Showing posts with label #designers. Show all posts
Showing posts with label #designers. Show all posts
Monday, April 1
The Abby Sainte Foy de Conques
Architectural Film Series :::
The site became famous because it housed the relics of Sainte Foy, the daughter of a wealthy family in Agen who had converted to Christianity and thus refused to sacrifice to the pagan gods. In one of the last persecutions of Christians by the Romans, in 303 the proconsul Dacien condemned this 12-year old girl to be burned alive according to the imperial edict of Diocletian. Although the flames were "miraculously" extinguished, the young martyr was then beheaded. Her remains were saved and in later years miracles were attributed to their presence. Once the relics were situated at Conques, they attracted many pilgrims; stories of the blind seeing again or prisoners being freed are attributed to the saint's intercession. (The depiction of Sainte Foy on the tympanum of the church includes shackles hanging above her figure as a way of emphasizing these miracles.) Today in the Treasury of the church one can see some of the most fabulous golden religious objects in France, including the very famous gold and jewel-encrusted reliquary statue of St. Foy."
Architecture 22 of 23 The Abby Sainte Foy de Conques
Introduction to Sainte Foy, Conques, France | https://www.bluffton.edu/~sullivanm/france/conques/stefoy/indexintro.html
"The abbey church, which has survived intact in its Romanesque form, is located in the town of Conques, from the Latin concha, meaning a shell (appropriate because the town is nestled in a gorge or hollow). This site was attractive as a retreat from the outside word to the early medieval founders of the abbey. Originally, in the 8th century there was a simple oratory at the site, but once the relics of Sainte Foy were in possession there (a Benedictine monk had stolen them from a monastery at Agen) in 866 and 883, the site was expanded. In the 11th century a new church was begun which was completed by the mid 12th century. This Romanesque pilgrimage church became a major stage on the Via Podiensis, the route between Le Puy and Moissac--one of the main pilgrimage roads to Santiago de Compostela.
The site became famous because it housed the relics of Sainte Foy, the daughter of a wealthy family in Agen who had converted to Christianity and thus refused to sacrifice to the pagan gods. In one of the last persecutions of Christians by the Romans, in 303 the proconsul Dacien condemned this 12-year old girl to be burned alive according to the imperial edict of Diocletian. Although the flames were "miraculously" extinguished, the young martyr was then beheaded. Her remains were saved and in later years miracles were attributed to their presence. Once the relics were situated at Conques, they attracted many pilgrims; stories of the blind seeing again or prisoners being freed are attributed to the saint's intercession. (The depiction of Sainte Foy on the tympanum of the church includes shackles hanging above her figure as a way of emphasizing these miracles.) Today in the Treasury of the church one can see some of the most fabulous golden religious objects in France, including the very famous gold and jewel-encrusted reliquary statue of St. Foy."
Kindly follow link for more views and stills >> https://www.bluffton.edu/~sullivanm/france/conques/stefoy/indexintro.html
"At the center of the bottom row there are two doors, one to the left (Christ's right) to Heaven and one to Hell. (See far right image below for the door to Heaven.) Flanking this center scene are views of Heaven and Hell, each with a presiding figure--Abraham in Heaven and Lucifer in Hell. (See next page for Lucifer.) Abraham, depicted in the center, seems to be embracing two of the Elect, each carrying scepters with flowers. On Abraham's left are figures representing the Old Law--two prophets with scrolls and at the outer arch, female prophets, while on his right are New Testament figures..."
Maison de Verre
Architectural Film Series :::
Architecture 19 of 23 Pierre Chareu Maison de Verre
AD Classics: Maison de Verre / Pierre Chareau + Bernard Bijvoet | http://www.archdaily.com/248077/ad-classics-maison-de-verre-pierre-chareau-bernard-bijvoet
"Built in 1932, the house uses various industrial and mechanical fixtures juxtaposed with a traditional style of home furnishings all under the transparency and lightness of the façade.
An interesting aspect of this house is the ubiquitous mechanical fixtures. On the ground floor was a medical suite for Dr. Jean Dalsace.
This unusual circulation arrangement was resolved by a rotating screen which hid the private stairs from patients during the day, but framed the stairs at night."
Brian Pagnotta. "AD Classics: Maison de Verre / Pierre Chareau + Bernard Bijvoet" 27 Jun 2012. ArchDaily. Accessed 10 Dec 2015.
