Podcasts about Arata Isozaki

The artist Francesco Clemente may have been born and raised in Naples, but—having lived and worked around the world, including in Rome, India, New York City, and New Mexico—he considers himself a citizen of no place. Widely known for his work across mediums, from drawings and frescoes to mosaics, oils, and sculptures, Clemente makes art that evokes his mystical perspective, with his paintings often featuring spiritual subjects or dreamlike symbols. Beyond exhibiting in galleries and museums, over the years Clemente has also made works for a variety of other venues, including a nightclub, a hotel, a Hollywood film, and the Metropolitan Opera. This fall, his work (and name) will be central to his latest unusual project: the soon-to-open Clemente Bar at chef Daniel Humm's three-Michelin-starred restaurant Eleven Madison Park.On the episode, Clemente discusses his collaboration with Humm, frescoes as the most luminous artistic medium, his deep affinity with India, and the certain timeworn quality to his art.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Francesco Clemente[3:55] Clemente Bar[3:55] Eleven Madison Park[3:55] Daniel Humm[3:55] Alba Clemente[7:50] Murals for the Palladium nightclub[7:50] Hudson Hotel[7:50] Ian Schrager[8:43] Arata Isozaki[8:43] Philippe Starck[8:43] Kenny Scharf[8:43] Keith Haring[8:43] Jean-Michel Basquiat[8:43] Steve Rubell[9:43] Works for Great Expectations (1998)[9:43] “The Sopranos” series[9:43] Portrait of Fran Lebowitz[11:37] Portrait of Toni Morrison[23:12] Jiddu Krishnamurti[23:12] Theosophical Society[24:49] Álvaro Siza[24:49] Museo Madre[32:48] Cy Twombly[32:48] Joseph Beuys's exhibition “We Are the Revolution” (1972)[35:30] Rudolf Steiner[36:56] Letters to a Young Poet by Rainer Maria Rilke[37:57] Swami Vivekananda[39:20] Salman Rushdie[41:31] Nisargadatta Maharaj[46:51] Andy Warhol[46:51] Allen Ginsberg[48:13] William Blake[48:54] Raymond Foye[48:54] Hanuman Books[50:04] “The Four Corners” (1985)[53:36] Saint Francis

"Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance"Larry Mishkin discusses the creation of the song "The Music Never Stopped" by Bob Weir and John Perry Barlow. Weir explains his collaborative process with Barlow, where they developed lyrics together over the phone, inspired by Barlow's description of a scene from Wyoming. Weir also reflects on the importance of lyrical and musical cohesion, and the song's debut and history of performances, including at venues like the Great American Music Hall and the Palladium. The discussion transitions to Neil Young's recent tour with Crazy Horse, highlighting the band's performance and Young's energy despite his age. He also mentions upcoming events and concludes with a focus on the Grateful Dead's performance of "St. Stephen" and other songs from 47 years ago. Grateful DeadApril 30, 1977  (47 years ago, tomorrow)PalladiumNYCGrateful Dead Live at The Palladium on 1977-04-30 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape This is another good show from 1977, but the recording quality is actually not bad considering this is an audience recording.  Since then the show has been commercially released as the first volume of the Grateful Dead Download Series if you want to hear the crisper soundboard recording.Highlights from this show are the first set Mississippi Half Step and even Looks Like Rain is played with a passion that is moving even if the song always is not. In the second set, the Dead start off with a Scarlet Begonias>Fire on the Mountain (pretty good), swing into a fun mid-set Good Lovin (common for that time, but for the last 15 years, it was almost always a set closer as an alternative to Sugar Mag) or an encore tune (send everyone home with a smile), Friend of the Devil , Estimated Prophet.  And then they blow the doors off the place with a St. Stephen>Not Fade Away>Stella Blue>St. Stephen sandwich that must be heard in full to be truly appreciated.  It's pretty awesome to hear Stella Blue transition back into the St. Stephen, an unusual pairing to say the least. Close with a Saturday Night and then yet another 1977 Terrapin Stationencore.   INTRO:                                 Music Never Stopped                                                Track #2                                                0:00 – 1:26                 Hunter Weir tune, released on Blues For Allah (Sept. 1,1975). Bob:  As a lyricist I'm glacially slow. I can generally get the job done, but it takes too damned long. So I like to work with people who have a little more facility with that—you know, John Barlow, Garrett Grant, Robert Hunter.Or I may have a general notion of the color of the rhythm and the harmonic or melodic development, and I'll sit with a guy and we just fire blank verse at each other until we start to corner that color—and then often the song will fall right out of the sky. Other times, I may have no notion of where the song wants to go, in which case I'll let whoever I'm working with surprise me. . . .“The Music Never Stopped” is a song that we wrote over the telephone. I had this business going [plays opening guitar riff, Example 13 below]. So I played this over the phone to John, and he just started spitting stuff at me. The first line came out, “There's mosquitoes on the river / Fish are rising up like birds.” He was living in Wyoming at the time on a ranch, and he started describing a situation that I'd seen with him, where it was late summer on a dry year and things were hot and kind of dull and dead.So where are we going to take this? Well, first I figured the verse is going to have to be twice as long as I originally figured, because if you're starting with an image that thick, you have to get into some detail about it. “It's been hot for seven weeks now / Too hot to even speak now / Did you hear what I just heard?” That last line came after some deliberation. It's a pregnant line, sort of like a leading tone in a harmonic development.The success of the endeavor, if you're working with a lyricist, depends on how closely the lyric marries the music. With Barlow or Gerrit Graham or whoever, there's a lot of back and forth. I guess I get to be the decider, because the words are going to have to come from my lips. And so I have to be able to tell the story.I have to be that character, because my job is to get the hell out of the way and let the character tell the story, musically and lyrically. When I'm standing in front of the microphone, I may look like me, but I'm not.If the character arrives with a really defined face and features, then it's easy for me to do my job.Fun version because almost always a first set closer and here it is opening the show.  Love that.            236 times            First:  August 13, 1975 at Great American Music Hall, San Francisco, CA, USA            Last:  June 28, 1995 at The Palace of Auburn Hills                      The Palladium:  The Palladium (originally called the Academy of Music) was a movie theatre, concert hall, and finally nightclub in New York City. It was located on the south side of East 14th Street, between Irving Place and Third Avenue.Designed by Thomas W. Lamb, it was built in 1927 across the street from the site of the original Academy of Music established by financier Moses H. Grinnell in 1852. Opened as a deluxe movie palace by movie mogul William Fox, the academy operated as a cinema through the early 1970s.Beginning in the 1960s, it was also utilized as a rock concert venue, particularly following the June 1971 closure of the Fillmore East. It was rechristened the Palladium on September 18, 1976, with the Band live radio broadcast,[1] and continued to serve as a concert hall into the following decade.In 1985, the Palladium was converted into a nightclub by Steve Rubell and Ian Schrager, after their success with Studio 54. Japanese architect Arata Isozaki redesigned the building's interior for the club.[2]Peter Gatien owned and operated the club from 1992 until 1997.The Palladium closed in August 1997 following its purchase by New York University.[3] In August 1998, the building was demolished in order to build a twelve-story residence hall that students affectionately referred to as Palladium HalThe Dead also played there when it was called the Academy of Music in a series of seven shows on their way to Europe for the '72 tour.  One of the those shows, the entire March 28, 1972 performance plus selections from March 25, 1972 and March 27, 1972 were released as Dick's Picks Vol. 30This five night Palladium run, of which today's show was the second, is famous for a lot of reasons including the part of 1977 when the Dead put together a string of some of their best shows ever, peaking on May 8, 1977, just over one week later, at Barton Hall in Ithaca, NY.  All five of these shows are well played, great tunes, and a very grooving feel that you can still pick up off of the CD or down load 47 years later.  I had most of these shows on tape and wore them out from so much playing.  