Sunday, June 13, 2010

Saturday, June 12, 2010

Sunday, May 16, 2010


An artist is looking the sky from a window and waiting for his future fantasy journey in Wonderland...

Piranesi's Carceri

Piranesi's Carceri, the Prisons
Of all the artistic production of Giovanni Battista Piranesi, perhaps the most haunting and dramatic of all are the nightmarish series of Carceri d'invenzione, the Prisons.
This series of 16 copperplate etchings, dating from the 1760s, is as ambiguous in content as it is in representation of space. Massive architectural forms loom above darkly shadowed spaces, and stairways lead nowhere while insignificant human figures are barely noticeable. Sharp, deep diagonals are counterbalanced by flat planes and dense patterns of line to create interlocking, mysterious compositions.
The disturbing psychological atmosphere of these architectural fantasies has caught the imagination of many artists over succeeding centuries. Their menacing, exotic atmosphere inspired the Romantics of the 19th century, while the Surrealists of the 20th century admired their irrational portrayal of objects in space.

Art Stlyle: Cubism

Cubism is modern art made up mostly of paintings. The paintings are not supposed to look real The artist uses geometric shapes to show what he is trying to paint. Early cubists used mainly grays, browns, greens, and yellows. After 1914, Cubists started to use brighter colors. Cubism was the beginning of the Abstract and Non-objective art styles.

Pablo Picasso

In cubism, Picasso tried to show the dimensions of the objects in his paintings. When he painted in the classical style, his shapes were round and soft. In cubism, his shapes were square and hard.

For more information of artists and their masterpieces with respect to Cubsim, pleas read the following link:

Introduction to Modern Art 9/2/04 - Cubism

Saturday, May 15, 2010

Precedent Studies


Seeking to introduce improbability and to puncture the facade, Acconci and Holl challenged this symbolic border which underlines the exclusivity of the art world, where only those on the inside belong. Using a hybrid material comprised of concrete mixed with recycled fibers, Holl and Acconci inserted a series of hinged panels arranged in a puzzle-like configuration. When the panels are locked in their open position, the facade dissolves and the interior space of the gallery expands out on to the sidewalk. If the function of a facade is to create a division separating the inside from the outside space.



The Lois and Richard Rosenthal Center for Contemporary Art. The Rosenthal Center was Zaha Hadid's first American project. It has been described by New York Times as "the most important American building to be completed since the cold war".

With the move to this dynamic new building, the first free-standing home for the Center's pioneering programming, the Contemporary Arts Center (CAC) will become one of the most centrally located contemporary arts institutions in the nation.

The concrete, steel and glass building features undulating levels and ramps to accommodate the varied shapes, scales and media of contemporary art. The galleries, that appear to float over the main lobby, connect and interlock like a three dimensional jigsaw puzzle, allowing for unobstructed viewing from all sides.

"The public lobby, where everyone enters, is downtown and central to the city so people who are just walking around can go in and have a coffee downstairs or hang around the lobby or go upstairs to quickly see a show. It is a very accessible building.
It's not a compact building and there is a degree of transparency on the ground and above. So it's not only how we use it, but also how we pass through it.
Every time you confront the space you have a different experience".

Zaha Hadid

The exhibition, presented through pictures, drawings, plans, sketches, photos, and models, features a special room designed by Zaha Hadid. Seven meters high, covering a floor space of 300 square meters, weighing eight tons, the room was developed especially for the MAK to give the public an opportunity to get an active feel for Hadid's radically new language of shape and space.


Tuesday, May 11, 2010

Tuesday, April 27, 2010

Monday, April 26, 2010

Model With Poche Drawings

Precedent Studies

Boxhome by Rintala Eggertsson Architects
January 11th, 2009

The 19 Square metre dwelling was describe as "being a peaceful small home, a kind of urban cave". It is constructed using a timber frame and is clad in aluminium. Internally, a different species of wood was chosen for each room.

Rucksack house by Stefan Eberstadt
13 Mar 2008

The timber-clad steel cage is suspended from steel cables that run over the roof of the existing building and are anchored in the rear facade. Within the cube, one has the impression of “floating” outside the confines of the actual dwelling in a space filled with light. Elements can be folded down from the wall toform furnishings.

Slience and Light

Image Analization

Tuesday, April 13, 2010


Numbness made me feel interminable dumbness and I started to become irritable because of the room that had always broutht me solace, now turned into a site for sparks of misery. It is important - no, vital, it is vital - that a space has abundant fresh, circulating air and a plentiful supply of natural light.

Monday, April 12, 2010

Edward Hopper

"If you could say it in words, there would be no reason to paint."

"Maybe I am not very human - what I wanted to do was to paint sunlight on the side of a house."

by Edward Hopper

Nothing that is not there and the nothing that is.

by Wallace Stevens

Rooms by the Sea (1951)

Hopper first began painting the effects of sunlight as a young art student in Paris, and this interest continued throughout his career. As a mature artist, he lived and worked in New York City and spent most of his summers on Cape Cod, Massachusetts. He designed and built a sunny, secluded studio at Truro on the bluff overlooking the ocean. This painting is based on the view out the back door of the studio. Titled in his record book "Rooms by the Sea. Alias The Jumping Off Place," Hopper noted that the second title was perceived by some to have "malign overtones" and he thus deleted it. While the view from the studio suggested the composition of Rooms by the Sea, the image is more an evocative metaphor of silence and solitude than the transcription of an actual scene.


Sun In An Empty Room (1963)

Hopper was 81 when he painted Sun in an Empty Room, his last great painting. The original plan for the picture included a human figure, but in the end, the patch of light and the wind-swept trees were enough. "Whether we like it or not," Hopper wrote, "we are all bound to the earth with our experience of life and the reactions of the mind, heart, and eye, and our sensations, by no means, consist entirely of form, color, and design." This was meant as a swipe at the Abstract Expressionists working a few blocks north of Washington Square, and yet—as that "by no means" suggests—Hopper's vision was pushing him inexorably toward abstraction. Sun in an Empty Room has the meditative weight of Rothko's saturated canvases as well as something of Richard Diebenkorn's refracted light in his California paintings of the 1960s. Hopper, and American art, had come a long way since Summer Interior, but that patch of light on the floor carries a similar emotional freight. The empty space is not so much unfurnished as cleared of furniture, like a room for rent, or an opening for the unconscious.