Maison de Verre | http://architectuul.com/architecture/maison-de-verre
The Maison de Verre (House of Glass) is a collaboration of the interior and furniture designer Pierre Chareau, the Dutch architect Bernard Bijvoet and The French metal craftsman Louis Dalbet. It was built between 1928 and 1932 and is a stunning example of modern architecture in the beginning of the twentieth century.
The Maison de Verre was commissioned by Dr. Jean Dalsace and his wife, Annie, who had bought the site, a 18th-century hôtel particulier next to the Latin Quarter in Paris. Much to their chagrin, the elderly tenant on the top floor of the building absolutely refused to sell, and the Dalsaces were obliged to demolish the bottom three floors of the building and construct the Maison de Verre underneath, without disturbing the original top floor. Viewed from the courtyard the house which cannot be seen from the street looks, the house looks like a glowing translucent box, its great glass-block facade embedded in the 18th-century fabric and capped by the old one-story apartment level above.
The Maison de Verre’s glass façade is made up of glass blocks supported by a steel frame structure. In the interior, spaces are separated by movable, sliding, folding or rotating screens in glass, sheet or perforated metal. Other mechanical components include an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings. The whole steel structure with bare beams, the canalisation and conduits remain visible from the outside and contribute to the architecture thus transforming utilities into decorative elements. The glass block wall itself, is able to stand alone without the heavy frame. Ventilation through the glass block wall is provided by a series of movable traps. A weight and pulley system opens the window panels, allowing for natural ventilation. This unique system causes a minimum of visual impact on the glass facade of the structure.
The house which was used as a residency also comprised Dr. Dalsace’s gynecological practice which was located on the ground floor. A rotating screen hid the stairs leading to the private apartment in the upper floors from patients during the day, but framed the stairs at night. Pierre Chareau who was a distinguished furniture designer in Paris at the time gave enormous attention to detail, so much that the house itself was sometimes half-mockingly described as an elaborate piece of furniture.
In the mid-1930s, the Maison de Verre's double-height "salle de séjour" on the first floor was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. When the Nazis arrived in France, The Dalsaces had to flee the country. In 2006, Robert Rubin, an American collector, bought the house from the Dalsace family and carefully restored it. Today it is still in use as a private house.
The Maison de Verre was commissioned by Dr. Jean Dalsace and his wife, Annie, who had bought the site, a 18th-century hôtel particulier next to the Latin Quarter in Paris. Much to their chagrin, the elderly tenant on the top floor of the building absolutely refused to sell, and the Dalsaces were obliged to demolish the bottom three floors of the building and construct the Maison de Verre underneath, without disturbing the original top floor. Viewed from the courtyard the house which cannot be seen from the street looks, the house looks like a glowing translucent box, its great glass-block facade embedded in the 18th-century fabric and capped by the old one-story apartment level above.
The Maison de Verre’s glass façade is made up of glass blocks supported by a steel frame structure. In the interior, spaces are separated by movable, sliding, folding or rotating screens in glass, sheet or perforated metal. Other mechanical components include an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings. The whole steel structure with bare beams, the canalisation and conduits remain visible from the outside and contribute to the architecture thus transforming utilities into decorative elements. The glass block wall itself, is able to stand alone without the heavy frame. Ventilation through the glass block wall is provided by a series of movable traps. A weight and pulley system opens the window panels, allowing for natural ventilation. This unique system causes a minimum of visual impact on the glass facade of the structure.
The house which was used as a residency also comprised Dr. Dalsace’s gynecological practice which was located on the ground floor. A rotating screen hid the stairs leading to the private apartment in the upper floors from patients during the day, but framed the stairs at night. Pierre Chareau who was a distinguished furniture designer in Paris at the time gave enormous attention to detail, so much that the house itself was sometimes half-mockingly described as an elaborate piece of furniture.
In the mid-1930s, the Maison de Verre's double-height "salle de séjour" on the first floor was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. When the Nazis arrived in France, The Dalsaces had to flee the country. In 2006, Robert Rubin, an American collector, bought the house from the Dalsace family and carefully restored it. Today it is still in use as a private house.