Love that they previously released this show as Download Series Vol. 1 and the new Dave's Picks release, No. 50!!, is the May 3, 1977 show including some extra songs from the next night as well as the annual Dave's Picks Bonus Disc that is even more songs from the May 4th show).  If you are not listening to Dave's Picks, you are missing out on quality recordings of some of the best shows ever.How hot was the band, check out this extended jam at the end of ½ Step, the second to last song of the first set (ending with a great Promised Land) and be sure to listen for Jerry and Keith going back and forth throughout this clip:                                             SHOW No. 1:                    Mississippi ½ Step                                                Track #11                                                7:06 – 9:29 Garcia/Huner tune released on Wake of the Flood in 1973.  Also live versions included on Steal Your Face, Dick's Picks Vol. 1, Without a Net and who knows how many other Dick's/Dave's Picks releases, etc.  If you want to hear it, you can find it, easily. First performed July 16, 1972 at Dillon Stadium in Hartford, Connecticut. Followed "Me and My Uncle" and led into "Sing Me Back Home," which closed out the first set. A staple of the repertoire ever since. 236 times (exact same as Music Never stopped!)First:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at Riverport Amphitheater Maryland Heights, MO Music News: Neil Young Tour  SHOW No. 2:                    St. Stephen                                                Track #1                                                              0:00 – 1:49 Blah Blah Blah, everyone knows about St. Stephen.  Dead's Fluffhead apparently.  Because of its true melodic nature and strong lyrics, it existed long outside and after the end of Primal Dead.  Still only played a total of 187 times:                 First:  May 24, 1968 at National Guard Armory, St. Louis, MO, USA            Last:  October 31, 1983 at Marin Veteran's Memorial Auditorium, San RafaelBut post Dead hiatus year, they started making song sandwiches often based around this song.  This four song sandwich at the end of the show is so good that I had to feature all of it at the expense of some other really great tunes like Bertha, Peggy O, Looks Like Rain, Promised Land, and any tune in the second set.  This sandwich is just too cool to ignore or not give it proper due. Here is the first layer change: SHOW No. 3:                    St. Stephen>Not Fade Away                                                St. Stephen                                                Track #19                                                4:10 – end                                                INTO                                                Not Fade Away                                                Track #20                                                0:00 – 1:15 Great switch out of St. Stephen and into an amazing opening jam of NFA. I wanted to try and catch the opening lyrics but the jam went on for almost 4 minutes which is too long even for these extended clips. MJ News Check out this next transition that they pull off seamlessly: SHOW No. 4:                    Not Fade Away>Stella Blue                                                Not Fade Away                                                Track #20                                                14:15 – end                                                INTO                                                Stella Blue                                                Track #21                                                0:00 – 1:30 Beautiful how they downshift on cue from the raucous NFA into the gentle and beautiful ballad mode required for Stella Blue.  Jerry's voice is so strong and clear.  Really a treat. Not even getting to the last tune of the encore today.  Not enough time but had to close out the episode with the final sandwich transition, from Stella back into an immediate upbeat St. Stephen that is so strong I told Dan we could not edit out any of it!  What a great (almost ending) to such a great show.   Deadheads walked out knowing there were still 3 more to go!  Like going to bed and already being told the next day is a snow day! Thank you all for listening.  Please be sure to join us next week when I am joined by Rob Bleetstein of Grateful Dead Radio (show host), Pearl Jam radio and he is also the Curator for the New Riders of the Purple Sage.  He is joining us to discuss, among other things, the newly released NRPS live album “Hempsteader”.  If you haven't heard it yet, check it out.  I'm looking forward to hearing from Rob how this was all put together and what the NRSP are up to these days. Also, a Birthday shoutout to very good buddy, Sam who is turning old tomorrow.  At his age, the actual number doesn't matter but we love him anyway. ENCORE:                            Stella Blue>St Stephen                                                Stella Blue                                                Track #21                                                7:50 – end                                                INTO                                                St. Stephen                                                Track #22                                                Start - end .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Behind every unforgettable space and every extraordinary experience is a certain je ne sais quoi. If anyone has an idea of what exactly that is, it's the hospitality impresario and Studio 54 co-founder Ian Schrager. For more than four decades, Schrager has been a defining cultural catalyst and beacon across industries, from hotels and nightlife, to art and architecture, to fashion and food, and beyond. Since the early 1980s, Schrager has devised and developed more than 20 ahead-of-the-curve hospitality properties, including the Public hotel (2017) in New York City and the Edition line of hotels, as well as, going further back, the Morgans (1982), the Paramount (1990), the Hudson (2000), and the Gramercy Park Hotel (2006) in New York; the Mondrian (1996) in Los Angeles; the Delano (1995) in Miami; St. Martins Lane and the Sanderson (both 1998) in London; and the Clift (2000) in San Francisco. Beyond designing for mere aesthetic appreciation, Schrager cultivates places with a soul and spirit all their own.On this episode—our 100th—Schrager discusses his tried-and-true design philosophies and definition of luxury today; his admiration for the visionary thinking of Steve Jobs, Elon Musk, and Walt Disney; and the enduring aura of Studio 54.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [00:33] Ian Schrager[02:54] Morgans Hotel[02:59] Studio 54[03:02] Steve Rubell[06:26] Edition Hotels[06:33] Arne Sorenson[12:44] Public Hotels[13:03] Paramount Hotel[13:29] The Royalton[14:45] Hudson Hotel[24:37] John Pawson[26:04] The Palladium[26:05] Arata Isozaki[33:24] “Studio 54” Documentary[42:41] Enchanted Garden[50:48] Bianca Jagger[50:51] Truman Capote[50:51] Andy Warhol[50:56] Issey Miyake[53:33] Paul Goldberger[01:03:01] Paperless Post

