Spatial Art, a dynamic and immersive form of artistic expression, transcends ...
Image 5 of 39 from gallery of The Architecture of Thrill: How Hitchcock Inspires Spatial Effects. Psycho: Sergi Viñals. Image Courtesy of Ethics Course, School of Architecture UIC
• ' NOISY SPACE ' Print A01 - Geometrical Composition • A spatial and geometrical composition - The image was generated to illustrate 'The noise behind the voice', the organized mess from behind the stage, the noisy inspiration that stands behind any creative process. Though the color scheme and the balanced composition between the different art elements, the images offer a vast selection of atmospheres. . . . #digitalart #poster #posterdesign #art #etsy #aiart #constructivism #minimalism
Image 30 of 38 from gallery of Stellar Drawings Selected as Winners of WAF's Inaugural Architecture Drawing Prize. Hand-drawn: Spatial Cocktails (series; seven in total) by Reza Aliabadi. Image Courtesy of World Architecture Festival
Outpost 270224 In the body of knowledge, there is a mind in the flesh quick as lighting. Artaud/Newman Drawing ultimately corresponds with/to a mobile field of properties. The Haptic Engagement. The Stage of Drawing. Gesture and Act. In drawing it is this potentiality and instability of the 'framed image/object' that reinforces our uncertainty of any definitive definition. We are not so much looking at the thing itself, but at its suggestion and its very possibility in a formation that has yet to occur. There is the uncertainty (and its anxiety) as to what stage of language it is, in its becoming. Looking with the eye and touch of an artist, even to a point of scrutiny, while keeping the societal content in which they emerge in mind. What forms the overall connection between the drawings in the exhibition is the value attached to gesture, as a primordial act of consciousness and to its trace on the paper. Catherine de Zegher, Avis Newman. Drawing is conceived in the midst of loss and anxiety. Within the realm of visual representation, drawing is present as an act of tracing absences. Opened and closed by the mark, an inscriptive game that is both motional and emotional, that enables an active control/participation over separation anxiety. While at the same time unlocking the way to the child's independence. The earliest drawings are not guided by visual exploration of space, but by an exploration of movement and spatial concerns. Bodily responses to drawing acts, of trying to bring about a visible language from visual inscriptions. Gestural traces in drawings evidence a continuous process of situating being/becoming. Drawn from the body of knowledge into the/onto the surface event of experience. Drawing for me always seems to manifest the endless repetition of remaking, and as such as a sensation it constitutes the space of anxiety, a childhood anxiety. Moving Bodies Spatial Thresholds In architecture we enter space and its poetics. St Jerome in his study.1474-75. Messina examines 'earthly limits', St Jerome is sitting in a small study that seems to have been dissected to reveal its interior. The place, environment for his writing and any other material needed to cultivate his mind. As if to say that space can be crossed with a mind capable of entering and crossing limits. This is the greatness of the mind, and also in architecture, that it is capable of crossing/entering spaces beyond there physical limits. In transcending physical limits Scarpa is setting up a spatial poetics of liminal spaces, is perhaps the main theme of his work at Brion Cemetery, alongside of the real physical and actual architectural figures of solid material. Thus for Scarpa, every time a threshold is crossed the limits between life, humanity and nature in the landscape are traversed as well. Brion Cemetary by Carlo Scarpa. Ina Macaione. 2017. Enric Mestre. Architectures For Silence And Meditation. Building models, blueprints for larger constructions. Sculptures of the hidden, the concealed and the enclosed. The work of Enric Mestre is much indebted to the principles of ancient classical form as to the vocabulary of modern architecture and sculpture. He is an artist who has a particularly sensitive feeling for massing, for the planar and spatial relationships of contemporary building, and how to size this down into pieces which possess their own particular intimacy. His works are enhanced by the nuanced and controlled colouration of their clay fabric. Mestre produces patinas of great subtlety and variation that relate more to the fabric of a building than to traditional sculpture. Gritty open textures and smooth surfaces both soften and temper the austerity of his forms, in which he also uses sober tones and colourations to distinguish different sections, surfaces and planes. Mestre's work echoes the sculptural beauty of expressive functionalist building, it has the same starkness, the same asceticism that shares a strong sense of memorial and of elegy. They are deeply contemplative objects, that go beyond exercises in harmony, chromatics, proportion and formalism. They present a quietude that contains a profound sense of memento mori. For Whiting there is a sepulchre like quality about such of Mestre's work, for repositories of memory perhaps, sentinels of some unspecified commemoration. Sculptures where one's own imagination is allowed to roam in a disquieting world of urban areas and industrial like structures. Their cenotaph like solemnity creates a sense of isolation and loneliness, and we are left to make our own narratives, our own stories. David Whiting. Invisible Cities. Italo Calvino. With cities, it is as with dreams; everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires or fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful and everything conceals something else. What is more mysterious than clarity? What more capricious than the way in which light and shade are distributed over the hours and over men? Eupalinos of the Architect. Paul Valery. Christopher Wilmarth Drawing Into Sculpture. Christopher Wilmarth (1943?1987), an American artist best known for his expressive sculptures constructed from plate glass and steel, was also an innovative draftsman. This compelling book?the first to focus on Wilmarth's use of drawing throughout his career?offers fascinating insights into his artistic practice and poetic personal vision. Edward Saywell considers three aspects of Wilmarth's drawings: his student and early works; the remarkable crossover that he made between two- and three-dimensional works in a series of drawings constructed from etched glass and steel cables done in the early 1970s; and the independent drawings he made directly after or during the construction of his sculptures as a means to think through completed work and to look forward to new creative ideas. Saywell also draws on previously unstudied materials, such as sketchbooks, preparatory maquettes, and letters selected from the Christopher Wilmarth Archive recently presented to the Fogg Art Museum by Susan Wilmarth-Rabineau, in order to shed new light on Wilmarth's working process.
