יום שני, 24 באוקטובר 2016

Quote #17 – Renzo Piano

Born in 1937, into a family of builders and contractors, Piano's fascination with the interrelationship between the structural components of a construction was sparked from an early age. He graduated in 1964 from the School of Architecture at the technical university, Politecnico di Milano, where he subsequently taught for a period of time.

After working with Louis Kahn for a couple of years, Piano joined forces with British architect Richard Rogers in 1971 and designed what was to be a career-defining project for both of them, the Centre Georges Pompidou in Paris. The project was vigorously discussed at the time of its construction due to its radical design strategy of exposing all technical functions on the outside. The public opinion has shifted since then, however, and today it is celebrated for its boldness and widely regarded as one of the city's most preeminent contemporary landmarks.
When Rogers left to set up his own practice in 1977, Piano continued to work with engineer and longtime collaborator Peter Rice, until he founded the Renzo Piano Building Workshop in 1981. The practice started small but now it employs 150 people in offices across the world in Paris, New York City as well as his hometown of Genoa, Italy.
Piano was never one to shy away from controversy and in 1991, just after the fall of the Berlin Wall, he was at the center of yet another polemic debate, this time on account of his masterplan for the new Potzdamer Platz in Berlin. The project was considered by critics as an expression of blatant Americanization and was severely criticized for its lack of regard to the history of the site.
Piano's recent projects include the expansion of the Art Institute of Chicago, the Modern Wing and Europe's tallest skyscraper, The Shard in London.
Over the course of his career, Piano has received numerous decorations, among others the Royal Gold Medal for Architecture from RIBA in 1989, The Pritzker Architecture Prize in 1998, the Médaille d'Or from the UIA in 2002, and the Gold Medal from the AIA in 2008.

Visit the official website of Renzo Piano Building Workshop.

יום שישי, 21 באוקטובר 2016

בית של מעצבת

החודש לפני 5 שנים עברתי לגור בבית החדש שלנו לאחר שסיימתי שיפוץ מקיף בשתי הקומות שלו.

 השבוע לכבוד השנה החדשה עשיתי ניקיון באינסטגרם שלי.אספתי את הצילומים שצולמו בבית  בשנתיים האחרונות - ביתה של מעצבת :לפעמים מסודר, הרבה מבולגן, לפעמים מלא כביסה בעיקר כשחוזרים מהצבא.לפעמים מאוד נקי, בעיקר בימי רביעי כשהמנקה מגיע.לפעמים אני מתה עליו, לפעמים בא לי לברוח לשנה.שנתיים או לכל החיים.לפעמים יש דברים שאני ממש  מתבאסת שלא עשיתי  ( עוד 5 שקעים במטבח...) לפעמים אני כל כך שמחה על הברקות תכנוניות ( להפוך את חדר השרות לחדר רחצה לבת שלי - מפחית משמעותית את המריבות בית) הבית שלי הוא חי ונושם ובועט ומשתנה כל יום כל שבוע כל חודש כל שנה.
בית הוא המבצר שלנו במלוא מובן המילה. אני אוהבת את הקן שיצרתי לנו פה. 


גוף התאורה של חדר המגורים שלנו ( תקרתי)

המטבח שקיבל את החיפוי שלו רק לפני שנתיים 

המטבח ( כל מה שתלוי בשימוש!) 

גם מבשלים פה ( לא אני, הם -אבל מבשלים) 

מקרר 1#

מקרר 2#

מקרר 3#

תאמינו לי יש שימוש לדברים האלו -הם לא רק פרצוף יפה 

מטבח -אוסף קופסאות קמח מכל העולם 

התאהבתי בארון קיטש הזה בשנייה שראיתי אותו, מראות, זכוכית ורודה ותאורה פנימית - מככב על קיר הסלון 

מקרר 4#

חברת המשפחה החדשה שהצטרפה ממש לפני חודש 

המשרד הביתי שלי 

מממממ..... המדף מעל הניאגרה בחדר  הרחצה שלנו ( את כל הספרים האלו לפחות  מישהו התחיל לקרוא) 

