#architecture

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The Pavilions of Futuroscope in Poitiers by Denis Laming, 1984 The Tour de Montréal in Montreal by Roger Taillibert, 1987 The Tour de Montréal in Montreal by Roger Taillibert, 1987 L'Hemisfèric in the City of Arts and Sciences, Valencia by Santiago Calatrava, 1998 L'Hemisfèric in the City of Arts and Sciences, Valencia by Santiago Calatrava, 1998 The British Library of Political and Economic Science in London by Norman Foster, 2000 The British Library of Political and Economic Science in London by Norman Foster, 2000 L'Oceanogràfic in the City of Arts and Sciences, Valencia by Félix Candela, 2003 L'Oceanogràfic in the City of Arts and Sciences, Valencia by Félix Candela, 2003 Auditorio de Tenerife in Santa Cruz de Tenerife by Santiago Calatrava, 2003 Auditorio de Tenerife in Santa Cruz de Tenerife by Santiago Calatrava, 2003 El Palau de les Arts Reina Sofía in the City of Arts and Sciences, Valencia by Santiago Calatrava, 2005 El Palau de les Arts Reina Sofía in the City of Arts and Sciences, Valencia by Santiago Calatrava, 2005 The Turning Torso in Malmö by Santiago Calatrava, 2005 The Turning Torso in Malmö by Santiago Calatrava, 2005
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The distinctive white building resembles a flying saucer that has landed on its four legs. The initial design was created by James Langenheim, of Pereira & Luckman, subsequently taken to fruition by a team of architects and engineers headed by William Pereira and Charles Luckman, that also included Paul Williams and Welton Becket. The appearance of the building's signature crossed arches as homogeneous structures is a design illusion, created by topping four steel-reinforced concrete legs extending approximately 15 feet above the ground with hollow stucco-covered steel trusses. To counteract earthquake movements, the Theme Building was retrofitted in 2010 with a tuned mass damper without changing its outward appearance. Constructed near the beginning of the Space Age, the building is an example of how aeronautics and pop culture, design and architecture came together in Los Angeles.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Dahinden influenced the field of architecture with ideas which have resulted in numerous suggestions and impulses. The centre of Dahinden's philosophy of the holistic nature of architecture is that it is a service to the human being. It is equally important to man as a physical and as a mental reality. In architecture the rational fulfilling of needs has to be complemented by taking into consideration the emotional world of the human being, whose state of mind and behavior are fundamentally influenced by architectural design. To Dahinden architecture as a language is of equal importance to architecture as a function. From this he has developed a very individual theory about contextualism in architecture.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The Museum of Glass was designed by Canadian architect Arthur Erickson and was his first major art museum in the United States. The museum totals 75,000 square feet (7,000 m²) in area, featuring 13,000 square feet (1,200 m²) in gallery space and a 7,000-square-foot (650 m²) hot shop. This hot shop, shaped as an angled cone, is the museum’s most striking architectural feature. The cone, inspired by the wood "beehive burners" of the sawmills that once dotted the waterway, is composed of 2,800 diamond-shaped stainless steel panels and is 100 feet (30 m) in diameter at its base. Also featured in the Museum of Glass’ architecture are a sweeping concrete stairway that spirals around the exterior of the building, and three rimless reflecting pools featured on the museum’s terraces. Connected to the museum is the Chihuly Bridge of Glass, designed by Arthur Erickson in collaboration with artist Dale Chihuly, to connect the Museum of Glass to downtown Tacoma.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: De Stijl, Dutch for "The Style", also known as Neoplasticism, was a Dutch art movement founded in 1917 in Leiden. De Stijl consisted of artists and architects.[1] In a more narrow sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.[2][3] Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to vertical and horizontal, using only black, white and primary colors.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Mondrian sets forth the delimitations of Neoplasticism in his essay "Neo-Plasticism in Pictorial Art". He writes, "this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour". With these constraints, his art allows only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines.[4] The De Stijl movement posited the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines.[5]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The name De Stijl is supposedly derived from Gottfried Semper's Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–3), which Curl[3] suggests was mistakenly believed to advocate materialism and functionalism. The "plastic vision" of De Stijl artists, also called Neo-Plasticism, saw itself as reaching beyond the changing appearance of natural things to bring an audience into intimate contact with an immutable core of reality, a reality that was not so much a visible fact as an underlying spiritual vision.