An Introduction to the Architecture of the Italian Renaissance By Classical Architect and Artist ‪@FTerryArchitect ‬#RIBA #Architecture #Education #ilmaBlog

Earlier this year UK-based Francis Terry MA (Cantab), Dip Arch, RIBA Director, gave his office a wonderful presentation I would like to share with my audience:

Francis is part of a new generation of classical architects who have recently gained a reputation for designing high quality works of architecture. Francis’s pursuit of architecture grew out of his passion for drawing and his love of historic buildings. He studied architecture at Cambridge University qualifying in 1994. While at Cambridge, he used his architectural skills to design numerous stage sets for various dramatic societies including The Footlights, The Cambridge Opera Society and The European Theatre Group.

Terry along with his colleague also talk about classical architecture in modern times at a recent TEDx Talk:

More Information available by clicking here. Not only does his website display great examples of classical architecture but he has a great blog with interesting writings and videos.

We would love to hear from you on what you think about this post. We sincerely appreciate all your comments – and – if you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

Sincerely,

FRANK CUNHA III
I Love My Architect – Facebook


Understanding Classical Proportions in Architecture & Design #ILMA #ClassicalArchitecture #Design

662A391D-65D7-4ECA-9A3E-35D07140F9B4.jpegThe following is an easy to understand reference guide to understanding the basics of classical proportions:

Further reading:

  • Vitruvius: The Ten Books on Architecture by Vitruvius (Author), Herbert Langford Warren (Illustrator), Morris Hickey Morgan (Translator)
  • The American Vignola: A Guide to the Making of Classical Architecture by William R. Ware
  • The Five Books of Architecture by Sebastino Serlio
  • Canon of the Five Orders of Architecture by Giacomo Barozzi da Vignola (Author), John Leeke (Translator), David Watkin (Introduction)
  • The Four Books of Architecture by Andrea Palladio (Author), Adolf K. Placzek (Introduction)

We would love to hear from you on what you think about this post. We sincerely appreciate all your comments – and – if you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

Sincerely,

FRANK CUNHA III
I Love My Architect – Facebook


Diller Scofidio + Renfro: Reimagining Lincoln Center and the High Line

Diller Scofidio + Renfro: Reimagining Lincoln Center and the High Line. At a lean 54 minutes, it’s more straightforward than intimate. But its biographical sketch of, primarily, Elizabeth Diller and Ricardo Scofidio has a surprising amount of depth as it charts their evolution from a firm known for imaginative art installations to in-demand architects. The film also probes what Scofidio calls the blurring of “boundaries between what is public and what is private” by focusing specifically (but not exclusively) on the work that went into New York’s High Line park and the redevelopment of the city’s Lincoln Center. Both projects—and the greater issue of public versus private spaces—promise to provoke discussion at a panel organized around the film.

“The conversations that happen between the films are really one of the most important parts of the festival” Bergman says. We’re trying to raise the level of design dialogue, not just among pros, but among engineers and lawyers and pediatricians and people who make pizza. As an Architect, that’s something that I think is really good for the profession.  It may even be a great place to discover a Beautiful Stranger or take a look at the NJ Skyline at sunset!!!

To learn more about the NYC High Line click here.

Sincerely,

Frank Cunha III
I Love My Architect – Facebook


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“Design Is One: Lella and Massimo Vignelli”

The New York edition of the Architecture & Design Film Festival will show the people behind the projects, October 18–21.

Photo © John Madere – Kathy Brew and Roberto Guerra’s Design Is One: Lella and Massimo Vignelli will premiere at the Architecture & Design Film Festival.

“If you can’t find it, design it” is the motto of the Vignellis, whose renowned work ranges ”from the spoon to the city.” Kathy Brew & Roberto Guerra’s film brings us into the Vignellis’ world, capturing their intelligence and creativity, as well as their humanity, warmth, and humor. www.designisonefilm.com

For more info click here.

We would love to hear from you on what you think about this post.  We sincerely appreciate all your comments.

If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

Sincerely,
Frank Cunha III
I Love My Architect – Facebook

FC3 ARCHITECTURE+DESIGN, LLC
P.O. Box 335, Hamburg, NJ 07419
e-mail: fcunha@fc3arch.com
mobile: 201.681.3551
direct: 973.970.3551
fax: 973.718.4641
web: http://fc3arch.com
Licensed in NJ, NY, PA, DE, CT.


When You Talk All I Hear is “Bla Bla Bla” (by Philippe Katerine)

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Sincerely,
Frank Cunha III
I Love My Architect – Facebook


Apple One

Innovation takes time.

