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architectuul · 4 years

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Teatro del Mondo: An Odyssey

The Venice Biennale is an increasing magnet for professionals and laypersons alike, as evidenced by a stampede of hundreds of thousands of visitors quickly rolling over exhibitions in Giardini dell’Arsenale, and an exponentially growing number of various minor events during the Mostra.

Arnell, Peter and Scully, Vincent (1985): Aldo Rossi-Buildings and projects. Rizzoli International Publications, Inc. New York.

People from all over the world travel to Venice to visit the Biennale. But it happened just once that a pavilion intended for Biennale went in the opposite direction. The motives for this voyage were reported on the sidelines of an exhibition, La Biennale di Venezia 1979-1980: The Theater of the World Singular Building. Maurizio Scaparro curated the show that was held in Ca’ Giustinian in 2010.

Read also “In Vino Veritas Biennale Style!” and Is It Possible To Exhibit Architecture?

It is always difficult to judge a piece of great contemporary architecture: From the vantage point of present, we usually lack proper temporal distance. But 30 years after its implementation, Il Teatro del Mondo (The World Theater) - a floating building designed by Aldo Rossi for the architectural Biennale once anchored in front of Punta della Dogana and created in 1979 for the Venice and the Stage Space exhibition, grew to become an architectural icon.

Il Teatro del Mondo by Aldo Rossi | Photo via Focusdamnit

British theatre director Edward Gordon Craig once said: “There is something so human and so poignant to me in a great city at a time of the night when there are no people about and no sounds. It is dreadfully sad until you walk till six o’clock in the morning. Then it is very exciting.”[1] In his stage designs, Craig used architectural language to design and articulate the relationships in space between movement, sound, line, light, and color, enabling actors to assume positions and spatial relationships that they could use in ordinary urban life.

A parallel to Rossi's architectural project is unmistakable - was that a coincidence or intention?

Venice-Dubrovnik, a diary of the international theatre lab 1980 from “Giornale di Bordo”. | Photo © Daniela Sacco

In Dubrovnik | Photo © Piero Casadei

Its legendary trip to Dubrovnik, (the theater was ferried in the summer of 1980 to the local Theatre Festival) is exciting and feels like reading Homer’s Odyssey. In the best tradition of Venetian mobility, Rossi wrote: "Just the image of Venice, a synthesis of gothic and misty landscapes and oriental inserts or transpositions, fixes the capital of the city on the water. Therefore, of the possible passages, not only physical or topographical, between the two worlds. Even the Rialto bridge is a passage, a market, a theater. "[2]

Arnell, P. and Scully, V. (1985): Aldo Rossi-Buildings and projects. Rizzoli International Publications, New York.

Today, when we think about Venice, we conjure up a small peninsula in the northern Adriatic. It is hard to imagine that Venetians were able to rule such a vast cultural space. The key was their legendary mobility. They were always on the move. The Republic built on the water developed its eclectic cultural influence through its enduring presence in the Adriatic and the Mediterranean. The city was the final destination for the most important cultural and caravan route between the Orient and the Occident. No wonder The World Theater united in itself several references: Renaissance and Elizabethan theaters, lighthouse architecture, Venetian floating architecture, and temporary structures built for the carnival. [3] As Nadine Labedade wrote "Thus, it is the typology of the city that creates the scenario. And this mobile theater-boat became a fragment of the urban history, a quasi-metaphysical image tasked with representing architecture.”

The revision of modernity - as an abstract, functionalist, and timeless architectural language - was a common denominator of the Tendenza, the group formed by Also Rossi together with Carlo Aymonino, Paolo Portoghesi and Franco Stella among others. Rossi was undoubtedly the most influential member through his book L’architettura della città (The Architecture of the City, 1966). Through descriptions of Italian cities, he described his concept of architecture. He saw his work as part of an urban structure in constant dialogue with the countless layers of history, a city in continuous change in analogy to its buildings, and adapting to new social, economic, and cultural conditions.[4] His design language is generally understandable, using simple geometries and academic elements borrowed from the past. His layouts reintroduced imagination and poetry into the presentation of architectural work: colorful collage, wooden models, the mixed scales of shapes that can be both design objects and real houses.

