This pavilion created for the Lisbon Architecture Triennale mishmashes the architectural styles of three studios to question authorship. Read more
Architects question authorship with Lisbon Triennale pavilion
Month: October 2016
“Super Museums” by Briktop
Museums are increasingly becoming key landmarks that help define the image of a city, housing part of its memory and culture. In recent decades they have gained even more importance thanks to their architectural designs. Briktop was inspired by iconic designs to create this video that features works that stand out in architectural history and are important references for all architects.
See the video and the list of works below.
Learn more about all the museums that appear in the video by clicking on the following links:
- Guggenheim / Frank Lloyd Wright (1959)
- Centre Georges Pompidou / Richard Rogers + Renzo Piano (1977)
- New Museum / SANAA (1977)
- Niterói Contemporary Art Museum / Oscar Niemeyer (1996)
- Guggenheim / Frank Gehry (1997)
- DAM / Studio Libeskind (2006)
- Tate Modern / Herzog & de Meuron (2000)
- Museum Aan De Stroom / Neutelings Riedijk Architects (2011)
Alt Arkkitehdit clads woodland house in Finland with sheets of rusty Corten steel
Finnish practice Alt Arkkitehdit has covered a family home in northern Finland in weathering steel panels and greying spruce planks that help it to blend into its woodland setting. Read more
Grand Canyon National Park – Arizona – USA (by Sergey Galyonkin)
Grand Canyon National Park – Arizona – USA (by Sergey Galyonkin)
4 Reasons Why You Always Should Spit Out Your Feelings
We do it all the time. We hold in our feelings and we only show them when we really have to. Sometimes there are certain things in our life that prevent us from opening up and showing our feelings. Even though sometimes holding your opinion in isn’t even that big of a deal, in other situations cropping up your feelings can lead to some unpleasant consequences. Therefore, lets take a look at the reasons why you should show your feelings not only when you need to, but also when you want to!
It prevents miscommunication
When you’re not expressing your thoughts and feelings towards the person you’re speaking with then two things can happen: you’re creating an awkward situation or you’re so good at faking that they think that you’re fine with a certain decision or whatsoever and you continue on with the conversation. As you probably already realize, both options are bad. If you choose for the first option then you’re lying to yourself and if you choose for the latter one then eventually this will backlash at you in the form of a random outburst of emotions towards that person. The person you were talking to could think that he/she did something wrong when in fact you were the one that wasn’t completely honest. By not being transparent with each other, no matter if it’s a partner, friend or a family-member; you’re seriously putting the relationship with that person in jeopardy. Nobody likes being lied to, so in order to prevent damaging your relationship with someone you care about always try be as transparent as possible. It’s better to be slapped with the truth than to be kissed with a lie!
Opening up lowers stress
We all know what stress is and what it can do to your body and mind. One of the solutions to lower the amount of stress in your life is to be honest with yourself. We often stress about what other people think of us and how they perceive us. Therefore we don’t want to leave a wrong impression on people by saying something that you think that they won’t agree with or that they’ll take the wrong way. But when you behave differently every time around a different person, you’ll also have to maintain this ‘image’ of yourself and this causes cognitive dissonance. When you’re experiencing cognitive dissonance you’re attitude and behavior aren’t aligned with each other and this causes you stress. That’s why you need to make sure that your mind and behavior are aligned with each other and the best way to do that is by expressing your own attitudes and feelings regardless of how people will think of you.
You’ll find out who really cares
Sometimes we keep our feelings to ourselves, because we might think that others won’t take us seriously and that they won’t care. If your friends, partner or whatever person you consider that you’re close with won’t take your feelings seriously then you’re in the wrong environment. A person who truly cares about you will never take your feelings for granted or just tell you to; ‘shake it off’. Consequently, a great benefit of opening up to people is finding out who the people are that you can count on when you’re having problems. Surround yourself with these people in your life, because they are ones that will always lend a listening ear, regardless of your situation.
