establish semi-stable relations between polities and their material base of operations. A new intensification is reshaping the surface and the cycles of the Earth: the Anthropocene marks an exit from modern forms of territorial organization of(...)
Territories are the complex set of relations to things that keep us alive. They are bound spaces, where intersecting borders establish semi-stable relations between polities and their material base of operations. A new intensification is reshaping the surface and the cycles of the Earth: the Anthropocene marks an exit from modern forms of territorial organization of(...)
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
Date:
5 November 2015
5 November 2015
Title:
John Palmesino: Territorial Agency
Actions:
Description:
Territories are the complex set of relations to things that keep us alive. They are bound spaces, where intersecting borders establish semi-stable relations between polities and their material base of operations. A new intensification is reshaping the surface and the cycles of the Earth: the Anthropocene marks an exit from modern forms of territorial organization of(...)
John Palmesino: Territorial Agency
Actions:
Description:
Territories are the complex set of relations to things that keep us alive. They are bound spaces, where intersecting borders establish semi-stable relations between polities and their material base of operations. A new intensification is reshaping the surface and the cycles of the Earth: the Anthropocene marks an exit from modern forms of territorial organization of(...)
Form:
events
events
Date:
5 November 2015
5 November 2015
Location:
Paul-Desmarais Theatre
Paul-Desmarais Theatre
