Posts Tagged ‘art’
Pictures of the new
So you want to be an architect – Part 6
Hi. Im Doug Patt and this is so you want to be an architect part 6. What does an architect mean? When I was in high school we read the grapes of wrath. Unfortunately, I only read the cliffs notes. When we discussed the book in class I was lost but what I remember changed my views about meaning forever. In the beginning of the book John Steinbeck devotes an entire chapter to the trials and tribulations of a turtle crossing a dusty high way. The turtle is a symbol or metaphor for the main characters of the book. Even though the chapter seems incredibly out of place, the metaphor adds further illustration to the lives of the main characters. Steinbeck used metaphor to accentuate and add meaning to his story. Life is about meaning. Whether its finding meaning in nature, belief, others, objects or our present, past and future. Victor Frankl, a writer and Nazi concentration camp survivor said, “We can discover this meaning in life in three different ways: (1) by creating a work or doing a deed; (2) by experiencing a something or encountering someone; and (3) by the attitude we take toward unavoidable suffering.” Just as Frankl said, artists, writers, sculptors, painters, designers, & architects find and impart meaning through creating a work. Those that inhabit or view the work find meaning by experiencing it. Now, buildings have meaning whether we see it directly or not. Architecture can have meaning simply by virtue of its size, shape or location. The world trade centers stood for, among other things, democracy and capitalism even though it didnt say so on their facades. A monument may stand for important events or the great achievements of people and on a smaller scale a home may stand for working class or well to do. The architect may also find & portray both theory and meaning by using the language of a particular style such as art nouveau, futurism, modernism, brutalism, postmodernism or de-constructivism. Another way the architect may incorporate meaning is through careful evaluation of the project and development of themes and ideas. These are then carried through the architecture in a multitude of physical ways, such as in the forms, facades, windows, openings, materials, floors, displays, views, construction and similes. Now everyone sees through their own eyes what theyre so inclined. That means the architect cant dictate the message they intend but they can use meaning to add a kind of foundation of substance to their work. That foundation may ultimately enrich the architecture and perhaps even ones experience just as Steinbecks turtle does for The Grapes of Wrath. And that concludes; so you want to be an architect, part 6. Im Doug Patt. See you next time.
Duration : 0:3:17
Drawing for Kids: Cowboy & Giraffe (Part 1)
In part 1 of “Drawing for Kids” I show two fairly basic cartoon drawings — an easy to draw cowboy and a giraffe (that’s just a little more difficult). The reason I like these two is that kids seem to like to embellish these a little more. The cowboy ends up riding a horse or holding a gun and the Giraffe tends to end up multiple colors or having multi-colored spots.
Duration : 0:3:55
CONFIGURATION DANCE THEATRE American Contemporary Dance and Classical Ballet to “Break of Reality”
American contemporary dance montage presenting ballet scenes from the award winning and nationally recognized CONFIGURATION DANCE THEATRE, the people’s choice for 2008 and 2009 ARTVOICE BEST DANCE COMPANY AWARD, and features the song “Circles” by the New York Grammy bound cello rock group “Break of Reality,” and new choreography by resident, principal, and guest choreographers, solos, variations, pas de deux, duets, pas de trois, Michael Shannon’s “What’s the Pointe, Tchaicotic, Transfiguration, Awakenings;” Sacha Jane’s “Fascia La Spina;” Harrison McEldowney’s “En Redondo Sombras;” Yuri Zhukov’s “Levitation;” “Crumbling” by Edgar Zendejas.
ARTVOICE described Configuration Dance Theatre and its choreographers in “Balanchine and Beyond” (9/20/2009): “As their name implies, their emphasis widens the scope of dance and dramatic, a certain noir-ness, they lay bare emotions, startle senses, and make one think,” qualities DANCE MAGAZINE experts saw early, and gave CDT its descriptive moniker, “A LIVING ART GALLERY.”
CDT was featured in “DANCE SPECTACULAR” (9/22/09) by its producer, New York City Ballet star, Daniel Ulbricht, with Boston Ballet and New York City Ballet stars in “Apollo,” “Who Cares, “Diamond” and “Tarantella” authorized by the Balanchine Foundation, with Michael Shannon’s WHAT’S THE POINTE, Susan Jaffe’s ROYENNE, Joseph Cipolla’s BREATHLESS, “whose acclaimed company,” said Ulbricht, “is known for its cutting-edge contemporary choreography.”
After CDT premiered over 15 new ballets from 2005 to 2009, THE BUFFALO NEWS (1/02/09) named co-Founder, Artistic Director Joseph Cipolla, and Michael Shannon, Resident Choreographer, THE DREAM TEAM, respected from illustrious careers with legendary dance institutions, both principal stars for BIRMINGHAM ROYAL BALLET under the patronage of HRH Queen Elizabeth II, Prince of Wales, Lady Sarah Chatto, and Artistic Director, David Bintley.
