... or nearly so, in fact 75% of the mixture is made from petrol.
Thursday, April 30, 2009
Sunday, April 26, 2009
Wednesday, April 22, 2009
What Does Is Mean If Your Nose Is Tingly
Gregotti
a multipurpose space in anticipation of the six-month presidency p ortoghese the Council of Europe.
is how, in 1988, the initiative to hold in Lisbon by the C Cultural de Belém.
The area chosen by the project is by far one of the most fascinating of the capital, between the Tower of Belém and the Monastery of the monumental complex of Hieronymite, one side overlooking the estuary of the Tagus Restelo the other on the hill.
The system proposed by Salgado Gregotti and adopts a compact volume (despite the size) and a functional division into modules placed perpendicular to the embankment. Outwardly the Centre looks like a tower topped by a massive volume of stage machinery of Opera on it. Fully coated limestone slabs Extremadura (stone Lioz ed) the amount of the complex assumes a value almost orographic, especially in its lateral growth parallel to the Tagus. The large window openings are grouped by functional units, so that passers-by is almost always given the prospect of the long walls, broken here and there from the cracks of public passages. A feature that also stems from the need to obtain an initial fee profit above the parking, which hydrogeological reasons could not be complet catkins underground. In this way none of the footpaths that cross the building is perfectly level, all reach different heights, providing, therefore, cuts views and perspectives that give great dynamism to the severity of the architecture.
Cultural Center is a centerpiece of the inner square, passed over at various points on the bridge structures that host part of exhibition spaces, administration and the foyer of the theater.
To the north and south of the square form the two main wings of the exhibition is open onto terraces overlooking the Tagus and Hill Restelo. The elevation of the terraces are excluded from the sight of the streets below and the railway line along the coast, creating a direct visual link with the landscape.
Inside the predominant color is white walls and metal structures, which contrasts with wood and granite paving. Exceptions are not without charm, the restaurant and the cylinder that houses the dual scale connection between the gallery permanent exhibitions and the upper portion of the entrance, hence the yellow plaster stucco is on the overhead light from the skylight that forms the roof.
published in: Building no.119 / 1993
is how, in 1988, the initiative to hold in Lisbon by the C Cultural de Belém.
The area chosen by the project is by far one of the most fascinating of the capital, between the Tower of Belém and the Monastery of the monumental complex of Hieronymite, one side overlooking the estuary of the Tagus Restelo the other on the hill.
The system proposed by Salgado Gregotti and adopts a compact volume (despite the size) and a functional division into modules placed perpendicular to the embankment. Outwardly the Centre looks like a tower topped by a massive volume of stage machinery of Opera on it. Fully coated limestone slabs Extremadura (stone Lioz ed) the amount of the complex assumes a value almost orographic, especially in its lateral growth parallel to the Tagus. The large window openings are grouped by functional units, so that passers-by is almost always given the prospect of the long walls, broken here and there from the cracks of public passages. A feature that also stems from the need to obtain an initial fee profit above the parking, which hydrogeological reasons could not be complet catkins underground. In this way none of the footpaths that cross the building is perfectly level, all reach different heights, providing, therefore, cuts views and perspectives that give great dynamism to the severity of the architecture.
Cultural Center is a centerpiece of the inner square, passed over at various points on the bridge structures that host part of exhibition spaces, administration and the foyer of the theater.
To the north and south of the square form the two main wings of the exhibition is open onto terraces overlooking the Tagus and Hill Restelo. The elevation of the terraces are excluded from the sight of the streets below and the railway line along the coast, creating a direct visual link with the landscape.
Inside the predominant color is white walls and metal structures, which contrasts with wood and granite paving. Exceptions are not without charm, the restaurant and the cylinder that houses the dual scale connection between the gallery permanent exhibitions and the upper portion of the entrance, hence the yellow plaster stucco is on the overhead light from the skylight that forms the roof.
published in: Building no.119 / 1993
Monday, April 20, 2009
Tight Panty For Husband
LISBON TOUR THE ROMAN BATH STREET Caesar Baronius
today I had the opportunity to He takes part in a guided tour of the Roman bath Via Cesare Baronius. the information I have not been significantly enriched, but it was very useful to be able to enter the large pool for pictures in the new role that I want to give her. the archaeologist who oversaw The visit has also made several comparisons between this tank and other fish of the same age (I-II century AD). overall the experience was very useful in my design process, as regards the issue of imprinting and the relationship between the tank and other artifacts found along the way Latin America and the park of Caffarella.