The Saline of Arc et Senans
Architectural Film Series :::
"Claude Nicolas Ledoux
Architecture 18 of 23 Claude Nicolas Ledoux The Saline of Arc et Senans
From the Great Saltworks of Salins-les-Bains to the Royal Saltworks of Arc-et-Senans, the Production of Open-pan Salt | http://whc.unesco.org/en/list/203
The Royal Saltworks of Arc-et-Senans, near Besançon, was built by Claude Nicolas Ledoux. Its construction, begun in 1775 during the reign of Louis XVI, was the first major achievement of industrial architecture, reflecting the ideal of progress of the Enlightenment. The vast, semicircular complex was designed to permit a rational and hierarchical organization of work and was to have been followed by the building of an ideal city, a project that was never realized.
The Great Saltworks of Salins-les-Bains was active for at least 1200 years until stopping activity in 1962. From 1780 to 1895, its salt water travelled through 21 km of wood pipes to the Royal Saltworks of Arc-et-Senans. It was built near the immense Chaux Forest to ensure its supply of wood for fuel. The Saltworks of Salins shelters an underground gallery from the 13th century including a hydraulic pump from the 19th century that still functions. The boiler house demonstrates the difficulty of the saltworkers’ labour to collect the “White Gold”.
Outstanding Universal Value
Brief synthesis
The saltworks in Salins-les-Bains and Arc-et-Senans demonstrate outstanding universal value in terms of the extent of the chronological timeframe during which the extraction of salt continued in Salins, certainly from the Middle Ages, and probably from prehistoric times, through to the 20th century. Spa activity has extended its use until nowadays. The saltworks also demonstrate outstanding universal value in terms of the specific nature of salt production in Salins-les-Bains and Arc-et-Senans, based on a technique of tapping sources of salt deep underground, the use of fire to evaporate the brine, and the 18th century innovation of the creation of a 21km pipeline to carry the brine between the two sites. The saltworks express their value as well for the exceptional architectural quality of the Royal Saltworks of Arc-et-Senans and its participation in the movement of ideas in the Age of Enlightenment. It is testimony to a visionary architectural project of a ‘model factory.’ Developed and built by the architect and supervisor of saltworks in Franche-Comté and Lorraine, Claude-Nicolas Ledoux (1736–1806), Arc-et-Senans is the modern and Utopian extension of the Great Saltworks of Salins-les-Bains.
Criterion (i): The Royal Saltworks at Arc-et-Senans is the first architectural complex on this scale and of this standard designed as a place of work. This is the first instance of a factory being built with the same care and concern for architectural quality as a palace or an important religious building. It is one of the rare examples of visionary architecture. The Saltworks was the heart of an Ideal City which Claude-Nicolas Ledoux imagined and designed encircling the factory. The unfinished Utopian architecture of the Saltworks still carries the full impact of its futuristic message.
Criterion (ii): The Royal Saltworks of Arc-et-Senans bears witness to a fundamental cultural change in Europe at the end of the 18th century: the birth of industrial society. Besides being a perfect illustration of an entire philosophical current that swept Europe during the Age of Enlightenment, the Royal Saltworks heralded the industrial architecture that was to develop half a century later.
Criterion (iv): The saltworks of Salins-les-Bains and Arc-et-Senans provide an outstanding technical ensemble for the extraction and production of salt by pumping underground brine and the use of fire for its crystallisation, since at least the Middle Ages through to the 20th century.
On September 20, 1771, Louis XV appointed Ledoux Commissioner of the Salt Works of Lorraine and Franché-Comté. As Commissioner, Ledoux was responsible for inspecting the different saltworks in eastern France. This gave him an opportunity to see many different saltworks, including those at Salins-les-Bains and Lons-le-Saunier, and to learn from them what one might want if designing a factory from scratch.
Two years later, Madame du Barry supported Ledoux's nomination to membership in the Royal Academie of Architecture. This permitted him to style himself as Royal Architect. (He was already the architect for the Ferme générale, the private customs and excise operation that collected many taxes on behalf of the king, under 6-year contracts.) It was on the basis of his positions as Inspector of the Saltworks and as Royal Architect that he received the commission to design the Royal Saltworks at Arc-et-Senans."
Royal Saltworks at Arc-et-Senans |
Auditorium Building Chicago
Architectural Film Series :::
Auditorium Building | http://www.encyclopedia.chicagohistory.org/pages/89.htmlThe Auditorium is one of Chicago's architectural masterpieces. Built in 1888 on the northwest corner of Congress and Michigan, it combines Dankmar Adler's engineering ingenuity with Louis Sullivan's architectural virtuosity. It was the brainchild of Ferdinand Peck, a Chicago impresario devoted to bringing the city a world-class opera house and theater. A hotel and office block were added in 1890 to ensure the theater's economic viability.