Feireiss, Kristinwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Your host, Aya Shlachter, talks with Michelle Kolbe, CCO, Co-Founder, and Head of Design of EvoDOMUS.   In this episode, Aya and Michelle take a trip down memory lane as they talk about Michelle's journey as an architecture major who traveled to Europe and how this opportunity exposed her to various experiences that soon served as a compass that helped her navigate her career life.    Michelle also discusses the idea behind the creation of EvoDomus, their design process when working on pre-fab homes, and how she handles tasks and the people on-site. On top of that, Michelle shares how she developed her business acumen, how she navigated their firm amidst the pandemic, and how one of the most crucial aspects of being a successful creative entrepreneur is understanding how to deal with challenging situations and clients.    Make sure to listen until the end of the episode to know more about Michelle's views on design, business, and work-life balance!   ABOUT THE GUEST: Michelle Kolbe is the CCO, Co-Founder, and Head of Design of EvoDOMUS, a firm that specializes in the intersection of modern and green architecture. They create solid, warm homes for people who are environmentally aware and love modern architecture.   Michelle traveled to Europe after finishing her degree in architecture at Kent State University, gaining valuable international experience in residential, retail, and commercial design in both Germany and England. She collaborated with architect Arata Isozaki in his Berlin office in the mid-nineties, soaking up the vibrancy and excitement of the post-reunification era in this truly amazing city. After 17 years abroad, she returned to the US, bringing with her a wealth of experience in the fields of energy-efficient architectural design, client relations, and construction management. Her admiration of the clean lines of Bauhaus-inspired modernism coupled with contemporary materials, and advances in current building science, serve as a perpetual source of inspiration for her home designs.   Find out more about EvoDOMUS www.evodomus.com Instagram: @Evodomus www.evo.supplies Instagram: @Evodomus_kitchen_studio   BE PART OF THE PODCAST: Do you have a question in mind? Send me your questions and I'll answer them on a podcast episode! If you'd like to be a guest on Architect My Life, click HERE.