Outpost 270224 In the body of knowledge, there is a mind in the flesh quick as lighting. Artaud/Newman Drawing ultimately corresponds with/to a mobile field of properties. The Haptic Engagement. The Stage of Drawing. Gesture and Act. In drawing it is this potentiality and instability of the 'framed image/object' that reinforces our uncertainty of any definitive definition. We are not so much looking at the thing itself, but at its suggestion and its very possibility in a formation that has yet to occur. There is the uncertainty (and its anxiety) as to what stage of language it is, in its becoming. Looking with the eye and touch of an artist, even to a point of scrutiny, while keeping the societal content in which they emerge in mind. What forms the overall connection between the drawings in the exhibition is the value attached to gesture, as a primordial act of consciousness and to its trace on the paper. Catherine de Zegher, Avis Newman. Drawing is conceived in the midst of loss and anxiety. Within the realm of visual representation, drawing is present as an act of tracing absences. Opened and closed by the mark, an inscriptive game that is both motional and emotional, that enables an active control/participation over separation anxiety. While at the same time unlocking the way to the child's independence. The earliest drawings are not guided by visual exploration of space, but by an exploration of movement and spatial concerns. Bodily responses to drawing acts, of trying to bring about a visible language from visual inscriptions. Gestural traces in drawings evidence a continuous process of situating being/becoming. Drawn from the body of knowledge into the/onto the surface event of experience. Drawing for me always seems to manifest the endless repetition of remaking, and as such as a sensation it constitutes the space of anxiety, a childhood anxiety. Moving Bodies Spatial Thresholds In architecture we enter space and its poetics. St Jerome in his study.1474-75. Messina examines 'earthly limits', St Jerome is sitting in a small study that seems to have been dissected to reveal its interior. The place, environment for his writing and any other material needed to cultivate his mind. As if to say that space can be crossed with a mind capable of entering and crossing limits. This is the greatness of the mind, and also in architecture, that it is capable of crossing/entering spaces beyond there physical limits. In transcending physical limits Scarpa is setting up a spatial poetics of liminal spaces, is perhaps the main theme of his work at Brion Cemetery, alongside of the real physical and actual architectural figures of solid material. Thus for Scarpa, every time a threshold is crossed the limits between life, humanity and nature in the landscape are traversed as well. Brion Cemetary by Carlo Scarpa. Ina Macaione. 2017. Enric Mestre. Architectures For Silence And Meditation. Building models, blueprints for larger constructions. Sculptures of the hidden, the concealed and the enclosed. The work of Enric Mestre is much indebted to the principles of ancient classical form as to the vocabulary of modern architecture and sculpture. He is an artist who has a particularly sensitive feeling for massing, for the planar and spatial relationships of contemporary building, and how to size this down into pieces which possess their own particular intimacy. His works are enhanced by the nuanced and controlled colouration of their clay fabric. Mestre produces patinas of great subtlety and variation that relate more to the fabric of a building than to traditional sculpture. Gritty open textures and smooth surfaces both soften and temper the austerity of his forms, in which he also uses sober tones and colourations to distinguish different sections, surfaces and planes. Mestre's work echoes the sculptural beauty of expressive functionalist building, it has the same starkness, the same asceticism that shares a strong sense of memorial and of elegy. They are deeply contemplative objects, that go beyond exercises in harmony, chromatics, proportion and formalism. They present a quietude that contains a profound sense of memento mori. For Whiting there is a sepulchre like quality about such of Mestre's work, for repositories of memory perhaps, sentinels of some unspecified commemoration. Sculptures where one's own imagination is allowed to roam in a disquieting world of urban areas and industrial like structures. Their cenotaph like solemnity creates a sense of isolation and loneliness, and we are left to make our own narratives, our own stories. David Whiting. Invisible Cities. Italo Calvino. With cities, it is as with dreams; everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires or fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful and everything conceals something else. What is more mysterious than clarity? What more capricious than the way in which light and shade are distributed over the hours and over men? Eupalinos of the Architect. Paul Valery. Christopher Wilmarth Drawing Into Sculpture. Christopher Wilmarth (1943?1987), an American artist best known for his expressive sculptures constructed from plate glass and steel, was also an innovative draftsman. This compelling book?the first to focus on Wilmarth's use of drawing throughout his career?offers fascinating insights into his artistic practice and poetic personal vision. Edward Saywell considers three aspects of Wilmarth's drawings: his student and early works; the remarkable crossover that he made between two- and three-dimensional works in a series of drawings constructed from etched glass and steel cables done in the early 1970s; and the independent drawings he made directly after or during the construction of his sculptures as a means to think through completed work and to look forward to new creative ideas. Saywell also draws on previously unstudied materials, such as sketchbooks, preparatory maquettes, and letters selected from the Christopher Wilmarth Archive recently presented to the Fogg Art Museum by Susan Wilmarth-Rabineau, in order to shed new light on Wilmarth's working process.