There were just a few performances in the floating Teatro del Mondo that Rossi built for the Venice Biennale in 1979. After the short display in the lagoon and the voyage across the Adriatic to the Croatian city of Dubrovnik, the temporary theatre was disassembled. Nevertheless, this scenography-like building shaped the Italian architecture of the second half of the 20th century like no other project. The relocation to Dubrovnik, the famous medieval Republic and archrival of Venice in the Adriatic, inspired discussion about eclectic cultural influence and the complex historical layers of Adriatic cities. Those years coincided with the beginning of the Postmodern movement in former Yugoslavia. It probably was not Rossi’s primary focus of attention, but this Trojan Horse disguised as a theater that was shipped to Dubrovnik, was the first step in a politically delicate debate and movement towards a revision of Modernism in Yugoslavia - no easy feat in the ideologically colored cultural character of a country unconditionally committed to Modernism. Theater as a revolutionary tool in urban planning?Notabene: in 1956 the city of Dubrovnik even hosted CIAM X, the congress. which saw the start of the Team 10.

Peter Brook, who directed Hamlet in Dubrovnik, said that "a theatre should be like a violin, its tone coming from its period and age".[5] His daughter Irina took her Midsummer Night's Dream to the Old City of Dubrovnik’s Marin Držić Theatre, one of the oldest institution of its kind in Croatia.

Arnell, P. and Scully, V. (1985): Aldo Rossi-Buildings and projects. Rizzoli International Publications, New York.

The Dubrovnik Shakespeare Festival was founded in 2009 by American-Croatian author Michael Lederer. Suddenly, Dubrovnik and its architecture are increasingly associated with the stage on which everyone plays a distinct role in his or her daily live. On an urban scale, the morphology of the Old Town itself reminds us of a stage, surrounded by the natural slopes of the adjacent hills, with the eternal blue of the Adriatic in the back. The topography places the architecture in the foreground and the architecture has taken over the nature so dramatically that the two have become indivisibly connected.

Finally, Rossi´s vision worked out: cultural and geographic lines connected the Adriatic cities together over the last decades. The voyage of the Teatro del Mondo can coincidentally be seen as a rediscovery of the medieval stage setting of Dubrovnik, which serves as shooting location for renowned TV-series and a dream destination for thousand of tourists. Rossi must have had the words of Japanese playwright Yukio Mishima in his mind when he said that life is nothing but a theater. [6]

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VAB 02: Mladen Jadrić

Photo © Jakob Mayer

Mladen Jadrić is teaching and practicing architecture in Vienna, Austria as the principal of JADRIC ARCHITEKTUR. He has realized a wide range of projects of different scales: architectural and urban design projects, housing, residences, art installations and Museums in Austria, USA, Finland, China and South Korea. He is teaching at the TU Wien and has gained extensive experience as a visiting professor and guest lecturer in Europe, USA, Asia, South America and Australia. His work has been awarded the Outstanding Artist Award for experimental tendencies in architecture in Austria. He is also a member of the Künstlerhaus in Vienna, and deputy Section Chair of the Federal Chamber of Architects.

Notes: 1. E. G. Craig (1998): A Vision of Theatre, Christopher Innes, York university, Ontario, Canada. 2. 1998 OPA N.V. Published by license under the Hardwood Academic Publishers imprint, part of The Gordon and Breach Publishing Group 3. Observations on the Fantastic Nature in the Architecture of Aldo Rossi, Alessandro Dalla Caneva, Architectoni.ca 2018, Online 4 4. Rossi - Autobiografia scientifica, Milano, Nuova Pratiche Editrice, 1999 5. Eyre R. (2004): National Service: Diary of a Decade at the National Theatre 6. Mishima Y. (2018): Bekenntnisse einer Maske, Kein&Aber, Zürich

#vab #Venice architecture biennial #cold cases

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monkey-network · 6 years

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Good Stuff’s Best of 2017

WARNING: I’d like to thank everybody who was here for me when times were low. Thank you, take care out there, and enjoy.

Cartoons; the one thing that I will continuously watch until I go blind. 2017 was an emotional handful and an exhausting trudge, can’t deny that, and I’m counting down the best cartoons/animations I’ve seen and loved this year in no particular order. Only two rules, no sneak previews of future projects (sorry to Unikitty and Hideo Kojima). Here we go....