Your self-acceptance increases
When you decide to always tell people how you really feel without compromising yourself, you’ll begin to love yourself even more than you already do. Furthermore, you’ll also start to feel more powerful. Powerful in the sense, that you’ll realize that you don’t always have to agree with the public view or that you can show your vulnerable side by opening up, without immediately your confidence being negatively affected. You know who you are and you’re not afraid to hide it, and that attitude is a ‘keeper’ if you want to live a life full with joy and fulfillment.
Of course, sometimes it’s ‘not the right time’ to tell someone how you feel about a certain subject and it isn’t always even necessary either. But what you never should allow is feeling forced to keep your mouth shut and therefore compromising the ‘real’ you. Like the great Oscar Wilde said; be yourself, everyone else is already taken.’
The post 4 Reasons Why You Always Should Spit Out Your Feelings appeared first on Change your thoughts.
💙 Red Beauty on 500px by Tomasz Podhalański, Heidelberg,……
💙 Red Beauty on 500px by Tomasz Podhalański, Heidelberg,… http://ift.tt/1WH0men
Wood, marble and steel combine in Elements table by Made in Ratio
World Architecture Festival 2016 unveils seminar programme for first Berlin event
Dezeen promotion: this year’s World Architecture Festival will address a range of housing issues, including displaced communities, modern lifestyles and global urbanisation. Read more
9 Times Architects Transformed Frank Lloyd Wright’s Guggenheim Museum
Exhibition design by Gae Aulenti. Installation view: The Italian Metamorphosis, 1943–1968, Solomon R. Guggenheim Museum, New York, October 6, 1994–January 22, 1995. Photo: David Heald
This article originally appeared on guggenheim.org/blogs under the title “Nine Guggenheim Exhibitions Designed by Architects,” and is used with permission.
Exhibition design is never straightforward, but that is especially true within the highly unconventional architecture of Frank Lloyd Wright’s Guggenheim Museum. Hanging a painting in a traditional “box” gallery can be literally straightforward, whereas every exhibition at the Guggenheim is the reinvention of one of the world’s most distinctive and iconic buildings. The building mandates site-specific exhibition design—partition walls, pedestals, vitrines, and benches are custom-fabricated for every show. At the same time, these qualities of the building present an opportunity for truly memorable, unique installations. Design happens simultaneously on a micro and macro scale—creating display solutions for individual works of art while producing an overall context and flow that engages the curatorial vision for the exhibition. This is why the museum’s stellar in-house exhibition designers all have an architecture background. They have developed intimate relationships with every angle and curve of the quarter-mile ramp and sloping walls.
Installation for the inaugural exhibition in the Guggenheim Museum, 1959. Photo: Robert Mates © SRGF
The Guggenheim is Wright’s one and only art museum. Approaching the museum holistically, he conceived of it as a comprehensive display system, intending the museum to frame art objects naturally: continuous skylights on the ramps were designed to pour natural light onto walls that are set, like easels, at a 97-degree angle. He envisioned paintings simply resting against the angled back walls, and the gallery was equipped with an integrated security system—the sloped apron-base that joins the gallery floor to the back wall was developed to keep visitors a safe distance away from artwork. [1] All of these built-in details were nice in theory, but even Hilla Rebay and James Johnson Sweeney, the first two directors of the museum, had their concerns. Since the inaugural exhibition in 1959, the skylights have been covered and substituted with artificial light and the artwork hung vertically—mounted off the back walls.
