diller scofidio + renfro Open standards such as HTML5, WebGL, and WebAssembly have continually matured over the years and serve as viable alternatives for Flash content. Also, major browser vendors are integrating these open standards into their browsers and deprecating most other plug-ins (like Flash Player). See Flash Player EOL announcements from Apple, Facebook, Google, Microsoft and Mozilla. By providing more than three years’ advance notice, Adobe believes that there has been sufficient time for developers, designers, businesses, and other parties to migrate Flash content to new standards. The EOL timing was in coordination with some of the major browser vendors.
Cie. OMA OMA is a leading international partnership practicing architecture, urbanism, and cultural analysis. OMA's buildings and masterplans around the world insist on intelligent forms while inventing new possibilities for content and everyday use. OMA is led by six partners - Rem Koolhaas, Ellen van Loon, Reinier de Graaf, Shohei Shigematsu, Iyad Alsaka, and David Gianotten - and sustains an international practice with offices in Rotterdam, New York, Beijing, Hong Kong, and Doha. OMA-designed buildings currently under construction include the Taipei Performing Arts Centre; three buildings in Doha, Qatar; the Bibliothèque Multimédia à Vocation Régionale, a four-story public library in Caen; and Bryghusprojektet in Copenhagen, a mixed-use project accommodating the new headquarters for the Danish Architecture Centre. The counterpart to OMA's architectural practice is AMO, a research studio based in Rotterdam. Selection of current OMA and AMO projects:
Thom Mayne Mayne studiował architekturę na University of South California i w 1968 uzyskał stopień bakałarza, zaś po dalszych studiach na Uniwersytecie Harvarda w 1978 tytuł magisterski (master). Jest współzałożycielem Southern California Institute of Architecture (SCI-Arc), pracuje w założonym w 1972 biurze Morphosis. ,, Mayne został przez jury Nagrody Pritzkera określony jako innowator i ze swoją duszą bojownika i dążnością do zmian jako owoc wywrotowych lat 60.. Architektura Mayne'a charakteryzuje się złożonymi formami geometrycznymi, a jego odważny styl odzwierciedla zdaniem jury jedyną w swoim rodzaju, w pewnym sensie pozbawioną korzeni kulturę południowej Kalifornii. Diamond Ranch High School w Pomona w Kalifornii, USA (1999) Wybrane dzieła (z biurem Morphosis)[edytuj | edytuj kod] Linki zewnętrzne[edytuj | edytuj kod]
Sobre luzinterruptus Somos un colectivo artístico anónimo, que llevamos a cabo intervenciones urbanas en espacios públicos. Utilizamos la luz como materia prima y la noche como lienzo. Los componentes del equipo venimos de disciplinas como el arte y la fotografía y hemos querido aplicar nuestra creatividad en una acción común, dejar luces encendidas por la ciudad con la intención de que otros nos las apaguen. Empezamos a actuar en las calles de Madrid a finales del 2008 con la simple idea de poner un punto de atención luminoso a problemas que detectamos en la ciudad y que parecen pasar desapercibidos a las autoridades y a los ciudadanos. Pero no todo lo que hacemos tiene un punto subversivo, en algunas ocasiones simplemente queremos embellecer, o sacar del anonimato, lugares o rincones que nos parecen especiales u objetos a los que otorgamos un valor artístico extraordinario, aunque hayan sido dejados al azar, en la vía publica, sin ninguna intención artística, por gente anónima.
JDS Architects IaN+ Bjarke Ingels Group BIG is an architecture company, characterized by an entrepreneurial spirit, team-work across expertise areas and new ways of approaching conventional tasks. We have an informal work environment where collegial support is highly valued and where ambition, high work morale and dedication to being the innovators of our field unify the staff. Our firm is characterized by creativity, high energy and a team spirit. We now number 300+ employees between Copenhagen, London and New York. We are dedicated to creating and maintaining a cool workplace where we want to be and we continuously work at becoming better and better at what we do. The Strategies of Mat-building Dismantling and reframing programme and composition, mat-building envisaged architecture as a dynamic, flexible armature We owe the term mat-building to Alison Smithson. Her article ‘How to Recognise and Read Mat-Building. Mainstream Architecture as it has Developed Towards the Mat-Building’ in Architectural Design of September 1974 included a definition of this type of building and an extensive list of works and projects from the 1950s to the ’70s related to it. Several studies have recently revived the interest in this topic.1 As in the case of the buildings themselves, the appeal of re-reading Smithson’s article lies in its open and flexible theoretical framing. Smithson reviewed the items discussed at Team 10 meetings, pointing out that mat-buildings were not dependent on a specific architectural language, and identifying certain contemporary works as offshoots of this phenomenon.
MVRDV Y House Ilot de l’Octroi Xili Sports and Cultural Centre Hamburg Innovation Port Ku.Be House of Culture and Movement MVRDV House Tianjin Binhai Library 133 Wai Yip Street Ragnarock Crystal Houses Traumhaus Funari The Stairs to Kriterion Lyon Part-Dieu Hongqiao Flower Building THE COUCH Ravel Plaza Cultural Cluster Zaanstad Seoul Skygarden Government Quarter Oslo Theater aan de Parade Publisher’s Headquarters THE CORAL TOWER TURM MIT TAILLE The Next Hutong FOLIE RICHTER PUBLIC ART DEPOT MBVB THE GARDENS OF ZARYADYE URBAN HYBRID Museum Schiedam CHUNGHA BUILDING TRANSITLAGER RELOADED Rockmagneten PUSHED SLAB MARKET HALL BJØRVIKA BARCODE BOOK MOUNTAIN EXPO 2000 SILODAM WOZOCO VILLA VPRO
10 Things...Evaluate Your Painting Greg Manchess I used to put my head down and plow through a piece, waiting for it to turn up some magic. Wanting it to be exactly like the picture in my head. The one I saw soclearly. JENSEN ARCHITECTS Ann Hamilton Tower Audience and performer are intertwined inside this tower located at the Oliver Ranch in Alexander Valley. Designed by the artist Ann Hamilton, with our office as architect of record, the tower was imagined as a space for performance. A double helix stair weaves in three dimensions performers on one stair and audience on the other—in close proximity but never direct contact.
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