Sentences with phrase «urban space form»

Not exact matches

The company has formed a new residential brand and is focused on adding more residential and office space in six major urban markets.

Formerly transport blog, we provide evidence based debate on urban form, transport, housing, design, and public space.

However, recent zoning regulations in favor of mixed - use development have opened the door for several other forms of business including restaurants, bars, condominiums, galleries, hotels, event spaces, and [most notably] Santa Barbara's famed Urban Wine Trail.

It maps out current active agencies that gentrify the city and zooms in on artistic practices that expose and shape forms of social, ecological and economic activation and de-activation of urban space.

It argues and rethinks city space from established divisions of function / non-function, human / extra-human, built / empty and productive / non-productive, local / global, urban / rural to more hybrid, blurred and merged notions about contemporary city space and about the agencies that are forming it.

Many of Caycedo's projects are enacted and exist solely in public space as a form of urban intervention.

Together we'll learn how to identify a range of spontaneous urban plants (aka weeds) and experiment with forms of movement and dance to engage with each weedy space and territory.

Can Pekdemir is an Istanbul - based conceptual artist working on deformation and abstraction of body forms using various methodologies and focused on isolated urban spaces, city and nature relationship using photography as a tool of documentation.

Together they form a speculative architectural analysis that points towards a possible future scenario already emerging in contemporary urban space.

This new Hatje Cantz publication emphasizes the influence of Arte Povera on Rhode's aesthetic, whose creative dialogue also formed during his meeting with the gallery Tucci Russo and his early collaborative efforts with photographer Paolo Mussat Sartor, in which he transformed urban landscapes and interior spaces into imaginary worlds, as two - dimensional renderings become the subject of three - dimensional interactions by a sole protagonist (usually played by the artist or by an actor inhabiting the role of artist).

Edyta Stepien's immersive installation takes apart urban form and public space to reintroduce those conventions as a testing site for viewers to examine.

the Berlin - based artist collective Club Real aims to explore these questions and some of the city's projects in order to widen the perspective on the possibilities and limitations of participation in art and art interventions in public urban spaces, using the concept of «disturbances of every day life» and presentations as a form of intervention.

In a city that is becoming more and more dense and utilized, the Berlin - based artist collective Club Real aims to explore the above questions and some of the city's projects in order to widen the perspective on the possibilities and limitations of participation in art and art interventions in public urban spaces, using the concept of «disturbances of every day life» and presentations as a form of intervention.

The development of urban and national space often presupposes forms of physical or symbolic inclusion and exclusion.

Since the 1950s, when she worked closely with Louis I. Kahn and independently pioneered habitable space - frame architecture, Tyng has applied natural and numeric systems to built forms on all scales, from urban plans to domestic spaces.

His forms, generic signifiers of humanness, are constricted by small urban spaces, caught in the crunch of rush hour, decimated by the pain of poverty, destroyed by the horror of war, and trapped by the excesses of global capitalism.

His combination of sculptural form and metaphysical significance is integrated with architectural and environmental space to produce distinct urban spaces.

Recent publications include Hopelessness Freezes Time, a study of earthworks, drawing, Detroit, urban warfare, and guerrilla historiography, co-authored with artist Edgar Arceneaux (Kunstmuseum Basel, 2012); «Earth Beneath Detroit,» an essay for the exhibition catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); «Attitudes and Affects,» on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013); and «After the Production of Space» (forthcoming in Critical Landscapes, University of California Press, Berkeley).

With these marginalised urban zones, my choices were based on real architectural elements, omnipresent in their richness and their diversity, which form part of the particular psycho - geography of the space and of the non-space — a form that contains a physical, psychological and conceptual infrastructure that in turn constitutes these urban worlds.

Staged in K11 Art Foundation's pop - up venue, a space previously used to show future building projects that continue to change the urban landscape around Hong Kong, HACK SPACE forms an alternative hacker narrative, weaving moments from the history of western hacker activity with artworks that rethink space through unconventional methodologies of making and thinspace previously used to show future building projects that continue to change the urban landscape around Hong Kong, HACK SPACE forms an alternative hacker narrative, weaving moments from the history of western hacker activity with artworks that rethink space through unconventional methodologies of making and thinSPACE forms an alternative hacker narrative, weaving moments from the history of western hacker activity with artworks that rethink space through unconventional methodologies of making and thinspace through unconventional methodologies of making and thinking.

Chadha considers architectural drawings and the topography of urban spaces, abstracting recognizable patterns into puzzling yet familiar forms.

split / fountain (S / F), merges at least 3 forms of production and dissemination ---- art, design, and print ---- through its operation as a design studio, project space, bookshop, curatorial office, niche publishing house and pocket - scaled laboratory for urban aesthetics and collaborative thinking.

These include permanent and temporary projects that refer specifically to particular buildings, or which emerge at sites in urban space in the form of designs for buses and posters.

PLANE — SITE is a global agency working at the interface of urban form, cultural space, and social life.

Looking at the works created for this show by Fountain House Gallery artists immediately conjures the urban experience; from the rivet - like repetition of Julio Mendoza's circular collage forms to Ariella Kadosh's solitary subway map lines set against a void of negative space, the images convey the shared and insular zone we New Yorkers inhabit at the same moment.

Artist Statement By forming affecting snapshots of contemporary existence — such as intimate home settings, urban spaces and tropical scenes — my works are both diaristic and universally relevant.

Recent publications include Hopelessness Freezes Time, a study of earthworks, drawing, Detroit, urban warfare and guerrilla historiography, co-authored with artist Edgar Arceneaux (Kunstmuseum Basel, 2012); «Earth Beneath Detroit,» an essay for the catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); «Attitudes and Affects,» on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013); «Urban Fragments» in Keith Haring: The Political Line; and «After the Production of Space,» forthcoming in Critical Landscapes: Art, Space, Politics (UC Press 2urban warfare and guerrilla historiography, co-authored with artist Edgar Arceneaux (Kunstmuseum Basel, 2012); «Earth Beneath Detroit,» an essay for the catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); «Attitudes and Affects,» on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013); «Urban Fragments» in Keith Haring: The Political Line; and «After the Production of Space,» forthcoming in Critical Landscapes: Art, Space, Politics (UC Press 2Urban Fragments» in Keith Haring: The Political Line; and «After the Production of Space,» forthcoming in Critical Landscapes: Art, Space, Politics (UC Press 2015).

In response to these sensations, Fu minimizes the cityscape in her work to simple geometric forms to present how she sees the urban environment and the relationship between its people, spaces and structures.

Its recommendations fall under four main headings: waste management, low - carbon mobility, urban energy infrastructure and urban form and green spaces; with coordination through a well - managed city - level framework being perhaps the most essential ingredient for success.

And a building that acknowledges nature in form might help sharpen awareness about the role that architecture plays in our often un-green urban spaces.

It occurs in a multitude of forms (mixed farms or specialized livestock keepers; species, herd size, free roaming or confined, husbandry practices), scales and degree of market orientation (subsistence, mixed subsistence / commercial, small commercial, large commercial) and locations (back yards, roof tops, peri-urban areas, urban public vacant spaces) each with its own problems and opportunities.

Formerly transport blog, we provide evidence based debate on urban form, transport, housing, design, and public space.

Formerly transport blog, we provide evidence based debate on urban form, transport, housing, design, and public space.