The original Apple Computer, also known retroactively as the Apple I, or Apple-1, is a personal computer released by the Apple Computer Company (now Apple Inc.) in 1976. They were designed and hand-built by Steve Wozniak. Wozniak’s friend Steve Jobs had the idea of selling the computer. The Apple I was Apple‘s first product, and to finance its creation, Jobs sold his only means of transportation, a VW van. It was demonstrated in April 1976 at the Homebrew Computer Club in Palo Alto, California.

The Apple I went on sale in July 1976 at a price of US $666.66, because Wozniak liked repeating digits and because they originally sold it to a local shop for $500 and added a one-third markup. About 200 units were produced. Unlike other hobbyist computers of its day, which were sold as kits, the Apple I was a fully assembled circuit board containing about 60+ chips. However, to make a working computer, users still had to add a case, power supply transformers, power switch, ASCII keyboard, and composite video display. An optional board providing a cassette interface for storage was later released at a cost of $75.

Noteworthy Links

Evolution of Mac

Apple Timeline

R.I.P. Steve Jobs 1955-2011

Apple 1 - Museum of American History, Washington DC

Original Apple 1 Advertisement

Apple's Product Timeline (Unidentified Source)

It’s OK to Think Different

Content reposted from Wikipedia and YouTube.

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Sincerely,
Frank Cunha III 
I Love My Architect – Facebook


“Seeing Is Forgetting The Name Of The Thing One Sees” by Robert Irwin

Robert Irwin was born in 1928 in Long Beach, California to Robert Irwin and Goldie Anderberg Irwin. After serving in the United States Army from 1946 to 1947, he attended several art institutes: Otis Art Institute in Los Angeles from 1948 to 1950, Jepson Art Institute in 1951, and Chouinard Art Institute in Los Angeles from 1952 to 1954. He spent the next two years living in Europe and North Africa. Between the years 1957-1958, he taught at the Chouinard Art Institute.

In 1977, Robert Irwin wrote the following about himself: “I began as a painter in the middle of nowhere with few questions… My first real question concerned the arbitrariness of my paintings… I used my paintings as a step-by-step process, each new series of works acting in direct response to those questions raised by the previous series. I first questioned the mark as meaning and then even as focus; I then questioned the frame as containment, the edge as the beginning and end of what I see… consider the possibility that nothing ever really transcends its immediate environment… I tried to respond directly to the quality of each situation I was in, not to change it wholesale into a new or ideal environment, but to attend directly to the nature of how it already was. How is it that a space could ever come to be considered empty when it is filled with real and tactile events?” (Robert Irwin, 1977) Robert Irwin’s notion of art derived from a series of experiential perceptions. As an abstract, open-minded thinker, he presented experience first as perception or sense. He concluded that a sense of knowing, or ability to identify, helped to clarify perception. For example,

“We know the sky’s blueness even before we know it as “blue”, let alone as “sky.”

He explained later that the conception of an abstract thought occurs in the mind, through the concept of self. Following, the physical form is then recognized, communicating the form to the community. Then, the Objective compound occurs, delineating behavioral norms and artistic norms, becoming identifiable. Then the boundaries and axioms introduce logic and reasoning and decisions can be made: either inductive or deductive. Formalism follows, proving and convincing a decision about the object being perceived. The study done by Irwin suggested that: “…all ideas and values have their roots in experience,… they can be held separate at any point and developed directly on the grounds of function and use, both that they in fact remain relative to the condition of both our subjective and objective being.” Robert Irwin’s philosophy defined his idea of art as a series of aesthetic inquiries, an opportunity for cultural innovation, a communicative interaction with society, and as compounded historical development.

In his book Seeing is Forgetting the Name of the Thing One SeesLawrence Weschler documents Irwin’s process from his early days as a youngster in Southern California to his emergence as a leader in the post-abstraction art world. Weschler describes the mystifying and often enchanting quality of these works in his book’s cover notes:

In May 1980, Robert Irwin returned to Market Street in Venice, California to the block where he had kept a studio until 1970, the year he abandoned studio work altogether. Melinda Wyatt was opening a gallery in the building next door to his former work space and invited Irwin to create an installation.
He cleaned out the large rectangular room, adjusted the skylights, painted the walls an even white, and then knocked out the wall facing the street, replacing it with a sheer, semi-transparent white scrim. The room seemed to change its aspect with the passing day: people came and sat on the opposite curb, watching, sometimes for hours at time.
The piece was up for two weeks in one of the more derelict beachfront neighborhoods of Los Angeles: no one so much as laid a hand on it.

Because of the ephemeral or subtle nature of his work, this book became not just an introduction but, for many artists and art students, the primary way that Robert Irwin’s work was experienced. He told Jori Finkel of the New York Times in 2007 that people still come up to him at lectures for book autographs. In that article, Michael Govan, the director of LACMA who previously commissioned Irwin to “design our experience” of Dia:Beacon” said he believes the book “has convinced more young people to become artists than the Velvet Underground has created rockers.”

Buy the book on Amazon.