#building

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The building utilizes wrapped glass on the east, north, and west both for aesthetics and to reduce the amount of reflective surface area on the south facade, which also features brushed Jura limestone. Flared walls reaching from the southwest and southeast corners of the core span the entire height of the tower, and there is a column-free 24-meter-tall lobby.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The building's original marble cladding was replaced after several panels fell from the building in 1985 and 1986. The problem was traced to the thinness of the panels (1.25 inches (3.2 cm) and the method of anchorage to the frame. As a result of extensive investigation, the panels were replaced with neoparium, a glass product that appeared indistinguishable from marble at more than 100 feet (30 m). This failure mode was not uncommon in buildings of this era that employed thin marble cladding. Several buildings, most notably the Aon Center in Chicago were re-clad with materials other than marble.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Le Corbusier's design called for the use of raw concrete, whose surface was not smoothed or polished and which showed the marks of the forms in which it dried. Pierre Jeanneret wrote to his cousin that he was in a continual battle with the construction workers, who could not resist the urge to smooth and finish the raw concrete, particularly when important visitors were coming to the site. At one point one thousand workers were employed on the site of the High Court of Justice. Le Corbusier wrote to his mother, "It is an architectural symphony which surpasses all my hopes, which flashes and develops under the light in a way which is unimaginable and unforgettable. From far, from up close, it provokes astonishment; all made with raw concrete and a cement cannon. Adorable, and grandiose. In all the centuries no one has seen that." The High Court of Justice, begun in 1951, was finished in 1956. The building was radical in its design; a parallelogram topped with an inverted parasol. Along the walls were high concrete grills 1.5 metres (4 feet 11 inches) thick which served as sunshades. The entry featured a monumental ramp and columns that allowed the air to circulate.
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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: 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 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: 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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Coast house

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  • Prompt: Small house on rocky coast, sunny sky, tree, grass, stone path
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  • Aspect Ratio: landscape

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Beaux-Arts training made great use of agrafes, clasps that link one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (architecture parlante) in which the appropriateness of symbolism was paid particularly close attention. Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations included the social and urban context.
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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: 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: 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: 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: 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: 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: 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: 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: Antoni Gaudi and Shukhov carried out experiments with hyperboloid structures nearly simultaneously, but independently, in 1880–1895. Antoni Gaudi used structures in the form of hyperbolic paraboloid (hypar) and hyperboloid of revolution in the Sagrada Família in 1910.[4] In the Sagrada Família, there are a few places on the nativity facade – a design not equated with Gaudi's ruled-surface design, where the hyperboloid crops up. All around the scene with the pelican, there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). The "bishop's mitre" spires are capped with hyperboloids.[citation needed]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: Jugendstil was an artistic movement, particularly in the decorative arts, that was influential primarily in Germany and elsewhere in Europe to a lesser extent from about 1895 until about 1910. It was the German counterpart of Art Nouveau. The members of the movement were reacting against the historicism and neo-classicism of the official art and architecture academies. It took its name from the art journal Jugend, founded by the German artist Georg Hirth. It was especially active in the graphic arts and interior decoration.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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  • Prompt: After 1900 he became involved in industrial design and the reform of architecture to more functional forms. In 1902, he participated in the Turin International Exposition, one of the first major Europe-wide showcases of Art Nouveau. In 1907, Behrens and a group of other notable Jugendstil artists, including (Hermann Muthesius, Theodor Fischer, Josef Hoffmann, Joseph Maria Olbrich, Bruno Paul, Richard Riemerschmid, and Fritz Schumacher, created the Deutscher Werkbund. Modeled after the Arts and Crafts movement in England, it was goal was to improve and modernize the design of industrial products and everyday objects. He first major project was AEG turbine factory in Berlin (1908–1909). Behren's assistants and students at this time included Mies van der Rohe, C. E. Jeanerette (the future Le Corbusier), and Walter Gropius, the future head of the Bauhaus. The work of Behrens and the Werkbund effectively launched the transition from the Jugendstil to modernism in Germany, and the end of the Jugendstil.[7]
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