Tuesday, April 14, 2009
Wedding Shower Seating Chart Templates
PARTNERSHIP PROJECT (WORK IN PROGRESS)
silent film fans, the company La Main dans les Pâtes works, from April 2006 to a theater project inspired by this cinematic universe . Asked about how to play on the stage of taking the techniques of camera, zoom, slow-moving thunderstorms or acceleration, extrapolation from reality to dream. Among mime, pantomime and melodrama is the whole atmosphere of the period, with a touch of modernity to emerge.
ROVEDA Valeria (Italy) he graduated in 2006 at the School of Theatre in Motion Lassaad (Lecoq method) and the school Accademia96
MAISONNEUVE Mathieu (France) worked several years in street theater as an acrobat, juggler. In 2003 he joined the company Bulles de Zinc in the show "La demoiselle des rues." In October 2004 he enrolled at the International School of Theatre in Motion Lassaad Brussels. In 2006 he founded with V. The company Roveda Main dans les Pâtes.
E: "Hello Valeria, because I am working on the design of spaces on the theater, I take this opportunity to ask you a few application. Since you are in for a few years, both as an actress and as a teacher, your contribution would be really valuable!
In light of your experience, how do you think should be arranged by a space dedicated to the theater (both of the room that way), which services should have? "
V: "Hello Helen, please. Make me a question that is a bit 'so difficult to answer on the spot ... when I read your mail made me think about the last tour in Portugal where we have acted in a very beautiful cultural centers, art, which then had the stage lacks essential elements (eg level of equipment, easy access to the dressing rooms. ..). It was evident that the space had not been conceived by people who know the needs of the actors (and sometimes even the public). Now I do not know if in a particular case I think about the building being renovated or built from scratch, but such an auditorium, a small but very nice, had no exit from the sides (the wall of the stage was the real wall of the room ...), but only on the bottom, then exits and entries were limited to the area behind it, access to the dressing rooms was via a metal ladder (so heavy) attached to the stage ... was therefore impossible to use it during the performance.
Well, I never thought about how it should be an ideal theater space but on reflection I can think of times when I found some areas not to understand what are the important elements. "
E: "What about spaces for theater workshops?"
V: "For a theater workshop requirements are minimal. Accustomed to work anywhere, I do not know exactly how to draw the perfect place ... spacious but intimate ... rectangular in shape, I think, that you have the space to run and move in one of the short sides and put a little upward so that they create the scene ... when I give lessons in theater, the stage is used very little since the creation and the preparatory work for the public is not yet part of the work (and the stage is the place "basic", "start" of communication with the public, certainly not the only but certainly the most coded).
Giving a quick look at http://elenacruciani.blogspot.com/2009/03/luoghi-e-tempi-teatrali.html I think that speaks well of space for street theater, which has completely different needs. It also completely different depending on the type of show you want to submit.
The same is true of a theatrical space indoors. There are no rooms suitable for every type of show. We must therefore consider that it has scenic interest. A very large room houses a large public performance "spectacular" as operas, musicals, big scenes, the circus. There are also more intimate performances, which require a smaller audience, a closeness with the audience ... In short, the questions to ask before you design a space are different. "
And: "And the audience?"
V: "Ah. Often the public does not fully understand the show. I would not be able to answer, but a major problem for the construction of the hall is perhaps the visibility. Too low a stage needs of the steps (it says so in Italian ??)... (Stands?). I saw several theaters where the stage was much lower than the result, as at the bottom of a cliff (the effect is interesting but I am not convinced the prospect is most favorable for the actors).
If the stage is too high the first file they see evil (and stiff neck). If you do not There are bleachers, so the audience is all on the same level, as there is a chance to make alternate rows, you end up doing the slalom of sight between the old woman with a hat with flowers, the stangone you place it right in front, impatient with the changing position every three minutes, the talker must report every detail of the ear and then around the room becomes a great movement to coordinate with the person in front and get to see something ... "
And: "Your company has a website?"