Architecture 16 of 23 Sullivan & Adler Auditorium Building Chicago
Auditorium Building | http://www.encyclopedia.chicagohistory.org/pages/89.htmlThe Auditorium is one of Chicago's architectural masterpieces. Built in 1888 on the northwest corner of Congress and Michigan, it combines Dankmar Adler's engineering ingenuity with Louis Sullivan's architectural virtuosity. It was the brainchild of Ferdinand Peck, a Chicago impresario devoted to bringing the city a world-class opera house and theater. A hotel and office block were added in 1890 to ensure the theater's economic viability.
Adler and Sullivan received the commission based on Adler's expertise in acoustics and engineering. After preliminary, ornate designs, Peck accepted Sullivan's final scheme, which derived much of its character from H. H. Richardson's recently completed Marshall Field Wholesale Store, also in Chicago. Richardson's building was a warehouse that employed strong, solid massing without excessive ornament. The beauty of Sullivan's design (built 1887–1889) comes from his focus on the structure's overall mass and repetition of streamlined patterns to give this large building (63,350 square feet) with many uses a unified look. Sullivan's muted exterior stands in contrast to his elaborate interior designs, based on organic motifs.
The Auditorium demonstrates Adler's technical ability to accommodate a variety of uses, from political conventions to grand opera, under one roof. Innovations in foundation technology allowed the large, heavy building to be constructed on notoriously marshy land, and the latest techniques were employed to give the building uninterrupted spans.
https://www.wikiwand.com/en/Auditorium_Building,_Chicago | Auditorium Building, Chicago
Later uses
On October 5, 1887, President Grover Cleveland laid the cornerstone for the Auditorium Building. The 1888 Republican National Convention was held in a partially finished building where Benjamin Harrison was nominated as a presidential candidate. On December 9, 1889, President Benjamin Harrison dedicated the building and opera star Adelina Patti sang "Home Sweet Home" to thunderous applause. Sullivan had also opened his offices on the 16th and 17th floors of the Auditorium tower.
The Chicago Symphony Orchestra debuted on October 16, 1891, and made its home in the Auditorium Theatre until moving toOrchestra Hall in 1904.[8]
The opera company renting the accommodation moved to the Civic Opera House in 1929, and the Auditorium Theatre closed during the Great Depression. In 1941, it was taken over by the city of Chicago to be used as a World War II servicemen's center. By 1946,Roosevelt University moved into the Auditorium Building,[8] but the theater was not restored to its former splendor.
In 1952, Congress Parkway was widened, bringing the curb to the southern edge of the building. To make room for a sidewalk, some ground-floor rooms and part of the theater lobby were removed and a sidewalk arcade created.[10]
On October 31, 1967, the Auditorium Theatre reopened and through 1975, the Auditorium served as a rock venue. Among other notable acts, the Grateful Dead played there ten times from 1971 through 1977.
It was declared a National Historic Landmark by the U.S. Department of the Interior in 1975.
The building was equipped with the first central air conditioning system and the theater was the first to be entirely lit by incandescentlight bulbs.[8] In 2001, a major restoration of the Auditorium Theatre was begun by Daniel P. Coffey and Associates in conjunction withEverGreene Architectural Arts to return the theater to its original colors and finishes.
On April 30, 2015, the National Football League held its 2015 NFL Draft in the Auditorium Theatre, the first time the league has held its annual draft in Chicago in more than 50 years.
>> https://www.wikiwand.com/en/Auditorium_Building,_Chicago
Monday, January 28
Sunday, September 23
Design and destiny
Philippe Starck
It's an Old Design talk yet it could embed some reason/s for designers to go on.
Saturday, September 8
Anothy Vidler's speaks on humanity
Humanity > The Architectural Review's lecture series.