[6] In general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: "a post, jamb or support"; this is best exemplified by the construction of crossing joints, most commonly seen in carpentry.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: According to Khan-Magomedov, two forerunners of the style were Ivan Fomin and Ilya Golosov. They converged on the same form from opposite directions – neoclassicism and constructivism. Fomin's concept, easily formulated, erected in steel and granite in Moscow (Dynamo Building), was well understood even by the inexperienced youth. "The youth instinctively followed those who managed to declare their stance clearly. The youth believed that this period is a self-sufficient cultural stage, not a transition to something else". In 1933–34, Golosov publicly disposed of the avant-garde. He returned to Neoclassicism, trying to avoid direct citations from the past. For example, he used square columns instead of traditional, round ones. Square, lean columns without capitals became a trademark feature of the emerging style. Golosov's entries in public design contests exposed his style to numerous followers.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism. In the façade shown above, Diana grasps the cornice she sits on in a natural action typical of Beaux-Arts integration of sculpture with architecture. Slightly overscaled details, bold sculptural supporting consoles, rich deep cornices, swags and sculptural enrichments in the most bravura finish the client could afford gave employment to several generations of architectural modellers and carvers of Italian and Central European backgrounds. A sense of appropriate idiom at the craftsman level supported the design teams of the first truly modern architectural offices.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The Modern Style is a style of architecture, art, and design that first emerged in the United Kingdom in the mid-1880s. It is the first Art Nouveau style worldwide, and it represents the evolution of the Arts and Crafts movement which was native to Great Britain. Britain not only provided the base and intellectual background for the Art Nouveau movement, which was adapted by other countries to give birth to local variants; they also played an over-sized role in its dissemination and cultivation through the Liberty department store and The Studio magazine. The most important person in the field of design in general and architecture in particular, was Charles Rennie Mackintosh. He created one of the key motifs of the movement, now known as the 'Mackintosh rose' or 'Glasgow rose'. The Glasgow School was also of tremendous importance, particularly due to a group closely associated with Mackintosh, known as 'The Four'. The Liberty store nurturing of style gave birth to two metalware lines, Cymric and Tudric.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Archibald Knox was a defining person of these lines and metalware of the style. In the field of ceramic and glass Christopher Dresser is a standout figure. Not only did he work with the most prominent ceramic manufacturers but became a crucial person behind James Couper & Sons trademarking of Clutha glass inspired by ancient Rome in 1888. Aubrey Beardsley was a defining person in graphic and drawing, and influenced painting and style in general. In textiles William Morris and C. F. A. Voysey are of huge importance, although most artists were versatile and worked in many mediums and fields, influencing them all to an extent. Because of the natural evolution of Arts and Crafts to Modern Style, lines can be blurred and many designers, artists, and craftsmen worked in both styles simultaneously. Important figures include Charles Robert Ashbee, Walter Crane, Léon-Victor Solon, George Skipper, Charles Harrison Townsend, Arthur Mackmurdo, William James Neatby.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Art Nouveau had its origins in Britain, mainly in the work of William Morris and Arts and Crafts movement which was founded by students of Morris. Through Morris, formative and essential influence will be Pre-Raphaelite brotherhood, which was in turn championed and sometimes even financially supported by John Ruskin. Ruskin's influence on the formation of Arts and Crafts and Modern Style is hard to overstate. Arts and Crafts movement called for better treatment of decorative arts, believed all objects should be made beautiful and took inspiration from folklore, medieval craftsmanship and design, and nature. Red House, Bexleyheath (1860), architectural work by Philip Webb with interiors done by William Morris is one of the early prototypes. Work of Arthur Mackmurdo is the earliest fully realized form of the Art Nouveau, his Mahogany chair from 1883 and design for a cover for essay Wren's City Churches are recognized by art historians as the very first works in the new style. Mackmurdo's work shows influence of another British illustrator William Blake, whose designs for Songs of Innocence and of Experience from 1789 certainly point to even earlier origin of Art Nouveau.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • 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.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • 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.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • 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”.