#t2i

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: It is said that the characteristic shape of the hotel building was inspired by shapes Japanese temples and pine trees.[5] Despite some metabolist-like features the object itself cannot be seen as representative of metabolist movement - as designed long after the slow breakup of the metabolists group in late 70. of XXc. The object referenced traditional Japanese architecture, which is characteristic of mature and late works of K.Kikutake (Edo-Tokyo Museum, Izumo Grand Shrine Administration Building, Toukouen Hotel).
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Hotel Sofitel Tokyo[1] (ホテルソフィテル東京) was a hotel high-rise building (106.07 m, 3 underground storeys) in Taito-ku, Tokyo (1-48, 2 Ikenohata, Taito-ku, Tokyo, Japan). It was established in 1994 as Hotel Cosima with 71 rooms on 26 cantilever floors. In 1999 it was purchased by Accor Group. After refurbishment (number of rooms increased to 83) it was reopened as 4-star hotel in September 2000, closed in December 2006 and was demolished between February 2007 and May 2008. Hotel Sofitel was a late work of Japanese architect Kiyonori Kikutake (66 years old, when the building was conceived), best known for his own pre-metabolist house (Sky House[2]), and Edo-Tokyo Museum(1993). Hotel Sofitel building resembled some metabolist ideas (as Joint Core,[3] capsules, modularity, and - theoretically - the possibility of replacement of its parts). The building shows a direct similarity to Kiyonori Kikutake's earlier theoretical project "Tree-shaped Community"[4] from 1968. However, this project consisted of a group of towers cross-shaped in the plan, it shows also a similarity to other metabolists projects (Nakagin Capsule Tower by Kisho Kurokawa, Shizuoka Press and Broadcasting
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Kyoto roofs reflecting sunlight inspired the whitish silver color of the outside.[19] Likewise, the roof-like shape that defines the building derives from the distinctive roofs of old Japanese temples.[19] The roofs of these monuments, Kikutake says, differentiate them from other structures while simultaneously cohering with the landscape.[19] The four legs were erected first, followed by the cantilevers.[17] The first elevated floor is supported on the legs' 19.7' deep bottom chords, while a second set of chords supports the other floors.[17] Each of the four composite steel with reinforced concrete legs is a 46' deep "H" shape.[17] From the plaza to the first raised floor, they are 63' tall.[17] The building is cantilevered 119' over the legs on the North and South sides.[17] Fluorine resin-coated square panels cover the building.[20]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Kikutake was selected as the architect through a closed competition conducted by the Tokyo city hall. Kikutake designed the Metabolist structure with the goal of projecting Japan as a nation and culture, with Tokyo specifically as a world city. The organization that directed the museum, Total Media, led by Ogi Shinzo, wanted to use the museum to define Japan through the everyday life of shomin (庶民), or average citizens. Emporis classifies the $300 million structure as a high-rise building.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The Edo-Tokyo Museum (江戸東京博物館, Edo Tōkyō Hakubutsukan) is a historical museum located at 1-4-1 Yokoami, Sumida-Ku, Tokyo in the Ryogoku district.[2] The museum opened in March 1993 to preserve Edo's cultural heritage, and features city models of Edo and Tokyo between 1590 (just prior to the Edo period beginning) and 1964.[3] It was the first museum built dedicated to the history of Tokyo.[4] Some main features of the permanent exhibitions are the life-size replica of the Nihonbashi, which was the bridge leading into Edo; scale models of towns and buildings across the Edo Meiji, and Showa periods; and the Nakamuraza theatre.[5]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Kikutake's Expo Tower was situated on the highest hill in the grounds and acted as a landmark for visitors. It was built of a vertical ball and joint space onto which was attached a series of cabins. The design was to have been a blueprint for flexible vertical living based upon a 360m3 standard construction cabin clad with a membrane of cast aluminium and glass that could be flexibly arranged anywhere on the tower. This was demonstrated with a variety of cabins that were observation platforms and VIP rooms and one cabin at ground level that became an information booth.[73]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Kawazoe, Maki and Kurokawa had invited a selection of world architects to design displays for the Mid-Air Exhibition that was to be incorporated within the roof. The architects included Moshe Safdie, Yona Friedman, Hans Hollein and Giancarlo De Carlo.[71] Although Tange was obsessed with the theory of flexibility that the space framed provide he did concede that in reality it was not so practical for the actual fixing of the displays.