10. HANAZUKI: FULL OF TREASURES

This was a sleeper hit tbh. The fact all the episodes were free on Youtube blew my mind, but having a well structured story with a lovely cold space color palette, actually relatable characters, and a sinister undertones below its tender, colorful charm to be as a nice headliner to when Friendship is Magic came back in spring. It was an inviting start for the year, and with the guy behind Motorcity and Superjail taking the helm and having two more seasons being produced, Hanazuki is something I find is in good hands come 2018.

9. LITTLE WITCH ACADEMIA

Four long years. I waited FOUR long goddamn years...and fuck me was it worth it. A spectacle is what I can call Little Witch Academia. Almost every episode dazzled me with its stage made bravado and confidence that always made me say, “Okay. Let’s make it til’ the next week”. Even when things got serious, LWA knew how to have fun and make the most of its concept. There is a sense of predictability sometimes, but the series would still throw you some good curve balls to never lose your interest. What did lose my interest was Netflix’s sorry excuse of a dub. The movies: fine. But Netflix, try that again, with any other anime, and I will rip your nuts off.

8. Now I might be cheating here since it’s not a cartoon, but shit it might as well have been

CUPHEAD

The effort that went into this is phenomenal, beyond the many other games of the year no doubt. While not everything is animated, I could tell they were cutting corners in some areas, the frame BY frame animated enemies, bosses, and effects made this one of the most visually colorful and alive games to date, next to Mario Odyssey. Not only was this game a frustrating yet joyous romp to start and finish, but the music and art flawlessly channeled the essence of a time where the word “cartoon” was only starting to make good progress. My favorite character would have to be Satan King Dice, whom is an animated homage to great musician and composer Cab Calloway. His stache, his clothing, even his Cheshire grin captured the cool, jazzy vibe Calloway always provided in his performances. He and his fight was the highlight of Cuphead for me and I hope this game, if a sequel isn’t possible, is well remembered for its unexpected excellence in how a video game can look.

7. CAPTAIN UNDERPANTS/L-EGGO BATMAN

Faithful is what I can describe these two. Captain Underpants was just an awesome book to elementary schooler me, but to see a well animated, well written movie about a dude in his underwear was nothing short of a simple yet powerful masterpiece. As for Batman, this is one of the three truest DC and Batman movies around this time, and it has a gay undertone with Batman and the Joker’s relationship (how can you not pull that off, Suicide Squad?). While not a big fan of lego myself, The Lego Movie put my faith WB making another one equally as good, and they did not disappoint. It’s a shame it got snubbed at the Golden Globes, it deserves the award more than the Boss Baby. Plus it had a Superman that didn’t bore me while having a terrible CGI lip job that’s only made worse by his two way dick nose....

Justice League costed 300,000,000 dollars.............

6. DANGER & EGGS

To me, this series felt like one of the few steps forward the world took to make the LGBT+ community feel more welcome and inspired in public outlets; a small step, but progressive none the less. It is a colorful and lively action comedy, a first to be created by a transgender person, where you can see a non-binary character, a pride fest, diverse background characters of orientation and ethnicity, and it feels like they are a part of the world and not footnotes that states that you should respect queer, bi, ace, and so on based on a say so. It’s a show don’t tell type of series and it brightened my summer before I had to remind myself that college exists and is expecting me.

5. TANGLED: THE SERIES

*ring ring* “Hello?” Ye, Disney? How fucking dare you?

My hype for this was undoubtful. I love Tangled the movie, I consider it one of my favorite 2010 disney flics beside Wreck it Ralph and Moana. And when the art style was up for a preview for this (?), I just sat and waited until it finally premiered and damn. I never stopped loving it, but it is until episode 16 where the series starts to hit high note after high note with the direction it’s going for the story. The fact that this all takes place not long after the movie makes the thought where Eugene and Rapunzel finally get married feels all the more earned. It’s working its way to a happily ever after, I adore this show, and this makes me appreciate Frozen a bit more for how far that’s fallen in the world after its one year of fame. Seriously, Gigantic had to get chopped, but Olaf can still live? Give me a break, Disney.

