IDM. Interior Design Magazine: Over the Moon

2012

"Charles Moore is central to understanding the continuum extant between Modern and Postmodern architecture. This is not simply because he practiced architecture from the mid-1950s through 1993, spanning the time period between these two styles; it is also because his architecture, writing and teaching bridged the practical and theoretical tenets of both movements. Moore maintains a unique position among his contemporaries in that he was both a modernist and postmodernist in many ways. Deeply influenced by modernists William Wurster and Louis Kahn, Moore also drew upon Roger Bailey’s appreciation for history and the Beaux Arts curriculum as well as Jean Labatut’s phenomenological emphasis on human experience of historical places.1 The design-build mentality that Moore adopted from Roger Bailey and William Wurster along with the purity of form derived from Louis Kahn’s teaching, reflect the inherently modern qualities of his designs. His explorations with interior and exterior space, color, light and creating a “sense of place”2 represent the postmodern innovations that Moore brought to the field. He was an inclusivist,3 which signifies a departure from his predecessors and an approach that greatly shaped his lasting influence. This research seeks to answer how Moore’s role in the context of the late twentieth century is central to understanding the significance that his work, writing and pedagogical influence had on contemporaries and students alike. And furthermore, can that understanding inform the way in which his work can be approached in the preservation context? To that end, this thesis presents Moore’s biographical background and contextual history along with a discussion of three commissions that were central to his body of work: Kresge College (1973) at the University of California, Santa Cruz; the Piazza d’Italia (1978) in New Orleans, Louisiana; and the Moore/Andersson Compound (1984) in Austin, Texas. The temporal and ephemeral qualities inherent in much of Moore’s work were characteristic of the time period and paralleled in the work of other architects practicing at the time, most notably Robert Venturi. These qualities pose unique challenges to preservation from a theoretical and practical perspective. This research presents a lens through which those challenges and opportunities can be understood and further explored. Moore’s influence is evident in the work of many of his students, a great number of whom are successful in their own right, including Billie Tsien, Brian Mackay-Lyons, and Turner Brooks. His lasting impact is also apparent in the ongoing success of his former firms: Centerbrook Architects in Centerbrook, Connecticut; Moore Ruble Yudell in Santa Monica, California; and Andersson/Wise Architects in Austin, Texas. These firms continue to thrive twenty years after Moore’s death, reiterating the continued influence that Charles Moore has had on architectural practice and teaching. Despite Postmodern architecture’s relatively “young” age in preservation terms (the majority of the building stock is less than fifty years old – the threshold for National Register designation except in exceptional circumstances4) – it is an important moment for preservationists to begin discussing this period in architectural history. The material lifespan of these buildings is significantly compressed and therefore merits a proactive approach. And while Postmodernism is often derided as a fad, its significance in architectural history as well as its socio-political context merits opportunity for substantial scholarship toward a better understanding of the movement, its architects, and its role in the development of subsequent generations of architecture."

The cultural role of the interior artefact, through the representation and interpretation of meaning, is considered in this article. This follows Umberto Eco’s moderate hypothesis of culture in which all cultural phenomena can be studied as contents of a semiotic activity and in accordance with Jeff Lewis’s construct of culture as a collection of meanings. The ‘interior artefact’ that is considered here is the physical manifestation of interior design as a professional practice in the built environment and not a general product of human activity. It is assumed that successful interior artefacts are dependent on the generation of meaningful images and their appropriate spatial interpretation. The interior artefact is a material artefact that creates and communicates meaning; it offers the framework for situated meaning and is the result of that meaning. The interior artefact is the spatial embodiment of the visual identity imagined by the interior designer on behalf of the client. In this context, interior design is considered as a cultural activity with importance for human development, which includes the utilisation and development of identity. The article considers identity to involve more complexity than merely expressing categories of belonging (such as race and gender). In interior design the generation and interpretation of meaning is dependent on the visual presence of cultural discourses; the article concludes with a brief discussion of some of these.