Exhibition design by Zaha Hadid with Patrick Schumacher. Installation view: The Great Utopia: The Russian and Soviet Avant-Garde, Solomon R. Guggenheim Museum, New York, September 25, 1992–January 3, 1993. Photo: David Heald
Since 1959, the Guggenheim has hand picked a select few esteemed architects to interpret and confront Wright’s rotunda, three of whom now hold the most prestigious award in architecture, The Pritzker Prize. Both Frank Gehry and Zaha Hadid’s offices designed their own retrospectives (in 2001 and 2006, respectively), but prior to designing the display of their own work, the architects had each designed notable exhibitions at the museum. In 1992, Hadid designed The Great Utopia: The Russian and Soviet Avant-Garde. Her design was characterized by sharply angled vitrines and a prominent red wall that zigzagged down the ramps. In 1998, one year after the opening of the Guggenheim Museum Bilbao, Gehry designed The Art of the Motorcycle. His design took its cue from the materiality and craftsmanship of the vehicle, cladding the face of the museum’s ramps with chromed stainless steel. The intervention accentuated the curves of the rotunda, offering distorted reflections that revealed fleeting glimpses of the motorcycles and emphasized a feeling of speed. The installations embodied each architect’s signature aesthetic while actualizing very specific display solutions for the work on view.
Exhibition design by Frank O. Gehry and Associates. Installation view: The Art of the Motorcycle, Solomon R. Guggenheim Museum, New York, June 26–September 20, 1998. Photo: David Heald
The architects Gae Aulenti and Arata Isozaki chose a more minimalist approach to the ramps, establishing dramatic “moments” in the rotunda. For China: 5,000 Years (1998) Isozaki, architect of the Guggenheim SoHo (a branch of the Guggenheim Museum formally operating in lower Manhattan, 1992–2001), designed four statuesque sculptural banners that sliced vertically through the rotunda’s ramps. The banners were accompanied by a streamlined system of white vitrines, the cohesion of which facilitated the display of a wide variety of works. Aulenti, best known for converting a train station into the main hall of the Musée d’Orsay in Paris, conceived of a giant sculptural installation for The Italian Metamorphosis, 1943–1968 (1994): triangular wire-frame structures that projected into the museum’s central void. As visitors walked up the ramps, the shapes appeared to transform, visually overlapping and collapsing.
Exhibition design by Arata Isozaki. Installation view: China: 5,000 Years, Solomon R. Guggenheim Museum, New York, July 8–October 22, 1998. Photo: Ellen Labenski © SRGF
Detail: Exhibition design by Ateliers Jean Nouvel (AJN). Installation view: Brazil: Body and Soul, Solomon R. Guggenheim Museum, New York, October 19, 2001–May 29, 2002. Photo: Ellen Labenski © SRGF
Jean Nouvel fashioned a dramatic design for the 2001 exhibition Brazil: Body and Soul, painting the rotunda almost entirely black and installing a large-scale light projection that loomed over the space. Perhaps the most striking object featured in the exhibition was a monumental 18th–century carved and gilded cedar altarpiece that towered over the floor of the rotunda, reaching halfway to the oculus. The altarpiece’s arrival from Brazil was delayed, which meant that early visitors to the show got to witness its painstaking assembly as they walked up the ramps.
Exhibition design by Ateliers Jean Nouvel (AJN). Installation view: Brazil: Body and Soul, Solomon R. Guggenheim Museum, New York, October 19, 2001–May 29, 2002. Photo: Ellen Labenski © SRGF
In 2002, Hani Rashid and Lise Anne Couture, of Asymptote Architecture, experimented with playful materials in their design for Moving Pictures, an exhibition of photography, video, and film. On the top ramp of the museum, they clad tall inclined walls with bright blue pyramid foam, creating small cave-like theaters in the museum’s bay galleries. The material not only provided soundproofing but also served as a bold design accent, much like the dark industrial felt employed by Enrique Norton, of Ten Arquitectos, and Meejin Yoon, of Höweler + Yoon, for The Aztec Empire in 2004. The architects enveloped Wright’s bays, deploying serpentine walls to accommodate variously sized artifacts with a range of humidity-control and lighting requirements. The felt covering absorbed both light and sound, effectively rendering the museum mute.