The Royal College of Art
Michael Sorkin
Peter Buchanan
Michael Sorkin
1973/74 - Consultant of the Curator of Design at the Museum of Modern Art, New York
1977 - Graduates from Harvard University Department of Fine Arts with a degree in Architecture
1977 - Opens Michael Sorkin Studio in New York
1978/80 - Adjunct Assistant Professor at Columbia University, New York
1980 - Teaches at the Institute of Architecture and Urban Studies, New York
1983 - Adjunct Associate Professor at Rensselaer Polytechnic Institute, Troy, New York
1983 - Visiting Critic at the University of Texas, Austin, Texas
1984/85 - Visiting Critic at Yale University (New Haven, Connecticut), University of Pennsylvania (Philadelphia), University of North Carolina (Chapel Hill)
1987 - Manufacturers Hanover/Art World Award for Distinguished Newspaper Art Criticism
1987 - National Endowment for the Arts Scholarship, Washington1988 - AIA Center for Architecture Scholarship, New York
1988/90 - Visiting Professor at the Southern California Institute of Architecture, Los Angeles
1990 - Davenport Chair at Yale University, New Haven, Connecticut
1990/91 - Adjunct Professor at Columbia University, New York
1991 - Progressive Architecture Design Award
1992 - Hyde Chair at the University of Nebraska, Lincoln
1993 - Professor of Urbanism and Director of the Institute of Urbanism, Academy of Fine Arts, Vienna
1994 - Visiting Critic at Carleton University, Ottawa
1994 - "World War II and the American Dream" exhibition at the National Building Museum, Washington
1995/96 - I.D. Design Award
1995/96 - "Urbanagrams. Urban design projects of Michael Sorkin Studio" exhibition at Harvard University (Cambridge) and Cornell University (Day Hall Lobby, Ithaca)
1995 - Visiting Professor at Harvard University, Cambridge, Massachusetts
1995 - "Subjects & Objects" exhibition at San Francisco Museum of Modern Art, San Francisco
1996 - Visiting Professor at Columbia University, New York
1997 - Visiting Professor at Parsons School of Design, New York
1997 - Gensier Family Chair at Cornell University, Day Hall Lobby, Ithaca
1998 - Visiting Professor at Aarhus School of Architecture, Aarhus, Denmark
Works
1990 - Tracked Houses, New York
1990/92 - Godzilla, multipurpose skyscraper, Tokyo, Japan
1991 - Housing development, New York
1991 - Sheep Soho, loft housing, New York
1991 - Beached Houses, Whitehouse, Jamaica
1994 - Weed AZ, plan for a new city, Yuma, Arizona
1994 - Shrooms lofts, New York
1994 - Brooklyn Waterfront masterplan, New York
1994 - Mondo Condo, Miami, Florida
1994 - Shoehaus residences, Vienna, Austria
1994 - Spa Tokaj, urban plan, Budapest, Hungary
1995 - Südraum Leipzig, plan for redevelopment of an industrial zone, Leipzig, Germany
1995/96 - East New York, urban planning proposal, Brooklyn, New York
1996 - Beachfront Resort, Palau, Philippines
1996 - Visselhoevede Town Plan, Visselhoevede, Germany
1996 - Neurasia, masterplan, Hong Kong
1997 - Bay City Studies, masterplan, San Francisco
1997 - Chavez Ravine, public park, Los Angeles 1997 - Floating Islands, Hamburg, Germany
1997 - Friedrichshof Commune, Burgenland, Austria
1998 - Masterplan for Hamburg, Germany
1998 - EuRomania, shopping centre, Bucharest, Romania
1998 - University of Chicago Master Plan, Chicago, Illinois
1998 - Columbus Circle Study, renovation of a subway station, New York
1998 - Farafrah Master Plan, Farafrah, Egypt
1999 - East Jerusalem, urban plan, Jerusalem
1999 - Masterplan for Schwerin, Germany
2001 - Lower Manhattan Masterplan, New York
2001 - Kowloon, Masterplan, Hong Kong
2002 - Osaka Masterplan, Osaka, Japan
2003 - Cleveland Waterfront, Cleveland, Ohio
2003 - Rochdale, Masterplan, England
2004 - Queens Plaza, New York
- Penang Turf Club Masterplan, Penang, Malaysia (currently being implemented)
- Waterfronts Current City College of New York Campus Masterplan, New York (currently being implemented)
Peter Buchanan
Michael Sorkin
1973/74 - Consultant of the Curator of Design at the Museum of Modern Art, New York
1977 - Graduates from Harvard University Department of Fine Arts with a degree in Architecture
1977 - Opens Michael Sorkin Studio in New York
1978/80 - Adjunct Assistant Professor at Columbia University, New York