Design and Culture The Journal of the Design Studies Forum This paper revisits the creative work of the Australian magazine Oz and its founding editors Martin Sharp (1942-2013) and Richard Neville (1941-2016). Established in Sydney on April Fool's Day in 1963 as a satirical magazine, the editors migrated to London in 1967, where the UK version of Oz garnered its status as the underground field guide for enlightened hippies. This paper claims that the visual and rhetorical editorial strategy of Oz, coupled with the technologies employed in its making, transformed the medium of the magazine to be more than simply a cipher for hippie life. In fact, it became a platform for immersive, multimedia experiences.

World-renowned astrophysicist Stephen Hawking has said that humanity will face a choice between space colonization and extinction. NASA wants to put a human on an asteroid by 2025 and on Mars by 2030. Scientific discoveries solve global economic and interplanetary economic problems. Economics and Science are two important drivers for mankind welfare. The economic driver of man would pursue extraterrestrial life. New Economics deal the economic driver of industrialization of moon and colonization of mars. The present study focuses on the theory, economics, steps and possibilities of colonization of mars and moon in specific and other planets in general. The study is based on frame work of vision and the meta-analysis of history of intellectual Economics and inter planetary explorative space research. The study analyzes historical planetary space research evidences, insights and rationales on colonization of Mars, Moon and other planets and life possibilities and steps to achieve. It also analyzes the theory and New Economics that bridges economics opportunities and Inter planetary space colonization which is imperative for extraterrestrial life and prosperity. The study uses meta-analysis of inter planetary research which has done by NASA, Japan, UK, Germany, Russia, India, Netherlands and other countries. The study found that surface conditions and the presence of water on Mars make it the most hospitable of life. New studies suggest that Moon more hospitable to life. It was reported that some lichen and cyanobacteria survived. Mars's north and south poles are attracted great interest as settlement sites. The ultimate viability of all this really comes down to economics. In theory, the resources floating up in space be the economic fuel necessary to take us to the stars. The Law of abundance may bring down the price of such commodities (including energy). Mars–Earth trade may provide an economic rationale for continued settlement of the planet. This is possible because of breakthroughs happened in space and rocket science. The path to a human colony could be prepared by robotic

Slavic & East European Information Resources, 2010

The Moon: A Voyage Through Time, 2019

Abstract: The study is plunge on the adequacy of lighting for Library activities in Ibrahim Badamasi Babangida library, Modibbo Adama University of Technology Yola (IBB library). The library is a one storey building. Total enumeration of the spaces was executed. A digital light meter was used to evaluate the light level in the spaces as well as a digital camera for photographs. The major factor considered in the research is the level of illumination on the work plane in the interior of the building. The data collected was analyzed using tables and figures. Findings show that library area with natural lighting below 500 lux for office and reading halls as well as 20 lux for ancillary spaces amounts to 2262.32square meters (96.49% of the total library area). Dark zones in the building are apparent during power outages. Some recommendations from the research includes retrofitting of the building to allow for natural lighting as well as installation of USG majestic acoustical reflective ceiling panels to replace the former as well as replacement of light color glazed granite tiles with the terrazzo floor, and installation of roller shade blinds which can be easily controlled for optimum light penetration.

