#ukraine

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Within the second, smaller theater, the interior is connected seamlessly to the exterior by the large, panoramic window behind the performance stage. This wall of sound-proof glass provides a naturally scenic backdrop for performances and activates the stage as an extension of the outdoor environment, inspiring production opportunities.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Presenting a warm and inviting element, the grand theater is clad in rich wood, emulating a wooden block that has been gently eroded away. Sculpted from Manchurian Ash, the wooden walls gently wrap around the main stage and theater seating. From the proscenium to the mezzanine balcony the grand theater’s use of simple materials and spatial configuration provides world-class acoustics. The grand theater is illuminated in part by a subtle skylight that connects the audience to the exterior and the passing of time.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The architectural procession choreographs a conceptual narrative, one that transforms visitors into performers. Upon entering the grand lobby, visitors will see large transparent glass walls spanning the grand lobby, visually connecting the curvilinear interior with the swooping façade and exterior plaza. Soaring above, a crystalline glass curtain wall soars over the grand lobby space with the support of a lightweight diagrid structure. Comprised of glass pyramids, the surface alternates between smooth and faceted, referencing the billowing snow and ice of the frigid climate. Visitors are greeted with the simple opulence of natural light and material sensation—all before taking their seat.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: On the exterior, the architecture references the sinuous landscape of the surrounding area. The resulting curvilinear façade composed of smooth white aluminum panels becomes the poetry of edge and surface, softness and sharpness. The journey begins upon crossing the bridge onto Harbin Cultural Island, where the undulating architectural mass wraps a large public plaza, and during winter months, melts into the snowy winter environment.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Embedded within Harbin’s wetlands, the Harbin Opera House was designed in response to the force and spirit of the northern city’s untamed wilderness and frigid climate. Appearing as if sculpted by wind and water, the building seamlessly blends in with nature and the topography—a transfusion of local identity, art, and culture. “We envision Harbin Opera House as a cultural center of the future – a tremendous performance venue, as well as a dramatic public space that embodies the integration of human, art and the city identity, while synergistically blending with the surrounding nature,” said Ma Yansong, founding principal, MAD Architects.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: MAD Architects unveils the completed Harbin Opera House, located in the Northern Chinese city of Harbin. In 2010, MAD won the international open competition for Harbin Cultural Island, a master plan for an opera house, a cultural center, and the surrounding wetland landscape along Harbin’s Songhua River. The sinuous opera house is the focal point of the Cultural Island, occupying a building area of approximately 850,000 square feet of the site’s 444 acres total area. It features a grand theater that can host over 1,600 patrons and a smaller theater to accommodate an intimate audience of 400.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The “hillside village” offers a variety of housing types for city residents, including three townhouses, five villas, two studios and eight condominiums. The massing of the village cultivates community with the added benefit of individual balcony-patios to maintain independence and privacy. Villa residents experience a balance between public and private as the incandescent villas appear opaque from the street, yet reveal a transparent façade facing the private garden, townhouse and condominium units.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Bringing the nature found on the adjacent foothills of Los Angeles into the city of Beverly Hills, 8600 Wilshire mimics a small sinuous white hill boasting an 18-unit residential village atop commercial space. Clustered white glass villas and trees ascend upward to contour the Beverly Hills skyline and provide a distinctive streetscape on Wilshire Boulevard.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Therein lies the biggest pitfall of Solarpunk. The movement risks being whittled down to an aesthetic dimension, which in turn will undermine its own ecological philosophy. Solarpunk risks becoming a style without principles; a “green” architecture without green policies. Worse still, the movement could easily be co-opted by developers eager on giving the impression that their projects are environmentally sustainable while they continue to rely to carbon-emitting materials and energy-intensive design principles.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: It’s difficult to evaluate an architectural movement that exists almost entirely in conceptual terms. At present, the closest thing stylistically to Solarpunk architecture might be Singapore’s Garden City: a political initiative introduced by Lee Kuan Yew in 1967 to transform the dense city into an urban environment brimming with greenery. In recent years, Singaporean architecture has produced dozens of stunning projects evoking the Solarpunk ethos: the Supertree Groves, the Cloud Fountain, the Jewel Changi Airport and the Marina Bay Sands are but a few prominent examples. Such projects regularly make waves on the Solarpunk Reddit to varying degrees of approval, and some Redditors have offered mitigated praise for the city with the slogan: “Singapore minus cars = Solarpunk”.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Scenes for sci-fi classics are juxtaposed with drawings of actual and proposed buildings that proved influential on the fictional representations. These include the utopian visions of Italian futurists Mario Chiattone and Antonio Sant’Elia, Bauhaus, Le Corbusier and mid-century modern Californian architecture such as that of John Lautner. Another important influence was Frank Lloyd Wright, who collaborated with set designers on The Day The Earth Stood Still and whose architecture influenced a host of sci-fi films including Blade Runner and Gattaca.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: On the fringe of the logic of creation of new residential areas dedicated to the bourgeois class, the Casa Ferrario was built from 1902 according to the project of Ernesto Pirovano in Via Spadari, one of the most central and oldest streets of Milan. The notoriety of this building, still substantially traditional in design and relatively sober in the other elements, is due to the wrought iron decorations of the overlapping balconies with spiral motifs and floral decoration with corbels shaped like griffin also made by Mazzucotelli, considered by Sacerdoti one of the greatest wrought iron artists in Italy.