Sentences with phrase «which architecture practice»

It's important to notice which architecture practice was nominated, and for which project.

Not exact matches

Whether formulated by Durkheim (a system of beliefs and practices related to sacred things), by Weber (that which finally makes events meaningful), or by Tillich (whatever is of ultimate concern) religion in its «classical» sense refers not so much to labels on a church building as to the imagery (myth, theology, and so forth) by which people make sense of their lives — their «moral architecture,» if you will.6 That human beings differ in their sensitivity to and success in this matter of «establishing meaning» there can be no doubt.

In 2012, with help from a grant from the Harvard Initiative for Learning and Teaching, Future of Learning piloted a human - centered design «charrette,» borrowing a practice from the world of architecture in which groups of people collaborate on a solution to a design problem.

Matthew demonstrated his reading, writing, and research skills through a series of projects connected to a study of architecture: evidence - based essays pertaining to the architecture of ancient civilizations, based on the written work of David McCauley; a profile of a fictional architect, based on an interview with a practicing architect; and colored blueprints of an originally designed and furnished home, which he drafted to scale and executed to code.

Students of National Board Certified Teachers learn up to two months more than their peers, with an even greater impact for students of color and low - income children.54 A career continuum supported by a system of meaningful professional learning would put teaching more on par with other modernized professions such as medicine, engineering, and architecture.55 Such a continuum should support every teacher to aim for accomplished practice from the start of their career, to work in school - based teams to demonstrate and improve their knowledge and skills, and to expand their impact as accomplished teachers through a variety of leadership roles, which would allow them to continue teaching students.

In her large - scale projections, which have now appeared in over 40 cities in 20 countries, stark block lettering is thrown onto landscapes and architecture, creating a sort of ephemeral graffiti that links her early street - based practice to her long - standing engagement with media, and to tactics common to news and advertising.

Gary Simmons» installation inaugurated Culture Lab 2016, a two - day series of discussions, dinners, and public projects centering around different approach to walls — architectural or ideological boundaries which both define cultural practice and limit understandings of art, architecture, and other cultural undertakings.

The pair will discuss the trajectory of Sala's art practice, his commitment to working with sound in relation to architecture and history, and his work for the exhibition «Anri Sala: Answer Me,» which includes multichannel audio and video installations that unfold across the Second, Third, and Fourth Floor galleries and create a symphonic experience specific to the New Museum.

Trained as a painter, Graham's practice also incorporates photography, a medium which she uses to explore the geometry that architecture imposes on nature.

Internationally acclaimed British artist Catherine Yass was nominated for the Turner Prize in 2002 for her highly distinctive practice in which she explores the psychological and formal properties of architecture and built environments.

This new exhibition provides new insights into the artist's practice, particularly how it was influenced by the architecture within which it was produced.

Constant, OriëntSector (1959), (metal, ink on Perspex and oil paint on wood): Motivated by the utopian notion that World War II had ushered in a new era in which the automation of all production would bring about a stable, classless society, Dutch artist Constant began a two - decade - long project to devise an appropriately progressive architecture and urban planning practice.

Internationally renowned her for her unique visual practice fusing fashion, art and architecture, the Crafts Council invited artist and curator Lucy Orta to select works which engage with patter...

Nathan Coley is interested in the idea of «public» space, and his practice explores the ways in which architecture becomes invested — and reinvested — with meaning.

Condorelli has long engaged with the architecture and context of the exhibition space, building modular furniture and reflecting on the history of the institutions where she is showing, a fitting choice for this exhibition, then, which celebrates curatorial and artistic work as always related in ways that go beyond any traditional sense of curating as a practice of caring and selecting.

His interest at that time was in Byzantine and Renaissance art and Romanesque architecture as well as in the Surrealist movement's practice of automatic drawing, which relied on spontaneity and chance.

Shields was actively engaged with architecture, theater and dance, and while he consistently used the word «painting» in interviews to describe his approach, his art clearly takes on not only expanded painting practice, but also the conceptual and minimalist objects of the New York scene of the 60s and 70s in which Shields was immersed.

They reinterpret anatomy in the language of architecture and relate to a key work in the artist's recent practice, Expansion Field (2014) which applies the principles of an expanding universe to the subjective space of the body.