V: "No, I do not have a website of my company, usually appeared at sites where present events and for the moment that's okay ... the ... "Technology" is not really my forte. "
And:" Thank you for your cooperation "
http://www.comedien.be/valeriaaroveda
Friday, April 10, 2009
How Braun Self Cleaner Works
IMPRINTING PLACE
starting to develop my project I can not transcend the concept of imprinting in architecture. are close to a roman tub, I compared it with the renewal of meanings and inserts it into a contemporary urban context. but just a building that will reclaim the echo of the stone to exhaust the question? Of course not, we'll see ...
The great Roman bath that is located at Via Cesare Baronius was discovered by accident in 1980 while working for the opening of the road.
The tank, a rectangular, has a corner to go down the stairs inside, and in the opposite corner of a well for water drainage. The walls are opus signinum, a conglomerate made up of flint flakes mixed in lime lean enticed well, typical of Roman cisterns. There are also traces of the plaster coating cocciopisto, made with crushed brick and lime and mixed with oil to become compact and waterproof, the surface finish is made with marble dust.
the center almost intact, you see the fountain, the interior of which is crossed by a series of canals that carried water in clay upward.
The construction technique in opus reticulatum and brick (Same as the nymph Egeria in Caffarella) allows you to assign the complex to the first half of the second century. AD
Archaeologists believe that the pool had a purely ornamental purpose, and the mouths of clay had to be the receptacle in which the fish could spawn. It remains a mystery how the fountain would receive the water, taking into account that the only known aqueduct that passed through these parts (the aqueduct Antoninianus) was built 50-100 years later. A claim can still come from the discovery of a tank inside the catacomb discovered in 1995 on the opposite side of Via Latina.
The complicated system Plumbing, central fountain seems to have similarities with that of the "Meta sweating", the great fountain that was in front of the Colosseum, unfortunately razed in 1936: the name "meta" comes from the cone-shaped object, similar to the goals Roman circus, "boe" revolved around which the chariots in the race, the goal was called "sweating" because the water dripped as if the fountain Bleeding. This fountain we see today is also particularly important because it is a unique building in Rome.
From: romacivica.net
The great Roman bath that is located at Via Cesare Baronius was discovered by accident in 1980 while working for the opening of the road.
The tank, a rectangular, has a corner to go down the stairs inside, and in the opposite corner of a well for water drainage. The walls are opus signinum, a conglomerate made up of flint flakes mixed in lime lean enticed well, typical of Roman cisterns. There are also traces of the plaster coating cocciopisto, made with crushed brick and lime and mixed with oil to become compact and waterproof, the surface finish is made with marble dust.
the center almost intact, you see the fountain, the interior of which is crossed by a series of canals that carried water in clay upward.
The construction technique in opus reticulatum and brick (Same as the nymph Egeria in Caffarella) allows you to assign the complex to the first half of the second century. AD
Archaeologists believe that the pool had a purely ornamental purpose, and the mouths of clay had to be the receptacle in which the fish could spawn. It remains a mystery how the fountain would receive the water, taking into account that the only known aqueduct that passed through these parts (the aqueduct Antoninianus) was built 50-100 years later. A claim can still come from the discovery of a tank inside the catacomb discovered in 1995 on the opposite side of Via Latina.
The complicated system Plumbing, central fountain seems to have similarities with that of the "Meta sweating", the great fountain that was in front of the Colosseum, unfortunately razed in 1936: the name "meta" comes from the cone-shaped object, similar to the goals Roman circus, "boe" revolved around which the chariots in the race, the goal was called "sweating" because the water dripped as if the fountain Bleeding. This fountain we see today is also particularly important because it is a unique building in Rome.
From: romacivica.net
Saturday, April 4, 2009
Payroll Deduction Oasdi
Gropius and the Bauhaus
-Desire to enter the 'artist in the real world
-Craft as the experimental field of' industry
School of Arts and Crafts -insertion in 'social eleazione endustria and those with' industry were destined to disappear
The production of 'object passed from' Arts and Crafts, through the development of crafts, to 'Art Nouveau accepting the use of the machine.
Technological progress led to a 'continuous production of objects, disrupting the habits and heightening the desire to possess objects aesthetically pleasing
-Desire to enter the 'artist in the real world
-Craft as the experimental field of' industry
School of Arts and Crafts -insertion in 'social eleazione endustria and those with' industry were destined to disappear
The production of 'object passed from' Arts and Crafts, through the development of crafts, to 'Art Nouveau accepting the use of the machine.