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The Milanese stage of the liberty style was inaugurated with the construction of the Palazzo Castiglioni, completed in 1903 according to the project of Giuseppe Sommaruga, who would become, according to Sacerdoti, the most prominent interpreter of Milanese art nouveau. The building, decorated with cement sculptures of floral theme and wrought iron compositions typical of the new style, distances itself from art nouveau by its monumental forms and the use of classical elements such as the putti, taken from the nearby noble palaces, where the neoclassical style dominates. The palace, considered by Lopez, Susani and Roiter one of the best examples of Italian art nouveau and built in one of the most elegant streets of Milan, remarked even more clearly the status of the new bourgeois class and introduced with force in the city the use of cement as a sculptural element. The "breaking signal" thrown to the old ruling class was even more intense due to the presence on both sides of the entrance of two statues representing two naked women in very daring poses, which caused a great scandal, to the point that the palace was colloquially renamed by the Milanese la ca' di ciapp
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: According to Sacerdoti, another leading interpreter of Milanese art nouveau was Giovanni Battista Bossi, who has in the Casa Galimberti his most famous work.[9] The facade of this building presents a complex decoration with ceramic tiles painted with human forms and plant elements that show elaborate chromatic contrasts. Also noteworthy are the decorated balconies made of cement and the wrought iron a baldaquino balconies. [21] A few meters away is the Casa Guazzoni, also by Bossi, which despite retaining the typically floral style of the facade presents a decoration completely centered on sculpture with elaborate putti devices, female figures and plant forms also in cement and wrought iron with overlapping balconies.[22] Bossi lastly designed the Casa Alessio, more akin to the Viennese Secession style with its rigid geometries and the vertical strip in correspondence with the entrance.[23]
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The Alexandra, Birmingham, 1938 Barber Institute of Fine Arts, Birmingham, West Midlands, 1939 former Burton's, Erdington, Birmingham, West Midlands Clifton Bingo (former Odeon Cinema Perry Barr), Birmingham, 1938 Elmdon Building, Birmingham International Airport, Birmingham Empire Cinemas (former Oden Cinema), Sutton Coldfield, 1936 former Mothers Club, Erdington, Birmingham, General Electric Company, Aston, Birmingham, 1920 Golden Eagle, Birmingham, 1930s (demolished) Harborne Baths, Birmingham, 1923 Kent House (formerly Kent Street Baths), Birmingham, 1933 Medical School, University of Birmingham, 1938 Oak Cinema, Selly Oak, Birmingham, 1923 (demolished) Odeon Cinema, Kingstanding, Birmingham, 1962
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The term, especially in popular parlance, has come to be associated quite widely with odd-looking buildings including Frank Gehry's Guggenheim Museum Bilbao (1997) and the Experience Music Project (2000).[11] These, in the narrower sense, are not blob buildings, even though they were designed by advanced computer-aided design tools, CATIA in particular.[12] The reason for this is that they were designed from physical models rather than from computer manipulations. The first full blob building, however, was built in the Netherlands by Lars Spuybroek (NOX) and Kas Oosterhuis. Called the Water Pavilion (1993–1997), it has a fully computer-based shape manufactured with computer-aided tools and an electronic interactive interior where sound and light can be transformed by the visitor.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The lighthouse is a hexagonal concrete tower, with lantern and gallery, designed in the Art Deco style. It is 38.96 metres (127.8 ft) tall, and is white; the lantern is painted red. The light shows three white flashes in a two-one pattern every fifteen seconds. It was automated at the time of its construction, and is controlled from Les Sables-d'Olonne; it is government property, and may not be visited. It is a listed monument since 2012.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The stadium's spectator capacity was at its maximum during the 1952 Summer Olympics with over 70,000 spectator places. Nowadays the stadium has 36,251 spectator places. During concerts, depending on the size of the stage, the capacity is 45,000–50,000. The tower of the stadium, a distinct landmark with a height of 72.71 metres (238.5 ft), a measurement of the length of the gold-medal win by Matti Järvinen in javelin throw of 1932 Summer Olympics. A youth hostel is located within the Stadium complex.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The use of reinforced concrete, a new material at that time, allowed an original construction in a style influenced by Art Deco. Eight ellipsoidal domes support three larger ovoid domes. In the interior, these three large domes are only supported by four pillars, which allows an astonishing interior volume with 25 metres (82 ft) high vaults. The angular form of the 64 metres (210 ft) steeple is in opposition with the strong curves of the domes.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Le Corbusier, as always, was rhapsodic about his project; "It will be a city of trees," he wrote, "of flowers and water, of houses as simple as those at the time of Homer, and of a few splendid edifices of the highest level of modernism, where the rules of mathematics will reign." His plan called for residential, commercial and industrial areas, along with parks and transportation infrastructure. In the middle was the capitol, a complex of four major government buildings; the Palace of the National Assembly, the High Court of Justice; the Palace of Secretariat of Ministers, and the Palace of the Governor. For financial and political reasons, the Palace of the Governor was dropped well into the construction of the city, throwing the final project somewhat off-balance. From the beginning, Le Corbusier worked, as he reported, "Like a forced labourer." He dismissed the earlier American plan as "Faux-Moderne" and overly filled with parking spaces and roads. He intended to present what he had learned in forty years of urban study, and also to show the French government the opportunities they had missed in not choosing him to rebuild French cities after the War.
  • Using base image: Yes