“Sir, I understand your enthusiasm....but this is Domino’s.” Then I will have the 5.99 large with Salchicha and pepperoncini with a liter sprite on delivery.

4. MADE IN ABYSS

This was so beautiful, so awesome, and much better than...

I wasted my life and I cannot say that I will ever reclaim that time proactively again the Anime

Made in Abyss is like Hunter x Hunter except Gon’s more booksmart and Kilua’s a timid robot. The bond between Riko and Reg was a fucking dynamic and heartfelt where Riko’s helps build Reg up and Reg kept Riko and himself safe with his bodily arsenal. That and this series has the best world building where they not only give the low down on almost everything about the titular abyss, but the atmospheric environments and the designs of the inhabiting creatures made this a unique world to want to explore myself. It knew what to show, and knew what to share. When things got serious, I actually tensed up at the thought of shit truly going down; they knew how to soften the terror while maniacally instill fear in us for the safety of the traveling kids. I want to recommend this link to an awesome breakdown of how great Made in Abyss was. However, as it seems that a season two has gone down the abyss as well, and I’m afraid it can’t come back up.

3. LET’S BE HEROES!!

Is it safe to call this the M.U.G.E.N. of cartoons? Just an all up mashup of stuff I love in a Saturday morning? Campy, action, and laid back, this is something I can be sober or grab some kush and I would be enjoy the show just the same. They even have references you might not have ever heard of, but might like the search. OK KO’s a popcorn cartoon, it’s not for everybody, but it established itself well into the modern CN era when Adventure Time finally has to move on.

2. SAMURAI JACK

Getting this out of the way: episode 6 toiled the final season of Samurai Jack for me. Not gonna go into detail, but if that episode was remade, I would have been more satisfied looking back. However, that does not stop me from saying this is how a revival should be, this is how a reboot should work, THIS is how you can bring nostalgia back. Samurai Jack was great back then, but this season, wrapping up the loose plight of our boy trying to get back to the past and defeat the demon Aku, was satisfactory to many fans. Even those who’ve never heard or remember Jack could just enjoy this as a dynamic mini-series; it gives you context of what happened before without having to recap the original plot of it. For non fans, it’s mostly about an ageless samurai, longing to return to his own time, stuck in the future for over 50 years to the point of losing his honor and his mind. It’s a binge worthy 10 episode season, originally intended to be a movie, and aside from polar opinionated finale, this made Samurai Jack feel great to love again.

1. TRUE AND THE RAINBOW KINGDOM

This is a personal choice from me because 2017 was an honest to god terrible year for me; nothing but turmoil, season to season, and the struggle to cope with that despair in a way I felt actually could help. However, this small series here boosted my spirits because even with it being a show for little kids that I originally wanted to watch as a joke, the competent, enthusiastic spirit it had just moved me in a way that cartoons that I love for eons could only try to do on a whim. It’s not the best made cartoon, it’s not something I sincerely recommend to you all, but it helped me realize that the best thing about life is finding and seeking things that don’t just distract you from the hard and testing times reality puts on you, but gives you a moment of honest bliss and happiness that can influence your outlook on looking forward to better things because things like this, cartoons like this, CAN make you feel better.

*sniff* Which is why, the actual cartoon of the year....

1. is STEVEN U., BABY!

Just kidding, guys! You will NEVER win, Steven!

TEEN TITANS GO! WINS IT AGAIN, BABYYYY! ONCE AGAIN BABY (i don’t even like it no more...), YOUR NEW FAVORITE SHOW (i don’t even fucking like it no...) RISES TO THE TO-

But Steven Universe in Space, though. That’s when it’ll be great again.

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kansascityhappenings · 4 years

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Syd Mead, the visual artist behind ‘Blade Runner’ dies at 86

Syd Mead, the visionary artist who helped shape the look of “Blade Runner” and “Blade Runner 2049,” has died at 86.

His manager and partner Roger Servick told Deadline that Mead had been suffering from lymphoma and had been undergoing treatment at the City of Hope center in Duarte, California.

“I am so saddened to hear of the passing of visionary illustrator and concept artist Syd Mead. His pivotal role in shaping cinema was unique, with a singular ability to visualize the future. As one of the most influential conceptual artists of our time, his visions and illustrations of future technological worlds will remain as a testament to his vast imagination,” Art Directors Guild President Nelson Coates said in a statement.