[70] The roof itself was designed by Koji Kamaya and Mamoru Kawaguchi who conceived it as a huge space frame. Kawaguchi invented a welding-free ball joint to safely distribute the load and worked out a method of assembling the frame on the ground before raising it using jacks.[72]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The capsules were constructed of light steel welded trusses covered with steel sheeting mounted onto the reinforced concrete cores. The capsules were 2.5 metres wide and four metres long with a 1.3 metre diameter window at one end. The units originally contained a bed, storage cabinets, a bathroom, a colour television set, clock, refrigerator and air conditioner, although optional extras such as a stereo were available. Although the capsules were designed with mass production in mind, there was never a demand for them.[54] Nobuo Abe was a senior manager, managing one of the design divisions on the construction of the Nakagin Capsule Tower.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: In 1966 Tange designed the Shizuoka Press and Broadcasting Tower in the Ginza district of Tokyo. This time using only a single core Tange arranged the offices as cantilevered steel and glass boxes. The cantilever is emphasised by punctuating the three-storey blocks with a single-storey glazed balcony.[51] The concrete forms of the building were cast using aluminium formwork and the aluminium has been left on as a cladding.[52] Although conceived as a "core-type" system that was included in Tange's other city proposals, the tower stands alone and is robbed of other connections.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Tange organised the spaces of the three firms by function to allow them to share common facilities. He stacked these functions vertically according to need, for example, the printing plant is on the ground floor to facilitate access to the street for loading and transportation. He then took all the service functions including elevators, toilets and pipes and grouped them into 16 reinforced concrete cylindrical towers, each with an equal 5 metre diameter. These he placed on a grid into which he inserted the functional group facilities and offices. These inserted elements were conceived of as containers that were independent of the structure and could be arranged flexibly as required. This conceived flexibility distinguished Tange's design from other architects' designs with open floor offices and service cores – such as Kahn's Richards Medical Research Laboratories. Tange deliberately finished the cylindrical towers at different heights to imply that there was room for vertical expansion.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Metabolism is the name of the group, in which each member proposes further designs of our coming world through his concrete designs and illustrations. We regard human society as a vital process - a continuous development from atom to nebula. The reason why we use such a biological word, metabolism, is that we believe design and technology should be a denotation of human society. We are not going to accept metabolism as a natural process, but try to encourage active metabolic development of our society through our proposals.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Whilst discussing the organic nature of Kikutake's theoretical Marine City project, Kawazoe used the Japanese word shinchintaisha as being symbolic of the essential exchange of materials and energy between organisms and the exterior world (literally metabolism in a biological sense.) The Japanese meaning of the word has a feeling of replacement of the old with the new and the group further interpreted this to be equivalent to the continuous renewal and organic growth of the city.[15] As the conference was to be a world conference, Kawazoe felt that they should use a more universal word and Kikutake looked up the definition of shinchintaisha in his Japanese-English dictionary. The translation he found was the word Metabolism.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Constructed on a hillside, the Sky House is a platform supported on four concrete panels with a hyperbolic paraboloid shell roof. It is a single space divided by storage units with the kitchen and bathroom on the outer edge. These latter two were designed so that they could be moved to suit the use of the house - and indeed they have been moved and/or adjusted about seven times over the course of fifty years. At one point a small children's room was attached to the bottom of the main floor with a small child-sized access door between the two rooms.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Biomorphism models artistic design elements on naturally occurring patterns or shapes reminiscent of nature and living organisms. Taken to its extreme it attempts to force naturally occurring shapes onto functional devices. Biomimetic architecture is a branch of the new science of biomimicry defined and popularized by Janine Benyus in her 1997 book (Biomimicry: Innovation Inspired by Nature). Biomimicry (bios - life and mimesis - imitate) refers to innovations inspired by nature as one which studies nature and then imitates or takes inspiration from its designs and processes to solve human problems. The book suggests looking at nature as a Model, Measure, and Mentor", suggesting that the main aim of biomimicry is sustainability. Living beings have adapted to a constantly changing environment during evolution through mutation, recombination, and selection. The core idea of the biomimetic philosophy is that nature's inhabitants including animals, plants, and microbes have the most experience in solving problems and have already found the most appropriate ways to last on planet Earth. Similarly, biomimetic architecture seeks solutions for building sustainability present in nature,