From Yves Klein's utopian plans for an «architecture of air» to Robert Barry's Energy Field (AM 130 KHz) from 1968 - which encourages a heightened awareness of the physical context of the gallery - this exhibition span diverse aesthetic practices and concerns.

Following the program of 2017, which investigated language materialized in objects and images, KW Institute for Contemporary Art turns its attention towards the body and its relationships to politics, technology, and architecture, while continuing to think through artistic practices.

His practice is currently focused on his ongoing project, «The Forever Museum» (2011 ---RRB-, in which the artist analyzes the historiography of museum objects and presents three - dimensional models (sculptures) that highlight the disjuncture among architecture, its politics and the human body.

This is a comparative context which has its roots in the practice of art, architecture and visual thinking in the West and the East, and relates to concepts and practices such as Wabi Sabi.

Citing the decade's significance as a period in which dramatic changes in the nature of art practice went hand in hand with sociopolitical upheavals worldwide, the 17 - member, crossdepartmental curatorial team — led by Temkin and Martino Stierli, chief curator of architecture and design — describe the installation as «organized through the lens of the 1960s.»

Her multi-faceted practice, which investigates the relationship between architecture, power, gender, space, surveillance, and control, is translated into works that question the meaning of making art, the ambiguity of language, and the limits and possibilities attached to the ideal of freedom.

Saraceno's exhibition underlines SFMOMA's longstanding commitment to experimentation and conceptual practice in art and architecture, and his airborne cities build upon the forward - thinking radicalism and progressive social change which has continually been a focus of SFMOMA's Architecture and Design collection.

Tackling questions of citizenship status, gender and race at the intersection of history, theory and practice of art and architecture, this panel will explore the unique ways in which black women have historically navigated and shaped space to advance their position in American society.

By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site - specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions.

Made when she was exiting grad school at Yale in the 1980s, the painted works on paper by Jessica Stockholder in this exhibition reveal a consistency in the artist's practice, which focuses on the engagement of architecture, color and form.

Currently, together with Jurga Daubaraite and others, he is one of curators of the Baltic Pavilion at the 15th Venice Architecture Biennale, 2016, a project which re-articulates architecture in a wide ecology of spatial practices.

The new show focuses on architectural models and samples, each of which has been sourced from the studio of an established architecture practice, and allows trials and experiments of details of buildings, -LSB-...]

Internationally renowned her for her unique visual practice fusing fashion, art and architecture, the Crafts Council invited artist and curator Lucy Orta to select works which engage with pattern - cutting on a variety of levels.

An audio recording of Irena Davidovici, in which she discusses minimalist architecture and the influence of Van Der Laan's work on contemporary architectural practice, is available in the Audio - visual section of the Henry Moore Institute's Research Library.

Seventy years after his death, this exhibition provides new insights into the artist's practice, particularly how it was influenced by the architecture within which it was produced.

Founded in 1979, the New York City - based practice established its identity through self - generated conceptual art and architecture installations, before reaching international prominence with large - scale cultural and civic projects such as the Blur Building at the Swiss Expo 2002 in Yverdon - les - Bains; the Institute of Contemporary Art, Boston; the Lincoln Center for the Performing Arts redevelopment project and the High Line, both in New York; as well as the Broad museum in Los Angeles and the recently completed Zaryadye Park near Red Square in Moscow, which opened in September 2017.

Dancing to conjure visions is a daily part of Hayden's practice by which he synthesizes geographical features, biological forms, and architecture into paintings and sculptures.

For this presentation, Auad engages with the themes of architecture, the fragility of the human body, and man's relationship to nature - all of which are re-occurring subjects in his practice.

He is the first African American to receive the medal, which pays tribute to «an individual whose significant body of work has had a lasting influence on the theory and practice of architecture.»

The San Francisco — based artist's sculptural practice is rooted in his early work, in which his fascination with images from cat calendars, the architecture of Neverland Ranch, and the mysterious charge of rooms pictured in home decor magazines formed the basis of decidedly quirky three - dimensional collages.

Architecture is about being creative and thinking out of the box, if your dad is an engineer, you don't want to focus on artistic practice, and you are chinese, chances are the creative side of you would be a real struggle to tap into which would make architecture school torture and the profession not much better.