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Posts Tagged ‘architecture’

artstor_logo_rgb2ARTstor Digital Library and ART on FILE are collaborating to release approximately 1,200 new direct-digital capture photographs of architecture, built environment projects, and landscape architecture in Mexico City. The focus will be to capture the most recent developments in the architectural evolution of the city, as well as modernist buildings, UNESCO world heritage sites, iconic murals, historic parks, monuments, and colonial edifices.

Sites and locations scheduled to be documented include the Museum of Memory and Tolerance, Arditti + RDT Architects; Vasconcelos Library, Alberto Kalach; the National Museum of Anthropology, Pedro Ramírez Vázquez, Jorge Campuzano and Rafael Mijares; Soumaya Museum, LAR + Fernando Romero; Juarez Complex, Legorreta + Legorreta Architects; Camino Real Hotel, Ricardo Legorreta; Casa Luis Barragán, and Museum Torri Satélite, Luis Barragan; Facultad de Arquitectura, UNAM, Jose Villagran Garcia; Museo Tamayo, Abraham Zabludovsky and Teodoro Gonzales de Leon; Basilica of the Virgin of Guadalupe, Pedro Ramírez Vázquez; XXI Century National Film Archive, Rojkind Arquitectos; Xochimilco Masterplan and Aquarium, TEN Arquitectos; Xochimilco Ecological Park, Mario Schjetnan; Chapultepec Park and Palace; Arcos Bosques, Teodoro Gonzales de Leon; A47 Mobile Art Library, PRODUCTORA; Escuela Nacional de Arte Teatral; Quetzalcoatl Nest house, Javier Senosiain; the Earthscraper, BNKR Arquitectura; Spain’s Cultural Center, Javier Sanchez; 13 de Septiembre residential complex, Higuera + Sanchez; Center for the Blind and Visually Impaired, Taller de Arquitectura-Mauricio Rocha; Chapultepec Park, Fountain Promenade, Grupo De Diseño Urbano SC; Torre Latinoamericana, Augusto H. Álvarez; Institute of Technology and Advanced Studies, Landa García Landa Arquitectos; Museo Jumex, David Chipperfield; Museo Estudio Diego Rivera, Juan O’Gorman. (more…)

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Ponte Sant'Angelo; overview of the bridge from the banks of the Tiber | 134 AD; Image 2011 | Image and original data provided by ART on FILE, www.artonfile.com

Ponte Sant’Angelo; overview of the bridge from the banks of the Tiber | 134 AD; Image 2011 | Image and original data provided by ART on FILE, artonfile.com

ARTstor Digital Library and ART on FILE partnered to release nearly 1,800 new direct capture photographs of buildings, built-environment projects, and landscape architecture in Italy. In their most recent ARTstor-sponsored campaign, photographers Colleen Chartier and Rob Wilkinson focused on architectural highlights in Rome and Venice, and captured views of the city of Florence.

Among the sites documented in Rome are the MAXXI Museum (Zaha Hadid, 2009), La chiesa di Dio Padre Misericordioso (Richard Meier, 2003), Museo dell’Ara Pacis (Richard Meier, 2006), and the Ponte della Musica (Buro Happold and Powell/Williams Architects, 2008). Highlights in Venice include: Torre Massimiliana Cultural Centre, Sant’Erasmo Island (C+S Associatti, 2004), Sculpture Garden for the 1952 Venice Biennale (Carlo Scarpa), La Giudecca (Cino Zucchi, 2002), Pinault Foundation, Punta della Dogana (Tadao Ando), Isola di San Michele (David Chipperfield), Ponte della Costituzione (Santiago Calatrava, 2010), Fondazione Querini Stampalia (Mario Botta, 2008), and the Sant’Erasmo Development (C+S Associati). (more…)

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James Conlon | The Great Mosque of Djenne, South façade, exterior | image: 2008 | Djenne, Mali | for commercial use or publication, please contact: Media Center for Art History, Columbia University. Email: mediacenter at columbia dot

James Conlon | The Great Mosque of Djenne, South façade, exterior | image: 2008 | Djenne, Mali | for commercial use or publication, please contact: Media Center for Art History, Columbia University. Email: mediacenter at columbia dot edu

Mrs. Michelle Apotsos
Stanford University
Doctoral candidate Art History/Architectural History

As a graduate student at Tufts University, I was once given the opportunity to give a lecture to a class of architectural history students on West African architectural form for the purpose of unsettling some common notions that inform Western conceptions of the built environment. I decided to present a case study of the Djenné mosque in Mali, West Africa as an example of an architectural tradition that utilizes distinctive structures, materials, and iconographies to resonate with its cultural context. The experience itself not only revealed to me the inherent challenges of teaching architectural studies in Africa, but also the necessity of having high-quality visual tools in order to recreate a convincing three-dimensional spatial narrative. Thus began my ongoing love affair with the ARTstor Digital Library.

James Conlon | The potige (façade) of the typical Djenne house | Djenne, Mali | For commercial use or publication, please contact: Media Center for Art History, Columbia University. Email: mediacenter at columbia dot edu

James Conlon | The potige (façade) of the typical Djenne house | Djenne, Mali | For commercial use or publication, please contact: Media Center for Art History, Columbia University. Email: mediacenter at columbia dot edu

As a field of study, African architectural history is handicapped by both a lack of documentation and the ephemerality of most primary structural source materials. This causes many students within architectural studies to view the idea of an “African architecture” with inherent skepticism. But the reality of architecture in Africa is that it is both a dynamic medium and a deeply cultural process that provides us with a largely underutilized tool for analyzing the cultural conditions of a particular African context. I attempted to underscore this reality in my lecture by taking the students step by step through a historical, cultural, and stylistic narrative of the mosque, using images from the ARTstor Digital Library to provide the visual evidence for the conceptual theories being presented. Beginning with a systematic analysis of mosque’s faces and then moving into a more formal investigation of its geometric brickwork patterns and threshold ornamentation, I proceeded to trace the mosque’s stylistic lineage back to North African sources, specifically the ksour and kasbah structures of Southern Morocco. I then compared these formal elements to other regional Djennenke productions including masks, pottery, and other architectural forms, and in doing so managed to convey the presence of a distinctly regional style that captured the area’s social, cultural, and spiritual character within a number of architectural representations ranging from the stick-like toron that erupt from the mosque’s surface to the studded pinnacles that mimic both traditional Islamic defensive architecture and pre-Islamic ancestral pillars. At each stage of my analysis, the ARTstor Digital Library provided the visual tools necessary to present this structure within an appropriate conceptual framework.

The talk itself was so successful and the material so rich that it eventually formed the basis for my Master’s thesis, my doctoral dissertation, and the creation of an undergraduate seminar on West African Islamic architecture scheduled for 2013. In addition, the ARTstor Digital Library has inspired me in the course of my research to document not only as many buildings as possible, but also their various contexts in order to provide a comprehensive image base that can support a rigorous degree of academic analysis.

Barbara Anello | Ait Ben Haddou, image 2007 | Ain Ben Haddou, Morocco | Image and original data provided by Barbara Anello | Photographs © Barbara J. Anello

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