1980 - Teaches at the Institute of Architecture and Urban Studies, New York
1983 - Adjunct Associate Professor at Rensselaer Polytechnic Institute, Troy, New York
1983 - Visiting Critic at the University of Texas, Austin, Texas
1984/85 - Visiting Critic at Yale University (New Haven, Connecticut), University of Pennsylvania (Philadelphia), University of North Carolina (Chapel Hill)
1987 - Manufacturers Hanover/Art World Award for Distinguished Newspaper Art Criticism
1987 - National Endowment for the Arts Scholarship, Washington1988 - AIA Center for Architecture Scholarship, New York
1988/90 - Visiting Professor at the Southern California Institute of Architecture, Los Angeles
1990 - Davenport Chair at Yale University, New Haven, Connecticut
1990/91 - Adjunct Professor at Columbia University, New York
1991 - Progressive Architecture Design Award
1992 - Hyde Chair at the University of Nebraska, Lincoln
1993 - Professor of Urbanism and Director of the Institute of Urbanism, Academy of Fine Arts, Vienna
1994 - Visiting Critic at Carleton University, Ottawa
1994 - "World War II and the American Dream" exhibition at the National Building Museum, Washington
1995/96 - I.D. Design Award
1995/96 - "Urbanagrams. Urban design projects of Michael Sorkin Studio" exhibition at Harvard University (Cambridge) and Cornell University (Day Hall Lobby, Ithaca)
1995 - Visiting Professor at Harvard University, Cambridge, Massachusetts
1995 - "Subjects & Objects" exhibition at San Francisco Museum of Modern Art, San Francisco
1996 - Visiting Professor at Columbia University, New York
1997 - Visiting Professor at Parsons School of Design, New York
1997 - Gensier Family Chair at Cornell University, Day Hall Lobby, Ithaca
1998 - Visiting Professor at Aarhus School of Architecture, Aarhus, Denmark
Works
1990 - Tracked Houses, New York
1990/92 - Godzilla, multipurpose skyscraper, Tokyo, Japan
1991 - Housing development, New York
1991 - Sheep Soho, loft housing, New York
1991 - Beached Houses, Whitehouse, Jamaica
1994 - Weed AZ, plan for a new city, Yuma, Arizona
1994 - Shrooms lofts, New York
1994 - Brooklyn Waterfront masterplan, New York
1994 - Mondo Condo, Miami, Florida
1994 - Shoehaus residences, Vienna, Austria
1994 - Spa Tokaj, urban plan, Budapest, Hungary
1995 - Südraum Leipzig, plan for redevelopment of an industrial zone, Leipzig, Germany
1995/96 - East New York, urban planning proposal, Brooklyn, New York
1996 - Beachfront Resort, Palau, Philippines
1996 - Visselhoevede Town Plan, Visselhoevede, Germany
1996 - Neurasia, masterplan, Hong Kong
1997 - Bay City Studies, masterplan, San Francisco
1997 - Chavez Ravine, public park, Los Angeles 1997 - Floating Islands, Hamburg, Germany
1997 - Friedrichshof Commune, Burgenland, Austria
1998 - Masterplan for Hamburg, Germany
1998 - EuRomania, shopping centre, Bucharest, Romania
1998 - University of Chicago Master Plan, Chicago, Illinois
1998 - Columbus Circle Study, renovation of a subway station, New York
1998 - Farafrah Master Plan, Farafrah, Egypt
1999 - East Jerusalem, urban plan, Jerusalem
1999 - Masterplan for Schwerin, Germany
2001 - Lower Manhattan Masterplan, New York
2001 - Kowloon, Masterplan, Hong Kong
2002 - Osaka Masterplan, Osaka, Japan
2003 - Cleveland Waterfront, Cleveland, Ohio
2003 - Rochdale, Masterplan, England
2004 - Queens Plaza, New York
- Penang Turf Club Masterplan, Penang, Malaysia (currently being implemented)
- Waterfronts Current City College of New York Campus Masterplan, New York (currently being implemented)
Thursday, August 23
His Majesty ::: Bucky
Buckminster Fuller ::: Everything I Know
session 01 (entire) - January 20, 1975
session 02 (entire) - January 20, 1975
session 03 (entire) - January 20, 1975
session 04 (entire) - January 20, 1975
session 05 (entire) - January 20, 1975
session 06 (entire) - January 20, 1975
The Twelve Parts are available (at) http://archive.org/details/buckminsterfullereverythingiknow01
http://archive.org/search.php?query=collection%3Abuckminsterfuller&sort=-publicdate
http://archive.org/search.php?query=collection%3Abuckminsterfuller&sort=-publicdate
Have Fun =)
Wednesday, May 16
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