Artistic Director Joseph Cipolla was a principal star for Dance Theatre of Harlem co-founders, Arthur Mitchell (New York City Ballet) and Karel Shook (Dutch National Ballet), Sadler’s Wells Royal Ballet and Birmingham Royal Ballet for Artistic Directors Sir Peter Wright, David Bintley. He was a 1993 Lawrence Olivier Award Nominee; 2006 St. Joseph’s Collegiate Institute Wall of Honor Awardee; Artvoice Best Dance Company Award in 2008 and 2009, and co-founded Configuration School of Dance in 2009. He retired in 2002 but returned to BRB in 2007 to dance Nimrod in “Enigma Variations” and De Guiche in “Cyrano.”
Companies have premiered 40 Michael Shannon contemporary ballets since 1995, in addition to his plays, films and opera in Europe and USA. He has created 11 new works for CDT since 2005, and revised his “Yumeji” and “Madame Bovary” for CDT co-Founder, Catherine Batcheller, principal star for Stuttgart Ballet, Birmingham Royal Ballet, San Francisco Ballet, who portrayed Emma Bovary with Momchil Mladenov, principal star for Suzanne Farrell Ballet, National Ballet of Bulgaria, as Léon Dupuis, literature’s most famous illicit lovers.
In 2007, Susan Jaffe, principal star for American Ballet Theatre, and guest artist for the Kirov, Vienna State Opera Ballet, Royal Swedish Opera Ballet, Royal Danish Ballet, Royal Ballet of Covent Garden, English National Ballet, Stuttgart Ballet, Munich State Opera Ballet, La Scala Ballet in Milan, Dance Magazine Awardee, author, actress, television host, educator, Advisor to ABT Board of Governing Trustees Chairman 2002-2007, Jacqueline Kennedy Onassis School faculty since 2002, and Duke Corporate Education Lecturer on Excellence, joined the CDT National Advisory Board and is the company’s Principal Guest Choreographer.
Michael Shannon danced (1979-2002) his last roles for Birmingham Royal Ballet as Lancelot in David Bintley’s “Arthur” and Prince Siegfried in Sir Peter Wright’s “Swan Lake. He was a principal star, and ballet competition judge for Bolshoi Ballet legends, Artistic Director Yuri Grigorovich; Stars of the Bolshoi for Maya Pliesetskaya, Madame Sophia Golovkina, Natalia Bessmertnova, Ekatrina Maximova, Vladimir Vasiliev; Vienna State Opera Ballet for Artistic Director Elena Tchernichova (ABT, Kirov); Kremlin Palace Ballet for Director Andrei Petrov, Vladimir Vasiliev, Ekatrina Maximova; and others, i.e., Royal Ballet 1979; Los Angeles Ballet 1980, American Ballet Theatre 1981; Boston Ballet 1983; National Ballet of Canada 1984; Royal Swedish Opera Ballet 1986; Hungarian State Opera Ballet; Awarded Silver Medals in Paris France 1992 and Budapest Hungary 1993 International Ballet Competitions; Honored by Town Hall of California 1986, 1990; President George H. W. Bush 1990, President William J. Clinton 1993; Best Play of 1995, “Monday After the Miracle” televised at the Moscow Art Theatre; Awarded Professor of Choreography, Ukrainian State Academy of Ballet 1999; 2008 YAGP Outstanding Choreographers Award; Artvoice Best Dance Company Award 2008 and 2009.
Duration : 0:5:53
Tricia Helfer (Number Six) Battlestar Galactica Speed Drawing Portrait
This were meant to be a practice piece for drawing certain type of hair, ended up spending least amount of time on hair. Actually screwed up the first time, some drawings are harder than others i guess…
anyway i really wanted to capture that concerned, worried, yet some what caring stare, while give the whole thing a feeling of lightness and glow.
don’t forget to check out my site:
www.theportraitart.com
Duration : 0:2:28
Contemporary Dance: “Random Bird”, by Joshua Marin-Hepfl
Experimental contemporary dance video exploring the body’s relationship to structures in contrasting environments.