Czas zaglądnąć do Japonii! Moim gościem jest Krzysztof Ingarden - architekt i współzałożyciel biura Ingarden & Ewý Architekci. W latach 80. odbył staż doktorancki w School of Art & Design na University of Tsukuba w Japonii. Pracował w biurze Arata Isozaki w Tokio a następnie w J.S.Polshek & Partners w Nowym Jorku. Biuro Ingarden & Ewý Architekci możecie kojarzyć z takich realizacji jak Małopolski Ogród Sztuki, Pawilon Wyspiański 2000, Centrum Kongresowe w Krakowie czy Polski Pawilon Expo 2005. Warto również wspomnieć o znamiennej współpracy z japońskim architektem Aratą Isozakim oraz fundatorem Andrzejem Wajdą, dzięki której powstał obiekt Muzeum Manggha w Krakowie. W jaki sposób początkujący projektant Krzysztof Ingarden odkrywał Japonię, jej kulturę i architekturę? Jak wygląda praca w japońskim biurze? Co jest potrzebne do zrozumienia japońskiej architektury? Dlaczego architektura Araty Isozakiego w szczególności urzekła mojego rozmówcę? Dlaczego Krzysztof Ingarden napisał list do Andrzeja Wajdy? Rozmowa o wartościach w architekturze, kodzie kulturowym, podróżowaniu autostopem, wspomnieniach i japońskich fascynacjach. Zapraszam do wsparcia podcastu na platformie Patronite! 聞いて楽しむ! Klaudia Lachcik

Progettato dagli architetti Arata Isozaki, Daniel Libeskind, Zaha Hadid e Bjarke Ingels (BIG) architetti dall'importanza internazionale per un progetto in Italia.