Exhibition design by Asymptote Architecture. Installation view: Moving Pictures, Solomon R. Guggenheim Museum, New York, October 3, 2003–May 12, 2004. Photo: David Heald
Exhibition design by Enrique Norton and Meejin Yoon. Installation view: The Aztec Empire, Solomon R. Guggenheim Museum, New York, October 15, 2004–February 13, 2005. Photo: David Heald
The distinctive exhibition design of each of these architects was ultimately a system of highly functional design interventions. The installation of these environments has been a perennial feat by the Guggenheim’s in-house design, construction, and fabrication teams. Their collaboration with each architect has produced a series of holistic atmospheres that have set the stage for viewing multifarious art objects. Rather than suppress the unique qualities of Wright’s museum, each of these reinventions of the space amplified its singularity. The building never fades into the background.
[1] Levine, Neil. “Competing Visions of the Modern Art Museum and the Lasting Significance of Wright’s Guggenheim.” The Guggenheim: Frank Lloyd Wright and the Making of the Modern Museum. New York: Guggenheim Museum, 2009. 85. Print.
© 2016 The Solomon R. Guggenheim Foundation
5 Science-Proven Health Benefits of Low Carb Diet
When you overindulge in carb-rich meals, you’re inhibiting your body’s fat burning mode. If you’re already overweight or obese, this means a lot of problems since you won’t be able to lose any stored fat.
So, until you turn on the fat burning mode or start a low carbohydrate diet, you won’t be able to lose even a pound of excess weight. Aside from that, here are the other health benefits of low carb diet you should know.
Aids in weight loss
If you want a dramatic reduction in your body mass index (BMI), then going on a low-carb diet can surely help. Several studies have shown how a low-carb diet can lead to a faster and more obvious weight loss than going on a low-fat diet.
In a certain randomized trial that consisted of two groups (low-carb and low-fat group), the low-carb group lost about 4kg more than the low-fat group. One striking feature of their weight loss was the significant reduction in their visceral fat, which happens to be one of the risk factors for cardiovascular diseases.
Too much visceral fat is also a risk factor for insulin resistance, obesity and inflammation.
The quick weight loss that results from a low-carb diet is attributed to its insulin-lowering properties. When insulin is lowered, excess water is flushed out of the body as the kidneys try to get rid of too much sodium.
When you’re on a low-carb diet, you’re less likely to feel hunger pangs than when on a low-fat diet.
See Also: 4 Best Teas To Help You Lose Weight
Banishes insulin resistance
Low-carb diet has been reported in several human studies to be beneficial to both diabetics and non-diabetics.
Your body needs the hormone insulin to process glucose for energy. Whenever you eat something that’s high in carbohydrate, it triggers your pancreas to produce insulin. The more carb-rich foods you eat, the more insulin is produced.
In the long run, this excess glucose and insulin create a resistance and their receptors become incapable of recognizing them. This puts you at risk of several health issues. You may even be required to take medications just to control your blood sugar and help your body utilize glucose for energy.
Lowers your Triglyceride
Besides stress, a high carbohydrate diet is another major cause of high triglyceride levels. One good example is when you eat high fructose corn syrup and other forms of simple sugar.
When you switch from high-carb to low-carb, your triglyceride level goes down. This lowers your risk of getting a heart attack.
Elevates the “good cholesterol” (HDL)
Not all fats are bad for you. HDL (high-density lipoprotein), for example, is good for your body because it keeps your arteries clean from plaque build-up. It mops cholesterol to the liver for reuse or elimination.
When you increase your HDL, you are basically decreasing your risk of getting heart diseases and stroke. Going on a low-carb diet can elevate your HDL and improve the chemistry of your LDL.
See Also: Better Eating vs. Exercise – Do You Really Need Both?
Maintains normal blood pressure
Several studies have shown that one of the health benefits of low carb diet is normalizing blood pressure. With normal blood pressure, you’re technically saving your body from kidney failure, eye problems and even stroke.
So what do you think? Are you ready to give low carb diets a try?
The post 5 Science-Proven Health Benefits of Low Carb Diet appeared first on Dumb Little Man.
Sig Nordal 