Mead started his design career in the auto industry working for the Ford Motor Co. and later ended up in film, designing the Leonov spaceship for the “2001: A Space Odyssey” sequel “2010.”

He also designed the robot in “Short Circuit,” and completed designs for “Mission: Impossible III.”

In 2018, he published his autobiography, “A Future Remembered,” filled with writings and illustrations of his life.

Mead and his work were honored by the Visual Effects Society in 2015. He was set to receive the William Cameron Menzies Award at a gala in February.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/12/31/syd-mead-the-visual-artist-behind-blade-runner-dies-at-86/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2020/01/01/syd-mead-the-visual-artist-behind-blade-runner-dies-at-86/

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bode-respiratorio-blog · 7 years

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☽☾ Stella // We Need More Space! ☽☾ Friday Night ☽☾ MUSICBOX Lisboa ☽☾ w/ space invader / music lover / intergalactic friend Antoine Gilleron ☽☾ Brace yourselves, interstellar travelling is finally at your reach! On the 20th of October, getting into Music Box will be an outerspace experience! From Cosmic Disco to Space Electronics, these two invaders are gonna GLITTER up your lives like no pathetic earthling could ♥ MUAHAHA (evil laugh)! 6€ até às 2h30, 9€ depois das 2h30. C/ bebida Bunny O'Williams, the eternal space traveller took the great plunge into the world of matter and, while doing so, sacrificed her own cosmic origin to bring you a tridimensional experience" is the opening sentence of her artist bio, summing up quite nicely her vibe - cosmic as well as fun, exciting as much as excited. Bunny, real name Inês Coelho, starting treading her path in Lisbon's underground scene around 2010, as one half of the DJ duo Twisted Sisters, spreading the raw energy of rock & roll a bit all over the place, both inside and out of Portugal. From the Lisbon circuit to Barcelona's Nasty Mondays, followed by Hellfest Open Air Festival (France) and a string of other appearances, and as the travel continues, their ethos remains the same: to break down barriers and to join the dots between different styles. Her solo work dwells through the most interesting corners of dreamy rock, raw disco, authentic soul and real pop. She spreads her very own gospel, which is luminous and obscure in equal measures, in parties like Happy Trevas. In 2016 Bunny crossed paths with Rádio Quântica, where she gives wings to her sonic fantasies in her show Macumba Borealis: a true spacetime capsule that joins the dots between light, ethereal sounds to distortion, weight and depth. https://www.mixcloud.com/bunny-owilliams/ Antoine Gilleron is a French musician (singer, trumpet player, producer, songwriter), and DJ. As a trumpet player he played alongside DJs in some major clubs across Europe (UK, Ibiza, Croatia, France, Turkey…). He is also the co-founder of London new wave disco band Folie Ordinaire, and improv ensembleOrchestra Elastique. His passion for Disco music and dancefloors has got him into DJing since he moved to Lisbon in 2015. He's made people dance in many places in the Portuguese capital. To name a few, Topo, Music Box, ZDB, Pensão amor, Cais do Pirata, Ginjal Terrace… And he's resident at Casa Independente where he has his own night called Disco Odyssey. From African Disco to Turkish Disco, from European Space Disco to Nu-Disco, an invitation to the various forms and subgenres of Disco music throughout the globe. Antoine Gilleron is also recognised for his unpredictable and energetic Cosmic DJ sets. He's now putting his passion for Disco into orbit, to a new project with fellow Cosmic music lover DJ and multi talented artist Bunny O'Williams. A new concept party at the famous Lisbon venue Music Box, called Stella, "We need more Space." Disco, Disco, Disco… https://www.mixcloud.com/AntoineGilleron/ https://vimeo.com/156450973 Photo: @rawbeautyshots #supersiked #musicbox #lisboa #space #spaceistheplace #cosmic #intergalactic #music #dj #magic #photography #films #vintage #art #fashion#image #inspo #colors #party #nightlife #clubbing #portugal #underground #witch #witchcraft #dance #ladies #power #love #records #vinil #vinilrecords #onlyvinilisreal #macumba

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