Ghiora Aharoni is an artist and designer whose work is centrally premised on humankind’s interconnected existence, as well as a nonlinear concept of time. Descriptively, his work is at the “intersection of art, design and architecture.”  Experientially, his work is the soul’s conscious expansiveness across time. Aharoni’s own faith is foundational to his creativity, but his explorations and creations are not limited to any one religious belief, culture or medium.  Instead, his artwork frequently expresses an interest in exploring dualities, such as the intersection of religion and science, and the intertwined relationships of seemingly disparate cultures. Much of his work involves text, traditional objects or symbols—such as cultural artifacts or sacred texts—that have been recontextualized and imbued with meaning that asks the viewer to question or reconsider their conventional social/cultural significance.   An Israeli-born descendent of Yemeni Jews, Aharoni grew up near Tel Aviv, and his grandfather introduced him to the central texts of Jewish mysticism at an early age. At 21, he left Israel to study at the City University of New York where he graduated summa cum laude from the Spitzer School of Architecture, and later went on to receive a Master of Architecture from Yale University. In 2004, he opened Ghiora Aharoni Design Studio  to “engage with all the disciplines” he adores. The studio’s work encompasses interior design, art, product design and museum exhibitions. The design principles that govern his studio are “guided by the tenets of gesamtkunstwerk—engaging multiple disciplines to create a total work of art.” Every year, Aharoni, takes a month-long sabbatical. He always travels with an amulet in his bag that belonged to his great-grandmother, and usually goes to India, where spiritual practices co-exist with architecture in a similar juxtaposition as his art and design. In India, he says the ancient resides within the urban center and one can time travel by walking a few hundred yards. "In much of Aharoni’s work," it has been said, "the unification of multiple narratives offers an exquisite commentary on the potential of human life in a celestial universe – whether it be Indian and Jewish, divinity and humanity, or the natural and industrial materials integrated in his design work in the form of walnut and steel. To paraphrase Aharoni, ultimately there is an expansive vitality, which springs from intercultural co-existence, and an unending dynamic process that resonates in both divine and mortal existence." Aharoni’s work is in the permanent collection of the Pompidou Center in Paris, The Vatican Library in Rome, The Beit Hatfutsot Museum in Tel Aviv, The Kiran Nadar Museum in New Delhi and the Morgan Library & Museum in New York—as well as numerous private collections in North America, Europe, Israel and India. In February of this year, Aharoni was the Artist-in-Residence at the India Art Fair in Delhi, and his sculptures were on view at the Jewish Historical Museum in Amsterdam from March through August 2019 in the exhibition Kabbalah: The Art of Jewish Mysticism. In February 2019 he was invited to present a solo artist project at the India Art Fair in New Delhi that explored cultural interconnectivity via sculptures and works on paper, some of which included Hindru© (a phrase-based melding of Hindi and Urdu he created in 2016). In 2018, his work was exhibited at the Jewish Museum in Vienna, Austria. From November 2017 through October 2018, Aharoni’s solo exhibition, The Road to Sanchi, was on view at the Rubin Museum in New York. Aharoni traveled to four different pilgrimage sites (Buddhist, Hindu, Sufi, and Jewish) throughout India to create the art for The Road to Sanchi, which invite viewers “to question our relationship to time and imagine a world where past, present, and future can exist simultaneously.” The sacred sites are never seen so the work becomes a pilgrimage for the viewer, an expression of India’s history of cultural plurality, a co-mingling of sacred and secular, and a focus on the act and action of pilgrimage for the benefit of one’s future self. In 2017, his work was selected for the Jerusalem Biennale. Aharoni also added two works to his eight-part series Menorah Project, the Antiochus Scroll Menorah and Paradesi Menorah. The work represents the core values of respect and advocacy, intercultural understanding and the “narrative of victory over oppression” which Aharoni characterizes as “our obligation to defend cultural freedom and to engender light in a time of darkness,” as well as, “the responsibility of the individual in the role of social vigilance.” In 2016 in conjunction with the Biennale, two of his sculptures were exhibited in Divided Waters, a group exhibition of international contemporary art at the Palazzo Fontana in Venice, Italy, commemorating the 500th anniversary of the founding of the Jewish Ghetto in Venice. In the spring of 2016, Aharoni was commissioned to create a public art installation—a series of stainless steel sculptures of Hebrabic/Arabrew© (a combination of Hebrew and Arabic that he conceived in 1999 while at Yale)—at the New York Live Arts Performance Center in Chelsea. In May of 2012, he was commissioned to create a large-scale art installation at the 14thStreet Y in Manhattan of Hebrabic/Arabrew© entitled, The Divine Domesticated. Four panels from the installation were permanently installed that fall in the theater lobby of the Y. Missives, Aharoni’s first solo exhibition in India, opened the Fall 2013 season at the Dr. Bhau Daji Lad Museum in Mumbai, India. Inspired by the discovery of a trove of his mother’s love letters written as an adolescent in Israel, the artworks and installations included collages with reproductions of his mother’s letters and his drawings, installations of vintage photographs with the letters, and antique Phulkaris embroidered with snippets of her letters. The exhibition reflects the confluence/fluidity of time, universal notions of desire and collective memory, as well as his love for India.  Aharoni’s designs and commissioned pieces are also in numerous private collections. Since establishing his studio, Aharoni has designed many residential and commercial projects in New York—ranging from the DeKooning residence and a duplex penthouse in a landmark building in the West Village to a storefront studio/performance space in Williamsburg and the offices of an art law firm on 57th Street. Aharoni’s work has been published internationally in books—most recently in The Word is Art from Thames & Hudson—as well as newspapers, journals and magazines including The New York Times, The New York Times Magazine, Elle Decor U.K., L’Architecture d’Aujourd’hui, Architectural Digest Spain, Art India, IDEAT, Elle Decor Italia and New York Magazine. His essay proposing the displacement of Jerusalem’s monuments was included in the book “The Next Jerusalem.” Prior to opening his own studio, Aharoni worked at several distinguished architectural firms including Polshek Partnership [now known as Ennead Architects] and Studio Daniel Libeskind. While at Polshek Partnership, he worked on the design for Carnegie Hall’s Zankel Hall; the space planning and design of The American Museum of Natural History’s subterranean entrance and public spaces; as well as the space planning of The New York Botanical Garden’s Museum Building. His design work for Studio Daniel Libeskind included the competition submission for The Ground Zero World Trade Center Design Study, and the façade design for Hyundai Development Company, Seoul, Korea. In addition, Aharoni was on the winning design competition team with Zaha Hadid and Arata Isozaki for the building and urban planning of Milan, Italy’s Fiera Convention Center. Of his designs and art, one sculpture that is particularly stirring, timeless and relevant today is “Parting Waters”— a sculpture that Aharoni completed a few years ago just before Passover. It was inspired by the biblical story of Exodus and the current-day Syrian and African refugees. Descriptively, “Parting Waters” is composed of wooden crates containing slender-necked beakers used to test if milk was diluted with water in the mid-20th century. Had the beakers been filled with diluted milk, the water would have risen into the necks, forming columns of water—an allegory of Moses’ parting of the Red Sea, representing both the Israelites’ and contemporary refugees’ journey, “the universal human desire for freedom and the leap into the unknown.” Experientially, Parting Waters transports the viewer’s soul into that compassionate space bridging past, present and future where faith is foundational to creation. His work will be exhibited later this year in the Asia Society Triennial in New York.   Join us in conversation with this gifted creator of sacred containers and spaces for the divine!