Duration : 0:5:5
So you want to be an architect – Part 4
Hi. I’m Doug Patt and this is So you want to be an architect, Part 4. What does an architect use? Aside from the wide variety of items an architect uses to physically create the drawings, specifications, models, and paperwork necessary to make buildings the architect uses elements of style to create buildings. Narrowed from a gamut of items I believe you could say the elements of style, when it comes to buildings are scale, form, complexity, and material. Lets look at examples of each. Much has been made throughout the history of art and architecture over proportion from DaVincis canon of proportions to Le Corbusiers modular man. How buildings reflect & accommodate human scale is a key component of architects work. From the beginning architects like Palladio used ratio and proportion found in nature to create harmonious buildings. From Frank Lloyd Wrights cozy interiors to the grand palace of Versailles. to the Hancock skyscraper of Boston who’s scale overwhelms the famous trinity church but was designed to reflect it’s beauty nonetheless building can be scaled to the human figure or scaled in a more ambiguous manner. Ambiguity is key for Jean Nouvels Arab world institute where the elements of the elevation make scale extraordinarily vague. So scale is one way architects relate a building to the user. In the last few decades architecture has increasingly been able to take advantage of advanced technologies that have allowed them to build with incredible freedom of form. From Norman Fosters Hearst tower in New York city or his Gherkin skyscraper in London to the Millau viaduct in France, from Rem Koolhaas seattle central library to his CCTV building in china. From Santiago Calatravas Milwaukee art museum to his Hemispheric in Spain. With Herzog and de Meurons birds nest arena in China or Renzo Pianos Nemo museum in Amsterdam, architects today work within a realm of form perhaps never imagined before. A buildings aesthetic complexity is also an element that portrays a certain idea or ethos. From the classicism of Bernard Maybecks palace of fine arts, or Louis Sullivans intricate ornamental stone detailing, the work reflects the spirit of an era. Theres detail that might emphasizes verticality as in Raymon hoods Chicago tribune building or Cesar Pellis Patronis towers in Malaysia, or horizontality as in Frank Lloyd wrights prarie style homes. A building can also be ornamental in a unique way like Antonio Gaudis buildings or simplified to only steel and glass as in Mies Van Der Rohs aesthetic. They can also be free of detial like Le Corbusiers La tourette or Louis Kahns Salk institute. Lastly, every building ever made is made from something. The material an architect chooses to build with is affected by both cost and intent. From IM Peis Louve pyramid and Hong Kong towers of steel and glass to the concrete work of Zaha Hadid, from the cold steel exteriors of Sir Richard Rogers in the Lloyds of London to the cool white porcelain tiles of Richar Meier or the stone facades of Herzog and de Meuron. Architects continue to work with great freedom in the realm of material, which only promises to become even more advanced and unlimited. Its up to the architect to take the meaning and intent of their commission and have the architecture reflect that in some way. Using scale, form, complexity and material the architect creates a framework for style. And that concludes the fourth part of the video series so you want to be an architect. Im Doug Patt. See you next time.
Duration : 0:4:8
Sand Drawings
Oops I’m so touched . This is really too amazing ! I love this art so so much … ^^ I got it from a website , thanks to Ilana Yahav . Hope you all will enjoy it as much as I do .
Duration : 0:4:25
1967 Ford Mustang GT500 Fastback Drawing (watch in hd)
Drawing done in colored pencil of a 1967 Ford GT500 Mustang Fastback.
Duration : 0:3:3
So you want to be an architect – Part 3
Hi. Im Doug Patt and this is So you want to be an architect. A seven part series about the profession of architect. This is part 3. What does an architect learn? Architecture is an amazingly complex field and an incredible education in itself. Theres a lot that goes into any building and the architect should know their way around every inch. The architect also needs to understand people and for that matter society. So lets take a look at some interesting opinions about the spectrum of subjects an architect learns about in a lifetime of practice. Plutarch, a greek historian and writer once said, Philosophy is the art of living. Architecture surrounds us all and in a way dictates or reflects our way of life. Weather its a TeePee or a mansion, buildings represent what we believe is truth. Mark Twain said, clothes make the man. Naked people have no influence in society. This is funny but also true. Just as we need clothing, we need buildings that clothe us. The sociology of man is reflected in our buildings in what we believe, how we work and how we live. Albert Schweitzer (1875 – 1965) once said, Man is a clever animal who behaves like an imbecile. Now we all know weve got good sides and bad, but the reality is the psychology of man is manifest in architecture from prisons to massive stadiums. We make what we need to accomodate who we are. Stephen Nachmanovitch a musician, author, computer artist, and educator once said, Creative work is play. It is free speculation using materials of one’s chosen form. Material Science is a critical part of the architects repetior. Were free to choose our palate, but it must be chosen wisely. From the challenges that natural forces impose to the possibilities of all things unique. Henry G. Stott once said. Enineering is (the art of organizing and directing men and) controlling the forces and materials of nature for the benefit of the human race. Although architects dont have to be engineers they must think like one as well as understand in the engineering principals behind the calculations. Albert Einstien said, Do not worry about your difficulties in Mathematics. I can assure you mine are still greater. This is no doubt true when it comes to the calculations of an architect. That being said, all buildings are described in numbers in order to be constructed, making mathematics a cornerstone of architecture. George Croly, an irish preacher once said, All history is but a romance, unless it is studied as an example. The quote implies that one must truly understand history in order to make it more than an idea. Architects must also know their history of both art and architecture. They do this in order to make it a part of the work they are doing as well as part of making great work. Noelie Altito once said, The shortest distance between two points is under construction. Simply put, Most of the architects career is spent during construction and this is where the architect can learn the most. And finally, Frank Zappa (1940 1993) said, Art is making something out of nothing and selling it. While the quote is a bit tongue in cheek this is what architects do. Only their art is architecture and at the end of the day its all about making something out of nothing. Using their creative skills to sketch, draw, paint, model, render, create and design. So, if your wondering what you might learn as an architect, its probably about Philosophy, Sociology, psychology, material science, engineering, mathematics, History, construction, and in the end making something out of nothing. So thanks for checking out so you want to be an architect, part 3. Im Doug Patt. See you next time. Also be sure to check out www.abirdfeeder.com for the most unlikely invention created by this architect.
Duration : 0:4:35