כיור הרחצה בחדר השינה שלנו 

חדר שינה של מעצבת 

החבר הותיק במשפחה שלנו 

חלון ווילון וצללית של חתול 


מעצבת בבית שלה שה וא מבצרה וביתה ומשרדה וביתם של אהוביה 

זריחה מהגג

חורף מחלון ביתי










יום שישי, 5 באוגוסט 2016

Quote #16 – Robert Venturi

Robert Venturi has been described as one of the most original talents in contemporary architecture. He has also been credited with saving modern architecture from itself. He has done this by being eloquent verbally with his writings and visually with the appearance of his buildings. Like other Pritzker Architecture Prize Laureates before him, he is a writer, a teacher, an artist and philosopher, as well as an architect.
Venturi graduated summa cum laude from Princeton University in 1947 and received his Master of Fine Art degree, also from Princeton, in 1950. He furthered his studies as a Rome Prize Fellow at the American Academy in Rome from 1954 to 1956. Shortly after his return to the United States, he taught an architectural theory course at the University of Pennsylvania, School of Architecture. In the following three decades, he has lectured at numerous institutions including Yale, Princeton, Harvard, University of California at Los Angeles, Rice University and the American Academy in Rome.
In his first book, Complexity and Contradiction in Architecture, published in 1966 by the Museum of Modern Art, Venturi posed the question, "Is not Main Street almost all right?" He was arguing for what he called "the messy vitality" of the built environment. As he puts it, "We were calling for an architecture that promotes richness and ambiguity over unity and clarity, contradiction and redundancy over harmony and simplicity." He was challenging Modernism with the multiple solutions available from history—a history defined as relating not only to the specific building site, but the history of all architecture. He wanted architecture to deal with the complexities of the city, to become more contextual.
In his original preface to the book, Venturi states, "As an architect, I try to be guided not by habit but by a conscious sense of the past—by precedent, thoughtfully considered." He continues later, "As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like—what we are easily attracted to—we can learn much of what we really are."
Venturi is an architect whose work cannot be categorized; to him, there is never a single solution. Lest anyone try to pigeon-hole him as a postmodernist, he declared that he was practicing modern architecture, and paraphrased his own words earlier about Main Street, "the modern movement was almost all right." emphasizing his close affinity to the basic tenets of modernism, while still giving importance to human use, memories, comfort and entertainment. Venturi has made it possible to accept the casual and the improvised in the built environment.
Venturi's early professional work was in the office of Eero Saarinen, where among other projects, he worked on the design of the Milwaukee County War Memorial Center. He also worked in the offices of Louis I. Kahn and Oscar Stonorov in Philadelphia.
One of his first projects to be built that captured the attention of the architectural community was a house for his mother in the Chestnut Hill section of Philadelphia, Pennsylvania. In 1989, it received the American Institute of Architecture’s Twenty-five Year Award as a design of "enduring significance that has withstood the test of time." Other well-known works include: Guild House (1964) in Philadelphia, comprised of 91 apartment units for the elderly, the Allen Memorial Art Museum (1976) in Oberlin, Ohio, the extension to Britain’s National Gallery of Art, begun in 1986 in London, and the recent Seattle Art Museum (1991).
Robert Venturi's wife, Denise Scott Brown, is an architect, planner, author, and educator. She has been a partner in the firm since 1969 and his collaborator in the evolution of architectural theory and design for the past 30 years. She is noted for bringing particular attention to the relationship of architecture, planning and social conditions, and is primarily responsible for planning, urban design and architectural programming.
Robert Venturi, Denise Scott Brown and Steven Izenour collaborated on another book, published in 1972, Learning from Las Vegas, a further exploration of urban sprawl and the suburbs in relation to their architectural theories. A collection of their writings was also published in 1984, A View from the Campidoglio: Selected Essays, 1953-1984.
In one of the essays in the latter collection, Robert Venturi confessed, "Alvar Aalto's work has meant the most to me of all the work of the Modern masters. It is for me the most moving, the most relevant, the richest source to learn from, in terms of its art and technique. Like all work that lives beyond its time, Aalto's can be interpreted in many ways. Each interpretation is more or less true for its moment because work of such quality has many dimensions and layers of meaning." With a characteristic Venturi human, humorous touch, he added, "But Aalto's most endearing characteristic for me as I struggle to complete this essay, is that he didn't write about architecture."
In one of his essays in A View from the Campidoglio, Venturi says, "When I was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity."

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