Technological progress led to a 'continuous production of objects, disrupting the habits and heightening the desire to possess objects aesthetically pleasing
for industrial needs, to lower costs and increase the serial, limits were placed on aesthetic projects. In 1919 Walter Gropius 
presented the program for state Bauhauses (Saxony, union 's Academy with the school of arts and crafts), integrating art / artist and industry-machine interface. You put the 'first goal of depriving the pride of el' getting away from the difficulties of other 'crafts.
The school was based on the inseparable concept of 'art-related jobs, in order to overcome the conflicts of the industrial design. 
presented the program for state Bauhauses (Saxony, union 's Academy with the school of arts and crafts), integrating art / artist and industry-machine interface. You put the 'first goal of depriving the pride of el' getting away from the difficulties of other 'crafts. The program of the Bauhaus :
Gropius came the need to organize artistic production of objects.
To train experts capable of producing objects aesthetically consistent and valid, began learning of nature as pure visibility.
After the formalization of nature through royalties play was abandoned for arriving at its dissolution, releasing the forms of 'art from the material.
They took into consideration the works of 'art of the past to determine the degree of modularity and were analyzed to gain insights into basic properties of matter, of the lines and color.
courses were entrusted to abstract artists, because the 'abstraction is just geometric lines and rich color, perceptions and feelings. In this way the project takes concrete through the lines, colors and subject, stimulating the search for solutions to the problems of 'object and allowing the' start a learning process: the technique
. The Bauhaus in Weimar looked after production of 'Item turning his attention to painting, sculpture, graphic design, set design and sociology.
For the teaching experiment with more fully used the machine.
The sculoa matured Gropius designed the figure of the designer as a designer and maker of objects.
designer with practical and theoretical notions could totally define the 'object.
technological progress that led to excesses' industry was unable to control, giving rise to a phenomenon of degeneration: 's power to communism . The school opened to all members of the artistic avant-garde, deeply despised by the 'official academic Germanic.
Among the teachers of painting Jtten Johannes, who was licenziatonel 1921 and replaced by the painter Moholoy-Nagy, Kandinskji, Paul Klee, Albers, Muche, Feininger, Marchs, who made the most valid of the Bauhaus school of modern times.
All 'early products made in light of the tendency to put' decorative appearance is typical of 'craft, while the objects of the years 1923-24, showed clearly the' FULLY 'industry, highlighting the problems on the series.
Students who emerged were Marcel Breuer and Gunta Stölzl.
The new conception of the artist 'alarmed' s official academic bourgeoisie and the conservative saventata spread of internationalist ideas. In 1924 the government suspended the popular contributions to the Bauhaus masters and delivery to the letters of dismissal. Subsequently, the Board of Dessau Gropius granted the means to build a new home. Marcel Breuer
took care of directing the 'workshop of the wood, becoming the' best performer 's modern demand, while Gropius' s amministarzione.
But the 'object turned quickly to meet the needs of merato, assuming the whimsical shapes and sophisticated.
The Bauhaus was partly conditioned by consumerism, an example is the Barcelona by Mies van der Rohe (mass production of high cost and lack of armrests)
The Bauhaus became the 'establishment as opposed Germany and on February 4 1928 Gropius left the direction of it.
In 1928 Hannes Meyer became director of the Bauhaus, was later replaced by Mies van der Rohe, who moved the headquarters in Berlin. In 1933 the Nazis closed the Bauhaus had hindered because programs through their crazy plans modernists.
Adapted from "Design a story" of Caesar Fulci
To train experts capable of producing objects aesthetically consistent and valid, began learning of nature as pure visibility.
After the formalization of nature through royalties play was abandoned for arriving at its dissolution, releasing the forms of 'art from the material.
They took into consideration the works of 'art of the past to determine the degree of modularity and were analyzed to gain insights into basic properties of matter, of the lines and color.
courses were entrusted to abstract artists, because the 'abstraction is just geometric lines and rich color, perceptions and feelings. In this way the project takes concrete through the lines, colors and subject, stimulating the search for solutions to the problems of 'object and allowing the' start a learning process: the technique
. The Bauhaus in Weimar looked after production of 'Item turning his attention to painting, sculpture, graphic design, set design and sociology.