Participam: Adilson Amaral (@adilsonamaral), Aline Cruz (@alinecruzarquicast), Rapha (@_rapha) e Bruno Sarmento (facebook) Este ano, o Prêmio Pritzker anunciou o japonês ArataIsozaki como laureado de 2019. O arquiteto, desde a…Leia maisArquicast 071 – Pritzker 2019: Arata Isozaki

Bienvenidos a todos a Punto de fuga, el podcast donde se habla de arquitectura en todas sus variantes. Noticias de arquitectura, proyectos, los arquitectos más punteros, nuevos sistemas constructivos, rehabilitación, sostenibilidad, interiorismo y mucho mucho más! Mi nombre es Nuria Heras y esto es el episodio número 2 de Punto de fuga En el episodio de hoy hablamos de dos noticas de actualidad: 1. Arata Isozaki Premio Pritzker 2019 https://www.nytimes.com/2019/03/05/arts/design/pritzker-architecture-prize-arata-isozaki.html https://www.pritzkerprize.com/laureates/arata-isozaki 2. Definición de Tectónico y Estereotómico https://www.campobaeza.com/wp-content/uploads/2016/12/1996_LA-IDEA-CONSTRUIDA_09_Cajas-cajitas-cajones.pdf https://farnsworthhouse.org/ https://en.wikipedia.org/wiki/Pantheon,_Rome Hasta aquí el episodio de hoy, espero que os haya gustado y mil gracias por estar al otro lado porque sin vosotros ésto no sería posible. Si os ha gustado el episodio agradezco vuestras valoraciones de 5 estrellas en iTunes y vuestros likes en iVoox y Spotify así cómo vuestros comentarios, recomendaciones y preguntas en cualquiera de nuestras redes sociales @punto_d_fuga Os espero para fugarnos juntos en el siguiente episodio…….Hasta entonces os deseo un muy buen día y mejor inicio de semana!

Temas principales: presentación del equipo de conducción del Proyecto Radial y referencia al ganador del Premio Pritzker 2019, Arq. Arata Isozaki. Entrevistas: Gerente del CAPBA Distrito X, representantes del Centro de Estudiantes de Química e Ingeniería Química (CEQIQ).

Saludos querid@s ContribOYENTES: Martes, 5 de marzo, un día simplón y anodino en el que no le hemos podido sacar petroleo a las noticias y por lo tanto recurrimos a un click-bait algo "maguffo" por si suena la flauta, que estamos de bajona respecto a nivel de escuchas y hay que contrarrestar el batacazo de mañana con Supergirl...que esa es la noticia buena del día!! Lo demás es totalmente superfluo. Ah! y que enhorabuena al japones Arata Isozaki por el premio PritzKer (o como se escriba). Fdo. Los CALVOS en cuanto se han dado cuenta que esta disponible el capitulo de SUPERGIRL en HBO han dejado de prestar atención al asunto este de revisar la actualidad.

Ken Oshima (left) with Arata Isozaki (right)   We discuss the complexities of practicing architecture and architectural history across cultures, nationalities, and aesthetic regimes with Ken T. Oshima, Professor of Architecture at the University of Washington, Chair of the Japan Studies Program, and recent President of the Society for Architectural Historians. Topics include: the Edo period, Antonin Raymond,  Frank Lloyd Wright in Japan, the post-War modernists, Japanese global architects, as well as Professor Oshima's involvement in museum curation and architectural history. 

Architect Ellen Cassilly worked in Paris with Christian DePortzamarc, who you’ll recall was a winner of the Pritzker Prize, and Arata Isozaki in Tokyo, before coming to North Carolina.  After bringing exciting projects together for other firms, such as the NC Museum of Art Ampitheatre, she started Ellen Cassilly Architect in 1999.  She is featured in the book, Drawing From Practice, and she co-teaches the architectural design/build studio at NC State University’s College of Design.  With her husband Frank Konhaus, they gave birth to a spectacular house/museum/gallery called Cassilhaus, a combination of their names. The house now celebrates its 10th anniversary. Cassilhaus is more than just beautifully designed and built, it’s part gallery, part artist quarters, part home!

Julio Martínez Calzón (Valencia, 1938) es doctor en Ingeniería de Caminos, Canales y Puertos, especialista en estructuras de edificios y puentes, y fundador y director de MC2 Estudio de Ingeniería S.L. Ha trabajado en la construcción de destacados edificios, entre los que se encuentran el Auditorio Nacional de Música, en Madrid, y la Torre Mare Nostrum y la Torre Collserola de Barcelona, por esta última recibió el Premio Puente de Alcántara en 1992. Ha colaborado con renombrados arquitectos como Juan Navarro Baldeweg, Arata Isozaki, Tadao Ando o Norman Foster. Asimismo es autor de puentes innovadores a nivel técnico, entre otros, el viaducto de Contreras y el puente giratorio del Puerto de Valencia. Esta iniciativa se desarrolla como una serie de charlas con destacadas personalidades provenientes de diferentes ámbitos de la cultura que fueron destinatarios de becas o ayudas de la Fundación Juan March, con las que iniciaron su carrera o avanzaron en el desarrollo profesional en sus respectivas disciplinas. Con el relato de su experiencia, la Fundación pretende que el protagonismo esté centrado en la figura y la trayectoria del invitado y con ella retratar también la evolución de un país, "fotografiar" la España de los años 50, 60 o 70 y proyectarla en la actual. Esta es la razón por la que se ha escogido este nombre para la actividad, "Memorias de la Fundación", porque es un espacio para recordar los orígenes de destacadas trayectorias profesionales y porque los resultados de estas becas están reflejados en una memoria o tesis final depositada en la Fundación. El entrevistador es el periodista Íñigo Alfonso, quien desde 2001 trabaja en RNE donde ha desempeñado diferentes funciones en las áreas de economía e información nacional y dirigió el informativo nocturno 24 Horas. Ha sido editor adjunto del Telediario primera edición de TVE. Actualmente coordina el área parlamentaria de los servicios informativos de RNE.  Más información de este acto