The number 11-12 (Nov-Dec 1972) of Italian architecture magazine Controspazio presented a retrospective of the earliest "design researches" by the couple Franco Purini / Laura Thermes. The article was part of an ongoing series titled L'architettura Interrotta ("Interrupted architecture") and the...
Image 1 of 16 from gallery of Time – Spatial Distortion / Jocelyn Cueto. Photograph by Jocelyn Cueto, Rodolfo Rey
Bienvenue dans le monde fascinant des astéroïdes ! Aujourd'hui, nous célébrons la Journée Mondiale des Astéroïdes, une occasion spéciale pour sensibiliser les gens à ces roches spatiales qui peuplent notre système solaire. Dans cet article, nous allons explorer pourquoi cette journée a été créée, l'importance des astéroïdes et comment notre Cabane Spatiale Kidspace peut vous emmener dans un voyage intergalactique tout en restant confortablement chez vous. Préparez vous à découvrir les secrets des astéroïdes et à laisser libre cours à votre créativité artistique avec notre cabane en carton personnalisable. 🌌🪐
Read and know everything about spatial ability reasoning and its types. Get access to spatial awareness practice tests with expertly explained answers.
When your child is walking around the room, trying to catch a ball, or having fun at the playground, they are using their spatial awareness skills to maneuver these tasks. Spatial awareness is the understanding of your position with respect to other objects in space. Therefore, a baby cannot
A young firm mines the potential of an ancient cave dwelling for a popular local eatery in Italy.
Image 24 of 58 from gallery of Revitalizing Abandoned Landscape in China: Quarries as Unconventional Spatial Resources. Photograph by Ziling Wang
Hans Dieter Schaal (1943) is a German architect, stage designer, landscape designer, writer and artist. Throughout his whole career he constantly crossed the borders among the different disciplines to produce a unique corpus of works. In his famous 1970's black and white drawings, Schaal...
Even for those of us with the most powerful visual imaginations, trying to picture how a four-dimensional object would look in a three-dimensional world is impossible, but we can ponder the concept using some interesting hypotheticals.
Mindfulness Space Design If Mettaobject is to design a public space, it will be a sculptural park where everyone are invited […]
Full list of Spatial Science resources at: Tessaban (municipality equivalent) lat lon, and province lat lon including basic economic and social data at: “Spatial Science is the study of spati…
Tan90°, a Cafe & Bar interior by AD ARCHITECTURE, creates a complicated spatial realm full of visual variations for the people of Shenzhen
Today is the final day of the rotation for 3D and Spatial Design... I was asked to bring all the work i did in these 2 weeks time.. Here is a little peak of the structures i made.... As in this week i have been making this structure and i found it would be better for me to experiment with materials a bit more...because i have been using papers, cards, wires, toothpick and blend-able plastic...which is not a wide range of materials used... A structure that can walk through, but not a building: A structure that can contain something, but not a box A structure that can hold the human body, but not a chair After i finished this "Chair" i found that i forgot the whole thing of creating a modular structure, so i redo the whole thing again for the "Chair". The bellow are the "Chair" that i remade...it is actually made out of plastic...blend-able plastic in exact...
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japanese practice norisida maeda atelier has shared with us their residence and office titled 'rose' in a suburb of tokyo. the reinforced concrete cube implements a positive and negative space spatial concept, named the 'recto' and 'verso'.
Image 13 of 16 from gallery of Time – Spatial Distortion / Jocelyn Cueto. View