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Taking advantage of the orientation of the plot, the function of the central cylinder is to allow the passage of light to the central space, where the pool is located, however, given its great camber, it provides the space with enough shade during sunrise and sunset to exempt the use of a roof on the terrace, allowing the space to be inhabited below shade most of the day. Its strategic location, right next to the interior social area, achieves the link between both spaces by opening all the sliding doors that separate the interior from the exterior.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: A futuristic building with lots of lines and waves would feature a highly innovative and dynamic architectural design that is both striking and functional. The building would be designed with a focus on fluidity and movement, with curved lines and wave-like forms that create a sense of energy and momentum. The exterior of the building could be made of sleek and reflective materials, such as glass or polished metal, to create a futuristic look. Lines and waves could be used to create patterns and shapes that emphasize the building's flow and motion. At night, the building could be illuminated with dynamic lighting that highlights its lines and waves. The lighting could change colors and patterns, creating an ever-changing spectacle that is visible from afar. Inside the building, the lines and waves could be used to create an immersive and dynamic experience for visitors. Spaces could be designed with fluid shapes and curves that create a sense of movement and flow. Interactive technologies could be used to create an engaging and interactive experience for visitors, allowing them to navigate the building's spaces in a unique and innovative way.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: urrealist architecture is a design style that emerged in the 1920s and 1930s as a way to challenge traditional architectural norms and explore the relationship between the built environment and the subconscious mind. Surrealist architecture often features dream-like elements such as unexpected juxtapositions of materials, spaces that seem to defy the laws of physics, and the use of organic shapes and forms. It often incorporates elements of surprise, whimsy, and subversion. Examples of surrealist architecture can be found in the works of architects such as Antoni Gaudi, Salvador Dali, and Frank Gehry. Famous structures in this style include the Casa Batlló and Sagrada Familia in Barcelona, Spain, and the Guggenheim Museum in Bilbao, Spain. Overall, surrealist architecture is a highly imaginative and playful style that challenges our preconceptions of what buildings should look like and how they should function. It encourages us to see the built environment in new and unexpected ways, and can be a source of joy and inspiration for those who encounter it.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Neo-futurism is a style of architecture that emerged in the 21st century as a continuation of the earlier futurist movement. It is characterized by an emphasis on innovative technologies and sustainable design, as well as a fluid and organic approach to form and space. In contrast, modernism is a style of architecture that emerged in the early 20th century and emphasized simplicity, functionality, and the use of new materials and technologies. In the context of contemporary architecture, neo-futurism and modernism have been combined to create buildings that are both innovative and practical. Contemporary architects often incorporate modernist design principles, such as the use of clean lines and simple forms, and combine them with neo-futurist elements, such as the use of organic shapes, biomorphic structures, and sustainable materials. Examples of this combination of styles can be seen in buildings such as the Heydar Aliyev Center in Baku, Azerbaijan, designed by architect Zaha Hadid, which features a sweeping, fluid form that incorporates both modernist and neo-futurist design principles. Another example is the Shanghai Tower in China, designed by the American architectural fir
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The Domaine de Bayssan Auditorium and Open-Air Amphitheater is a modern cultural complex located in Béziers, France. Designed by the French architectural firm Coloco, the complex is situated on a large estate and features a number of distinctive architectural elements. The auditorium is a large, cylindrical structure made of solid earth and planted with native vegetation, giving it a natural and organic appearance. The open-air amphitheater is a more traditional performance space, with a large semi-circular stage and seating for up to 1,800 people. The amphitheater is surrounded by a series of stepped terraces, which provide additional seating and create a sense of intimacy and connection between performers and audience members. The complex also includes a number of smaller buildings, including a reception area, a ticket office, and a storage facility. Overall, the Domaine de Bayssan Auditorium and Open-Air Amphitheater is a unique and innovative example of contemporary cultural architecture, which seamlessly blends natural and man-made elements to create a space that is both functional and visually striking.
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