Daniel Libeskind è nato il Polonia ed è cittadino americano dal 1964. Laureato in Architettura presso la Cooper Union for the Advancement of Science and Art in New York City, ha ottenuto un diploma post laurea in Storia e Teoria dell'Architettura presso la School of Comparative Studies della Essex University. Dopo aver stabilito il suo studio professionale a Berlino ha realizzato progetti culturali, commerciali e residenziali in varie parti del mondo tra cui il masterplan per la ricostruzione del World Trade Center di New York, dopo gli attentati dell'11 settembre, il Museo Ebraico di Berlino e il Museo di Storia Militare di Dresda, attualmente il più grande museo tedesco, il Run Run Shaw Creative Media Centre dell'Università di Hong Kong, il Grand Canal Theatre di Dublino, il centro commerciale Crystals at CityCenter all'interno dell'MGM Mirage di Las Vegas. Ha insegnato e tenuto lezioni in molte università nel mondo, da Toronto a Karlsruhe, dall'Università della Pennsylvania a Yale. Tra i premi e i riconoscimenti ricevuti, il "Berlin Cultural Prize" nel 1997 e l' "Hiroshima Prize" nel 2001. A Milano è oggi impegnato nella realizzazione degli edifici residenziali di CityLife, il progetto di riqualificazione dell'area dell'ex Fiera di Milano, di cui ha curato la stesura del masterplan insieme a Zaha Hadid e Arata Isozaki e per il quale ha progettato anche la Torre Libeskind alta 150 metri.

Sir Peter Cook and Dr Soheil Abedian joined Dr Yael Reisner and Mr Mark Baggueley also from CRAB Studios; along with Professor Tom Hanrahan from the School of Architecture, the PRATT Institute, New York; and Canadian luminary Nat Chard in a two-part discussion about Architecture Education and Architecture and its role in society. This Symposium included the sod turning for Bond University’s $16.2 million Soheil Abedian School of Architecture building, with world renowned architects gathering to turn the soil. Designed by Sir Peter Cook and Gavin Robotham of CRAB Studios in London, who won the international competition in 2010, the building is a natural extension to the rapidly growing Institute of Sustainable Development and Architecture. Sir Peter Cook, knighted for his contribution to architecture, took inspiration from Bond University’s original architect Arata Isozaki, as well as the natural surroundings, when designing the building. Features include an internal streetscape that runs the length of the building and ‘scoops’ that provide individual workspaces for students to exhibit and critique their work, as well as dedicated environmental science laboratories

Sir Peter Cook and Dr Soheil Abedian joined Dr Yael Reisner and Mr Mark Baggueley also from CRAB Studios; along with Professor Tom Hanrahan from the School of Architecture, the PRATT Institute, New York; and Canadian luminary Nat Chard in a two-part discussion about Architecture Education and Architecture and its role in society. This Symposium included the sod turning for Bond University’s $16.2 million Soheil Abedian School of Architecture building, with world renowned architects gathering to turn the soil. Designed by Sir Peter Cook and Gavin Robotham of CRAB Studios in London, who won the international competition in 2010, the building is a natural extension to the rapidly growing Institute of Sustainable Development and Architecture. Sir Peter Cook, knighted for his contribution to architecture, took inspiration from Bond University’s original architect Arata Isozaki, as well as the natural surroundings, when designing the building. Features include an internal streetscape that runs the length of the building and ‘scoops’ that provide individual workspaces for students to exhibit and critique their work, as well as dedicated environmental science laboratories