For the teaching experiment with more fully used the machine.
The sculoa matured Gropius designed the figure of the designer as a designer and maker of objects.
designer with practical and theoretical notions could totally define the 'object.
technological progress that led to excesses' industry was unable to control, giving rise to a phenomenon of degeneration: 's power to communism . The school opened to all members of the artistic avant-garde, deeply despised by the 'official academic Germanic.
Among the teachers of painting Jtten Johannes, who was licenziatonel 1921 and replaced by the painter Moholoy-Nagy, Kandinskji, Paul Klee, Albers, Muche, Feininger, Marchs, who made the most valid of the Bauhaus school of modern times.
All 'early products made in light of the tendency to put' decorative appearance is typical of 'craft, while the objects of the years 1923-24, showed clearly the' FULLY 'industry, highlighting the problems on the series.
Students who emerged were Marcel Breuer and Gunta Stölzl.
The new conception of the artist 'alarmed' s official academic bourgeoisie and the conservative saventata spread of internationalist ideas. In 1924 the government suspended the popular contributions to the Bauhaus masters and delivery to the letters of dismissal. Subsequently, the Board of Dessau Gropius granted the means to build a new home. Marcel Breuer
took care of directing the 'workshop of the wood, becoming the' best performer 's modern demand, while Gropius' s amministarzione.
But the 'object turned quickly to meet the needs of merato, assuming the whimsical shapes and sophisticated.
The Bauhaus was partly conditioned by consumerism, an example is the Barcelona by Mies van der Rohe (mass production of high cost and lack of armrests)
The Bauhaus became the 'establishment as opposed Germany and on February 4 1928 Gropius left the direction of it.
In 1928 Hannes Meyer became director of the Bauhaus, was later replaced by Mies van der Rohe, who moved the headquarters in Berlin. In 1933 the Nazis closed the Bauhaus had hindered because programs through their crazy plans modernists.
Adapted from "Design a story" of Caesar Fulci
Wednesday, April 1, 2009
Homemade Dartboard Stand
perceive NATURE.
It 's interesting to observe the veins of the leaves, the arrangement of main channels of the minor ones, identify the two networks. Follow the shape of pine cones sprouted from just until they open. See grow any plant, and note the progressive forms.
C 'is a way of copying nature
and there is a way to understand the nature .
pyres on the sole ground that shows us things we normally see. It 's interesting to observe the veins of the leaves, the arrangement of main channels of the minor ones, identify the two networks. Follow the shape of pine cones sprouted from just until they open. See grow any plant, and note the progressive forms.
C 'is a way of copying nature
and there is a way to understand the nature .
Copy nature can
tory and a form of manual dexterity and can not help AC
tory and a form of manual dexterity and can not help AC
study the natural structure, see the 'evolution of the forms may instead give everyone the opportunity to understand more the world in which we live. 
Cenobio
Marc Newson_Libreria Adapted from Art as mestiere_Munari
How Long Does Hair Have To Be To Get Waxed
such as theaters?
good question.
not the usual theater, the theater does not form preconceived.
think of those shows (few actually) who spoke to our soul, deep down, there where even we are afraid to push ourselves, not through the "show" at the scene or high-sounding title, but thanks to the talent and sometimes the simplicity of the actor.
every time we see a show let us ask ourselves this question: said something? even incomprehensible, inhuman or wrong ... but he said something?
the theater is art in the wild, sacred experience and mystical, you go to the theater to find that lost dialogue with the soul.
(collaboration with A. Noble)
and then creiamolo this theater, a theater against the theater, a THEATRE obscene in the sense of out of every scene
not the usual theater, the theater does not form preconceived.
think of those shows (few actually) who spoke to our soul, deep down, there where even we are afraid to push ourselves, not through the "show" at the scene or high-sounding title, but thanks to the talent and sometimes the simplicity of the actor.
every time we see a show let us ask ourselves this question: said something? even incomprehensible, inhuman or wrong ... but he said something?
the theater is art in the wild, sacred experience and mystical, you go to the theater to find that lost dialogue with the soul.
(collaboration with A. Noble)
and then creiamolo this theater, a theater against the theater, a THEATRE obscene in the sense of out of every scene
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