This work is an extended analysis of electric light and depictions of the light bulb in Pablo Picasso’s oeuvre beginning with two cubist works from 1912 and 1914, and recurring with great significance in 1935, reaching a symbolic apogee in the masterpiece, Guernica, 1937, and thereafter granting its continued importance in war-time and post-war still lifes. The overlooked importance of the light bulb—the only technological element in a vast repertoire of figures founded upon Antiquity, Alchemy, various mythologies and everyday items that took highly symbolic form in his portraiture, still lifes, and other genre scenes—is considered for the diachronic mode of its dispersal with respect to the specific contexts in which it is seen. The filament light bulb conjoins other important themes in Picasso’s work, but it is distinguished in all circumstances through a conception of malevolence and evil and the breakdown of the natural order of the world as he saw it; that is, as a devolution of the domain of light as the common Good, as a waning life force. Electric light is taken along side Picasso’s “candles of war” that evolve from his adept and keen awareness of the symbolic power of light as a progeny in Barcelona in 1895. Written in five illustrated chapters, the dissertation begins with an overview of the impact that electric light had had upon late nineteenth and early twentieth century life, in Paris in particular, as a scientific advancement, par excellence, and as a new cultural icon. Walter Benjamin’s thesis on the Marxist notion of the phantasmagoria is considered apropos the exceptional electric lighting campaigns of the Paris World Expositions of 1881 and 1900 in which various advancements in the technology of the light bulb contributed to the sense of overall “blinding” as a pacification of the masses. This prologue builds to an analysis of Guernica that premiered at the Spanish Republic Pavilion in the Paris Exposition Universelle of 1937 amidst an incandescent extravaganza that was adroitly organized for sociopolitical, capitalist, and fascist agendas, especially by the Third Reich who utilized lighting programs as a tool of propaganda. In that the light in Guernica is a panoptical eye powered by a single, dangling bulb, Picasso countered the prevailing excessive theatrical incandescent culture with an image that has become one of the most potent anti-war icons of the warring twentieth century: the electric sun. The thesis takes into account alterations of the sun as a degraded, inverted, and mocked signifier of sacred light, demonstrated from 1930 to the conclusion of Guernica in June of ‘37 in which images of the sun were central to Picasso’s ongoing ire against the war in Spain and the burgeoning realities of fascist aggression in pre-World War II France. Given the extraordinary lambency of incandescence and its symbolic impact, beyond the real ways in which it reshaped perception in early modern life and expressed in every epoch of visual modernism, including cubism, futurism, rayonism, surrealism, constructivism, and vorticism, and in the literary arts, heterogeneous types of electric light and light bulbs may be claimed as the most singularly potent emblems of new utopias and tomorrows borne from the catastrophic strain caused by the Great War and the interwar years leading up to the Spanish Civil War and World War II. In that Picasso’s light bulbs are taken for their explicit correspondence to acts of violence, scenes of death and sacrifice, and as a penultimate signifier of darkness-in-the-light, the dissertation identifies the “seraphim light bulbs” of bullfight scenes from 1934-35 that have not been recognized and are indisputable precursors to the electric sun in Guernica. Furthermore, attention has been paid to the morphology of the wire filament both in 1914, identified as the “Filament-Harlequin,” and in 1937, in which I identify the filament in the electric sun as an approximation of the Luftwaffe flight patterns for the aerial bombing scheme in the destruction of the Basque village, Gernika.

Theological Anthropology, 500 Years after Martin Luther: Orthodox and Protestant Perspectives , 2021

In this essay, I want to briefly consider and assess Luther's political theology by engaging Michael Laffin's recent book, The Promise of Martin Luther's Political Theology. I am fully aware of the debates around Luther's political theology and realize that Laffin's is only one interpretation, but it is a very nuanced interpretation that offers compelling arguments. I then want to illustrate affinities between Laffin's interpretation of Luther and my own Orthodox political theology based on the realism of divine-human communion, or theosis. Finally, I want to end by relating this comparison to what is arguably one of the most pressing questions of Christian political theology-the Christian's relation to political liberalism.

2009

This work gives us the translation of the part of Hadidi’s poetized Ottoman chronicle from the end of the 15th and beginning of the 16th century, which deals with waging war and the career of the great vezir Ahmed- pasha Hercegovic. Chronicler Hadid, in verses and in detail described even the wounding of Hercegovic, his captivity and his liberation, and then his successful career. Apart being an army commander and high government official, Ahmed-pasha was known also as a legator (waqif). His waqfname which is kept in America give us many details about the organization of his waqfs in the village Hersek and in Kesan. The shrine of the great vezir Ahmed-pasha Hercegovic is, unfortunately still in ruins. In this work we want to point out on the fact that the Great vezir Ahmed-pasha, son of Herceg Stjepan Kosaca, was a poet. Some of the verses from his poem (kaside) devoted to Sultan Selim Javuz were given.