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Organic architecture is also translated into the all-inclusive nature of Wright's design process. Materials, motifs, and basic ordering principles continue to repeat themselves throughout the building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a unified organism. Geometries throughout Wright's buildings build a central mood and theme.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The current castle dates to 1180 and was built by Philip of Alsace (1143–1191) on the site of the older fortification.[1] It may have been inspired by crusader castles witnessed by Philip during the Second Crusade. As well a protective citadel, the Gravensteen was intended to intimidate the burghers of Ghent who often challenged the counts' authority. It incorporates a large central donjon, a residence and various smaller buildings. These are surrounded by a fortified, oval-shaped enceinte lined with 24 small échauguettes. It also has a sizeable moat, fed with water from the Lys. Futurist architecture characterized by long dynamic lines, suggesting speed, motion, urgency and lyricism: it was a part of Futurism, an artistic movement founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of ...
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Wheat is a grass widely cultivated for its seed, a cereal grain that is a worldwide staple food.[2][3][4] The many species of wheat together make up the genus Triticum /ˈtrɪtɪkəm/;[5] the most widely grown is common wheat (T. aestivum). The archaeological record suggests that wheat was first cultivated in the regions of the Fertile Crescent around 9600 BCE. Botanically, the wheat kernel is a type of fruit called a caryopsis.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The palace was built for entrepreneur Ermengildo Castiglioni, who chose architect Giuseppe Sommaruga because of his anticonventional solutions. Castiglioni wanted the palace to reflect his wealth and grandeur; the choice of the Liberty style, a new and "trendy" style, for a building that would be located in the historic centre of Milan, was intended by Castiglioni and Sommaruga as a sort of challenge to the Milanese conservative élite. The most provocative element of the original design turned out to be a couple of nude female statues, by Ernesto Bazzaro, decorating the facade; these raised such turmoil that the local newspaper Guerin Meschino published a series of satyrical illustrations on them, and the Milanese population renamed the palace "Cà di ciapp" (in Milanese, "house of buttocks"). The statues, that were intended to represent "Peace" and "Industry", were eventually removed and are now used as decorations of another Milanese palace also by Sommaruga, the Villa Romeo Faccanoni on Via Michelangelo Buonarroti #48.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The architecture of the Liberty style was more closely akin to the Baroque style. with a lavish excess of external ornament. Pietro Fenoglio was one of the early figures in Liberty style architecture, with the Casa Fenoglio-Lafleur in Turin, which added Art Nouveau elements onto a more traditional facade.[8] In Palermo the major figure was Ernesto Basile, who used curved forms similar to the Belgian-French Art Nouveau combined with symbolist murals, as in the Grand Hotel Villa Igiea (1899–1900). Basile also combined elements of a medieval castle with Liberty decoration to create the Villino Florio in Palermo (1899–1902). Milan had a large number of Liberty style houses. The most prominent architects included Giovanni Battista Bossi, whose Casa Galimberti had a facade drenched with decorative sculpture and murals. The decoration seemed to have been poured over the building. The sculpture somewhat recalls the work of the Renaissance painter Giuseppe Archimboldo.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Liberty style, like other versions of Art Nouveau, had the ambition of turning ordinary objects, such as chairs and windows, into works of art. Unlike the French and Belgian Art Nouveau, based primarily on nature, Liberty style was more strongly influenced by the Baroque style, with very lavish ornament and color, both on the interior and exterior.[2] The Italian poet and critic Gabriele d'Annunzio wrote in 1889, as the style was just beginning, "the genial sensual debauche of the Baroque sensibility is one of the determining variants of the Italian Art Nouveau."[3]
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