共查询到20条相似文献,搜索用时 93 毫秒
1.
2.
3.
4.
5.
6.
备受关注的建筑档案
日本现代建筑受到世界范围的高评价,但目前日本还没有公立的建筑博物馆.要是能在资金还算充裕的泡沫经济时期就设立了建筑博物馆该有多好,真是很遗憾.2013年国家终于建成了国立近现代建筑资料馆,但这个资料馆首先是以收集和构建建筑档案为目的,并不是积极策划开办建筑展的地方.并且资料馆目前还没有收集资料的财政拨款,现在主要靠社会捐款的形式维持运营.但是巴黎的蓬皮杜国家艺术与文化中心和纽约的现代艺术博物馆等国外美术馆已经收藏了从丹下健三、新陈代谢派、伊东丰雄到石上纯也的建筑模型和设计图稿.为了保护珍贵的建筑资料,防止其像浮世绘那样流失海外,从2009年开始一些美术类的展览机构也在尝试策划建筑类的展览,但是在日本收集建筑模型和设计图稿并不是容易之事. 相似文献
7.
8.
1979年2月底在纽约现代艺术博物馆开幕的“现代建筑的变迁”展览会,是对过去二十年建筑的总回顾。博物馆许诺筹办这个展览已有些日子了,艺术界和建筑界都为之屏息而待。这个展览集纳了各种动向和成就,包罗了各种风格,向人们推荐曾经风行一时的巨大建筑或小巧玲珑的珍品。所有这些都清楚明确地展现了近代建筑的拳击场上的战绩,告诉我们近代破纪录的建筑活动和激烈的美学论争实际上是如何进行的。这次展出得到格雷厄姆美术研究基金会和匹茨堡平板玻璃工业基金会的慷慨资助。展出的内容仅是1960—1980年已建成的建筑的彩色和黑白照片,以及即将建造的建筑物的完整设计。它们显然是根据博物馆建筑和设计部主任德莱斯勒(Arthur 相似文献
9.
10.
位于纽约的现代艺术博物馆与其附属机构MoMA PS1近期公布了一项长达14个月的研究计划,这场题为"止赎之后,重新安置美国梦"的研习与展览活动旨在探索在新的经济政策环境下美国城市与郊区的建筑可能。 相似文献
11.
坐落在曼哈顿中城繁华地段的现代艺术博物馆,是西方现代艺术收藏、展示和研究的最著名机构之一,对建筑同行来说,它与“国际式”一词的紧密联系,使它具有极其特殊的历史形象,在20世纪末年,“解构主义”建筑展的举行,让它在颠覆自身历史形象的同时,显示出前瞻及诱导建筑和艺术发展的持续野心,本文简要回顾它在过去70年间,在收藏、运营、策划和馆舍建设与改造方面经历的变化,分析这一规模庞大的混血建筑综合体在保守的外表之下,力求平衡艺术,技术和社会时尚多方面因素的努力,现代艺术博物馆的成长变迁,也是当代艺术之都纽约特有的商业文化的再现。 相似文献
12.
13.
Craig Kellogg 《Architectural Design》2005,75(3):98-100
Anticipating last autumn's relaunch at the Museum of Modern Art (MoMA) in Manhattan, Gluckman Mayner Architects helped to reconceive a key moneymaker, notes Craig Kellogg. 相似文献
14.
15.
文章介绍了美国现代艺术博物馆改扩建项目的工程背景和运作过程,并着重分析了在设计施工过程中对细节的控制和技术的运用,在满足博物馆特殊要求的同时实现新老建筑的统一和谐。 相似文献
16.
Outside the Terrestrial Sphere Greg Lynn FORM: N.O.A.H. (New Outer Atmospheric Habitat) and New City
Greg Lynn 《Architectural Design》2014,84(6):82-89
Renowned architect and educator Greg Lynn describes two projects - N.O.A.H, a science-fiction film, and New City, a design exhibit at the Museum of Modern Art (MoMA) in New York - that directly ‘engage the theme of Space Architecture as the new frontier for design research in terms of the spatial character and navigation of environments with alternative gravities’. 相似文献
17.
John Puttick 《Architectural Design》2013,83(3):40-47
Architect John Puttick is now responsible for leading Make Architects' work in China. His diploma project for the Bartlett School of Architecture, Land of Scattered Seeds (2001), featured here and on the cover, has now taken on seminal status. Produced in book form, a copy was purchased by the Museum of Modern Art (MoMA) in New York. 相似文献
18.
Sónia Silva 《Material Religion》2017,13(1):77-96
Between the 1920s and early 1980s an increasing number of African art exhibitions opened to the public in Western Europe and North America. In these exhibitions African religious objects such as masks and wooden figurines were reframed as modernist art. Focusing on the illustrative case of the National Ethnology Museum in Lisbon, Portugal, this article shows that these African art exhibitions offered a powerful alternative to the colonial, religious concept of the fetish. Early scholars of comparative religion claimed that the primitive fetish worshippers were unable to grasp the idea of transcendence. By elevating African religious objects (the so-called fetishes) to the transcendental realm of modernist art, curators of African art helped dispel the colonial concept of the fetish, and change mindsets and worldviews. In their struggle against the notion of the fetish, these curators also engaged with the concepts of art, culture and religion. Mounted on pedestals and bathed by light, the African religious objects became modernist cult objects: cultural artifacts elevated to a higher plane of religious and aesthetic spirituality. 相似文献
19.
In 2006, Peter Lynch (USA) and Gustavo Crembil (Argentina/USA) established THEM, an architectural partnership, after several years of a collaborative practice drawing upon the fields of design, architecture, performance art, communication, and social and ecological activism. The "Pleasure Garden," THEM's proposal for the 2008 YAP PS1/MoMA competition, continues an exploration of "craft in the age of globalization" and suggests what such an architecture might look like. 相似文献
20.
Jayne Merkel 《Architectural Design》2006,76(2):98-101
The selection of Yoshio Taniguchi, in 1997, to design the Museum of Modern Art's enormous expansion was generally considered conservative, if not outright old-fashioned. When the museum reopened in November 2004, most critics described the new scheme as ‘contextual’ or ‘subtle’, and noted that the architect had said he had tried ‘to make the architecture go away’. Now that enough time has passed to blur expectations, Jayne Merkel looks at MoMA as it is today. She contends that the choice was progressive in exactly the way the museum has been all along, and that the architecture is very much there. Copyright © 2006 John Wiley & Sons, Ltd. 相似文献